Seamus Heaney 詩에 나타난 전통

洪誠淑 한국제임스조이스학회 1997 제임스조이스저널 Vol.3 No.1

아일랜드 현대 문학의 중심추구 정신과 세계화의 전략

홍성숙 한국예이츠학회 1998 한국예이츠 저널 Vol.9 No.-

This paper starts with the hypothesis that Irish literature should be different from English literature in theme, feeling and the technique of expression. The differences the writer has found so far are as follows: the search for the father-omphalos, the personification of nature, the recognition of sex as an origin of creation, the search for aesthetics of darkness, the attachment to silence, the spirit of wandering, the cyclic view of the world and dramatic self-awareness, etc. Since the end of the 19th century, the Irish writers’ strong attachment to their own tradition has been expressed as their reaction to a sense of lack as reflected in terms such as “center,” “omphalos,” and “search for father.” This phenomenon accounts for the birth of Irish national literature. From Oscar Wilde and Bernard Show in the 19th century to the recent poet, Seamus Heaney, they tried to deanglicize and create their own literature. But through this process, they have not neglected the chance to become a master of the international literature, by using the language of enemy. And each writer has a peculiar method of deanglicizing. For example, Oscar Wilde and Bernard Show who contributed to cosmopolitanism of modern Irish literature attacked and illuminated the English audiences by the reversing play-role. Understanding the enhanced nationalism, W.B. Yeats and other revivalists of Irish literature integrated English culture and tradition into the nationalistic movement. This is why their works were called “the cracked glass of the servants.” J. Joyce and other modernists, in a genuine sense, sought for their original nationality and to do this, they tried to recognize the picture of themselves as paralysis. From the establishment of the Irish Republic to the recent, strong nationalism and internationalism, as it has grown as one of the European countries, have been reconciled. Modern Irish literature has succeeded in regaining its own tradition and reaching top as one of the international literatures, getting through the five phases. During the first phase it showed the spirit to reverse the English cultural system and value by preempting the role of the English. The second phase is the period when they stimulated the national feeling and praised national heros. At the third phase modernists including Joyce, Kinsella, and Clarke attacked the nationalism of the second phase, saying that it was like a bubble full of the imagination the English wanted, and they exposed the realistic viewpoint of Irish life to their literary works. The fourth phase shows the reconciliation between parochialism of P. Kavanagh and cosmopolitanism of J. Montague. The fifth phase shows that with the enforcing of nationalism caused by the Ulster Trouble, harmony of nationalism and internationalism has been sought. The most important element that has led modern Irish literature to the top level is the spirit of omphalos through their confidence in their own culture and the sense of lack, and thereby the attachment to losses in language, land and tradition. Besides these, modern Irish writers have oriented from the early period the Irish Republic towards an international country. The harmony of regionalism and cosmopolitanism, as well as that of individual interests and community interests, has led the Irish Republic to become one of the best postcolonial countries and cultural models.

Criticism Against the Modern Civilization in W. B. Yeats’s Poetry

홍성숙 한국예이츠학회 2002 한국예이츠 저널 Vol.17 No.-

예이츠, 엘리오트, 조이스등 모더니즘 문학작품 속에서 독자는 서구문명을 비판하는 목소리를 들을 수 있다. 모더니즘 문학은 르네상스 이후 4세기를 주도하면서 이루어낸 영국적 실용가치관이 주도한 현대문명을 비판한다. 가까이는 영국빅토리아 시대의 극단적인 형태의 정치, 경제, 도덕, 문화에 대한 공격인 것이다. 즉, 정치에 있어서는 제국주의, 경제에 있어서는 자본주의, 도덕과 문화에 있어서는 속물주의, 종교에 있어서는 기독교에 대한 반성과 해부를 그 특징으로 한다. 무엇보다 예술이 도덕, 정치, 종교의 시녀의 역할에서 벗어나 예술자체로 독립할 것을 주장한다. 따라서 예술은 그 실용성보다는 미 자체로 다시 태어날 것을 주장하고 있다. 예이츠의 부르주아 문명에 대한 비판은 그의 영적이고 시골적인 것을 찬미하는 기질과 그의 18세기 앵글로 아이리쉬 문화에 대한 애착 그리고 순진하고 신선한 원시성을 지닌 아일랜드 풍물에 대한 매튜 아놀드 같은 이의 찬미에 힘입어 주로 실용적 가치관으로 무장한 아일랜드 중산 계급의 심미적인 결핍을 공격하는 양상을 띤다. 한편, “재림”이라는 시에서는 서구문명의 해체까지를 예언하며, 또 한편으로 “비잔틴으로의 항해”에서는 예술에 의해서만 지배되는 세계를 그려낸다. 그의 문명비판의 특징을 좀 더 확실히 규명하기 위해, 서구 문명을 소유와 지배로 규정한 아도르노와 비교해 본 결과, 예이츠가 부르주아의 소유욕을 비판할 지라도 아도르노처럼, 서구 문명에 내재된 착취, 지배라는 사회학적 억압기재를 찾아내지 못했다. 돈과 실용적 가치관으로 무장한 자본주의에 심취한 부르주아는 죽음을 미적으로 승화시킬 능력이 없고 성적에너지를 자연스럽게 구가할 수 없었으므로 그의 공격 대상이 되었을 뿐이었다. 다시 말하면 예이츠는 아도르노처럼, 문명을 지배와 억압이라는 사회학적인 차원으로 비판하기보다는 시적 가치와 미적인 삶을 충실히 구가할 수 없게 하는 파괴자로 인식한 것이다. 그런데 예이츠가 지배의 구조를 서구 문명 안에서 찾아내지 못한 것과 달리 그는 예술로만 지배되는 이상적 국가를 제시한 점은 그 역시 부르주아로서의 지배 욕구를 나타낸 것으로 볼 수 있다. 다시 말하면 예이츠는 문명의 속성인 지배를 향유한 계급으로서 지배와 착취의 현장을 외면했으며 피지배자들을 동정하기보다 그들의 미적인 결핍을 지적했다. 특히 그가 예술로만 지배되는 파시즘적인 미학을 가진 것에서 그의 부르주아로서의 지배이데올로기는 살아있다고 말 할 수밖에 없다. 예이츠와 대다수 아일랜드인의 공동 목표는 아일랜드적 문화를 만들려는 데서는 공통점을 보일지라도 정치와 경제적 독립을 이루는 면에 있어, 서로의 감각은 매우 큰 차이를 드러냈다고 평가된다. 그 당시 대다수의 아일랜드인들이 예이츠의 문학을 “노예의 깨어진 거울”로 평가 절하시킨 것이라든지 아일랜드 내에서 예이츠 미학에 대해 별로 호응이 없었던 것도 예이츠가 자신의 시에서 착취당하는 자와 착취의 현장을 외면한 것과 어느 정도 관련이 있다. 즉, 정치와 경제, 사회계급에 민감했던 아일랜드 중산계층은 예이츠의 예술 지상국 창조를 하나의 환상으로 보았을 가능성과 자신들에 대한 예이츠의 공격을 새롭게 도전하는 노예에 대한 상전의 방어로 보았을 가능성을 열어놓는다.

國際觀光마아케팅과 弘報戰略에 關한 硏究

홍성숙 대한신학교 1986 논문집 Vol.6 No.-

에밀리 디킨슨: 죽음 탐구자

홍성숙 청주대학교 인문과학연구소 2010 人文科學論集 Vol.41 No.-

Emily Dickinson is a peculiar poet in the respect that she was preoccupied with death throughout her life, which is proved by the fact that more than five hundred among one thousand and seven hundred poems she wrote concerned death. Such attitude of hers would have been made by her faith, puritanism, and deep and sore wounds of love. What I suggest here is that although she belongs to the traditional Christianity, she never brings forth the problems of sin and redemption to make the aesthetics of death: "Parting is all we know of heaven, and all we need of hell." Through rereading Emily Dickinson's poems dealing with death, we can see that, although her view of death is fundamentally based upon New England's puritanism, it also reflects the conflict between Christian theology and science. Emily Dickinson tries to view death as the threshold to the immortality based on puritanism. She has, however, started to have doubt towards the Christianity's heaven and immortality. And then she, as an investigator, begins to investigate what death is. In short, Emily Dickinson has a view of death as a modernist in the respects that, based upon modern science, she wants to investigate death and that she views it as a routine not dissociated from life. Furthermore, she attempts to decorate death with an aesthetic color. My last conclusions are that her death poems show certain conflicts between religion and science, and also between morality and aesthetics, and that she is an investigator of death as well as an experimentalist of death.

마르슬린 데보르드-발모르의 글쓰기

홍성숙 숙명여자대학교 아시아여성연구원 2008 다문화사회연구 Vol.1 No.1

르네상스 시에 나타난 죽음관

홍성숙 청주대학교 인문과학연구소 2009 人文科學論集 Vol.39 No.-

Through reading English Renaissance poetry from a view of death, we can see that the people of the era stood faced with a sense of fear and anger towards death, -like a warrior who resists the tyrant death, saying "I'll feed on death that feeds on man." Meanwhile Renaissance people associated death with sin, which reflects the idea that the paradise is allowed only to the people who do good deeds and repent and that the world after death is related to this world. Moreover Renaissance people think death as sleep can lead to peace. The writer infers from the above phenomena that Renaissance people's strong will to live and search for immortality were caused by their short span of life, which also accounts for why they chose a 'carpe-diem‘ way of life: while although Renaissance wanted to liberate people from God, it was a transitional period in which God still overdominated. Sir Walter Raleigh refers to death as the last scene of his comedy-like life ; Shakespeare describes death as a kind of sleep sometimes in the mood of anger; Donne as a sin and a gate toward heaven; and, Christopher Marlowe as something replaced for beauty, wealth and power of this world. What the Renaissance poets had in common is that their short life span and belief in the spiritual revival led to a contrastive way of life, -to wit, to enjoy this world or oppress their desires through penitence and prayer. Another common thing English Renaissance poetries show is that the personas are, on the whole, overreachers who desire their desires; ultimately they could achieve their dream of searching for immortality through procreation of descendants and poetries.

조지 허버트 (George Herbert)와 로버트 헤릭 (Robert Herrick) : 영국 국교도의 경건과 세속의 예

홍성숙 청주대학교 인문과학연구소 2012 人文科學論集 Vol.45 No.-

The two Anglican priests seemingly show the contrasting attitudes toward life: Herbert is stoic while Herrick epicurean. For Herbert, religious things such as church and Christian festivals and faith form the key poetic materials; for Herrick, mainly folks tales and pagan festivals, flowers, imagined lovers, fairies and suchlike do. Although the two belong to the same branch of church, Herbert is very religious while Herrick very secular. In Herbert's poetry, the relationship between woman and man is ascetic; in Herrick's poetry, it is seductive. The whole tone of Herbert's poems is argumentative and confessional; that of Herrick's poems seductive and frivolous. On the other hand, the two writers seem to have many things in common. The first thing they seem to have in common can be found in their views towards ceremony: they, as Anglican church's priests, identify writing poems with making buildings. The second thing is that their poems show the seventeenth century's aestheticism that tries to harmonize differences such as 'cleanly wantonness' and 'discordia concors'. The third one is that some of their poems are transformed into songs. Fourth, their poems are all preoccupied with death and they try to find a way to recover from the death. Their contrasting attitudes to life lead me to the hypothesis that the Anglican church itself has contrasting colours within it, that is, holiness and secularity.

마아케팅과 現代廣告의 動向

홍성숙 대한신학교 1985 논문집 Vol.5 No.-

현대기업의 사회적 責任에 關한 연구

홍성숙 대한신학교 1987 논문집 Vol.7 No.-