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한국현대영미시학회> 현대영미시연구> 서정시의 시간, 그리고 치유

KCI등재

서정시의 시간, 그리고 치유

Temporality and the Healing Power of the Lyric

손혜숙 ( Hyesook Son )
  • : 한국현대영미시학회
  • : 현대영미시연구 27권1호
  • : 연속간행물
  • : 2021년 06월
  • : 31-55(25pages)
현대영미시연구

DOI


목차

Ⅰ. 들어가며
Ⅱ. 시간성, 서사, 그리고 서정시
Ⅲ. 시간성과 치유
Ⅳ. 마무리하며
인용문헌

키워드 보기


초록 보기

My essay reads poetry as a site of resuscitation based on the analysis of the relation between temporality and the lyric. I suppose that temporality is the fundamental horizon of meaning in human life and one of the most appropriate perspectives for the investigation of the therapeutic power of the lyric. The traditional view of the lyric as a genre deficient of time is unsuitable to the apparent flexibility of the genre and fails to explain how it conjures up its healing power. Drawing on the methodology of narratology, I propose that the lyric transforms individual incidents and existents into a meaningful sequence from a specific perspective and presents it from a particular point of time. I analyze three lyric poems of William Carlos Williams, Alfred Lord Tennyson, and William Wordsworth as examples of simultaneous mode, prospective mode, and retrospective mode respectively. They demonstrate that the lyric employs a wide variety of temporal forms and constitutes its voice, focus, and events in the act of resuscitating the lyric subject. Its causal and syntagmatic string enables the reader as well as the lyric subject to overcome a crisis and negotiate a necessary transition. For this reason, I conclude that the lyric as a temporal genre provides significant insight into the human psyche and behavior, and enlivens and empowers us who are suffering from various hardships and traumatic experiences in the pandemic era.

UCI(KEPA)

간행물정보

  • : 어문학분야  > 영문학
  • : KCI등재
  • :
  • : 반년간
  • : 1598-138X
  • :
  • : 학술지
  • : 연속간행물
  • : 1996-2021
  • : 390


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저자 : 손혜숙 ( Hyesook Son )

발행기관 : 한국현대영미시학회 간행물 : 현대영미시연구 27권 1호 발행 연도 : 2021 페이지 : pp. 31-55 (25 pages)

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My essay reads poetry as a site of resuscitation based on the analysis of the relation between temporality and the lyric. I suppose that temporality is the fundamental horizon of meaning in human life and one of the most appropriate perspectives for the investigation of the therapeutic power of the lyric. The traditional view of the lyric as a genre deficient of time is unsuitable to the apparent flexibility of the genre and fails to explain how it conjures up its healing power. Drawing on the methodology of narratology, I propose that the lyric transforms individual incidents and existents into a meaningful sequence from a specific perspective and presents it from a particular point of time. I analyze three lyric poems of William Carlos Williams, Alfred Lord Tennyson, and William Wordsworth as examples of simultaneous mode, prospective mode, and retrospective mode respectively. They demonstrate that the lyric employs a wide variety of temporal forms and constitutes its voice, focus, and events in the act of resuscitating the lyric subject. Its causal and syntagmatic string enables the reader as well as the lyric subject to overcome a crisis and negotiate a necessary transition. For this reason, I conclude that the lyric as a temporal genre provides significant insight into the human psyche and behavior, and enlivens and empowers us who are suffering from various hardships and traumatic experiences in the pandemic era.

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3탈(脫)서정의 서정 ―루이스 그릭의 『충직하고 고결한 밤』

저자 : 양균원 ( Kyoonwon Yang )

발행기관 : 한국현대영미시학회 간행물 : 현대영미시연구 27권 1호 발행 연도 : 2021 페이지 : pp. 57-92 (36 pages)

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Louise Glück has a distinct poetic voice whose lyrical appeal seems to depend on her personal honesty. Readers are likely to feel as if the poet herself spoke directly to them in a confessional way. However, it would overlook the flexibility and complexity of what comes out of her annulled or negated self. Granted that she is somehow lyrical in the Romantic tradition, this paper intends to examine how she is to utter a deliberately detached voice with emotional intensity, standing against lyricism. A close reading will be given to “Faithful and Virtuous Night,” a title poem from her 2014 National Book Award winning collection.
“Faithful and Virtuous Night” can be appreciated with its full meaning when the speaker is approached as without egotistical self. Without preconceptions about the world, the speaker is at liberty to respond what comes to her body and mind. In her negative capability, biographical materials are mingled with, and extended to, the speaker's aspirations and introspections. The anecdote of orphan's solitude is both lyrical and metonymical. It feels like personal, but it still is capable of evoking all the places where we are isolated between what things are and what they might be.

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초록보기

In literary criticism, the dynamism of a text is typically dealt with in its semantic dimension. Halter's idea of the tension between the referential and self-referential energies also explains the dynamism of Williams' poetry in terms of words in multiple combinations and resultant polysemy. This semantic dynamism can be a useful tool, especially when it counts in perceptual meaning as well as conceptual one, to explain innovative literary texts that deny the logic of the linear narrative.
Williams' poetry, however, lies out of reach of the explanatory tool because for him the movement of a poem is physical rather than semantic or even than literary. The prosodic structure of his poetry embodies his dance, his sympathetic pulse by imagination while he is in contact with reality. The dance itself is the movement of his consciousness, which is however embodied physically into a series of waves of rhythm. It is the rhythm unit, 'measure' that enables his poetry to embody the movement of consciousness because its flexibility makes it precise and subtle enough to exactly render thoughts and feelings.

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다운로드

(기관인증 필요)

초록보기

In his poem “Birches,” Robert Frost says that “Earth's the right place for love.” This assertion sounds unexpected, because readers cannot find appropriate contexts for the assertion. This study tries to trace hidden contexts to define what Frost means by 'love.' Many of his poems are structured with pairs or pairing of contraries and opposites. Contraries prevail in both the natural and human worlds. Frost does not make any attempts to reveal when, where, and how the contraries were created. They just exist in the worlds to regulate some existential conditions. Contraries usually result in conflicts, but also create meanings. Love results from the contraries, or the reconciliation and interplays of contraries. When people are not exclusive or do not try to homogenize others in the face of contraries, and when they 'go by contraries,' they can experience love. Love is creative acts and choices in going by contraries, which Frost means by love. Without love, life can lead to a chaotic void. Love gives an order and orientation to a world which exists and runs in contraries and opposites. According to Frost, the earth consists of contraries and people must touch the earth. This is why earth is the right place for love.

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2서정시의 시간, 그리고 치유

저자 : 손혜숙 ( Hyesook Son )

발행기관 : 한국현대영미시학회 간행물 : 현대영미시연구 27권 1호 발행 연도 : 2021 페이지 : pp. 31-55 (25 pages)

다운로드

(기관인증 필요)

초록보기

My essay reads poetry as a site of resuscitation based on the analysis of the relation between temporality and the lyric. I suppose that temporality is the fundamental horizon of meaning in human life and one of the most appropriate perspectives for the investigation of the therapeutic power of the lyric. The traditional view of the lyric as a genre deficient of time is unsuitable to the apparent flexibility of the genre and fails to explain how it conjures up its healing power. Drawing on the methodology of narratology, I propose that the lyric transforms individual incidents and existents into a meaningful sequence from a specific perspective and presents it from a particular point of time. I analyze three lyric poems of William Carlos Williams, Alfred Lord Tennyson, and William Wordsworth as examples of simultaneous mode, prospective mode, and retrospective mode respectively. They demonstrate that the lyric employs a wide variety of temporal forms and constitutes its voice, focus, and events in the act of resuscitating the lyric subject. Its causal and syntagmatic string enables the reader as well as the lyric subject to overcome a crisis and negotiate a necessary transition. For this reason, I conclude that the lyric as a temporal genre provides significant insight into the human psyche and behavior, and enlivens and empowers us who are suffering from various hardships and traumatic experiences in the pandemic era.

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3탈(脫)서정의 서정 ―루이스 그릭의 『충직하고 고결한 밤』

저자 : 양균원 ( Kyoonwon Yang )

발행기관 : 한국현대영미시학회 간행물 : 현대영미시연구 27권 1호 발행 연도 : 2021 페이지 : pp. 57-92 (36 pages)

다운로드

(기관인증 필요)

초록보기

Louise Glück has a distinct poetic voice whose lyrical appeal seems to depend on her personal honesty. Readers are likely to feel as if the poet herself spoke directly to them in a confessional way. However, it would overlook the flexibility and complexity of what comes out of her annulled or negated self. Granted that she is somehow lyrical in the Romantic tradition, this paper intends to examine how she is to utter a deliberately detached voice with emotional intensity, standing against lyricism. A close reading will be given to “Faithful and Virtuous Night,” a title poem from her 2014 National Book Award winning collection.
“Faithful and Virtuous Night” can be appreciated with its full meaning when the speaker is approached as without egotistical self. Without preconceptions about the world, the speaker is at liberty to respond what comes to her body and mind. In her negative capability, biographical materials are mingled with, and extended to, the speaker's aspirations and introspections. The anecdote of orphan's solitude is both lyrical and metonymical. It feels like personal, but it still is capable of evoking all the places where we are isolated between what things are and what they might be.

KCI등재

4윌리엄즈 시의 역동성

저자 : 최문수 ( Moonsoo Choi )

발행기관 : 한국현대영미시학회 간행물 : 현대영미시연구 27권 1호 발행 연도 : 2021 페이지 : pp. 93-117 (25 pages)

다운로드

(기관인증 필요)

초록보기

In literary criticism, the dynamism of a text is typically dealt with in its semantic dimension. Halter's idea of the tension between the referential and self-referential energies also explains the dynamism of Williams' poetry in terms of words in multiple combinations and resultant polysemy. This semantic dynamism can be a useful tool, especially when it counts in perceptual meaning as well as conceptual one, to explain innovative literary texts that deny the logic of the linear narrative.
Williams' poetry, however, lies out of reach of the explanatory tool because for him the movement of a poem is physical rather than semantic or even than literary. The prosodic structure of his poetry embodies his dance, his sympathetic pulse by imagination while he is in contact with reality. The dance itself is the movement of his consciousness, which is however embodied physically into a series of waves of rhythm. It is the rhythm unit, 'measure' that enables his poetry to embody the movement of consciousness because its flexibility makes it precise and subtle enough to exactly render thoughts and feelings.

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