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
제13권 제2호 (2003년 12월) 6건
1.
2003.12
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Eliot wrote Four Quartets to release the English from their fear of death and destruction during the Second World War by means of religious belief, and as a result, he reinforced his belief in Christianity as well. For this purpose, he chose the historical sense related to his impersonal theory and discussed in his early criticism, “Tradition and Individual Talent,” wherein he explained the real meaning of tradition. In the poem, Four Quartets he makes a journey into the past in order to arrive at our divine origin. In Four Quartets Eliot presents the historical sense as a sense of time and the timeless, attaching more importance to the latter. According to him, time can be restored through the historical sense, which means that history deals with, not the past events themselves, but their meaning in connection with the general truth of life that is timeless. For Eliot the truth is God's Word. Death is predominant in Eliot’s historical sense since every life ends in death. Death has two different meanings: one is the end of human life; the other, the beginning of a new spiritual life. A man's life can appear to be meaningless, but its meaning will be completed by his death when he is united with the other dead. In the poem Eliot recalls not only his ancestors’ past life but also our prehistoric one and places stress on our inevitable and ceaseless death. Death, however, can lead to a spiritual life as manifested by Christ's Resurrection. The bell tolled by the ground swell not only announces our imminent death, but also another annunciation: that is, the Annunciation means God's Word signifying Christ's Incarnation. Eliot made great efforts to convey God’s Word in his poetry, which resulted in his despair of human words. In this poem he eventually turns to religion and realizes the truth of God's love in our death in the religious community of Little Gidding, exclaiming, “History is now and England.”
2.
2003.12
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This article explores the coexistence and interaction with the Other in T. S. Eliot looking in particular at different cultures’ relationship. This study escapes the usual label that Eliot tends toward one-sided emphasis on a rapprochement with England, Europe, and their traditions. Eliot begins with the epistemological argument that we can’t find anything original or ultimate. He accepts “finite centres” or “points of view” instead of the “self” and defines the unified self as an “ideal construction.” “A point of view” is conscious of the fragmentary world and identfies it with whole universe. Eliot holds that “a point of view” depends upon and interacts with other points of view and interprets experiences. In the relation of cultural community to each other, Eliot asserts that each community is based on its own tradition. Tradition can exist only through its application to particular situations by its participants who appropriate and implement the tradition, according to their particular situational interests and needs. It embodies and maintains the common meaning and “identical reference” of various finite centres. Since tradition is the cooperative consensus of various viewpoints, it follows that each cultural community is conscious of a point of view, which negates the wholly cognized and calls for taking cognizance mutually. Each community never achieves a purely unprejudiced God's eye-view which is alleged the only true understanding. Eliot focuses on the condition where a community resists assimilation into other communities and embodies incommensurable difference in diverse communities. He believes that a greater uniformity of culture seems likely to result from the pressure of one civilization, which brings about a lower grade of culture altogether. Cultural communities, while remaining distinct, should be able to mix freely. Eliot advocates each community has its own distinguishable tradition, which should also harmonise with, and enrich, the cultures of the others. He shows the desire to escape the limitations of a point of view and extend the reference through interaction with the Other.
3.
2003.12
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On 29 December 1926, Pope Pius XI promulgated the decree of officially condemning a number of books by Charles Maurras, one of the principal directors of the “Action Française” movement in France, and the daily newspaper Action Française, the official organ of the movement. Subsequently, this historical event of European significance brought out heated controversy not only in France but also in England. The controversy between the Vatican and the “Action Française” found its commentary in the editorial page of the Monthly Criterion edited by T. S. Eliot, who was himself involved in the debate in the following pages of the literary review as well as the Church Times, the organ of the Church of England. Nonetheless, this significant event bearing on Eliot appears to have eluded a serious scrutiny of Eliot’s scholars. This study discloses the historical background of the condemnation of the “Action Française” by the Pope, and Eliot’s defense for the movement and Charles Maurras against the Vatican apologists.
4.
2003.12
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T. S. Eliot was deeply influenced by Dante, so the presence of Dante permeated many of Eliot’s works. This thesis intends to examine what Eliot learned from Dante and how Eliot used Dante in his own poetry afterwards. Eliot's articles or lectures such as “Dante” (1920), Clark Lectures(1926), Dante(1929) and “What Dante Means to Me”(1950), in which Eliot himself discussed Dante's influence, will be referred to. From his early poetry, Eliot cites and alludes to Dante, but uses Dante in the negative or ironical ways. Only after the conversion to Anglican Church does Eliot spiritually have the same tone as Dante, but still does not use him in the same context. This thesis takes note of this point and intends to reveal how Eliot wrote his poems while utilizing Dante. First, as Dantean poems we will read two Ariel Poems such as “Animula” and “A Song for Simeon”. Next, the heavily Dantean poem, Ash-Wednesday will be discussed with relation to The Divine Comedy and Vita Nuova. In Ash-Wednesday Eliot attempted to applicate the philosophy of Vita Nuova (New Life) to his time. Eliot thought Dante struggled to enlarge the boundary of human love toward the divine love. Dante’s Beatrice serves as a means of transition between such two loves. Such Beatrice-like figure is evident in Ash-Wednesday. Finally, Four Quartets is connected with The Divine Comedy. In both poems, the subject is the journey for spiritual freedom or the exploration of human consciousness. In Dante, the pilgrim’s journey is carried on through the Inferno and Purgatorio and finally towards the Paradiso, that is, the vision world beyond the here and now. Similarly, Eliot’s explorer wishes to go beyond the frontiers of ordinary consciousness. In Four Quartets the vision of heaven and hell alluding to Dante can be seen in many places. And the most vivid Dantean Infernal landscape appears in “Little Gidding” II, from the meeting scene of the ‘compound ghost’. Even though Eliot declared his imitation of Dante on this point, various meanings can be extracted, making his works a rather powerful creation than so-called imitation. To the end of the poem, Dante’s imagery of rose and fire is clearly apparent, but this is also depicted for Eliot’s own purposes. This thesis concludes that while quoting, alluding to, and utilizing Dante, Eliot could create his own unique poems.
5.
2003.12
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In his critical essay, “Virgil and the Christian World,” On Poetry and Poets(1957), Eliot said that “a poet may believe that he is expressing only his private experience; his lines may be for him only a means of talking about himself without giving himself away.” His theory of impersonality is a way of talking about himself without giving himself away. He could escape from personality and emotion by throwing up all of his mental anguish which he had suffered from and then transforming it into the materials for the poems. Indeed several times he talked about how “every poet starts from his own emotions.” What he is trying to say, through the theory of impersonality, is that every poet should do his best to transform his personal experience and suffering into the materials that can be considered to be objective and general. But he has a contradiction in his impersonal theory by way of showing his experiences more personal than objective or general especially in the early poetry. Eliot used ‘persona’ figures in his poems, through whom his personal experiences and thoughts would be spoken indirectly by means of dramatic monologue. Eliot, who was raised in a Unitarian family, was a shy, timid, and self-conscious person. Using ‘persona’ was a proper way for Eliot to hide himself behind it and speak his own mind and feelings through it. In conclusion, the childhood memories of Eliot re-appear, are transformed and are charged with great imaginative pressure. It is believed that the biographical elements are the key to unraveling the mystery hidden in Eliot’s poetry.
6.
2003.12
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T. S. 엘리엇은 ｢햄릿과 그의 문제들｣에서 세익스피어의 ꡔ햄릿ꡕ을 뿌리깊은 감정적인 소재들을 적절히 객관화시키지 못한 실패작으로 여기면서, 그 대안으로 객관적인 “일단의 사물, 정황, 혹은 일련의 사건”을 통해 정서를 환기시키는 “객관적 상관물”이라는 개념을 소개한다. 낭만주의와 빅토리아조의 문학에 불만을 표시하며, 감수성의 분열을 예리하게 의식했던 엘리엇은 프랑스 상징주의, 영국의 형이상학파, 이미지즘 등으로부터 “객관적 상관물”에 대한 영감을 받았다. “객관적 상관물” 이론은 단순한 실험의 차원에 그치지 않았으며, 이 기교적인 발견은 엘리엇으로 하여금 의미의 상실 속에 사는 현대인의 곤궁을 유기적인 전체 속에서 다룰 수 있게 해주었다. 그는 시어에 상응하는 독특한 경험이 있다고 간주하며, 사고와 정서를 환기시키는 “객관적 상관물”을 통해, 광범위한 지식을 동원하여 현대시 속에 황무지 같은 현대의 인간조건에 비젼을 제시할 만족스러운 상관물의 정교한 망을 구축하고자 한다.
