한국적 학부제와 영문학 교육

정덕애 한국영미문학교육학회 1999 영미문학교육 Vol.3 No.-

브리토마트의 해부학 수업 : 〈선녀여왕〉Ⅲ권 연구

정덕애 이화여자대학교 인문과학대학 2002 이화여자대학교 인문과학대학 교수학술제 Vol.10 No.

신역사주의와 Spenser 문학 비평

정덕애 이화여자대학교 한국문화연구원 1993 韓國文化硏究院 論叢 Vol.63 No.1

The aim of this essay is to explicate the major concepts of New Historicism by examining its critical practice in the field of Spenserian studies, since Spenser has been as especially inspirational force for many New Historicists. Examination of their critical methods in Spenserian context will enable us to reassess New Historicisms strength and weakness as a critical theory. The essay first traces the genealogy of New Historicism with particular attention to its debt to borrowings from Post-Saussurean criticism, especially that of Althusser and Foucault. After identifying in greater detail some major theoretical concerns of New Historicism, we turn to the work of selected New Historicists on Spenser. Both Richard Helgerson and Jonathan Goldberg focus on the problem of the poets authority, though with different emphases: Helgerson stresses on the conflict between the authorial roles envisioned by the poet and by the literary system whereas Goldberg attends to the more subtle "power game" between the sovereign and the poet and to the contradictions that govern both politics and poetics. It is Louis Montrose, however, whose work perhaps best exemplifies the character and range of New Historicism; his research judiciously relates consciousness. Montrose in many essays delves into the subjectification process in Spenserian texts, attending also to the power struggle between sexes of classes in Elizabethan culture. He particularly notes in Spenser the paradoxical celebration of power that, "in making the poem serve the queen, make[s] the queen serve the poem." Although New Historicism has revealed a new dimension in the studies of Renaissance literature, scholars have noted that its theoretical level is somewhat underthought. For example, there exists a certain disagreement among the New Historicists themselves touching the agency of subversion, i.e., to what extent the human agency or the ideological structure should be emphasized in forming cultural contours. They have been criticized too for their preference for a synchronic approach, and for their often ambivalent and abstract way of using critical assumptions. The present essay, finally, indicates some of the problems in theory and method New Historicism might conform and clarify.

"Truth kills mee"

정덕애 이화여자대학교 한국문화연구원 1992 韓國文化硏究院 論叢 Vol.61 No.1

"App rhetorical structures are based on substitutive reversals", writes Paul de Man; the artist who understands this deceptive nature of language is able to liberate himself from the constraints of referential truth and to consider the entire world without desire. This recognition informs the strategy of John Donne;s poems, His poetic self creates a fiction, the aim of which is recurrently to substitute for the "truth" of reality his own interpretation of it. Hyperbolic compliments, intellectual complexities, or contradictions (as well as figures of speech) are all made part of Donnes strategic tropes, which enable him to enjoy fully the freedom and power of a creator. However, creating a fiction or trope not only gives him a compensatory fantasy but it also enables him a glimpse of the emptiness of language and of his own self. There exists in Donne an empirical self that regards the creative act as mere play and subtly attempts to subvert the very mode his imagination depends upon-even to reveal his own self-deception. Paradoxically, this act of revealing self-deception bestows on him a strange sense of superiority and self-assurance. This paper examines the brilliant game of hide-and -seek between Donnes poetic self and his empirical self in three poems connected in one way or another with Lucy, Countess of Bedford, to illustrate how Donnes employment of tropes at once subverts the truth of reality and reveals the emptiness of tropes. The struggle between Donnes poetic and empirical selves is well shown especially in his poems to a patron, poems in which his self-consciousness as a beggar clashes with the sense of his superiority as a poet. In "To the Countess of Bedford"("Reason is our Soules lift hand"), the sense of controlled reasonability governs a string of unreasonable compliments: each hyperbolic compliment is quickly followed by a conditional and qualifying expression. In "Twicknam Garden" the poets self-consciousness is regarded at first as "self-traitor[-ous-," as his poetic self plays with various tropes to forget his reality ; however, the very act of creating tropes enables him to discover the falsehood of his poetic creation, allowing "her truth" to kill his poetic self. Reason, as Arnold Stein observes, is "a fearful gift" to Donne. That strange poem, "A Nocturnall upon S. Lucies Day", is strange not least in that Donne seems either unable or unwilling to crate tropes. Donne repeatedly emphasizes that he is incomparable to anything: simply, he declares, :I am None." At the moment of utter despair (or, perhaps at his wits darkest moment), he abandons his privileged position as a creator of tropes and confronts instead the emptiness of tropes. Thus, his poetic self is a annihilated. Yet, strangely, that is "the moment of truth" -specifically, the moment when Donne is most days, when I shake with fears."

마블의 모호한 서사시: 『애플턴 저택에 부쳐』

정덕애 한국고전중세르네상스영문학회 2008 중세근세영문학 Vol.18 No.2

Marvell's Upon Appleton House begins as a country-house poem but becomes "something new and different." The poem begins as a panegyric on the pastoral virtues of Thomas Fairfax and Appleton House but soon turns into a lyric meditation on the difficulty of interpreting reality. The poem's ambiguity has been interpreted as reflecting Marvell's ambivalent attitude toward Thomas Fairfax, who had retired to Appleton House after his sudden resignation from the command of the Parliamentary army. Fairfax's retirement is praised as pastoral retreat, yet there is a feeling in the poem that a commitment to history is needed at such a critical moment of the Civil War. Faced with the two choices of commitment and retreat, the poem oscillates between pastoral and epic mode. There is a constant impulse to subvert pastoral metaphors and a constant intrusion of history into the pastoral garden of Appleton House. This paper examines the poem's epic consciousness, particularly its self-conscious references to Virgil through which Marvell tries to overcome his own ambiguous stance. Marvell begins the poem by adopting the epic poet's role. The historical narrative of the founding of Appleton House echoes Aeneas' foundation of Rome. Both Aeneas and William Fairfax establish a new dynasty by "escheat;" the former by marrying Lavinia, the latter Isabel Thwaites. Both marriages are accompanied by violence, yet the prosperity of the Roman empire justifies Aeneas' action as destiny in the Aeneid just as William's marriage, by bringing forth Thomas Fairfax as its progeny, is proven to be providential. However, Marvell cannot assume an epic voice regarding Thomas Fairfax's choice, as he is uncertain about its outcome. Marvell's retreat into the wood represents his frustrated effort to gain a prophetic vision and to read a providential meaning in the present reality. Interestingly, this scene too is set against Aeneas' journey to receive a vision of his destiny. To reach the ultimate vision in the underworld, Aeneas is advised to find a golden bough, which is likened to the green mistletoe in the winter. It is no coincidence then that a sprig of mistletoe is employed to describe Mary Fairfax, through whom Marvell regains the epic voice. Mary, referred throughout the poem as Maria, is given the epic role of self-sacrifice to bring forth a future hero. Marvell places Thomas Fairfax's withdrawal from history within the providential scheme of his destiny as well as his decision to prepare his daughter "for some universal good." Appleton House, hitherto regarded as a place of pastoral retreat, emerges as an epic space where providence will make Fairfax's choice a destiny in time.

주관적 전기 쓰기 -허마이오니 리 지음,정명희 옮김 『버지니아 울프: 존재의 순간, 광기를 넘어서』(책세상 2001)-

정덕애 영미문학연구회 2002 안과 밖 Vol.12 No.-

알레고리 읽기와 가르치기 : 『선국 여왕』 1권의 경우

정덕애 한국영미문학교육학회 2002 영미문학교육 Vol.6 No.2

영국대학 영문학 교과과정:워릭대학을 중심으로

정덕애 한국영미문학교육학회 2001 영미문학교육 Vol.5 No.-

여성 내면의 해부학 : 『선녀여왕』Ⅲ권 연구 Britomart`s Anatomy Lesson in Edmund Spenser`s Faerie Queene , BookⅢ

정덕애 한국영미문학페미니즘학회 2002 영미문학페미니즘 Vol.10 No.1

Recent studies have revealed that a new sense of individuality began to form in the early modern period, along with a growing interest in dissection. Spectators came to see the dissected body presumably to acquire knowledge of the self, which they believed to be located in the inner space of the body. In this paper, I examine the similarities between certain features of Leiden's anatomy theatre and the House of Busiranc scene, reading this particular episode as an anatomy lesson for Britomart in Edmund Spenser's Faerie Queene. Britomart is given two anatomy lessons with which to realize the truth of erotic desire and to affirm her subjectivity: one, an imaginary dissection of her womb, and another the dissected body of Amoret. The interior of the dissected female body allows Britomart epistemological distance (between one who gazes and the other who becomes the object of the gaze), enabling her to gain her self-consciousness. Unlike Amoret who sees only a bleeding heart inside herself, and who thereby fails to affirm her interiority, Britomart neither regards the womb as an empty space in her body nor views the procession of her descendants as meaningless phantasy. Britomart's inward gaze and her psychological response to love and its suffering all work together in illustrating the emergence of her subjectivity. Amoret's dissection scene poses a problem with its vivid, realistic description. The poet's urge to portray the body interior realistically and to penetrate into the surface of the body is to such an extent that what is dissected in the scene seems not only Amoret's body but also the body of allegory. If a personified form is destroyed so as to dis-cover the meaning within, or if a form's verisimilitude allows the meaning to be fully declared on the surface, the allegorical mode cannot be sustained. In this regard, allegory and narrative come dangerously close in the dissection scene of Amoret.

Unworthy Babble 과 Speeches Few : Spenser 의 Cantos of Mutabilitie

정덕애 한국영어영문학회 1993 영어 영문학 Vol.39 No.1