Bernard Malamud의 道德觀

金璋伶 全北大學校 1982 論文集 Vol.24 No.-

Although the subjects and settings of Malamud's works vary widely, one characteristic remains consistent throughout : his moral earnestness. This research aims to generalize the morality in literature, Jewishness and Jewish schlemiels as Malamud's literary symbols and to examine how he develops his moral view through his artistic techniques especially in The Assistant, A New Life and The Fixer. Malamud's Jewishness is a mere ethical symbol. The Jew in his works is a metaphor of the good man struggling for meaningful existence faced the various dehumanized pressures of this world. The affirmative nature of Morris's travail is dramatized by the transformation of Frank Alpine, under Morris's influence, from moral degenerate to a good man who has accepted another's burden of suffering out of a commitment to responsibility, a compassion, and nourishing love. Levin in a A New Life is a buffoon destined to be a material failure but a moral success. He is also a comic hero whose excesses stem from a misguided but genuine desire to find a place for his ideals in the real world. Yakov Bok of The Fixer finds spiritual peace only after choosing to remain in the tsar's prison with no guarantee of ever being released. In his fiction Malamud considers the moral evolution of his characters. They grow in ethical depth through various kinds of suffering, intellectual as well as physical. Using such techniques as mirror images, symbiotic pairs of characters, and the double vision of Jewish humor, Malamud often succeeds in showing us the human soul in conflict with its own divided nature. Malamud expresses the dignity of the human spirit searching for freedom and moral growth in the face of hardship, injustice, and the existential anguish of life in our troubled time.

Ernest Hemingway : His Journalism and Style

김장령 군산대학교 1975 論文集 Vol.8 No.1

Ernets Hemingway, the best-known writer of his generation is likely to need no introduction to readers today. It means that he was not only a heroic and legendary figure to his generation but also he was studied at all sides by numerous critics. It is also true that Hemingway's literature seems to be flat and stale now but in the view of the tradition of American literature we are still need to examine and to try to discover the new meaning in his work. As Philip Young pointed out, "There is probably no country in which American books are read whose literature has been entirely unaffected by Hemingway's work, he is still an important writer in all senses. Almost all his works were derived from his actual experiences, such as in fighting, hunting and bullfighting but he used his material to suit his imaginative purpose. On the positive side he has taught the values of objectivity and honesty, has helped to purify our writing of sentimentality, literary embellishment, padding and a superficial artfulness. He has revitalized the writing of dialogue. Hemingway's literary apprenticeship was served in journalism, so I tried to survey his journalistic career and examined the journalistic elements which had influenced on his works. Second, I examined the chracteristics of his style. For the most part it is colloquial, charaterized chiefly by a conscientious simplicity of diction and sentence structure. The words are short and common ones and there is severe economy, and also a surious freshness in their use. It is also an unintellectual style. Events are described strictly in the sequence in which they occurred: we can not need to reorder or analyze them and perceptions come to the reader unmixed with comment from the author. The impression, is of intense objectivity : the writer provides nothing but stimuli. Dialogue along with the sequence of motion and fact is essential to his freshness. Especially his use of interior monologue is effective when sensations from the outer world are entering the stream of a character's consciousness. In this paper, some observations about the range and choices of vocabulary, the use of adjectives, the limitations on verbs, the ways of handling of syntax, monologue etc. are consequently support the definition of Buffon's, "The style is the man." As Mark Schorer's remarks, "His style is not only his subject, it is his view of life" and also his way of life.

R.W.Emerson의 이상(理想)과 현실(現實)

김장령 群山敎育大學 1972 論文集 Vol.5 No.-

As a poet, Ralph Waldo Emerson(1803-1882)inquired into the human nature and as a moralist he praised the individual sincerity highly and himself put it into action, which was the basis of democracy in America. And as a philosopher he laid the foundations for his central doctrines of selfreliance, the moral sense and the exact correspondence between natural and moral law. Emerson was not a philosopher, however, in the strict sense. He was not a systematic thinker; he did not construct a consistent, original system. He was rat-her an eclectic, who took his materials from many different sources, for example, from Plato, Aristotle, Descartes, Kant, Bacon, Swedenborg, Corelidge, Carlyle, Lock etc but above all, from Jesus Christ-and did not worry too much about the strict consistency with which diverse materials were put together. As Spiller pointed out, "more settled in its inconsistencies than in its system ,the matured Emersonian view of life presented a suspended judgment, a calm of soul obtained by the balance between forces, and admission of both fate and free will, of both divine and human sanctions."But more important fact in Emerson, I think, is a grand unifying spirit that resolves the contradictions. In this paper I have tried to dig out the spritual and natural facts through his lectures and essays. But it has no meaning that we merely analyze or present or illustrate the facts of the spiritual-material dichotomy in him. More important in him is the endeavors and processes in his means of dualism of the divine and the natural worlds that he thus discovers inside himself. Because the problems of duality (spritual-material, and God-human being, and ideality-reality,)were and are and will be discussed in this world. Bearing these points in mind, a lot of his valuable epigrams and the spirit of self-reliance and soul-inspiring lectures should not limited in America in 19 century They are available in the whole time and space. I think Emerson the observer and recorder of the American mind, is closely related reality between man and society, nation and universe and above all his ideality is our possibilities to be attained.

Walt Whitman 論考

金璋伶 群山敎育大學 1973 論文集 Vol.6 No.-

The private life of Walt Whitman was extremely unhappy. As a carpenters' son and life-long bachelor he was born in poverty and until his death in 1892 he was never far from the edge of it and sickness. He was not evaluated properly and also did not get the fortune of fame as his best time. But as he said, in his own time he had “really arrived”. Like so many American writers, he was appreciated first in Europe, more slowly at home. As Spiller pointed out, most of the changes in the character of American civilization either took place or became apparent between 1850 and 1890. Two economic processes combined to create this result ; the process of expansion and the process of industrialization. This perennial rebirth, this fluidity of American life, this expansion westward with its new opportunities, its continuous touch with the simplicity of primitive society, furnish the forces dominating the American character. To judge rightly of an author, I think, we must transport ourselves to his time, and examine what were the wants of his contemporaries, and what were his means of supplying them. The emerging modern American literature, which began with the optimistic voice of Whitman, closed the first decade of the twentieth century with social and economic protest. But the romantic idealism of 1865 had given way to realism of Howels, to the psychological penetration of James, to the naturalism of Crane, Norris and Dreiser etc. In this paper I have tried to groped his literary situation through such disturbing social changes and chllenges in mid-nineteenth century and have rediscovered the modernity in his work analizing and re-examining it. In a broad sense literature is the outcome of various historical circumstances, in other words the realization of ethos. I think that studies on an American democratic poet, a poet of common people and prophecy, would give us much help in establishing our spiritual posture and encouraging the spirit of revitalizing reforms while we are in the urgent need of national unity. I have tried to study Whitman chiefly by analizing the work itself, but could not disregard the autobiographical, sociological, historical facts. Accordingly I have intended to examine the way how the identity concept of individuality and en masse had been harmonized and how the discrepancy of dualism such as life and death, individual and society, materiality and spirituality, past and presence, beauty and ugliness, common sense and vision(or wisdom) had been praised and treated and how the democratic idealism realized in his work. Obviously he celebrates and “promulgates”the material progress and spiritual, and moral, and political values in America. But more important, Whitman is representative of his country because he and his poetry mirror in a radical if incomplete way the very contradictions of American civilization. For, to begin to understand Whitman is to understand him in his contradctions. As Chase pointed out, his inner opposition, his ambiguities, his wit, like his democratic faith, his optimism, and his belief in the self, are native to the man as they are to America. For these reasons we cherish him and take him to be in a real sense “the spokesman for the tendencies of his country”.

Saul Bellow의 Seize the Day : 正格 自我의 確立 The Establishment of the Authentic Self

金璋伶 全北大學校 1994 論文集 Vol.37 No.-

This paper aims to analiyze and evaluate Bellow's intellectnal , artistic structure ,and his moral speculation such as on the individual , society, freedom and love. And it also examines the process of establishing Wilhelm's (an absurd hero) authentic self through the real self- awareness in the failure and frustrations. As a stylist of the first order, Bellow's language recovers elements of the oral tradition for literary use. His imagination is dialectial and is always engaged in a debate between the secular and the transcendental. His quest is typically comic and his humor humanizes failure, and even his grotesques show some humor. Wilhelm encounters a rescuer, Dr. Tamkin, the deputy father when he was in the extreme difficulties as a complete failure who lost the job and money, and who was rejected by his father, wife and society. Tamkin's sayings give him some comfort and self-swareness : " Only the present is real - the here - and now. Seize the day." But the ultimate ephipany of recovering his anthentic self is accomplished in a stranger's funeral parlor. At the very point of Wilhelm's symbolic death, he realizes existence, the true-self ; the vitality which all men share, and which defines men. The stages of his progress are all marked ; humiliation, knowledge, love, reconciliation.

Critical Reading에 대한 고찰

김장령 군산교육대학 1971 論文集 Vol.4 No.-

In a period of rapid cultural change, an effective approach to a critical reading is inevitable. As language is the medium of writers and reading is fundamentally a kind of language process, we have to know the chracteristics of language and two contents of language(denotation & connotation) and change of meaning, etc. The critical analysis of a work of art, of its style, tone and diction, its metaphore and symbois, its characters, event, settings, motivation, empathy, theme, etc. must not be conceived as a purely ‘objective ’neutral process divorced from value judgment. Literary theory is, of course, not science in the sense of natural science. Everyone is different from others in point of view, growing process, set of values, environment, degree of understanding etc. These individual differences make it obvious that everyone reads a different book, although its title and author be identical. He brings an individual critical or appreciative intelligence to the denotations and connotations of the writer's language. But in this thesis I tried to suggest some critical reader's checklists beyond the merely personal, emotional reaction. Also 1 have to add that I was much obliged to Alexander Scharbache's theoretical background A critical reader's check list for Nonfiction 1, What is the structural organization of the book? 2, What is the author's thesis or purpose? 3, What are the sources drawn on for the book? 4, What is the author's tone? 5, What is his style? 6, What is the book worth? A critical reader's check list for Novels 1, Who are the main chracters? 2, What is the milieu? 3, What is the design of the action? 4, What is the theme(or themes)? 5, Who is the narrator(or narrators)? 6, What are the tone, the style? 7, What type of novel is it? 8, Did you enjoy reading it? etc. But they are valueless with only the above details. The detail always functions in a whole whose very nature is value. The work of art is a structure of value, and the value has to be discerned by the critics or good critical readers. Analysis, interpretation, evaluation are interconnected stages of a single procedure. Evaluation grows out of understanding. Correct evaluation out of correct understanding. What is correct interpretation of a specific work of art will, of course, be often a matter of dispute, but it seems impossible to deny that there is this problem of ‘correctness ’or ‘adequacy ’of interpretation, of a hierarchy of view points. There will always be a danger, however, that four blindmen misjudge the whole elephant after touching the trunk, the tusk, the tail, or the foot of it alone. The only answer is precisely history and the lesson which grows out of it: a body of doctrines and insights, judgments and theories which are the accumulated wisdom of mankind. History and theory explain and implicate each other; there is a profound unity of fact and idea, past and present.

Hemingway의 作品에 나타난 時間과 文體 (Ⅰ)

金璋伶 全北大學校 語學硏究所 1980 어학 Vol.7 No.-

Two kinds of time enter into Hemingway’s fiction in any significant way ; these are that time which we may call “geological”-the time that is used to measure the erosion of continents and the shrinking of mountains ; and the now - that time which has been variously described as “the moment of truth”, “the captive now”, or the perpetual now. In different ways these two concepts of time conspire to aid in the formation of Hemingway’s style, his aesthetic, and the characteristic concerns and direction of his fiction. Hemingway’s metaphysic of time is an attempt to squeeze the moment into that distilled, charged essence of felt emotion which gave him a feeling of immortality. And in order to portray this mystical experience, he experiments with language. Hemingway’s characteristic style and structure are both functional to the making of that illusion of mergence between “now time” and “always time” that is of importance to his aesthetic.

Malamud의 단편 소설 연구(1) : 인간의 모순 감정을 중심으로 The Ambivalence of Human Nature

金璋伶 全北大學校 語學硏究所 1985 어학 Vol.12 No.-

The major subject of Malamud’s short stories is the ambivalence of human nature. This paper deals with the problem in some stories such as “The Bill”, “The Mourners”, “Angel Levine”, and “The Fewbird”. In addition to the analysis of the characters and themes of the stories this paper examines techniques of Malamud”s style. “The Bill” emphasizes the duality of human nature in which compassion conflic?? With self-interect, conscience with greed. Through the bill relation between Willy, a tenement janitor and Mr. Panessa, the grocer, Malamud captures a moment of moral growth. In "The Mourners" Malamud also reveals a moment of double self-disco-very mixes with misapprehensive a powerful statement in allegory or irony that makes a bitter sweet moment of pained possibilities. “Angel Levine”, another allegorical story, implies that all men suffer, but we can transcend our suffering if we recognize and have faith in our common humanity. In “The Fewbird”, an even more fantastic story, Malamud creates a comic parable which gives a glimpse of moral insight into the painful duality of human nature. Cons??tly in his stories Malamud seems to demonstrate that no matter how pat?? or foolish, the individual can assert his humanity.

Herman Melville의 「Moby Dick」에 나타난 悲劇과 象徵性

金璋伶 군산대학교 1976 論文集 Vol.9 No.2

Herman Melville was born in 1819 and died in 1891. From the outbreak of the American Civil War till the end of the World War I he was an almost completely forgotten novelist. But now he is one of the writers who was widely read, frequently discussed, and greatly admired by people. Like many other works of fiction, Moby Dick grew out of its author's experience. It is true in fact that he himself lived a tragic and adventrurous life. After his father's death, at the age of his 13, he was forced to leave the school and to find employment in a bank, a primary school, a drygoods store, and in a fright boat for Liverpool ect. He was an intensely religious man, and he lived in an age when traditional interpretations of religion were biginning to be seriously questioned. He was, besides, a passionate democrat, and he perceived the helpless dependence of democracy upon the Christian ideal. Reverence for life was his, and respect, for the integrity of personality. In this paper I try to find out the tragic elements in Moby Dick and the meanings which the symbolism involve and besides I intend to re-evaluate and reorganize the work analyzing the philosophical terms under the tragic conditions and comparing the constitutional phase with symbolism. The meanings of the Moby Dick are not single but multipul ; not precisely equalable but ambigous ; not more often reinforcing than contradictory. As he pointed out, it is true that we begin to live when we have conceived life as tragedy. Accordingly the meaning of his tragedy is involved with his conception of the rigid Fate to which he is chained. The result of Ahab's Fatalism is that his tragedy admits no adequete moral recognition. The catharsis is, therefore, partially frustrated, since we cannot respond, as we can in Lear, to Ahab's deliverence from the evil forces in which he has been immersed. Melville's created in Ahab's tragedy a fearful symbol of the self-enclosed individualism that carried to its furthest extremes, bring disaster both upon itself and upon the group of which it is part. The symbolism in Moby Dick is not static but is in motion ; it is in process of creation for both narrator and reader. Value works back and forth ; being extracted from objects, it descends into the consciousness ; spiraling up from the consciousness in envelops objects. Yet the tragedy of Ahab is not his great gift for symbolic perception, but his abandonment of it. For the good reader the experience of Moby Dick is a participation in the act of creation. Rhetoric grows into symbolism and symbolism into structure ; then falls away and begins over again. The scope of Moby Dick is so great that incompleteness in rationale was one of the inevitable condition of its composition. But the book is "not a philosophical essay, not a dance of symbolic phantom", but a tragic interpretation of an action. We live in the world of Ahab more completely than Herman Melville or his contempories did, and so long as that world continues to exist we will find in Moby Dick the stimulating vitality of a story which is partly our own.

솔 벨로우의 자아인식과 수용 : 『피해자』 를 중심으로

김장령 ( Jang-ryung Kim ) 대한영어영문학회 1997 영어영문학연구 Vol.22 No.1

Saul Bellow’s second novel, The Victim is dealt with the process of self-acknowledgment and humble acceptance of self. The theme of this novel is the casting-off of his self-imposed burdens by learning to accept himself and others rather than to judge and blame by learning to have an open heart. Bellow wishes to reveal the true beauty and dignity of the human being. The novel, in at least one way reverses the situation of Dangling Man. Joseph, obseph, obsessed with his philosophical needs, finds his personal experience falling apart. But Leventhal has it torn apart by personal experience. The most threatening of his experiences are those involving Kirby Allbee, a former acquaintances who suddenly reappears with shrill accusations that Leventhal has ruined his life. Leventhal’s experience are the objective correlative through which Bellow explores the central problem of moral responsibility. Allbee is Leventhal’s anti-self, everything that Leventhal most fears he could himself become; self-destructive, a failure a drifter, a drunkard, a man who has lost his wife, a lecher, and a madman. But through the growing sense of the reality of other, through his growing awareness of their kinship with him, Leventhal has become, in Schlossberg’s terms, “human”. Consequently, to become human means to realize a sense of the unity of all persons, the essential alikeness of all persons, each mysteriously containing all. This is where the movement toward perception oi the others as real, toward identification with others, toward acceptance of self, and of others, has been leading. It is the vision of victim and victimizer as one.