Elizabeth Bishop’s Back-and-Forth Migration: An American Poet’s Canadian “Home-Made” Aesthetics

김양순(Yangsoon Kim) 한국아메리카학회 2020 美國學論集 Vol.52 No.3

Elizabeth Bishop’s compelling themes of home, travel, and geography are intricately related to her migration from North to South and back again. Starting with Bishop’s own words about her Canadianness, this study mostly examines how Great Village, Nova Scotia has forged her life and art, and in what manner her actual lived experiences in and memories of Nova Scotia are embodied in her poems. The interior landscape of “Sestina” and “First Death in Nova Scotia,” is represented through the rhetoric of memory. The exterior landscape of “At the Fishhouses” and “Cape Breton” in Nova Scotia provides detailed local geography connected with the poet’s biography. Another Nova Scotian poem, entitled simply “Poem,” dealing with what art including poetry is and what kind of value art implies, employs the poet’s memory recalled by her relative’s painting about the place. Finally, by reading her topographical poem, “Moose, this paper claims the multi-leveled significance of Bishop’s journey from Nova Scotia to Boston; a trip from country to city, between the two nations, between the inner and the outer. In Bishop’s Nova Scotian poems, the boundary between geography and biography, and between exterior and interior is blurred; and then landscapes “as real sites and as representations” are saturated with her geographical, biographical, and aesthetic values.

『無量壽經連義述文贊』의 四十八願

김양순(Kim Yangsoon) 불교학연구회 2007 불교학연구 Vol.18 No.-

  The unified Silla period was the golden age in the history of Pure Land Buddhism in Korea. The study of thought in Pureland Buddhism was done by many monks who came from lots of schools of buddhism and, at the same time, many people in Silla society believed in Amit?bha (阿彌陀佛). Lots of monks expressed not only their own ideas about both Amit?bha and Pure Land in their writings, but also they wrote commentaries on the Larger Sukhavativyuha (無量壽經). Among them, Wu-liang-shou-jing-lianyi-shu-wen-zan (無量壽經連義述文讚) written by Jing-xing (憬興) is the longest one that is existing. This article is focused on the forty eight vows of Dharm?kara (法藏比丘) in it.<BR>  Jing-xing (憬興) made relatively long comments on disputed 18th, 20th and 35th vows. About the 18th vow, he insisted that the  differences of viewpoints between the Larger Sukhavativyuha and Guan-wu-liang-shou-jing (觀無量壽經) were caused by the capability of living things (衆生). That is to say, teachings of Guan-wu-liang--shou-jing are suitable for the lowest class (下品下生) and those of the Larger Sukhavativyuha are suitable for the three highest of the nine stages of birth (上品三生).<BR>  According to the capability, the cause of being born in Pure Land (往生因) are different. Similarly the land in which they were born as a result are different. To understand them without inconsistency he recognized the pureland as a dual structure of the land of reward (報土) and the land in which is the transformed body of a Buddha (化土).<BR>  Although invocation of name of buddha (念佛) is not a direct cause, it could be a cause of being born in pureland (往生因). This point of view is based on the theory of different time (別時意說) in She-da-cheng-lun (攝大乘論) which is also the basis of the 20th vow and the 35th vow. It revealed that he commented on the Larger Sukhavativyuha from the viewpoint of Dharmalaksana School(法相宗).

엘리엇의 후기 시론

김양순(Yangsoon KIM) 한국T.S.엘리엇학회 2002 T.S. 엘리엇 연구 Vol.12 No.2

This study will explore Eliot’s later poetics through Four Quartets and his later criticism in the sense that Four Quartets reveals the social function of poetry and poets, and his remarks on other poets give us some important clues to his own later poetry. A recurring theme in Eliot’s writings on language, in particular the English language can be described in the following terms: what a poet does to the common speech, and what he does for it. Eliot addressed considerable thought to the issue of linguistic change and originality and to the poet’s particular role as both an innovator and preserver of language. The first point is that language must involve change and creativity, because of its functions as the structuring medium of our experience and as a tool which both reflects and serves our needs and interests in coping with the world. To quote “Little Gidding,” “poetry must purify the dialect of the tribe.”Next, we arrive at a final question in Eliot’s thinking about poetic language: can its “realizing” powers touch something beyond human unreality? In a way to search for the answer, the music of poetry begins to take on more and more importance, partly because Eliot feels that it can express the inexpressible. It would be an error, however, to link Four Quartets with music too hastily. Eliot brings music and meaning together, and recognizes them as a unity. He was also wary of any equation of music with mellifluousness or sonority. At any rate, I suppose, the most important of all Eliot’s ideas related to the “music of poetry” is that of the vital relation of poetry to common speech. Four Quartets is one of the most sustained meditations in our tradition on the problems of language and rhetoricity as they bear on practical and poetic expressions of the negative and positive ways alike. Certainly, it is a poem that discusses its own poetics.

국가 재난안전통신망 구축, 이렇게 실패했다

김양순(Yangsoon Kim) 한국방송학회 2017 방송통신연구 Vol.- No.99

『헝거 게임』의 서술자와 주인공: 캣니스 에버딘의 다면적 정체성

김양순(Yangsoon Kim) 한국영미문학교육학회 2020 영미문학교육 Vol.24 No.1

The Hunger Games, by Suzanne Collins, has become “a literary and cultural phenomenon” since it was published in 2008; it was not only a commercial success but also a serious subject of academic discussion even before 2012, the release year of the adapted film, The Hunger Games. This study demonstrates that a major reason for the acclaim derives from the narrator and protagonist of this novel, Katniss Everdeen as a non-stereotypical female character. Unfolding through diverse narrative threads and her relationships with other characters, especially Gale, Pita, and Rue, this paper will argue for the enchanting characteristics of Katniss. The sixteen-year old Katniss is multifaceted: a hunter, a bread-winner, a negotiator, a warrior, a survivor, a potential rebel, a performer, an empathizer, and a healer. By undergoing the frighteningly hideous game, and by probing inward and outward, Katniss shows the value of other people’s dignity, and reveals her multidimentional identity. Significantly, she recognizes how “humiliating” and “torturous” the hunger games are, and how oppressive and unjust the Capitol’s power is. In spite of the novel’s cruel and ominous game in a vast outdoor arena, which appears to be inappropriate for teenagers, the implications of The Hunger Games can be educational and enriching primarily because Katniss Everdeen is appealing to the hearts of the youth beyond gender polarizations through her androgynous qualities, to encourage them with the suggestion, “Why don’t you just be yourself?” Katniss’s moral choices and independence in the midst of the difficult social fabric remain thought-provoking and resonant even after the end of The Hunger Games.

누가 에밀리 디킨슨을 소유할 수 있는가? : 『앨리슨의 집』과 『에밀리 디킨슨은 죽었다』에 나타난 등장인물의 수용 양상

김양순 ( Yangsoon Kim ) 한국아메리카학회 2016 美國學論集 Vol.48 No.3

Emily Dickinson is one of the most mystified women poets, and her image and poetry haunt readers` imagination, which leads to varying and even contradictory interpretations. These critical responses, however, have mainly concentrated on the poet and the text as the objects of analysis. This study aims to read through two women writers` works on Dickinson, and shifting the critical focus toward characters` diverse responses to Dickinson. This paper examines their reception of Dickinson through Susan Glaspell`s play, Alison`s House, and Jane Langton`s mystery novel, Emily Dickinson Is Dead, and analyzes the types of diverse characters. While examining the characters` attitudes toward Dickinson and her work, this study critiques the limitations and the negative effects of readers` ownership of Dickinson, and anticipates the possibilities of Dickinson`s positive and constructive readership. Dealing with a play and a novel about Dickinson, this study traverses over the boundaries of different genres, and explores the question, “who can really own Dickinson?”

레이먼드 윌리엄스의 저항적 힘과 이질적 정신

김양순(Yangsoon Kim) 한국비평이론학회 2008 비평과이론 Vol.13 No.2

This study explores Raymond W illiams’s idea of language and literary criticism, focusing on the difference of his approach that epitomizes his role as “the marginal man of Cambridge English,” “alien mind,” and “oppositional” force. His life long-concern for culture and language can be considered as a genuine opposition to the dominant discourse about culture and language in the post-war years. First, reading Culture and Society (1958) and Keywords (1976), this paper discusses Williams’s “historical semantics,” which differs significantly from a mechanism of stabilizing variant meanings of a word in the chronological order of their dominant usage. Second, through Marxism and Literature (1977), it deals with Williams’s critique of Saussurean structural linguistics and his ambivalent relationship to abstract Marxism analysis. Third, it examines Williams’s analysis of modernism that is not simply antagonistic. In The Politics of Modernism (1989), he speaks of the “two faces of modernism”—once a voice of dissent and then a metropolitan orthodoxy with its own supportive critical industry—and forcefully condemns the result of modernism. Finally, this paper illustrates Williams’s argument against the literary formalism of Cambridge English mainly through The Country and the City (1973) that is Williams’s greatest “oppositional” text. Despite its real limitations, Williams’s work is viewed as one of the most important bodies of socialist literary-cultural criticism in a period of postmodernism. The greatness of his work, this paper argues, comes not only from its range, scope and seriousness but also from its negative force that showed how limited and problematic the prevailing idea of culture, language, literary criticism was. Williams had an intuitive ability to make his idea of language and literature against what he saw as the inhumanities of “writing”―of theory, abstraction, schematization, the techniques he often identified with structuralism and chilly modernist distance.

난해성과 (현대)영시

김양순(Yangsoon Kim) 한국영미문학교육학회 2008 영미문학교육 Vol.12 No.1

  This study examines the difficulties of (modern) English poetry, and makes a polemical assertion of the difficulty"s necessity and its value. There has been a general sense that difficulty is one of modem poetry"s central characteristics, and have been arguments about the decline of poetry"s academic and cultural importance. First, this paper classifies the types of difficulty following George Steiner"s argument, and explains each type of difficulty-"contingent," "modal," "tactical," "ontological"-taking some examples from several poetry courses such as "Modem British Poetry," "Modem American Poetry," and "Special Topics in British American Literature." Second, a survey presents how students who might have felt anxiety, fear of inadequacy, or indifference towards difficult English poetry actually responded to it at the end of the course, "Modern British Poetry" in 2007. Interestingly enough, the students could experience complex pleasures and rewards throughout the seemingly difficult and demanding course. Third, it discusses the value of difficulty which is the most noted characteristic of modem English poetry. The difficulty can function to educate readers, to add value and pleasure to their lives if we try to make difficult texts less strange, more accessible, assimilable to our society and culture with proper strategies. Finally, this paper suggests that students should be ready to open themselves to potentially difficult poems and reconsider their way of thinking and feeling. More importantly, teachers need to reassert the value of poetry that is a process of thinking, effectively poses the demands of experience, and resists the reduction of experiences to formulas. To reconnect poetry with intellectual readers is not only a starting point to have a broad audience but also an urgent matter for the better future of poetry, the intellect, and society in general.

수전 글래스펠과 수전 하우의 에밀리 디킨슨: 여성작가의 디킨슨 다시쓰기

김양순(Yangsoon Kim) 한국아메리카학회 2017 美國學論集 Vol.49 No.3

This paper examines how Susan Glaspell and Susan Howe interpret and recreate Emily Dickinson in their works, in unsettling some mysterious claims around Dickinson’s life and work. In Alison’s House, Glaspell evaluates a theory regarding Dickinson’s unfulfilled love toward a married man through Alison’s dilemma and her powerful love poems. At the same time, Glaspell deals with her own dilemma and preoccupation with the illicit passion between her and George Cram Cook. For Glaspell, Dickinson’s story works not only as a creative force, but also as an appropriate vehicle to express her own conflicts. Susan Howe also experiences a personal bond with Dickinson in the sense that they share an uncompromising spirit. In My Emily Dickinson, Howe rewrites her Dickinson by employing “creative and scholarly collage.” Howe views Dickinson’s seclusion as a “self-imposed exile,” and as a means of emancipation from her contemporary constraining representations. By inserting themselves into ongoing dialogues with Dickinson, Glaspell and Howe reconstruct intriguing reader-writer relationships, which are in fact relationships between authors.

Tough-Constructions vs Non-Tough Constructions

Yangsoon Kim(김양순) 한국영어학회 2016 영어학 Vol.16 No.3