諷喩된 實存 : "Rappaccini`s Daughter"의 分析 An Analysis of "Rappaccini`s Daughter"

朴翊斗 국민대학교 어문학연구소 1981 語文學論叢 Vol.1 No.-

Since the Romance, according to Hawthorne, has "a certain latitude" in fashion and material, it follows that a Romance achieves its effect by a kind of imposition of illusion as illusion. The great aim of a Romance, consequently, is to create a certain atmosphere or tone surrounding his work which will give the reader an intuitive glimpse of the Reality or "the depths of the human heart." In Practice, Hawthorne's concept of the Romance is represented by his mingling, the Actual and the Imaginary, and thus by making it "a neutral territory," where his Reality is shadowed in multiple ways. Hawthorne's aesthetic intentions find their expressions in "Rappaccini's Daughter" commonly accepted as the most difficult of his stories. Here Hawthorne has developed the universality of evil, another factual phase of "the depths of the human heart," and the inscrutability of the human evil. Whatever meaning the tale possesses, although Hawthorne evidently suggests the universality of the human evil, is a meaning in terms of our perception of the interaction of multiple viewpoints upon the apparently mysterious nature of the human evil. The world of Rappaccini's garden is given us by two allegories, the Garden and Beatrice, and we must accept it as at least fictionally true. But our perception of Reality in terms of this world cannot be in the perception of what meaning lies behind it, but rather in the fact that multiple interpretations of the Reality are possible. And this inscrutable nature of the human evil has been insisted upon in Hawthorne's mingling of the Actual and the Imaginary through the allegorical treatment of the Garden and Beatrice, as well as through the actuality manifested by the three male characters. The very fact that there could exist multiple interpretations for ordering human experience is precisely Hawthorne's point, that all human interpretations of anything whatever differ from each other, and that in any sense of shadowing the ultimate truth, the truth of the world of Being, all are insufficient. But, paradoxically, each of the interpretations in terms of the Reality has relevance in the world of Becoming. This world of Becoming is Hawthorne's artistic territory of "Rappaccini's Daughter," where the actual and the imaginary are effectively intermingled, Herein lies the very characteristic aspect of Hawthorne's.

實在의 美學化 : The Marble Faun에 나타난 포스트모더니즘 Postmodernism in The Marble Faun

朴翊斗 국민대학교 어문학연구소 2001 語文學論叢 Vol.20 No.-

An approach to Hawthorne's The Marble Faun in the context of Postmodernism includes the thesis that Hawthorne and Postmodernists share a notion of the aestheticization of Reality, by which I mean the poetics which privileges aesthetic modes over those of logic or reason and establishes the role of the aesthetic in shaping an existence, or Reality whose metaphysical foundations seem on the verge of imminent collapse. I begin by challenging the usual approach to find the truth or Reality of the text in its underlying unity or totality-I am interested in showing how the story, in radically ironic ways, goes about making the very idea of Reality problematic, consistently undermining any argument for its unity and self-presence. Defined as inscrutable (indeterminate) Being, this postmodern Reality posits the unstable epistemological and ontological grounds of The Marble Faun. Hawthorne in The Marble Faun demonstrates his "postmodern" poetics that Reality (i.e. "the truth of the human heart") cannot be grasped by any metaphysical research but it can be approached only by the multiple aesthetic images inherent in it. This fundamental sense of the aesthetic as a form of knowing and presenting is thus both an epistemology and an ontology transfigured in his poetics of the romance. The aesthetic transformation of Reality in The Marble Faun specifically manifests itself in the major characters of the romance -Donatello, Miriam, Hilda, Kenyon, and "the model" (Brother Antonio) "three" of whom "were artists, or connected with art." In fact, the precise identities of the major characters as well as story lines remain obscure to the reader except through their multiple aesthetic images; human creations and human beings themselves are all re-creations of artistic metamorphosis through Hawthorne's poetics of multiplicity." The Marble Faun, Hawthorne's last completed romance, "a neutral territory," where the actual and the imaginary may mingle, finds its equivalent genre in postmodern poetics, for the latter tries to break down the walls between actualities and literary fantasies, with the element of self-reflexive metafictionality. Hawthorne in the romance and postmodernists here agree in their revolt against the "installed" realism and representation, and in their "subversive" assumptions that language is to be essentially rhetorical rather than representational or expressive of referential, unitary meaning. The notion that reference in poetics has been entirely problematized by Hawthorne and postmodernists testifies the aestheticization of indeterminate Reality, and that justifies The Marble Faun as a postmodern novel as well.

The Scarlet Letter 와 포스트모던 시학

박익두 한국호손학회 1999 미국소설 Vol.6 No.1

This paper aims at showing the positive relationship between Hawthorne's poetics demonstrated in The Scarlet Letter and Postmodernist poetics. Hawthorne in the story makes in radically ironic ways the very idea of Reality (Being) problematic. Since literary Reality in the story is for him inscrutable, he is interested in it as it is shown in its multiple shadowing in the romance. The diversified shadowing of Reality, or $quot;the truth of the human heart,$quot; results in the poetics of multiplicity. The poetics achieves its aesthetic intention mainly in the multiple metamorphoses of $quot;A$quot; and major characters in the romance. The aesthetic assumptions of Postmodernist poetics show themselves ontologically and epistemologically corresponding to those of The Scarlet Letter. For Postmodernist poetics posits the unknowable Reality, or $quot;indeterminacy$quot; of Being. 1fie poetics, thus, tries to establish temporary and provisional shadowing of Reality-the non-referential mode of shadowing many truths of indeterminate Reality. Hence the indeterminate forms of discourse lead to the diversified world of relative perspectivism, decanonization-the world of plurality, which corresponds to Hawthorne's multiplicity in the romance. Specifically, the postmodern features of the work manifest themselves in the various interpretations inherent in $quot;A$quot; and major characters. Like the letter itself, the romance dots not represent some self-possessed truth. On the contrary, the novel is its $quot;many readings.$quot; Hawthorne uses primarily three devices in the romance, which had been defined by him as $quot;a neutral territory. . . where the actual and the imaginary may meet.$quot; His plot as a series of scenes, his allegory with the possibility of multiple interpretations, and his ambiguity depicting his sense of unknowable Reality, find their equivalents in the poetics of Postmodernists. The romance as a genre shares common forms of episteme in postmodern $quot;New Gnosticism$quot;; the plot of the romance finds its equivalent in postmodern $quot;collage,$quot; $quot;fragmentation,$quot; and $quot;circular redundancy$quot;; allegory in the work shows postmodern $quot;immanence$quot;; and ambiguity in the story corresponds to postmodern $quot;indeterminacy.$quot; Last but not least, these features of postmodern poetics in The Scarlet Letter illustrate a paradigm of installation and subversion of historiographic metafiction, defined and elaborated by Linda Hutcheon in her studies in postmodern poetics.

Romance 의 詩學 : The Scarlet Letter 의 技法들에 나타난 Postmodernism Postmodernism in the Literary Devices of The Scarlet Letter

朴翊斗 국민대학교 어문학연구소 1994 語文學論叢 Vol.13 No.-

The present essay aims to show the evident relationship between the poetics of the Romance functioned in The Scarlet Letter and the aesthetic assumptions of Postmodernism. Hawthorne's poetics of the Romance includes, specifically, the Romance as an aesthetic genre and its literary devices of ambiguity, plot as a series of scenes, and allegory. Since Hawthorne's literary Reality is for him inscrutable, as has been discussed in my previous thesis, he is interested in it primarily as it is shadowed in all its complexity in his works, including The Scarlet Letter. The multiple shadowing of his literary Reality results inevitably in a mode of expressing the diversified aspects of his literary Reality, of "the truth of the human heart." Out of this artistic demand arises his form of the Romance, or "a neutral territory, somewhere between the real and fairy-land, where the Actual and the Imaginary may meet and each imbue itself with the nature of the other." Primarily Hawthorne uses three devices in The Scarlet Letter to accomplish it as a romance: ambiguity, plot as a series of scenes, and allegory. His "ambiguity" in "The Scarlet Letter" depicts his sense of unknowable literary Reality, and has a function of mingling the actual and the imaginary without offending against probability. Hawthorne in The Scarlet Letter does not really write in terms of rational plot at all, but rather in terms of accretion of detail around images-a series of scenes around 'A' and major characters, shadowing a complex of meaning of his literary Reality. And finally Hawthorne's "allegory" in The Scarlet Letter concerns allegorizing of 'A' and major characters having possibilities of multiple interpretations. Hawthorne's romance as a genre and literary devices in The Scarlet Letter find their equivalents in the poetics of the Postmodernists. The Romance as a genre shares common forms of e´piste´me` in Postmodern New Gnosticism which, as "transworld identity between real and fictional entities," mingles the fact and the imaginary through etherealization. Ambiguity in The Scarlet Letter corresponds to "Indeterminacy" of Postmodernism which implies the tolerance of fundamental uncertainty about Reality. The plot of The Scarlet Letter as a series of scenes finds its equivalent in Postmodernist Bakhtin's "carnivalization," postmodern "collage," "fragmentation," and circular "redundancy." And allegory in The Scarlet Letter shows postmodern "Immanence," which betokens the power of conceptualization and abstraction. This typological synchronic study, thus, presents a possibility of affirming The Scarlet Letter as an exemplifying precursor of American Postmodernism, whose position in contemporary literary climate asserts more than anything else pluralism in poetics.

深淵과 變貌 : "Young Goodman Brown"에 나타난 포스트모더니즘 Postmodernism in"Young Goodman Brown"

朴翊斗 국민대학교 어문학연구소 1999 語文學論叢 Vol.18 No.-

This paper aims to show the positive relationship between Hawthorne's poetics demonstrated in "Young Goodman Brown" and Postmodernist poetics. I begin by challenging the usual approach to find the truth of the text in its underlying unity or totality ―I am interested in showing how the story, in radically ironic ways. goes about making the very idea of Reality (Being) problematic, consistently undermining any argument for its unity and self-presence. Hawthorne in "Young Goodman Brown demonstrates his poetics that Reality (i.e. the truth of the human heart) cannot be grasped by any epistemological or ontological intuition but it can be approached only by the reader's perspectivism colored by his subjectivity. Thus the reader's understanding is destined only to be always partial. The aesthetic assumption of Postmodernism shows itself ontologically corresponding to that, of "Young Goodman Brown." For Postmodernist poetics posits the unknowable Reality, or "Indeterminacy" of Truth. This indeterminacy of Reality in the story and Postmodernism also constitutes an aesthetic foundation of the reflexivity and self-consciousness of postmodern metafiction. The plot movement of this story is thus from an ordered world to a disordered world where nothing and no one is certain, Rather than accepting this chaos as the nature of Reality, Goodman Brown retreats into absolutism ― a simplistic conception of the light and the dark of human existence as a strict duality. He never disturbs his simplistic, Puritanic preconceptions. Brown thus creates his either/or paradigm of human conception, whereas the reader makes meaning interpreting Brown's absolutism. The reader reacts against the dilemma through his paradigmatic both/and conception of human reality. The reader upon Verfremdungseffekt accepts the self-image of many selves in Brown's conscious and unconscious territories. This bears an obvious parallel to the postmodern image of "self-multiplication," for in the rejection of the deep, unified romantic ego, the postmodern human reality is plurally made and differentiated. The multiplied self-image of the story and Postmodernism allows metafictional appropriations of the reader's responses as well. Hawthorne's poetics of Romance, defined as a "neutral territory," where the Actual and the Imaginary may mingle, demonstrated in the story, finds its equivalent in postmodern poetics, for the latter indicates its emphasis upon the ironic, parodic intermingling of the factual and the fictive. This aspect of intermingling also testifies the self-conscious artificiality of postmodern metafiction. Last but not least, these features of postmodern poetics in "Young Goodman Brown" illustrate a paradigm of installation and subversion of historiographic metafiction, defined and elaborated by Linda Hutcheon in her studies in postmodern poetics.

深淵과 曖昧性 : "Ethan Brand"에 나타난 多樣性 Multiplicity in "Ethan Brand"

朴翊斗 국민대학교 어문학연구소 1990 語文學論叢 Vol.9 No.-

Hawthorne's literary reality revolves about the idea of "the depths of the human heart" as constituted by the outer shell of natural bliss, the gloom and darkiness beneath this outer layer, and the core of "eternal beauty," revealing consequently the duality of the human heart. Since Hawthorne's Reality is for him inscrutable, he is interested in it primarily as it is shown in all its complexity in the world about him. Out of this artistic demand arises his form of the Romance, which enables him to multiply the various possibilities of interpretation of the truth of the human heart. In "Ethan Brand" Hawthorne primarily uses the pattern of ambiguity in allegorical structure. His ambiguity as a "device of multiple choice" depicts his sense of Reality, for his ambiguous interpretation of "the kiln," Brand and other characters has foundation in the unknowable meaning of Reality. Hawthorne's ambiguity is thus organic and functional in "Ethan Brand" as a tool well adapted to his purpose of presenting his characters in moral dilemmas, of shadowing various possibilities of his thematic meaning. His allegorical structure in the story also concerns the allegorizng of "the kiln" and characters with various possibilities of transformation. Ethan Brand in the story represents a self-enclosed universe of monomania in his search for "the Unpardonable Sin," but his awarenness of sin has a dualistic aspect in that he is conscious of sin, but ironically he does not have any significant recognition of the nature of sin. This unsearchable character of sin constitutes the ambiguity of the story and consequently shadows the dualism of the human heart. The townspeople except Little Joe escape awareness of sin and are terrified of confronting evil or sin, especially their own, but they have the positive side of "natural bliss." In "Ethan Brand" Hawthorne achieves a rare piece of intermingling his theme or moralistic concern and aesthetic design; the multiple possibilities of his Reality coincide with multiple shadowing of his aesthetic principle.

渾融의 領域 : Romance를 위한 Hawthorne의 技法

朴翊斗 國民大學校 1979 國民大學校 論文集 Vol.16 No.1

超越과 現存 : "The Artist of the Beautiful"에 나타난 多樣性의 實際

朴翊斗 國民大學校 1980 國民大學校 論文集 Vol.17 No.1

多樣性의 美學 : Hawthorne의 實在와 文學的 變容

朴翊斗 한국영어영문학회 1979 영어 영문학 Vol.71 No.-

Being and Becoming: A Functional Approach to Hawthorne's The Scarlet Letter

朴翊斗 國民大學校 1978 國民大學校 論文集 Vol.15 No.1