간행물
T.S.엘리엇연구 KCI 등재 Journal of the T. S. Eliot Society of Korea
- 발행기관 한국T.S.엘리엇학회
- 자료유형 학술지
- 간기 연3회
- ISSN 1225-5912 (Print)2765-6322 (Online)
- 수록기간 1993 ~ 2023
- 주제분류 인문학 > 영어와문학 인문학 분류의 다른 간행물
- 십진분류KDC 841DDC 821
권호리스트/논문검색
제22권 제2호 (2012년 12월) 11건
특별기획
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2012.12
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2012.12
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2012.12
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According to Martin Heidegger’s argument that human emotions and feelings play an important role in defining modernism, the elements of melancholy must have been a crucial element in characterizing modernism. In this respect, T. S. Eliot’s “The Love Song of J. Alfred Prufrock” and The Waste Land that are regarded as reflecting modernistic phases have been analyzed to show how the elements of melancholy appear in them and to what degree they present modernity. The keen awareness of fragmentation and the impossibility of totality in modernism as part of modernity has been shown to have a lot to do with melancholy. The concept of melancholy is not a brand new term which was born in modernism, rather it was a “reinvented” and “reassessed” concept that already has quite a long history. On the threshold to the contemporary era, a number of critics and writers came to be deeply interested in and did a lot of research about melancholy. Remarkably, modern critics are doing insightful studies that can illuminate the deceitful desires that are produced by capitalist society that leave people in discontentment permanently, which acts like a sense of loss. Their analyses about the mechanism of melancholy are expected to help analyze the relation between melancholy and capitalist society. In that aspect, even though melancholy appeared in modernism era, still the concept of melancholy seems to be a great issue that can be very helpful to understand the cultural aspect of contemporary era.
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2012.12
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“The Love Song of J. Alfred Prufrock” and “Portrait of a Lady,” two major works of T. S. Eliot’s early poems, have been regarded as a kind of ramatic monologues. Many critics indicated that Eliot’s use of dramatic monologue was different from Victorian poets’, so they called Eliot’s dramatic monologues “interior monologues” or “psychologues.” However, some critics like Won-Chung Kim insisted that Eliot’s and Robert Browning’s dramatic monologues shared some characteristics by comparing their masterpieces, “The Love Song of J. Alfred Prufrock” and “My Last Duchess.” In this paper, my premise is that Eliot’s dramatic monologues are different from Victorian poets’ like Browning’s because I think that Eliot changed the technique of dramatic monologue to reflect the spirit of his age, that is, the beginning of the 20th century. In the early 20th century, many writers including Eliot thought that the self is illogical and split, and claimed that they should focus on the human consciousness and try to find the method to express it. In his early poems, Eliot expressed the speakers’ consciousness that was divided. Some critics has also indicated that the speakers of Eliot’ early poems have self-conscious character caused by the split self. To create this character of the speakers, I think, Eliot adapted the technique of dramatic monologue. While the traditional dramatic monologues focus on showing the speakers’ values, Eliot’s show the conflict of the speakers’ doubling self that produces the effect of irony. The speakers’ doubling self consists of the superficial and the fundamental self. One represents the self that tries to conform to the life style of the bourgeois world and is very concerned about people’s judgment. The other represents the self that longs for something higher, more emotional and spiritual. When this doubling self collides with each other and causes conflict, the speaker observes himself in a dramatic way, that is, as a object. Then, the speaker returns to his daily life again.
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2012.12
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he main aim of this essay is to extract similarities between James Thomson’s The City of Dreadful Night of and The Waste Land. The names of the two poets have often been mentioned in connection, but the relation between their poetry has not drawn a serious attention. This essay is meant to track possible exchanges between the poets by examining mainly The City of Dreadful Night and The Waste Land. My focus has been on how Thomson influenced the urban scenes in Eliot’s poems and the images of the “Unreal City,” which are centered on London.Thomson’s poetry shows much influence from Dante. I have tried to present a meaningful number of verbal details showing that Eliot’s reading of Thomson was not confined to The City of Dreadful Night. Thomson seems to have also been a major influence on Eliot’s general thoughts and techniques. Eliot seems to make a good case of how a later-coming and greater-talented poet can make a more universally-appealing work out of the stuffs a locally-confined predecessor presented to the world.
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2012.12
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This paper investigates the auditory imagination employed in The Waste Land, Eliot’s musical poem as well as the greatest modernist canon. Through Eliot’s auditory imagination, The Waste Land is woven throughout by musicality, jazz rhythms and rhythmical rhyme quoted or adapted from the following sources: Wagner’s two operas, Tristan und Isolde and Götterdämmerung, Verlaine’s “Parsifal,” the “Shakespeherian Rag,” the Australian soldiers’ ballad of World War I, and a nursery rhyme. The Waste Land also consists of a remarkable variety of auditory imagery, which reveals the significance and symbolism of the poem. For example, the auditory imagery employed includes the conversation or monologue of the speakers, the songs of the swallow and nightingale, the song of the hermit-thrush represented as the sound of water, the murmuring sound in the air signifying Pieta, the cry of a cock, and the thundering sound, “DA,” which is interpreted in Sanskrit as “Datta, Dayadhvam, Damyata.” This auditory imagery emphasizes the theme of the poem: immoral sexuality in the waste land is death, and the need for salvation from it. In conclusion, this variety of musicality and auditory imagery should be thoroughly traced by the reader to properly appreciate the complicated modernist masterpiece, The Waste Land, which is interwoven exquisitely by Eliot’s auditory imagination. In addition, for better appreciation the reader must simultaneously probe into the visual imagery, olfactory imagery and synaesthesiac imagery as well as auditory imagery in the poem.
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2012.12
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T. S. Eliot wrote the poem, “Animula,” in 1929 at the age of 41, which belongs in the later part of his literary life as a poet and critic. Eliot converted to a Catholic in 1927, the year his father-in-law, Charles Haigh-Wood, died. It was in 1929 that he was thinking of divorce with his wife, Vivienne Haigh-Wood, and his mother, Charlotte Champe Eliot, died as well. Biographically, the poem “Animula” is certain to reflect his own life from infantry to death, physically and spiritually. Actually, the poem develops with three stages ranging from the period of an infant, who “Issues from the hand of God, the simple soul,” to the period between adolescence and youth, who gets “irresolute and selfish, misshapen, lame,” with the characters who follow as if living in limbo in the final lines: Guiterriez “avid of speed and power” and Boudin “blown to pieces.” The title of “Animula” thus alludes to the poem “Animula vagula blandula”(a pale vagrant little soul) the Roman Emperor Hadrianus left dying - the little soul, once the friend of and guest to the body, now leaving its dying body. So, the poem “Animula” is designed to convey how to live till death from infantry, especially in the childhood. The child’s soul is identified as simple, yet miserable even in the childhood without religious discipline: “Pray for us now and at the hour of our birth.”
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2012.12
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This study is to find out how various number of themes are revealed and then developed progressively in T. S. Eliot’s plays, Murder in the Cathedral, The Family Reunion, The Cocktail Party, The Confidential Clerk and The Elder Statesman. The martyrdom, which may be defined as the identification with the will of the God, of Archbishop Thomas Becket is so much emphasized that the aspect of salvation is neglected in Eliot’s first major play, Murder in the Cathedral. Thus in the second play, The Family Reunion, Harry’s salvation becomes the main theme. However, the process of salvation is sought here too vigorously and even violently to induce the death of Harry’s mother as well as that of his wife. In the third play, The Cocktail Party, several ways to salvation are suggested according to the levels of perception. ‘the best life’ of martyrdom is offered to the selected few including Thomas Becket. However, ‘a good life,’ in which a cocktail party is being held sometimes, is more than enough for the salvation of common peple because “human kind cannot bear very much reality.” For the third group of “a living object, but no longer a person,” to be an ordinary person can be the best way of savlation. The Confidential Clerk contains answers to the questions presented in Murder in the Cathedral, as The Cocktail Party has the solutions to the problems presented in The Family Reunion. Lucasta, ‘a living object,’ is changed into ‘an ordinary person,’ while Colby, ‘a good life,’ is changing into the mode of ‘the best life’ in The Confidential Clerk. The Elder Statesman, Eliot’s last play, tries to show that the salvation of Lord Claverton may be achieved by the confession of the past misdeeds.
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2012.12
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T. S. Eliot is regarded as one of the greatest critics in the last century. As a critic he tends to have strict canonical standards. However, his attitude toward Tennyson seems rather favorable. Of Tennysonian canonical traits, Eliot thinks abundance, variety, and competence are the essence of Tennysonian excellence as a poet. He further feels that Tennyson is highly competent to express himself aptly whatever intention it is in his poetry and prose. It is probably because Tennyson is a master technician in poetry: his poetic language and its skills are rich and varied. He has absorbed all poetic skills, use of words, rhymes, rhythms, as in Maud and In Memoriam. Tennyson’s poetic excellence has already proved in Poems by Two Brothers co-authored with his brother, Frederick. In his criticism on Tennyson, Eliot often makes use of “great,” “wondrous,” or “master,” which he rarely uses when he studies other poets. Besides, it is rather interesting that Tennyson and Eliot are rather well compared: both use dramatic monologues while they withhold expression of personal feelings or emotion. As a poet and critic, Eliot is characterized by objective correlative, impersonality, unified sensibility, which almost parallel Tennyson’s. As a later poet, Eliot must have learned from Tennyson, a great technician of the last century.
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2012.12
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T. S. Eliot has attracted an unprecedented degree of worldwide attention for almost a century but he has rarely been approached from the angle of his politics to the third world reader. His proclaimed position as anglo-Catholic, monarchist, and classicist, however philosophically pure he stood for these values, does not seem to be in accordance with the interest of the third world, most countries of which were once colonized and have continued to be under its prolonged traumatic influences. Eliot’s west- centered value amounts to supporting the ideology through which the imperialism of the previous centuries exploited the third world and rationalized their deeds in the course. John Ashbery, on the other hand, shows a relativistic worldview in his “Self-Portrait in a Convex Mirror,” whose apparent subject matter is an Italian Mannerist self-portrait with the same title. Ashbery in the poem questions the hierarchical value system, which Eliot shows in Four Quartets. Ashbery, refusing to attribute any superior values to certain views or notions over others, reasons that one cannot rely on any absolute values or premises. Questioning the validity of metaphysical and transcendental values on which traditional societies relied, he presents diverse postmodernistic skeptical visions on such issues as center versus periphery, appearance versus reality, and intention versus outcome. In the work, however, he is not absolutely without a tint of Eliotian propensity toward the transcendental, enriching its poetic suggestiveness.
