핏제랄드 소설의 기독교적 고찰

김학천 ( Kim Hack-Cheon ) 대한영어영문학회 1999 영어영문학연구 Vol.25 No.1

Lionel Trilling said that Fitzgerald was perhaps the last notable writer to affirm the Romantic fantasy, descended from the Renaissance, of personal ambition, of life committed to, or thrown away for, some ideal of self. F. Scott Fitzgerald may stand as an exemplar of self-exploitation in the novel. His life and works were so interwoven that the distinction between them blurs. The life and novels of Fitzgerald may be said to represent a sequence of themes characteristics of the clinical syndrome termed the “Icarus complex.” All of Fitzgerald’s heroes are ambitious and they ask a great deal of life. But when they have attained a certain height, the heroes fall down as Icarus fell when the sun had melted his waxen wings. Different to the above explanation, this thesis is aimed to analyze the surroundings-circumstances of the characteristics of the heroes and views them not on the basis of Icarus complex but on Christian perspective from Anthony Blaine in This Side of the Paradise, Anthony Patch in The Beautiful and Damned, Jay Gatsby in The Great Gatsby, Dick Diver in Tender is the Night to Monroe Stahr in The Last Tycoon. Such a conclusion might be expected that Fitzgerald shows the impressive sensitivity to what religion is all about and even an emotional attachment to the dramatizing color and ritual which he intellectually mocked and criticized before.

핏제랄드 소설의 정체성 추구

김학천 ( Hack-cheon Kim ) 대한영어영문학회 2000 영어영문학연구 Vol.26 No.1

The theme of F. Scott Fitzgerald, the representative writer of the twenties, is believed to be love and wealth in the lost generation generally. But this dissertation is aimed to study the characters’ search for the identity except the general themes of love and wealth through Fitzgerald’s four major novels-This Side of the Paradise, The Great Gatsby, Tender is the Night and Th Last Tycoon. The problem of the influence of nineteenth century of ‘self-made’ man and the effect of twentieth century psychologies of the self would be studied in chapter Ⅰ, and in chapter Ⅱ the type of identity through Amory Blaine and other young idealist would be studied. In chapter Ⅲ the manner in which the hero’s dreams of an ideal self through Jay Gatsby and Daisy Fay and in chapter Ⅳ Dick Diver's self-destructive search for an identity would be studied together. In chapter Ⅴ the final answer to Fitzgerald's longtime search for an identity is analyzed and concluded through a brief discussion of Monroe Stahr, the hero of the unfinished novel- The Last Tycoon. < Chonbuk National University >

유태계 미국소설에서 시련과 생존의 의미

김학천 ( Kim Hack-cheon ) 대한영어영문학회 2003 영어영문학연구 Vol.29 No.2

The problems of the assignment of holocaust and survivor are aimed to study through the works of three Jewish American writers, Saul Bellow's Mr. Sammler's Planet, Edward Lewis Wallant's The Pawnbroker, and Bernard Malamud's The Magic Barrel, and The Fixer. Mr. Sammler in Mr. Sammler's Planet, who has been moving toward a relationship with God for several years, confirms that relationship at the death of Elya. He has come to understand that his assignment is from God, and becomes, like Job, a meditator between his friends and God. Sol Nazerman in The Pawnbroker is finally a Holocaust survivor with a chance for an optimistic future. Those who have suffered extremely tend to become instead the nurturers, preservers. Interestingly once these survivors recognize, acknowledge, accept their roles, their lives improve. Malamud's The Magic Barrel and The Fixer, emphasizing as the other works do the moral and ethical values culled from the teachings of Judaism, makes clear the possibilities for being a good Jew even if one is not an observant Jew. Levin in The Magic Barrel and Yakov Bok in The Fixer know very well the religious observances he left behind. < Chonbuk National University >

Thomas Pynchon의 소설 연구 : ebtropy와 paranoia의 문제를 중심으로

金學千 全北大學校 1995 論文集 Vol.39 No.-

Thomas Pynchon's novels, V, The Crying of Lot 49 and Gravity's Rainbow have in common qualities that make some readers positive or others negative. But the readers generally are like to agree on what it is that they respond to in the works of Pynchon. It is unremitting brilliance of invention, accompanied by a wide range of knowledge related to not only science, technology and human values but major course of European history and the entire course of European experience. Through the works, V, a long pursuit of a mysterious being, The Crying of Lot 49, the efforts of Mrs. Oedipa Maas to discover whether an ancient European and Germany during the closing years of World War Ⅱ related with V-2 rocket, Pynchon suggests that the remarkable advances and invention of science and technology has outstripped man's moral and spiritual values and has rendered our world fulled of entropy and chaos contrarily to our expectations.

John Barth의 소설연구 : 1970년대의 미국소설 in 1970's American Novel

金學千 全北大學校 1996 論文集 Vol.41 No.-

We can say the major problem for the novelist in the 1960's was that there seemed to be many realities, and in the 1970's the problem has shifted: it has become difficult to determine what reality is. Thus the novel in 1960's through Thomas Pynchon is a summation of the sixties, and the novel in 1970's through John Barth that of the seventies. The Absurdity writers with Pynchon and Barth in their immense novels work through not only technological chance, entropy, sudden death or maiming, not only the human insistence on direction against technological chance, entropy, sudden death or maiming, not only man as the attempts to overcome contingency, a seemingly endless and irresolvable mass. As Barth is linked to other writers as a black humorist or fabulist, or whatever he is wrenched from his unique mode. For Barth systems have become all. It is not a question of existential freedom, but of liberation from systematic control.

Noeman Mailer의 소결연구 : 전쟁과 도덕적 통찰력을 중심으로

金學千 全北大學校 1997 論文集 Vol.43 No.-

The importance of the 50's to literary study lies in how writers reacted to what they felt was going on around them, not whether anything of empirical significance necessarily occurred. The changing nature of warfare made it possible for American writers of World War Ⅱ to maintain their privileged observations posts. The chief representative of the 50's, Norman Mailer; this claim rests on the extraordinary vitality of his imagination, his readiness to respond to the largest problems of the time on original manner. Through his novels Mailer creates a brawling legend of his life, at the center of both life and art, a great combination persists to wrest from contradiction of history and nature, from the warring cosmos itself, a finer fate for man. and now writes about extraordinary spectacles in American public life.

The Scarlet Letter와 Adam Bede의 비교 연구 : 구원의 문제를 중심으로

김학천 全北大學校 1984 論文集 Vol.26 No.-

Nathaniel Hawthorne is one of the great writers in 1850's American literature and his representative novel is The Scarlet Letter. But Hawthorne called it not a novel but a romance according to his theory of romance-his own original and specialized brand of romance. This is what, I think, makes Hawthorne occupy an important place in the literatrue of the world. The Scarlet Letter includes not only the usual idea of characteristic romanticism but mysterious events, scenes and ideas generally considered remote from everyday common life. Especially in The Scarlet Letter Hawthorne seeks to write on serious topics which reveal the truth of the human heart at the background of Boston which was a severe Puritan society. Hawthorne, unlike many writers of fiction who pictures only surface details, uses symbolism and analyzes the inward tensions of his characters related to the sin not theological but psychological. Arthur Dimmesdale, for example, the hypocrite, is filled with remorse as he keeps reviewing in his mind his guilt and Hester Prynne, outwardly subdued by the Puritans, continues to speculate on the place of women in the world. Adam Bede, written by George Eliot in 1859, is one of her representantive works with The Mill on the Floss and Silas Marner. As Puritanism is the religious background in The Scarlet Letter so Methodism is in Adam Bede. George Eliot's stories reveal her intimate knowledge of country life and interests. Her detailed character portrayals are scientific yet human. The themes of her novels are varied and her life was one of struggle and painful experience. As F.R. Leavis pointed out George Eliot had read Hawthorne's The Scarlet Letter and expressed great admiration for him. The idea that Hawthorne influences, for example, can be discovered in Adam Bede, which is prompted by the name of Hetty and Arthur compared with Hester and Arthur in The Scarlet Letter. So in this article I want to find out the relationship between The Scar let Letter and Adam Bede-Hester to Hetty (characters), Boston to Hayslope (social background), and Puritanism to Methodism (religious background) and extract something similar between The Scarlet Letter and Adam Bede.

The Great Gatsby에 나타난 Gatsby의 꿈과 현실

김학천 全北大學校 1983 論文集 Vol.25 No.-

F. Scott Fitzgerald was born in St. Paul Minnesota in 1896. The first of his novels This Side of Paradise(1920) was followed by two volumes of short stories, and at last The Great Gatsby(1925), which alone would assure Fitzgerald's place among our writers of major stature. He died in 1940 and gave a name to an age-the Jazz Age-lived through that age, and saw it burn itself out. Although his finest works were to come-The Great Gatsby, Tender is the Night, the unfinished The Last Tycoon, there would be tragedy in the remainder of his life. The extent of his literary success was not recognizd by critics until after his death in the early 40's. In The Great Gatsby the motive of an impossible dream of love, which riches can not fulfill after the right movement has passed forever, finds its definitive consecration. Fitzgerald reveals the tragic implications of that dream by organizing the plot around an agonizing conflict of the moral and social order and by enlarging its meaning on the symbol level of legend and myth. The story is rooted in an objective frame of references and thus acquires an individual, realistic meaning which is immediately apparent on the literal level. But it attains an even larger significance on the symbolic level by carrying to its tragic solution a conflict of characters which has a universal implication and representative value. Gatsby's dream can be divided into three basic and related parts : the desire to repeat the past, the desire for money, and the desire for incarnation of unutterable visions in the material earth-to go to the past, meet Daisy and get married as if it were five years ago. There is one problem, we can say. What is the basis for the mutual attraction between Daisy and Gatsby? But there can be another problem. The true question is not what Gatsby sees in Daisy, but the direction he takes from her, what sees beyond her. For Gatsby, Daisy does not exist in herself. She is the green light that signals him into the heart of his ultimate vision. The green light that is visible at night across the bay from the windows and lawn of Gatsby's house is the centural symbol in the book. Superficially this novel deals once more with the failure of a dream of love, which can not be fulfilled to last by the acquisition of money. But Gatsby's failure has a deeper and more comlex motivation in a subtler interplay of human and social conflict, and his constitutional weakness finds a tragic counterpart in them. In this cleavage, between the innocence of Gatsby's dream and the corruption of his practical ways is to be found Gatsby's hamartia, his tragic flaw. Nick Carraway, the narrator in this novel, realizes at the end of this novel that Gatsby's illusion can be identified with the illusion or the dream of the early Dutch sailor, entranced by their vision of the New World. Even though the houses as we see, for example, become inessential ; what matters is that Gatsby's story is identified with that of the pioneers. Though the trees that had made way for Gatsby's house have vanished, Gatsby's dream of illusion repeats in a modern context, their dream, which might have been after all an illusion, of building a new life for themselves, a new plcae in history where they could renew the past. The "green light" cherished by Gatsby is no only on Daisy's dock-it is also the green light of the orgiastic future. And that future ecedes before us,year by year, in the past, in the vast obscurity beyond the city, in the dark fields.

Walter Scott와 James Fenimore Cooper의 비교연구 : Rob Roy와 The Prafie를 중심으로

金學千 全北大學校 語學硏究所 1986 어학 Vol.13 No.-

Walter Scott <1771-1832>의 최초의 소설 Waverly가 출판된 1814년에 Fanny Burney <1752-1840>는 The Wanderer를, Maria Edgeworth <1767-1849>는 Patronage를, Jane Austen <1775-1817>은 Mansfield Park를 발표하였는데 19세기 초엽의 영국문학에서 Victoria 시대의 Charles Dickens<1812-1870>와 William M.Thackeray <1811-1863>가 등단할 때까지의 영국소설의 중심인물인 Jane Austen과 Walter Scott이었다. Austen과 Scott는 같은 시대의 작가였지만 작기가 경험한 일상생활의 좁은 세계를 무대로 하여 realism의 새 길을 개척한 Austen에 비해서 Scott는 18세기 말엽의 Gothic Rpmance를 본받아 황당하고 모험에 찬 scale이 큰 작품을 발표하였고 중세까지 소급하여 경이와 환상의 romanticism의 꽃을 피게 하였으며 Scotland지방의 민요와 전설에 흥미를 가졌던 Scott는 영문학사상 역사소설의 신경지를 개척하였다.

Tender is the Night에 나타난 Fitzgerald의 꿈

金學千 全北大學校 1982 論文集 Vol.24 No.-

F. Scott Fitzgerlad was born in St. Paul, Minnesota in 1896. The first of his novels This Side of Paradise(1920) was followed by two volumes of short stories, and at last The Great Gatsby(1925), which alone would assure Fitzgerald's place among our writers of major stature. He died in 1940 and gave a name to an age-the Jazz Age-lived through that age, and saw it burn itself out. Although his finest works were to come-The Great Gatsby, Tender is the Night, the unfinished The Last Tycoon, there would be tragedy in the remainder of his life. The extent of his literary success was not recognized by critics until after his death in the early 40's. There is also joy in Fitzgerald's work that should not be passed over in dwelling upon profundities, complexities, and tragic implications. Edmund Wilson described it early as a "Quality exceedingly rare among even the young American writers of the day ; he is almost the only one among them who has any real lighthearted gaiety." It also adds to the dimensions of The Great Gatsby and Tender is the Night, those novels that do most to maintain Fitzgerald's reputation as a serious writer. For it is not only the theme and technique that distinguish these novels but the flashes of brilliance, comic as well as tragic, that illuminate individual scenes. Tender is the Night is not a story of postwar degeneracy. The story has nothing to do with the famous 'lost generation,' although many playboy American figure on the periphecy as Mr. Fitzgerald's drama moves through Europe, from the Riviera to Paris, Switzerland and Rome. Dick Diver himself is a brilliant young man : Nicole Warren saves herself by transferring her outraged affection for her father to the young psychiatrist with solid bulwark for distress. The dream and the dreamer are Fitzgerald's subject matter in fiction : and in treating them he invariably delivers up the dreamer as victim of his own Romantic infatuations. And yet for all his sight, his self-lacerating satire, Fitzgerald leaves the dream and the dreamer somehow inviolable at the end. Gatsby, that most extravagant Romantic, leaking sawdust at every pore, is still intact at the end and dies with his dream intact. The "Ode to a Nightingale" declares exquisitely the abandonment of faith in the imagination. It is not until Tender is the Night that Fitzgerald abandons that last comfort of the Romantic, the notion that the botching, the disappointment of the imaginations most cherished ambitions may be blamed on the unworthy environment of the dreamer. Tender is the Night is a harder, harsher book than "Gatsby" : it tells us, that the superdream is an internal corruption, a damaging, selfbegotten beauty.