간행물
The Yeats Journal of Korea KCI 등재 한국 예이츠 저널 Yeats Journal
- 발행기관 한국예이츠학회
- 자료유형 학술지
- 간기 연3회
- ISSN 1226-4946 (Print)2288-5412 (Online)
- 수록기간 1991 ~ 2023
- 주제분류 인문학 > 영어와문학 인문학 분류의 다른 간행물
- 십진분류KDC 841DDC 821
권호리스트/논문검색
Vol. 10 (1998년 5월) 17건
2.
1998.05
구독 인증기관 무료, 개인회원 유료
3,000원
3.
1998.05
구독 인증기관 무료, 개인회원 유료
This paper is an attempt to examine the political aspects of Yeats's plays, and, for that purpose, four of his major plays are selected and analyzed: The Countess Cathleen, Cathleen ni Houlihan, The Dreaming of the Bones and Purgatory. In the introductory part, the present writer briefly surveys the ways how Yeats, finding in drama an effective means of achieving the unity of culture for Ireland, dedicated himself to the dramatic movement and related activities. The next and main part of the paper examines the selected plays, paying attention to the political themes and the other political elements specifically revealed in these plays. The early two plays, The Countess Cathleen and Cathleen ni Houlihan, show the rare and sublime cases of sacrifice and devotion directed toward the cause of Irish independence and wellbeing by creating two characters, an aristocratic lady who sacrifices her life and soul to save the starving peasants and a young man who rushes to the heroic death for Irish independence leaving behind his new bride and home. While The Dreaming of the Bones asks the political and historical meaning of the two most important events in Irish history: the Diarmuid and Dervorgilla episode of the 12th century and the EasterRising of 1916, Purgatory deals with the political and social implications of the destruction of an honored house caused by mesalliance. To the extent that both of these middle and late plays end in a tragic note of unforgiving bitterness and hatred, they can be regarded as the aesthetic expression of the real political and cultural situations of Irish society at the time of their writing. What this paper is trying to say as a conclusion is that the four plays discussed here reveal the political and ideological positions of Yeats as they developed in his early, middle and late years of life. In other words, they reveal the specific ways in which Yeats as an Anglo-Irish poet and playwright tried to solve the problems and contradictions he faced in the changing political and social situations of Ireland.
7,000원
4.
1998.05
구독 인증기관 무료, 개인회원 유료
This paper aims to study the transformation of Yeats and his poems through alchemy. Yeats was a spiritualist who believed in the soul and life after death. However, European society and culture had been dominated since the 18th century by rationalism and materialism, which were opposed to spiritualism. Thus the period and society in which Yeats lived were diffused with materialism and rationalism. The prevailing commercialism, materialism, realism and democracy of the period were derived from such materialistic and rational thought. Nevertheless, spiritualistic movements which tried to restore spirit and inspiration developed both before and after the beginning of the 20th century. Mysticism, symbolism, the pre-Raphalite movement and aristocracy could be said to be included in these movements. Yeats was also deeply interested and involved in mysticism and symbolism, especially alchemy which had been handed down secretly as a part of mysticism. To him alchemy functioned as a kind of instrument for transforming and developing himself and his art. Alchemy originally aimed to transform base metals into gold, to extract the fine from the coarse, and to redeem spirit from matter. But some philosophers and artists allowed themselves to become objects of alchemical transformation. They were inclined to use alchemy as an instrument to achieve their spiritual development and secular perfection. In his earlier period, Yeats tried to escape into the “essence” through alchemical practice, but later he used alchemy as a means to develop and create himself and his art. For example, in his earlier poems, he attempted to fly into the supernatural world through the rose image which he learned from alchemical principles, and he was able to attain a spiritual union with Maud Gonne through a spiritual marriage. The rose and the spiritual marriage, however, can be said to be unrealistic concepts in which there is only an ascent to heaven but no a descent back to earth. But after his marriage with Hyde-Lees, he recognized and accepted the materialistic world, including desire and the life instinct, by fulfilling both the ascent to heaven and the descent to earth as part of alchemical principles. Therefore he can be said to be an alchemical poet who was able to achieve secular perfection and spiritual development in the materialistic world through alchemical discipline and development.
4,300원
5.
1998.05
구독 인증기관 무료, 개인회원 유료
Modernism is not a rejection of the mass culture but rather an effort to produce a mass culture, perhaps for the first time, to produce a culture distinctive to the twentieth century, which Le Bon called “the era of the crowds.’ The conservatives who followed him, developed a different ideas of the relation between the aristocracy that built culture and the masses. Yeats viewed the theatre as a potential means of mobilizing and nationalizing the masses, something he recognized any successful nationalism in the age of mass politics must do. His wish to nationalize the masses led him to cast the playwright and stage as magicians with the power to transform the audience as Cathleen transforms Michael in Cathleen Ni Houlihan. Le Bon’s vision is very similar to Pound’s and Yeats’s: they all defined the goal of social change and of their art as the producing of a deep wave from the unconscious. Pound’s “In a Station of the Metro” is about a crowd. A wet, black bough is a restored cultural center that will hold together the chaotic small waves now agitating society. Modernism was an effort to write based the unconscious mass.
5,200원
6.
1998.05
구독 인증기관 무료, 개인회원 유료
이 논문은 Yeats와 Derek Walcott의 시들을 전통적 관점에서 바라보고자 한다. 여기서 전통이라고 하는 것은 다름 아닌 영문학을 뜻한다. 엄밀한 의미에서 이 두 시인은 “외국어”인 영어로 시를 썼고, 그들의 시가 영국과 미국의 시와는 다르게 쓰여질 수밖에 없다. 이들은 영문학의 전통을 깊이까지 들어가 이해하고 자신들의 시에 가장 잘 활용한 시인들이라 할 수 있다. Yeats는 신화적 요소와 전통적인 정형적 형식미에서 시의 완성을 추구했고, Walcott은 자신의 배경과 환경을 가장 전통적인 영문학을 통해서 시적 표현 수단으로 변용 시키는 데에 성공한 시인이다. 이들 두 시인들의 대표적 시 몇 편을 검토함으로써 전통은 새로운 시학의 개척에 부담은 될 수 있어도, 방해는 될 수 없음이 확인되었다. 이들의 예는 21세기의 시의 진행 방향을 예시하는 것으로 받아들여도 좋을 것이다.
5,800원
7.
1998.05
구독 인증기관 무료, 개인회원 유료
Being of mixed blood and living as artists in a society of colonial cultures, Yeats and Walcott developed almost the same kind of poetics. Their major poetics centered on individual struggle to reconcile the disparities of human existence - past and present, individual and society, nationalism and colonialism. For them, particularly poetry is a means to redeem the inarticulate and unformed society into which they were born, creating the self in the process of writing about the problems of national identity. In this essay, I tried to shed light on the poetics of nationalism in Yeats and Walcott through their poetic self - Yeats’s Mask and Walcott’s Crusoe. Yeats’s Mask is a way of attempting to restore the lost unity between artifice and sincerity, art and nature, an example of the wholeness he sought to achieve, and a means of combatting the erosion of exterior fate. His doctrine of the Mask offered him a technique by which he could strengthen his own personality and shape his art. Seeking to be what he was not, Yeats disciplined himself and his art to form. As the expression of a great life it urges a man on to remake himself in order to be worthy of it. And this was what Yeats intended his art to do. Walcott’s Crusoe may be Yeats’s Mask as an alter ego which is the pure truth of self. He is also Proteus, a mythological figure who can change him into various shapes. Through his poetic self Crusoe, Walcott tried to answer his own questioning. The questioning can be about himself, and himself surrounded in the disjointedness of the world. Through this self-questioning, his poetic vision draws the figure it based on the poetic mediation. In a word, Yeats and Walcott not only enlarged their poetic horizon, but deepened their insight into national identity by creating their poetic self.
6,300원
8.
1998.05
구독 인증기관 무료, 개인회원 유료
Around 1900, Yeats dreamed and put into practice the national theatre that could lead the crowds into a unified nation. And the theatre he imagined was essentially an occult one in which audience’s minds flow into each other and become one Great Mind professed in the doctrines of ‘Magic’ (1901). After the performances of Synge’s In the Shadow of the Glen (1903) and Padriac Column’s The Saxon Shillin’ (1903), Arthur Griffith attacked Yeats for not serving the nationalist’s cause. The ensuing debates around “the national art versus nationalist propaganda” infuriated Yeats, throwing down his hope for the middle and lower-middle classes. The attack and riots that lasted for a week after the performances of Synge’s Playboy of the Western World (1907), and after that the Hugh Lane controversy, deepened his anger towards them. So some poems that is included in from The Green Helmet and Other Poems (1910) and Responsibilities (1914) are full of the crowds, who pull down the high aristocratic values, laying them as “one common level.” As Yeats’s hope for the crowds vanished, his early theatre project that wanted mass mobilization into a nation changed into the unpopular theatre and an audience like a secret society. He began his work with the Irish theatre by theorizing that a popular nationalist theatre would be an occult one, but by 1915 he desired a theatre as occult precisely because it was not popular. The major difference between the two was the scale on which they operated, namely the nation versus the aristocratic drawing room.
5,700원
9.
1998.05
구독 인증기관 무료, 개인회원 유료
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.
5,100원
10.
1998.05
구독 인증기관 무료, 개인회원 유료
예이츠와 히니 모두 노벨 문학수상자로서 아일랜드를 문화관광국으로 만든 공로가 인정되는 작가들이다. 이들이 이렇게 아일랜드를 문화 강국으로 만들 수 있었던 것은 민족 정체성확립의 강한 의지로 아일랜드 고유문화를 발굴했고 아울러 자신들의 고유문화에 영어와 영국문화를 접목시켜 세계화를 도모했기 때문이었다. 아일랜드 현대 문학은 정체성추구의 단계에서 지역화와 세계화를 함께 추구했다. 그런데 이 과정은 크게 다섯 단계로 요약될 수 있다. 그 첫 번째가 오스카 와일드, 버나드 쇼우에서 보여진다. 즉, 영국인과 영국가치를 패로디 하면서 영국인 보다 더 영국적인 행세를 하려는 단계이고 두 번째는 민족주의가 강화되는 시기에 영국 민족주의를 모방하는 단계이다. 세 번째는 이제까지 진행된 민족주의와는 다른 방식으로 민족의 특성과 양심을 추구하는 단계이고, 네 번째 단계는 민족주의와 세계화가 함께 추구되는 단계, 그리고 마지막 단계는 얼스터 사태 때문에 민족주의가 강화됨과 아울러 유럽공동체의 일원으로서 보편적 다원성 역시 확장되는 시기다. 그런데 예이츠는 두 번째 단계에 속하고 히니는 마지막 시기의 특성을 나타낸다. 히니의 중기 이후의 시들은 히니 자신 몰두 에서 밝힌 것처럼 예이츠의 영향을 크게 받았다. 이 두 작가는 그들의 국토와 전통에 애착을 나타낸 민족작가로서의 역할과 정치성을 벗어나려 했던 면에서도 공통점을 보였지만 이들에게는 많은 차이점이 드러난다. 이 들의 차이점은 국토를 다루는 시를 살펴보거나 아일랜드 문학의 특성을 논 할 때 빼놓을 수 없는 역사와 국가, 언어, 문화에 대한 두 작가의 해석을 고찰하면 잘 나타난다. 예이츠는 보라빛 환상의 국토를 그린 반면 히니는 검은빛의 상실되고 착취 된 국토를 그렸다. 역사적 폭력에 대해 예이츠의 해석은 매우 개인적인 정서를 노출시킨 반면 히니는 착취의 역사와 영국인이 강요했던 나약한 아이의 이미지로부터 벗어나려는 사실적, 공격적 시각을 노출한다. 예이츠의 시학은 빅토리아 속물주의를 공격한 19세기 심미주의의 전통을 따르 며 영국적 가치를 들어낸 반면 히니의 시학은 조이스식의 새로운 양심 창조라는 민족주의와 페트릭 카바나흐식의 지역주의, 아일랜드 공화주의와 역사적 사실주의 의 색깔을 표방하고 있다. 예이츠 하면 ‘귀족’, ‘big house’ 등을 연상하게 되고 히니하면 ‘방랑자’, ‘폐허’ 를 떠올리게 된다. 결국 이 두 작가의 큰 차이는 앵글로 아이리시와 카톨릭, 켈트 라는 인종, 정치, 종교적 차이에 따른 것이고 이 두 작가는 현대 아일랜드 문화의 두 개의 주요한 조류를 대변했다. 그러나 예이츠, 히니로 대변되는 두 문학 조류는 그 차이에도 불구하고 탈영국 화와 아일랜드 문학의 세계화에 공헌했다. 예이츠의 시학은 보편성을 띤 개인적 문체로써 히니의 시학은 중심과 전통추구, 영국적 가치에 대한 저항과 다문화에 대한 수용성을 나타냄으로써 탈영국화와 세계화에 공헌했다.
4,600원
11.
1998.05
구독 인증기관 무료, 개인회원 유료
Yeats는 노년의 질고와 생사문제를 명상하는 Last Poems에서 자아의 이원적 존재를 표상한다. 육체적으로 죽어가는 노인으로서의 시인과 내적자아가 희구하는 시인상의 이원성이 기존 주제와 상충되는 새로운 주제를 암시해준다. 종래의 지성적, 철학적, 신비학적, 음유시인적, 마스크 중심적인 주제를 넘어서는 새로운 주제는 생사의 문턱에서 죽음관, 도취하여 즐거워하는 육체성, 무도성, 성적표현성을 매개로 한다. 이 두 주제는 인간의 운명에 대한 내적 각성, 민족성과 정신의 본질로의 침잠/축소/회귀, 지적 심사(心事) 등과 대비되는 죽음의 공포로부터 탈출하여 최고 비전, 최고영성, 최고열반(희열) 등으로 상승하는 주제가 된다. 제1주제가 지성주의, 철학, 고담준론, 신비주의 이론, 마스크 이론, 젊은 시절의 바빌로니아 주제라고 한다면, 제2주제는 경험중심, 촉각과 현실 인식주의, 현실쾌락의 참여성, 정열적 희열감, 생의 기쁨 속에 잠겨서 긍정적으로 술 마시고 춤추는 모습, 성적 회춘기 성향 등이 된다. 그런데 Last Poems에서는 제 2 주제가 보다 강하게 표출되는데, 마치 블레이크, 로렌스적인 성감과 생의 자유성을 피력해준다. 이 성향은 시적 감수성 면에서 바빌론적인 시성에서 인도 및 중국적인 현실성과 성적 감각을 제시한다. 또한 기독교적, 그리스적 정신성, 또는 극동 아시아적 특성보다는 근동이나 인도적 정신성을 암시 받는다.
5,400원
12.
1998.05
구독 인증기관 무료, 개인회원 유료
예이츠 비평가들은 예이츠의『갈림길』(1889)을 주로 영적인 측면의 화합을 추구하는 작품으로 보는 경향이 있다. 1948년 리차드 엘만이 예이츠의 시는 궁극적으로 화합된 의식을 좇고 있다고 갈파한 이래 이 말은 예이츠 비평의 정석처럼 되어 버렸다. 많은 학자들은 비록 왜 예이츠가 영적 화합을 그토록 갈망하는 지에 대한 이유에 대해서는 각기 다른 설명을 제시하고 있지만 그가 『갈림길』에서 영적 화합을 추구하고 있다는 사실은 부인하지 않고 있다. 1996년에 발표된『예이츠와 연금술』에서 윌리암 고르스키는 아직도 예이츠의 영적 화합의 추구에 대해 다른 결론을 내리기가 힘들다고 결론 짓고 있다. 이러한 결론은 결국『갈림길』의 일부의 시만 다룬 결과임을 알 수 있다. 즉, 예이츠 학자들은 주로 이 시집의 전반부의 시들만 다루고 후반부의 시들 즉, 몰 메기의 발라드 , 여우사냥꾼의 발라드 , 등과 같은 시들은 언급을 하지 않고 있음을 알 수 있다. 물론, 학자들의 이러한 접근 방법 및 결론이 전적으로 그르다고는 할 수 없지만 나는 이 논문에서 『갈림길』을 영적 화합의 추구로만 보면 예이츠의 의도를 부분적으로만 이해하는 것이라고 주장하고 싶다.『갈림길』의 의도는 이 시집에 수록된 총 16 편의 시의 의미와 그 시들의 유기적인 관계를 잘 분석하여 결론을 지어야 한다는 것이다. 이 시들은 일정한 원칙 하에 배치되어 있는데 그 원칙을 살펴보면 각기 8 편의 시가 한 그룹을 형성하도록 되어 전부 두 그룹이 만들어져 있다. 처음 그룹의 시들을 살펴보면 은 각각의 시가 동과 정, 이상과 현실, 순간과 영원 같은 반대의 요소들로 균형을 이루고 있고 두 번째 그룹의 시들은 공과 사, 과거와 현재, 카톨릭과 프로테스탄트, 상류와 하류, 그리고 연방주의자와 분리주의자 같은 반대의 요소로 균형을 이루고 있음을 알 수 있다. 첫 번째 그룹은 영적 화합을 추구하고 있으며 이 의미는 우리가 아는 대로 동과 정의 두 반대 요소가 다 필수적이라는 것이다. 다시 말해 이 두 요소가 잘 조화를 이룰 때 우리의 영적 해방이 이루어진다는 종교적인 메시지가 담겨있는 것이다. 마찬가지로 우리는 똑같은 원리를 두 번째 그룹의 시에도 적용해야 하며 그 의미는 카톨릭과 프로테스탄트 같은 적대 세력이 서로 화합해야 아이랜드에 진정한 평화가 온다는 것이다. 다시 말해 상반된 두 요소 즉 영혼과 육체, 사랑과 미움을 모두 받아들이는 것이 새로운 자아 형성을 위해 필수적이듯이 상류층과 하류층, 연방주의자와 분리주의자들 모두를 받아들이는 것이 새로운 아이랜드의 건설을 위해 좋다는 것이다. 정확하게 말해서, 갈림길은 아이랜드의 정치적 분열을 치유할 수 있는 화합의 모델을 종교적인 개념을 통해 제시하고 있다는 것이다.
5,800원
13.
1998.05
구독 인증기관 무료, 개인회원 유료
To understand Yeats’s death we should know his concept of daimonism. Yeats’s daimonism was deeply rooted in folklore and mythology. He came to create a daimonism of his own which could provide the scaffolding for his thought and artistic expression. So it shapes a coherent pattern of present and past life. In Yeats’s poetry, the existence of daimon was a great source, a medium of the recreation between soul and body, racial instinct and spirit, the life and death. To Yeats death is a part of “Great Wheel” in “Unity of Being”. Yeats’s damonism is a symbol of perfection and visionary passion of unconsciousness, which grew out of the microcosm and the macrocosm in his poetry. The main function of death in Yeats’s poetry connects reincarnation of our eternity world and rebirth of human being. T. S. Eliot tends to begin his poems with quotations and echoing passages from other philosophies, thoughts, religions and one’s experiences by fusing these ones into the concept of death. Especially, The Waste Land has no narrative and no unifying central character. There is only a heap of broken death images and inaudible voices. The Waste Land juxtaposes various different voices of “Death of Island”. As in inaudible “death” voices, the main tunes and pattern of notes are hinted at, elaborated on, and returned to. We conclude that the unified consciousness is not Eliot’s but the reader’s. In Eliot’s poetry, death stands as a commitment to his search for a universal text by way of deconstruction for reconstruction.
5,500원
14.
1998.05
구독 인증기관 무료, 개인회원 유료
As love poets, Donne and Yeats have things in common: both, breaking from the conventional views of woman and love, search for the reconciliation and harmony between man and woman, as well as body and soul. They seem to be well aware it is not realistic to see the female image as “a complete beauty and perfect morality,” as is usually supported and reinforced by society and its literary conventions. The social demand for chaste, heavenly woman and its literary representation rob woman of her true, humane beauty and of her true virtue as well; on the other hand, they confine man to a role of chivalric, submissive, but hopeless suitor. Donne and Yeats believe that the distorted image of woman and her relationship with man hinder true love or communion between them. The two poets try to understand both sexes on the same condition, that is, the condition of human being. And this idea is magnificently realized not only in Donne’s The Songs and Sonnets but also in Yeats’s “Crazy Jane poems” and in some of his pieces in A Woman Young and Old. As for the matter of body and soul, both poets criticize the binary way of thinking in which human body is nothing but a mean, vulgar exterior while soul is a holy, ideal interior where we should reside for good. Donne and Yeats are wise enough to know that body and soul are interdependent, and that it is, therefore, impossible to exclude or disregard either of them. They agree that the two elements are indispensable for true relationship between man and woman. To embody this perspective effectively, Donne and Yeats introduce some characteristic personae in their poetry: an unfaithful woman who betrays and dosen’t feel guilty, one who boldly follows her feelings and desire, and one who relishes the pleasure of body and values it as high as, or even higher than, her soul. Through these unconventional female personae, Donne and Yeats are able to disclose the futility of moral, spiritual values that do not have true understanding of human nature. They subvert the false conception that soul is superior to body, and paint a new and true picture of human being: an inevitable dynamism, balance and harmony between body and soul.
6,100원
15.
1998.05
구독 인증기관 무료, 개인회원 유료
For the study of courtly love poetry, which is one of the oldest literary conventions, I attempt to read both Yeats and Shakespeare. The relationship between time, love, and art has been a motif on which the poets of all ages have speculated. Perfect love between lovers fades with time and deep furrows on the tender face of the young beloved take place because of an inexorable time. Against such an irresistible time, artists make creative efforts to preserve the lover’s beauty in their works. In Sonnets, Shakespeare feeling nervous about the youth’s beauty ending just in his own lifetime, intends to write poems to keep the beauty eternal. As the poet admires the young handsome man, he wants to make his beauty and friendship with him everlasting in his poetry. In his Sonnets the poet neither deals directly with the destructive time nor shows the paradoxical will against it. Simply adapting to the powerful time and accepting the weakness of man, the poet wishes that beauty will live for good. Meanwhile, as modern poet Yeats started with romantic lyrics and wrote many love poems reflecting the traditional conventions. Yeats accepts certain conventions such as the woman as goddess, Muse and aesthetic object (Cullingford 20). As a presence in real life, the woman extolled by the poet throughout his whole life cannot escape the influence of time. Saddened by the fact that his love is forgotten from the memory of people, the poet chooses to remain the last to write poetry for her. And he shows a strong will to overcome the destructive time and portrays time as a positive influence that deepens the beloved’s nobleness. As mentioned above, though two poets’ responses to time are different, there seems to be an agreement in their poetry as to the fact that love and beauty can be made eternal through art and poetry. These great poets confirm the truth that the immortality of art goes beyond time.
4,600원
Book Review
16.
1998.05
구독 인증기관 무료, 개인회원 유료
4,000원
Music Review
17.
1998.05
구독 인증기관 무료, 개인회원 유료
3,000원
