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
제19권 제2호 (2009년 12월) 12건
1.
2009.12
서비스 종료(열람 제한)
T. S. Eliot’s career began with a struggle between poetry and philosophy. The agon featured Dante, whose work informed Eliot’s earliest poems, and F. H. Bradley, whose thought was 배e subject of his Ph.D. thesis. Eliot's most detailed discussion of the connection between poetry and philosophy is contained in his 1926 Clark Lectures at Cambridge University, published as Varieties of Metaphysical Poetry. He defines the “philosophic poet" in Bradleyean terms as one who 객비arges immediate experience" by “drawing within the orbit of feeling and sense what had existed only in thought" (VMP 55,51). Philosophic poetry is work of the “highest intensity, in which the thought is fused into poetry at a very high temperature" (VMP 50). Eliot argues that Dante’s poetη perfectly i1Iustrates the integration of feeling and intel1igence, both in life and in art. 1n tbis paper, 1 explore Eliot’s allempt to negotiate the c1aims of philosophy and poetry, as represented by Bradley and Dante, and his ultimate decision to abandon a promising career in philosophy for a tenuous career in poetry. Eliot's ambition of becoming a 개bilosophic poet," combining Bradley and Dante, was realized in bis Dantean sequences Ash-Wednesday and Four Quartets.
2.
2009.12
서비스 종료(열람 제한)
This lecture for Ihe T. S. Eliot Inlernational Summer School on the grounds of Little Gidding aims 10 reconstrucl Ihe exlent of Eliot's knowledge of Lilt1e Gidding before his firsl visil in May 1936, five years before he began 10 compose lhe poem in luly 1942. In a reading of “Little Gidding," Ihe 1eclure goes on 10 show how E1iol’s fami1iarily wilh Ihe lives and activities of Ihe Nicholas Ferrar family from 1625 10 1937 manifests ilself in the imagery and enhaoces Ihe sense of place and history that he creates in the poem. Drawing upon his correspondence aboul the composition of the poem, particularly his desire 10 build into its texture an “acute personal reminiscence, never to be explicated," the leclure concJudes Ihal “Little Gidding" is in part a love song of great loss and deep regret, and Ihal in the “11 sub1imation of his 10ve for Emily Ha1e, his Beatrice, he comp1etes his own Vita Nuova.
3.
2009.12
서비스 종료(열람 제한)
Eli이 wrote the unfinished drama, Sweeney Agonistes: Fragments 01 the Aristophanic Me/odrama after The Waste Land and just before bis Christian conversion. He himself put the subtitle of ‘melodrama’ in it in 1932 and later published tbis poem under the group of “Unfinished Poems," which proves the writer’s intricate intention and concerns for this work. In spite of bis thoughtful cODsideratioDs, this work has not much appealed to the public and the scholars as might be expected. This article is to discover the significance of this work as a preparatory step for Eliot’s later works. The survey of tbe experimental strategies of Sweeney Agonistes: Fragments 01 the Aristophanic Me/odrama has revealed an important fact that Eliot wrote this work as an experimenlal ground for Ihe effeclive delivering of his theme to the public. For tbis purpose be has attempted some stylistic aids from both genres, poetη and drama, in this work. Firsl of all, Eliot utilizes the epigrapbs by introducing two representative perspectives on sin and redemption, the heathen Hellenic and the Christian, and implies the themes of his later works would focus on the latter one, that is, the spirilual exploration of Chrislianity. AIso be adopts one of the dramatic devices, the doubleness, whicb is to proceed witb two patterns of life in one work, the superficial daily one and the deep spiritual one, at the same time. Practically, Eliot shows the life of tbe 1920’s American low class in the first fragment of “A Prologue" while the next fragment of “An Agon" presents the under-pattern of the spiritual awakening tbrough tbe main character, Sweeney, with the invilalion of Doris to the he cannibal island to convert her. To use the advantages of the poetic form, EJi이 adopts musicaJ methods such as the jazz accompaniment and the chorus, which not onJy make up the compressed content of the pJay but derive the unconscious, immediate emotionaJ e따cts from the public even in the ignorance of the spirituaJ meaning of death and Iife. EJiot is aJso foJJowing the ruJes of the meJodrama such as the coincidence and the deJaying of the conclusion. In the work, Doris is obsessed by the idea of coincidence about her affairs and this work ends with Sweeney’s mlsslon as a missionary unfulfilled, which should be continually pursued in Eliot's later works.
4.
2009.12
서비스 종료(열람 제한)
This thesis intends to explicate T. S. Eliot’s Four Quartets with 배e image of the rose-garden as an important c1ue to it. The mystical experience of rose-garden is the starting point of “Bumt Norton", the first poem of Four Quartets. ln “Bumt Norton", this ecstatic moment of illumination can be said to save the poet from the flux of time, even momentarily. At tbis time Eliot applies the Dantean concept of “tbe still poinl of tuming world" to tbe rose-garden experience. This image of rose-garden repeats ilself in the rest of the poem. However, the meaning of visionary experience is criticized within the work itself. In the concluding section of “Easl Coker", tbe poet altempts 10 revise his altiludes to those mystical experiences. He wishes to put more value on the enlarged consciousness covering the collective community rather than the isolated ecstatic moment of one solitary mystic. ln “The Dry Salvages" he is concemed with giving poetic form to tbeological tbougbts sucb as Annunciation and lncamation. The poet accepts historic lncamation, namely the birtb and life of Jesus Cbrist on earth, as the intersection point of the limeless with time. However, when he poeticizes the Chrislian doctrine, he just takes the method of connecting lncamation with the small experiences of iIIumÎ.nation. Now we can realize the rose-garden experience of “Bumt Norton" as “The hint half guessed" or "the gift balf understood" of Incamation, as it were, a sbadow of lncamation. Finally, at the end of “Little Gidding" the poet reaches the rose-garden once more. At tbis time tbis last rose-garden could be thought to be a more expanded one than that of “Bumt Norton", for we know well tbat it only could be reacbed after various spiritual, p이itical， and historical disciplines.
5.
2009.12
서비스 종료(열람 제한)
T. S. Eliot’s The Varieties 01 Metaphysical Poelry(1993) shows that his interest in metaphysical poetry was not only focused on the seventeenlh century, but it also extended mainly from the thirteenth to nineteenth centuries, so as to examine how a new metaphysical poetry co띠d come into being in his own time. Eliot’s study of Dante Alighieri, John Donne, and Jules Laforgue had both theoretical and pra띠cal purposes. Theoretical1y, he wanted to give a more comprehensive and historical explanation of how sensibility was divided into thought and feeling, and practical1y, he needed to find a new voice for his own metaphysical poetry, although accepting tbat divided sensibility was not to be completely reconciled again. Wbat Eliot meant by “metapbysicality" covers bis own bighest standard of poetry by wbicb the poet sho비d at least consider in his or her background “배e problem of Good and Evi1." In bis current generation, Eliot diagnoses, the problem is almost “forgotlen," whicb is far worse than it being in doubt or disbelief. He tbought evil could even be “a backdoor to Christianity" as in Baudelaire. In his pursuit for contemporary metapbysical poetry, Eliot found some examples in French poetry sucb as Baudelaire, Laforgue, and Corbière. Especially in the poetry of Laforgue he discovered a new ironical voice, which came oul of the chasm between bis “innate craving for order" and his consciousness of an irrecoverably degeneraled sensibility in tbe world.
6.
2009.12
서비스 종료(열람 제한)
T. S. Eliot’s grumbling voice of desire is echoed in his poem, The WaSle Land, in terms of hypertext structure and its 10gica1 form. He might call it 피npersona1ity" or “objective corre1ative’‘ in a sense of poetics. 11 is noted that the poem goes beyond an aesthetic structure as seen in print 1iterature: succeeding ideas, deve10ping metaphors and metonymy and words functioning to deve10p a coherent and strong structure in terms of cyber 1iterature. This can be called hypertext poetry (hyper poetry) or hypertext poetics and we can see from the hyper structure and form of the poem hierarchica1 text(s) in a 10gic of metaphor signifying desire. Putting together the cyber nodes, which appear by clicking and a1so alluding to human desire, we can find the source in the internet web, app1ying the re1evant theme from lhe source to newer 1iterary works. The virtua1 rea1ily in the hypertextua1 poem is perceived to be fl비1 of Greek satyr images signifying improper behavior, degradation and mutation, not 10ve or beauty. In so doing, E1iot persistent1y and carefully arranges many symbo1ic personas in tradition, mytho10gy, and art by grave ironies and absurdities of 1ife. In a sense of hyper poetη， E1iot uses such personas with desire, or in anima, to constru띠 hypertextua1ity as a way of characterizing textua1 behavior to 1et us 삐nk about the re1ationship between the poem and hypertext c비ture. E1iot focuses on the technica1 structure of arrangement within the texl, Ihe 1inkages and points of connection between and within its different 1ines, sty1es, and entire fragments This paper examines the intemet sites of the poem to consider E1iot an arranger, comp비er programmer, and inlemel sile organizer in lerms of bypertextuality. He becomes a precursor for cyber lileralure, especialJy hyper poelry in conlrasl 10 James Joyce‘5 hyperlexl narralive, Ulysses. Consequenlly, the cyber links look veη knowledgeable, Ihus taking hold of bOlh alJusions as a lilerary device, and hypertext as a study device. 80th work in such a way tbat each reaches its f1비I potenlial, making Eliot's text more widely readable with alJ of ils connotations, and glvlng us a belter opportunity to study and undersland its form and meaning.
7.
2009.12
서비스 종료(열람 제한)
1. 들어가는 말
2. 화자(/들)의 목소리와 정체성
3. 기표 "왕국"이 만들어 내는 다양한 공간의 시학
4. 나가는 말
인용문헌
Abstract
8.
2009.12
서비스 종료(열람 제한)
Th.is article aims to interpret T. S. Eliot’s doctrine of th.e objective correlatÎve in terrns of th.e European tradition of organicism. A consideration of the organic implications in Eliot's major critical concepts, s찌u따c대h. as “ whole of fee터ling’r’”’ “끼un삐nt비i“fied sensibility," and "depersonalization," reminds us that Aristotle, Longinus, and Horace also highly valued the organic relation between the part and the whole and tbe organic unity of thought and feeling in great classical poetry. S. T. Coleridge had imported organic ideas from Gerrnan thinkers and applied tbem to bis Shakespearean criticism. Refuting the neo-classical view tbat Shakespeare failed to give an adequate verbal forrn and organized structure to his talent, Coleridge insisted that “no work of genius dares want its appropriate forrn," and eulogized Shakespeare’s organic verbal structure equal to his genius. But, contrary to Coleridge, Eliot underestimated Hamlet as an artistic failure on tbe ground that Shakespeare could n이 find the obj야tive correlative equivalent to Hamlet’s baff1ement. However, it is worth noting that in the course of denouncing Hamlet, Eliot invented his doctrine of the objective correlative, wbich is an adoption of the organic principle inherited from S. T. Coleridge and Gottfried Leibniz. In his Knowledge and Experience, Eliot noticed that, having essential organic features, Leibniz’s windowless monad was very similar to F. H. Bradley’s concepts of the finite centre and immediate experience. In these concepts of holistic and empirical idealism, the distinctions between the subjective and the objective, spirit and matter, self and the world, feeling and image, and forrn and content cann이 be maintained for their mutual interdependence. So, it should be said that the concept of the objective correlative was a special application of Eliot's general principle of “the unity of feeling and objectivity," for feeling and objectivilY are only discriminaled aspects of Ihe whole experience. He remarked Ihal there was Ihe mutual incJinalion of menlal feeling and verbal image 10 reacl upon one anolher so inexplicably that Ihe relalion should be said 10 be organic. Therefore, the organic features implied in his crilical concepls and, in particular, Ihe doctrine of Ihe 0비e이ive correlalive confirrns Ihal he achieved a rapprochement between modem poetics and Iradilional authority.
9.
2009.12
서비스 종료(열람 제한)
Tbis essay investigates Eliol's depersonalizing techniques in “Burbank with a Baedeker: Bleistein with a Cigar,‘’ which is chronologically the first of Poems (1920). To strengthen the process of depersonalization further, Eliot introduces some new techniques and modifies the old. One major reason for this technical shift is, paradoxically, Ibe increasingly personal nature of Eliot’s poetic subject during the period. As his su비ect maller became more personal, the need to Iransfonn it into something impersonal became more acute. With acutely personal and contemporary subject growing in his mind, Eliot finds a way further to depersonalize them in the quatrain poems, wbile keeping intact its constituent voices and poinls of view. He does this by borrowing Gautier’s fonn and lecbnique, tbrough an intricate tapestry of al1usions and mythic suggestions. 8y selling mytbical personages, i.e. mytbical points of view and voices, against the contemporary points of view and voices, Eliot inlroduces more impersonalized ref1ectors and façade 10 Ihe poem, a quest wbicb started in the shorter saliric poems in Prψock and continues throughout. The third person narration is another important way to depersonalize the personal experience, as Eliot used pronouns for a monitor of Ibe distance between the self and the world from the beginning.
10.
2009.12
서비스 종료(열람 제한)
Eliot's image as a highly reputable and influential literary figure does not go along with the personality as found in Four Quartets in terms of analytical psychology. What the reader is led to find there is the return to the world of his childhood, where the poet is ruled by the mother, rather than to seek for equal and harmonious terms with the anima-figures. Eliot strongly advocates Ihe communion wilh the Logos, which is parallel 10 the psychological encounler with the Self, the God-image. However, in Four Quartets there is hardly found any feminine participation, which is a vilal preliminary step for the union of the ego with Ihe Self. The role of the feminine element, the anima, in the development of the psyche is to strengtheD ego-consciousDess against the overwhelming power of the unconscious. The ego-coDsciousness, firmly established wilh stability and autonomy, is then ready to experieDce the EDcounter without the risk of self-diss이utiOD， achieving a harmony and balance in its relalioDship to the Self. Four Quartets is dominated by the motif of self찌bnegatioD and Eliot here appears to deDy the value of autonomy of the human, urging giviDg it up ahogether for an access to the Logos. Analytical psychology would n이 see this posture as any way leading to the goal of psychological development, the individuatioD, but just a regression to the mother-ruled childhood.
