하디의 웨쎅스: 보편적 진실 추구의 세계

박정화 ( Jung Hwa Park ) 한국영미문화학회 2012 영미문화 Vol.12 No.3

Thomas Hardy (1840-1928)`s Wessex Tales is the first collection of short stories where Hardy incorporated Wessex in its title. Hardy attempted to represent real-life Dorset in the fictional world of Wessex. Furthermore, in the light of Hardy`s body of work, Wessex is a symbol and also a living organism. In other words, it is a collection of bits of a world which Hardy knew remarkably well. Hardy not only took care in choosing and rearranging the stories in the Wessex Tales for a re-edited version, but he also paid detailed attention for the stories to possess an internal unity in regards to the theme and the literary technique. Wessex Tales consists of seven stories including A Tradition of Eighteen Hundred and Four, which was added in 1912 and The Melancholy Hussar of the German Legion. The stories included here are based on the life and traditions in Dorset during the mid-nineteenth century. Wessex Tales reflects both ancient and modern aspects of the period: some stories in this volume come from folk tales which Hardy had heard while growing up in Dorset. With others, Hardy attempted to point out social and literary issues of the late Victorian period by reflecting them in the stories`s structure and contents. Also, the stories in Wessex Tales were written at a time when Hardy was living a transitional life between Dorset and London. In other words, Hardy was in a transitional state between the Country and the Town. Such state resulted in opportunities where Hardy could uniquely understand and represent the rural world (Dorset) as well as observe how Dorset`s landscape and culture were reflected on the metropolitan people of London. The world represented in Wessex Tales is not a place where the ancient and the modern, or the past and the present are in a conflict. Rather, it is where the universal truth of all human experiences are displayed.

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.

Bittersweet Nostalgia: Objects and Animals in Thomas Hardy’s Middle Period Poetry

Nilufar Isroilova,Doniyor Keldiyoro,김연민 대한영어영문학회 2023 영어영문학연구 Vol.49 No.1

This paper aims to investigate the paradoxical dynamic of nostalgia in Thomas Hardy’s middle period poetry. Non-human entities of objects and animals in Hardy remain on the sidelines of a modernity that is fast-paced, progressive, and teleological. When Hardy constructs a world of nostalgia through the images of objects and animals, the concept of nostalgia is no longer a pathetic sentiment as conventionally considered. Instead, replete with a bittersweet sentiment, Hardy’s nostalgia creates a dynamic in which both social criticism and mourning, the bitterness and the sweetness, can exist as two sides of a coin. First, Hardy’s objects maintain the dynamic tension of nostalgia involving criticism and longing. Using the mode of satirical elegy, in itself contradictory because satire entails a negation of the present while an elegy basically pursues reconciliation with the present, Hardy, on one hand, maintains a critical distance from the social injustice and ills engendered in the course of modernization and war. On the other hand, he continually longs for what has recently been lost in civilization. Second, Hardy uses animals to construct a world of nostalgia with a paradoxical sense of the sublime that entails the bittersweet. When encountering animals, Hardy’s speakers are exposed to an identity crisis. They hermeneutically feel pleasure when they clearly understand their circumstances even with their pessimistic views. At the same time, they perceives their own alienation from the world, resulting from the loss of the great traditions in the modern context.

At the Crossroads of Literature and Philosophy: Hardy`s Reception of Kant

( Donguk Kim ) 한국영어영문학회 2015 영어 영문학 Vol.61 No.4

The year 1881, ten years before Thomas Hardy’s masterpiece Tess of the d’Urbervilles (1891) was published, marked a centenary of Kant’s Critique of Pure Reason (1781) that was held in high esteem by Victorians. Despite the revival of Kant’s philosophy at that time, however, Victorians tended to present themselves as Kantians and anti-Kantians, especially as Kant’s concept of so-called transcendental idealism was put under philosophical scrutiny, and Hardy was one of those Victorians with reservations about this Kantian transcendental deduction. The aim of this paper is to briefly examine the ways that Hardy as an artist received Kant and then, to suggest that Hardy is an exponent of multivocality in literature. To do this, several scenes from Tess of the d’Urbervilles are analysed as a case study, in order to elucidate implications of which Hardy’s philosophical standpoints are presuppositions for the book. It is stressed that hybrid stylization charged with multivocality, which is bitingly effective in Hardy’s art, serves to undermine the alleged homogeneity of Kantian apodictic abstraction against which he guards. Hardy is highly averse to monothetic ideas, so much so that his book, with the hope of opening up a single authority and power to dialogic discussions, shows a marked concern with facilitating contact with what is belittled or suppressed by any dominant voice. So, in brief conclusion, it is underlined that by maximising this dialogic, democratic spirit, Hardy’s book manifests itself as one of the greatest works of art.

토마스 하디 시에 나타난 멜랑콜리 시학

김연민 ( Kim Yeonmin ) 대한영어영문학회 2016 영어영문학연구 Vol.42 No.1

This paper aims at reading Thomas Hardy’s poetry with the concept of melancholy. Behind the overwhelming images of a merciless God/Nature Hardy describes, which traditionally characterize him as a pessimist, many a loser in modern history appears in his poems. His major concern is human failures and its fleeting nature. His steady contemplation on all the vanishing reveals his poetic ground: a sense of melancholy. Hardy’s poetics of melancholy are discussed in two ways: a melancholy view of nature/history and his own use of allegory. In contrast to Romantic poets, who aspire to dialectical synthesis and a harmonious resolution of conflicts, based on teleological, progressive history, Hardy reveals the existence of those who fail and are forgotten, their wishes denied. Given that one who is a melancholic refuses any synthetic totality, with his consistent reflections on the transient, he considers history a decline. A melancholic thinker expresses through allegories the necessity of extinction of all beings. With his passionate concerns about the defeated, Hardy is thus a melancholic allegorizer. Mysterious animals in his poems appear as an allegory for the fleeting nature of human history. Unlike the symbolic usage of animals in Romanticism, Hardy’s allegories of deserted objects and animals uncover the fleeting feature of the world.**2(Chonnam National University)

하디(Hardy) 시에 나타난 염세주의와 자애

김경순 ( Kyoung Soon Kim ) 한국현대영어영문학회 2011 현대영어영문학 Vol.55 No.4

Hardy shows his central vision of a universe governed by the purposeless movements of a blind, unconscious force that he called the Immanent Will. His poems reflect a profound sense of human loss and sorrow and convey the bitter ironies inflicted upon humans by the Immanent Will, the blind force that he felt drives the world, which makes critics call Hardy a pessimist. His pessimism derives from loss of faith in the benevolent, anthropomorphic God of Christian orthodoxy. And also the loneliness and isolation of human beings cause Hardy`s pessimism. Hardy himself denied that he was a pessimist, calling himself a "meliorist," one who believes that the world may be made better by human effort. Beyond this mood of his poems which illustrate the perversity of fate and the disastrous or ironic coincidence, he presents the importance of altruism. charity and loving- kindness as a mean of ameliorating the human lot. The spirit of loving-kindness, Hardy advocates, should be the basis of all human relations. Much more suffering can be avoided and the human lot can be improved if we are kind and sympathetic to each other. So, Hardy is a real humanist or as he called himself, an evolutionary meliorist. (Woosuk University)

토마스 하아디의 결정론과 불교의 연기설 비교

양영수 ( Young Soo Yang ) 근대 영미소설 학회 2007 근대 영미소설 Vol.14 No.1

It is true that from the standpoints of Hardy and Buddha an individual`s lot in the present life is subject to the strong influence of the past. We can, however, find a couple of keynotes in which these two standpoints differ from each other. First, they are different in their interpretations of the modes and ways in which the past life determines the present one. In Hardy`s view, an individual`s will-power in the present course of life is quite powerless in putting to operation their genetically determined features. In contrast, Buddhism presents a theory of conditionality for the present life of the human beings, rather than a doctrine of strict determinism. Buddha advocated the principle of conditional causation of life, which implies that a thing comes into existence only if necessary conditions are met. It is to be noted that Buddhistic principle of conditional causation is similar to general systems theory currently in prevalence, for both of these principles make much of interdependent actions between the knower and the known. Second, the two standpoints taken by Hardy and Buddha are different in their concepts of the relation between the human will and outside milieu. In Hardy`s world, the effects of the human will are so often overshadowed by the powerful milieu. His works are mostly situation drama, in which human beings are helplessly frustrated by baffling situations. But, in the Buddhistic world, one`s mind is able and ought to be in positive control of the influences from the physical world as conditioning forces. Such mental endeavours are imperative with a view to regenerating one`s own karma, the process of which amounts to active preparation for the future life. Third, the worlds of Hardy and Buddha are different from each other in one`s outlooks on, and sentiments for, one`s destined lot. In the case of Hardy`s characters, most of them may well be deeply depressed and humiliated under the two-fold oppressions from unavoidable qualities of inborn genes and cruel forces of surrounding milieu. Contrastingly, the characteristic mentality of Buddhists doesn`t have a right reason to grieve at one`s destined lot because all of one`s inborn destinies are due to one`s own karma, which is originally of one`s own making. According to Buddhistic philosophy, there are no unfair or accidental occurrences in the world, in which everything is causally conditioned.

Thomas Hardy의 소설에 나타난 인간의 멍에

진현부 동의공업대학 1998 論文集 Vol.24 No.1

This is a study which analyses human bondage in the tragedies of Thomas Hardy. Thomas Hardy is the great 19th century writer of tragedy born in the Wessex region of England. A variety of tragical implications can be found in his tragedies, which mainly portray life's adversities or predicaments. From this research I have determined their characteristics which are concerned with uncivilized environments, human character and inheritances. In addition to this I have made conclusions about the background of Hardy's philosophical ideologies in regard to life's adversities, which are based on Determinism and Free will. The main portion of this study examines the human bondage originated in the adversities created by Hardy's tragical experiences. Some of these may even be unavoidable situations. I believe these situations constitute human bondage. Almost all of Hardy's characters must die for the cause and effect provoked by human bondage, but in doing so they sacrifice themselves for the freedom from the bondage, as demonstrated by their own spirit of sacrifice. Examples include Eustacia's death for Egdon Heath, Henchard's death for character. and Tess' death for aristocracy. Consequently I believe m the truth that human bondage symbolizes not merely the limitation of human faculty. but more than this it emphasizes human challenge represented by Hardy's great tragedies.

토마스 하디의 애도: 엠마 시편에 나타난 사진 이미지

김연민 대한영어영문학회 2017 영어영문학연구 Vol.43 No.2

Kim, Yeonmin. “Thomas Hardy’s Mourning: Photographic Images in Emma Poems.” Studies in English Language & Literature 43.2 (2017): 49-73. A melancholic mourner, Thomas Hardy expresses his unending lamentation for the death of Emma, his first wife. In Emma poems (Poems of 1912-13) he adopts photographic images in the process of his mourning as a modern elegist. The visual images he captures in his poetry can be discussed in three ways: First, the presence of the dead is revealed through metonymy. Hardy suggests that metonymic objects retain direct traces of Emma in the same way as a photograph, which develops the light, keeps the direct contact with an object. Second, he conveys through photographic images an experience of sudden, stingy awareness, a sort of “punctum,” a concept theorized by Roland Barthes. Hardy’s punctum confirms the undeniable fact that Emma was there in the past, despite her absolute absence in the present moment. Last, his punctum creates dramatic irony arising from perceptual gaps between an object (Emma) and an observer (Hardy or readers). In showing his painful awakening, always belated but rendered by the dramatic irony through the visual, Hardy continues his perpetual project of melancholic mourning. (Chonnam National University)

다윈주의와 토머스 하디의 시 : 다양성, 유기체론의 성장변화, 반인간중심주의를 중심으로

윤명옥 이화여자대학교 이화인문과학원 2014 탈경계인문학 Vol.7 No.2

With the development of science, Darwin’s The Origin of Species evoked the most dramatic controversies in religion, politics, society, and thought by exploding the existing concepts in the Victorian age. And the poet and novelist of the era, Thomas Hardy, who was among the earliest acclaimers of The Origin of Species accepted Darwinism in his literature. He made the convergence of literature and science, or literature and culture. Especially through these fusions in his poetry, he showed the possibilities of new poetry by overturning traditional ideas and old poetic techniques. He also showed the new roles of poetry that it could harmonize with scientific Darwinism. As the results of these, the concepts of variability, growth, and change as an organic form, the anti-anthropocentric view of the universe, pessimism, hap, and rich figurative words in his poetry interlocked smoothly with the same main theories of Darwinism. They played roles in wonder, which made the world of Hardy’s poetry unique and rich. It means that Hardy’s poetry shows the active acceptance of Darwinism and develops into modern poetry beyond the characteristics of traditional Victorian poetry. Hardy also tried to find the location of humans in the order of Nature and give evolutionary permanence to humans through the acceptance of Darwinism. Behind Hardy’s Darwinism, therefore, are hidden his passion on the deep understanding for humans and intelligence on objective introspection for humans. This is Hardy’s humanitarian acceptance of Darwinism, which enforces his creative power of poetry as a vehicle for insight and wonder.