A Valediction Forbidding Laughing: The Outburst of Rage and Despair in Jonathan Swift’s “Epistle to a Lady” and “On Poetry; A Rapsody”

전인한 한국중세근세영문학회 2006 중세르네상스 영문학 Vol.14 No.1

This paper aims to investigate the collapse of the corrective function of satire in Jonathan Swift's "Epistle to a Lady" and "On Poetry; A Rapsody," the satires written towards the end of Swift's satiric career. This paper points out that, even though the corrective function of satire has been advocated by satirists against its opponents and thus a theory of laughing satire has been developed for the enhancement of its corrective function, satirist cannot always laugh in the face of reality. Swift's "Epistle to a Lady" and "On Poetry; A Rapsody," this paper contends, is a case in which Swift abandons the corrective function of satire and turn satire into a means of private satisfaction.In the discussion of "Epistle to a Lady," this paper points out that the theory of laughing satire is collapsed at the same time as it is established, thus argues that the co-existence of these incompatibles is the very proof for Swift's growing anguish and doubt about the corrective function of his satire. In the discussion of "On Poetry; A Rapsody," this paper contends that Swift is articulating the dire situation he is forced into through his presentation of the "old experienced sinner," who had a right ideal about poetry but was forced to commend "vile encomium" due to the "poetry-scorning age." If the "Epistle to a Lady" can be understood as a poem in which Swift vent his rage, this paper claims, "On Poetry; A Rapsody" is a poem in which Swift's despair about the contemporary society is made more explicit.This paper concludes that the artistic control retained in both poems cannot be regarded as Swift's control over his emotions. Rather, this paper argues, this control is Swift's last means of getting private satisfaction from his satires, as the artistic control in both poems can demonstrate what Swift might have been if he had been given the ears of contemporary society.

때깔 좋은 옷을 입은 전쟁: 18세기 영국에 있어 무역의 호전성

전인한 한국고전중세르네상스영문학회 2004 중세근세영문학 Vol.14 No.2

근대와 남성의 성: “이루지 못한 쾌락” 시와 남성 정체성의 위기

전인한 한국중세근세영문학회 2012 중세르네상스 영문학 Vol.20 No.1

This paper purposes to investigate the crisis of masculine identity projected in the so-called “Imperfect Enjoyment” poems written in the Restoration period. This paper argues that some English versions of “Imperfect Enjoyment” poems go further in revealing male anxiety while describing the unfortunate incident of “premature ejaculation” than its Latin and French counterparts. In Latin and French counterparts, this paper argues, male sexual debacle is presented as temporary thus recoverable though humiliating, so it does not put fundamental questions on the male authority based on the potency of phallus. However, this paper points out that some English versions of “Imperfect Enjoyment” poems relate the male debacle with the crisis of male sexuality and masculine identity in that these poems regard the failure of phallus not as temporary but as fundamental. George Etherege’s “Imperfect Enjoyment” dodges the male crisis as neatly as possible by employing metaphoric devices that distance the male debacle from the fundamental male crisis and, in so doing, by silencing female voice. Yet, this paper argues, the success of these strategies is temporary and limited as the success is only functional in the realm of poetic rhetoric monopolized by a male poet. In Aphra Behn’s “Disappointment,” male anxiety is exploited to the full and the crisis of phallus and masculine identity is realized as the authority and potency of phallus is found groundless and the male sexual role and the female one are radically reversed. In this poem, the male becomes the female as his phallus cannot perform its promised function. This paper finds the fundamental doubt on male sexuality in John Wilmot, Earl of Rochester’s “Imperfect Enjoyment.” In this poem, female sexual desire comes to the fore, thus making the female not as beneficiaries of male sexual desire but as sexually autonomous beings. In so doing, this poem sees the failure of phallus as the fundamental condition of male existence. This poem, this paper finally argues, takes male authority and the phallic myth into pieces, painfully recognizing males as beings stranded in the world where they are deprived of the power of their illusory phallus while females are demanding sexual gratification. This paper purposes to investigate the crisis of masculine identity projected in the so-called “Imperfect Enjoyment” poems written in the Restoration period. This paper argues that some English versions of “Imperfect Enjoyment” poems go further in revealing male anxiety while describing the unfortunate incident of “premature ejaculation” than its Latin and French counterparts. In Latin and French counterparts, this paper argues, male sexual debacle is presented as temporary thus recoverable though humiliating, so it does not put fundamental questions on the male authority based on the potency of phallus. However, this paper points out that some English versions of “Imperfect Enjoyment” poems relate the male debacle with the crisis of male sexuality and masculine identity in that these poems regard the failure of phallus not as temporary but as fundamental. George Etherege’s “Imperfect Enjoyment” dodges the male crisis as neatly as possible by employing metaphoric devices that distance the male debacle from the fundamental male crisis and, in so doing, by silencing female voice. Yet, this paper argues, the success of these strategies is temporary and limited as the success is only functional in the realm of poetic rhetoric monopolized by a male poet. In Aphra Behn’s “Disappointment,” male anxiety is exploited to the full and the crisis of phallus and masculine identity is realized as the authority and potency of phallus is found groundless and the male sexual role and the female one are radically reversed. In this poem, the male becomes the female as his phallus cannot perform its promised function. This paper finds the fundamental doubt on male sexuality in John Wilmot, Earl of Rochester’s “Imperfect Enjoyment.” In this poem, female sexual desire comes to the fore, thus making the female not as beneficiaries of male sexual desire but as sexually autonomous beings. In so doing, this poem sees the failure of phallus as the fundamental condition of male existence. This poem, this paper finally argues, takes male authority and the phallic myth into pieces, painfully recognizing males as beings stranded in the world where they are deprived of the power of their illusory phallus while females are demanding sexual gratification.

No "Pattern of Love": The Frustraterd Desire for Genuine Love in Rochester's Obscene Poems

전인한 한국고전중세르네상스영문학회 2005 중세근세영문학 Vol.15 No.2

This paper aims to read Rochester’s obscene poems as his despair about the possibility of genuine love in which one can confirm one’s sense of existence through the union of the mind and body. This paper contends that, in Rochester’s obscene poems, love is not consummated but consumed, as the physical intercourse fails repeatedly to develop into the union of mind, thus only proves to be nothing but the letting out of bodily fluids irrelevant of one’s emotion. Then, this paper examines whether the union of mind can develop into the union of body in Rochester’s poems. This is not to be, as Rochester shows his frustration over how the persons in mental love cannot consummate their love as the male partner’s impotence sets in.Also, for Rochester, homosocial relationship cannot afford him with safe haven in which he can confirm his value of existence in the relational point of view, as the all-male companionship in his poems is always threatened by another form of exploitative human relationship, that is, buggery. In Rochester’s poems, the male has to satisfy his bodily desire, whether the exploited partner be a female or a male, which points out that the cordial all-male companionship is never self-sufficient.The failure of any meaningful human relationship, this paper argues, explains why there is abundant reference to masturbation in Rochester’s poems. As all forms of love fail to let one connect with another, these loves prove nothing but the various strata of masturbation, which confirms one’s solitary state in the Hobbesian world and which thus threatens one’s existence. This paper discusses Rochester’s “Upon Nothing” as the logical stalemate of Rochester’s cogitation on the possibility of genuine love, for the fear of non-entity is bravely tackled only to be found as insurmountable condition of human existence.

반납과 공유: 조너선 스위프트의 광기

전인한 한국중세근세영문학회 2003 중세르네상스 영문학 Vol.11 No.2

Giving Back and Sharing: Jonathan Swift's Madness

미디어 내 성평등을 위한 개선방안에 관한 고찰

전(田)별 ( Jeon Byeol ) 아세아여성법학연구소 2017 아세아여성법학 Vol.20 No.-

오늘날 우리는 미디어를 통해 정보를 제공받고 여가 선용을 한다. 또한 아이들은 애니메이션과 어린이 프로그램 등을 시청하면서 가치관을 형성하며, 무의식중에 미디어에서 방영되는 모습들이 우리 사회의 보편적인 모습이라고 인식하기도 한다. 이와 같이 미디어가 우리 사회 전반에 미치는 영향의 중요성에도 불구하고 미디어에서는 성평등의 관점이 전혀 고려되지 않은 것처럼 보이는 내용이 지속적으로 발견되었다. 드라마나 예능프로그램에서는 여성의 모습을 순종적인 모습 내지는 악녀로 양분하거나 남성 출연자의 보조 및 막내의 이미지로 그려내며, 재미를 이유로 성을 희화화하는 모습도 다수 발견하게 된다. 뉴스나 시사프로그램에서는 남성의 과대대표성을 더욱 쉽게 찾아볼 수 있다. 미디어 내 성별구조를 살펴보면 과연 미디어 내 성평등의 실현이 가능한 것인가에 관한 의문은 더욱 깊어지게 된다. 우리나라는 이와 같은 문제점을 인식하고 양성평등기본법, 방송법 등의 관련 법률, 방송심의규정, 양성평등 방송 프로그램 제작 안내서 등을 두어 미디어 내 양성평등 실현을 위한 방안을 마련하고자 하였다. 그러나 미디어에서 소비되는 여성의 이미지와 질적·양적인 비율은 20여 년 전과 비교해 보아도 크게 달라지지 않았기에 미디어 내 성평등의 실현은 여전히 달성하기 어려운 과업처럼 느껴지는 것이 현실이다. 이와 같은 현상은 비단 우리나라만의 문제가 아니다. 해외 각국에서도 이러한 문제의 심각성을 인식하고 이를 개선하기 위한 방안으로 방송 내지는 성평등 관련 법제에 미디어 내 성평등 실현을 위한 규정을 두어 현업에 적용하고자 하였다. 프랑스에서 평등법을 개정할 당시 미디어 내 성평등에 관한 규정을 당해 개정의 가장 핵심적인 내용으로 두고 이를 중점적으로 연구한 후 성평등에 관한 규정을 개정안에 적극 반영하였던 것이 그 대표적인 예라고 볼 수 있다. 또한 법률과 별도로 제정된 방송 제작 관련 가이드라인에서도 미디어 내 성평등의 실현을 위한 구체적인 규정을 두어 프로그램 제작 당시 이를 직접 적용하도록 함으로써 당면한 문제를 해결하고자 하는 노력을 계속하고 있다. 이를 위하여 영국 오프콤의 방송규정에서는 유럽인권협정을 근거로 하여 성별을 이유로 한 차별이 인정되지 않음을, BBC의 제작자를 위한 가이드라인에서는 방송에서 성차별적인 언어를 사용하지 않을것, 고정관념이 담긴 언어를 사용하지 않도록 주의할 것에 관한 점 등을 명시하고 있다. 캐나다 방송협회의 평등 묘사규정에서는 성이나 혼인 유무 등에 관하여 모욕적이거나 부당한 차별적 내용을 포함하지 않을 것, 대상의 복잡함을 반영하지 않고 반복적으로 단순하고 하찮게 여기며 상처를 주고 편견을 갖게 하는 스테레오타입화 금지, 성평등에 관한 적절한 용어를 사용할 것 등을 명시하고 있으며, 폭력규정, 텔레비전 및 라디오 프로그램의 성 역할 묘사규정 등에서도 성평등에 관한 보다 구체적인 규정을 두어 이를 실무에 반영하도록 하고 있다. 이와 같은 점을 고려하여 우리의 방송법에 방송을 제작하는 과정에서 성평등의 실효성을 강화시킬 수 있는 규정 및 미디어계 종사자들에 대한 성인지교육 실시에 관한 규정을 통하여 성평등에 관한 인식을 도모함과 동시에 책임성을 강화하는 방안을 마련하는 것을 고려해 볼 수 있을 것이다. 또한 미디어 내 종사자들이 프로그램을 제작·편성·심의할 당시 직접적으로 참고할 수 있도록 가이드라인에 성평등에 관한 구체적인 기준을 마련함으로써 성평등에 관한 관점이 방송 프로그램에 직접 반영될 수 있도록 하는 방안도 적절한 대안이 될 수 있을 것으로 보인다. 이러한 노력을 통하여 미디어 내 성평등의 실현은 물론 우리 사회의 성평등도 온전히 이루어질 수 있기를 기대해 본다. In the modern era, media constantly inputs information into our minds and leads us to subconsciously believe that its materials are accurate representations of our everyday society. In addition, children are highly influenced by cartoons and programs targeted for the youth as their values and beliefs are molded by such products. Regardless of its grave impact, the media has been constantly reproducing contents that violate gender equality. Although continuous efforts have been made to improve the gender inequality depicted by the media, distorted presentations of women yet remain to be rather common. TV series and comedy shows often portray women to be submissive or evil-minded; women often appear as subordinates of men and gender is often ridiculed for the purpose of entertainment. Over-representation of males become more obvious in news shows or those related to current affairs. Ultimately, the gender imbalance in the media makes people question the obtainability of gender equality. As an attempt to promote gender equality in the media, the Korean government has enacted the Gender Equality Act, amended the broadcasting deliberation regulations, and developed protocols regarding the production of programs that adhere to gender equality. However, the female image consumed through the media and the quality and ratio of female appearances have not changed much over the past couple of decades, and gender equality still appears to be an unrealistic dream. The problem of gender inequality in the media is not restricted to Korea. Various countries share similar issues and have included regulations in their gender equality acts in order to improve the status quo. A prime example would be France, which stressed on improving its media regulations regarding gender equality when it amended its equality acts. In addition, multiple organizations have included regulations on gender equality in their guidelines for broadcasting productions and have been striving to solve the issue through its implementation. Rooted in the European Convention on Human Rights, Ofcom’s broadcasting regulations clearly states that any type of discrimination based on gender is prohibited. Similarly, the British Broadcasting Corporation’s (BBC) regulations ban the use of language that promotes gender discrimination or gender stereotypes. Moreover, the Canadian Broadcasting Corporation’s (CBC) production regulations state that 1) any contents containing discriminative or insulting information in regards to gender or marital status ought to be excluded 2) stereotyping of gender by oversimplifying or belittling its nature ought to be prohibited, and 3) language promoting gender equality ought to be used. It also includes specific clauses in regards to gender equality in its TV and radio broadcasting policies. In accordance with the global effort, Korea can consider amending its broadcast act to include regulations that enforce adherence to gender equality and educating those who work in the media to raise their awareness and sense of responsibility. Another adequate solution might be to provide detailed guidelines, which include a straightforward criteria of gender equality, so that media workers can refer to it throughout the entire broadcasting process (e.g., production, scheduling, deliberation etc.). Through such endeavors, we can hope to take a step closer towards gender equality in the media.

료저단동전양인적발현급체질특정 (遼□丹東前陽人的發現及體質特征)

전인의 (傳仁義) (Fu Renyi) 충북대학교 중원문화연구소 1996 동북아 구석기문화 Vol.- No.-

숲을 활용한 자연생태체험놀이 활동이 장애아동의 언어능력에 미치는 영향1

전순한 ( Juen Soon-han ),임영심 ( Lim Young-sim ),류기덕 ( Ryu Ki-deok ),남제우 ( Nam Jae-woo ) 한국어린이문학교육학회 2017 어린이문학교육연구 Vol.18 No.1

본 연구는 숲을 활용한 자연생태체험놀이 활동이 장애 아동의 언어능력에 미치는 영향에 대해 알아보고자 하였다. 이를 위해 G시에 소재한 장애아동 전문 어린이집 방과 후 교실에 재원 중인 발달장애 2급 이상의 발화가 가능하며 수용언어-표현 언어검사(PRES)점수가 20개월 이상인 3명의 장애아동을 대상으로 자연생태체험놀이 활동을 주 1회 총 27회기 실시할 수 있도록 고안하였고, 활동내용과 교수학습방법에 유아들의 흥미, 경험, 놀이가 강조될 수 있도록 하였다. 검사 도구는 장애아동의 언어능력 향상을 알아보기 위하여 김영태(2003)등이 제시한 `취학 전 아동의 수용언어 및 표현 언어 발달척도` 에서 제시한 것으로 2~7세 취학 전 아동의 수용언어 및 표현 언어의 발달정도를 측정할 수 있는 것 을 사용하였다. 그 결과 숲을 활용한 자연생태체험놀이 활동은 장애아동의 언어능력 향상에 긍정적 영향을 준 것으로 나타났다. 이러한 결과는 숲을 활용한 자연생태체험활동을 통한 오감체험, 정서적 안정, 적극적인 관찰이 언어적인 표현을 유도하는 매개체가 되어 언어능력을 향상시켰다고 볼 수 있다. The purpose of this study was to determine the influence of a natural ecological experience program that utilizes the forest in the linguistic abilities of children with disability. The subject of this study were three handicapped children, whose developmental disability level was higher than class 2 and whose PRES scores were higher than 20 months, in an after-school class at a daycare center located in “G” city. This study was designed to perform an ecology experiencing activity 27 times once a week to emphasize interest, experience and play in children for the contents of activity and teaching and learning method. `Development scale of receptive language and expressive language for pre-school students` suggested by KIM, YOUNGTAE(2003) etc. was used as the test instrument to determine the improvement in the linguistic abilities of the children with disability. The scale can measure the development degree of receptive language and expressive language of pre-school students who are 2~7 years old. The result shows that natural ecological experience program that utilized a forest has a positive influence on the linguistic abilities of children with disability. The result also shows that natural ecological experience program that utilized a forest improved the linguistic abilities of children with disability. A natural ecological experience program as media inducces language expression through the experience of the five senses, emotional stability and positive observation.

無信人之言, 人實迋女 - 顧千里《說文辨疑》的學術價値考論

錢寅(전인) 한국교통대학교 동아시아연구소 2018 동아문헌연구 Vol.- No.-

A Portrait of a Satirist as an Old Man: Jonathan Swift’s Apologia for Satire in Verses on the Death of Dr. Swift

전인한 한국18세기영문학회 2009 18세기영문학 Vol.6 No.1

The purpose of this paper is to propose that Swift’s Verses on the Death of Dr. Swift is neither straightforward self-irony, nor downright self-eulogy, nor the vindication of La Rochefoucauld’s maxim that all mankind are selfish including the case of the “impartial speaker,” but a very complicated defence of Swift as a satirist through myth-making. In so doing, this paper first argues that, through the discussion of “An Epistle upon an Epistle” and “A Libel on Dr. Delany,” poems written just before the composition of the Verses, there does exist Swift’s desire to present himself as a positive norm against the venal world he perceives in a straightforward way. Then, this paper insists that this poem cannot be a simple vindication of La Rochefoucauld’s maxim in the case of Swift or the “impartial speaker.” Even though there are some instances of half-truth and untruth in the vindication of Swift, this paper insists, there are too many attestation to Swift’s ideal aspects as a satirist in this poem to understand this poem as Swift’s wry self-irony or the testimony of universal selfishness including the case of the “impartial speaker.” La Rochefoucauld’s maxim, this paper suggests, is rather a pretense to prompt the vindication of Swift as a satirist. As there is Swift’s fear that he and his integrity as a satirist will be forgotten in a short time in a world hostile or indifferent to his efforts as a satirist, of which dire example is the scene in Lintot’s bookshop at the end of the first part, this paper argues that half-truth and even untruth mixed with the truth about the life of Swift in this poem should be understood as Swift’s desperate attempt to make a myth of him that will make him remembered into the posterity. Yet, this paper concludes that this myth-making is so tinged with self-doubt as to make this poem not a confident apologia for satire but a sad portrait of a satirist as an old man made in the twilight of his career. The purpose of this paper is to propose that Swift’s Verses on the Death of Dr. Swift is neither straightforward self-irony, nor downright self-eulogy, nor the vindication of La Rochefoucauld’s maxim that all mankind are selfish including the case of the “impartial speaker,” but a very complicated defence of Swift as a satirist through myth-making. In so doing, this paper first argues that, through the discussion of “An Epistle upon an Epistle” and “A Libel on Dr. Delany,” poems written just before the composition of the Verses, there does exist Swift’s desire to present himself as a positive norm against the venal world he perceives in a straightforward way. Then, this paper insists that this poem cannot be a simple vindication of La Rochefoucauld’s maxim in the case of Swift or the “impartial speaker.” Even though there are some instances of half-truth and untruth in the vindication of Swift, this paper insists, there are too many attestation to Swift’s ideal aspects as a satirist in this poem to understand this poem as Swift’s wry self-irony or the testimony of universal selfishness including the case of the “impartial speaker.” La Rochefoucauld’s maxim, this paper suggests, is rather a pretense to prompt the vindication of Swift as a satirist. As there is Swift’s fear that he and his integrity as a satirist will be forgotten in a short time in a world hostile or indifferent to his efforts as a satirist, of which dire example is the scene in Lintot’s bookshop at the end of the first part, this paper argues that half-truth and even untruth mixed with the truth about the life of Swift in this poem should be understood as Swift’s desperate attempt to make a myth of him that will make him remembered into the posterity. Yet, this paper concludes that this myth-making is so tinged with self-doubt as to make this poem not a confident apologia for satire but a sad portrait of a satirist as an old man made in the twilight of his career.