• 영미문화
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• 제10권2호
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• pp.149-207
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• 2010

Written simultaneously with Prometheus Unbound, Shelley's "Julian & Maddalo" is a masterwork of dramatic poiesis, of doubling embedded in its couplets, dialogic debate on human nature and contrasted symbolic emblems. The emblems mirror each other and are themselves sites of generative paradox: the "heaven illumined" but "dreary tower" of the Maniac and the glorious sunsets on the "ever-shifting sand" of the Lido, a wasteland that is a place of self discovery but also of "abandonment" and barren mingling figured, inter alia, in its "amphibious weeds," a trope of the poem's personae. This essay also explores the poem's dramatic structure and various rhetorical devices, beginning with the Preface, a threshold of complex identity disguise that Shelley uses for veiled self-presentation, as in "Alastor," mirroring and literary references replete with nuanced ironies. I focus mainly on the complex figures of liminality Shelley uses to develop his own thoughts (as well as his ongoing debates with Byron) about man's potential for growth in thought, insight and empathy, in political reform and interpersonal and individual healing. Advancing Shelley's most optimistic ideas, Julian, escorted by Maddalo observes the Maniac, -- a living ruin whose pained eloquence reveals the link of eros to poiesis and the limits of the latter's ability to 'transform a world.' The Maniac is the core of muse-work (remembering, thinking and song) and Shelley presents him as its emblem. He also is prefigured in and reflects the quintessentially liminal Lido with its "barren embrace" of sea and land. Yet it is less the Maniac's feeling that his grief is "charactered in vain…on this unfeeling leaf" than Julian's rationales for leaving the site of pain that point to Shelley's final comment on poetry's transformative limits. As the primary haploids of the drama's meiosis re-combine and two of them, Maddalo and the maniac fall away, an analogy I briefly develop and embedded in the erotic dynamics of poiesis, Shelley suggests, as he did at the beginning of his poetic lyricism in "Alastor" and at its end in "the Triumph of Life"that images mislead and delude; that "the deep truth is imageless" and redemption is not in but beyond figuration.

• 디자인학연구
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• 제20권2호
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• pp.17-28
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• 2007

Despite a current fascination with East Asian iconography such as Zen Style among contemporary designers, there is a lack of genuine cross-cultural discourse that could enable us to share essential design experiences. To bring the discussion a deeper level, traditional Japanese tea-house in its design philosophy of body-mind interplay is explored. Tea-house is a superb manifestation to reveal a holistic understanding of the world. Nondualistic realization is generally associated with the dominant tendency of traditional East Asian philosophy, namely the view that the self and environment, and that the mind and the body exist in unity. The essence of tea-house is not in its poetic style or meticulous details, but in its unmistakably monistic approach of creating inseparable form, function and meaning. Tea-house bestows dignity upon restraint, imperfection, discomfort, poverty, and even humility. This concept offers a tremendous insight since it implies that the rational and effective design solution to the greatest degree is not sufficient. Perhaps the most challenging question about tea-house is: How does our experience with human-made 'design' in the broadest sense help both our body and mind attain a full harmony of being? It is the heading which this research inquires.

• 비교문화연구
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• 제39권
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• pp.153-176
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• 2015

Poet, painter and publisher, Roland $Gigu{\grave{e}}re$ is one of Quebec's outstanding figures, inspired by both Surrealism and Quebec nationalism. He participated in contemporary artistic movement 'Phases' and influenced collective self-awareness and political ferment, 'Quiet Revolution'. In La Main au feu(1973), his poetry represent a landscape dominated by darkness in contrast with red color of fire from the volcanic crater. The world is immersed in darkness of despair which allude to the Great Darkness of Quebec society. Acts of violence assume many different forms: crows, black rain, dark flow, frenzy of knife blows. Both things and humans are in the state of absence or lack. Life falls into opacity of death. In the background of dark landscape, we discover Miror, a singular character. Similar to chain of mountains and to bare forest, he is a creature that shape the tragic inner world of poet. He is as like as seismograph that record the tremble of being. Finally, in order to fight the darkness of environment, the poet attempt to use the power of fire of volcanoes. The flow of magma become paintings of his dream and the flame of eruption, poetry of cry toward the sky. 'La main au feu' means the will to resist injustice and repression in the world. The tragic reality is replaced by a dream that become second reality out of reach of the force of hostile external circumstances.

• 영어영문학
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• 제58권6호
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• pp.1167-1191
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• 2012

For Romantic women writers the paratext itself is essentially a masculine literary space affiliated with established writing practices; however, this paper suggests that Charlotte Turner Smith's mode of discourse in her use of notes and their relation to the text proper are never fixed in her contemplative blank-verse long poem, Beachy Head (1807). Even though the display of learning in the paratext partly supports the woman writer's claim to authority, this paper argues that Smith's endnotes also indicate her way of challenging the double bind for women writers, summoning masculine authority on the margins of her book while simultaneously interrogating essentialist thinking and instructions about one's identity in a culture and on the printed page. The poem shows how the fringes of the book can be effectively transformed from a masculine site of authority to an increasingly feminized site of interchange as Smith writes with an awareness of patriarchal, imperial abuses of power in that area of the book. There is a persistent transgression of cultural/textual boundaries occurring in Beachy Head, which explores the very scene and languages of imperial encounter. Accordingly, if Wordsworth's theory of composition suggests a subjective and abstract poetic experience-an experience without mediation-in which its medium's purpose seems to be to disappear from the reader's consciousness, an examination of the alternative discourse of self-exposure in Smith's poem reveals the essentially fluid nature of media-consciousness in the Romantic era, which remains little acknowledged in received accounts of Romantic literary culture.

• 한국게임학회 논문지
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• 제16권2호
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• pp.75-86
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• 2016

연극학을 통한 게임연구는 게임서사의 상호작용적 특성을 인문학적 배경에서 잘 설명해주었다. 이들 연구는 아리스토텔레스의 시학을 바탕으로 게임을 해석하고 있다. 하지만 사용자의 예측 불가능한 서사개입(능동서사)에 의해서 문제를 드러냈다. 본 논문에서는 능동서사가 아리스토텔레스적 모델에 어떠한 영향을 가져다주었는지를 파악하고자 하였다. 그 결과 능동서사는 드라마를 구성하는 질료간의 인과관계를 새롭게 구성한다는 것을 발견했다. 이것은 연극학적으로 보았을 때 '즉흥극'의 한 종류로 정의해 볼 수 있다. 하지만 그 발현의 형태는 행위의 질료와 방식에 의해 근본적인 차이가 있다. 게임의 환경에 특화된 게임 상 즉흥의 형태를 살펴보면 '자가 개성화', '자가 진형화', '기행의 경합', '트롤링', '버그 플레이'등으로 정의해 볼 수 있었다. 마지막으로 게임상 즉흥의 유형들과 예시들을 통해서 게임의 즉흥이 가지는 특성과 이를 통한 발전된 인문학적 게임 해석 모델의 방향성을 제시해 보고자 한다.

• 복식
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• 제51권6호
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• pp.5-24
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• 2001

This paper is intended to explore femininity the ideal beauty of body and the features in fashion pursued in the Fashion system and the Anti-Fashion Movement in the Victorian period, on which the modern fashion is based. For the informative facts needed in this paper, books on history, fashion history, feminism, art history of aestheticism and the ideal beauty of body are referred to. On the part Ⅱ of this paper, the femininity and the ideal beauty of body implied in the Aesthetic Movement and Rational Dress Movement as the anti-fashion movement in the Victorian period will be reviewed. Following are the conclusion : First, the works in Aesthetic Movement mainly include the image of sensual female. The essence of femininity is categorized by cultural value, poetic spirit. appetite for sex and self-expression. The ideal beauty of body pursued in this movement is the beauty of immatured body, which means rejection of maternity as well as appetite for sex in the form of metaphor of the power and enthusiasm of female. The features of Aesthetic Movement emphasize the image of sensual and characteristic woman. These features are expressed in the natural waist line and the vertical H silhouette of high waist, natural exposure of body by means of drapery, simplicity and decency by design without fixed forms and seemingly faded colors. Second, Rational Dress Movement attempted to evaluate the femininity in a different way and ultimately pursued masculinity. Therefore, morality, liberty, intelligence, spirituality, self-control, willingness, which had been believed to exclusively belong to male, are added to the categories of femininity. The ideal beauty of body is expressed in the form of Venus Coelestic which is refined and strong. This symbolizes woman's freeing from the fate of reproduction and subordinate relationship with male, morality, decision of one's own and willingness. The features of Rational Dress Movement represent the image of strong-willed and moral woman in its internal meaning. The features of its fashions represent the concealment of the body, emphasis on activeness in pants without decoration and simplicity in its external form. All these features resulted from the pursuit of masculinity.

• 영어영문학
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• 제58권4호
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• pp.723-752
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• 2012

Although his mythic poetry deals with the fall and resurrection of Albion as the origin of humankind, William Blake (1757-1827) simultaneously links it to the professionalization and unification of disciplinary knowledge itself. He particularly takes a great interest in the cross-referential relation of poetry to science. He argues for the communication of poetry and science on equal footing with each other without the former's prioritization over the latter, or vice versa. In his works Vala, or The Four Zoas (1797-1807) and Jerusalem: The Emanation of the Giant Albion (1804-1820), on which I focus in this essay, Blake's primary problematic is to display strong conflicts among different systems of knowledge. I approach this issue in light of the ideological clash of Newtonian thought, Romantic thought, and postmodern thought. In his poetry, Blake thematizes the very clashes of these different thought patterns. From the standpoint of Romantic thought, first of all, Blake problematizes Newtonian Enlightenment. He criticizes abstract universalization both in poetry and science, which Urizen, one of four Zoas, propagates. Protesting against Urizen's Newtonism, Los values "living form." Thus, Blake demonstrates, through this figure, that poetic imagination and scientific organicism are discursively communicative. Blake, however, also questions the network of Romantic science and Romantic poetry so as to suggest what current critics would call postmodern thought. Blakean postmodernism pursues the self-similarity of organic structure in science and poetry. Precisely, Blake sees polypus as a proliferation of organic body; he arranges four Zoas' self-repetitive stories in a non-linear way. Blake aspires for the conflicting coexistence of different thought patterns.

• 동양고전연구
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• 제69호
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• pp.259-296
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• 2017

본고는 화서 이항로가 학문 문로를 통해 정립한 학문관의 실체를 고찰하고, 시세계에 나타난 작법상의 특징을 구명한 것이다. 화서의 시가 그의 학문과 표리를 이룬다는 측면에 집중하여, "화서집"을 통해 화서의 학문관이 정립되는 과정을 추적하고 그의 학문관으로 특정화할 수 있는 개념어를 도출하였으며, 화서의 학문과 사상이 투영된 시를 위주로 하여 작법상의 특징을 고찰하였다. 분석한 결과를 요약하면 다음과 같다. 화서는 오서(五書) 오경(五經) 역사서 주자서 "송자대전"을 아우르는 학문 문로를 통해 '지경치신(持敬致愼)'을 근본으로 하는 학문관을 정립하고, '치지(致知)'와 '역행(力行)'을 병행하는 실천적 학문을 추구하였다. 화서의 시는 작법상에서 용사의 구사, 그리고 서사와 의론의 교직(交織)이 두드러진다. 용사에 있어서는 차용과 변용에 머물지 않고 어휘가 갖는 일반적인 함의를 넘어 새로운 의미를 부여하였으며, 더 나아가 조어(造語)를 창출해 내는 경지에 도달하였다. 화서는 역사적 사건과 인물의 행적에 따라 압축적으로 서사를 서술하고 의론을 개진하면서 정서를 표출하였다. 특히 맹자의 '일치일란(一治一亂)'의 역사관에 입각하여 서사와 의론의 교직으로 서술한 시는 화서의 학문과 사상이 집약된 것이자 화서의 문학성을 대표하는 것이라고 평가할 수 있다.

• 사상체질의학회지
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• 제11권2호
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• pp.39-50
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• 1999

지금까지 동무 이제마는 의학자 및 사상가로서의 측면에서 집중적으로 연구되어져 왔다. 그러나 본 논문에서는 동무의 이러한 면모 이외에 그가 지은 한시를 분석하여 동무가 문인으로서도 훌륭한 자질을 갖고 있었으며 독자적인 문학세계를 구축하고 있던 인물이었다는 사실을 규명하고자 한다. 문인으로서의 동무의 진면목이 밝혀진다면 이는 동무 연구의 새로운 경지를 개척하는 것이 될 것이다. 필자가 접한 동무의 한시는 모두 20수이다. 동무는 23세부터 35세까지의 청장년기에 한시를 주로 지었으며 44세이후 격치고를 저술하면서부터는 한시를 그다지 많이 짓지 않은 것으로 보인다. 동무가 지은 한시는 크게 두 영역으로 나눌 수 있는데 하나는 삶과 방랑의 과정에서 겪는 일상사를 형상화한 것이고 또 하나는 자신과 주변 인물들의 행동거지를 경계하는 자경시이다. 동무가 삶을 노래한 시는 4수 뿐 이지만 이 시편들은 모두 압운을 정확하게 지키고 있으며 시를 지을 당시의 내면심사가 곡진하게 표현되어 있고 수사적 표현도 세련되어 있어서 동무의 한시 문학 세계가 일정한 수준을 갖고 있었다는 사실을 확인시켜 준다. 그리고 그의 자경시는 한시의 정형성을 완전히 지키고 있지는 않은데, 이것은 당시 조선후기의 문단에 팽배해 있던 조선시의 자각과 일맥상통하는 것으로 주목된다. 특히 자경시는 그 내용이 동무의 사상과 유기적으로 연결되어 있어 동무의 사상이 시의 형태로 표현된 것으로 인정할 수 있겠다. 동무는 그의 한시를 통해 다정 다감하고 솔직한 인간적 모습을 드러내고 있다. 이러한 동무의 면모는 전혀 새롭게 밝혀지는 것으로써, 저명한 의학자요 유학사상을 바탕으로 한 사려 깊은 사상가로서의 모습 이외에 진정한 인간적 실상을 나타내는 것으로 의미 있다고 하겠다.

• 인문언어
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• 제5권
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• pp.167-192
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• 2003

When Hart Crane′s poem cycle The Bridge was published in 1930, a group of influential reviewers accused Crane of immaturity, sentimentality, and lack of focus. They condemned crane′s wayward, fuzzy mysticism as backwards-looking and self-defeating. Even sympathetic critics, such as Harold Bloom, have consistently portrayed Crane′s poetry as the pyrotechnic final fizzle of late romanticism. These persistent, public reservations, however, have not prevented an impressive proliferation in secondary literature concerning Crane since the late 1960s. His promiscuity, alcoholism, erratic behavior, relative poverty, tragic death, and total commitment to art have since earned him the labels of New World Rimbaud and proto-Beat. His colorful career thus explains in part his retrospective fame. Nevertheless, living hard and dying young do not guarantee artistic immortality. This article poses questions as to why Crane has mattered so much to subsequent generations of U.S. readers and what these readers find so compelling in his poetry. The answer, I would argue, lies in Crane′s idiosyncratic use of language. Far from striving for transparency, he writes in an inimitably obstructive, artificial manner. There is something seductive and absurd in his wild use of words here, I would further argue, we discover the reason behind both Crane′s enduring appeal and his supposed inadequacy as a writer. Crane did "torture" syntax, semantics, and conventional associations, not because he saw his unusual language as an eccentric mannerism but because he saw it as a tool in the service of constructing a "myth of America" and reintegrating the human and divine. Understanding thy he considered this to be the case clarifies Crane′s achievement and illuminates why his work still seems so relevant today.