T. S. Eliot as a “moralist” or “critic of life” shows deep concern for the moral question, ‘how to live.’ Because Eliot experienced the tragic vision of life, he apprehended clearly the differences between failed “unlived life,” and genuine “buried life” or “fullness of life” as expressed in the characters of Henry James and in Matthew Arnold’s poem. “Portrait of a Lady” is a prime example of the “unlived life.” Like a spectator of life, the young male speaker in “Portrait of a Lady” leads a spiritually and morally dead “unlived life.” He shrinks away from his real life and a human relationship with the older lady, who wants friendship or sympathy from him. His passivity and selfishness toward life result in frustration, self-destructiveness and nothingness. So he as a force of evil obstructs the spiritual growth of the other people like a lady, and cannot change his fake life into a new meaningful life in a society. Eliot understands well the negative aspect of life, and by describing it vividly in “Portrait of a Lady,” he warns us not to waste life vainly but try to “live fully” finding a kind of deep, vital, satisfying, emotional “buried life” as a whole human being.

This paper purports to read “Portrait of a Lady” in terms of Henry James’ influence. Unlike the influence of French Symbolist poets, H. James’s influence has not drawn many critical attentions. Eliot is greatly indebted to H. James in many ways. First of all, it is James from whom Eliot had learned that poetry ought to be as well written as prose. Also, as Eliot himself said, he was stimulated by the method to make a place real not descriptively but by something happening there and to let a situation, a relation, and an atmosphere give only what the writer wants in James’s stories. Under the inspiration of James, Eliot can cultivate his gift for dramatic verse. So, we can say the dramatic quality of Eliot’s poetry which is no less than in James’s stories, is not irrelevant to the Jamesian method. Considering such influence of James, this paper aims at comparing Eliot’s “Portrait of a Lady” and James’s The Portrait of a Lady and “The Beast in the Jungle”, in the light of the character’s failure and frustration. Especially, Eliot’s “Portrait of a Lady” and James’s “The Beast in the Jungle” portray a man who fails in having relations with a woman in common. In both of works, each man is distinctively selfish. We can investigate more concretely in what ways “the egotism of a man” is expressed and presented as a hindrance in human relations in both works.

How does T. S. Eliot represent women in his poetry? One of the recent arguments puts forward stresses Eliot’s way of describing negative aspects of women in his poetry, while ignoring any good qualities that they may have had. However, a careful study of Eliot’s early poetry shows women torn by the pain of abandonment, betrayal, fear, isolation and loneliness. Furthermore, it is not easy to find the poet’s sympathetic attitude toward women throughout his early poetry. This study aims at investigating the sources of the frustration, failure and unhappiness through the polyphonic voices of man and woman heard in “Portrait of a Lady,” while considering the real sense of Eliot’s attitude toward women. The poem ends in unresolved pain and uncertainty, suffered by men and women alike, which implicitly shows the agony and isolation that people must encounter in human relationships. It is usually apparent when they recognize their own destiny and their confused feelings and longings. In the final analysis, it basically derives from the existential recognition of human beings.

이 논문은 20세기 후반 건축을 선두로 문학, 미술, 철학등 각 예술 분야에 대두된 포스트모더니즘의 미학을 중심으로 동양 현대음악의 시간적 구조를 살펴본 연구이다. 음악에 있어서 포스트모더니즘은 르네상스 이후 서양음악의 불문율로 여겨왔던 "목적 지향적 시간론(goal-oriented notion of time)"을 파기하고, 새로운 시간개념의 도입을 가능케 한 중요한 논리적 배경이 되었다. 특히 동양적 에토스(ethos)에 근거한 동양 현대 작곡가들의 작품들은 흔히 서양적 관점에서 보면 "목적 지향적 시간구조"의 결여로 이해되어져, 서양 예술론을 적용하기보다는 "이국적 정서(exoticism)" 혹은 "오리엔탈리즘"으로 이해되어져 왔다. 그러나 이 새로운 음악적 시간개념은 동-서양 현대작곡가의 작품을 하나의 통일된 예술론으로 이해할 수 있는 중요한 인식변화를 가져왔다. 이 논문을 통하여 필자는 포스트모던 건축학자 로보트 스턴(Robert Stern)의 "전통적 (Traditional) 포스트모더니즘과 분리파적(Schismatic) 포스트모더니즘론," 레오날드 마이어의 "비목적론적 시간론(NOn-teleology)"등을 바탕으로 포스트모더니즘의 한 시간적 특성을 "시간의 해방(the Emancipation of time)"으로 정의하였다. 한편, 동양철학이나 예술에 나타난 시간적 구조는 "순화적 시간(Circular Time)"과 "초월적 시간(Transcendental Time)"으로 구분 짓고, 그 들의 이중적 혹은 다중적 사용-시간의 이중성(Double Perception of Time)을 서양 포스트모더니즘 시간 구조와 비교, 고찰하였다. 필자는 이 논제를 위하여 일본의 도-루 타케미츠(Toru Takemitsu), 한국의 필자 자신, 중국의 탄 둔(Tan Dun)등 극동의 세 작곡가를 선택하여, 그들 작품에 나타난 음악적 시간구조를 분석하였다. 즉, 이 세 동양작곡가들 작품에 나타난 시간적 특성을 중심으로 그들의 창작과정이나 작품, 음악어법 등을 포스트모니즘이라는 새로운 시각으로 재조명하였다.