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
제20권 제1호 (2010년 6월) 8건
1.
2010.06
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The talk delivered at the T. S. Eliot International Summer School which was held at the University of London in July 2009 exists only on a set of index cards. It began with the Modernist experiment in poetry and fiction (represented by The Waste Land and Virginia Woolf’s fiction) preceded by experiments in dance, music and art of a decade earlier. The talk went on to discuss what Eliot learnt from Stravinsky’s music for Diaghilev’s ballet, Sacre du Printemps, using Eliot’s still uncollected review for the New York Dial. I then spoke of The Waste Land as a vision of sorts, a vision of an inferno haunted by memories that were counter to the inferno: visionary moments of perfection, looking back to the fourth ‘Prelude’ and ahead to the visionary moment in the rose-garden of Burnt Norton: ‘Quick now, here, now, always’. The idea of the talk was the importance of what Eliot called in the Quartets, ‘hints and guesses’ of sublimitythe most an ordinary man can expect, as distinct from the saint’s lifetime ‘burning in every moment’.
2.
2010.06
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T. S. Eliot is a tactful poet and dramatist. He makes use of “borrowing” from a huge range of sources, including Indian and Buddhist materials. “Datta, Dayadhvam, Damyata” and “The Fire Sermon” in The Waste Land are typical examples. But they are mere visible tips of the mass. This paper focuses on The Confidential Clerk and observes how he manages the characters in the drama in accord with the personages in the two Buddhist sutras, Vimalakrti-nirdea-sutta and rml-sutta, about which he learnt in Anesaki’s lectures in 1913 at Harvard. (The documents are now kept in the Houghton Library, Harvard University.) Eliot’s characters, Sir Claude and Lady Elizabeth show a close resemblance to King Prasenajit and Queen Mallik, and Lucasta looks like rml, together with Kagan, Ayodhy. Colby’s paternalship to Sir Claude is almost the same with the case of Prasenajit and his son. In this way, the theme of Eliot’s play of a lost and found children is framed and woven stealthily by “authors remote in time, or alien in language.”
3.
2010.06
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In the case of T. S. Eliot, the difference between the use value of literature and its exchange value stems from the philosophical difference between the inner value of literature and its outer value. In the view of literature from an economic value, its exchange for money means the exchange of cultural and literary capital. Yet, it is not easy to ignore Marx’s concern the about the disturbing author’s consciousness of social criticism and his/her communication with reader’s when a literary work exceeds its worth by a critic in terms of commodity fetishism. But, if insight about human beings and society turns out to be a property of capital as a productive added-value, its literary worth is so satisfying that the fetishism of the reader as a consumer for the book cannot be an irrational action towards the market. From such a view, the study of economics of literature in the case of Eliot, gives us an instance in which we can find the use value of humanities in literature and its exchange value in terms of economics. As a poet, critic, and publisher, Eliot can be a most valuable person in literary history necessary for the study of literature in the light of economics. This paper examines Eliot through the effect of unity between literature and economics on the study of economics of literature and its positive elements in market, such as literary production, publication, distribution, and consumption.
4.
2010.06
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This paper intends to reveal that Eliot’s life entered a profound influence upon his earlier poems, especially in the unpublished work, Inventions of the March Hare: Poems 1909-1917, which was edited by Christopher Ricks in 1996. Eliot said that there might be the experience of a child of ten, a small boy peering through sea-water in a rock-pool, and finding a sea-anemone for the first time: the simple experience (not so simple, for an exceptional child, as it looks) might lie dormant in his mind for twenty years, and re-appear transformed in some verse-context charged with great imaginative pressure. This paper deals with the personal experiences of his early years, from his boyhood to the time when he returned for the autumn term of 1911 and enrolled as a graduate student in philosophy; that is, the inhibiting circumstances from Unitarianism, the emotional conflicts between him and his parents from preparing for Harvard University, and from his mother’s opposition to studying abroad in Paris in 1910. In his poetry, Eliot reveals his passion for studying abroad in Paris that he kept in his mind even before graduation from Harvard University, and he also expresses his circumstances through his poems indirectly, something which he would not dare communicate directly to his strict family. For example, in the situation that he already had lost interest in Boston, the streets already seemed so boring and also it seemed the “Mandarins” says the oppressed feelings of his family that had been against the abroad study. He also expresses himself as a clownesque or a marionette, which even can’t make any decision about themselves.
5.
2010.06
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It is well known that Eliot’s The Waste Land resulted from the collaboration between Eliot and Pound; however, what Pound had done in the making of the poem has been unknown until 1968 when the manuscript of the poem was found at the New York Public Library. Valerie published the Facsimile version with the photocopied original typescripts, which has contributed our understading of the collaboration between Eliot and Pound, and Pound’s contribution to the making of this poem. Pound suggested many revisions in the manuscript, but it seems that he refrained from forcing Eliot to accept his suggestions. Eliot must have realized what Pound had suggested would have made his poem more compact and precise in diction and would also refine the meaning of the poem. Though he was ready to incorporate some Pound’s suggestions and emendations, Eliot did not accept all of his suggestions; had he incorporated these rejected suggestions, his motif and diction would have been weakened and rendered unclear and ineffective; Eliot surely knew his own poem better than anyone, including Pound; there must have been things Pound could not fully grasp. The Waste Land is a fruit of a remarkable cooperation between the two great master poets of the last century, Eliot and Pound.
6.
2010.06
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T. S. Eliot uses many biblical passages throughout his poetry. Although he changed his faith from the Unitarian church to the Anglican Catholic church in 1927, he extensively uses the Bible to extend poetic significance of his poems. Before he converted into an Anglican Catholic, he mainly incorporates biblical text into his poetry to strengthen religious authority. One of the most important poems in which he poeticizes biblical text is “The Burial of the Dead” of The Waste Land. In The Waste Land, Eliot consistently mixes the prophetic messages of Isaiah, Ezekiel, Ecclesiastes, and John to achieve relative interpretation in “The Burial of the Dead.” However, he does not follow traditional, universal, and absolute interpretations of the Bible in the context of his poetic theme. Rather, he takes biblical text as one of many pluralistic religious poetics. In this sense, his biblical interpretation is plural, relative, and flexible. By using a pluralistic interpretation of the Bible, he extends his poetry into more mythic, philosophic, universal, and religious authority.
7.
2010.06
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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.
8.
2010.06
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In the 1910s and 1920s, T. S. Eliot had frequently made interesting remarks on politics and commented on political issues through literary journalism. In his writings, he expressed a strong dislike for liberal democracy, a main current of British as well as universal political movements then. After taking up the editorship of The Criterion in 1922, Eliot advanced his opinions persistently against liberal democracy on political and literary issues through the quarterly review.This paper examines Eliot’s political ideas reflected in his various writings in The Criterion right after his conversion to the National Church of England in 1927. This examination finds that the political ideas of Eliot and other contributors in the review have close affinities with those expounded by the French political thinker, Charles Maurras, who was a champion of French monarchism, Classicism, Catholicism, and who condemned liberal democracy after the French Revolution. Although Eliot retained some of his family politics, much of his reactionary ideas against liberal democracy germinates from the thoughts of Maurras. For Eliot, liberal democracy in politics was not conducive to the excellence in the of arts as well as modern culture. However, after the condemnation of Maurras by the Vatican, he turns to Christian politics, which must be in service of the Church.
