밴브러의 『 재발 』 에 숨겨진 포핑턴 경의 이미지

이병은 한국고전중세르네상스영문학회 2021 중세근세영문학 Vol.31 No.3

John Vanbrugh had some reasons to hate and satirize Louis XIV. As an Englishman, he would have held a natural antipathy towards Louis. Vanbrugh was a Whig who had resented James II’s pro-French attitude, while Louis sheltered and backed James. Moreover, Vanbrugh was arrested on the order of Louis and held in prison from 1688 to 1692. This paper argues that, in The Relapse, Vanbrugh provides Foppington with a number of Louis’s traits, and allusions to people and events in Louis’s life to connect between the two. For example, Louis’s Hall of Mirrors at Versailles is ridiculed through a stinging accusation of Foppington’s vanity, and Louis’s designation of Le Roi Soleil is compared with Foppington’s eclipse statements. To the contemporary audience, Louis’s physical cowardice, wretched doctors, disdain for books, rigidly structured day, and an admirable degree of self-control would have been easily recognized in Foppington. .

“웃음으로 진실을 말하다”: 『우신예찬』 읽기와 가르치기

이종우 한국고전중세르네상스영문학회 2014 중세근세영문학 Vol.24 No.2

This essay is an attempt to suggest a model for reading and teaching The Praise of Folly in terms of “telling the truth with a smile.” The Praise of Folly has been generally read and taught as a great achievement of Renaissance Humanism, reflecting the academic and cultural inclination of early modern Europe toward Desiderius Erasmus. Nevertheless, it is notable for Erasmus to anticipate ideal “fair-minded and honest“ readers for his work, urging them to comprehend hidden messages veined in deriding satires and complicated flows of tone. This means that Erasmus might have recommend a suitable way of reading The Praise of Folly to his readers, which is clearly explained in some letters, contrary to traditionally accepted reader-oriented reading influenced by Renaissance Humanism and Reformation. Erasmus’ way of reading the work can be epitomized as placing the folly in the source of vital life force, the true search of knowledge, the subversive and iconoclastic method of criticizing social and religious powers though laughter. In The Praise of Folly, goddess of Folly claims that life does not originate from immortal God or precious part of body but from Folly herself. By Folly's power of raising laughter, human race naturally without any logical hesitation can choose the excremental place, not the so-called respectable and sacred part of body, as the life-producing point. Instead of reason great philosophers support as an essential element of life, Folly, its opponent, provides humans with their root and meaning of life by breaking the binary opposition of wisdom and absurdity. Folly's strategy of deposing the inherited superior position of wisdom through laughter also bears on the efficacy of searching for knowledge. Sophisticated scholars like philosophers and theologians have devoted themselves in accumulating various kinds of knowledge, especially abstract and speculative knowledge. They cannot understand the true function and value of knowledge, confusing logic with rhetoric. However, Folly points out with smiling that knowledge should lead to happiness as a key to solving to the problems of everyday life. The search for knowledge can be justified or nullified by the criterion of whether happiness can be made or not. Considering the relationship between knowledge and happiness, Folly concludes that folly, innocence and ignorance, if they produce happiness, can be valuable to human beings rather than wisdom, experience knowledge. Folly’s attempts to tell the truth with a smile are completed in the act of exposing the hypocrisy and vain glory of the existing religious and political authorities who tended to distort the truth by exploiting knowledge. Citing the example of Christ, Folly emphasizes with both sarcasm and laughter that the authorities should take their own cross of humbleness, poverty and honesty. The reason is that the folly of Christ exemplifies an acme for the content and methods of telling the truth with a smile. Thus, following Erasmus’ writing intent, it is necessary that The Praise of Folly should be read and taught in the focus of the essence of the truth and its effective delivery.

감정과 기도의 언어: 앤 로크의 『참회하는 죄인의 묵상』(1560)

정영진 한국고전중세르네상스영문학회 2016 중세근세영문학 Vol.26 No.1

This essay offers a reading of Anne Vaughan Lock’s Meditation of a Penitent Sinner (1560) with a special emphasis on the historical and religious significance of Lock’s use of affective devotional language. Meditation has long been discussed as a ground-breaking work in which Lock transforms Psalm 51, Miserere mei Deus, the most frequently recited penitential Psalm, into an expanded prayer as well as a paraphrase written in the manner of a sequential Petrarchan sonnet. Literary critics and historians have focused on the extent to which Lock appropriates Calvinist doctrine and rhetoric while employing this secular literary genre. What remains largely neglected is the way Lock’s affective language complicates the problem of prayer language in mid sixteenth-century England. Lock published Meditation just one year after the publication of the Elizabethan Book of Common Prayer and official Primer, both of which appeared in 1559 following England’s return to Protestantism. Together, these two works offered an authorized form and lexicon of prayer that subsumed individual emotions and verbal expressions under a mediated collective ‘common’ language of prayer. Read in dialogue with these contemporary works of officially sanctioned devotional language, Lock’s Meditation takes on a new significance due to its emphasis on affect and privacy in prayer. Analyzing the ways in which Lock brings the feelings of the penitential sinner into sharp focus through simple and yet varying poetic devices, I argue that Lock’s use of affective devotional language in this period of religious and liturgical transition engages with contested contemporary negotiations over the language of prayer.

이브를 어떻게 볼 것인가?

이성원 한국고전중세르네상스영문학회 2005 중세근세영문학 Vol.15 No.1

In teaching such a difficult poem as Milton's Paradise Lost to the undergraduates, one possible way to make the poem "approachable" even to students with insufficient literary training is to focuss our attention to the human pair. The way Milton depicts Adam and Eve in the Garden of Eden may well be approached in the tradition of Renaissance love-lyric and romance literature. Given the limited time and the students' ability to cope with Miltonic language, the instructor may choose to go directly to Bk IV, and go on to Bks V, VIII, and IX. Reading through those books allows the students to have the "key" experience of the epic, provided that the reading is supplemented by adequate explanations from the instructor.Of most importance is to let the students understand how Adam's love for Eve functions both as a psychological necessity for Adam to choose to eat from the forbidden tree and, thus, as a narratological necessity that makes the fall inevitably come to pass to the first parents of mankind. In doing this Milton radically redefines human subjectivity in relation to eros. Although Milton brings in the perplexing issue about physical love in Paradise, our task still remains to interpret how human sexuality is related to the primordial human experience of "the Fall."

조지 허버트의 신앙과 모형시

강엽 한국고전중세르네상스영문학회 2002 중세근세영문학 Vol.12 No.2

George Herbert described his poetry as "a picture of the many spiritual Conflicts that have past betwixt God and my Soul, before I could subject mine to the will of Jesus My Master." He profited from every aspect of John Donne's style, but he always adapted it to his own temperament, and employed more than one hundred stanza forms, many of them extremely complicated. In "Easter Wings" and "The Altar" Herbert made the poems visual hieroglyphs to create them in a shape which formed an immediately apparent image relevant both to content and structure, whereas in "Aaron," "The Church-floore," and "Paradise" the patterns are valuable as contents, that is, they are used as the objects which crystallize the meanings of the poems, and the poems could be constructed as formal hieroglyphs which mirrored the structural relationships between the natural hieroglyphs, the poems, and the individual's life. Finally in "The Collar" Herbert ventured in hieroglyphic form. The object of imitation is the disordered life of self-will. He has given a formalized picture of chaos in the elaborate anarchy of the patterns of measure and rhyme. But the poetry of Herbert is so intimately bound up with his faith as a Christian and his practice as a priest that those who want to enjoy the poetry without sharing his faith may well feel some presumption in attempting to define the human, as distinguished from the specifically Christian, value of his work.

내면의 갈등과 신과의 대화: 존 던의 종교시와 산문

최재현 한국고전중세르네상스영문학회 2006 중세근세영문학 Vol.16 No.1

Donne is chiefly remembered as a poet, but the greater part of his work is in prose. Of the prose works of Donne, the most popular was the Devotions upon Emergent Occasions (1624). It follows Donne's recovery from a dangerous sickness during the previous year, and takes the twenty-three days of illness as the basis of private meditation and prayer about the spiritual condition of himself and the world. "Death's Duel" is his last sermon delivered shortly before his death in 1631, and shows his obsession with the physical decay and the dissolution of the body. Written in a critical time, “Good Friday, 1613. Riding Westward” develops a feeling of conflict about the Good Friday in terms of eastward versus westward movement. Donne dramatizes his dilemma by placing himself as riding westward away from God. He wrote "A Hymn to God the Father" during a serious illness of 1623. Though Izaak Walton, Donne's biographer, assigns "Hymn to God my God, in my Sickness" to the last days of his life, it was probably written in December 1623. These two poems and Devotions then were written at the same period. Donne's agonistic and introspective religious poetry and prose are often dominated by spiritual anxiety and terror of damnation, and sense of sinfulness. They show Donne's inner struggle and record his dialogue with God. Donne's divine poems explore man's relation with God, often describing it in terms of human love. He exploits analogies between sexual and religious love and seeks to discover the true relation between man's love for woman and the love between God and man.(Kyungpook National University)

셰익스피어 대중문화와 한국의 실제: 2000년대 연극산업을 중심으로

임이연 한국고전중세르네상스영문학회 2012 중세근세영문학 Vol.22 No.1

This essay explores the signification of “popular” Shakespeare in contemporary Korea. After defining the meaning(s) of popular culture, the essay surveys Shakespeare’s cultural history in Britain and America. Shakespeare’s transformation from folk culture to high culture and popular culture suggests that highbrow/ lowbrow culture is not a rigid category. Paradoxically, Shakespeare as popular culture relies on the Bard’s cultural capital accumulated through his non-popularization and canonization as highbrow culture. Unlike his popularity in the West, Shakespeare’s presence is meager in Korean popular culture. Most Shakespearean theatre productions remain highbrow, even when they attempt to popularize the Bard. Three popular entertainments produced in the 2000s are examined in turn: Comic Show Romeo&Juliet (2008), Club Twelfth Night (2010), and Musical Hamlet (2007). These productions suggest that Shakespeare exists only in name(and thus virtually absent) or is elevated to the middlebrow taste. Genuine popularity presupposes appreciation. Popular Shakespeare in a positive sense, of being widely liked or originating from the people, seems inconceivable in current Korean culture, where Shakespeare is known only superficially as chunk of world classics.

17세기 종교시와 영시 교육: 던과 허버트의 구원론을 중심으로

박영원 한국고전중세르네상스영문학회 2009 중세근세영문학 Vol.19 No.1

Teaching 17th-century "Metaphysical Poets" means to make students to understand what Samuel Johnson says "the combination of dissimilar images" in their poetry by analyzing the process of finding "occult resemblances in things apparently unlike." Especially for most of our students unfamiliar with the Bible or Christianity, religious poems of John Donne and George Herbert are difficult to understand not only because those poems require a complete grasp of their syntax, poetic diction, and so-called "metaphysical conceits," but also because they contain deeply biblical images, metaphors, and allusions. Therefore, it is evitable that a teacher of 17th-century religious poetry must be deeply concerned with Christian values in order to fully explain to his or her students the meaning of each word, phrase, and sentence, which is closely related to various Christian resources, such as the Bible, theology, church, and liturgies, to name a few. Among those various Christian topics, therefore, this study explores the concept of salvation, one of the most important theological concerns of Christianity, demonstrated in Donne (Holy Sonnets) and Herbert (The Temple), and tries to make a distinction between these two representatives of Metaphysical Poets, in terms of their attitude toward the concept. For Donne, salvation does not seem to be a free gift; it is something of which he is not sure until the last moment of his life, while for Herbert, it is something he approaches with certainty. What entangles in this concept is a guilty feeling, suffering, and death, which have formed the Western culture. By teaching our students this basic concept of Christianity, we can lead them to a better understanding of difficult metaphysical and religious poetry of the 17th century.

쇠퇴'와 '죽음'을 주제로 본 존 던의 엔트로피적 세계관

이상엽 한국고전중세르네상스영문학회 2005 중세근세영문학 Vol.15 No.1

셰익스피어 소네트와 근대적 주체

이종우 한국고전중세르네상스영문학회 2013 중세근세영문학 Vol.23 No.2

This essay examines the ways in which the speaker persistently attempts to form self-identity as a modern subject in Shakespeare’s Sonnet 144. The speaker performs the interpretative journey to discover the true nature and meaning of love. In the process of refusing the conventional definition of love and constructing a new existence of love, the speaker self-consciously struggles to fashion himself on a basis of logical reasoning and material desire representing modernity. He is placed in a complex love relationship in which the speaker, a young man, and dark lady try to appropriate love in their own way. The young man tends to idealize love, defining love in terms of purity and physical beauty, while the lady pursues love physically and consumingly, approaching love as a means of sexual desire and temptation. The love of these characters is fragmented, selfish and static. Overcoming the negative aspects of love, the speaker examines the meaning of spirituality and physicality and seeks to redefine the relationship between spiritual love and physical love in a unifying method. In the course of confirming a new identity of love, the speaker grows into the modern subject through employing a modern way of thinking, critical doubt and logical examination. Especially he establishes himself as a modern subject by proving and strengthening the value and necessity of material desire shown in “a woman coloured ill”(4). He liberates himself from the closed system of the binary opposition between spirit and body, male and female, and furthermore advances to pontificate the power of material desire up to the point which it can bring the birth of modern man. His tireless quest for modernity satisfies the training and conditions needed to become a solid modern subject. In the last part of the sonnet, he once again stands to write a new love story containing the attempts of carrying out a modern spirituality rooted in material desire. He will certainly be a writing subject. Here lies the speaker's identity as a modern subject.