Robert Frost의 시의 현대성 논의

고경하 용인대학교 1994 용인대학교 논문집 Vol.10 No.-

독자/관객에게 주는 감동 : 부조리 연극과 Broadway comedy의 비교

고경하 용인대학교 1993 용인대학교 논문집 Vol.9 No.-

『피파 지나가다』(Pippa passes) 연구

고경하 용인대학교 인문사회과학연구소 2003 인문사회논총 Vol.- No.9

Robert Frost의 시의 현대성 논의 : 초기 극적 시들을 중심으로

高景河 龍仁大學校 1994 용인대학교 논문집 Vol.10 No.-

Robert Frost (1874-1963) is a unique poet in that though he was a modern poet, he is somewhat different from the group of Modernist poets such as W. B. Yeats, T. S. Eliot or Ezra Pound. Frost's poetry has been regarded as great but such evaluation is always followed by some reservations. In this context this study tries to explain what his poetry is about and in what aspects his poetry is different from those of the so-called Modernists. This study deals mainly with his early poems-speclfically the ones in A Boy's Will(1913) and North of Boston(1914). And through tentative analysis of those poems, it tries to find out how Frost comprehended man and the world. For this purpose the dramatic poems are especially useful because these poems directly deal with various human relationships and show what Frost thought of the life and the world through the eyes and mouths of the characters. Frost expresses a unique difference from the traditional Romantic poetry through some poems concerned with man's fear and isolation, human confrontation with hostile nature and the world, lack of communication and of relationships. On the other hand, he could not be a true Modernist because he could not commit himself to the radical tendencies as shown by some Modernists. He could not go into the wilderness and "shout and shout / Until the strength was shouted out of him" ; he could not completely free himself from all those norms, restrictions, rules, and customs of the world ; and he could not push himself to the extreme as some of the Modernists did. Staying within the limits of the comfort of the home or cultured world looking out at wild nature - that might be summed up as the proper place of Frost in the modern poetry.

Browning의 시의 변모:실험 단계 : "Madhouse Cells"를 중심으로

高景河 龍仁大學校 1996 용인대학교 논문집 Vol.12 No.-

Poets refer to the reality in any form, Poetry is the way for poets to understand themselves and the reality, and comprehend what they can and cannot do to realize their ideals. Robert Browning had to find what and how he wrote different from those of the previous generation of poets--the so-called Romantics. In writing poems he wrestled with history and the reality as all his contemporary intellectuals and poets did. His efforts to find the right form of expression for his thoughts and emotions were inevitably connected with the contemporary society and historicality, and they brought about various experiments and resulted into the dramatic monologue. Browning was, first and foremost, trying to understand the human nature, especially the contemporary society and human beings. These are the genesis of his poems and what his poems depict. These are what should be considered first in understanding his poetry. In dramatic monologues Browning's interest was not in the accuracy of the sources or realities of the incidents but in understanding the human nature through those proper historical incidents. Dramatic monologues are what represents that best in those incidents, circumstances, and contexts not in simple prose but in the poetic and dramatic language. For more than 10 yearn Browning struggled through various expriments to fond the right voice, content and form different from the Romantic lyric which he had inherited. It can be called a necessary training course to be a representative Victorian poet. In 1855 he published Men and Women and could say he found his voice at last.

독자/관객에게 주는 감동:부조리 연극과 Broadway comedy의 비교

高景河 龍仁大學校 1993 용인대학교 논문집 Vol.9 No.-

Traditionally comedy has been regarded as inferior to tragedy. But in drama, as well as in other genres of literature and arts, one of the main criteria for evaluation of a work of art is how it affects the reader or audience emotionally, intellectually, and aesthetically. The emotion or vision provoked by a work of art can make the difference to the life of a nation or the whole world as well as one reader. Samuel Beckett's Waiting for Godot (1953) brought about a kind of revolution to the world of drama and arts in general. It paved the way for the absurd plays and other experiments to cause major disturbance to our minds. The nihilistic view-point of the play, the painful recognition of the absurdity of the life and the world at large disturbed the self-complacent consciousness of the intellectual world. But it also raised a question : Where does this awareness of the absurd lead to? How are we supposed to live in this meaningless world with this awareness? Beckett's way of delivering the message was very effective in Waiting for Godot and other plays, such as Endgame (1957). But after the initial shock of the stark message, there is no further message for the reader /audience to follow. The first shocking message is all there is to know. What the reader /audience needs is how we conduct ourselves and lead our lives after we get the awareness of the absurdity of the world. Instead of doing this the absurd plays repeat the initial message to boredom. The first shocking effect has been worn off, and there is nothing left to salvage. Neil Simon's comedies in general show the typical traits of Broadway plays : superficiality, lack of interest in topical issues such as war, racism, drugs, energy problem, and other urban problems, dependence on catchy phrases or jokes, anachronistic or forced plots, flat characterization, fixed and predictable conclusions, and sensationalism. But sometimes he directly deals with the pending questions of the modern society and individuals, and his more traditional approach to the questions provides a very fresh, different answers from those of the absurd plays. Through funny jokes and witty dialogues in Brighton Beach Memoirs (1984) he shows the reader /audience after learning the message of the absurd how to live in this modern, fragmentary, absurd, urban society, how we deal with the existential problems, how we live with other human beings and how we deal with the hopeless situation and make best of it. This alternative vision is not necessarily inferior to the mere sophisticated vision of the absurd plays. It makes the reader /audience aware of our existential, social and personal crises, and make us think about ourselves and the world as well as the absurd plays do. Also it provides us with one of alternatives to the dilemma of the modern society.

Robert Browning의 The Return of the Druses 연구 : Djabal의 성격 분석을 중심으로

고경하 용인대학교 1997 용인대학교 논문집 Vol.13 No.-

『피파 지나가다』(Pippa Passes) 연구

고경하 龍仁大學校 人文社會科學硏究所 2003 인문사회논총 Vol.- No.9

With its short and easy structure, Browning's Pippa Passes (1841)has been regarded as a drastic change from the thick and difficult Sordello (1840). But in spite of its apparent difference from the previous work, Pippa Passes continues what Browning articulated in Sordello. An innocent girl walks through the city of Asolo on the first day of the year and she sings apparently innocent songs as she passes by each of the 4 happiest people in Asolo. And her song deeply affects each of them and it changes their lives. What this new way of saying does in this strange version of drama is giving Browning a chance to tell various aspects of life and show them in ironic fashion. With Pippa's song as a trigger, each character realizes the truth in their rationalization or way of thinking: their truth under the cover of self-delusion is revealed when Pippa passes them at their crucial moment. In the dramatic monologue form. Browning finds the most efficient way of portraying various aspects of everyday life and showing double meanings from each character's words: and all of this is already in Pippa Passes.

브라우닝의 "화가 시"(Painter poems) : 근대 전업 예술가의 고민과 모색

고경하 용인대학교 인문사회과학연구소 2007 인문사회논총 Vol.- No.14

Robert Browning's "Painter Poems" deal with some of the Italian Renaissance painters, and they are very interesting in the narrative per se, in the inquiry into changes in the essence and the production and consumption of art during the transitional period, and in the fact that they are parallel searches of the poet who groped for his own identity and the direction and proper method for his art. Each poem shows well how the artist has the complex and ambivalent feelings towards the art in new paradigm and the modern economic processes of art business. Browning himself went through similar difficulties he described in each poem and came to a conclusion of writing the objective poetry or the dramatic monologue in order to communicate more easily with the new reading public. But he also retained his initial yearnings of reaching for the absolute truth in some characters. And in some cases, as in Andrea del Sarto, he warned of the malfunction or side-effect the commercialization of art. It can be said that the isolation and alienation of the modern artist began, in essence, in the 19th century, and it has been getting worse with the rapid development and innovation of technology during the 20th century. Development of new forms of expression, such as digital or various multi-media utilities, brings forth new paradigm for arts in general; and art or artists have to find a way to survive in this new world and Browning and his painters could give us a few tips of what to do in the situation.

1830년대의 시론과 브라우닝

고경하 용인대학교 인문사회과학연구소 2000 인문사회논총 Vol.- No.6