• 영어영문학
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• 제55권2호
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• pp.359-382
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• 2009

Eliot's The Waste Land represents the last century in many respects. While working on the poem in cooperation with Pound, Eliot intended to make "Gerontion" a prelude in The Waste Land. But, as we read in his letter to Eliot, Pound advised him against it. As a result, Eliot had excluded it from The Waste Land. "Gerontion" was published separately, as an independent poem. Between "Gerontion" and The Waste Land, we find that the theme and the techniques are very much alike. However, for this very reason Eliot and Pound must have had thought differently. Eliot must have thought that "Gerontion" would serve well as a preface to the long poem, The Waste Land. It will provide a good introduction to the long poem, he may have thought. In the meantime, Pound must have thought that such similarities in theme and techniques would weaken both works, which would be redundant. To Pound, it would be too much to have the summary of everything that is to be repeated in The Waste Land. Eliot intuitively followed Pound's judgment. Both "Gerontion" and The Waste Land have similarities in theme and techniques. The theme of both works is "aimlessness, spiritual sterility, barrenness" in modern man living in the waste land. For example, in "Gerontion," there appear an old man Gerontion, Mr. Silvero, Hakagawa, Madame de Tornquist, Fraulein von Kulp, who are representative of spiritual barrenness of modern world; in the same context, in The Waste Land those who are most representative of modern world are the Typist, clerk, Thames's daughters, Madamn Sosostris, Tiresias, Phelabas. And in terms of techniques, "Gerontion" and The Waste Land both use dramatic monologues, allusions, and the techniques of modern art, such as montage and mosaic. Here in these works Eliot in fact practises his theory of the "Objective Correlative" that he has invented.

• 영미문화
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• 제9권1호
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• pp.1-25
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• 2009

This paper attempts to illuminate the significance of the myth or mythical method used in The Waste Land, which Eliot adapted from Jessie L. Weston's From Rituals to Romance and Sir James Frazer's Golden Bough. While he was composing a modern epic, James Joyce's Ulysses and Igor Stravinsky's Le Sacre du Printemps made him sure that the mythical method would be the best way to make the non-relational and chaotic modern world into a work of art. Although he accepted F. H. Bradley's epistemology that one's actual experience is non-relational, he strongly put an emphasis on 'the unified sensibility' in John Donne's poetry with which a poet changes all the dissociated material into art. He also found another effective method to give the chaotic experiences an order, and to make them modern art: the mythical method in his contemporary anthropology. With the mythical method he incorporated the various barren, horrible and ugly aspects of modern world into a new unity in The Waste Land. In addition, he embraced his contemporary anthropological theory that a primitive life described in myths is a culture just different from modern culture, and heartily employed some aspects of primitive culture to make modern poetry as well as modern culture rich and exuberant.

• Strategy21
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• 통권42호
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• pp.53-82
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• 2017

Samuel Eliot Morison (1887-1976) was one of the pre-eminent historians of his generation. He was not only a famous historian at that time, but also was promoted to the rank of Admiral in U.S. Navy Reserve. Fifteen volume History of United States Naval Operations in World War II was published between 1947 and 1962, was not only a comprehensive report on the Navy's projection of power over two oceans, but a classic of historical literature that stands as the definitive treatment of it subject. Although he was fifty-five when war come to America in December 1941. Samuel Eliot Morison was determined to play a role. A professor at Harvard at the time, he joined volunteering for duty in the Navy. An experienced sailor, Professor Morison had earlier sailed that same routes taken by Christopher Columbus while researching his biography, Admiral of the Ocean Sea, which appeared in January 1942 th much acclaim and later got a Pulitzer Prize. Thus Morison plunged into the war, crossing the Atlantic aboard a destroyer. He assumed himself as "Parkman on the sea", tried to follow Parkman's historiographic method, not only participatory history but also literary style. And during writing History of United States Naval Operations in World War II, He emphasized two principles, publicity and objectivity. In terms of publicity, he always worried about who read history and why. In his pamphlet, "History as a Literary Art", he asserted it is useless if readers do not read a history which historians wrote. So he thought historians have forgotten that there is an art of writing of history. Therefore, he built his narratives around brightly rendered visuals and used the present tense to describe actions he witnessed firsthand, he wrote of the U.S. combat in very vividly. But strongly driven by publicity, he sometimes lost his balance in writing the naval history. For instance, the naval history became the focus of criticism for its prejudiced comments about the commanders. Also some reviewers asserted he did not secure the objectivity on writing the naval history. Although he sometimes deliberately torpedoed the objectivity of his work for strengthening publicity, by writing an extensive U.S. naval history, he introduced maritime history and naval history to the public widely. Until in early twentieth century, U.S. historians usually had been focusing their effort to the traditional areas, for example politic, economy, and etc. His intensive effort on the operations of U.S. Navy in World War II aroused a public interest in maritime and naval history. In conclusion, through using literary style and realistic narratives, historian Morison wrote a naval history for all the people which could appealed to the public.

• 한국산학기술학회논문지
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• 제20권12호
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• pp.597-607
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• 2019

본 논문에서는 음악 교육 관련 철학적 이론들을 정리하고 선진사례를 분석하는 과정에서 도출한 함의 점을 가지고 제주 음악 교육 방향설정을 위한 정책 제언을 하고자 한다. 음악 교육 관련 철학적 이론으로는 실러, 슈타이너, 듀이, 부르디외, 리머, 엘리엇의 주장을 살펴보았다. 그리고 독일, 베네수엘라, 핀란드의 음악교육 프로그램에서 교훈 점을 찾아보고 이를 중심으로 한 분석의 틀로 전문가 10인의 인터뷰를 바탕으로 제주 지역사회의 음악 교육의 방향설정을 위해 4가지의 맥락으로 정책제언을 하였다. 음악 교육에 대한 사회인식의 개선을 위한 제언으로는 시민들의 관용의지 확장유도, 평가보다는 격려와 지지의 표현 확산, 자아실현을 위한 교육으로의 인식 전환, 초중고 공교육 부문의 음악 교육을 위한 제언에서는 사교육 의존도를 최소화하는 정책 수립, 모든 과목 학습 과정에서 음악사례 응용, 1인1악기 연주 프로그램 운영, 초등학교에 음악과목 전담 강사 채용을 제언하였으며, 평생교육 부문의 음악 교육을 위한 제언에서는 예술부문 평생교육을 위한 교육비의 국가 부담, 마을단위별 평생교육 프로그램을 통한 연주단체 신설과 운영을, 제도적 측면에서의 정책으로는 제주특별자치도 문화정책과 내에 문화예술 분야 중 음악교육 전문직 채용, 제주특별자치도 의회 내에 문화예술분야 음악부문 정책 자문의원 채용을 제언하였다.

• 법제연구
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• 제55호
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• pp.193-237
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• 2018

최근 우리정부를 상대로 제기되고 있는 ISD 소송이 갑자기 증가하면서 소송의 진행상황에 따라 국내적으로 큰 혼란이 초래될 가능성이 크다. 이는 ISD 소송에서 외국인 투자자가 우리나라를 상대로 청구한 손해배상액이 수조원에 이른 경우가 대부분이기 때문이다. 심리가 이미 완료된 '론 스타사건'이나 최근 중재신청을 한 '엘리엇/메이슨 사건'의 소송결과가 나오면 소송의 승패에 따라 국제투자협정에 포함된 ISD 소송제도 자체의 폐기를 주장하는 여론도 분명히 생겨날 것이다. 전 세계적으로 체결되고 있는 대부분의 BIT, FTA에 일반적으로 포함되고 있는 ISD조항은 다수의 투자분쟁사례에서 보여주듯이 우리 정부의 공공정책을 제한하는 요소가 될 수 있다는 점은 분명하다. 하지만 이 제도가 반대로 우리나라의 해외투자자들을 현지국의 위법 부당한 조치로부터 보호할 수 있는 장치라는 점에서 ISD라는 소송제도 자체를 부정적인 시각으로만 볼 필요는 없는 것으로 판단된다. 우리나라는 이미 많은 국가들과 FTA와 BIT를 통해 ISD 소송제도를 허용하고 있고, 또한 새로운 국가들과도 FTA를 체결하기 위한 협상이 진행되는 상황이므로 향후 우리 정부의 공공정책에 대해 외국인 투자자가 ISD 소송절차에 회부할 가능성은 더 크게 증가할 것이다. 우리정부는 ISD 소송에 대비하기 위하여 중앙정부의 소관 부처에 정부 실무가와 민간 학자, 법조인 등 전문가 그룹으로 구성된 대응팀을 발족하여 ISD 소송에서 이슈가 되는 주요 법적 쟁점들을 검토하여 법리를 구축하고, 분쟁이 발생하면 동 대응팀을 가동하여 법리적으로 소송을 지원하고 소송의 증가에 대응할 수 있는 시스템을 갖출 필요가 있다. 특히 국제투자규범과 ISD 제도의 중요성을 인식하지 못하고 있는 지방자치단체 및 각종 공공기관들이 공공정책을 입안하고 시행하는 전 과정이 BIT, FTA 등 국제투자규범에 부합할 수 있도록 관련 정보를 공유하고, 교육함으로써 사전에 ISD 소송을 예방하기 위한 대책을 마련할 필요가 있다.