우연의 미학 : 『더버빌가의 테스』 읽기 A Reading of Tess of the d'Urbervilles

윤천기 한국현대영어영문학회 2003 현대영어영문학 Vol.47 No.1

The purpose of this paper is to explore the aesthetics of chance in Tess of the d'Urbervilles through the law of karma and the theory of samsara/metempsychosis in Buddhism. According to Buddhism, all human beings is under the influence of the cycle of samsara/metempsychosis and the ring of karma, and all beings are closely interconnected each other through "the great of web" of the universe. The Hardy's aesthetic concept of chance can be regarded as the same meaning as that of krama/metempsychosis in Buddhism. It is true that the narrative system of Hardy's novels has depended on a series of accidents and coincidences. However, in the system of chance and coincidence of Hardy's world we can recognize the profound truth of the life in which he creates. In his universe, Hardy does not allow us to forget that chance/coincidence we meet in experience of our life is an integral part which is compose of our world. Hardy's use of chance enforces a mysterious view of life in the level of universe even if it is invisible. It is reason why Hardy's concept of chance is fundamentally different from the general meaning of it. For him, chance has been the integral elements of his artistic universe which he creates in his life. Of course, what Hardy has emphasized is not the mere ephemeral nature of life but the deep realities of life of human being as a mortal who are bound to the great cycle of eternity in universe. In conclusion, we should never fail to cast a new light on Hardy's aesthetics of chance in his literary world, because through which he develops a unique way to explore his sense of the tragic life and through which he creates his artistic universe.

뒤바뀐 여성의 역할 읽기: 윈터버텀의 『주드』와 하디의 『무명자 주드』

윤천기 현대영미어문학회 2009 현대영미어문학 Vol.27 No.1

In this paper, I examine how Winterbottom, in his film Jude, changes the roles of women from the novel of Thomas Hardy. Winterbottom’s film Jude is very different from the Hardy’s novel Jude the Obscure. Hardy characterizes Arabella as an auxiliary ‘contrast’ in ‘the geometric construction’ for his novel. He portrays Arabella as sensual, coarse, ‘a complete and substantial female animal’. Arabella has been a ‘New fallen woman’ for him. However, in his cinematic adaptation of the novel, Winterbottom offers a positive reading of Arabella. Arabella is for Winterbottom a consistently reliable, truthful, sympathetic woman, ‘a good wife and a loving mother.’ On the other hand, Sue is a modern woman, flirty, self-confident, ‘intellectually precocious and sexually repressed.’ Winterbottom’s Sue is a dualistic character, a bundle of nerves just like Hardy’s character. Winterbottom’s film ultimately presents, through the transformation of the female characters, a conclusion which favors the traditional gender role of women and upholds the traditional marriage.

『겨울이야기』와 『폭풍우』에 나타난 원형적 심상과 신화적 상상력

윤천기 현대영미어문학회 2001 현대영미어문학 Vol.19 No.3

The purpose of this paper is to examine how the aspects of the mythological patterns or the archetypal images are figured in Shakespeare's romances, and ultimately to explore how its dramatic effects mirror his view of life. The archetypal and mythic elements are recurrent in both The Winter's Tale and The Tempest, his later romances. Of course, the importance of the repetitive patterns consists in qualifying and enriching the mythological theme of death/rebirth in the plays. That has been carefully designed to bring audiences fully into the world of a triumphant restoration. In other words, through the mythological imagination and the symbolism of archetypal images, the new world of Shakespearian humanism is created in the plays. There are the dramatic epiphanies of human love there: hatred is changed into love, death into rebirth, alienation into harmony, winter into spring, revenge into forgiveness, loss into recovery. The "brave new world" in both The Winter's Tale and The Tempest is created by Shakespeare's mythological imagination, which may be the mirror of his view of life. In this respect, it is meaningful for Shakespeare as a dramatist to cast his final anchor in the harbor of romances.

하디 소설의 영화적 내러티브 테크닉

윤천기 한국중앙영어영문학회 2009 영어영문학연구 Vol.51 No.1

In this essay, I discuss the characteristics of Hardy as ‘a cinematic novelist’ which can appeal both to audiences of films and readers of novels, by comparing some aspects of narrative techniques found both in Hardy's novels and their adaptations to screen. Hardy employes ‘verbal description as a film director uses the lens of his camera,’ which can be analysed in cinematic terms: long shot, close-up, wide angle, telephoto, zoom, visual perspective, and flashback. These cinematic equivalents for the narrative techniques in Hardy’s novels give a ‘Hardyesque’ feel to their adaptations to screen. In fact, many film directors such as Winterbottom, Polanski, Schlesinger, and Agland have picked up characteristic narrative techniques from Hardy's novels, such as their use of specified observers, restricted narrators, ellipses and omission. Thus, it is true that they have found not only stories as a raw matter but also their narrative techniques in the novels of Hardy. Hardy anticipated modes of film narration, which has been a gift for modern film directors.

전복과 광기의 담론: 『원더랜드에서의 앨리스의 모험』 읽기

윤천기 ( Yun Cheongie ) 대한영어영문학회 2011 영어영문학연구 Vol.37 No.1

Many critics have read Alice’s adventures in Wonderland as popular fantasies or fairy tales. This reading could be reached the nonsensical world of Alice’s world. But actually the Alice’s world is not nonsense at all because its underlying meanings are more complicated than fantasies or fairy tales show. Carroll questioned the value of order and principles in the world and explored their sophisticated meanings through ‘the satiric destruction of the common sense.’ By using both ‘episodic dream structures’ and ‘symbolic nonsenses,’ he deconstructed the boundaries of dream and real world, and reversed the order of the world. For Carroll, this was an effective narrative strategy. In fact, it is worth pointing out that the motifs of the reverse and madness in the Alice’s Adventures in Wonderland are almost dramatically composed. Carroll embodies them to create the sensical world beyond the reach of nonsense. ‘What he creates is a cosmic joke but it is more than a good joke’. Carroll shows us moral and philosophical insight into the world, which is based on Victorian society which have a disordered and disoriented world without God. (Seonam University)

환상과 좌절 / 환멸의 대조, 그 반복으로서의 『모호한 주드』

윤천기 ( Cheon-gie Yun ) 대한영어영문학회 1996 영어영문학연구 Vol.21 No.2

The purpose of this paper is to examine theme and technique in Jude the Obscure. Jude's illusion and his disillusionment are the matter of Jude the Obscure, and the contrast pattern and its repetition, which are aesthetic order and unity, are the manner. In Jude the Obscure, Hardy dramatized "a sense of the hollowness of existence" in Jude’s life, attempting to show the contrast between "the ideal life a man wished to lead" and “the squalid real life he was fated to lead.” Though Jude failed to achieve his intellectual ambitions, his religious dream and his love, his tragic life in itself can be a bitter victory of self-affirmation in the modern world. And the structure of Jude's quest for these aims and their meaning in the bitter world is almost geometrically constructed "to give shape and coherence to this series of seemings, or personal impressions" by ironic repetitions of the situation. Accordingly we find Hardy shaped a personal aesthetic for himself. This literary achievements are fruits of his experiment as a modern novelist who tried to quest for ‘a hitherto unperceived beauty’ ‘by spiritual eye’.

텍스트의 충실성의 문제 : 폴란스키의 『테스』와 하디의『더버빌가의 테스』

윤천기(Cheon-Gie Yun) 신영어영문학회 2009 신영어영문학 Vol.42 No.-

In this paper, I discuss how Polanski, in his film Tess, replaces the ‘plot functions’ from the novel of Thomas Hardy and by doing so casts a new light on its meaning. In his adaptation of the novel, Polanski ignores textual fidelity and omits many of Hardy’s narrative ‘plot functions.’ He also eliminates significant sequences, including chains of accidents and chance in the novel; in doing so, he facilitates and maintains his audience’s ‘suspension of disbelief’ throughout the movie. In fact, his film is strictly realistic in that all improbabilities are removed. Polanski, however, has adapted the majority of ‘cardinal plot functions’ contained in the novel. This makes it possible for Polanski’s film to not only create a degree of convergence with Hardy’s novel but also remain faithful to its spirit.

“양탄자 무늬”의 미학: 토마스 하디의 문학론

윤천기 ( Yun Cheon-gie ) 대한영어영문학회 1999 영어영문학연구 Vol.25 No.1

The aim of this study is to explore Thomas Hardy's literary theory and his vision of life. It is very important for Hardy as a novelist to record a series of seeming or personal impressions of life in his fictions. As we consider Hardy’s literary theory which is to strike and disproportionate the balance between the uncommon and the ordinary both to give interest and to give reality, it is not difficult to understand why Hardy continues to use chance, coincidence, grotesque symbolism, and awkward style in his novels. The secret of his fiction is to juxtapose uncommonness and commonness. The conscious knowledge of his aesthetic purposes makes him do so. Those elements in his fiction ultimately become an integral part of his fiction shaping a great meaning like a beautiful pattern in carpet. Hardy wanted to see ‘the deeper realities’ beneath the landscapes of life. Hardy’s fictions reveal that ‘the heart and inner meanings’ of life are still tragic and unhappy as shown in the tragic lives of the many heroes and heroines. However, we should never fail to notice that the tragic ends of life in his major fictions may be the deeper realities of life like a sad symphony which Hardy understands as a principle of life in the absurd world. What he makes the tragic aspects found in human life into beauty was his eternal theme as a sympathetic appreciativeness of lire, and how to focus light on their surfaces was his literary technique as an experiment for him. That was his literary theory which he wanted to realize for his entire life.

토마스 하디와 노장사상

윤천기 ( Yun Cheon-gie ) 대한영어영문학회 2002 영어영문학연구 Vol.28 No.1

The purpose of this paper is to cast a new light upon the poems of Thomas Hardy through the prism of Taoism, one of oriental thoughts. Of course, the direct influences of the Oriental thoughts on Thomas Hardy have not manifested themselves in his essays or autobiography etc. However, the main tincts of the Taoism, Chuang-Tzu and Lao-Tse can be traced in many of his poems: “Moments of Vision”, “So Various”, “Life and Death at Sunrise”, “Drummer Hodge”, “A Placid Man's Epitaph”, “Rain on a Grave”, “Transformation” and “Proud Songsters”, etc. The main thoughts in Chuang-Tzu and Lao-Tzu are as follows: firstly, ‘Things appear multitudinous and varied, but eventually they all return to the common root’, secondly, it is natural for man to accept the world as it is, in the cycle of the great cosmic changes. As echoed in his poems, his view of world is going beyond the dualistic boundaries between life and death, man and nature, existence and nonexistence. In his poems, Hardy's Oriental insights and speculations on man/nature, life/death are casting a new light of hope upon man as a mortal being, transcending both times and places. < Seonam University >

보수주의 담론과 위협의 서사: 존 포드의 『수색자』 읽기

강관수,윤천기 현대영미어문학회 2011 현대영미어문학 Vol.29 No.3

The western movies show the conservative ideas of American character and American myth. The Conservative imagination in the Hollywood movies is based on the dichotomy of good and evil and on the world full of menaces. The West is represented as an imagined space, in which there are threatening Indians who are powerful and cruel. They attack and destroy the peaceful family in the frontier. National myth of the American West is made by overcoming the difficulties of the frontier life and by fighting against these kinds of menaces. In The Searchers, Ethan, the hero of the movie, searches for Debbie who is kidnapped by the Indians. During this pursuit, Ethan finds that his niece is assimilated into the Indians. Scar, a cruel Indian chief, makes her his wife against her will. In the movie, a beautiful white girl loses her virginity and becomes a victim to an Indian's sexual desire. This movie uses the politics of sexuality to emphasize the menace of the Indians. Indians are represented as 'the Others' which are a menace to the families and women in the frontier community. In the process of fighting against the destructive forces of the Indians, America's national myth of the western hero is created.