This essay examines Louise Glück’s unique way in which she develops a new lyric voice of her own by speaking with “no self” and by employing emotionally removed tone. From her experience of psychoanalysis, Glück learned to give herself a voice...
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다국어 초록 (Multilingual Abstract)
This essay examines Louise Glück’s unique way in which she develops a new lyric voice of her own by speaking with “no self” and by employing emotionally removed tone. From her experience of psychoanalysis, Glück learned to give herself a voice...
This essay examines Louise Glück’s unique way in which she develops a new lyric voice of her own by speaking with “no self” and by employing emotionally removed tone. From her experience of psychoanalysis, Glück learned to give herself a voice ripped between the praises which she wants to hear from the world and the demands of her spirit with which she opposes herself to the world. The voice is the one which never existed and can issue only from “the enduring general deriving continually from the accepted individual life.” It conveys the sense of speech issuing “not from the past but in the present” and “the sense of immediacy [and] volatility.”
Her lyric voice is so deliberately manipulated as to make Glück distinct from the confessional mode. In her poem sequences as in Descending Figure and in The Wild Iris, the “I” is allowed to have a wide range of perception with no central self. Especially in The Wild Iris, flowers have their own individual voices, which are often intervened by the voice of a poet-gardner or by that of a gardner-god. In addition to her austere writing style and emotionally detached tone, Glück’s unique abilities with the lyric voice contribute to her recognition as a leading American poet.
다국어 초록 (Multilingual Abstract)
This essay examines Louise Glück’s unique way in which she develops a new lyric voice of her own by speaking with “no self” and by employing emotionally removed tone. From her experience of psychoanalysis, Glück learned to give herself a voice...
This essay examines Louise Glück’s unique way in which she develops a new lyric voice of her own by speaking with “no self” and by employing emotionally removed tone. From her experience of psychoanalysis, Glück learned to give herself a voice ripped between the praises which she wants to hear from the world and the demands of her spirit with which she opposes herself to the world. The voice is the one which never existed and can issue only from “the enduring general deriving continually from the accepted individual life.” It conveys the sense of speech issuing “not from the past but in the present” and “the sense of immediacy [and] volatility.”
Her lyric voice is so deliberately manipulated as to make Glück distinct from the confessional mode. In her poem sequences as in Descending Figure and in The Wild Iris, the “I” is allowed to have a wide range of perception with no central self. Especially in The Wild Iris, flowers have their own individual voices, which are often intervened by the voice of a poet-gardner or by that of a gardner-god. In addition to her austere writing style and emotionally detached tone, Glück’s unique abilities with the lyric voice contribute to her recognition as a leading American poet.
참고문헌 (Reference)
1 "“Louise Glück.” Contemporary Literary Criticism Select. Detroit: Gale, Literature Resource Center. Gale. KING COUNTY LIBRARY SYSTEM"
2 Glück, Louise, "The Wild Iris" The Ecco P 1992
3 Vendler, Helen, "The Poetry of Louise Glück" 178 (178): 34-37, 1978
4 Glück, Louise, "The First Four Books of Poems" The Ecco P 1995
5 Glück, Louise, "Proofs & Theories: Essays on Poetry" The Ecco P 1994
6 Vendler, Helen, "Part of Nature, Part of Us: Modern American Poets" Harvard UP 1980
7 Diehl, Joanne Feit, "On Louise Glück: Change What You See" U of Michigan P 2005
8 Vendler, Helen, "Flower Power" 208 (208): 35-38, 1993
9 Turner, Alberta T., "Fifty Contemporary Poets: The Creative Process" David McKay Company 1977
10 Glück, Louise, "Ararat" The Ecco P 1990
1 "“Louise Glück.” Contemporary Literary Criticism Select. Detroit: Gale, Literature Resource Center. Gale. KING COUNTY LIBRARY SYSTEM"
2 Glück, Louise, "The Wild Iris" The Ecco P 1992
3 Vendler, Helen, "The Poetry of Louise Glück" 178 (178): 34-37, 1978
4 Glück, Louise, "The First Four Books of Poems" The Ecco P 1995
5 Glück, Louise, "Proofs & Theories: Essays on Poetry" The Ecco P 1994
6 Vendler, Helen, "Part of Nature, Part of Us: Modern American Poets" Harvard UP 1980
7 Diehl, Joanne Feit, "On Louise Glück: Change What You See" U of Michigan P 2005
8 Vendler, Helen, "Flower Power" 208 (208): 35-38, 1993
9 Turner, Alberta T., "Fifty Contemporary Poets: The Creative Process" David McKay Company 1977
10 Glück, Louise, "Ararat" The Ecco P 1990
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학술지 이력
연월일 | 이력구분 | 이력상세 | 등재구분 |
---|---|---|---|
2026 | 평가예정 | 재인증평가 신청대상 (재인증) | |
2020-01-01 | 평가 | 등재학술지 유지 (재인증) | |
2017-01-01 | 평가 | 등재학술지 유지 (계속평가) | |
2013-01-01 | 평가 | 등재 1차 FAIL (등재유지) | |
2010-01-01 | 평가 | 등재학술지 유지 (등재유지) | |
2007-01-01 | 평가 | 등재학술지 선정 (등재후보2차) | |
2006-01-01 | 평가 | 등재후보 1차 PASS (등재후보1차) | |
2004-01-01 | 평가 | 등재후보학술지 선정 (신규평가) |
학술지 인용정보
기준연도 | WOS-KCI 통합IF(2년) | KCIF(2년) | KCIF(3년) |
---|---|---|---|
2016 | 0.16 | 0.16 | 0.19 |
KCIF(4년) | KCIF(5년) | 중심성지수(3년) | 즉시성지수 |
0.15 | 0.15 | 0.548 | 0 |