예이츠에 대한 정치적 이해 윤정묵 저 「예이츠와 아일랜드』 (광주 : 전남대학교 출판부, 1994, 270쪽)

허현숙 한국예이츠학회 1995 한국예이츠 저널 Vol.5 No.-

漢語動詞における「-する」の意味分析 : 韓國語との對應關係を中心として

許賢淑 일본학연구회 1999 일본학논집 Vol.11 No.-

예이츠의 심미적 거리 : 『1916년 부활절』과 『내란 시기의 명상』의 시적 화자

허현숙 한국 예이츠 학회 1996 한국예이츠 저널 Vol.6 No.-

예이츠 시에서의 갈등의 양상과 그 통합의 상징

허현숙 한국예이츠학회 2002 한국예이츠 저널 Vol.18 No.-

Through his long poetic career from 1885 to 1939 Yeats was preoccupied with the dualistic nature in this world―the ideal against the real, body against soul, and Self against Anti-self. He was aware that these conflicts and contradictions were necessary for the mental growth in man and through the struggles between these opposites he might achieve the state of the whole. In his attitude toward life Yeats embraced with open mind both what he was and what he wanted bo be. The two opposites are co-existent and inseparable so as to be united into the Whole Being. Yeats had applied the symbols of ‘sexual union’ and ‘dance’ to his poetry in order to express ecstatic experience of ‘Unity of Being.’ This paper traces up Yeats’s attitudes toward life, and studies the aspects of conflicts and contradictions, through which he may attain the ‘Unity of Being,’ the ideal that Yeats had searched throughout his poetry and other activities.

Yeats 초기시에 대한 재평가의 문제 : 여성적 화자의 의미와 평가

허현숙 한국예이츠학회 1997 한국예이츠 저널 Vol.7 No.-

In order to appreciate Yeatsian poetics it is important to consider the fact that Yeats poses his own self with masks, which are represented as his poetic persona in his poetry. It is also necessary to consider that the majority of traditional Yeatsian critics have different opinions about the differences between Yeats's early and later poetry. To a larger extent, Yeatsian criticism has argued that Yeats's early poetry diffuses some index of femininity -- ornament, detail, dreaming atmosphere, and so on and lacks reality, intellect, 'masculine,' and 'salt.' And many of the critics frequently condemn it as bad poetry on the basis of the argument that it is full of feminine profusion that obscures the reality. From the traditional viewpoints, however, his poetic persona give some insights into a certain way of appreciating his early poetry. First of all, Yeats's female persona in his early poetry belongs in the literary current at the end of the 19th century. In this perspective the persona and the characters in his works of this period have some common features in pursuit of an imaginary world, such as an uncivilized, primitive or mythic world. The pursuit of the imaginary world of male characters in Yeats's early poetry parallels the real and active female persona. Most of the female persona in Yeats's early poetry have consistent and real perspectives on their reality, and are firmly founded on their world. Nashina in The Island of Statues and Niamh in The Wandering of Oisin are very active and have firm purposes. By contrast, the male characters, such as Colin, Thernot, Almintor, and Oisin, hesitate for their love and are ‘enwound' inactively by their counter-characters. The other point to consider in order to appreciate Yeats's early poetry is his treatment of female beauty. Traditional love poems deal with female beauty as a thing that passes away like any other thing in this world, and in a threatening tone argue that it should be used at its prime times. In Yeats's love poems, however, female beauty is presented as a power to fascinate and urge men to act. The attitude of these female persona and characters in his early poetry develops and makes ‘Crazy Jane' character possible in his later poetry.

W.B. Yeats의 The Wind Among the Reeds 연구

허현숙 한국 예이츠 학회 1994 한국예이츠 저널 Vol.3·4 No.-

Questioning and Mythmaking : 아일랜드 문제에 대한 예이츠와 히니의 시적 변용

허현숙 한국예이츠학회 1999 한국예이츠 저널 Vol.10 No.-

This paper aims to explore the processes of poetic transformation of Ireland matter in W. B. Yeats and Seamus Heaney and compare the two poets’ characteristics of attitudes to Irish politics. Even though one does not have any idea of their poetic prepositions in their poetry, there can be some understanding of the relationship between each poet’s poetic material and his works of poem. Yeats and Heaney keep distances themselves from Ireland in their poetry as a man does to woman. Some critics’ attacks that the contamination of literary discourse by political statements points to the poetics of Yeats and Heaney, and those attacks are resulted from the notion of the identification of woman with the land, which are the characteristics of these two poets. To the tradition of romantic love poems Yeats admires the Ireland and its people and transforms them into a sort of mythology. That is to speak that love poems and patriotic poems are blended in Yeats. With this point of view one feels in reading Yeats’s poems the period after the Easter Uprising of 1916, like “Nineteen Hundred and Nineteen” or “Easter 1916” and “September 1913,” a terrible new beauty that changes the old political and moral landscape. He struggles to question the situations caused the bloody violences and sacrifices. With this questioning he mystifies the imagined or ideal community. The essential Yeatsian themes and attitudes sound through the earlier works of Heaney. He draws an analogy between the preserved bodies of human sacrifices in the peatbogs of Denmark and corpses on the streets of contemporary Northern Ireland. And He employs gender stereotypes and myths to describe the violent and depressive situations in Ireland in his poems. Sometimes he uses myths, whether of apocalypse or sacrifice. But he always takes a questioning stance toward the power of mythic signification. In “The Tollund Man” the speaker comprehends the transforming and eternalizing power of myth and he also recognizes that power as a ‘blasphemy’ because it averts his, and the reader’s, eyes away from the specific victims and from the horror of the individual violent act. With this focusing on the individual victims, Heaney gives voice to those victims who can no longer speak, not silencing their individual voices on favour of a single voice and eternalizing their mythic power.

현실을 대면하는 두 가지 방법 : 예이츠와 하디의 시 비교

허현숙 한국예이츠학회 1999 한국예이츠 저널 Vol.11 No.-

W. B. Yeats and Thomas Hardy, as poets, were contemporaries. Their long careers spanned the transition from Romanticism to Modernism and their poetry constitute two of the most powerful dealings with that transition and those traditions. Younger poets after Yeats and Hardy have attested to their significant influences on their works respectively. Until 1930s it seems that the poets preferred Hardy as their poetic model, but after the 30s such a stand has become unpersuasive. Considering the course and interdependence of these two poets’ reputations and influences, we are led to acknowledge that Yeats and Hardy defined the options for poets for the whole period of the 20th century and that consequently poets have tended to be divided into two distinguishable streams. This paper aims to distinguish those different streams through the poetic works of Yeats and Hardy. There is some hint of determinism in both Yeats and Hardy, but with very important difference. In Yeats’s early poetry human weakness is implied despite a heavy-handed insistence on nature’s sympathetic; identification with man. But Hardy’s poetry implies a human strength in the face of a nature indifferent to man’s social arrangements and adjustments. Yeats proceeds dramatically to make a system, a private mythology; Hardy shows the structure of a mind capable of coming to a disturbing conclusion. Both Yeats and Hardy find nature for the most part unsympathetic to man, but while Yeats prefers to escape to a dreamy or fairy land or The Great Mind, Hardy illustrates man’s own resistance and adjustment within this world of reality. So, while Yeats offers a vision of a higher reality beyond or behind nature, Hardy, as a result of his acute scrutiny of appearances of the real world, offers us personal and narrative instances of man’s responses to the neutrality of nature. Hardy’s dealings with reality are for the most part moral, while those of Yeats’s incline to amorality, which means that Yeats allows himself to wander far from an acknowledgment of the limits of our individual lives and strengths. These different attitudes to reality lead to their poetic tone: Hardy’s-control of tone, Yeats’s being high and energetic. Considering the comparative characteristics of Yeats and Hardy we are led to conclude that they defined the options for the younger poets following after then: experimental and traditional, modernist and anti-modernist visionary, and discursive and rhetorical and plain.

니체의 리듬-미학적 세계이해 - 그리스 비극을 재현한 바그너의 음악극을 중심으로

허현숙 한국 리터러시 학회 2021 리터러시 연구 Vol.12 No.6

Nietzsche’s understanding of Rhythm-Aesthetic world belies his understanding of human life and the world in discord. Nietzsche understands art as the original metaphysical act of life and introduces Metaphysics of the Artist to justify human beings and the worldliness of their lives. For Nietzsche, Greek tragedy, as an exemplar of such metaphysics, offered to the Greeks an aesthetic escape from the horrors and fears of existence. Nietzsche’s artistic life consisted of transforming the inner fantasy world of man into a beautiful and virtual one in an Apollonian fashion. That is to say, it connects to a creative life by revealing, in a Dionysiac fashion, the fundamental contradiction in and existential pain of man. In The Birth of Tragedy (1872), Nietzsche thought that Wagner’s Musikdrama could revive Greek tragedy as a truly communal art form. In fact, he saw the discord of life being represented in the overture to Wagner’s work Tristan Isolde . Tristan Isolde is the most expressive of the profundity of Greek tragedy. The effects of rhythms such as ecstasy and enthusiasm in Dionysian music are evidenced in Wagner’s Gesamtkunstwerk, which he developed for the true integration of drama and music. In The Birth of Tragedy, Nietzsche tried to find elements of discord in Wagner’s musical plays that achieved organic unity and artistic harmony between drama and music. 니체의 리듬-미학적 세계이해는 삶과 세계를 불협화음으로 이해하는 예술가-형이상학이다. 니체는 예술을 삶의 본래적인 형이상학적 행위로 이해하고, 인간과 삶의세계를 예술적으로 정당화하기 위한 예술가·형이상학(Artisten·Metaphysik)을 등장시킨다. 니체에게 그리스 비극은 실존의 공포와 두려움에서 벗어나기 위한 미적 체험이었다. 니체의 예술가적 삶은 인간의 내면적 환상세계를 아름다운 가상으로 변용하여 아폴론적으로 정당화되거나 인간의 근원적 모순과 실존적 고통을 드러내어 디오니소스적으로 정당화된다. 니체는 『비극의 탄생』(1872)에서 바그너의 음악극(Musikdrama)이 진정한 공동체적 예술형식으로 그리스 비극을 부활시킬 수 있다고 생각하였다. 실제로 니체는 바그너의 작품 「트리스탄 이졸데」의 서곡에서 삶의 불협화음을 보았다. 그리스 비극의 가장 심오한 본질이 「트리스탄 이졸데」로 가시화된다. 디오니소스적 음악이 주는 엑스타시(ecstasy)와 신들림(enthusiasm)과 같은 리듬의 효과는 바그너가 ‘극과 음악의 진정한 통합’을 위해 개발한 종합예술작품(Gesamtkunstwerk)이다. 그리고 니체는 바그너의 음악극이 불협화음적 요소인 극과 음악을 유기적으로 통일하고 예술적으로 조화를 이루어내는 것을 발견하였다.

삶으로의 하강 : W. B. Yeats에 대한 한 접근 An Approach to W. B. Yeats

허현숙 건국대학교 인문과학연구소 1994 인문과학논총 Vol.26 No.-

Through his long poetic career from 1885 to l939 W. B. Yeats was preoccupied with the dualistic nature in this world-the ideal against the real. body against soul. Self against Anti-Self, and beings against Being. He was aware that these conflicts and contradictions are necessary for the mental growth in man and through the struggles between these opposites one may achieve the state of the Whole, of which representation he regarded as his supreme object as a poet. He pictured the stale as a perfect proportioned human body, but did not explain or describe it in full length until he studied Hegel from 1925 to 1928. He observed Hegel's concepts of the relations of beings and Being as indeterminate immediacy. This paper aims to explore W.B. Yeats's explanation of the state of Whole-Unity of Being-through his poems, essays and his visionary work A Vision. With this purpose Yeats's descriptions on his starting point as a poet are discussed and his various attempts to find a way to transfigure the present world and the present self are revealed. Through these courses Yeats's own definitions or descriptions of beings and Being are suggested. In his altitude toward beings in the present world he embraces open-mindedly both what one is and what one wants to be. and both the upward world and downward one. In this point he is a poet of his own religion based on reality-life. Because he seemed to find what he sought in his youth. That would mean that he recovered an inherence of the Being in every corner of life.