문학 : 「스네드거스와 맥 리아글라의 항해」에서의 기독교의 옹호

이협 ( Hyub Lee ) 대구가톨릭대학교 인문과학연구소 2010 인문과학연구 Vol.0 No.14

이 논문의 목적은 「스네드거스와 맥 리아글라의 항해」에서의 기독교에 대한 시각을 분석하려는 것이다. 아일랜드에서는 기독교가 전파되기 시작한 5세기 이전에는 켈트적인 이교도가 지배적이었다. 기독교가 급속히 전파되며 기존 이교도의 종교를 대체했지만 그 이면에는 갈등이 은연중에 존재했다. 이러한 종교적 지형의 변화를 중세 아일랜드의 문학 작품들이 반영한다. 항해기 형태의 장르인 임람 중에서는 「스네드거스와 맥 리아글라의 항해」가 가장 친 기독교적이다. 로즈인 들이 폭군인 피아차를 살해하자 화형의 위험에 처한다. 사제인 스네드거스와 맥 리아글라는 그들을 바다로 항해하도록 한다. 두 사제 역시 바다로 순례의 여정을 시작한다. 그들이 3일이 지나 갈증으로 고통을 겪자 그리스도가 이를 가엽게 여겨 구원해 준다. 그들은 노를 놓으며 자신들의 여정을 신의 의지에 맡긴다. 그들은 켈트의 정체성을 상징하는 황소보다 더 큰 연어가 뛰어노는 섬에 도착한다. 이어서 그들은 반인 반수의 괴물들이 사는 여러 섬들에 도착한다. 반인 반수는 켈트적 샤머니즘의 주요한 특징 중의 하나이다. 반인반수들을 반 기독교적인 악한 존재들로 묘사함으로써 신원미상의 작가는 켈트 문화를 죄악시한다. 나무에 앉아있는 새는 성서의 내용을 이야기 하고 신을 찬양하는 성가를 부른다. 나무와 새는 원래 전형적인 켈트 문화의 핵심적인 상징들이다. 그러나 기독교적인 의미가 부과되어 있다. 이는 켈트적 이교에서 기독교로의 전이를 예시해주고 있다. 이어서 방문하는 곳에는 엘리야와 에녹이 있고 사람들은 심판의 날을 기다리고 있다. 그들이 방문하는 마지막 섬에서 그들은 미사에 참가하는데 왕이 나와서 아일랜드인 들의 미래를 예언한다. 신을 무시한 죄로 아일랜드 인들은 외부의 침략을 받아 영토를 잃게 될 것이라고 말한다. 이 예언은 앵글로 노르만의 아일랜드 정복을 지칭하고 있다. 12세기 중반에 아일랜드의 피지배를 초래한 주요한 한 가지 이유는 잔존하는 이교도의 영향력이었다.

리머릭의 특징과 영어교재로서의 활용성

이협 ( Hyub Lee ) 인문사회 21 2021 인문사회 21 Vol.12 No.5

This article aims to analyze the traits of Limerick, a type of English poem, and search for effective ways to use it as authentic material. Limerick originated from the region of Limerick in Ireland. It has been popular since the 19th century, with competitions still held in Ireland. Formed in 5 lines, it has a rhyme scheme of AABBA. Limericks constitute hilarious stories filled with absurdities. Accompanied by visual images, Limericks are easier for children with less linguistic capacity to understand. It often uses hyperbole, onomatopoeia and pun. The analysis of limericks prove its suitability for English education, especially for children. It can help enhance 4 main skills of English, especially listening and speaking. In order to adjust it to the domestic situation different from those of English speaking countries, effective ways to use limericks need to be developed.

찰스 디킨즈의 『골동품 상점』과 『위대한 유산』에서 발현되는 물화

이협 ( Hyub Lee ) 조선대학교 인문학연구원 2009 인문학연구 Vol.37 No.-

In many works by Charles Dickens, material objects are described to possess human nature and human beings are depicted as mater -ialized. The transgression of the boundary, which reflects the characters` psychological operation, can be explained by the concept of reification by Georg Lukacs. In The Old Curiosity Shop, commodities placed at the nexus of trade are reified in the capitalistic world. Nell loses subjectivity in her response to the visual image of commodities, and comes to death in the end. Mr. Quilp representative of greedy capitalist dies with a stake in his heart, which is intended to satirize reification. Human identification with machinery for industrial production can be found in Black Country. The Victorian domesticity is under the sway of reification in Great Expectations. Pip`s responses to the material objects, often in the illusionary states, disclose the way reification has impact upon him at the unconscious level. Human identification with a house is a trait of Dickens. Miss. Havisham, who resides surrounded by the material things in the house, is assimilated to the house. That she is in the ironically miserable state satirizes reification. The change of Pip`s response to the material in the end reflects Dickens`s judgment on reification.

어빙 레이턴의 부르주아 비판시

이협 ( Lee Hyub ) 전북대학교 인문학연구소 2017 건지인문학 Vol.0 No.18

This article is an attempt to analyze Irving Layton`s poems criticizing bourgeois. As the iconoclastic Canadian poet, Layton was in interactive relationships with major Canadian writers including Leonard Cohen. Antipathic to the corrupt ruling classes, the poet satirizes the hypocrisy of bourgeois. In “The Improved Binoculars” the speaker lampoons the selfishness and viciousness of observed characters in a city on fire. In “An Old Nicoise Whore,” the speaker satirically depicts degraded ruling classes wooing an old prostitute. In “Rumination of an Aging Millionaire,” a millionaire is depicted as an instrumentalized being who lost subjectivity during his youth. In his old days, he finds what he really wants to do, but he cannot due to the lack of energy. In “Family Portrait,” a millionaire family is depicted as philistines. They are greedy and lack culture. Thus they are regarded as useless by him. In “For Auld Lang Syne,” the speaker leaves his friend, a salesperson who has sold the speaker luxurious items. Through the relation with his friend, the speaker comes to cave into the commodities. However, he gets out of it and declares departure from the salesperson. Considering that Auld Lang Syne originally expresses the wish to meet the friend in the future, the title of the poem is ironical. In his straightforward depiction of the bourgeois, Layton reveals their hypocrisy and viciousness, and further the structural problem of modern capitalistic society. His works represent his pursuit of humanitarian values.

『토인』에서 쿠훌린의 켈틱 샤머니즘

이협 ( Lee Hyub ) 전북대학교 인문학연구소 2017 건지인문학 Vol.0 No.19

중세 시대의 여러 문헌에서부터 등장하는 쿠훌린은 대표적으로 아일랜드의 서사시인 ≪토인≫에서 주인공 역할을 한다. ≪토인≫은 신성한 황소를 빼앗기 위한 목적으로 얼스터를 침략해오는 메듭 여왕의 주술에 걸려 무력화된 얼스터를 초인적인 쿠훌린이 구해내는 서사이다. 출생부터 신비로운 쿠훌린은 아일랜드의 정체성을 대표하는데, 그 민족적인 정체성은 켈틱 샤머니즘에 깊게 뿌리를 내리고 있다. 쿠훌린은 어린 시절부터 초인적인 신체를 가지고 있다. 쿠울린의 하운드라는 의미의 쿠훌린은 동물적인 특징을 지니고 있다. 동물을 포함하는 자연과의 동화는 켈틱 샤머니즘의 특징이다. 그는 적과의 전투에 앞서 격렬한 신체적 변화를 일으켜서 괴물스러운 존재가 된다. 환영을 통한 변신은 샤머니즘에서 발현되는 양태로 미르체아 엘리아데 역시 설명하고 있다. 변신하여 초인적인 능력을 가지게 된 그는 적의 군대를 홀로 물리친다. 제의적인 과정을 거치는 그는 아일랜드 전통 신화인 포모리안의 거인이나 바다에서 온 사람들과 비견된다. 바다는 켈틱 샤머니즘에서 신성시하는 이계이다. 실제 역사적 사실을 바탕으로 하기 때문에, 쿠훌린의 샤머니즘은 아일랜드의 역사성과 결부되며, 더 나아가서 민족적 정체성을 대변한다.

The Rum Diary 에서의 미국 주류 언론에 대한 비판

이협 ( Lee¸ Hyub ) 동국대학교 영어권문화연구소 2015 영어권문화연구 Vol.8 No.1

The movie The Rum Diary directed by Bruce Robinson is the adaptation of the novel of the same title by Hunter Thompson. The movie fundamentally based on the life of Thompson himself is an homage to the author who died in 2005. The movie realizes the spirit of gonzo journalism conceptualized by Thompson. Gonzo journalism as part of New Journalism is characterized by the refutation of the dominant mainstream journalism and its aligned socio-political system. In line with the counter-hegemonic content, it incorporates various unconventional styles. Paul Kemp as a mouthpiece of Thompson is a freelancer writer working for San Juan Star, a small magazine in Puerto Rico. Edward Lotterman the chief editor epitomizes what Thompson considers to be the predominating corrupt journalism, which is sardonically called the objective journalism. Lotterman does not allow Kemp to deal with ecological and social matters. He subordinates journalism to the market and ideology of capitalism, with which Kemp disagrees. Hal Sanderson a PR consultant asks Kemp to write an article to advocate the building project of resort. Art Zimburger, a retired colonel aligned with Sanderson, is a representative right-wing figure obsessed with McCarthyism. Zimburger absurdly attacks Liberalists in America, which is a satire of the domineering classes and their ideology. The building project representative of the American capitalism fails, and Sanderson quits the relationships with Kemp and Chenault after her rape accident at a night club. As Chenault is an actress type who symbolizes the American Dream, her fate intertwined with that of Kemp implies the failure of pursuing it. In parallel to the break with Sanderson, Lotterman leaves San Juan deceiving the staff of the bankrupt company. With Bob Sala and Moberg, the counter-hegemonic characters, Kemp tries to publicize the corruption of Lotterman. However, the newspaper company’s press machines are sold and thus they fail to do so. Kemp escapes from Puerto Rico and later becomes a respectable journalist back in New York. His experiences are a process of establishing self-identity and thus being reborn as a respectable journalist. This justifies his subsequent refutation of the mainstream journalism.

윈덤 루이스의 「안쿠의 죽음」과 「브로뜨꼬뜨나즈」에서의 야성적 신체의 기계성

이협 ( Lee¸ Hyub ) 동국대학교 영어권문화연구소 2016 영어권문화연구 Vol.9 No.1

This article is an attempt to analyze the mechanical factors of a few primitive bodies in “The Death of the Ankou” and “Brotcotnaz” by Wyndham Lewis. Ludo and Brotcotnaz as marginalized Others are ambivalently both primitive and mechanical. Ludo is a blind beggar modeled on a beggar Lewis saw in Brittany, the French region of Otherness. Kerr-Orr the narrator mistakes Ludo for Ankou, a god of death. While making a Celtic sound, a signal of primitiveness combined with marginality, Ludo behaves like a shell-shocked soldier in World War I. The shell-shock marks the apogee of the mechanizing trend of the early 20th century. Ludo is the embodiment of the primitive and the mechanical. Lewis had antipathy to the war. Brotcotnaz's wife Julie, who is often drunk, is compared to an animal. As a primitive body compared to animals and faun also, Brotcotnaz a fisherman is a grotesque character. As a violent man beating Julie, Brotcotnaz is aggressive. He performs traditional Breton dances, which are associated with both the primitive and mechanical. Exerting an influence upon an audience, his performance is carnivalesque. Brotcotnaz’s eyes are a channel through which his wilderness resonates. The Brotcotnazs are This article is an attempt to analyze the mechanical factors of a few primitive bodies in “The Death of the Ankou” and “Brotcotnaz” by Wyndham Lewis. Ludo and Brotcotnaz as marginalized Others are ambivalently both primitive and mechanical. Ludo is a blind beggar modeled on a beggar Lewis saw in Brittany, the French region of Otherness. Kerr-Orr the narrator mistakes Ludo for Ankou, a god of death. While making a Celtic sound, a signal of primitiveness combined with marginality, Ludo behaves like a shell-shocked soldier in World War I. The shell-shock marks the apogee of the mechanizing trend of the early 20th century. Ludo is the embodiment of the primitive and the mechanical. Lewis had antipathy to the war. Brotcotnaz's wife Julie, who is often drunk, is compared to an animal. As a primitive body compared to animals and faun also, Brotcotnaz a fisherman is a grotesque character. As a violent man beating Julie, Brotcotnaz is aggressive. He performs traditional Breton dances, which are associated with both the primitive and mechanical. Exerting an influence upon an audience, his performance is carnivalesque. Brotcotnaz’s eyes are a channel through which his wilderness resonates. The Brotcotnazs are

『라스베이거스의 공포와 혐오』에서의 환각의 의미

이협 ( Lee Hyub ) 대한영어영문학회 2015 영어영문학연구 Vol.41 No.2

This article is an attempt to analyze hallucination in Fear and Loathing in Las Vegas by Hunter Thompson who himself experienced hallucination in Las Vegas. In the narrator’s hallucination caused by drugs, repressed desires and fears are revealed, which reflects the American society in split. In his hallucination, human characters appear to be animals, which symbolizes the aggressive desires of moderns in jungle capitalism. The image of reptile for the press reflects the author’s fear of and antipathy to the main stream journalism. An over-sized Nazi in the sky cries, “Woodstock Über Alles,” which is a parody of “Deutchland Über Alles.” The representative catch-phrase of the Third Reich, the totalitarian political system, is replaced by the most counter-hegemonic music festival. This is a symbolic act of satirizing and subverting the dominant structure of America. Watching Nixon on TV, Duke hears the repeated sound of “sacrifice,” which serves to satirize the Nixon administration. In the hallucination, Duke sees himself as a grotesque and distorted body. It is the reflection of deviation from social norms compatible with normal body. The hallucination reveals the schizophrenic cleft between classes in America. The work denunciates the idealogical illusion of American dream in the late 60s and early 70s. (Chosun University)

폴 보울즈의 「먼 곳의 사건」과 『퍼부어라』에서의 춤과 음악의 타자성

이협 ( Hyub Lee ) 인문사회 21 2015 인문사회 21 Vol.6 No.3

This article is an attempt to analyze dance and music in Paul Bowles’s some fictional works from a postcolonial perspective. Like many works by Bowles, the representative Orientalist American novelist, “A Distant Episode” is set in North Africa and is imbued with Orientalism. A Westerner is unexpectedly attacked by Arabs, which is typical of Bowles’s Orientalist stories. The Western linguist with his cut tongue and hidden face is forced to dance in metal hilariously in front of Moroccan children and women. The clinking sound of metal generates sound effects similar to music. Deprived of the Western intelligence and dignity, the professor is depicted as childish and instinctive. His act is full of negative aspects of the Orient, which reflects the Arab’s impulse to subvert the Western superiority. At the final, he escapes from the bondage into a desert, which implies his denial of the Otherness coercively imposed upon him. In Let It Come Down, the protagonist Dyar is a Westerner from New York. Modeled on Bowles himself, he enjoys decadent life in Morocco in search of what is retrogressive. He empathically observes performance of moroccan dancer and musicians. The combination of dance and rhythmical music, accompanied by mutilation, is violent and primitive. The primitiveness implies freedom from conventional constraints. In hypnosis, Dyar feels identified with the trance state. Through the dance and music, Dyar seeks to rehabilitate the Other within himself, which is the mirror image of Bowles. However, there is a limitation in his identification with the Oriental.

그레이스 니콜스의 아동시의 고향에 대한 향수

이협 ( Hyub Lee ) 인문사회 21 2021 인문사회 21 Vol.12 No.1

The purpose of this study is to analyze nostalgia for home in Grace Nichols’s poems for children. Her poems for children share much in common with poems for adults. The analysis focuses on how she expresses nostalgia for home, Guyana during her childhood. Come on into My Tropical Garden invites readers to the natural environment in Guyana. In “If I had a Giraffe” the speaker wishes freedom in nature. “Children’s Kingdom” idealizes her home during childhood. In “Caterpillar Don’t Cry,” the hiatus between the selves of the past and present emerges. In “I’m a Parrot,” the bird as the present self is deprived of freedom and thus in anger. Although the poet misses home, the present self suffering from diaspora cannot return to her former state. Demonstrating the significance of nostalgia in diaspora literature, she suggests a way children’s literature contributes to diaspora literature.