본 논문의 목적은 엘리엇의 『황무지』에 나타난 죽음을 주로 전기적 접근과 부도덕한 성애가 죽음이라는 테이레시아스의 실체적 관점에서 조명하는 것이다. 히아신스 정원, 마게이트 백사장, 선술집에서 릴의 대화, 위험 성당, 밀레 해전 등의 장면과, 바다, 템즈강, 런던교, 시티와 런던, 예루살렘, 아테네, 알렉산드리아, 비엔나 등에서 성폭행, 죽음 또는 멸망이 병치‧직조되어 죽음의 함의와 상징성을 강화시키고 있다. 요컨대, 엘리엇은 황무지에서 제 1차 세계대전 중 에게 해에 익사한 친구들인 루퍼트 브루크와 다다넬즈 해협에서 익사한 장 베르드날 뿐만 아니라 죽음의 기원을 하는 꾸마에의 무녀, 슈타른베르크 호수에 미쳐서 익사한 루트비히 2세, 익사한 페니키아 선원의 타로 카드, 즉 플레바스, 밀레 해전에서 익사한 스텟슨, 미쳐서 연못에 빠져 죽은 오필리아, 궁전이 파괴되어 흙속에 파묻힌 첨탑에 유폐되어 몰락한 아뀌뗀느 왕자, 다시 미치고 자살하는 이에로니모 등과 같이 미쳐서 물에 빠져 죽고 싶은 죽음에의 염원을 암시적‧상징적으로 표백함으로써 죽지 않고 재생의 방법을 찾게 된 것이다

Boredom has been recognized as an important cultural symptom in the formation of modernism. Charles Baudelaire, who had affected to a remarkable extent upon modernism, was representatively a poet of “spleen” or in other words, “boredom.” It is widely conjectured that T. S. Eliot, who was once under the influence of Baudelaire, was interested in the problem of boredom as a socio-cultural phenomenon. There have been several terms that designate the similar meaning to boredom such as, melancholy, acedia, ennui and so on. As they are various, the individual meanings and usages are slightly different. However, it is widely acknowledged that the concept of boredom first emerged before and after the World Wars to be merged into modernity. Therefore, the problem of boredom shows the slice of human mentality in an industrialized and urbanized society that may expands into the existential problems. In this respect, The Waste Land shows the barren and sterile landscape of human mind after experiencing the World War, in which people had witnessed absurdity, meaninglessness of life, the sense of emptiness, and the overwhelming boredom. Eliot suggests lots of images of boredom in the poem, these images sometimes appear directively and other times by way of providing barren images of natural landscapes that metaphorize the human existential conditions. Most of such images are very much poetic; and also at the same time, they are the life conditions that modernist writers tried to express as the core essence of life in modernism. The Waste Land is one of the most representative texts that show this relationship between boredom and modernism.

he main aim of this essay is to extract similarities between James Thomson’s The City of Dreadful Night of and The Waste Land. The names of the two poets have often been mentioned in connection, but the relation between their poetry has not drawn a serious attention. This essay is meant to track possible exchanges between the poets by examining mainly The City of Dreadful Night and The Waste Land. My focus has been on how Thomson influenced the urban scenes in Eliot’s poems and the images of the “Unreal City,” which are centered on London.Thomson’s poetry shows much influence from Dante. I have tried to present a meaningful number of verbal details showing that Eliot’s reading of Thomson was not confined to The City of Dreadful Night. Thomson seems to have also been a major influence on Eliot’s general thoughts and techniques. Eliot seems to make a good case of how a later-coming and greater-talented poet can make a more universally-appealing work out of the stuffs a locally-confined predecessor presented to the world.

According to Martin Heidegger’s argument that human emotions and feelings play an important role in defining modernism, the elements of melancholy must have been a crucial element in characterizing modernism. In this respect, T. S. Eliot’s “The Love Song of J. Alfred Prufrock” and The Waste Land that are regarded as reflecting modernistic phases have been analyzed to show how the elements of melancholy appear in them and to what degree they present modernity. The keen awareness of fragmentation and the impossibility of totality in modernism as part of modernity has been shown to have a lot to do with melancholy. The concept of melancholy is not a brand new term which was born in modernism, rather it was a “reinvented” and “reassessed” concept that already has quite a long history. On the threshold to the contemporary era, a number of critics and writers came to be deeply interested in and did a lot of research about melancholy. Remarkably, modern critics are doing insightful studies that can illuminate the deceitful desires that are produced by capitalist society that leave people in discontentment permanently, which acts like a sense of loss. Their analyses about the mechanism of melancholy are expected to help analyze the relation between melancholy and capitalist society. In that aspect, even though melancholy appeared in modernism era, still the concept of melancholy seems to be a great issue that can be very helpful to understand the cultural aspect of contemporary era.

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.

This paper investigates teaching The Waste Land to both undergraduate and graduate students at Andong National University in Korea from personal and pedagogical perspectives. First of all, the correct translation of the original text into Korean Language is very crucial in the appreciation of T. S. Eliot’s modernist masterpiece. Incorrectly translated words or phrases by several prominent translators are noted and the correct or more appropriate translations are thoroughly indicated. The poem’s theme that immoral sexuality is death is explored mainly by biographical and mythological-archetypal criticism. In addition to the Tarot cards, quite a lot of pictures I took in such places as London, Kew, Starnbergersee, Hofgarten, Lac Léman, Vienna, etc mentioned in The Waste Land are used to enhance the pedagogical effect. Furthermore, my blog entitled “Flowers, Nature, Travel, and Poetry” (http://blog.paran.com/blueskyflowers) in Korean and the cassette tape, video and DVD containing T. S. Eliot’s voice and vision are also strongly recommended for this purpose.

is paper tries to identify the deep meaning beneath the seemingly chaotic opposites the surface structure of the poem seems to insinuate. The fact is that The Waste Land is not so much a post-modern poem as a pre-modern one, provided we acknowledge that pre-modernity has trust as its hermeneutical principle. The Waste Land can be compared with Hopkins’ “God’s Grandeur”, which uses resurrection epistemology, as opposed to the extinct immanent epistemology, to demonstrate to the intellects the providence of God revealed in their lives and their environment. Like the resurrection epistemology of the 19th century, Eliot’s poem demonstrates the existence and working of God among themselves, in spite of the negativity of death and unreality prevalent in the modern world. Broadly speaking, modern scholarships of T. S. Eliot have been made with special reference to post-modern poetry, since there appear a lot of opposites in his poem. Appended for the explanation of the poem, “Notes” to The Waste Land use the languages of philology and impressionism in an exclusively confusing way, twisting the reading of the text into a worse confusion, with the result that it does not shed any light on the explanation of the poem. Chapman’s theory of doubleness the poet frequently resorts to in the making of his poetic works, points to the specific perspective beyond the ambiguity and chaos prevailing in the poem. Special reading strategy is in dire need for the right understanding of the text. Every reader approaching his text must retain the hermeneutics of trust, which is the “leap of faith.” With the hermeneutics of trust, every reader can penetrate into “the third” in the text, which can be identified as Jesus Christ whom the disciples met on the way to Emmaus. Without proper reader’s response, the reading practice itself would be futile and unreal, because the subjects it tackles are concerned aboutthe great proposition, salvation.

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.

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.

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.

This paper argues that The Waste land can be understood in terms of abundance and fertility, or life just as well as it can be in terms of ruin and desolation, or death. It captures the state of ruin or desolation or death in environmental metaphors such as the air-polluted London, the wastes-littered bank of the River Thames, and above all, the all-pervading super-dry environment it superbly presents. The barren sexual relationships between various couples are also used to present the female body on the same ontological status as the natural environment, both of them used as the dumping ground for human avarice or desire one example of which can be the commercial spirit represented by such figures as Mr. Eugenides. Against such destructive force as the avaricious commercial spirit that inevitably leads to the state of death, Eliot presents an ecological vision in which all creatures, whether animals, plants or mineral, are positioned on the same ontological level as humans. Eliot's readings, during his Harvard days, of biology, especially of heredity and eugenics as well as plant hybridization, and of eastern religions such as Buddhism, are adduced as the ultimate source of influence for such radical ecological vision as presented in The Waste Land. Eliot himself is thus argued to be a poet who attained the today's state-of-the-art ecological vision almost 50 years before any other ecological poets did.

Eliot's quoting of the teaching of Hinduism in The Waste Land could be interpreted as a case of "romantic orientalism" leading to a sort of colonial exploitation or vampirism taking life force from the non-Western. Aware of the easy pitfalls of post-colonialism as a "prejudice" against a prejudice of the West or "resentment" at and vengeance on the West, a post-colonial reading of the Western cannons dealing with non-Western sources should be done not in a tribunal of the non-Western accusers but in a fair and third tribunal. In Eliot's case, a thorough reading of the commands from Hinduism (give, be compassionate and control) in 'What the Thunder Said' will reveal that he is free from any charges of orientalism. "Shantih"(peace) coming at the end of 'What the Thunder Said' will determine the character of the commands from Hinduism. If it is interpreted as a reward, the commands are hypothetical ones―'if you do these, 'peace' will be given as a reward for your act'. But if it is interpreted as a gift, the commands are absolute and categorical ones in the Kantian sense―'just act, 'peace' may come as a gift, but not necessarily.' As ethical commands, they are absolute and categorical ones. And different interpretations of 'the Thunder' by its addressees demonstrate that the ethical command addresses each individual singularly. Absoluteness and singularity characterize the the ethical commands of 'the Thunder.' The ethical commands of Hinduism are applied to everybody in contrast to the command of the vegetation ceremonies applying to kings alone. In a time of vegetation ceremonies and the Grail quest, kings and knights are supposed to take all the responsibility on situations on behalf of people, who can sit back to watch the development and demand the sacrifice of kings if things go wrong. It is a time of heroes. But in the present when all heroes disappear, everybody can be a hero taking in charge of whatever happens. Nobody is exempted from the ethical command addressing not only inert and inactive people in 'the Waste Land' but Eliot and Tiresias, the seer of 'the Waste Land' and the readers. Whatever rebirth in the West or elsewhere will depend on faithful embodiments of the ethical command.