새로운 통합은 옛 뿌리 위에서만 자랄 수 있다 : 엘리어트의 (반)모더니티 의식 T. S. Eliot on Modernity

김태철 한국외국어대학교 북미연구소 2003 영미연구 Vol.9 No.-

Eliot betrays an impasse in which he was situated at once as a child of decentred modernity and as a self-imposed reactionary to it. While unconsciously residing in 'eccentric and formless' modernity, he made a conscious attempt to transcend it. He wandered between Eliot the poet and Eliot the critic or more precisely between aesthetic modernity and the glorifying submission of transient modernity to the imagined pre-modern centrality. His critical project begins with a strong desire to nullify historical discontinuities under ever- deepening modernity. He goes against all the modern trends, determined to apply what he thinks is permanent, complete and fundamental to the particular, the fragmentary and the provincial under modernity. For this reason, he repeatedly looks back to the disintegration of the intellect and the dissociation of sensibility in the course of modernity for what he suspects is the origin of modern rupture, attempting to bridge historical faultlines running through between the two worlds. Likewise. the self-claimed anti-modern Eliot, who is ironically faithful to modernity's dialectical impulse to deny the past, is explicit in putting forward various kinds of oppositional pairs suggesting his conceptual map of pre-modern absolutes and modern contingencies: centre and periphery, the timeless and the temporal, the eternal and flux, the enduring and the changing, Christiandom and the Civil War. Dante and Donne. universal verse and superficial prose, the visual and the auditory imagination, ontologism and psychologism, religious orthodoxy and secular humanism, outside authority and inner voice, tradition and the individual talent, etc. These binary oppositions make it clear that Eliot, reducing modern emergencies just to the empirical and experimental, attempts to reformulate the relationship of contemporary modernity to the past tradition in the hope to reactivate the former group in each pair with a sweeping dismissal of the latter in his anachronistically dualistic world-view. Even if the age is to be edged forward beyond modernity or at least into another stage of modernity, Eliot sees no point in going forward, in which vision the pre-modern integrity is the only alternative for modernity and other possibilities are also nothing but modernity's impulse for another experimentalism towards an uncertain future.

The Mill on the Floss

Choe, Jian(최지안) 계명대학교 여성학연구소 2015 젠더와 문화 Vol.8 No.1

조지 엘리어트의 『플로스강의 물방앗간』(1860)은 풍부한 지적 예술적 소양과 재능을 갖춘 한 소녀가 편협하고 인습적인 공동체 내에서 교육 및 자아실현의 기회를 얻지 못한 채 파국을 맞게 되는 과정을 다룬다. 본 논문은 여주인공 매기의 정체성과 행동이 가정, 학교, 사회 제도에 의해 형성되는 과정과 함께 그가 당대의 억압적인 젠더 규범과 이데올로기를 내면화하는 과정을 분석함으로써 작품에 재현된 여성교육의 문제를 규명한다. 작품은 매기의 비극 혹은 여성의 삶의 조건 일반에 대한 사회학적 탐구를 통해 교육이 여성의 도덕적·사회적 성취를 돕지 못하고 오히려 좌절시키는 핵심 기제로 작동한다는 점을 보여주며, 이 점에서 빅토리아 시대 여성 문제에 대한 재고 혹은 사회비평으로 간주될 수 있다. The Mill on the Floss, George Eliot’ novel of 1860, traces the process by which a girl with rich potential meets a tragic end, caught in a circumscribed society and denied the opportunity of education and self-realization. The present thesis is intended to elucidate female education as represented in the novel, focusing on the ways in which the heroine’s identity and behaviour are shaped by the institutions of family, school and society. Maggie’s caliber puts her at odds with the social codes of her community. Her survival depends on whether she could come to terms with them to accommodate herself within the community. But she fails. The social forces, in conjunction with her internalized values, compel her to take self-denial, the moral choice which leads to an impasse from which she is only delivered by an untimely death. The catastrophic ending can thus be construed as a protest against the restrictions imposed upon women. In sum, the novel presents a critique of the social system which accords no space for women. It makes a sociological inquiry into the defeat of the heroine and the condition of women at large and discloses the ways in which female education-its institution, practices and conventions-functions as a key mechanism which hinders women from attaining a morally and socially fulfilled existence.

‘전통’ 개념어의 기원과 전통 인식

임곤택(Lim Kon-Taek) 韓國批評文學會 2011 批評文學 Vol.- No.39

이 논문은 한국 현대 시사의 한 축을 담당해온 전통의 의미를 실증적으로 규명하기 위한 연구의 기초 작업으로 시도하였다. 먼저, ‘전통’이라는 개념어가 최초로 쓰인 시기와 용례를 추적하고 그 의의를 구명하고자 하였으며, 1950~60년대 서정주, 조지훈, 김춘수 세 시인의 ‘전통’에 대한 인식을 살폈다. 먼저, ‘傳統’이라는 용어는 동양문화권에서 이미 쓰이고 있었지만, 한국현대문학사에서 하나의 개념어로 쓰인 것은, 1933년 일본에서 T.S. 엘리어트가 번역되고, 다음해 최재서에 의해 그가 소개된 것을 계기였다. 이 논문은 한국현대문학사에서의 ‘전통’을 ‘Trdition’의 번역어로 판단하였다. 그러나 ‘전통’이 소개되는 즉시 널리 퍼진 것은 아니며 ‘傳承’, ‘繼承’ 등의 용어와 혼용되다가, 차츰 ‘전통’이 유사한 용어들을 흡수하여, 전후 전통 논의에서는 일반화된 것으로 생각된다. 서정주, 조지훈, 김춘수의 경우, 각각 ‘전통’에 대한 생각을 개진하는데, 서정주의 경우는 ‘민족’의 현실을 계속 되는 ‘실패’로 파악하고, ‘永生主義的 宇宙自然主義’를 ‘전통’으로 계승할 것을 언급한다. 조지훈의 경우는 현실의 ‘위기’에 대해, ‘새로운 해석과 정당한 저항’을 통해 ‘전통’을 재창조, 혹은 계승할 수 있다고 생각하며, 김춘수는 ‘전통’을 ‘시 형태’와 관련시킨다. 이들의 ‘전통’에 대한 인식은 각각, ‘신라’라는 초월의 세계로, ‘현실 참여’로, ‘타령조’의 수용을 통한 ‘무의미’로의 진행에 중요한 계기가 된 것으로 판단된다. This study is about the origin of the conceptional term, ‘Tradition’ and poets’ understanding for tradition 0n 1950~60s in Korea. In that period T.S Elliot’s concept of the tradition was widely prevailed. And the concept was firstly introduced by Choi Jae-Seo and Kim Ki-Rim in the middle of 1930s. Suh Jung-Ju’ thinking for tradition could be charaterized with the resign to fate and the aiming to eternal life. And Cho Ji-Hun emphasized the new interpretation and proper resist for the present and the tradition. These two poets thought the tradition in the ideational content, and Kim Chun-Su concentrated in traditional form. Suh, Cho and Kim had the similar thought about the reality but understood the tradition differently. And these different thought leaded them to charateristic wrighting.

1930년대 한국 문학에 나타난 T.S 엘리어트의 영향: 최재서와 김기림을 중심으로

남송우,정해룡 문창어문학회 1998 국어국문학 Vol.35 No.-

이수복 시에 나타난 전통 서정의 계승과 변주

장은영 한국시학회 2024 한국시학연구 Vol.- No.79

한국적인 미감을 보여주는 작품으로 평가받은 이수복의 「봄비」는 1950년대 전통 서정시의 대표적 작품이다. 「봄비」가 말해주듯 이수복의 시세계는 한국시의 정체성과 현대성을 모색하던 당시 문단에서 전통 서정 계열로 분류되어 왔지만 그러한 평가와 달리 이수복은 시의 본질을 묻는 지적인 사유와 의지를 드러내며 자기 시의 갱신을 시도한 시인이기도 하다. 본 논의에서는 이수복의 문학적 연대기를 재구성하고, 그것을 토대로 이수복의 시가 전통 서정을 계승하면서도 전통 서정의 한계를 벗어나 시를 탐구하며 주관을 벗어난 시정신에 이르고자 하는 양상을 살폈다. 서정주의 추천으로 데뷔한 이수복은 서정주에 대한 존경과 애정을 드러내며 그의 시정신을 적극 받아들였다. 서정주 시에 드리운 체념과 순응적 태도를 수용한 이수복은 그러한 시적 태도를 자기 시의 무의식적 그림자에 투영하였고, 청록파의 여성화된 자연관을 환기하는 ‘꽃’ 이미지 등을 보여줌으로써 전통 서정시의 주류적 흐름을 이어갔다. 당대 문단에서 이수복은 서정주의 영생주의적 세계관이나 청록파의 전통 미학으로서 자연을 받아들이는 계승자였다. 그러나 이수복은 감정에 치우친 자기 시의 한계를 성찰하며 지성적 태도로 시를 사유하는 면모를 보여주기도 했다. 시쓰기에 대한 성찰을 담은 메타시나 시의 본질을 탐구하는 지적 사유를 드러내며 주관적 감정을 극복하고 지성을 도입하려는 의지를 보였다. 개인적인 감정과 개성의 극복을 지향하는 T.S. 엘리어트의 논의를 수용하며 시의 정신에 다가가고자 했던 이수복에게 시란 ‘구름의 상(想)’처럼 역동적으로 변화하는 정신이자 자아라는 틀에 갇힐 수 없는 순수한 정신 그 자체였다. 이수복의 삶과 그가 남긴 글을 통해 알 수 있듯이 그는 전통 서정의 계승자라는 문단의 위치에 안주하지 않고 전후의 현실 속에서 시의 현대성을 탐구하며 시정신의 도약을 모색하던 시인이었다. Evaluated as a work that demonstrates traditional Korean lyricism, Lee Soo-bok's "Spring Rain" continues the lineage of traditional lyrical poetry of the 1950s. As the title "Spring Rain" suggests, Lee Soo-bok's poetic world has been classified under the traditional lyrical genre amidst the literary circles of the time, which were seeking modernity. However, while inheriting traditional lyricism, he was also a poet who exhibited an intellectual desire and will to renew the limitations of traditional lyricism and to question the essence of poetry. This study reconstructs the literary chronology of Lee Soo-bok and, based on this, examines how his poetry inherits traditional lyricism while contemplating the nature of poetry, overcoming his sentimental attitude and the limitations of traditional lyricism, and pursuing modernity. Debuting through the recommendation of Seo Jeong-ju, Lee Soo-bok expressed respect and affection for Seo Jeong-ju, aiming to embrace his poetic spirit. Lee Soo-bok's poetry evokes the resignation and compliant attitude displayed in Seo Jeong-ju's works. Lee Soo-bok explained that the origin of this poetic stance could be traced to the unconscious shadow of his poetry. Additionally, by presenting images such as 'flowers' that recall the feminized view of nature held by ‘the Cheongrokpa’, Lee continued the mainstream flow of traditional lyricism in the post-liberation literary scene. As a poet, Lee Soo-bok was a successor who embraced Seo Jeong-ju's eternalism worldview and the ‘the Cheongrokpa’s traditional aesthetics of nature. However, Lee Soo-bok reflected on the limitations of his poetry and sought to contemplate poetry with an intellectual attitude. While pursuing pure poetry imbued with traditional lyricism, he also revealed a consciousness that explored the essence of poetry through metapoetry or reflections on the act of writing poetry, showing a will to overcome sentimental attitudes and introduce intellect. As evidenced in his poems and essays, Lee embraced T.S. Eliot's discussions, which aimed at overcoming personal emotions and individuality, in an effort to approach the spirit of poetry. For Lee Soo-bok, poetry was a dynamically changing spirit, akin to the "image of clouds," and a spirit that could not be confined within the framework of the self. By acquiring such a spirit, he sought to see the world as it is. As observed through his life and writings, Lee was a poet who did not become complacent with his literary position as a successor of traditional lyricism, but instead, explored the modernity of poetry within the post-war reality, striving for a leap in the poetic spirit.

연구논문 : 토마스 엘리어트, 튜더 잉글랜드의 교육 이론가 -에라스무스 식 인문주의 교육관을 넘어서-

김성훈 ( Seong Hoon Kim ) 영국사학회 2005 영국연구 Vol.13 No.-

The problem undertaken in this study is to examine the educational ideas of Thomas Elyot (c.1490-1546) with a special reference to his indebtedness to the great humanist Desiderius Erasmus. But by contrast with those which regard Elyot as Erasmus` own disciple in education this paper argues that though Elyot followed Erasmus very closely in regard to details of method and curriculum, yet still there was a notable difference. The purpose then is to explore the possibility, limitation, and significance of the influence of Erasmus on the educational thought of Elyot. The inquiry proceeds in three stages. The first is that of providing a context for the study, giving a brief analysis of Erasmus` humanistic view of education in his De pueris and relating it to Elyot`s educational theory in The Governor. The second stage contains an exposition of the educational "difference" between the book-wise Erasmus and the Tudor gentleman Elyot. It proceeds by contrasting Erasmus` cosmopolitan attitude with Elyot`s English character. The third stage is to consider the educational meaning of Elyot`s English translation of Erasmus` humanism. It is found that Elyot attempted to apply humanistic learning to the patriotic purpose, that is, the proper training of the English gentry of the sixteenth century. This study shows that unlike Erasmus Elyot`s educational opinion was more concerned with immediate, practical situation and therefore more limited by its national horizon. This means that Elyot`s achievement lies in his adaptation of Erasmus` humanistic system of education to the concrete English problem of creating and educating a `new` governing class in the early Tudor period. Elyot strove accordingly in his Governor to outline for the sons of the English country families an educational ideal that would combine whatever of value there remained in the chivalric tradition with the values of humanism. The significance of Elyot`s educational writing is twofold. Firstly, it presented the best humanist thought of education to the English society of his time. Secondly, he was the first English writer on education who opened the way toward the modern history of English educational thought.

영화를 활용한 자기 성찰적 글쓰기 교육 사례 연구 ― 영화 [빌리 엘리어트]를 중심으로 ―

이연승 ( Lee Yeon-seung ) 현대문학이론학회 2017 現代文學理論硏究 Vol.0 No.71

본 논문은 대학의 교양 수업에서 영화를 활용한 자기 성찰적 글쓰기 수업의 한 가능성을 제시하고 이를 바탕으로 교육 모형을 제시해 보고자 한다. 영화 [빌리 엘리어트]는 발레를 통해 주인공이 자신의 꿈을 어떻게 이루어나가는지를 보여준 성장영화이다. 영화에서는 성역할의 고정관념에 대한 저항과 가족 간의 갈등, 사회 계층 간의 격차 같은 서사적 요소들이 다양하게 전개되어 학습자들의 흥미와 해석적 논평을 함께 이끌어낼 수 있었다. 이 과정에서 살펴본 영화의 주제는 크게 두 가지로서 첫째, 전통적 성역할 정체성에 대한 도전과 젠더 의식. 둘째, 가족의 사랑과 화합에 대한 성찰이었다. 그리고 자기성찰적 글쓰기의 주제는 “나의 삶과 꿈”으로 정하여 실행하였고 그 내용은 주인공 빌리의 자기 성찰적 에피소드를 바탕으로 하되, 형식에 제약받지 않고 자신의 삶과 연결시켜 쓰도록 지도하였다. 영화의 장면 사이의 연결을 발견하는 해석적 논평의 힘은 학습자들이 문식성을 확대시키는 과정이자 자기 성찰의 중요한 동력이 되고 있음을 수업의 진행 과정에서 확인할 수 있었다. 이렇게 영화를 활용한 글쓰기 교육의 모형은 말하기와 듣기, 쓰기와 읽기를 체계적으로 연동한 단계별 교육과정의 산물로서 학생들의 사고력 신장과 글쓰기 교육의 효용성을 높일 수 있을 것이라고 생각한다. 또 자기성찰이라는 인문학적 주제를 통해 학생들은 자신의 삶과 상황을 탐색할 기회를 가지게 될 것이다. This paper presents the possibility of developing a curriculum that can be pursued by utilizing movies and presents a self-reflective writing model based on this. The movie [Billy Elliot] is a growth film that shows how the hero achieved his dreams through the activities of ballet. In the movie, various elements such as gender stereotypes, family conflicts, conflicts between family members and social classes have been deployed to elicit insights and interpretations of students’ interests. Two main themes of the move, which has been explored in the course of this process are: first, gender consciousness and challenging the traditional gender role: and second, reflections on family love and harmony. The subject of self-reflection writing was "My Life and Dreams,” and was implemented to write in relation to own life based on self-reflective episodes of the character, without restriction of the format. The power of interpretation of the intergovernmental review of the film was found in the course of learning that the learner is a facilitator of literacy and an important driving force of self-examination. The model of writing based on a film is a product of a step-by-step curriculum that systematically links thinking, writing and speaking, and thinks it will enhance the effectiveness of students thinking and writing skills. Through the humanistic theme of self-reflection, students will be able to arrange for the opportunity to explore their own lives and situations.

George Eliot`s Italy: "Recollections of Italy" and Romola

윤혜준 ( Hye Joon Yoon ) 근대 영미소설 학회 2005 근대 영미소설 Vol.12 No.2

Starting from her very first published fiction, "Mr Gilfil`s Love-Story" in Scenes of Clerical Life, George Eliot shows an abiding interest in Italy and Italian characters, which cannot be reduced merely to her reverence for Dante. For one thing, the violent, jealous, and passionate Italian girl Caterina in "Mr Gilfil`s Love-Story" follows the well-established tradition of British travel writing on Italy, which severs the numerous merits of the land from its volatile inhabitants. The question Romola raises, then, is whether this most ambitious attempt to write an "Italian novel" without a single English character, and that one set in Renaissance Florence, moves beyond this stock perspective. Her "Recollections of Italy, 1860," which records her first full-scale travels in Italy, when compared with her writings on her German travels, reveals little evidence of a novelist`s interest in the living local culture that goes beyond the predictable enthusiasm of a tourist. The objects are seen and later recollected in tranquility without any real touch with the people and their culture. Similarly, despite the heavy philological labor that went into its production, Romola ultimately remains a work that offers an elaborate historical tourism. The sites, objects, places and historical figures are portrayed in isolation from the enduring historical experience both of Italy and the British readers, or those parts of the novel which have universal appeal, such as the challenges put on Romola by her marriage woes, have weak dramatic ties to the historical backdrop. Moreover, a distinctively Victorian anxiety concerning the sensuous visual culture of Renaissance Italy finds a point of cathexis in the rather un-Italian Savonarola. All in all, Romola`s engagement with Italy shows how far a work based primarily on the author`s literary experience of a foreign culture can go.

『급진주의자 필릭스 홀트』연구: 페미니즘적 고찰

이순구 ( Soon Ku Lee ) 근대 영미소설 학회 2003 근대 영미소설 Vol.10 No.2

This paper examines Felix Holt, the Radical from the perspective of psychological developmental theonsts of 1980s such as Nancy Chodorow and Jean Baker Miller. All these psychological theorists argue that Sigmund Freud is prejudiced when he suggests a hypothesis concerned about the psychological developments of a boy and a girl. His hypothesis is that the boy`s psychological development is normnal and natural because he achieves his independence from his mother without difficulty while a girl clings to her mother failing to achieve her detachment from her mother. So the girl`s psychological development is inferior, immature, or problematic according to Freud. However, these new psychological theorists insist that the feminine characteristics such as attachment, intimate relationship, mutual dependence shown in the woman`s psychological development are not weak points but strong points for human existence. Josephine Donovan calls feminism of these new psychological theorists as cultural feminism which has existed along with Enlightenment liberal feminism from the nineteenth-century on. Using the term of Donovan`s cultural femlinism I approach George Eliot`s cultural feminism of Felix Holt, the Radical. Especially I pay attention to how Esther Lyon, the heroine of the novel, develops morally from a conventional woman who wants to become a lady of the upper class society to a moral being who practices her feminine values for herself and for her society actively.

The "Author of "Scenes of Clerical Life"": George Eliot and Blackwood`s Edinburgh Magazine

Hye Joon Yoon 근대 영미소설 학회 2003 근대 영미소설 Vol.10 No.1

The senalization of a relatively obscure writer`s Scenes of Clerical Life in Blackwood`s Edinburgh Magazine was crucial in the process of the transformation of Marian Evans, the reviewer of Westminster Review, into George Eliot, the author of best-sellers published by Blackwood and Sons. The immediate question that this change raises concerns the clear difference in political stance between the two periodicals, Westminster and Blackwood`s, the former inheriting, albeit in a diminished form, the unorthodox intellectual stance of its founders, and the latter famous for its commercially sound overt conservatism. At issue here is not so much the author`s politics per se as the workings of the literary field of the times, in whose porous space of general periodical prose, both fiction and non-fiction, journalism and belles letties, could easily mix and mingle, and thanks to which Marian Evans/George Eliot, with her expert knowledge of the field, could successfully turn herself into a consecrated novelist at a single stroke.