롤랑의 노래에서 실성한 올란도로: 사라센의 르네상스?

김현진 한국고전중세르네상스영문학회 2007 중세근세영문학 Vol.17 No.1

Hyunjin KimThe increasing tolerance for the Saracens characterizing the evolution of the Carolingian epic from La Chanson de Roland (c. 1100) to Orlando Furioso (1516-32) does not attest a commensurate progress in the Western attitude towards Islam. History tells otherwise: bitter antagonism between the West and the Islamic East was not quite mitigated in the early sixteenth century, as it had never been in the preceding centuries. As far as the literary portrayal of the Saracens is concerned, a more interesting, and possibly more important, factor might be a pair of complex socio-cultural changes that were generated within the Western civilization itself and brought about the making of the High Middle Ages and, later, of the Renaissance. The rise of the romance (and of romance chivalry) in the late twelfth century and its further development in the thirteenth century opened a way to romanticize the Saracenic other and decentralize the ideal of the crusades in fictional narratives, whereas the Humanist project of recovering, interpreting, and emulating classical antiquity in the Italian Quattrocento and Cinquecento helped establish a metonymical relationship between the Greek (thus pagan) classical texts and the imaginary pagans from the Near East and Africa, who serve as de facto heirs to the long-lost Greek civilization.(Seoul National University)

르네상스와 우리 인문학

박상익 한국고전중세르네상스영문학회 2011 중세근세영문학 Vol.21 No.1

The Saracens, with no native philosophy and science of their own, but with marvellous power of assimilating the cultures of others, quickly absorbed whatever they found in Western Asia. Arabic translations were made directly from the Greeks as well as from Syriac and Hebrew. To their Greek inheritance the Arabs added something of their own. Certain of the caliphs especially favored learning, while the universal diffusion of the Arabic language made communication easy and spread a common culture through Islam, regardless of political division. As the Crusaders discovered, this "infidal" culture was clearly more advanced in significant respects than that of the Latin West. Little wonder that the Arabs considered the Crusaders barbarian raiders, or that Europeans looked upon the Islamic world with that peculiar combination of fear and admiration. The most important channel by which the new learning reached Western Europe ran through the Spanish peninsula. The chief center was Toledo. From Spain came the philosophy and natural science of Aristotle and his Arabic commentators in the form which was to transform European thought in the thirteenth century. The indebtedness of the Western world to the Arabs is well illustrated in the scientific and commercial terms which its various languages have borrowed untranslated from the Arabics. Words like algebra, zero, cipher tell their own tale. Beginning in the 1150s, Latin editions of the rediscovered writings began to flood the libraries of Europe's scholars. The output of the translation centers in Spain, Provence, and Italy was enormous, numbering in the thousands of manuscript. Aristotle's recovered work was the key to further developments that would turn Europe from a remote, provincial region into the very heartland of an expansive global civilization. It is the Renaissance of the Twelfth Century, which is also known as the Medieval Renaissance. We should let this be a good lesson to ourselves.

고전적 정의(正義)와 기독교적 정의의 역동적 관계: 스펜서의 『요정 여왕』 제5권

김호영 한국고전중세르네상스영문학회 2003 중세근세영문학 Vol.13 No.2

Euripides` Iphigenia : A Covert Metaphor for Athens

김화순 고전르네상스영문학회 2001 고전르네쌍스드라마 Vol.10 No.2

시인과 이상사회 : Ben Jonson 연구

임성균 고전르네상스영문학회 (구 고전르네쌍스드라마한국학회) 1994 고전르네쌍스드라마 Vol.3 No.-

청교도주의와 1642년 극장폐쇄령

최재민 한국고전중세르네상스영문학회 2011 중세근세영문학 Vol.21 No.2

The closing of public theaters by the order of parliament in 1642has often been cited one of the most visible historical examples that signify the culmination of Puritans’ anti-theatrical movement over the decades. Contesting this conventional understanding of the 1642 order, this paper revisits the historical contexts of the year to reveal that the order should be better viewed as part of the efforts of the authorities to put growing explosive political situations in the approaching shadow of the civil war under control. To discredit the traditional view of the order (the view that the order was primarily fuelled by Puritans’ long-standing repugnance against stage-playing), the paper includes several examples in which the Puritan power during the civil wars and the Interregnum took advantage of theatrical performances for their political gains. What is evident through this study, then, is that the Puritan authorities during the middle of the seventeenth century were more flexible and experimental with theatrical events and activities than they have been depicted in the standard accounts of drama history.

Writing Early Modern London: A study on the spatial negotiation of Whitney’s Sweet Nosegay and other London Poems

최재민 한국고전중세르네상스영문학회 2014 중세근세영문학 Vol.24 No.1

This paper examines the sociopolitical circumstances preconditioning Isabella Whitney's Sweet Nosegay, especially in the context of spatial restrictions on Renaissance women, and discusses the ways in which Whitney subverts such restrictions on her through a literal and imaginary excursion into London civic space. In oder to illustrate Whitney's extraordinary mobility and copious knowledge of London, this paper also devotes much of its pages to a critical comparison between “Her Will to London,” Whitney's major poetic achievement in Sweet Nosegay, and other contemporary (male) humanists' poetic works. This comparison has made it clear that Whitney embraces London and its everyday commercial activities as they are, without false presumptions and without subordinating them to “nobler” aesthetic judgement or moral values, unlike what Ben Jonson and John Denham did in their London poems.

존슨의 『펜스허스트에게』 와 랜여의 『쿠컴의 묘사』 비교: 작가의식과 성 정체성을 중심으로

최재민 한국고전중세르네상스영문학회 2012 중세근세영문학 Vol.22 No.2

The scholarly interests in Ben Jonson’s country house poem “To Penshurst” has been revitalized since the recent discovery of Aemilia Lanyer’s country house poem, “The Description of Cookham”. Despite the growing debates about the gender differences not only of the two authors but also of the patrons these poems were dedicated to, not much has been explored as to the ways in which both Jonson and Lanyer empower their writing selves through the multi-layered discursive negotiations between themselves as authors and their patrons as dedicatees. I argue that Jonson and Lanyer choose different strategies of self-fashioning their authorships largely because Jonson around the time of publishing “To Penshurst” had been already firmly established as a primary court writer, whereas Lanyer was testing waters for her new venture into commercial books, a public arena mostly dominated by men in early modern times. To bolster his authorship, Jonson in “The Forest,” a collection of poems where “To Penshurst” originally appeared, carefully selects the patrons to be praised and presents himself as having been in mutual, not one-sided, relationship with his patrons. On the other hand, Lanyer takes fully advantage of religious discourse and devotional lyrics traditionally more open to women, thereby successfully turning her poems, penned by a plain woman like herself, into the glorious examples of God’s grace and love.

『베니스의 상인』에 나타난 ‘개종’의 문제: 제시카를 중심으로

김태원 한국고전중세르네상스영문학회 2012 중세근세영문학 Vol.22 No.1

While focusing on Jessica and her conversion, this essay purports to investigate the ways in which Shakespeare's The Merchant of Venice is engaged in the early modern discourse on nation and race. Even though she is not as prominent as Shylock or Portia, Jessica seems to be the central character in understanding the relevance of the Jews in the formation of early modern national identity. My discussions of Jessica is expected to cast light on the ways in which early modern Europeans grappled with competing notions of religion, race and gender under the name of nation. What Jessica and her conversion remind us is that early modern nationhood must be read in connection with religion, race, and gender. By taking up Jessica as a primary figure of conversion, I suggest that the racial, theological, national tensions of early modern England come together in her escapade and marriage. Jessica's resistance to the patriarchal law drives wedge into the early modern notion of nation and national identity based upon blood and genealogy. Shakespeare's representation of Jessica's conversion through elopement and marriage, I argue, at once suppresses and reveals the cultural anxiety about the political economy of early modern English nationhood. With the Venetian investment in converting the Jews, both Shylock and Jessica, Shakespeare's play rehearses the guilt-ridden relation of Christianity to Judaism that might have dominated the psyche of early modern Europeans.

"Look What a Wardrobe Here Is for Thee": Costume in the Early Modern Theatre

임이연 한국고전중세르네상스영문학회 2006 중세근세영문학 Vol.16 No.2

This essay reviews a series of extant evidence relating to early modern costume and reappraises the commonly held belief that actors wore contemporary clothes in Shakespeare's theatre and that thus they had no concerns for historically or geographically accurate representation of the dramatic world. I argue that Shakespeare's stage did make efforts to represent the play with some chronotopic precision within their resources. The purpose of this essay is twofold: to highlight the materiality of the early modern theatre, particularly costume, as an active participant in the formation of Elizabethan and Jacobean culture as well as in the production of theatrical meanings, and to challenge the universality myth of Shakespeare that transcends time and space by showing that the setting in his plays was not a mere label that could be anywhere and anytime but had significance of its own.For this purpose, I examine the "period" costumes recorded in the wardrobe inventories for the Lord Admiral's Men and estimate their impact on the stage, which, I would argue, was far greater than their number suggests. We also need to gauge the range of contemporary clothes in early modern England. I underscore the fact that "foreign" fashion was an essential part of Elizabethan and Jacobean sartorial culture. Despite the attempt at chronotopic accuracy, however, the representation of the dramatic world was far from complete; anachronism was inevitable on the stage. Anachronism has been traditionally taken to signal inconsistencies and disregard for chronotopicity in the early modern theatre; rather, it is a gargantuan desire typical to the Renaissance to encompass both past and present, fiction and reality. Like a "Mbius strip," as Leah Marcus terms it, what relates Shakespeare more cogently to the modern audience is such chronotopic pluralism that encourages dialogues between his times and ours.(Yonsei University)