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 제1호 (2011년 6월) 8건
1.
2011.06
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The concept of Original Sin is central to Anglo-Catholic and Roman Catholic theology. In both Paul's epistle to the Romans and Article IX of the Church of England's Thirty-Nine Articles, Original Sin is not seen merely as an aspect among others of a Christian life but an unavoidable condition of existence. This belief in the fallen state of humanity and nature presents the Christian poet with particular difficulties and nowhere are these difficulties more in evidence than in the matter of language. T. S. Eliot's embrace of Anglo-Catholicism within Anglicanism put the matter of language at the center of his later work, especially Ash-Wednesday and Four Quartets. If humans are fallen creatures, the language they use must, in some sense, be fallen too. Eliot recognized this dilemma and adopted a number of stylistic devices in his later poetry to convey his sense of the fate of language in a fallen world. These devices include his use of repetition that suggests a kind of stammering, incomplete grammatical structures and punctuation, self-deprecatory statements, moments of self-exposure and confession. Most notably in both Ash-Wednesday and Four Quartets, Eliot cautions his readers not to be beguiled by the beauty of poetry itself. In 'East Coker' he goes so far as to state baldly that the 'poetry does not matter'.
2.
2011.06
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This paper aims to investigate T. S. Eliot at his alma mater, Harvard University, which he attended for seven years from 1906 to 1910 and from 1911 to 1914. Despite Eliot’s academic records displaying a range of subpar grades during his first and second years at Harvard, he succeeded in obtaining his BA and MA in four years. Simultaneously, Eliot contributed his early 10 Harvard poems including “Song: When we came home across the hill,” “Song: If space and time, as sages say,” “Before Morning,” “Circe’s Palace,” “On a Portrait,” “Nocturne,” “Humouresque,” “Spleen,” and “Ode” to The Harvard Advacate. Along with the French Symbolist poet Jules Laforgue, Irving Babbitt, professor and critic of New Humanism during his master’s course, Josiah Royce, pioneer philosopher at Harvard Department of Philosophy and Psychology, George Santayana, philosopher of pragmatism, Bertrand Russell, visiting professor to Harvard from Cambridge University during his doctoral course, deeply influenced the formation of Eliot’s poetic style and visions of Nobel laureate. A number of Eliot’s invaluable materials including his doctoral dissertation, Experience and the Objects of Knowledge in the Philosophy of F. H. Bradley, are now preserved at Harvard Houghton Library, which may be accessible only with a permission letter from Valerie Eliot.
3.
2011.06
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The poem “Marina” of T. S. Eliot technically takes the play Pericles of Shakespeare in terms of two voices: the surface pattern based on a dramatic story of Pericles, prince of Tyre, and the deep pattern based on a ultra-dramatic feature of solemn music. Shakespeare is regarded as a dramatist and poet in his later works, such as Pericles, in which he uses a system of related allusions in dramatic situations to reflect implicitly on drama and its program in a unity of poetry and music. Eliot technically steals it in a different way, called his own program, where he secures a solemnity by virtue of a gaiety of content, and a gaiety by virtue of a solemnity of content. His poem thus is poetry which uses the order in which Pericles is written and his technical relations to the play in conversational language and dramatic situations on the surface and in ultra-dramatic aspects in depth. In the ultra-dramatic presentation, musical pattern, and liturgical treatment of characters’ emotions proceed to comment on the recognition scene (V, i) of the play. In the poem, the ultra-dramatic aspects refer to “Eliot’s perspective on life that is as if from beyond life.” The hidden music from the recognition scene (V, i) of the play seems supernatural, as if we are taking part in a ritual. Finally in terms of synchronicity, Hercules, a stoical character in Seneca, is taken for Pericles in Shakespeare; and Senecan Shakespeare is almost certain to be produced in Eliot’s poem “Marina.” We can see this synchronicities value in Eliot’s view of stoical life, taken from Seneca and Shakespeare as well.
4.
2011.06
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This essay surveys some literary, cultural criticism of T. S. Eliot and Kim Ki-Rim, focusing on each writer’s works, The Waste Land and Ki-Sang-Do. In Eliot’s creative and critical practice, his primary concern is to depict his own literature and culture. In other words, he seems to concentrate only on the fate of European literature, art, and cultural heritage, including the political balance of European countries. Therefore, the important issue for Eliot is how they can preserve and develop the tradition of Europe, both to make political peace among the European countries and to achieve “maturity” of their own culture. But Kim Ki-Rim, whose colonial circumstances are quite different from Eliot’s, is affected by double obstacles, the chaos of the pre-modern, underdeveloped Cho-sun and the period of colonial-imperialism from Japan (and the western countries), the prevalent international order then, with cultural ideology of modernity or modernism. In such a situation, Kim Ki-Rim does not concern himself with the idea of preserving the tradition of Europe-originated modernity. Rather, he suggests a possibility of breaking through the very western modernity and modernism, ultimately to build a whole new world, in which post-modern Cho-sun can hold a secure, culturally leading position.
5.
2011.06
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On the basis of Eliot’s poetic theory, this paper attempts to analyze some of Shakespeare’s dramatic techniques as exemplified in Macbeth, one of his four tragedies. Macbeth is the shortest, but its structure is tight with its precise and dense language. Eliot sees Shakespeare as one of the best examples, who fits into his theory of poetry, “objective correlative”; A good poet is merely a medium, not revealing his own personal feelings. Shakespeare is such a good poet. Shakespeare, using symbols and images of organic things and cosmetic order, realizes the objective correlative; he presents things that represent his feelings, such as owls, hawks, eagles, doves, and a banquetes’ scene that symbolizes harmony, fellowship, and union. In the meantime, Eliot uses persona, alter ego, shadow images in his works; there appear Madame Sosostris, typist, clerk, Thames’ daughters in The Waste Land, which is the manifestation of his theory, the objective correlative.
6.
2011.06
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In the 1926 Clark Lectures at Cambridge, T. S. Eliot redrew the map of metaphysical poetry in the Western literature by including not just the Metaphysical poets of the 17th century England but Lucretius, Dante, and Baudelaire among many others. In the Lectures, published posthumously in 1993 under the title of The Varieties of Metaphysical Poetry, Eliot also revaluated the metaphysical poems of Dante and Donne in terms of their socio-cultural, philosophical, and religious background. Especially, Christian mysticism was, Eliot insisted, one of the most important factors in understanding these great poets’ works accurately. According to Eliot’s somewhat idiosyncratic genealogy of Christian mysticism, it could be basically divided into two streams: ontological-classical and psychological- romantic. A fundamental tenet of ontological-classical mysticism is that God is transcendental and the vision of God can “only be attained by a process in which the analytic intellect took apart.” By contrast, God, for psychological-romantic mystics, is immanent and a human being has an innate capability to perceive and recognize God-head intuitively and to be united with it, whether momentarily or not.Ontological-classical mysticism, whose origin Eliot attributed to Aristotle’s metaphysics, was developed by such theologians as Richard of St. Victor and Thomas Aquinas, and culminated in Dante’s poetry aesthetically. Notably, for Eliot, Dante was not merely a religious poet faithful to his own mysticism but, far more importantly, the paradigmatic figure of what Eliot famously called “united sensibility.” Inextricably combined with Eliot’s enthusiastic support of both Dante’s mysticism and his poetic achievement is his radical revision of the aesthetics of united sensibility; in addition to union of thought and feeling, order, system, and harmony, as championed by classicism, toward which he increasingly inclined, become essential parts of united sensibility. In contrast to Dante, Donne, once eulogized as a representative poet of united sensibility by Eliot himself, was degraded into a precursor of “dissociation of sensibility.” Behind this dissociation, Eliot claimed. lay Donne’s embracement of psychological-romantic mysticism, originated from Plotinus and fully developed by Eckhardt, Ignatius, Theresa and St. John of the Cross. By reading closely Donne’s “The Extasie” and examining its dualistic view of soul and body, Eliot exemplified how the poet’s disintegrated sensibility is merged with his psychological mysticism.
7.
2011.06
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From “The Love Song of J. Alfred Prufrock” to “Old Possum’s Book of Practical Cats,” he often used such animal imagery as cats, possum, and other animals in his poems. Eliot was haunted by animal images in that he expressed his inner self through animal imagery. In particular, he frequently used reserved animals to show his true self. In his poems, Eliot articulated significance of such animals as possum, cat, rat, and rabbit because these animals hide their inner nature in their minds. In addition, animals react intuitional response as shown in possum and rats, animals are the perfect imagery to manipulate human mind. Therefore, Eliot used animal imagery to manifest human archetypal minds. In “The Love Song of J. Alfred Prufrock,” Eliot connotes the imagery of a cat. In “Gerontion,” he called Christ the tiger because he was frighted by Christ as the absolute judge. In The Waste Land, the death that rats create is not a death which brings resurrection and new life like Jesus Christ, but brings about no life at all in the waste land. Especially, Eliot called himself “possum” in his letters to Pound. Even in his unpublished poem, “Cow,” the cow shows his panic emotion from his first marriage. Therefore, Eliot’s use of animal imagery makes significant roles to understand one of his major themes.
8.
2011.06
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Although Jungian interpretation of T. S. Eliot has not been very active for the last half century, a number of reasons make C. G. Jung an attractive tool for reading Eliot. First of all, they were contemporaries undergoing the identical moments of history, responding to them in interestingly similar ways. Secondly, they commonly objected to the positivist trend of their times and tried to revive metaphysical and religious visions of the old. Their ultimate concerns lay in transcendental issues, not in the immediate world. Thirdly, they made their main subject matters out of their visions and other non-empirical materials while resorting heavily to mythic and anthropological studies. Resultantly, Eliot’s works are flooded with archetypal figures, especially those of the mother and the anima. Fourthly, they tried to map out the paths to the Ultimate, sharing many parallel motifs in their courses. Eliot’s literary ideas including impersonality, objective correlative, metaphysical conceit, and collage can all be viewed as a means to make possible transcendental experiences. They encourage the enlargement of cognitive power, a pre-condition for contact with the world beyond. In this sense Jung and Eliot were both shamanic figures who strove to offer remedies to the disorders and the maladies they found haunting their times by retrieving the lost connection to the source of human existence. However, despite his rational interest in the ultimate encounter between human and divine, Eliot has his works overflowing with characters, scenes, and motifs suggesting his inclination toward the mother.
