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
제21권 제2호 (2011년 12월) 10건
1.
2011.12
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Dante is one of those poets, Eliot once said, that one only grows up to at the end of one’s life. In Eliot’s work, growing up to (learning from) his Italian master has three primary dimensions. The first is psychological, and it has to do with a perception, in reading, of feelings and ideas as unified. The second is aesthetic, and it has to do with poetry, with understanding how to achieve such unification in art. And the third is moral, and it has to do with social and spiritual unification through the cultivation of humility.
2.
2011.12
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In T. S. Eliot’s early poetry there is a fascination with sexual behavior, sexual criminality, and even instances of cannibalism. These occur in both his published work and in his unpublished Columbo and Bolo poems. Critical attention on this aspect of Eliot’s early work has focused on the themes of gender and race. His attitudes towards women have been well studied by feminist scholars. The critical focus on the Columbo and Bolo poems has emphasized Eliot’s attitudes towards African Americans and his consciousness of race in the American context. But there is another way of understanding these themes and this has rather more to do with class than gender or race. Eliot’s emblematic figure for the ordinary man from the lower classes, namely his Sweeney persona, has a decidedly Irish character. Eliot’s references to sex crimes and cannibalism emphasize the presence of such savagery, not in what used to be called ‘primitive’ societies, but in the very heart of civilization. For a well-educated, upper middle class young man with a New England background during the period of Irish immigration to America and to the political assertiveness of the Irish in both the United States and Great Britain, there is more to fear from the Sweeneys than from comical characters like King Bolo.
3.
2011.12
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The aim of this paper is threefold. First, this study introduces the context of objectivity in modernist poetry, especially Moore’s objectivity and Williams’s objectivity. Second, it differentiates T. S. Eliot’s objectivity from their objectivity. In doing so, this paper analyzes the poems in Prufrock and Other Observations according to the different type of observation and the different type of persona. The poetics of observation in Eliot’s Prufrock and Other Observations is dramatic, psychological, and complex. His manner of observation is more inward looking than Moore’s, and his poetics of exploring urban reality is more dramatic and psychological than Williams’s. Third, this paper intends to rescue Eliot from Williams’s harsh criticism against him. From Williams’s point of view, Eliot’s poetry represents the “old” world spirit. However, Eliot’s seemingly traditional way of dealing with the world is so resilient that we can appreciate his work even after the age of Eliot and across geographical borders.
4.
2011.12
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T. S. Eliot began to make his appearance on the Japanese scene in the latter half of the 1920s. Along with the establishment of the English Literary Society of Japan in 1929, the study of Eliot began to flourish in the 1930s. This brief account examines his reception in the context of social and political situation of the day. Different perspectives and issues Eliot raised will be demonstrated by memoirs and writings of those who visited to teach, as well as those who read Eliot at home.To succeed Peter Quennell, William Empson came to Tokyo in 1931. When he had hardly settled, the “Manchurian Incident” broke out in September. Japan established the puppet state of Manchukuo in March in 1932, and chose her isolation in the international community in March in 1934, declaring to walk out of the League of Nations. Ironically the period saw the first flowering of Eliot study. Foreign books were coming in abundance uninterrupted. But after the outbeak of Shino-Japanese war in 1937, under the strict controls on foreign currency, the importation of periodicals and books began to dwindle, and virtually stopped by the end of 1939. In the meantime, however, Eliot began to attract general readership. When John Morris came in 1938, the war in China was to be expanded into the Pacific War in 1941. He took the last repatriation ship specially arranged for Europe. In his Traveller from Tokyo (1943), reporting that there was “a great interest in all forms of modern poetry, particularly for that of T. S. Eliot”, Morris predicted: “a Japanese T. S. Eliot will undoubtedly arise before many more years have passed”. The War ended in 1945. Eventually, the legacy from the pre-war years prepared the surge for Eliot studies, which, after premonitory rumbles in the early part of the 1950s, culminated in the next decade.
5.
2011.12
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After his conversion in 1927, Eliot started a new life. This new life was directed by George Bell, Bishop of Chichester, whose interest was in the reconciliation of the Church and the arts. Eliot appears to have taken seemingly two divergent roads laid by George Bell after his meeting with the bishop in 1930; one is turning his gift towards poetic drama and another is moving towards the Church of England as a Christian social critic while reconciling two different activities in his career. After the Oxford Conference in 1937, an order of Christian lay people called the Moot emerged by dint of J. H. Oldham who was a prime mover of the Oxford Conference. The Moot, the group of distinguished intellectuals, met from 1938 to 1947 to discuss the nature of modern society, the relationship between social planning and freedom, and the role of religiously-based values in shaping society. Learning much from discussions with other intellectuals in the Moot, Eliot, one of the core members of the Moot who attended 12 meetings out of 21 total meetings, formulated his idea of a Christian elite which is necessary for shaping an ideal Christian society. Distinguishing between an elite and the clerisy in his paper ‘On the Place and Function of the Clerisy’ delivered to the Moot meeting in December 1944, Eliot defined the often confusing terms precisely—elite is ‘any category of men and women who because of their individual capacities exercise significant power in any particular area’. However, the clerisy is ‘those individuals who originate the dominant ideas, and alter the sensibility, of their time’ at the top. This means that the clerisy is elite at the highest level who generate the new ideas of their time, including the new expression of an old idea, and who alter sensibility. Thus, Eliot’s use of the term clerisy includes clergy and laity as Samuel Coleridge did, however, Eliot’s idea of the clerisy is wider than that of Samuel Coleridge whose clerisy implies a body of the definite vocation which tends to become ‘merely a brahminical caste’. Eliot’s clerisy is even wider than the ‘Community of Christians’ which he expounded in The Idea of a Christian Society in 1939; ‘the consciously and thoughtfully practicing Christians, especially those of intellectual and spiritual superiority’.
6.
2011.12
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The baptism and confirmation in June 1927 is surely the most important event in Eliot’s life. To think first and most of the “supernatural order” became the prime principle of his new life and thought. It is an indispensable task, therefore, for Eliot scholars to assess why he decided to join the Church of England’s Anglo-Catholic wing, and what sort of effect his belief exerted upon his literary works. In this paper I intend to do two things: firstly, to present a thesis how Eliot came to espouse Anglo-Catholicism; I will look into the influence of the Oxford Movement, the solidification of his faith manifested in his vehement attack on the scheme for the Church Union in South India, and his freeing himself from the prejudices against Roman Catholicism that he encountered at first hand in St. Louis, Boston, and London. Catholicism was fixed with the image of unintellectual Irish immigrants, and totally alien to the English Protestant identity. He chose the Established, and national, Church of England because he believed it was “the Catholic Church in England”, and in his adopted country, Roman Catholic Church was only “a sect”. Secondly, I consider the “limits” of Eliot’s Christian faith. So far, the problem of his faith has not been fully addressed. It looms large, however, in a postcolonial context. The claim I should like to make is that the world of Eliot’s Christianity is closed to the ‘other’ worlds. This I discuss looking into the world of The Cocktail Party. Set in a post-Vatican II context, Eliot’s Anglo-Catholicism looks very restricted.
7.
2011.12
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This paper focuses on the fluctuations of the Self in two different versions of Modernist poetry as they are proposed by T.S. Eliot and Conrad Aiken. During their stay at Harvard, they read many of the same books and studied the same theories. Both were influenced by William James, Emerson, Bergson, Bradley, the French symbolists, and their instructor Santayana. But the same books and theories generated different modes of comprehension in them. While Eliot offered a condensed vision of philosophy in his works, Aiken tended to depict the long process of self-exploration, which at times resulted in extreme monotony in his longer poetic pieces. Eliot claimed that poetic production supersedes the poet, who functions merely as an agent of its creation; this is quite a contrast with the autobiographical method Aiken applied in his works. Eliot’s name stands for the allusive method in poetry; Aiken’s, for psychoanalytic method. Aiken endeavoured to write a perfect long poem, while Eliot strove for a distilled type of poetry with concrete, economical and exact phrasing. Despite the many differences in form and content in the two versions of Modernist poetry written by Eliot and Aiken, they shared a single vision of life as a journey that sets the personality in a constant flux and presumes a continuous development of consciousness. While Aiken was still influenced by the Neo-Romantics when he depicted the subjectivity of the persona in his early writings, Eliot’s early poetry activated the classicist idea by rendering the objective detachment of his personae.
8.
2011.12
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The writing style of Hart Crane has embarked on Symbolism that French Symbolists had developed in the nineteenth century and that modern English poets, such as Ezra Pound and T. S. Eliot, found as a new poetic form in the early twentieth century. In the nineteen-twenties, Crane had felt the strong power of Eliot’s poetic skills which brought English aesthetic styles in his early poetic life from the French poets, such as Arthur Rimbaud or Jules Laforgue. Hence, it is interestingly remarkable to see Eliot’s objective, impersonal stance leading the literary tendency of the nineteen-twenties in view of French poets and Crane’s different goal in style. Obviously, in reaction to Eliot’s negative attitudes to human characters as seen in The Waste Land, Crane’s different style developed further with the conventional symbols, Faustus and Helen, which yet function to associate his imagination with the agreeable life of New Yorkers the speaker sympathetically talks about in the first long poem, “Faustus and Helen.”In a matter of style, Crane, away from Eliot’s perspective of poetry, opened the way to another convention in poetry: Symbolism in a historical sense. Unlike Edmund Wilson who confined French Symbolism within modern poetry, Northrop Frye widely connected Symbolism to the whole history of literature, revealing it as a proper term to interpret its meaning. In the nineteen-twenties, Eliot, discrediting romantic sensibility, engaged thoroughly in synthesizing the complex literary movements, French Symbolism and English classic aestheticism, into religio-philosophical directions for years to come. Yet, Crane tried to reconcile the romantically spirited French Symbolism and Coleridgean imagination within his poetic style relying more on romantically spirited personality. Unfortunately, Crane stopped his poetic life when only thirty-three years old, allegedly buried by the prominent movement, a contemporary Classicism of Eliot.
9.
2011.12
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10.
2011.12
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