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한국현대영미시학회> 현대영미시연구> 분절적 자아 -디킨슨 시 화자의 의미

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분절적 자아 -디킨슨 시 화자의 의미

Articles : Discontinuous Self: The Significances of Dickinson`s Poetic Persona

오준영 ( June Young Oh ) , 허현숙 ( Hyun Sook Huh )
  • : 한국현대영미시학회
  • : 현대영미시연구 19권2호
  • : 연속간행물
  • : 2013년 11월
  • : 129-155(27pages)

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When it comes to Emily Dickinson, one of the most debatable issues is the diverse personas in her poems which deal with such various subjects as incomparable to any other poet`s works. The personas of Dickinson`s poems are in some works identified with her own voice but in much more cases voice the others, strangely enough, not her self but a child, beggar, the dead, the corpse or non human being`s. With these personas the poetic world of Dickinson reveals her way of recognition of self as fluid, segmented, and discontinuous, not as coherent and integrated. Her lyrical personas lead the readers of her poems to consider her poetic strategy of appealing her own views of self. It also elucidates her opposing attitude to her contemporary society`s general points of view on women. In this regard the diverse personas are Dickinson`s own medium to express her recognition of self as a woman poet: with all its brevity, repetition, and figuration. Thus her segmented personas led by her understanding of self play as impediment when one tries to grasp poems of Dickinson in a form of single narrative. The genre of poetry itself is a Dickinson`s way of demanding the reader that each of her poems should be recognized in its own meaning. There should be no single narrative put on her poems like that of prose. Her poems and her personas are poetic without any patriarchical oppression for wholeness. Dickinson`s rejection to traditional coherence is an evidence of her attempt to take in and advance the ideologically limited conception of women. Dickinson goes beyond the negatively imposed identity of women, that women are whimsical and dis-integrated. She oversets it by using the socially prescribed limitation as her tactic. With discontinuous poetic persona, Dickinson skillfully resists the idea of self as integrated unit with feministic intention.

UCI(KEPA)

I410-ECN-0102-2014-800-001499382

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  • : 어문학분야  > 영문학
  • : KCI등재
  • :
  • : 반년간
  • : 1598-138X
  • :
  • : 학술지
  • : 연속간행물
  • : 1996-2020
  • : 381


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1E. E. 커밍스의 개인성 찬미와 시적 구조

저자 : 김은성 ( Eun Seong Kim )

발행기관 : 한국현대영미시학회 간행물 : 현대영미시연구 19권 2호 발행 연도 : 2013 페이지 : pp. 1-29 (29 pages)

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E. E. Cummings has been regarded as one of the most experimental poets or an avant-garde poet in modern American poetry. He is also called an individualist who pursues an authentic self or true individuality. He celebrates the natural, personal, private, spontaneous, present, immediate, and concrete and rejects the opposites. Thus, Cummings` target is highly organized structures or forms of authority such as government, army, business, schools, and even churches. These organizations, he believes, rob individuals of their individuality and free will and impose conformity and sameness on them. Cummings` poetry is marked by some unique poetic experiments of unconventional typography and syntax, breaking rules of grammar and punctuation, and unusual capitalization and word spacing or coinage. The poetic experimental devices are a try to express the inexpressible or to capture the a-logical, a-linguistic, and a-experiential essence of things that orthodox typographical and grammatical structures are limited in revealing. And the devices demonstrate the poet`s desire to transgress the dominant values of his contemporary society and linguistic systems based on the values. Cummings belongs to a tradition of American individualism tracing back to Emerson and Whitman. Unlike his precursors, however, he recognized that American individualism was or would not be guaranteed in America. This doubt led him to redefine the authentic individual who could endure or move through dominant social controlling systems. This individual does not regard itself as the fixed center of the world, but is self-aware, self-creating, and self-sufficient figure of 'growing' and 'becoming.'

2“경계의 변형, 그리고 화해” ―조이 하조의 시와 북미 원주민 신앙

저자 : 박연성 ( Yeon Seong Park )

발행기관 : 한국현대영미시학회 간행물 : 현대영미시연구 19권 2호 발행 연도 : 2013 페이지 : pp. 31-50 (20 pages)

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This paper explores how the spiral structure transforms the dualistic and hierarchical boundary and contributes to promote understanding and reconciliation in the poetry of Joy Harjo(1951- ). Spiral structure is a concept that shows the influence of the indigenous American belief in the inherent spirituality within all life forms. Unlike the hierarchical structure, a pyramid where God, human beings and other life forms are clearly classified, the spiral structure is an image where all beings resonate. In “Autobiography” Green Corn dance evokes forgiveness in the speaker`s mind. In “Fury of Rain” and “Nine Lives” the whirling circle of storm energizes the poet with aspiration to transform into a perfect being. In “Eagle Poem” the circle of an eagle`s motion brings the viewer into the elevated state of being sacred. Through the spiral structure Harjo seeks to diminish barriers that separate humans from the natural world, thereby to return to a non-dualistic world and eventually to reconcile the alienated beings. “Transformations” expresses the indigenous American belief about interconnectedness of this world into next by mentioning a story about the dying old man. “Reconciliation,” is about a radical redefinition of a god, who extends into a mother, a father, and a lover. “The Dawn Appears with Butterflies” and “The Place the Musician Became a Bear” show how people continue their presence in the sacred circle of being. Through her poems Harjo is successfully suggesting a way of seeing our own lives in a new light. Transformation and a spiraled world structure eventually contribute in bringing mutual understanding and reconciliation.

3상징적 폭력,무의식,여성성 ―마지 피어시의 미국문화 다시 읽기

저자 : 박주영 ( Joo Young Park )

발행기관 : 한국현대영미시학회 간행물 : 현대영미시연구 19권 2호 발행 연도 : 2013 페이지 : pp. 51-72 (22 pages)

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This paper aims to explore how Marge Piercy`s poems reread American culture in terms of Pierre Bourdieu`s symbolic violence and its effect on femininity. Bourdieu stresses symbolic violence as the capacity to impose the means for comprehending and adapting to the social world by representing economic and political power in disguised, taken for granted forms. Bourdieu argues how the dominated accept as legitimate their own condition of domination. Deploying the arguments, this paper notices how Piercy`s poetry pays attention to the situation of women in the male-dominated power of language. Piercy`s poems, “In the men`s room(s)” and “Concerning the mathematician,” tend to show the patriarchal men controlling the dialogue and belittling women. This paper argues that Piercy`s conversation poems reflect the symbolic violence towards women in American culture and society. Furthermore, through her well-known poem, “Barbie doll,” this paper examines how Piercy`s poetry grasps the cultural view of the role women play in a 'must be beautiful' society, and analyzes the symbolic violence that enacts in defining 'beauty' in women. This paper points out that Piercy uses Barbie doll to symbolize American society`s notions of what the perfect woman should aspire to be as an ultimate goal of femininity. Piercy`s poems throw a new critical insight on the commodity of female body envisioned by patriarchal society.

4셰이머스 히니 시의 여성 원리에 대한 고찰 ―모성과 포용력을 중심으로

저자 : 염정인 ( Jeong In Yeum )

발행기관 : 한국현대영미시학회 간행물 : 현대영미시연구 19권 2호 발행 연도 : 2013 페이지 : pp. 73-104 (32 pages)

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Feminine quality has impressed Seamus Heaney, in terms of maternity and generous capacity. Therefore, mothers and wives in many of his poems have been described steadily and positively. Basically, Heaney has had a stable and very communicative relationship with his mother, which led to his resourceful empathic ability of women`s lives. Heaney has empathized women`s daily lives in which they suffered from men`s unilateral attitude. Heaney`s female characters have been mostly described as being conversant with generous capacity and maternity. Heaney has thought highly of this feminine quality and some critics has discussed it in Heaney`s poetry, calling it as a 'feminine principle.' Consequently, this thesis aims to discuss how this 'feminine principle' of Heaney`s poetry could be embodied and used to search for the women`s sufferings and capacity. This study also illuminates Heaney`s delicate description of male-female issues. Besides, it searches for what he proposes to look squarely at women`s sufferings, get over the limitation, and reach the possibility of true communion between men and women. When it comes to dealing with male-female issues, it ultimately faces communication gap and this is sort of verbal limitation. In the first place, This study focuses the issue of women`s troubles and distress focused on a few of female poems in Door into the Dark. Secondly, “clearances” in The Haw Lantern is mentioned based on the fact that this poem was written after experiencing the death of parents. It is expected to reflect his deeper consideration into communication issues and much more concentrate on female capacity. This is because the feminine capacity based on maternity is one of the major resource and the capital motivation of his poetry. Despite his considerate thoughts on male-female communication and women`s limitation, Heaney is ultimately not likely to have an insight into women as an independent character. However, there has been his endeavors to cast light upon feminine capacity. It is worth finding his style to voice women and express his stance toward them in his female poems. In conclusion, the most positive aspect of feminine principle, according to Heaney, is maternity and women`s unsparing capability to accept all sorts of absurdity and deal with sufferings. He trusted it as a potential to make this male-oriented world go round properly and balance it. Finally, Heaney`s female poems has thrown new light on women`s ability which has been neglected and found their voices.

5뢰트케의 후기시들 -자아의 내면 탐구로서의 자연과 여행

저자 : 정옥희 ( Ok Hee Jeong )

발행기관 : 한국현대영미시학회 간행물 : 현대영미시연구 19권 2호 발행 연도 : 2013 페이지 : pp. 105-128 (24 pages)

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Throughout his life Theodore Roethke loved natural objects intensely and wrote poems on nature with a different view from those of his contemporary poets. When indifferent objective descriptions of nature prevailed, his nature poems were filled with subjective interpretations of nature. In his poems the spirits exist in natural objects and the speaker is in communion with each natural object finding solace in the journeys he takes across North American continent. In a way, his thoughts about nature can be said to be similar to those of subjective Romantic poets or former American poets like Emerson or Whitman. This paper deals with Roethke`s later poems on nature and journey, which were published a year after his death. As he settled in Seattle where the sea and the land meet, he began to describe minutely the natural objects of his surrounding area and North American continent. The poems strikingly exhibit his conviction about the existence of spirits in nature and the possible communion of a human mind with natural objects. With his mental illnesses his troubled soul sought solaces in nature more. Roethke`s poems in his later years are sprinkled with his childhood memories, especially those in his father`s greenhouse. It becomes evident that the poet speaker gets personal salvation through observing nature and the souls` movements he perceives in natural elements. The poems are vivid and unique with the poet`s subjective interpretations of minute natural objects such as birds, trees and roses. They also achieve an unprecedented poetic effect through scientific yet subjective interpretations of nature.

6분절적 자아 -디킨슨 시 화자의 의미

저자 : 오준영 ( June Young Oh ) , 허현숙 ( Hyun Sook Huh )

발행기관 : 한국현대영미시학회 간행물 : 현대영미시연구 19권 2호 발행 연도 : 2013 페이지 : pp. 129-155 (27 pages)

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When it comes to Emily Dickinson, one of the most debatable issues is the diverse personas in her poems which deal with such various subjects as incomparable to any other poet`s works. The personas of Dickinson`s poems are in some works identified with her own voice but in much more cases voice the others, strangely enough, not her self but a child, beggar, the dead, the corpse or non human being`s. With these personas the poetic world of Dickinson reveals her way of recognition of self as fluid, segmented, and discontinuous, not as coherent and integrated. Her lyrical personas lead the readers of her poems to consider her poetic strategy of appealing her own views of self. It also elucidates her opposing attitude to her contemporary society`s general points of view on women. In this regard the diverse personas are Dickinson`s own medium to express her recognition of self as a woman poet: with all its brevity, repetition, and figuration. Thus her segmented personas led by her understanding of self play as impediment when one tries to grasp poems of Dickinson in a form of single narrative. The genre of poetry itself is a Dickinson`s way of demanding the reader that each of her poems should be recognized in its own meaning. There should be no single narrative put on her poems like that of prose. Her poems and her personas are poetic without any patriarchical oppression for wholeness. Dickinson`s rejection to traditional coherence is an evidence of her attempt to take in and advance the ideologically limited conception of women. Dickinson goes beyond the negatively imposed identity of women, that women are whimsical and dis-integrated. She oversets it by using the socially prescribed limitation as her tactic. With discontinuous poetic persona, Dickinson skillfully resists the idea of self as integrated unit with feministic intention.

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