레비나스의 여성성과 모성 개념을 통해 본 Death of a Salesman에서의 린다의 여성성과 모성의 연구

윤희억(Yoon, Hee-Uhk) 한국현대영미드라마학회 2017 현대영미드라마 Vol.30 No.2

햄릿과 그의 세계

윤희억(Hee-Uhk Yoon) 한국셰익스피어학회 2015 셰익스피어 비평 Vol.51 No.1

A wide range of modern essays written by contemporary critics have dealt with various aspects of the play in a large number of topics from character, theme, language to politics, and ideology. Traditional literary criticism on Shakespeare has always been concerned with the question of Being in tragedy within the scheme of sin, corruption, suffering, repentance, and salvation. Such traditional readings of Shakespeare are primarily concerned with the triumph of the good of a hero over the evil under the providence of God. In opposition to such traditional criticism stand more recent poststructuralistic readings: Psychoanalyticism, New Historicism, Cultural Materialism, Marxism, and Feminism. In the middle of these two extremes stands Heidegger’s existential ontology as a transitional foundation on which deconstructive readings are triggered off. Though there are some resistance against Heidegger’s political, idealogical traces in American and British criticism, it seems rather regrettable that there has been no such study on the whole text of Hamlet through Heidegger’s existential ontology. Heidegger’s ontological inquiries into human existence are well suited for examining tragedy. Heidegger can throw light on tragedy, but tragedy can throw light on our understanding of Heidegger’s philosophy. This is indeed the case with Hamlet. From Heidegger’s ontological view, Hamlet is a tragedy which demands remembering the forgetfulness of Being. Heideggerian ontology provides us with such insight that Hamlet can be more clearly understood in the context of historical milieu in which Hamlet is thrown. Hamlet is not a drama in which Hamlet’s life is machinated by God on the stage of the world; but it is a drama in which his life is disclosed in a historical scene. Hamlet lives in the world in which he is intertwined with the Others. Denmark is a swirl of the world in which Hamlet is thrown as Being-in-the-world. This essay explores Hamlet and his world on Heidegger’s existentiale of existential-ontology so that I can lay bare the basic state of Dasein: Hamlet as being-in-the-world; inauthenticity of Claudius and the surrounding characters; Hamlet’s “To be, or not to be”: boredom, melancholy and anxiety; Claudius’s conscience and terror; and Hamlet’s call of conscience; Hamlet’s readiness and death in Heidegger’s existential temporality.

레비나스의 타자철학을 통한 아서 밀러의 All My Sons의 고찰

윤희억(Yoon, Hee-uhk) 한국현대영미드라마학회 2014 현대영미드라마 Vol.27 No.3

햄릿과 오필리어를 둘러싼 악령의 은유 양식

윤희억(Hee-uhk Yoon) 한국셰익스피어학회 2008 셰익스피어 비평 Vol.44 No.1

Since A. C. Bradley, many critics have not only defined the relationship between Hamlet and Ophelia as the abortive romantic love story, which functions as a decoration to a revenge story, but have also thought that Ophelia is a weak, dependant figure. But traditional criticism overlooks much of Polonius' suspicious manipulation of her daughter and the potentiality of Ophelia as a weak vessel, which complicates and intensifies Hamlet's agony. Recently Elaine Showalter, Annette Kolodney, and Gohlke have pulled Ophelia up in center from the marginal, and have reconsidered the turmoil of Hamlet's soul centering on the body and sexuality of Gertrude and Ophelia. In this context, my paper aims to put Ophelia back up front, highlighting the metaphoric pattern of evil spirits in the relationship of Hamlet and Ophelia. First, reconsidering Ophelia in center asks us first to see Claudius and Polonius as evil spirits in metaphoric pattern. In this play Claudius, who murdered King Hamlet and whored his wife, consciously or unconsciously dominates Hamlet's soul. Similarly Polonius, who once loyally served King Hamlet and now turned a tool for Claudius, even using her daughter Ophelia as a bait, distresses Hamlet's soul. Polonius is another shadow of Claudius's evil spirit. Second, Gertrude and Ophelia form a metaphoric pattern as evil spirits, which torment Hamlet's soul all through the play until he dies. Hamlet's mother Gertrude, who betrayed her husband and now quickly threw herself into the bosom of Claudius, consciously or unconsciously tortures Hamlet's soul. Likewise Ophelia, who once loved Hamlet and now returns his letters and gifts to him, showing a sign of a weak vessel, gnaws Hamlet's soul like an evil spirit.

실성한 오필리어의 노래와 죽음의 상징성 연구

윤희억(Hee-Uhk Yoon) 신영어영문학회 2008 신영어영문학 Vol.40 No.-

Among major sources of Hamlet are Saxo Grammticus’ Historiae Danicae, Belleforest’s Histoires Tragiques and the Ur-Hamlet written by an anonymous author. In the first work, a beautiful woman who got along with Amleth since his childhood assumes the trace of Ophelia. But instructed to seduce him, she warns him of the trap so he can avoid it. In the second, Belleforest’s description of the seductive woman goes almost in the same way. Lastly, the Ur-Hamlet sprouts the characters of Polonius’s family including Laertes and Ophelia. What is more important is that the author genuinely invented the madness and death of Ophelia. In neither of the two preceding sources were madness, song and drowning of Ophelia. Shakespeare followed the footsteps of the basic frame of the Ur-Hamlet. It is, however, assumed that with his unbeatable imagination Shakespeare created both dramatically intense conflict between Hamlet and Ophelia; and the heart-breaking depiction of her madness, song and suicide. This paper aims to analyze Shakespeare’s embroidery of symbolism on madness, song and death of Ophelia, which reveals her unconscious desire for forgetting Hamlet and remembering Polonius. The symbolic study on Ophelia’s song and death, I believe, makes it possible to correct the marginality of Ophelia as a minor figure and put her up front back.

『리어왕』의 비평의 흐름

윤희억(Hee-uhk Yoon) 한국셰익스피어학회 2008 셰익스피어 비평 Vol.44 No.2

Until the 1960s, Christian readings have prevailed over criticism of King Lear. Despite the mixture of the play's pagan setting and the Christian allusions crossing this play, many critics tried to read traditional Christian messages, centering on the pattern of sin, suffering, self-awareness and redemption. However, Barbara Everett's skeptical reading in 1960 stays away from the idea of King Lear as a dramatized Christian pattern of sin, sacrifice and redemption. Elton also refuses to see this tragedy as a drama of suffering and redemption within a just universe ruled by higher powers. These critical debates on the significance of King Lear have hitherto neither shown any interest in the play's contemporary social implications or its past political power system, nor have tried to reconsider and reinterpret these historical contexts from the modem point of view. But the 1980s spawned theoretically well-armed criticism on Shakespeare's plays. Shakespeare studies have taken quite a different shape in modem literary theory, getting themselves out of the climate of traditional criticism. In recent years deconstruction, feminism, new historicism and cultural materialism show striking changes in the interpretation of King Lear, drawing contemporary historical documents into literary texts and highlighting political power, gender, and race. They are becoming the main critical movements currently delving into another aspect of significance of Shakespeare's plays. This fresh blooming of new criticism deals with oppressive structures of power and gender in Shakespeare's world and our own through new kinds of theoretical development. In this context, I believe that it is worth surveying the whole trace of change in the critical history of King Lear from 1800 to the present.

셰익스피어의 후기극들과 로맨스(Romance) 장르 문제

윤희억(Hee-uhk Yoon) 한국셰익스피어학회 2007 셰익스피어 비평 Vol.43 No.2

According to the ideas of structuralism, every literary unit from the individual sentence to the whole order of words should be traced closely in relation to the concept of system. The study of literary genres also attempts to find, classify, and reconstruct well-wrought related system in individual works of an author. Generic criticism sees literature as a system within the larger scale of human culture. It delves into the dominant factors that structure either the whole works or an individual work of a writer. Critics have debated on the similar structures in Shakespeare's last plays: Pericles, Cymbeline, The Winter's Tale, The Tempest. In recent times, they have been, without much dissent, defined as romances. It has been admitted that they all show unrealistic development of events, the fusion of comic and tragic elements, and complicated plots in common. J. H. P. Pafford even says that they are of a kind. This paper aims at generic criticism, exploring the structural similarities in Shakespeare's four romances: Pericles, Cymbeline, The Winter's Tale, The Tempest, and categorizing each of them into the genre of romance. Through Highet's and Bakhtin's close analysis of the common traits in Greek romances, I will pursue not only the origin of Greek romances and their influences on Shakespeare's last romances, but also their generic similarities in structure. The primary components studied in Shakespeare's four romances are: the lovers' adventures and obstacles, travel to distant and exotic land, the abduction of hero and heroine, the long separation of two young lovers, their unflinching fidelity through temptation and trial, inquiries into chastity and fidelity of the lovers; parental opposition to the marriage of young lovers, the flight of the lovers, their mishap such as a storm at sea, a shipwreck, an attack by pirates, captivity and prison, battles; faked death, the disguised identity of lovers, presumed betrayals, false accusations of crimes, unexpected inheritance of great wealth, the true birth and parentage of hero and heroine, reunion with their parents, and happy ending with lovers united in marriage.

레비나스의 타자철학을 통한 『맥베스』는 “여성 부재의 남성만의 나라”라는 비판에 대한 재고찰

윤희억(Hee-Uhk Yoon) 한국셰익스피어학회 2020 셰익스피어 비평 Vol.56 No.4

Some patriarchal critics contend that Macbeth contains clear contempts for feminine values. The childlessness of Macbeth and Lady Macbeth is clearly contrasted with procreative images of babies, children, and the milk of the female breast. No compassion, hospitality and nurturing of otherness are in their world. Even some feminine critics argue that this play ends by consolidating patriarchal masculinity totally eliminating the feminine. This paper, however, refutes the argument that the patriarchal masculinity thoroughly marginalizes and erases the vestige of femininity and maternity in this play. I will touch on logical controversies raised by some patriarchal and feminine critics and reread the text of this play in view of Levinasian philosophy of otherness, for Levinas’s notions of conatus; femininity and motherhood are very useful to analyze the dichotomy of the two worlds: patriarchal masculinity and feminine gentleness. Levinas defines conatus as man’s self-centering desire trying to forget and eradicate the other. Macbeth plunges into conatus to murder the king Duncan and divest him of the crown. Driven by conatus, he thoroughly drains even one drop of femininity and maternity in his nature. Macbeth’s world of conatus is clearly contrasted with Duncan’s world in which masculinity and femininity coexist. In the end of this play, Macbeth’s conatus is destroyed by the harmonious world in which masculinity and femininity coexist without one dominated by the other. The procreative motherhood restored back by Malcolm and Macduff displaces Macbeth"s barren masculinity and inseminates the sweet milk of concord into the land of wilderness, Scotland.

영미시 은유 이론의 유형과 진화

윤희억(Yoon, Hee-Uhk) 신영어영문학회 2014 신영어영문학 Vol.57 No.-

This paper aims to pursue various types of widely accepted theories of metaphor and their evolutionary process, for this study will make us understand more clearly how metaphor works and how it is recognized. On the one hand, this paper deals with philosophical and psychological approaches to metaphor led by I. A. Richards, W. K. Wimsatt, Monroe C. Beardsley, and Wheelwright. On the other hand, this paper surveys theories on metaphor raised by the three linguistic circles. First, Noam Chomsky and Robert J. Matthews approach metaphor as typical examples of syntactic and semantic deviances. Second, pragmatic theories emerge as a way to go beyond the limits of syntactic and semantic approaches. Paul Grice, Michael J. Reddy, and John R. Searle attack the defects of the syntactic and semantic views. Third, cognitive approaches explore the nature of metaphor in a wider perspective. They stress not only inner conceptualizing, but also outer conceptualizing including custom and culture experienced by man who exists in the world.

『안토니와 클레오파트라』 : 바흐친적 패러디 양식과 다성성의 세계

윤희억(Hee-Uhk Yoon) 한국셰익스피어학회 2010 셰익스피어 비평 Vol.46 No.4

The polyphony of Dostoevsky’s novels theorized by Bakhtin stands out in Shakespeare’s Antony and Cleopatra. This play contains two consciousnesses, two languages, and two voices in a hybrid construction. This hybrid is made possible by the pattern of parody in which two styles and two languages are crossed with each other. Shakespeare seems to destroy the homogeneity of characters and the interconnectedness of events. Heterogeneous and disparate materials are intertwined. Contradictory ideas and values are claimed by one or another character. In the structure of parody, the main characters stand ideologically peculiar and independent in both worlds. Octavius Caesar parodies Antony as a boy, a strumpet’s fool, and an old ruffian in dotage; and Cleopatra as a strumpet, a whore and a witch. Cleopatra parodies Caesar as a scarce-bearded boy, a paltry thing, and an ass. Through the exchange of their colliding voices, they demystify each other. They are not a mouthpiece of Shakespeare’s authorial discourse, but an autonomy of their own individual voices. These independent, contradictory voices are not converged, but hopelessly unsolved. The world of Antony and Cleopatra defies the shaping of any unified artistic vision. An incessant cacophony of their unmerged voices stays ringing within earshot even after. This play is not monologically merged, or finalized, but open-ended.