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ART001664778 | oai_dc | 드라이든의 지형시의 정치적 의미: 『체스터턴의 존 드라이든에게』 | The Political Meanings of Dryden’s Topographical Peom: To John Driden of Chesterton | {
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"김옥수(제주대학교)"
] | This essay purports to examine the political meanings of John Dryden's To John Driden of Chesterton as a topographical poem. The poem was written in 1700, in the short interval between two wars. John Driden, the poet's cousin, is a rural squire and an MP. Dryden uses the retirement theme in the first half of the poem and commends the peace and innocence of Driden's retirement to the country. Driden's mind is portrayed as peaceful, because he lives a quiet and peaceful life in the country. At the center of this poem is the cousin's peace of mind. He brings the peace of his community by reconciling contentious parties as a JP. Peaceful Chesterton is portrayed as paradise. The poet criticizes England in the light of the ideal world of Chesterton. He thinks that England needs peace between the parties and England's peace with EurEng to become a paradise like Chesterton. His cousin does political activities free from faction as an MP. In this aspect, he is seen as an ideal politician, in other words, a patriot who serves both the country and the court. In peace, he repaspects the peEnle against the king. The cousin's patriotng political activities reflect Dryden's chan Cd view of politics that king and parlis ant have mutually supporting functions under the law, which can be called a new Toryism. As a tyng of this patriot, Dryden takes his and his cousin's mutual grandfather Sir Erasmus Dryden, who was imprisoned for his refusal to pay a forced loan of 1626. This reference to Erasmus seems to be a defence of parliament's refusal to provide supplies for a standing army. The cousin is also opposed to the standing army and William's involvement of England in continental war serving the cause of peace as an MP. The cousin's opposition to the standing army and the continental war seems identical with some principles of the new Toryism. The new Toryism finds expression in opposition to the new taxes, the standing army, and the continental war, and in support of free trade, the strengthened navy, and the balance of power between king and parliament. In this sense the poem seems to express some important principles of the new Toryism. Dryden thinks that England can be another Eden if it can realize these principles of the new Toryism such as the balance of power between king and parliament, peaceful diplomacy, and free trade. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2012.22.1.181 | kci_detailed_000255.xml | ||
ART001664772 | oai_dc | 『베니스의 상인』에 나타난 ‘개종’의 문제: 제시카를 중심으로 | Jessica's Conversion and Jewishness in The Merchant of Venice | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"김태원(서강대학교)"
] | 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. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2012.22.1.67 | kci_detailed_000255.xml | ||
ART001664773 | oai_dc | 남성의 욕망과 판타지: 존 던의 『엘레지』 읽기 | Male Desire and Fantasy in Donne’s Elegies | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"최재헌(경북대학교)"
] | Donne surveys the amorous relationship between men and women intensively, yet his interest does not remain focused solely upon love. The language of war and politics intertwines with that of love in Donne's Elegies. Through active use of analogy and metaphor, Donne portrays male desire and fantasy. In relation to his Elegies, Donne's attitude towards gender and women have been a issue of continued academic survey. Due to his unflattering descriptions of women, he has often been understood as a writer with a misogynist inclination. Yet this question requires a more intricate and complex interpretation, as Donne interrelates diverse subject-matters with his descriptions. Views and assessments of critics upon this matter have also varied depending on which works and aspects they emphasize.
It is difficult to conclude that his unflattering depictions of women were derived simply from misogynist attitude. Readers can see that not only has the depiction of women changed, but also that of the male lover. Donne's Elegies can be understood as a revelation and testimony of male desire and fantasy upon gender, love, politics, war, and society, rather than as superficial misogynist testimony upon women. Donne's Elegies allow a deeper and more unadulterated understanding of the human nature with a portrayal of the transitional 16th century England. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2012.22.1.93 | kci_detailed_000255.xml | ||
ART001664771 | oai_dc | 셰익스피어 대중문화와 한국의 실제: 2000년대 연극산업을 중심으로 | Shakespeare and Popular Culture in Korea: Theatre Industry in the New Millennium | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
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} | [
"임이연(영남대학교)"
] | This essay explores the signification of “popular” Shakespeare in contemporary Korea. After defining the meaning(s) of popular culture, the essay surveys Shakespeare’s cultural history in Britain and America. Shakespeare’s transformation from folk culture to high culture and popular culture suggests that highbrow/ lowbrow culture is not a rigid category. Paradoxically, Shakespeare as popular culture relies on the Bard’s cultural capital accumulated through his non-popularization and canonization as highbrow culture.
Unlike his popularity in the West, Shakespeare’s presence is meager in Korean popular culture. Most Shakespearean theatre productions remain highbrow, even when they attempt to popularize the Bard. Three popular entertainments produced in the 2000s are examined in turn: Comic Show Romeo&Juliet (2008), Club Twelfth Night (2010), and Musical Hamlet (2007). These productions suggest that Shakespeare exists only in name(and thus virtually absent) or is elevated to the middlebrow taste. Genuine popularity presupposes appreciation. Popular Shakespeare in a positive sense, of being widely liked or originating from the people, seems inconceivable in current Korean culture, where Shakespeare is known only superficially as chunk of world classics. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2012.22.1.41 | kci_detailed_000255.xml | ||
ART001712497 | oai_dc | “인간은 섬이 아니다”: 영화 <어바웃 어 보이>에 나타난 존 던의 형제애와 불교의 연기적 세계관 | “No Man is an Island”: John Donne's Brotherhood and Pratītya-Samutpāda of Buddhism in About a Boy | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"이상엽(경희대학교)"
] |
The purpose of this article is to explore the subject of “no man is an island” in John Donne's work, in Buddhism and in a movie. In Devotions Upon Emergent Occasions, John Donne, the seventeenth-century English poet, reaches beyond the isolation of each individual by affirming the invisible oneness that encompasses all of humankind saying, “No man is an island. entire of itself; every man is a piece of the Continent, a part of the main . . . any man’s death diminished me, because I am involved in Mankind; And therefore never send to know for whom the bell tolls; It tolls fir thee.” In other words, John Donne puts an emphasis on ‘brotherhood’ in that all human beings are living interdependently in this world. The message like this is also expressed in the Pratītya-Samutpāda (緣起論) of Buddhism. The Sanskrit word, Pratītya-Samutpāda, can be translated into a dependent co-origination, which means that all creations in this world exist interdependently. I can say that this motive could also be embodied in About a Boy, a movie adapted from a novel by Nick Hornby. At the start of About a Boy, a rich, self-centered, good-looking 38 years old bachelor Will Freeman (Grant) says, “All men are islands.” He likes to float around on his land in the sea of life. Being independently wealthy as a result of royalties from a popular jingle his father once wrote, Will doesn’t have a job or any other serious commitment. Thus, he spends his time watching TV, having his hair done, and shagging different women through London. At last he meets a 12-year-old boy named Marcus (Nicholas Hoult) by fate. Poor Marcus is desperately looking for a surrogate father in order to prevent his emotionally unbalanced, granola-eating mother, Fiona (Toni Collette), from killing herself. At first, Will doesn’t want Marcus around, but Marcus is as persistent as he is weird. Eventually, Will puts the boy stalker to good use by pretending to be his single-and-looking father. Slowly, the two develop a tentative relationship that is made more difficult by the jealous Fiona, who feels that Will is stealing her son from her. The selfish guy, Will, after all, learns to be a real nice, monogamous surrogate dad while Marcus learns to be less creepy by wearing cool sneakers and listening to rap music. A stage presentation at the boy’s school shows Will, Marcus and Fiona that human beings need social ties, and that real families are composed of caring, unselfish, non-suicidal members. In the end, Will maintains that he is still an island, but he realizes that he is part of an island chain because “below the surface of the ocean they’re actually connected.” | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2012.22.2.251 | kci_detailed_000255.xml | ||
ART001712503 | oai_dc | 밀턴의 홉슨 시에 관한 연구 | A Study of Milton's Hobson Poems | {
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} | [
"이철호(한국교통대학교)"
] | It is the object of this essay to briefly consider why Milton wrote 'two' poems, “On the University Carrier” and “Another on the Same,” on the death of a common businessman like Thomas Hobson(1544-1631), and made them all appear in his first 'two' collections of poems published in 1645 and 1673.
The dominant figure of the first poem is the personification of Death, while the second poem is characterized by the use of metaphysical conceits. In the background of both poems Milton uses a striking paradox in which he supposes Hobson died not from activity, but from inactivity, ironically while he was on vacation and not during his hazardous journey as the university carrier. Also he employes an important comparison in order to back up the controlling paradox. He continues to compare the contraries of life and death through their metaphorical extensions as motion and motionlessness. Hobson thinks motion is his defining life principle, but Milton humorously counterbalances this analogy with an antithetical comparison between life and rest.
Though Milton made up his mind in his school years to gain an immortal reputation by writing divine poetry, he seems to have been not able to stand completely aloof from the fashionable verse of his day which was manifested especially in the use of puns and wits. Moreover he appears to have been concerned about winning some popularity by means of showing relatively superior poetic talent in these kinds of poetry. It is quite obvious that Milton was capable of metaphysical conceits as well as witty comparisons and paradoxes, but, unlike the fashionable students, he restrained himself from using them in more serious contexts to become a great religious poet in the future. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2012.22.2.375 | kci_detailed_000255.xml | ||
ART001712502 | oai_dc | 성스러운 독자와 허버트의 시적 고뇌 | Sacred Reader and Herbert's Poetic Agony | {
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"이종우(홍익대학교)"
] | This essay explores the ways in which Herbert deals with the issues concerning poetic contents and the methods he should face in Temple. Herbert constructs himself as a sacred reader who experiences God's love with all his presence and should express its wonderful, mysterious life-giving power without any distortion. Especially in "Love(III)", Herbert attempts to establish fully his relationship with God based on His love, being done with the poetic difficulties and agonies he has suffered during the process of purifying himself to make his spiritual eyes open with the start of the first poem "The Alter". In "Love(III)" Herbert is invited as a guest to participate in a heavenly banquet where God serves as a warm-hearted host. However, the poet has been very hesitant or mistaken in responding graciously and properly to God's welcoming reception, feeling guilty for sin or posing the problem of worthiness and responsibility as a guest. God has expected Herbert to accept His invitation of love that is a crucial testimony for him to be redeemed through God's act of sacrifice and death on the Cross. In God's viewpoint Herbert is qualified enough to "sit and eat" His body and blood in Sacramental ceremony and through digesting the "meat" can be united with God's presence. However, Herbert decides to justify himself by performing willing rewards to God instead of acknowledging God's way of salvation. Herbert wants to become the subject of redeeming himself in the course of writing poems, refusing to stay as an object of God's grace and love. The poet continues to write a story containing his poetic agony of how he can dialogue with God as a subject to a subject, not as a guest to a host. By trying to be concerned with his incomplete actions rather than God's complete love in "Love(3)", he emphasizes the importance of human positive activities in the process of conducting exchange programs with God. Nevertheless, in this very moment, the poet is aware obviously that whatever he does for his justification, including the works of writing poetry, necessarily fails due to human mortal sin. Furthermore, he recognizes the difficulties of how he can express perfectly God's love in a fallen language. Here lies Herbert's poetic agony as a sacred reader. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2012.22.2.339 | kci_detailed_000255.xml | ||
ART001712496 | oai_dc | Putting Justice to Question: The Exercise of Power and Rationality in Spenser’s Muiopotmos | Putting Justice to Question: The Exercise of Power and Rationality in Spenser’s Muiopotmos | {
"journal_name": "한국고전중세르네상스영문학회",
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"정영진(이화여자대학교)"
] | Spenser’s deeply ambiguous and ambivalent treatments of justice have long courted critical controversy. More often than not, critics have focused on the social and political contexts informing Spenser’s frustratingly inconsistent handling of justice, explaining these inconsistencies as a byproduct of the poet’s overly ambitious political enterprise. This paper analyzes the anomalous status of justice in Spenser by moving away from these social and political readings to pay renewed attention to the epistemological complexity and symbolic intensity of Spenser’s treatment of the operation of judicial power in his early poem Muiopotmos, or The Fate of the Butterfly. In a poem often regarded as a witty if relatively insignificant insect fable, Spenser in fact rigorously and self-consciously explores the exercise of judicial power, and furthermore deploys Ovidian metamorphosis to add a political dimension to and further complicate the poem’s treatment of institutional justice. In Muiopotmos, the volatile bodies of Astery and Arachne are transformed through the exercise of power by public authority. On the surface, Venus and Pallas, the two agents of divinely enacted justice, appear as counterpoints to each other, the first embodying the arbitrary or irrational exercise of political power and the latter the strategically judicious political exercise of justice. Spenser, however, blurs the seeming differences between the two stories of punitive metamorphoses by having Astery, the butterfly, mutate from a token of injustice to one of justice by which Pallas unmakes Arachne. With their symbolic and epistemological mutability, Spenser uses the metamorphic bodies as heuristic devices to analyze and problematize the operation of judicial power. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2012.22.2.229 | kci_detailed_000255.xml | ||
ART001712498 | oai_dc | 『유래이니어』: 팸필리아 군주제에 나타난 정치사상 | The Political Ideas of Jacobean England in the Monarchy of Pamphilia | {
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} | [
"이진아(한국외국어대학교)"
] | This essay examines the nature of kingship of Pamphilia in the context of the political debates of Jacobean England, investigating what kind of kingship Mary Wroth supported under the reign of James 1. Wroth's construction of the monarchy of the kingdom of Pamphilia engages with most heated political issues, such as the origin of kingship and the existence of conquests in English history. As I will further argue, the kingship of Pamphilia has the characteristics of the people's choice of their ruler regardless of conquest and the mutual contract between the king and the people. These features suggest that Wroth was not a supporter of James 1's absolutism as Josephine A. Roberts asserts, but rather of the limited monarchy. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2012.22.2.285 | kci_detailed_000255.xml | ||
ART001712501 | oai_dc | Swapping Robes and Transcending Servants: Contesting Class in Ben Jonson’s Volpone, or the Fox | Swapping Robes and Transcending Servants: Contesting Class in Ben Jonson’s Volpone, or the Fox | {
"journal_name": "한국고전중세르네상스영문학회",
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"Brooke A. Carlson(한국외국어대학교)"
] | Early modern drama both challenges and affirms the culture out of which it comes. Central to the profound cultural shift that comes out of class is the idea of what a person might or could be. Early modern discussions of nobility, a discussion that begins in Italy and then makes its way into England, include a new term―“sprezzatura”―introduced by Castiglione, and then translated by Hoby. “Sprezzatura,” as the quality of doing something without appearing to make an effort, suggests the nobility of a being, at the same time that it depends upon the labor of such a process being hidden. On the stage, particularly in city comedies whose subject matter includes the regulation of class, poets like Ben Jonson write plays that dazzle with lower class figures that outshine their masters, at the same time that they punish and rebuke said trangressors for having crossed the line. In Volpone, Jonson topples the man, only to punish the top (and the bottom), calling into question both the idea of class as a fixed state, and (for noble and servant) sexuality. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2012.22.2.323 | kci_detailed_000255.xml | ||
ART001712505 | oai_dc | 『복낙원』에 나오는 첨탑 위 마지막 유혹의 의미 | The Last Temptation on the Pinnacle in Paradise Regained | {
"journal_name": "한국고전중세르네상스영문학회",
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"김종두(연세대학교)"
] | There have been lots of controversies over the meaning of the last temptation on the pinnacle. From the nature of the pinnacle to the meaning of Jesus's last remark on the pinnacle Milton scholars have shown various opinions. Some scholars suggest that the place on which Jesus stands is a peaked pinnacle that is impossible for a man to stand. However others think it is possible for Christ to stand there although he can feel giddy and difficult. Milton states the condition of the place as "uneasy station", which means it is not impossible for Christ to stand there. Therefore it is not proper to assert that the very act of Christ's standing on the pinnacle without any other help shows his divinity as the son of God. It is more adequate to say that it shows Jesus' ultimate victory over the demonic Satan in the spiritual battle.
Satan's last temptation is too hard to cope with because it is based upon God's words which Christ has made the weapon against Satan's continuous assaults. Satan is so anxious to know the nature of Christ that he adopts the new method that is different from the previous ones, that is the words of God. He gives Christ the choice of either accepting Scripture or rejecting it. However, Christ thrusts away Satan's temptation by using God's words like before. From beginning to end he puts constant trust in God's words.
Christ's words on the pinnacle, "Also it is written, Tempt not the Lord thy God", is so hard to grasp its meaning. Above all, what does "the Lord thy God" mean here is not clear. It may mean either Christ himself or God. There is also possibility of meaning both of them. Christ proves himself to be God as well as man through this speech. Until this last temptation Jesus has continued to react Satan's assaults with passive attitude saying no. Now he no longer shows passivity rather he reveals a strong activeness towards Satan his adversary. Nevertheless, Satan cannot recognize the real nature of Christ for he is fallen in the deep spiritual darkness that is blind to Christ's manifestation.
On this very pinnacle Christ achieves his firm obedience and faith as a son, at the same time, proclaims he is God himself. He shows his divinity as well as his humanity. The hidden nature of him is explicitly revealed here. The time allowed to Satan ends and the new time for Christ begins. The moment when Christ declares his divinity on this pinnacle is the time which is called God's appointed time or Kairos, which God ordains for the vocation of Christ as saviour. Angels dedicate their praising to Christ Jesus starting the mission of saving the whole world. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2012.22.2.417 | kci_detailed_000255.xml | ||
ART001712504 | oai_dc | 밀턴의 『아레오파기티카』와 이혼론 산문들의 정치성 | Politics in Milton’s Areopagitica and Divorce Tracts | {
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"송홍한(동아대학교)"
] | If we read Milton’s divorce tracts and Areopagitica in the context of the English Revolution, we can recognize politics in common between them, which goes toward a free republican society or nation. Though we can examine those tracts separately from each other, we can better approach them together as a group of tracts pursuing political liberty rather than merely personal or social liberty. All those tracts were published in the revolutionary period between Milton’s anti-prelatical tracts and his later anti-monarchal ones, with Areopagitica published in the middle of five divorce tracts. As Milton wrote a series of divorce tracts for the liberty of divorce, which was not accepted by any of his contemporary religious denominations or sects, he intentionally challenged and violated the law of licensing. The liberty of divorce may be a kind of personal or domestic liberty, but the very freedom to defend the liberty in public must be political. And his argument for unlicensed printing aims for the liberty of free debate that is basically demanded by a free republic. Though some critics argue that Milton’s divorce argument is man-centered and that his argument for free printing is prejudiced against Catholics, their charge may be attributed to the context of his contemporary patriarchal society and the English Revolution itself. Under the circumstances of both patriarchism and Puritanism, Milton argued for domestic and social liberty, cherishing a free republic in the heart, though not explicitly attacking the monarchy. So, his pursuit of personal or social liberty cannot but be political. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2012.22.2.391 | kci_detailed_000255.xml | ||
ART001712495 | oai_dc | 미켈란젤로의 서정시와 ‘플라톤적 사랑’ | Michelangelo’s Lyric and ‘Platonic Love’ | {
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"이순아(홍익대학교)"
] | The intention of this thesis is to see that ‘Platonic Love’ is the motive for the art and life of Michelangelo by examining the concept of beauty and love in Michelangelo’s lyric in the context of Ficino’s Platonism.
The core of the Renaissance Platonism with Ficino as its head are the immortality of the soul and love. The human soul as the center of the universe acquires immortality and beatitude by contemplating God through the gradual inner ascent in which the soul leaves the body and purifies itself. The other aspect of the soul’s ascent for God is love. In this sense, the genuine love is the desire for turning to the divine beauty by being provoked from looking at the sensible beauty. This is ‘Platonic love,’ coined by Ficino.
The concept of beauty in Michelangelo’s lyric is the heavenly beauty which manifests as the pledge of the divine in the material. In this regard the activity of the artist is the realization of images, ideas visions of beauty which he has in his mind. This is Ficino’s concept of beauty which takes God as its ontological source.
The concept of love in Michelangelo’s lyric aims at the friends which he loves. The Genuine love is the agent for the union with God by raising the human soul from the mortal earthly beauty to the immortal heavenly beauty, and makes him reach beatitude. Thus, Ficino’s ‘Platonic love’ is the inspiration which leads Michelangelo’s life and art. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2012.22.2.201 | kci_detailed_000255.xml | ||
ART001712499 | oai_dc | 존슨의 『펜스허스트에게』 와 랜여의 『쿠컴의 묘사』 비교: 작가의식과 성 정체성을 중심으로 | The Sex Politics of Authorship in Ben Jonson’s and Aemilia Lanyer’s Country House Poems. | {
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"volume": null,
"issue": null
} | [
"최재민(목포대학교)"
] | 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. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2012.22.2.307 | kci_detailed_000255.xml | ||
ART001556377 | oai_dc | 존 던의 「님의 침묵」과 한용운의 「님의 침묵」 | John Donne's “Silence of God” and Han Yong-Un's “Silence of Lover” | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
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} | [
"이상엽(경희대학교)"
] | John Donne is the 17th century English metaphysical poet while Han Yong-Un is the 20th century Korean modern poet, with the gap of 300 years between the two poets. For this reason, it is not easy to find out some similarities between them. There is also great difficulty in finding out literal evidence to prove their similarities. Some scholars assert that Han is similar to the metaphysical poets in that he seeks the unity of opposite things such as the secular and the divine, but their opinions are only a speculation.
Although there is a gap of some 300 years and there is no literal evidence, this paper, in terms of comparative literature, tries to find out similarities between the two poets' works. This study is based on the premise that the idea of Donne's poetry is not very different from that of Han's. Donne's The Holy Sonnets and Han's Silence of Lover are analyzed to support this paper's argument. There are hatred and love, despair and hope, pride and humility, . . . and so forth strongly expressed in their works. Han's Silence of Lover as well as Donne's work is said to have the theme of parting and meeting which is made up of dramatic structure. The speakers of the two poets certainly desire to receive love and comfort from their loved one - God in case of Donne, and Lover in case of Han. In other words, they desperately ask God/Lover for grace because they don’t fear death itself but fear a death which will separate them from God/Lover forever. They have a strong desire for God/Lover’s intervention, but he or she is silent. As a result, silent God/Lover leaves them into spiritual darkness and desperate agony. If so, what is the meaning of disappearance of God/Lover?In this point, this paper tries to explain the relationship between darkness and enlightenment in terms of śūnyata (空思想) of Buddhism. Darkness and spiritual suffering can paradoxically be a way leading to salvation and hope in the end. The sense of estrangement leads them to despair, but darkness or spiritual agony can be actually the mysterious link that will unite him to God/Lover’s grace. In short, the silence of God/Lover may be seen as a sign that he or she is actually at work reordering the life of the speakers as in “dark night” experience. Although God/Lover is thought to be absent in a time of spiritual darkness, he or she exists as a helper in order that the enlightened person may understand the limits of human mind and language. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.1.29 | kci_detailed_000255.xml | ||
ART001556384 | oai_dc | 「앤 킬리그루양을 추모하며」와 드라이든의 이상적 시인관 | To the Memory of Mrs. Anne Killigrew and Dryden's View of an Ideal Poet | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
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} | [
"김옥수(제주대학교)"
] | This essay is designed to view Anne Killigrew not as an elegy but as expressing his view of an ideal poet. Traditionally Anne Killigrew has been read as an elegy mourning Killigrew's early death. But this essay attempts to focus on the fact that Dryden uses Killigrew to define his view of an ideal public poet. In Anne Killigrew, Killigrew is portrayed as an ideal poet. Dryden wants to define his view of the ideal poet and his art by presenting his fellow poet, Killigrew as the ideal poet. In the past Dryden saw the poet as a public orator empowered with authority to speak to the whole nation, comment on public problems and criticize them. In this poem, however, he shows the changes in his view of the ideal poet. Firstly, he sees Killigrew's moral purity as the first quality of the ideal poet, and tries to criticize his past immoral plays by that standard. Secondly, he says that when she paints James II, she catches virtues in James II that are not there until she puts them there. He praises her for creating an image of an ideal king in James II. Here Dryden seems to insist that the public poet's important role is to educate the prince by calling forth ideal virtues in him; he rebukes himself for not fulfilling this role more faithfully. Finally, Dryden shows Killigrew leading mankind to the heaven at the Last Judgment at the end of the poem. In other words, Dryden sees the role of the public poet as a priest leading mankind to the heaven. This can be interpreted as a too extravagant claim for the poet's power. But we can see it as an expression of Dryden's idealistic view of the public poet. In conclusion, Dryden's Anne Killigrew shows his changed view of the ideal poet. Dryden insists that the public poet ought to value moral purity above all, educate the prince by providing the ideal pattern for imitation, and lead mankind to the heaven in lie of priests. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.1.159 | kci_detailed_000255.xml | ||
ART001556383 | oai_dc | 존 밀턴의 『아레오파기티카』에 나타난 “현명한 독자”와 검열, 그리고 자유의지 | “Judicious Reader,” Censorship and Free Will in Milton’s Areopagitica | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"최재헌(경북대학교)"
] | The purpose of this paper is to examine the problem of censorship from Areopagitica, focusing on "judicious reader" and free will. Areopagitica is a pamphlet written by Milton for the audience of English Parliament, as a defense of the freedom of the press and religious toleration. In Areopagitica, Milton asserts the injustice of censorship as an argument against the pervasive exercise of censorship of the time. He also covers the importance of free will along with the need for an open intellectual space for the successful religious Revolution. As theological ground of his argument, he points out that God gave men free will, thus enabling true obedience. As such, Milton argues that judicious readers should be given the room for free will in which they would judge for themselves.
As some scholars have pointed out, Milton does not extend his argument to the modern notion of "free speech." He does not extend religious toleration to Popery, and advocates only a limited freedom of the press and toleration of Protestant. His argument is not entirely coherent as he employs various perspectives of Parliament and Puritans, and he also seems to admit some sort of post-publication censorship. Nevertheless, Milton's idea based on the notion that truth should be judged by judicious readers and their free will, and not by power, makes this tract an impressive and liberating rhetorical work even in modern times. Areopagitica marks an important place among Milton's works and English literature not only in the aspect that it's a pioneering work regarding the freedom of the press, but also in the aspect that it deals with the theological understanding of free will, which is the essence of Milton's ideology. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.1.131 | kci_detailed_000255.xml | ||
ART001556375 | oai_dc | 르네상스와 우리 인문학 | The Renaissance and the Humanities in Korea | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"박상익(우석대학교)"
] | 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. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.1.1 | kci_detailed_000255.xml | ||
ART001556379 | oai_dc | A Study on the Cyclic and Linear Patterns in Lycidas | A Study on the Cyclic and Linear Patterns in Lycidas | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
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"volume": null,
"issue": null
} | [
"이병은(한성대학교)"
] | A consideration of the poem's structure in terms of the pagan cyclic and Christian linear time-patterns, which in Paul Tillich's contemporary theological terms may be regarded as tension between space and time concepts, gives credence to the fact of the poem's unity. An examination of Milton's meticulous arrangement of pagan and Christian mythology is a valid, unifying, critical approach to the poem and a refutation to critics who describe Milton as an eclectic who lacks the ability to systematize his materials. Particularly the Druid-Orpheus- Hyacinth references, for the suggestive and associative value, thus, thematic impact within the cyclic-linear pattern will be studied in this paper. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.1.67 | kci_detailed_000255.xml | ||
ART001556380 | oai_dc | “어느 쪽으로 달아나도 지옥, 내 자신이 지옥이니”: 『실낙원』, 욕망이라는 이름의 비극 | “Which way I fly is Hell; myself am Hell”: Paradise Lost, A Tragedy Named Desire | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"이정영(경북대학교)"
] | This paper aims to explore Satan’s desire and his end as a tragic hero presenting a new point of view for analyzing a character in literary works. Satan, who is a witness and narrator, is an important character in Paradise Lost. There have been various critical responses on Satan in connection with contemporary events and figures. There have been opposing opinions in Satan as a literary character. Satanists emphasize Satan’s heroic features while anti-Satanists stress his selfishness or folly. This is because Satan is the product of Milton’s and readers’ psychology.
To analyze Satan’s actions, it is essential to investigate Satan’s psychology. Satan’s rebellion is triggered by the ceremony in which the Son is introduced by the Father as his successor. Thus, this paper explores Satan’s psychology focusing on his desire. Among contemporary critics, René Girard has a very unique opinion about desire. Unlike other critics, Girard argues that the human subject does not really know what to desire and that is why the subject is given over to the paradoxes of mimetic desire. According to Girard, the subject desires the object because the mediator(model) desires the object. The subject, the mediator and the object make the triangle of desire. In the triangle of Satan’s desire, the Son and the human are mediators as well as rivals.
The allegorical episode of Sin and Death also reveals Satan’s mimetic desire. Satan parodies the birth of Christ and the Trinity through the allegorical story. With Sin’s help, Satan travels through the chaos, which is the symbolic and maternal place in Paradise Lost. Satan heads toward the new world and God’s symbolic order to pollute Adam and Eve. Girard argues that violence is inherently hidden in the mimetic desire. Satan whose mimetic desire implicates violence causes the loss of Paradise. Satan’s devastating end is inevitable. Satan is a surrogate victim to restore order and he is now the tragic hero. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.1.107 | kci_detailed_000255.xml | ||
ART001556381 | oai_dc | 타락의 언술을 통해 본 이브의 청교도 이미지: 밀턴의 『실낙원』 | Puritan Image in Eve at the Discourse of the Fall: Milton's Paradise Lost | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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} | [
"양병현(상지대학교)"
] | John Milton's epic poetry, Paradise Lost, is likely to be a Puritan project in application for Eve independently. The concept of the Puritan value, purity, looks very hackneyed; yet the case of how Milton approaches to it the meaning of Eve's virginity before marriage, her sexual relationships with Adam at marriage, and then recovery of her purity should be a task to look into in terms of Eve's female sensitivity and their social relations. The discourse of Milton in language describing the Fall of Eve in detail and a way of Christian salvation has us review the significance of Milton's Puritan project of the married woman, Eve. For Milton, Eve's Fall must be a fatal mistake or a substantial sin in Christian belief; yet it is the sin not original or irremediable. As such, the aspect of Eve is highlighted with her hard life and difficulties which might be brought out of her sensual beauty and sexual attractiveness. Milton believes that evil shall be disposed via her daily experience, yet good will be recovered of it as sublimed into intellectual beautifulness in poetry and life as well. This is a way to enact the Puritan project as applied to the sensitivity of Eve in relation with Adam: a wedded woman who is sufficient to stand strong alone on Earth and feels free to choose her responsible life. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.1.83 | kci_detailed_000255.xml | ||
ART001556376 | oai_dc | The Origin and Attributes of Typology of the Medieval Era | The Origin and Attributes of Typology of the Medieval Era | {
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} | [
"노이균(우송정보대학)"
] | The way of reading the Old Testament in terms of the New, which was developed by later Christian authors far beyond Paul's own practice, is known as typology. Typology implies a view of history as progressive revelation. However, this kind of historically based interpretation of the relation between the Old and New Testaments coexisted with another tradition, that of allegory.
By the fifth century we find the beginning of the fourfold exegetical method, which was systematized in the twelfth and thirteenth centuries, and which dominated interpretation of the Bible until the Reformation. The four senses in which the Bible could be understood were the literal sense, the allegorical sense, the moral sense, and the anagogical sense.
For Protestants typology took precedence over allegory. Typology was essential to their interpretation of Scripture and their understanding of history; allegory was, for some, a permissible aesthetic and moral device. In seventeenth-century England, Anglicans were much more inclined to draw on the allegorical tradition than Puritans. In religious poetry a range of interpretation is evident, depending on the poet's intentions and religious affiliations. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.1.17 | kci_detailed_000255.xml | ||
ART001606340 | oai_dc | 밀턴의 반감독제 산문에 나타난 영국 종교개혁의 정치성 | The English Reformation and Politics in Milton's Antiprelatical Pamphlets | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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} | [
"송홍한(동아대학교)"
] | The English Reformation got closely involved in England's political conflicts during the 1640s. In pursuit of the completion of the English Reformation, Milton wrote five antiprelatical pamphlets. Since prelacy in the Church of England coexisted with kingship, his antiprelatical polemic was necessarily political in nature. It can be understood in the context of Milton's contemporary political circumstances in England that his revolutionary ideas found a breakthrough in the English Reformation. As Milton found no other fundamental change in the English Reformation but the transfer of power from the pope to the king, he argued that each individual Christian's faith should not be controled by any external authority, whether kingship or prelacy. Of Reformation does not argue for the church's independence from kingship but its independency from prelacy. In Of Prelatical Episcopacy, Milton's attitude toward kingship seems positive rather than negative. But Animadversions and An Apology anticipate his future career as a political revolutionary, as he attacks his opponents by the use of poignant language and pungent satire. In The Reason of Church-Government, Milton again argues for church-government against prelacy. As he thinks that prelacy governs religious affairs in each individual church by its collaboration with the secular political system, he excludes the intervention of secular politics in the affairs of each church. Ironically, Milton implicitly reveals his interest in politics, while he excludes politics from church-government. So, his antiprelatical ideas can be summed up in his confidence in religious freedom, which in turn leads to his later pursuit of political freedom during the Puritan Revolution. While Milton's abandonment of a clerical career can be attributed to his denial of prelatical church-government, it shows his increasing interest in political issues outside of the church. As Milton regards prelacy as religious tyranny to oppress each believer's faith, his interest in church-government in opposition to prelacy extends to his later interest in people's political freedom in opposition to monarchism. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.2.275 | kci_detailed_000255.xml | ||
ART001606336 | oai_dc | “고통에서 지복으로”: 밀턴의 초기 엘리지와 죽음 | “Through Pangs to Felicity”: Milton's Early Elegies and Death | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"이종우(홍익대학교)"
] | This essay attempts to find the true meaning of Lady Jane, the heroine in “An Epitaph on the Marchioness of Winchester.” Milton struggles to receive a clue to a solution through meditation on death whenever he has been faced with some difficulties like the right choice for the future. He is convinced that death can provide him with opportunities through which he is armed with the essence of life. In his early elegies, Milton portrays youthful figures performing true heroism based on self-sacrifice and martyrdom.
Lady Jane dies in the process of her giving birth to the second son. Her tragedy becomes the subject of contemporary writers including Milton, posing the question of how it should be understood and what can be its reward. Lady Jane, a model of moral and spiritual dignity, presents her own inward virtues and aristocratic noble characters which are not earthy but transcendental. These moral integrities are actualized typically in the delivery of a second son, because she is willing to be “a living tomb”(“Epitaph”; 34) of the stillborn son and suffers a premature death during a fatal maternal surgery. Even though she can escape the danger of imminent death only if she wants, she decides to take the risk of her pregnancy and difficult birth.
Jane's painful and decisive choice and action embody the mother's heroism of patient suffering and self-sacrifice, which leads finally to her violent death. Her extreme tragedy makes mourners examine how fate, nature or divine providence works in this world respectively. However, her sacrifice and death are rewarded with the title of saint and queen, who takes rest in the divine bosom of majesty and light. She takes the glory of metamorphosis as her earthly state of wife, daughter or heir turns into the most important transcendental figure who sits at the highest throne in heaven. Her death is not a just death but an entrance into eternal life by overcoming death through death. Her heroism achieved by birth pangs and maternal death is “the better fortitude / Of patience and heroic martyrdom”(Paradise Lost 9; 31-32) and receives the elevation of status, “No Marchioness, but now a Queen” (“Epitaph”; 74), surviving the earthly suffering and pains. Jane plays the great part of a patron saint in heaven of guiding suffering people to peace and rest. Here lies the true significance of Lady Jane's death. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.2.207 | kci_detailed_000255.xml | ||
ART001606343 | oai_dc | 『투사 삼손』에 나타나는 아포칼립스적 ‘현재성’의 이중적 의미 | The Double Meaning of Apocalyptic ‘Now’ in Samson Agonistes | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"김혜연(연세대학교)"
] | This paper examines how the double meaning of Apocalyptic 'now' is represented in Samson Agonistes. The study begins with the fact that eschatological moment is working in the present:here, the meaning of Apocalyptic 'now' can be distinguished between "imminent" and "immanent." While the apocalyptic literature is full of anticipation of the Judgement, End-feelings already dominate the literature. Ironically, it says that the End will come to us shortly, but it already exists now. Milton's tragic drama, Samson Agonistes contains these double concepts of the Apocalyptic now. Milton does not follow biblical chronology in weaving Samson's story. It begins from the end of the story when manifest evil power is revealed and separated from God's side. From the beginning, the End-feelings dominate the work.
At the same time, eschatological incident, the dramatic destruction of Philistines occurs at the final moment of the work.
The anticipation of the Judgement is actualized through the downfall of Philistines by Samson's vehement iconoclasm. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.2.361 | kci_detailed_000255.xml | ||
ART001606339 | oai_dc | 청교도주의와 1642년 극장폐쇄령 | The Parliamentary Order of 1642 and Puritanism | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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} | [
"최재민(고려대학교)"
] | 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. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.2.261 | kci_detailed_000255.xml | ||
ART001606337 | oai_dc | Reforming the Masque: The Dialectic of the Antimasque and Masque in Milton's Comus | Reforming the Masque: The Dialectic of the Antimasque and Masque in Milton's Comus | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
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} | [
"유인철(연세대학교)"
] | In the seventeenth century, the court masque played the role of royal propaganda by celebrating the political order and harmony of the society. The order that the court masque represented could be achieved through either its reconciliation or banishment of the antimasque which symbolizes “forces of anarchy, rebellion, and disorder.” Milton's Comus, however, attempts to reshape the masque tradition in that the antimasques, not the masque itself,represents England. Moreover, compared with Jonson's Pleasure Reconciled to Virtue and Carew's Coelum Britannicum, Milton's Comus not only reverses the roles of the antimasque and masque but more importantly, reflects Milton's complicated, reformative responses to the masque tradition. Milton, the revisionist of the masque genre, culminates in his development of the dialectic relation between the antimasque and masque, in which the two coexist, not excluding the other while keeping their own nature unaltered. Unlike the masque tradition before Milton which segregates the world of the antimasque and that of the masque, in Milton's masque, Comus the leader of the antimasque is attributed to have a virtuous function of testing the young children's “youth,” “faith,” “patience,” and “strength,” thus contributing to their moral growth. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.2.243 | kci_detailed_000255.xml | ||
ART001606342 | oai_dc | 데릴라의 혀의 공격과 삼손의 언어 회복 | Dalila's Verbal Attack and Samon's Recovery of Language | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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} | [
"김종두(연세대학교)"
] | This article aims to analyze how Samson's language, which had fallen due to the temptation of Dalila is recovered by her next verbal attack that was made when he met her again in jail.
Samson's tragedy is caused by his being overcome by Dalila's entreaty, that is, her powerful language. In his first verbal fighting against her he handed over his "fort of silence" to her powerlessly. Her language made him sin against God by divulging his secret with God. His language lost power and lacked the ability to discern between the true and the false. He showed a shortage of spiritual insight which made it possible for him to distinguish what he heard and what it really meant. His inner blindness before his total physical blindness led him not to acknowledge what the real intention of the speaker was. He was cheated by the surface meaning the speaker conveyed with the sound of a word and could not know the real meaning that it intended to convey.
His second meeting with her, however, gives him the opportunity to recover his fallen language. Her goal of visiting him is to ensnare his soul and take him in her control again. She tries to persuade him to accept her suggestion of freeing him out of the prison and living with her peacefully for the rest of his life in his home town. But he shows an active and strong attitude towards her. His responses are more than say "no". They display his progress in the awareness of the role and meaning of the complicated language. Her language acts as an impetus to give his powerless language an energetic power. As a result his language becomes stronger than before and he is equipped with sufficient spiritual power to see clearly the difference between what is heard and what is really meant. He can no longer be deluded by the literal meaning which the utterance of the speaker conveys first. The suffering and imprisonment which he has experienced as a result of his sin have led him from self-centeredness to God-centeredness. They do more than anything else to recover his fallen language. Dalila's verbal attack plays an especially important role in making his powerless language a very powerful tool which is ready to be an instrument or an agent that performs God's providence for men. Her verbal attack against him transforms his thinking and attitude towards language so that his language eventually may get back what is lost because of his fall. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.2.325 | kci_detailed_000255.xml | ||
ART001606341 | oai_dc | 『비망록』과 삼손의 자살 문제 | The Commonplace Book and the Problem of Samson's Suicide | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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} | [
"이철호(충주대학교)"
] | Samson's final act of pulling down the temple both on the Philistines and on himself has two problematic implications of suicide and revenge which has bewildered the ‘traditional’ and ‘revisionist’ scholars of Milton. Both parties, however, seem to take his suicide as a matter of fact and to put much emphasis on whether or not they can justify his cruel, indiscriminate, and massacring revenge. So, in this paper, the problem of his suicide is deeply explored: Does Samson deliberately kills himself? What is Milton's viewpoint on suicide? And How does he apply this idea to the poem?Milton took two notes on self-destruction from Inferno and Arcadia in The Commonplace Book to show what kind of suicide is a really unpardonable sin. He contends in the mouth of Philoclea that killing oneself is but a false color of true courage,proceeding rather from a fear of a further evil either of torment or shame. In Christian Doctrine, though Milton argues that self-destructors as well as murderers are to be placed in those who shall not live to the end of their life-span due to their treason to Providence, he divides it into two kinds; “ordinary” and “extraordinary.” Extraordinary Providence means God alone is able to invert the order of things which He Himself has appointed. In other words, God gives the power of producing some “miracle” to whomsoever he may appoint.
In short, many Milton scholars reflecting on the problem of Samson's suicidal revenge have thought that he was a violent and despicable person and that Milton thought so too. But, as far as Samson's self-destructive death is concerned, Milton must have been careful to make his death not a felonious suicide but an “accident” in the “Argument” of the poem. It can be said that Milton considers him to be a really valiant freedom fighter moved by a special intimation with God to carry out his extraordinary Providence; a miracle. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.2.305 | kci_detailed_000255.xml | ||
ART001606335 | oai_dc | 피치노의 사랑론과 예술적 영감 | Ficino’s Theory of Love and the Artistic Inspiration | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"이순아(홍익대학교)"
] | The intention of this thesis is to explore the concept of love(amor) and the artistic inspiration that it provided for Renaissance art by examining the Italian Renaissance philosopher Marsilio Ficino's Commentary on Plato's Symposium.
The core of Ficino’s Platonism is the immortality of the soul, for which the goal of the human soul as the mediator of the universe is the union with God through a contemplative ascent. Accordingly, the immortal soul is the evidence of human dignity and divinity. The other aspect of the ascent of the soul is love. Love is the motive force of the whole universe, the universal pursuit of God, and so the key to Ficino’s entire system. In connection with Ficino’s cosmology, beauty is the radiance of the divine goodness, in which the actively loving God lights the universe. So it appears as a harmonious structure in the universe. That is, beauty is the lucid proportion(lucida proportio), and it motivates the ascent of the human soul by rousing love.
Accordingly, love is the principle for cosmic harmony and unity, and so through the divine madness(furor divinus) of love, the human soul becomes united with God and acquires beatitude and immortality. This is the meaning of the ‘Platonic love,’ espoused by Ficino. According to Ficino’s thought which was influential in Renaissance period, art, which handles, changes, and forms the materials of the world, is the production of a god on earth, and a reflection of the divine. So, the concept of love became the inspirational principle for the exalted artist as the divine maker.
Thus the role bestowed upon Renaissance artists was to intuit and represent the supreme beauty by the ascent to intelligible principles from sensible experiences through the divine madness of love for beauty. The divine madness was the creative motive for artistic activity.
Thus, love is the motive for the inner ascent of the human soul. Indeed, through love for beauty as the splendor of the divine goodness, man can ascent from the earthly love to the heavenly love to unite with God, and artist can intuit the divine beauty from the sensible beauty for artistic creation. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.2.175 | kci_detailed_000255.xml | ||
ART001606026 | oai_dc | Milton’s Closet (Drama): For Profit Playing and the Body in Motion | Milton’s Closet (Drama): For Profit Playing and the Body in Motion | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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} | [
"Brooke A. Carlson(한국외국어대학교)"
] | This essay argues for the space between religion and politics to be the space of the emerging human subject coming to terms with nascent capitalism. Milton’s closet drama, Samson Agonistes, is an example of closet drama that privileges the reading mind of its audience. Milton published Samson Agonistes with Paradise Regained, in 1671, and included an explanation of sorts in his “Of that sort of Dramatic Poem which is call’d Tragedy.” The summation of early modern criticism allows Milton to privilege “profit,” in both a material and intellectual sense, and to present Samson as a case study in early modern economy. Neither politics, nor religion, take center stage in this piece that both makes a spectacle of the male body in action, and, at the same time, asks at what price one might be bought. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2011.21.2.345 | kci_detailed_000255.xml | ||
ART001447946 | oai_dc | 던의 “하나의 작은 방”은 광장공포증의 표현인가? | Is Donne’s “One Little Roome” an Expression of Agoraphobia? | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"이상엽(경희대학교)"
] | The era of John Donne can supposedly be called the age of anxiety long before the term is applied to our own time. A sense of deep anxiety can be felt everywhere in the early 17th century because of traditions being under challenge. For one thing, “new philosophy” of that age such as Copernican theory and Galileo’s discoveries have called everything into doubt and made the educated men very confused and anxious, which eventually made them seek refuge in their little rooms. In this respect, a group of the seventeenth-century poets, in terms of modern abnormal psychology, might suffer from agoraphobia. They were fearful of the vast and unlimited space, and so they welcomed their bonds or homes which was their personal comfort zone, bounded in a nutshell. According to the modern abnormal psychology, anxiety and fear are essential concepts in understanding abnormal behaviour, which are prone to include agoraphobia. The dictionary defines agoraphobia an ‟anxiety disorder, often precipitated by the fear of having a panic attack in a setting from which there is no easy means of escape.” Agoraphobia is a condition where the sufferer becomes anxious in environments that are unfamiliar or where he or she perceives that they have little control. As a result, the sufferer of agoraphobia may avoid public or unfamiliar places. Donne also privately experienced the psychological trauma brought about by not only his brother’s death in prison but also his poverty and afflictions resulting from his inappropriate secret marriage to Anne More. After he was denied success in social life, he became confined to his little room and experienced difficulty traveling from this safe place. His anxiety and fear was often compounded by a fear of social embarrassment, as the agoraphobic fears the onset of a panic attack and appearing distraught in public. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.1.53 | kci_detailed_000255.xml | ||
ART001447941 | oai_dc | 존 던의 『노래와 소네트』에 그려진 현존과 부재, 그리고 재현의 문제 | The Presence, the Absence, and the Problem of Representation in Donne’s Songs and Sonnets | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"최재헌(경북대학교)"
] | The concept of representation has occupied a new and important place in the study of culture and criticism. Representation refers to the production of meaning through language and it supposes the absence of the represented object. Postmodern criticism challenges the realistic view of representation which assumes that there is a simple relation between language and the real world. Instead, it overtly addresses the problem of the presence, the absence, and the representation as a pivotal concern in criticism. New explorations of power, gender, ideology in the Renaissance have not only provided radically new understandings of Renaissance texts but have also forced us to reexamine the critical, historical, and cultural presuppositions on which our readings are based.
The aim of this paper is to explore the presence, the absence, and the problem of representation in Donne’s Songs and Sonnets. For this purpose, I will survey “A Lecture upon the Shadow,” “A Nocturnal upon St. Lucy’s Day,” “Air and Angels,” and “A Valediction: of my Name in the Window.” “A Lecture upon the Shadow” and “A Nocturnal upon St. Lucy’s Day” are concerned with shadows and representation. In “A Lecture,” the shadows are representations or signs of the lovers. The shadow is absent, and the present moment of noon is so evanescent, coming and going instantaneously. In the case of “A Nocturnal,” the poet is a shadow or representation of the state of dying itself. Love has wrought a new kind of alchemy, in which the poet has been made the quintessence of nothingness. Love, as alchemist, does not extract the quintessence from things but rather from nothingness, such as privation, emptiness, absence, darkness, and death. “A Nocturnal” is the variations on the theme of nothingness, anatomizing the speaker’s bitter grief and despair at the death of his beloved. In “A Valediction: of my Name in the Window,” the speaker’s name engraved on the window’s glass keeps him there as a presence during his absence, and functions as a talisman to prevent another suitor or lover from supplanting him. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.1.25 | kci_detailed_000255.xml | ||
ART001447937 | oai_dc | Stage Villains and the Dramatization of Evil in Three Renaissance Plays: Othello, The Changeling and The Duchess of Malfi | Stage Villains and the Dramatization of Evil in Three Renaissance Plays: Othello, The Changeling and The Duchess of Malfi | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"선우진(서울신학대학교)"
] | One of the major concerns of Renaissance drama is the continuing obsession with the problem of evil as can be seen in plays such as Othello, The Changeling, and The Duchess of Malfi which depicts a world dominated by evil and where every imaginable form of depravity seem to be the norm. And, I believe that one important tool by which major Renaissance dramatists anatomized and dramatized this problem of evil in their plays is through the actions of villainous characters. Iago, De Flores and Bosola among others have long been recognized as forming a group of stage villains who like brothers share a common silhouette whose dominant features are distinctively evil and “individualistic.” And, the paper proposes to examine the dramatization of evil as it is manifested in villains such as Iago, De Flores, and Bosola.
| 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.1.1 | kci_detailed_000255.xml | ||
ART001447955 | oai_dc | 『리시다스』의 사티로스 | Satyrs in Lycidas | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"이병은(한성대학교)"
] | This paper tries to defend Milton's choice of the word Satyrs against Samuel Johnson's harsh criticism on Lycidas. Satyrs in the classical myths and the history of tragedy are the right word for the memory of the dead friend: Satyrs are pertinent in the elegy because they were associated with death; the Satyr chorus used to sing about the tragedy of the hero in the Dionysus festival; Satyrs in the ancient initiation rites played a kind of mediator role between two different worlds of man and nature, earthly and spiritual, or transient and divine, which makes Satyrs closely relevant to the speaker's world of memory. Satyrs, as Chiron, Silenus and Pan show in the myths, can be said as the embodiment of intensest emotions and wisdom of man to be a mediator. Satyrs also were introduced as headsmen, a frequent pastoral representation of the Renaissance poet, to be a peer-poet or a comforter of Lycidas and the speaker of the poem. Consequently viewing the Satyrs as types of the saved in the later part of Lycidas makes the swain-narrator/Milton be among the saints, God's most devout worshippers: the structure of the poem is well formed showing Satyrs are a perfect product of Milton's poetic imagination. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.1.97 | kci_detailed_000255.xml | ||
ART001447958 | oai_dc | 회개와 갱생에서 나타난 아담과 이브의 성윤리:『실낙원』을 중심으로 | The Sexual Ethics of Adam and Eve in the Course of Repentance and Regeneration: Focused on Paradise Lost | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"노이균(우송정보대학)"
] | It is discovered that Adam and Eve recovered not only the spiritual equality but also the social order of ranks in the course of penitence and rebirth. Moreover they resumed human dignity and maturity. In this paper, human effort and struggle is examined as a point of emphasis in the restructured sex ethics. This research links the more actual sex ethics between man and woman with the daily life of temperance, moderation, and religious humility which are surely the fundamental principles of a true life. On the basis of human free spirit and dignity, the medieval sex ethics that woman was for man, or that any segment of the human family was subordinate to any other, was rooted up and the gender gap was considerably narrowed. After Adam and Eve's repentance and regeneration, Eve's loyalty to Adam stands unshaken, and building upon it, she brings him, in turn, to manifest the workings of God's grace in forgiving her. The true sex ethics shown in the course of their repentance and regeneration lies in mutual assistance in all the helps and comforts of domestic life. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.1.117 | kci_detailed_000255.xml | ||
ART001447965 | oai_dc | Mary as an Initiator of the Son’s Public Ministry in Milton’s Paradise Regained | Mary as an Initiator of the Son’s Public Ministry in Milton’s Paradise Regained | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"구영회(대구가톨릭대학교)"
] | Although perseverance, unwavering resistance to Satan’s temptations, and moral rectitude are the Son’s virtues in Milton’s Paradise Lost, these are most valuable when they are used for a great goal of saving mankind. Though little portion is given to his mother in the poem, the Virgin Mary is an influential woman who recognizes he is destined to redeem human beings and urges him to aim high and initiates his religious and spiritual growth into a public man.
Different from its primary source, the synoptic narratives, where Mary keeps silent about her son’s birth, Milton’s Mary reveals the Son the parentage and tells him in detail his nativity. Milton seems to change because he wants to focus on the Son’s public missions and, more significantly, Mary’s encouragement of his public ministry. Mary taught him how to read and how to interpret the Word. With his mother’s education and the crucial event of his Baptism, the Son is fully aware of his parentage and vocation. At the Baptism, the Son inaugurates his public performance, fully aware of his parentage and Messiahship. Mary is a strong-willed and sagacious woman. Despite the fact that she was told her Son’s future--full of sufferings, humiliations, hostility from others, and worst of all, crucifixion, she resolutely accepts all of these because she believes in his accomplishing the mission of saving humanity. Despite a little amount that is devoted to Mary, Mary is an influential figure prompting the Son’s public missions through which man will be redeemed. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.1.133 | kci_detailed_000255.xml | ||
ART001447971 | oai_dc | 스위프트와 포프의 풍자의 차이 | The Difference between Swift’s and Pope’s Satire | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"김옥수(제주대학교)"
] | This essay examines the difference between Swift’s and Pope’s satire, whose style and method differed widely, even though they were close friends and had the same Tory inclinations. Swift thought that the capitalist economic order represented by the South Sea Bubble produced both corruptions and the disruptions to the English society. The importance of land was being destroyed by a capitalist society that computed all value according to the rise and fall of stocks. From this point of view, he attacks the consequences of a new capitalist system on the English society, but he does not put forward a norm in his satires. In fact, he does not allow any single view and seems to accept the world as he saw it. Unlike Swift, however, Pope divides the world into the realms of order and chaos, so he wants to attack chaos by means of a norm. In other words, his satire presupposes an object of attack and the ideal world view. In Pope’s satire, Man of Ross is portrayed to help the poor, construct public pathways, and give medicine to the sick. In short, he symbolizes the Tory ideal society in which landlord and tenant were bound together in reciprocal assistance. From this viewpoint of the ideal world view, Pope satirizes the new financial order and Walpole in his satires, because they destroy the traditional society. While Pope puts forward both a norm and an object of attack in his satires, Swift focuses on satirizing an object of attack, and does not present any norm. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.1.149 | kci_detailed_000255.xml | ||
ART001447952 | oai_dc | 조지 허버트의 『성전』에 나타난 종교, 언어와 시 | Religion, Language and Poetry in George Herbert’s The Temple | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"서홍원(연세대학교)"
] | This paper examines the language and poetry of George Herbert’s The Temple with regard to his religious leanings. Despite the preponderance of studies that identify Protestant characteristics in Herbert’s poetry, few can explain the relationship between his religious leanings and his poetics, especially regarding the presence of opaque poetic forms and language in The Temple. The condition of the fall necessitates fallen modes of communication, where opacity cannot be avoided. I see in The Temple, especially in “The Altar” ― which is the first poem in the main body of The Temple that falls under the title The Church ― an acute awareness and celebration of the physicality and opacity of the poem’s form, which is not meant to be negated, despite what champions of Herbert’s Protestant poetics say. Rather than try to explain Herbert’s formality away through broad-sweeping poetics, I suggest we take a serious look back to the position once held by Herbert scholars in the mid-20th century ― that Herbert’s religion was a fairly comfortable confusion of Catholic and Protestant elements that were the lamentable traits of Anglicanism that were loudly denounced by the Puritans. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.1.81 | kci_detailed_000255.xml | ||
ART001499110 | oai_dc | 높은 정의와 밀턴의 <실낙원> | High Justice in Milton’s Paradise Lost | {
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} | [
"이종우(홍익대학교)"
] | This essay attempts to consider what is high justice and how it serves to advance the post-Restoration society. In Book 12 of Paradise Lost, Milton examines the ways in which high justice has been completed on the basis of a typological process of history. This justice was introduced to redeem human mortal destiny after the Fall, which led to a break in the first covenant between God and Adam. In a fallen history, high justice as a form of covenant has been developed in the interactive relationship between potentiality and realization: Abraham’s seed, Moses’ law and David’s promise. In particular, Moses’ law took a decisive position in the progressive way of how high justice has been involved in refashioning human history. The law started its function as a positive institution of guiding Israel to please God but later became as a negative stumbling stone by obstructing Israel from forming its true connection with God. Moses’ law finished its role with the freedom of the chosen people from Egyptian tyranny and made way for a better covenant by which high justice was made.
High justice has been realized on the cross by Abraham’s seed in the fullness of time, serving the greatest purpose of human deliverance. The seed as the embodied Word has fulfilled high justice by perfectly employing and satisfying two requisites of lawful justice and self-sacrificing love. That is, the Crucifixion judged rightly the human existential condition condemned to death by nailing to the cross the law against human salvation, and moreover, it restored love and peace between God and man by nailing to the cross Satan’s strategy of breach. Considering that human redemption and high justice coexist, high justice is restorative and regenerative. Furthermore, in terms of an eschatological framework, this high justice can be a cornerstone to construct a new heaven and earth with the final dissolution of the fallen world ruled by Satan. The new heaven and earth are rooted in the principle of righteousness, peace and love, which will make high justice work completely. Most importantly, high justice can provide post-Restoration England with the model of an ideal society in that this justice can be the forming power to build a heaven on earth. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.2.293 | kci_detailed_000255.xml | ||
ART001499107 | oai_dc | <준비되고 쉬운 길>: 자유공화국을 위한 밀턴의 마지막 제안과 절규 | The Readie and Easie Way: Milton’s Final Proposal and Jeremiad for a Free Commonwealth | {
"journal_name": "한국고전중세르네상스영문학회",
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} | [
"송홍한(동아대학교)"
] | Though Milton’s Civil Power and Hirelings (1659) can be understood in the line of his antiprelatical pamphlets written in the 1640, The Readie and Easie Way (1660) focuses on the survival of republicanism and his jeremiad for the English people. Its very topic sounds ironical, though, because it was written right before the restoration of Charles 2. The main purpose of the pamphlet is to suggest a way to establish a free commonwealth and give his final warning against the restoration of monarchy. On the one hand, he provides a balance between grand council and small regional councils, though he seems not to believes its possibility. On the other hand, he wanted to leave his final Jeremiad for the English people.
The political system of a free commonwealth proposed by Milton anticipated a modern democratic regime whose power is balanced between federal and local governments. In a modern democratic regime, power is not concentrated on its central government but spread out to its local governments all over the nation. The degree of power balance between cental and local governments indicates how much democratized a nation is. In this sense, Milton’s proposal for a free commonwealth went far ahead of his time. But he did not believe that it could be really fulfilled in contemporary England, but he only wanted to inform the English people that there was once a ready and easy way to establish a free commonwealth. Therefore, his proposal of a federalist free commonwealth is closely related to his jeremiad for the English people who are losing the last chance to establish a free commonwealth. While Milton wrote this tract out of a prophet poet’s duty for his nation, his Jeremiad for the free commonwealth in jeopardy as well as his last proposal of the “readie and easie way” was only a blind poet’s meaningless outcry to the English people. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.2.245 | kci_detailed_000255.xml | ||
ART001499108 | oai_dc | Milton and The Restoration | Milton and The Restoration | {
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} | [
"최재민(고려대학교)"
] | Despite the fact that Milton’s Paradise Lost was published in the Restoration, the epic has been often considered as a literary work representing English civil war literature. The conventional reading of Milton’s epic as a legacy of English civil war and its religious and political conflicts tends to overlook the dialogic and oppositional voice in the poem that Milton, both covertly and openly, used to challenge the moral and social status of King Charles II and his court in the early Restoration. Inspired with the revisionist views supported by the literary historians, such as N. H. Keeble and Jonathan Scott, this paper suggests an alternative way of reading Paradise Lost as a literary piece perfectly in tune with the Restoration as an age riddled with diverse conflicts and tensions. In the first half, the paper surveys the popular understanding of the Restoration Milton to reveal how it serves to support and, in turn, is supported by the conventional historiography of the Restoration. The latter half of the paper revisits a couple of places in Paradise Lost in order to illustrate how Milton positions himself in opposition to King Charles II and his court followers, especially through the critical engagement of gluttony and drunkenness. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.2.265 | kci_detailed_000255.xml | ||
ART001499103 | oai_dc | Transformation of Courtly Love in Astrophil and Stella | Transformation of Courtly Love in Astrophil and Stella | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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} | [
"배경진(인하대학교)"
] | The poet-lover in Astrophil and Stella is generally considered to be conflicting between reason and passion pining for an unattainable beloved lady. The plot and the themes of the sequence are highly conventional, derived from Petrarch and his many Italian, French and Spanish imitators. However, the poet-lover also claims that he protests this Petrarchan convention in his search of fresh and original ways of writing. Thus the sequence has been studied as a counter-discourse of English Petrarchism and has been given more focus on its writing skills. On the other hand, this paper aims to examine the poet-lover not as an anti-Petrarchan lover but as an anti-courtly lover in a way to reveal some unfamiliar and unexpected aspects of a star-crossed lover. This paper examines that the poet-lover is rebellious in accepting the decrees of love, proud in his estimation and presentation of his own values, cruel and dishonorable in vengeance on his ungrateful lady, and presumptuous and impudent in admitting his desire. These uglier and more disappointing characteristics are quite opposite of those the readers generally expect from a lover in the standard of courtly love. While the poet-lover dramatically transforms the standard of courtly love in order to write most persuasively and most attractively, Sidney reveals that the villain images of the poet-lover as an anti-courtly lover is nothing but guises and masks he conveniently adopts and discards in order to carry out experiments in the dramatization of self. The study intended to examine some unfamiliar aspects of the protagonist leads to the conclusion that Sidney manages to infuse his sonnets with an extraordinary vigor and freshness by appropriating the convention and the concepts of courtly love. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.2.165 | kci_detailed_000255.xml | ||
ART001499111 | oai_dc | <복낙원>에 나타나는 배고픔의 모티프 ― 성서에 나오지 않는 유혹들을 중심으로 | Hunger Motif in the Extra-Biblical Temptations of Paradise Regained | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"김종두(연세대학교)"
] | The two extra-biblical temptations of Paradise Regained have troubled many Milton scholars and readers. One of them, the temptation of Athens has a history of troubling the readers more than any other temptation in this poem because in this episode Jesus rejects classical learning and wisdom. The other, the banquet scene also perplexes its critics because it seems to be a superfluous one as a repetition of the stones into bread temptation. However, these two insertions play a good role by showing how much significance the hunger motif suggests in this poem.
The protagonist of Paradise Regained, Jesus is hungry throughout the poem. He is offered by Satan several needs, namely, food, knowledge, poetry, art and philosophy which can satisfy his physical and intellectual hungers. Satan makes good use of the circumstances in which Jesus is placed. But Jesus rejects all the temptations that Satan offers. His concern is not with worldly values, such as food, riches, glory but with divine wisdom. His hunger can be satisfied only by spiritual food not the physical food. Ironically, he himself is the true bread out of heaven for the redemption of mankind. It is not Christ alone who is hungry in this poem. His adversary, Satan also shows deep hunger for Jesus' identity and the secular successes. He is hungry to know who Jesus is and to have the worldly glory, riches, kingdom and learning. These hungers become stronger as the poem proceeds. However, they are fundamentally false because lying is his food and, therefore, he cannot receive truth which is necessary for satisfying truly his hungers.
Satan himself is shown to have an insatiable hunger that shall never be filled. He is restlessly angry and hungry throughout the temptations, while Jesus, though physically hungry, is quiet and at peace. Jesus' hunger is not the kind of hunger that Satan can understand. It only can be fulfilled by rejecting the kinds of satisfactions that Satan offers. The wise way of Jesus' responding to Satan's temptations is to seek to be empty rather than filled. To satisfy his hunger he seeks for spiritual food and wisdom rather than physical food and worldly knowledge which Satan offers. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.2.323 | kci_detailed_000255.xml | ||
ART001499109 | oai_dc | The Significance of Satanic “Wonder” in Paradise Lost | The Significance of Satanic “Wonder” in Paradise Lost | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"김혜연(연세대학교)"
] | This study analyzes the significance of Satan’s first tempting word, “wonder” in Eden of Paradise Lost. “Wonder” is the crucial cornerstone for explaining the mechanism of Satan’s temptation and the corruption of Adam and Eve. I suggest that the “wonder” in the tempting scene is rooted in the concept of Aristotelian philosophic wonder towards that Milton held critical attitude. This philosophic wonder is deeply associated with the unquenchable lust and the sin that is described through the allegory of the devilish Trinity, Satan, Sin and Death. In the allegory, the philosophic wonder results in the devilish cycle which is embodied by the incestuous rape, and this characterizes Satan’s intelligent learning opposite to the process of “transubstantiation” that Raphael teaches Adam to be better substance. Satan’s intelligent learning signifies the devil’s self-fulfilling against self-abandoning of the good angels, and eventually, Eve and Adam fall into the devilish cycle of the insatiable lust. The satanic wonder implies “no end” with which Book 9 ends, and Jesus ends the “no end.” | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.2.281 | kci_detailed_000255.xml | ||
ART001499106 | oai_dc | 윌리엄 브라운과 밀턴: 「셰익스피어, 1630」 | William Browne and Milton: “Shakespeare, 1630” | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
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} | [
"이철호(충주대학교)"
] | Many images of Milton’s “Shakespeare, 1630,” a sixteen-line epigram in heroic couplets, bear resemblance to those of other epitaphs on Shakespeare that were published in the First and Second Folios; and its embodiment of the dominant theme of an author’s achieving immortality through his work was commonplace in Elizabethan literature. So these numerous verbal and thematic parallels reveal not only Milton’s close familiarity with epitaph literature of his own and the preceding age, but also his peculiar capacity for assimilating the phrase and thought of other poets. Milton, for example, states in lines 9-16 that Shakespeare’s readers become his monuments, whereas the epitaph by Jonson in the First Folio says in line 22 that Shakespeare’s works, not every reader, become his monument.
But the important conceit of womb-tomb metaphor of Milton’s poem and its key image of Shakespeare as a brother to Muses (“son of memory”; 5) must have been adopted from those of William Browne’s pastorals and elegies, especially from Britannia’s Pastorals and “On the Countess Dowager of Pembroke.” Because Spenser seemed to be Browne’s artistic master, as he was proud to avow in his work (Britannia’s Pastorals Book ii. Song 1), and Milton looked to consider Spenser’s works to be the models for his late religious epics (“Il Penseroso” 116-20), it can be safely assumed that Browne’s works built a kind of literary bridge between Spenser and Milton. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.2.225 | kci_detailed_000255.xml | ||
ART001499104 | oai_dc | “이런 변덕스런 인생”: 에드먼드 스펜서의 <뮤터빌리티 칸토> 읽기 | “This state of life so tickle”: Reading Edmund Spenser's The Mutabilitie Cantos | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"임성균(숙명여자대학교)"
] | Edmund Spenser’s The Mutabilitie Cantos, published posthumously in 1609, deals with the conflict between Mutabilitie and Jove for the sovereignty over the universe, including the world and the heaven.
However, the final resolution provided by Nature is that both parties mutable beings and immutable classical gods should follow Nature’s principles and that the change and permanence are, in fact, simply two different forms of one discipline, the discipline of Nature or of God,the absolute. Although the publisher tells that the work is a part of unfinished Book 7 of The Faerie Queene, it is not clear if the work was indeed intended as a part of larger “legend,” for the work seems consistent, unified, and complete in itself, without hinting the need for an errant knight trying to achieve his/her task given by the Faerie Queen. The main character, Mutabilitie is a personified Titan, claiming that everything is under her legitimate power. More questions, however,arise as we read this somewhat simple tale. What does she represent allegorically? Why does she challenge Jove? How is the Faunus episode related to the main plot of Mutabilitie's revolt against gods? Why do all the supernatural beings, including Jove, look up Nature as their supreme judge? Is there a hierarchy among the superhuman characters?What is Nature? How does what she reveals at the end of the work contribute to the meanings of the work? This paper is to look for possible answers to these questions and then to search for consistent meanings manifested in the work, so as to understand what the poet tries to tell his readers, as well as us, with his last part of The Faerie Queene. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.2.183 | kci_detailed_000255.xml | ||
ART001499105 | oai_dc | 벤 존슨의 「축혼가」에 나타난 정치성 | Politics of Ben Jonson's “Epithalamion” | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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} | [
"이진아(한국외국어대학교)"
] | This article aims to illuminate the political implications in Ben Jonson's “Epithalamion, or a Song Celebrating the Nuptials of that Noble gentleman, Mr. Jerome Weston, Son and Heir of the Lord Weston,Lord High Treasurer of England, with the Lady Frances Stuwart,Daughter of Esme, Duke of Lenox, deceased, and Sister of the surviving Duke of the same name.”Though this poem apparently congratulates the marriage of Jerome Weston and Frances Stuwart, its central focus is on King Charles 1and the politico-cultual situations in his court. The wedding song is a medium through which Jonson pays tribute to the ideal love and marriage of Charles 1 and Henrietta-Maria. The poet and the sun,symbol of the king, both witness and direct the procession of the nuptial ceremony. In his efforts to communicate with the sun with intimacy and authority, the poet reveals his desire to recover the royal patronage and the poet laureateship that he enjoyed under the reign of James 1. In his praise of the royal marriage as the ideal of all marriages with a strong emphasis on the authority of the king, Jonson seem to slightly disparage the Platonic love fashion which Henrietta Maria carried over to the English court. In addition, her insignificant presence in this poem reflects Jonson's awareness of the political conflicts between the queen and his patron, Richard Weston. Jonson's last Epithalamion becomes an encoding of the political and cultural situations in the Caroline court where Jonson strives to position himself as an influential poet laureate. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2010.20.2.209 | kci_detailed_000255.xml | ||
ART001394493 | oai_dc | 영국 사회와 궁정에 대한 풍자: 존 던의 『풍자시』 읽기 | Satire on English Society and the Court in Donne’s Satires | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
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} | [
"최재헌(경북대학교)"
] | Donne’s Satires, which satirize contemporary London of its follies and
vices and attack the Elizabethan court, have received little attention and
been underestimated. Only “Satire 3” has properly been appreciated from
the critics. His satires are the first formal satires written in English.
Although he owes to the tradition of Roman satiric writers, such as
Horace and Juvenal, Donne does not simply imitate his predecessors, but
modifies the tradition of Roman satire, developing a unique style of his.
The Satires are said to have been written probably over the period 1593
to 1598. In Donne’s time, satire was not a respectable mode of writing
and even dangerous if it circulated outside the circle of friends, which
might get him into serious trouble. In one of his letters to his friend, he
wrote he felt some fear because of his satires, and shame because of his
elegies. He had the free spirit of the young intellectual, but felt the
distrustfulness by late Elizabethan society and its court and law. Donne’s
five satires written in his early twenties are all concerned with presenting
an idealistic defense of spiritual values against the encroachment of
sixteenth-century materialism. He bitterly criticizes materialism of his time
and the vanity and corruption of the court. The satires mock the
fashionable excesses of Elizabethan costumes, hyperbole in romantic
poetry, courtly flattery and corruption of lawyers and law enforcement
officials. Of Donne’s five satires, “Satire 1” is closely related to “Satire
4”, and “Satire 2” to “Satire 5”. The theme, touched on lightly in
“Satire 1”, is developed in greater detail in the more sombre “Satire 4”.
That is, “Satire 4” articulates openly what “Satire 1” only suggests.
Donne’s courtier possesses characteristics of the most hated and feared members of Elizabethan society. His rejection of the Court can be read
not only in satires and verse letters but also in the lyrics. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.2.269 | kci_detailed_000255.xml | ||
ART001394486 | oai_dc | 자연법, 자연권, 제국주의 | Natural Law, Natural Rights, and Imperialism | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
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"issue": null
} | [
"이성원(서울대학교)"
] | This essay is concerned with how early modern Europe resorted to the
Roman legal discourses of ius naturale and ius gentium to justify its
colonial expansionism. It is worth paying attention not to the way the
idea of ‘just war’ limited and prohibited any ‘illegal’ aggression but to
the way it was effectively utilized in justifying colonial aggression and
conquest. Francisco de Vitoria’s De Indis, although seemingly critical of
the Spanish conquest of the Americas, was in fact providing a legal
ground on which the Spaniards were able to make war against the
American natives. Ius gentium was Vitoria’s answer.
Early modern Europeans were also being reborn, so to speak, as
‘economic men,’ obsessed as they were with the idea of private property.
Richard Tuck has traced the transformation of the meaning of ius
naturale from “natural law” to “natural rights,” and regarded it as the
most important development of modern political thought. Although
evidences of ius as a potential that belongs to a subject go back to the
twelfth century, it was only in the seventeenth century that ‘subjective
rights,’ and especially ‘property rights,’ began to work as the guiding
principle of Europe’s political discourse. Hobbes and Grotius, who both
were involved directly in the British or Dutch colonies, built their
political theories on the idea of ‘natural rights’ of man for
‘self-preservation’ and ‘rights of necessity.’
It was the purpose of Locke, however, to go beyond Hobbes and
Grotius without falling prey to some dangerous possibilities contained in
the idea of ‘necessity.’ ‘Necessity’ in Grotius was a reason for making
an exception to the law of private ownership, or for suspending the law.
On a different level, necessitas has always been a dangerously slippery
notion which may serve monarchs as an expedient for suspending the rule of law, or as a kind of supra-legislative authority they may exercise
a master term in the discourse of ‘Reason of State.’ It was Locke’s
intention to oppose to both rights of necessity: with regard to both
private property and with regard to civil government. His Second Treatise
was laying theoretical foundations for both the unhindered accumulation
of capital and the idea of civil government whose final objective is to
protect private property. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.2.229 | kci_detailed_000255.xml | ||
ART001394505 | oai_dc | 지혜의 저장소로서의 마리아: 밀턴의 『복낙원』과 주변부 목소리의 복원 | Mary as the Storehouse of Wisdom: Paradise Regained and the Regaining of Marginal Voices | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"이종우(홍익대학교)"
] | Milton places Mary as an ideal reading subject possessing unique
powers of interpretation and discernment. After the Restoration Milton
attempts to set up a model figure who can rightly interpret God’s word
on a religious and theoretical basis to carry out an historical mission.
Milton’s basic philosophy for historical vision is contingent on the mode
of hermeneutics which should be reexamined in response to a changed
political situation. In the course of rethinking the hermeneutic position,
Milton finds out an ideal type of interpretation in Mary’s discerning
activities, which can provide a new concept of the regaining of paradise.
Mary generates profound insight into the nature kingdom of God and
Jesus’ mission. She comprehends metaphoric and typological discourse of
history based upon the dynamic relationship of history and prophesy,
whereas Satan and the 1640-50’s revolutionaries stick to historical and
political literalism rooted in physical prediction and monologic conditions
of time. Mary’s divine hermeneutics nourishes Jesus’ meditative
capabilities to recognize his Messianic identity and role and
simultaneously prevents Satan’s carnal diabolic exploitation of divine
information. For example, Jesus’ recollections of his mother demonstrates
how her encouragement has decisive influences upon his development as
Messiah, and Satan’s temptation shows how her admonition does not
take part in his understanding of the scriptures and prophets. Especially,
Mary’s interpretative method leads rash and impatient readers to the
preparation to stand and wait and to internal spiritual power of deriving
hope from trouble and despair. Mary displays superior “spirit and judgement” in her understanding of what relates to the regaining of paradise. She is aware that wisdom does not emerge from texts themselves and even holy scriptures but is produced by the critical reading abilities of employing spiritual
judgement. She proves herself as ideal receptacle of wisdom by claiming
that “[m]y heart hath been a storehouse long of things / And sayings
laid up, portending strange events”(2.103-4) Because her wisdom is
formed from this storehouse, the insight can suggest a logical and
ideological framework in which Milton and revolutionaries should meet
the political and ethical climate after the Restoration. Mary is located as
the ideal reading subject for transforming historical process into concrete
meaning. The process of regaining paradise is embodied in the
interpretative model of Mary in Paradise Regained. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.2.313 | kci_detailed_000255.xml | ||
ART001394508 | oai_dc | 그레이의 『애가』: 소박한 삶과 사회적 성공 사이의 갈등 | Gray’s Elegy: A Struggle between the Simple Life and Social Success | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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} | [
"김옥수(제주대학교)"
] | This essay views Gray’s Elegy as a struggle between the simple life
and the social success. This struggle seems to be related to Gray’s choice
between a life of retirement and the great world in his life. Gray
declined the offer of the poet laureateship and preferred a life of
retirement, but hoped to achieve his poetic fame.
In the Elegy, Gray is seen as having a choice between a corrupt world
of social success and a simple life. He contrasts the simple life of the
humble with the achievements of the great throughout the poem. First of
all Gray idealises the poor of the hamlet. But in the next three stanzas
he says that we should value them because they might have possessed
the talents we see in the great. This is to accept the standards of the
great as a means of valuing the rustics. Here we see the poet pulled
between the simple life and the social success. And when he talks about
memorials, he does not fully accept simple memorials. It means that he
is not satisfied with the simple life of rustics which he has just
commended. He seems oriented towards the social success, because we
all desire to remembered. Once again we see the tension between the
simple life and the social success. At the end of the poem the epitaph
suggests that the dead “youth to Fortune and Fame unknown” is akin to
the unhonored dead and those of “destiny obscure” who lack elegy or
fame. In this sense the epitaph is seen to commemorate the simple life
and the obscure destiny of the poor. Finally the poet leaves the choice
between the simple life and the social success to God.
In conclusion, the poem shows a struggle between the simple life and
the social success. The tension seems related to the poet’s own choice
between a life of retirement and poetic fame. This struggle also appears
to reflect the historical tension where the Romantic sympathy towards
the limitations of the poor collides with the Neoclassic attitude which
insists on being resigned to fate and accepting the existing state of
things. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.2.389 | kci_detailed_000255.xml | ||
ART001394492 | oai_dc | 여왕의 직위에 관한 재고찰: 스펜서의 『선녀왕』과 여왕 엘리자베스 | The Queenship Re-considered: Spenser’s Faerie Queene and Queen Elizabeth | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"장혜란(한양대학교)"
] | Edmund Spenser spent most of his adulthood in Ireland as a colonial
administrator. As a National poet, however, his career is clearly
distinguished from those of military courtiers, whose blind adulation of
the Queen was the most effective and easy measure for obtaining
self-protection. In his epic The Faerie Queene, Spenser gradually and
increasingly distances himself from the complex world of politics,
representing himself as a philosopher-poet.
Spenser nevertheless considers and compares diverse modes of
queenship in his allegorical episodes, which in turn influence the readers’
perspectives regarding the reign of Queen Elizabeth. The Queen herself,
of course, is the primary reader, besides the illustrious courtiers to whom
Spenser famously wrote 17 dedicatory sonnets.
This paper examines how Spenser analyzes different kinds of
governments ruled by a female monarch. The most intensely controversial
issues regarding the Elizabethan queenship, as they are allegorized in
Spenser’s fiction, are the notions of “chastity” and “mercy.” Without any
direct criticism towards the Queen, Spenser illustrates diverse models of
queenship, thereby questioning the authenticity and authority of the
female ruler. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.2.247 | kci_detailed_000255.xml | ||
ART001394506 | oai_dc | 나함 테이트의 『리차드 2세』 각색본의 재평가: 작가의 의도와 해석의 거리 | Intention and Interpretation in Nahum Tate’s Adapted Version of King Richard II | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
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} | [
"공성욱(유한대학교)"
] | The idea of this study arose from the dramatic history of Nahum
Tate’s Richard II, adapted from Shakespeare in 1680 and doomed to be
banned, in its third performance, by the political authority. The ban
puzzled and angered Tate to no end. I therefore set the objective of this
paper to research how and why Tate changed the original into his new
version, through which I try to find his intention and provide a new
perspective on the evaluation of this play.
Many critics agree that among Shakespeare’s 10 histories Richard II is
the most problematic that treats all the sensitive episodes regicide,
treason, dethronement which history play may cover. Also this play,
from Shakespearean(Elizabethan) Age to the present has been interpreted
mainly in political point of view that shows much coincidence with the
social and political environment of the age Tate decided to adapt the
original.
Tate’s contemporaries wished to keep the stability in their nation in
political and social aspects and have a fear to return to the destructive
and dark experiences of the past Puritan revolutionary government and
Interregnum.
With this social and general wish and agreement, the political
authority, as a judge of the play under the name of censorship, regards
Tate’s as a potentially inflammatory material because it decided that the
themes this play treats show much resemblance to the problematic
political current of the Stuart kingship with religious conflict between
Catholic and English Protestant.
But Tate, in Richard II, as a faithful royalist dramatist who supports
the Torian spirit, while Shakespeare keeps silent and doesn’t take any
side between Richard and Bolingbroke, clearly evaluates the two
antipodic powers Richard as a moral being and the rightful successor of
the kingship with an attractive colors and Bullingbrook, with a dark
shadow, as destructive and cunning traitor.
In his epistle in printed version, in 1681 of Richard II, Tate reveals his
intention above mentioned to enlighten the people of the age confidently
and clearly and his resentment for the negative judgment on his play
also. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.2.367 | kci_detailed_000255.xml | ||
ART001394548 | oai_dc | 『투사 삼손』에 나오는 두 아버지: 마노아와 하나님 | The Two Fathers in Samson Agonistes: Manoa and God | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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"issue": null
} | [
"김종두(연세대학교)"
] | Milton's Samson Agonistes deals with Samson's inner trans- formation
through suffering and tragic experience of life. This poetical drama
focuses the paradoxical work of God's providence which changes
Samson's misfortune into his victory.
Samson's father Manoa makes an important role in educating his son
Samson. He concerns his son's physical state in the misery. Though he
is not the protagonist, he ties the action together through beginning,
middle, and ending. He is the complex character who hopes and
despairs, loves and hates, chides and comforts. As a father who has a
dear son he tries to deliver his son's body form the prison. However, his
endeavors to ransom his son are futile because his eyes are fixed on the
external states of his son and he doesn't know what really troubles his
son now. Moreover, he concerns the fame and honor of his son and his
house more than anything else. So his intent to help his son brings the
opposite result to Samson, that is to give him another temptation to lead
him into spiritual despair. Manoa is proved to be a false redeemer who
has limited understanding, being spiritually blind. Only God really cares
and helps Samson and makes him his true son and champion.
It is God's providence that brings Samson's inner regeneration out of
Manoa's useless endeavors. After meeting with his father he progresses
from the depressed man to the more spirited man confessing his own
sins. As Anthony Low explains, the most crucial thing Manoa does in
the play is to remind Samson of the true nature of his crime. Milton
contrasts the wisdom of God and the human effort of Samson's father.
But what is important is that both of them are used to educate the
Nazarite hero. What interests us is that his son's death makes Manoa's
view of life change. Manoa learns the meaning of death form his son.
He is able to understand the spiritual meaning of life and death through
the example of his son. Therefore, when considering the role of God
and Manoa as father of Samson, we should avoid the dichotomous
approach of ‘God's care and Manoa's useless efforts’. Rather we should
view it from the viewpoint of the paradoxical way of providence
bringing forth good out of evil because Manoa's useless efforts are
worked upon resulting good education of his son eventually with the aid
of God's mysterious providence. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.2.351 | kci_detailed_000255.xml | ||
ART001394503 | oai_dc | 밀턴의 이브와 성모 마리아의 상관관계 | Virgin Mary and Milton’s Eve | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"손달례(부경대학교)"
] | This study looks at the relation of John Milton’s Eve in Paradise Lost
to the biblical Virgin Mary. Eve is deceived by Satan to tasting the fruit
of the Tree of Knowledge and therefore attacked as the one who
corrupted humanity. But Milton suggests that Adam is the more
responsible because, although Eve was the first to eat the fruit of the
Tree of Knowledge, she was deceived into doing so, but Adam knew the
consequences of eating of the fruit. What is more, whereas Adam kept
on blaming Eve after the fall, it was Eve who first repented and offered
reconciliation.
Through God’s grand design, the Virgin Mary is prophesied to be
born as the Second Eve, out of whose womb the Savior will come to
the world. In the Marian cult within the Catholic Church, Mary is even
hailed as a co-redemptrix, who suffers with Christ as ‘mater dolorosa’
under the Cross. Although Milton viewed the Catholic Church as
“popery” (not even a religion), he nevertheless saw Mary as very
important, without whom the Second Adam, Christ, would not come
into the world to save mankind.
This shows that Milton’s view of woman is not a negative as some
feminists claim. It is a more balanced view that, despite the patriarchal
limitations of Milton’s times, distributes proper honor where each sex is
due. Eve is the first to fall, the first to be deceived by Satan, but she is
also the first to repent, and will be the mother of all mankind. From
her line will emerge the Second Eve, mother of the Savior, who will
trample on Satan’s head. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.2.297 | kci_detailed_000255.xml | ||
ART001345455 | oai_dc | The ＂Tragedy＂ of Marlowe's Dido, Queen of Carthage and an Afterthought on Current Literary Historicism | The ＂Tragedy＂ of Marlowe's Dido, Queen of Carthage and an Afterthought on Current Literary Historicism | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"임이연(영남대학교)"
] | The story of Dido and Aeneas offers a handy plot for a love tragedy: a man torn between love and duty, a woman abandoned immolating herself for love, a heartrending tale of unrequited love. Christopher Marlowe's play, Dido, Queen of Carthage resists such amorous expectation, weaving its erotic thread with the discourse of gender, race and politics. In the past two decades, Elizabethan politics has been the most important key to the understanding of the play and the period that produced it. However, it yields little understanding for the present and ourselves. This essay is a search for the juncture where the historicity of Marlowe's text intersects with ours. The first half locates the play in the moment of its production in the milieu of Elizabethan empire. Refuting some critics's opinion of Aeneas as incompetent coward, I argue that Marlowe presents Aeneas as real-politic manipulative prince and Dido as barbarous queen that adores Troy. Thus, to the Elizabethan audience, Dido stages the importance of Troy, participating in the imperialist discourse of the Troy legend. In the latter half of the essay I reverse the Elizabethan reading of the play from Dido's position of inferior race and gender, which is often obscured by the current historicist fad. Thus, I argue that the play is about a wronged woman, her disillusionment and belated recognition of her racial identity. Marlowe makes the play Dido's tragedy not so much as of unrequited love as of identity crisis. I also relate Dido's failure to my position as Third-world academic in relation to historicism, and urge for the need of "local" reading. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.1.15 | kci_detailed_000255.xml | ||
ART001345464 | oai_dc | Milton's Satans ＂Within Community＂: Ussher, Hall, Charles and Salmasius | Milton's Satans ＂Within Community＂: Ussher, Hall, Charles and Salmasius | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"김혜연(연세대학교)"
] | The aim of this paper is to study Milton's four great political enemies during the propaganda wars―Hall, Ussher, Charles I, and Salmasius―as typical enemies "within communities." In her study of Satanic power starting from the early Christian society, Elaine Pagels establishes two important features of the origin of Satan that apply very well to Milton's chief political opponents: first, the enemies always were within the communities, second, they are always "between" two parties within the community. The two archbishops, the beheaded king and the renowned scholar emerge from "within" and "between" Milton's communities. According to Milton, both Ussher and Hall were the typical satans because they try to sit between Laud's extremism and Protestant's resistance against Laud, thereby maintaining support for both the corrupted monarchy and episcopacy. Like the two archbishops, the beheaded king and Salmasius become for Milton alarmingly threatening because of their insidious evil hidden under the guise of holiness and fame. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.1.161 | kci_detailed_000255.xml | ||
ART001345456 | oai_dc | 「성 루씨일의 야상시」에 나타난 존 던의 무(無) | Donne's Infatuation with Nothingness in "A Nocturnal upon St. Lucy's Day, the Shortest Day" | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"이병은(한성대학교)"
] | John Donne's poems usually express hope in reason and knowledge, and not-knowing is, to Donne, a sign that one has gone wrong or not far enough. "A Nocturnal upon St. Lucy's Day, the Shortest Day," however, not only rejects reason as the means by which to know truth, but also sensate perception, and through Donne's handling of conceit, does in fact embrace the ideas that spiritual awareness is the issue of the union of the mind with nothingness.
The effect of Donne's rhyme scheme, uneven meter and stanzaic structure, is mirrored in the movement of the whole poem. Donne's conceits converge into levels, each reinforcing the other, and are basic to the poem's paradox of a positive force underlying and growing out of the negative. Each successive conceit more nearly approaches the concept of a positive spiritual awareness as it draws closer to the idea of the mind's unification with nothingness: the astrological- astronomical conceit functions to carry the meaning of the rejection of the sensate as a way to get at truth; the alchemy conceit makes a negative scientific implication and adds a dimension of interaction which on one level has only led to ruin, but approaches the idea on the next level of a fertile unification from which a spiritual awareness is conceived; the sexual conceit underlies the other two and expresses the meaning of the poem by resolving the tension between the narrator's mind and the nothingness from which the ultimate love or spiritual awareness is conceived. The conceit moves from a negative definition of the poet's mind to a ritualistic and fruitful unification with nothingness.
| 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.1.43 | kci_detailed_000255.xml | ||
ART001345459 | oai_dc | 던과 홉킨스와 마더 테레사의 내적 고통: 신의 침묵/부재 | Aspects of Internal Agony in Donne and Hopkins and Mother Teresa: God's Silence/Absence | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"이상엽(경희대학교)"
] | Although Donne(1572∼1631), Hopkins(1844∼1889) and Mother Teresa(1910∼1997) lived in different periods respec- tively, there are some similarities or common elements in their life of faith. The similarities are that they were great clergies suffering from severe internal agony or pain owing to God's silence/absence until they died. In other words, they had a painful longing for God's grace in their lives which they felt was not answered. In this paper, I want to trace the extreme situations of their agony by examining how they suffered from internal agony by means of close reading of their works.
Some of Donne's “Holy Sonnets” are the ones in which God's silence/absence is most striking. All of these sonnets are petitions to God for an act of grace. But like the mistresses in his love poems, God is silent. The imagery of estrangement from God is vivid. For instance, “Batter my heart,” the speaker says he is a walled town from which God is shut out. In “Thou hadst made me, And shall thy worke decay?” the speaker sees himself as the abandoned and decaying artifact of God. Here, the sense of estrangement touches on despair. The silence of God made it possible for the speaker to cast doubt upon the existence of God. Therefore, we can see them as expressions of despair.
Let me examine the factors of Hopkins' spiritual crisis. His agony seemed to be the result of his conversion to Catholic- ism, his giving up writing poetry according to Jesuit rules, and his weariness of the work as a professor and an examiner in Dublin. These causes made him suffer from inner conflict whose feeling was expressed in the “terrible sonnets.” In “No worst, there is none” all that he could do was to ask for a short respite from pain. In “To seem the stranger”, in which Hopkins especially emphasized his continual loneliness, he touched on some of the reasons for the feeling of desolation. In “I wake and feel”, the darkest of the terrible sonnets, at last he was deprived of sleep. Here, he thought the night seemed interminable. Moreover, he compared his situation to that of the damned in hell. The poems mentioned above records Hopkins' deep despair, feeling of separation from God, and sense of personal worthlessness.
Although Mother Teresa was joyful in public, she lived in a state of deep and abiding internal pain. According to Mother Teresa: Come Be My Light, from 1947 when she started The Missionary of Charity to 1997 when she died, she underwent the “dryness,” “darkness,” “loneliness,” and “torture.” She was aware of the difference between her inner state and her public demeanor. She said, “The smile is a mask or a cloak that covers everything.” In the letter sent to the Rev. Michael Van Der Peet, she said, “Jesus has a very special love for you. As for me, the silence and the emptiness is so great that I look and do not see, listen and do not hear.” For one thing, “darkness,” one of the key words of the 40 letters given to several clergies, meant internal suffering, lack of consolation, spiritual dryness, and absence of God from her life.
I can suggest that the works of Donne, Hopkins, and Mother Teresa are cries out of their spiritual conflict, but not records of their spiritual growth and prayers to God.
| 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.1.55 | kci_detailed_000255.xml | ||
ART001345466 | oai_dc | Belief and Learning in Milton's Paradise Regained | Belief and Learning in Milton's Paradise Regained | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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"issue": null
} | [
"구영회(대구가톨릭대학교)"
] | Milton's Paradise Regained is a biblical epic poem which dramatizes the Son's unwavering religious faith that leads him to resist all the temptations, including the irresistible lure into knowledge. However, its reader is sometimes at a loss by its strident denunciation of the traditional Greco-Roman learning. Milton's commitment to the traditional humanist studies (he owns the influence of Spenser, an author, on him) from his childhood and the Renaissance respect for classical literature make us somewhat doubt the explicit renunciation of classical learning.
His shorter epic is so deeply embedded in the Western classical culture that the poem cannot be adequately appreciated without the knowledge of it. The poem is written in the form of an epic, whose origin is Greek literature. Milton conveys his Christian ideas through the epic form. The characterization of the protagonist, the Son, is noteworthy because despite his harsh attacks on classical literature and philosophy, he resembles some Greco-Roman figures, like the Greek heroes, Hercules or Oedipus, and the Roman Stoic, who represents endurance and reason and humanist knowledge. Endurance is a significant virtue to Christians and Stoics alike. However, the crucial Christian virtue like mercy, sacrifice, crucifixion, or resurrection is lacking in the epic's characterization of Jesus The very beginning of the poem echoes the Spenserian imitation of Virgil's Aneid. Also a great number of literary allusions to Spenser testify the influence of the secular literature on Milton's works. No matter how harshly the Son renounces the classics in praise of Christian values, the reader's knowledge of the humanist learning is necessary in order to understand the religious meaning. And the reader gets confused by Satan's characterization as having some rational traits. Paradise Regained emphasizes the worth of religion that we should prioritize over secular learning, but sometimes its reader may be uncertain about the claims. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.1.187 | kci_detailed_000255.xml | ||
ART001345468 | oai_dc | Debate as an Introspective Vehicle for Self-Discovery in Samson Agonistes | Debate as an Introspective Vehicle for Self-Discovery in Samson Agonistes | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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} | [
"선우진(서울신학대학교)"
] | One feature that particularly stands out when reading Milton's major poems is the abundance of "dialogues," "disputations," or "dramatized debates" between the main characters. Indeed, debates of one form or another can be found in much of his writing such as the debate between Comus and the Lady, Samson and Dalila as well as those between Satan and the Son in Paradise Regained. The abundance of debates in Milton’s major works may hardly be surprising considering the polemical nature of education Milton was exposed to at Cambridge with its emphasis on classical rhetoric and academic disputations. The traditions of a Cambridge disputation, within which Milton was educated, was based on refutation (refutatio), the intellectual perspective of exercising one’s wisdom against the fallacies of a supposed or conveniently created opponent. In such a system, the sole purpose of the speaker is "winning the good-will of his audience." As William Riley Parker points out, "conviction was irrelevant" as were "reason and common sense."
Looking back upon his Cambridge years, however, Milton tended to view such an education to be symptomatic of an "epidemic evil of that time." Dissatisfied with what he calls a "monkish and miserable sophistry," Milton, as is often the case, is thus quick to adapt and modify the traditional model for his own purpose. Thus, in the various debates within his works, debate, rather than being a futile exercise in "useless controversies,"is transformed into a tool for introspection and self-discovery.
The debate within Samson Agonistes is a good case in point. As noted by Radzinowics, the "action of Samson Agonistes is composed of encounters, which as debates, are metaphors or metonymies for serious inward change." At the outset of the poem, Samson appears tormented by "restless thoughts"and suffering from "swoonings of despair, / And sense of heaven’s desertion." Through a series of debates with three different opponents, however, Samson reaches a far greater depth of introspection and self-discovery so that at the conclusion of the poem, Samson is a regenerate hero who is at peace with himself and his role as the instrument of divine providence once more. Thus, in the dramatized debate between Samson and Manoa and Dalila, Milton offers an alternate possibility of the debate as a means of arriving at "Truth" and self- discovery.
| 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.1.205 | kci_detailed_000255.xml | ||
ART001345462 | oai_dc | 땅과 인간의 회복: 제라드 윈스턴리의 디거즈 활동 시기의 팸플릿 | Restoring the Earth and Mankind: Gerrard Winstanley's Digger Period Pamphlets | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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} | [
"김윤경(대구대학교)"
] | Like many radicals of the English Civil War, Gerrard Winstanley, one of the leaders of so-called "True Levellers" or "Diggers," composed several pamphlets in order to defend his group and search for possible comrades. The pamphlets published while he worked for the Digger community, notably "The True Leveller's Standard Advanced," "A Declaration from the Poor Oppressed People of England," and "A New-Year's Gift for the Parliament and Army" illustrate a distressed commoner's responses to the major political, economic, and social problems of the seventeenth century. In these three pamphlets Winstanley criticizes mostly land enclosure and proposes alternative ways to understand and imagine the relationship between the earth and human beings as well as the significances of the earth in human lives.
While a number of contemporary people defended land enclosure because of its economic efficacy, Winstanley regards the earth and human beings as closely related parts of creation, or an extension of a universal spirit of love. He also represents the earth as the major foundation of communal agrarian labor, opposing to commercial approaches to the earth; since he respects the values of medieval agrarian society, agrarian labor had the undeniable priority in his vision. When Winstanley reconstructs the history of mankind, concentrating on human beings' struggle over land, he interprets the Bible in original and radical ways. Millenarianism of the English Civil War significantly influenced the author's historical consciousness and let him see his own present moment as a highly critical time for his countrymen; thus he urges the English people to fulfill their mission by achieving economic and political reformation such as abolishing the enclosure of common land.
| 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.1.103 | kci_detailed_000255.xml | ||
ART001345454 | oai_dc | The Varieties of Sexual Abstinence in the Middle Ages | The Varieties of Sexual Abstinence in the Middle Ages | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
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"volume": null,
"issue": null
} | [
"노이균(우송대)"
] | The subject of sexual abstinence holds up a mirror to medieval views about sex. Some forces regulating sexual activity created pressure to abstain from sexual activities; others created pressure to engage in them. The tension between reasons for and against abstinence forms the field on which religious, social, and medical concerns met and in the process uncovers differences between the sexes.
Virginity was the crowning jewel of sexual continence. The religious value of virginity was composite. In its literal form it was the absence of the experience of intercourse. In its heroic form it was a source of Christian martyrdom. It was an active expression of the love of God, a vehicle of humility, a token of the rejection of the world [sex], and a representation of mystical purity.
The social value of virginity in the Middle Ages resided mainly with females and women's sexuality was subject to greater social control. The basis for the social value of female virginity was the security of legitimacy for children born in a subsequent marriage.
The strongest form of sexual abstinence in the Middle Ages was the vow of permanent sexual continence associated with full membership in religious orders. The number of men and women who took vows of chastity as members of religious communities was not negligible. Sexual restraint was an element of social order in the lives of those devoted to religious service, and the enforcement of restraint was an important aspect in the administration of Church institutions.
In certain respects, vows of chastity and their enforcement constituted an aspect of the larger social order as well. Considerable family control over the marriage of children continued to exist and was widely considered appropriate. For young people, especially young women, withholding consent might be effective in postponing marriage or in vetoing a particular marriage. In these situations, a vow of chastity might be an attractive alternative, even a way of exercising power.
In the Middle Ages three particular concerns with marital relations stemming from the physical condition of the woman were taken up: (1) intercourse immediately after childbirth, since it is prohibited in the Law (based on the purification rules of Leviticus 12.1-5); (2) intercourse during menstruation, since it poses dangers of contagion to the male seed which doctors say corrupts the fetus (fear of leprosy and of physical deformity); (3) during pregnancy (since there is danger of abortion). Women were allowed to refuse their husband during these periods.
Many medical works include recipes for anaphrodisiacs but there are many more recipes for aphrodisiacs. The recipes for anaphrodisiacs suggest that people[men] need medical help in the pursuit of abstinence.
| 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.1.1 | kci_detailed_000255.xml | ||
ART001345461 | oai_dc | 17세기 종교시와 영시 교육: 던과 허버트의 구원론을 중심으로 | Teaching Seventeenth Century Religious Poetry with Donne and Herbert's Concept of Salvation | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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} | [
"박영원(충남대학교)"
] | Teaching 17th-century "Metaphysical Poets" means to make students to understand what Samuel Johnson says "the combination of dissimilar images" in their poetry by analyzing the process of finding "occult resemblances in things apparently unlike." Especially for most of our students unfamiliar with the Bible or Christianity, religious poems of John Donne and George Herbert are difficult to understand not only because those poems require a complete grasp of their syntax, poetic diction, and so-called "metaphysical conceits," but also because they contain deeply biblical images, metaphors, and allusions. Therefore, it is evitable that a teacher of 17th-century religious poetry must be deeply concerned with Christian values in order to fully explain to his or her students the meaning of each word, phrase, and sentence, which is closely related to various Christian resources, such as the Bible, theology, church, and liturgies, to name a few. Among those various Christian topics, therefore, this study explores the concept of salvation, one of the most important theological concerns of Christianity, demonstrated in Donne (Holy Sonnets) and Herbert (The Temple), and tries to make a distinction between these two representatives of Metaphysical Poets, in terms of their attitude toward the concept. For Donne, salvation does not seem to be a free gift; it is something of which he is not sure until the last moment of his life, while for Herbert, it is something he approaches with certainty. What entangles in this concept is a guilty feeling, suffering, and death, which have formed the Western culture. By teaching our students this basic concept of Christianity, we can lead them to a better understanding of difficult metaphysical and religious poetry of the 17th century.
| 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.1.85 | kci_detailed_000255.xml | ||
ART001345463 | oai_dc | 왜 밀턴인가? ―자유사상과 심중낙원을 중심으로 | Why Do We Study Milton? | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
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} | [
"송홍한(동아대학교)"
] | Why do we study Milton? Every Milton scholar may have his own answer, but freedom and the “paradise within” seem to be the most important values for us modern readers, though we are living in a country and an age different from Milton’s own. While the US under the Bush regime tried to play the role of the world police to protect and extend freedom over the world, its adversary countries have regarded it as a disguise for imperialism. Milton’s poetry is more relevant than ever to our present global conflicts and relations, since such contradictory concepts of freedom can be also found in his literary works.
Milton's “paradise within” is also an essential condition for human dignity and happiness. Both freedom and the “paradise within” are balanced and closely related to each other in his poetry. The “paradise within” is not an escapist’s version of freedom, but an internalization of freedom by a virtuous man who has “Deeds to thy knowledge answerable.” History cannot develop without the change of the collective consciousness by individuals. Though Korea Society of Milton & Early Modern Studies has issued about 180 essays on Milton in total 18 volumes (28 books), only 12 essays among them deal with Milton’s prose works. Since freedom has a dominant relevance to us, we need to have concern for his prose works. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2009.19.1.137 | kci_detailed_000255.xml | ||
ART001107368 | oai_dc | 『복낙원』에 나타난 사탄의 닫힌 세계관과 그리스도의 열린 세계관 | Satan's Fixed View of the World and Christ's Open View of the World in Paradise Regained | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"김종두(연세대학교)"
] | In Milton's Paradise Regained the dialogue between Jesus Christ and Satan is a vehicle of noncommunication. Although two voices supposedly address each other, they issue from wholly different points of reference. They become a meaningless echo because they cannot carry the real message.The main reason for their noncommunication can be found in the different view of the world between the two characters. Satan's temptations shows that he is captured in the fixed view of the world. Satan thinks Fortune or Fate, not God is the source of all decrees. He ascribes all events to chance or fortune. This shows that his view of the world is deeply rooted in fatalism. From the first temptation to the last, he tries to seduce Jesus Christ based on the secular, materialistic value of this world. His thought and ideas are basically stagnant. All the time he grounds his realpolitik on the assumption of unchanging human nature.On the contrary the hero Jesus Christ's concern is constantly on God's providence and his time. He rejects the value of money and this world. Instead he emphasizes the value of Christian virtue and the kingdom of God. He is not locked in the past but open to the future with the potential for new creation to ascend eventually to God. | 영어와문학 | null | kci_detailed_000255.xml | |||
ART000944452 | oai_dc | Pastoral Visions of Spenser and Milton | Pastoral Visions of Spenser and Milton | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"장혜란(한양대학교)"
] | Through the use of pastoral modes, Spenser and Milton arrive at the same message in their respective epics. Spenser's problematic hierarchical world was allegorized as the fairy land where the queen and courtiers were running errands in pursuit of virtue. Spenser does not endorse his courtly patron's life as fictionalized in the story of Belphoebe and Timias. In his depiction of the courtier's world, he saw much in need of reparation, at least which he didn't find reason to embrace as morally admirable. Spenser and Milton's use of pastoral settings provide reasons to approach their respective epic through an understanding of their moral concern. In Milton's case, his ardent moral seriousness as a national poet to inculcate a nation found its venue in his religious contemplation of God's ways for men.For Milton, freedom of conscience is the most important virtue a Christian man can wish for, and it can be achieved only through the grace of God, and no earthly authority can intervene with an individual in their choice of what is to be believed as true authority and what is false. In Milton's Arminian faith, Grace is given freely to all individuals, but it is again resistible by those who do not choose to accept it. Only after the repentance of the soul, freedom is found again. Under circumstances that harshly repressed authors' criticism of courtly or political corruption, Milton and Spenser found means to attack whatever was against the rules of humanity, in their respective view, and in this sense, Milton is the true inheritor of epic tradition established by Spenser. | 영어와문학 | null | kci_detailed_000255.xml | |||
ART001107369 | oai_dc | “해변의 조약돌”:밀턴의 휴머니즘과 『복낙원』 | "Pebbles on the shore": Milton's Humanism and Paradise Regained | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"임성균(숙명여자대학교)"
] | 영어와문학 | null | kci_detailed_000255.xml | ||||
ART000944478 | oai_dc | ＂How soon Hath Time＂: Milton's Sense of Vocation Revisited | ＂How soon Hath Time＂: Milton's Sense of Vocation Revisited | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"서홍원(연세대학교)"
] | In this paper, I focus on Milton's resistance to choosing a credible employment in a letter to an unknown friend and in Lycidas. Composed in 1633 and 1637 respectively, these two pieces of writing reveal Milton's assessment of himself at the beginning and end of his years of study at Hammersmith and at Horton. Is there a perceptible change in his sense of vocation? What remains unchanged? What, in his mind, was his vocation? Was it, as is still popularly known, a career as a poet? | 영어와문학 | null | kci_detailed_000255.xml | |||
ART000944479 | oai_dc | 화자와 청자와 독자: 밀턴의 『아버님께』 | The Speaker, the Hearer, and the Reader: Milton's "Ad Patrem" | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"이철호(충주대학교)"
] | 영어와문학 | null | kci_detailed_000255.xml | ||||
ART000944477 | oai_dc | 벤 존슨의 『펜스허스트』의 사회적 의미 | The Social Meanings of Jonson's To Penshurst | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"김옥수(경성대)"
] | 영어와문학 | null | kci_detailed_000255.xml | ||||
ART000944483 | oai_dc | ＂A Woman that attempts the pen＂: Anne Finch's Self-Consciousnessas a Woman Poet | ＂A Woman that attempts the pen＂: Anne Finch's Self-Consciousnessas a Woman Poet | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"김태원(성신여자대학교)"
] | Anne Finch (1661-1720) vigorously wrote poems about herself being a woman poet when female writers were regarded with condemnation and reprehension, and when few women identified themselves as serious poets. In doing so, she was able to register contemporary women's conditions and to fashion her own perspectives on poetry. Against the male dominated literary tradition in which women generally appeared only as an after thought, Finch as a female poet tried to subvert, both directly and indirectly, the widespread assumption that it was "presumptuous" for a woman to write poems. Finch tapped into her own disadvantage as a woman poet and turned the table upon her society. Such a vantage point enabled her to question the male-dominated world and criticize unequal relationships between men and women. Inasmuch as Finch continuously tried to perceive and interpret her vocation as a woman poet and the world around her, she paved way not only for her own creative vocation but also for the ensuing generation of women writers so as to procure their own territory on literary tradition. | 영어와문학 | null | kci_detailed_000255.xml | |||
ART001107365 | oai_dc | 패러디를 통한 엘리자베스 시대의 연애시의:탈중심화: 존 단의 경우 | De-centering in Elizabethan Love Poems through Parody: The Case of John Donne | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"이상엽(경희대학교)"
] | 영어와문학 | null | kci_detailed_000255.xml | ||||
ART001107366 | oai_dc | 밀턴과 마벨: 호국경 체제의 공화주의적 정당화와 문제점 | The Republican Legitimation ofthe Protectorate and its Problemsin Milton and Marvell | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"박은미(한국외대)"
] | 영어와문학 | null | kci_detailed_000255.xml | ||||
ART001107367 | oai_dc | Poetic Hubris as Knowing Transgressionin the Invocation of Milton's Paradise Lost | Poetic Hubris as Knowing Transgressionin the Invocation of Milton's Paradise Lost | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"선우진(경찰대학)"
] | This study of the invocations in Paradise Lost attempts to examine the aspects of poetic pride in Milton's efforts to "assert eternal providence,/ And justify the ways of God to men." As Walter Schindler points out, the study of the invocations are important to any study of Milton's poetics because they are not only important markers of major shifts within the epic but defines the epic voices itself. Thus, the poet's stance adopted in the invocations, guides and shapes the larger narrative sections of the poem. Because the poem begins with an invocation that was overly bold in claiming divine inspiration and prophetic powers, it leaves itself open to charges of poetic pride and satanic hubris. A careful examination of all four invocations in the poem, however, reveals a underlying message of humility, patience and sufferance instead. Beginning with prideful ambition, there is a pattern of progressive downward movement in the tone of the invocation, moving from visions of grandeur and the sublime to a more subdued and humble voice at the end. This changes in the poetic voice, I would argue, can be linked to Milton's overall message of "patience and heroic martyrdom" (PL 9.32) in Paradise Lost. | 영어와문학 | null | kci_detailed_000255.xml | |||
ART001294326 | oai_dc | “비참한 수수께끼”: 존 던의 『죽음의 결투』에서 탐구된 죽음의 다면성 | “Miserable Riddle”: Multi-faceted Death Examined in John Donne's Death's Duel | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"김윤경(대구대학교)"
] | John Donne's sermons constitute an important part of his works, and his famous last sermon, Death's Duel, displays diverse aspects of death which interests him throughout his life. In this sermon based on Psalms 68:20, utilizing numerous rhetorical devices and traditional Western motifs about death, Donne explores death and its often self-contradictory and unfathomable features. Fascinated by the omnipresence of death and its absolute power, the poet presents death as an indispensable part and a universal principle of human lives. He also depicts enthusiastically devastating states of human body after death, delineating mostly posthumous disintegration of bodily integrity and individual identity. In addition, Donne attempts to grasp the religious significances of death and resurrection, a corollary of death in Christian discourse, while he delivers the sermon based on the biblical phrase “issues of death.” He stresses the absolute power of death, taking the Christian God's unique features such as omnipotence for his model. Another crucial aspect of death viewed from the point of Christianity is the incomprehensibility of death because death, especially Christ's death, tests and goes beyond human understanding. Incomprehensibility of death, paradoxically, is also equated with the omnipotence of God who can realize His will through His words. Christ's passion and death described in the latter part of the sermon demonstrates Donne's efforts to emphasize the possibility of appropriating Christ's death. By urging eagerly his audience to imitate Christ in his passion, stressing Christ's voluntary will to die, and focusing on the dead body of Christ, Donne enables his Christian audience to participate in Christ's death, though in limited scale.
| 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.2.271 | kci_detailed_000255.xml | ||
ART001294323 | oai_dc | Native Versus the Eloquent Styles: A Review of the Major Period Styles of Sixteenth Century English Lyric Poems | Native Versus the Eloquent Styles: A Review of the Major Period Styles of Sixteenth Century English Lyric Poems | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"선우진(서울신학대학교)"
] | The article is based on the basic critical presumption that there are traditions of styles (period styles) that can be discriminated according to their stylistic conventions and norms or the values and assumptions they give expressions to. And it argues that sixteenth century lyric can be divided largely into two major groups of period styles, the "native plain style" and the "courtly or eloquent style." The paper goes on to examine Sir Philip Sidney's Sonnet I of Aristophil and Stella as an example of the "eloquent style" followed by an examination of Sir Thomas Wyatt's poem, "Blame not my lute," as exemplifying the characteristics of the "native plain style." | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.2.241 | kci_detailed_000255.xml | ||
ART001294332 | oai_dc | Defeat and Triumph in The Readie and Easie Way: The Intentional Irony of the Title in the Second Edition | Defeat and Triumph in The Readie and Easie Way: The Intentional Irony of the Title in the Second Edition | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"서홍원(연세대학교)"
] | By the time Milton published the second edition of The Readie and Easie Way, it was now too late to change the course of England’s history, and his proposed political model was already beyond the reach of his people. Milton’s decision to go ahead with the publication of the second edition, therefore, deserves some scrutiny. In this essay, I propose that this decision was prompted by the very defeat of his cause. I also propose that the title of treatise now contains an intentional irony that was not discernible in the first edition. In fact there are two opposing types of the ready and easy way suggested by the second edition: the one, if it had been carefully considered and swiftly acted upon, would have saved the country from thralldom; the opposite, the way back to thralldom chosen by the people of England, would lead to certain destruction. Milton stresses time and again the opportunity given by God, which the English people had disgracefully ignored. Such opportunity is not to come again. So clearly on display before the people of England, the reformation had been so tantalizingly close to fruition. Now, according to Milton, the true ready and easy way is no longer ready and easy. Only its opposite shadow remains, a path leading to "a precipice of destruction" that "the deluge of this epidemic madness would hurrie us through the general defection of a misguided and abus'd multitude" (YP 7: 463). Milton’s stance at the end of the treatise is that of a prophet who finds triumph in the face of defeat. While his cause is utterly lost, his prophecies (he had, after all, warned England of the dire consequences of disobedience as early as the beginning of his prose career) remain true and tested. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.2.345 | kci_detailed_000255.xml | ||
ART001294334 | oai_dc | Forbidden Fruit as Impedimental Peach: A Scholarly 'Pesher' on Paradise Lost 9.850-852 | Forbidden Fruit as Impedimental Peach: A Scholarly 'Pesher' on Paradise Lost 9.850-852 | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
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} | [
"Hodges, Horace Jeffery(고려대학교)"
] | This paper builds upon recent scholarship by Robert Appelbaum, who has argued that John Milton depicted the forbidden fruit not as an apple, in our contemporary sense of the term, but as a peach instead, based upon the description of the fruit as "downy," among other characteristics. I find Appelbaum's interpretation persuasive, but what remains not entirely clear in Appelbaum's account is Milton's motive for choosing the peach. The implication seems to be that the peach's technical name, Malum persicum―or "Persian apple"―enabled Milton to associate the peach with paradise, supposedly located in Persia. The commonly described 'nectarous,' 'ambrosial' qualities of peaches would also perhaps accord better with the 'divine' forbidden fruit as a peach rather than as an apple. Milton, however, might have found additional motivation. As this paper shows, the poet could have been working with a couple of wordplays: (1) from the French pun on pêche (peach) and péché (sin) across the language barrier and (2) from peach (Malum persicum) and peach/appeach (accuse) within the English language. The argument relies upon circumstantial evidence and layers of interpretation to make its case. For instance, following their sin in eating the peach, Eve and Adam fall into mutual accusations in the postlapsarian portion of Book 9, in which they effectively "appeach," or "peach" (aphetic form of "appeach"), one another. Adam even 'appeaches' Eve rather formally before the divine judge early in Book 10 of Paradise Lost, and he does so in a way that Milton advises against in his Doctrine and Discipline of Divorce, in which he argues that one should deal privately with an adulterous wife rather than publicly appeaching her as an unfaithful woman. The argument is somewhat speculative, but it is justified, given Appelbaum's persuasive argument that the "downy" fruit is a peach, and it adds a potentially significant depth of meaning to how we interpret Milton's understanding of the forbidden fruit that brought evil into the world. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.2.395 | kci_detailed_000255.xml | ||
ART001294328 | oai_dc | 에로티시즘의 정치학: 로버트 헤릭의『헤스페리데스』를 통해 살펴본 성애와 죽음 | Politics of Eroticism: The Erotics and Death in Robert Herrick's Hesperides | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"류혜원(이화여자대학교)"
] | This paper investigates the interconnectivity between Robert Herrick's anti-Puritan politics and his erotic poetry. Reinterpreting Hesperides through Georges Bataille's analysis of eroticism, this paper argues that Herrick's erotic poetry takes political dimension through its sketch of intermingling of eroticism with death at the moment of the decease of Royalist culture. Hesperides was published in 1648, a year before the decapitation of Charles I, when Herrick was ousted from his post of Dean Prior. Thus, not only Herrick's publication of Hesperides but also the erotic poetry in it should be seen as a declaration of political and poetical allegiance to the leadership of William Laud, Archbishop of Canterbury. In his erotic poetry, Herrick brings into play religious rituals, eroticism, and death, through which the momentary perpetuity is led into the poetic world. This perpetual world governed by the rule of eroticism works as anti-Puritan as it fights against the changing power of Reformation. Thus, this paper implicates erotic poetry of Hesperides with the seventeenth-century political context and further attempts to see the volume as constituting an organic whole, not a jumble of variegated poetic moods and ideas. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.2.301 | kci_detailed_000255.xml | ||
ART001294336 | oai_dc | 마블의 모호한 서사시: 『애플턴 저택에 부쳐』 | Marvell's Ambiguous Epic: Upon Appleton House | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"정덕애(이화여자대학교)"
] | Marvell's Upon Appleton House begins as a country-house poem but becomes "something new and different." The poem begins as a panegyric on the pastoral virtues of Thomas Fairfax and Appleton House but soon turns into a lyric meditation on the difficulty of interpreting reality. The poem's ambiguity has been interpreted as reflecting Marvell's ambivalent attitude toward Thomas Fairfax, who had retired to Appleton House after his sudden resignation from the command of the Parliamentary army. Fairfax's retirement is praised as pastoral retreat, yet there is a feeling in the poem that a commitment to history is needed at such a critical moment of the Civil War. Faced with the two choices of commitment and retreat, the poem oscillates between pastoral and epic mode. There is a constant impulse to subvert pastoral metaphors and a constant intrusion of history into the pastoral garden of Appleton House. This paper examines the poem's epic consciousness, particularly its self-conscious references to Virgil through which Marvell tries to overcome his own ambiguous stance. Marvell begins the poem by adopting the epic poet's role. The historical narrative of the founding of Appleton House echoes Aeneas' foundation of Rome. Both Aeneas and William Fairfax establish a new dynasty by "escheat;" the former by marrying Lavinia, the latter Isabel Thwaites. Both marriages are accompanied by violence, yet the prosperity of the Roman empire justifies Aeneas' action as destiny in the Aeneid just as William's marriage, by bringing forth Thomas Fairfax as its progeny, is proven to be providential. However, Marvell cannot assume an epic voice regarding Thomas Fairfax's choice, as he is uncertain about its outcome. Marvell's retreat into the wood represents his frustrated effort to gain a prophetic vision and to read a providential meaning in the present reality. Interestingly, this scene too is set against Aeneas' journey to receive a vision of his destiny. To reach the ultimate vision in the underworld, Aeneas is advised to find a golden bough, which is likened to the green mistletoe in the winter. It is no coincidence then that a sprig of mistletoe is employed to describe Mary Fairfax, through whom Marvell regains the epic voice. Mary, referred throughout the poem as Maria, is given the epic role of self-sacrifice to bring forth a future hero. Marvell places Thomas Fairfax's withdrawal from history within the providential scheme of his destiny as well as his decision to prepare his daughter "for some universal good." Appleton House, hitherto regarded as a place of pastoral retreat, emerges as an epic space where providence will make Fairfax's choice a destiny in time.
| 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.2.435 | kci_detailed_000255.xml | ||
ART001294333 | oai_dc | 현대적 자아의 탄생: 『실낙원』에 그려진 노동을 중심으로 | The Birth of the Modern Individual: Labor in Milton's Paradise Lost | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"최재헌(경북대학교)"
] | In the Early Modern Era, fundamental changes in the public and private lives were occurring in England. These changes of the sex roles, the idea of work ethics, and the relations between sexes can be seen in Milton's Paradise Lost. We can also find the sexual division of labor, the birth of the modern individual and the relation between the individual and nature in Milton's text. Critics have found different significance in the gardening work of Adam and Eve. Labor in Eden makes their lives pleasant and also declares their dignity. Work is just as central as love and sexuality to Milton's conception of humanity. The Protestant work ethic and the birth of the modern individual are well described in both gardening labor and the separation scene in Paradise Lost. Milton's conception of creation is dynamic and open-ended. As nature in the Garden grows "Luxurious by restraint", Eve argues that Adam and she should work separately because their companionship prevents them from working efficiently. Eve's arguments in the separation scene are similar to those put forth in Areopagitica. She uses the same argument as Areopagitica to demonstrate that temptation itself does not taint, and that they should not fear it. Milton uses the disputation in the separation scene to show us not Eve's weakness, but her strength. Even with many controversies among critics, Milton seems to demonstrate that she can freely know, will, and maintain a stance she defines independently. After the Fall, Adam and Eve are born with a new subjectivity having the knowledge of Good and Evil, and this means the birth of the modern individual having 'paradise within' and acting according to their conscience before God.
| 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.2.367 | kci_detailed_000255.xml | ||
ART001294335 | oai_dc | 나지르인 대 성전 창녀 | A Nazarite vs a Sacred Harlot | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
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} | [
"이철호(충주대학교)"
] | Much ink has been spilled against or for the sincerity of Dalila's pleas, and here I will not wish to meddle with the same problem further. Instead I can only suggest in passing that Milton may have looked upon her as ‘a sacred harlot’ in order to make the conflict between her and a nazarite Samson more intense and real in the context of religion and politics. In many parts of the ancient Western Asia it seems that before marriage almost all women were formerly obliged by religious custom to prostitute themselves to strangers at the sanctuary of ‘the great Mother Goddess,’ whether she went by the name of Aphrodite, Astarte, or what not. Whatever its motive, the practice was clearly regarded, not as an orgy of lust, but as a solemn religious duty performed in the service of that goddess. Thus in this custom we probably have the clue to the religious prostitution practiced among the Philistines in Canaan where they wanted to keep the political control over the Hebrews. The Philistine women looked to the local god, Dagon or his son Baal of old, to satisfy the natural craving of a woman's heart; and apparently the part of the local god was played by sacred men, the priests of Dagon, who may have sincerely believed that they were acting under divine inspiration, and that the functions which they discharged were necessary for the fertility of the land as well as for the propagation of the human species. In this respect we may assume that Dalila may have been not a mere harlot or a wicked concubine, but a sanctified harlot. If this supposition is right, it becomes very easy to verify the excuses of Dalila. Just as Samson attempted, with some justification as a Nazarite of Jehovah, to capitalize on his marriage for the purpose of freeing his people, so Dalila tried, with a good reason as a religious harlot of Dagon, to employ her physical charms with the intention of pleasing her idol. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.2.413 | kci_detailed_000256.xml | ||
ART001294321 | oai_dc | 단테의 『신생』: 새로운 사랑, 새로운 삶 | Dante’s Vita Nuova: A New Love, a New Life | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
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} | [
"윤민우(연세대학교)"
] | In Vita Nuova, Dante begins his love of Beatrice with the tradition of the stilnovisti (dolce stil nuovo) which adds philosophical dimension to the troubadour lyrics (canso). While drawing upon the philosophy of love by such poets as Guido Guinizelli and Guido Cavalcanti, however, Dante renovates it to be a new idea of love. By opening up the blockage of love as death (Cavalcanti) and extending the concept of the angel-like lady (Guinizelli), Dante elevates Beatrice to be a channel of divine love and thus a new life. The first half of Vita Nuova consists of three encounters and visions: 1) Dante meets Beatrice who answers his attention with greeting, and afterwards, he suffers from the stilnovisti phenomena of erotic illness; 2) due to the misunderstanding caused by Dante’s having the screen ladies, Beatrice refuses greeting to him, and the God of Love stops using the screen (“simulacra”) to hide Dante’s love for Beatrice. 3) Beatrice’s death, as a postfiguration of Christ’s death, induces Dante to have a glimpse of the love of divine nature. It can be said that by the three visions Dante’s soul experiences the outward/inward/ upward movement. In the process, Dante transforms Guinizelli’s poetics of simile to his own poetics of metaphor, or the incarnational poetics: for Dante, the lady is no more like an angel, but she is a divine being. And this new love and new life of Dante serves as a reply to Cavalcantian definition of the love as “death.” But this is not to say that Dante’s soul advances in an orderly fashion from the exterior realm via the interior to the superior, or from the typical stilnovisti manner of love as death via Guinizelli’s angelic lady to Beatrice as a mediatrix to redemption. Not only does Dante relapse into the love of a substitute for Beatrice (a noble lady at the window) in the latter half of Vita Nuova; the mode of “simile” is also prevalent in Vita Nuova as a whole. The God of Love, the two screen ladies and the lady at the window, all represent simulacra of Christ or Beatrice. Further, the human language is always lame, falling short of the divine entity of Logos, which Dante might be able to learn how to express in the Divine Comedy. In Vita Nuova as a realm of memory and visio imaginativa, Dante’s attempt is, at best, to find a way to caritas, being oftentimes astray from it. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.2.213 | kci_detailed_000256.xml | ||
ART001294325 | oai_dc | 존 던의 사랑의 형이상학: 부재하는 연인의 현존 | John Donne's Metaphysics of Love: The Presence of the Absent Lover in His Poetry | {
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"김종두(연세대학교)"
] | Donne's love poetry is famous for the mixture of feeling and thought through the action of metaphysical conceit which is ingeniously invented by Donne. It includes the various different experiences of love that the poet experienced. There appear so many contradictory attitudes toward love spoken by various sorts of speakers. Some speakers act as advocate of ideal love which is consist of royalty and purity. Others voice with the negative cynical tone about the fickleness of love that is characterized as physical, materialistic and secular. However, for all its various attitudes his poetry articulates a consistent tendency to transcend the limitedness and changeableness of human love in common. The lovers in his poems prefer oneness to diversity, one to many. They all try to escape from the mutability and decay which the common people are subject to when they fall in love in this world. Especially, they pursue the one world made of two. The oneness of the lovers is the most important because it shows what the very nature of love is like the poet proposes. There is a deep longing for stability and permanence in his lyrics. His speaker cannot admit the absence of his lover. As in "A Valediction: Forbidding Mourning," the parting of the two lovers means not the separation of each other but the expansion of the two souls. Though their bodies experience separation when they part, their souls do not separate since the lovers' two souls are actually one and the same. What Donne stresses in his poetry is that the idealistic true love between two lovers can be completed only when man and woman have one identity beyond the differentiation of the sexes, which he calls 'one neutral thing' in "The Canonization." For Donne the absent lover is not the one who has gone away from his or her lover but the one who is everpresent even when they separate each other physically. The presence of the absent lover shows that the crucial point for John Donne's metaphysics of love is the unchangeableness and perpetuity of love. It indicates the movement of the human spirit from change to stability with uniting body and soul, feeling and thought, life and death.
| 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.2.255 | kci_detailed_000256.xml | ||
ART001294330 | oai_dc | Subtlety as Evil and Milton's Enemies | Subtlety as Evil and Milton's Enemies | {
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} | [
"김혜연(연세대학교)"
] | The purpose of this study is to analyze the nature of subtlety in John Milton's attack of the prelates in his antiprelatical prose and in the character of Satan in Paradise Lost. In the antiprelatical tracts, Milton severely criticizes the prelates as subtle demons or serpents that eschew clear, plain and most simple Truth. And in Paradise Lost, Milton portrays Satan as the subtlest fiend, full of vagueness, crookedness and ambiguity, as "involved in rising mist." The prelate, by which Milton means especially a bishop of the Church of England, is a "subtle Janus" (a subtle person is one "who cleverly uses indirect methods to achieve something"). He is an "eternal disturbance" of simple truth who disguises himself as truth and emphasizes the indirect way to attain truth. He transforms the plainest and easiest truth into abstruse canons and insists on the necessity of interpreter for truth. Similarly the serpent, which Satan chooses for his disguise in the temptation of Eve, is appropriately called "the subtlest beast of all the field," almost as an epithet, for Satan's task is to make the most obvious truth ambiguous and elusive by the subtlest means possible, thereby ensuring his success in corrupting Man. Satan's close affinity to the corrupt prelates in the antiprelatical tracts makes it difficult to view him as a tragic or an epic hero. The ambiguity whether Satan is a hero or only a perversion of it is another obvious evidence of Satan's subtlety against absolutely clear Truth. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.2.325 | kci_detailed_000256.xml | ||
ART001248938 | oai_dc | 마블의 청교도 지형시:『애플턴 저택』 | Marvell's Puritan Topographical Poem: Upon Appleton House | {
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"김옥수(제주대학교)"
] | This essay purports to examine Andrew Marvell's Upon Appleton House as a Puritan topographical poem. Ben Jonson's To Penshurst idealizes the figure of a monarch, and makes him a living embodiment of justice and hospitality. In contrast, Marvell wants to attack the absolutist ideology of Jonson's poem and establish the Puritan Nun Appleton house of Thomas Fairfax as a model for an ideal society. Marvell continues the traditional topographical method of praising a lord by praising the style of his house, but recognizes the absolutist assumptions behind Jonson's topographical poetry. Therefore he revises it in a Puritan direction in Upon Appleton House. Marvell views Fairfax's country house as the ideal Puritan world, whereas the royalist poems make the country house embody absolutist ideology. He criticizes the royalist poems by making Nun Appleton embody Puritan virtues and portraying Fairfax as a model of Puritan heroism. The historical facts about Nun Appleton imply that the transformation of England from the Catholic society to the Puritan one is historically necessary. In this context it seems that the principles of ideal community lie not in Roman Catholicism nor the Levellers, but the moderate Puritan world. When the poet makes a visit to the woods around the house, he finds that the tallest oak is felled by an woodpecker. This description suggests that because the oak stands for the Stuart monarchy, an ideal form of government is a republic, not the monarchy with strict hierarchy and kingly prerogative. In the stanzas concerned with the appearance of Mary Fairfax Marvell implies that Mary is a symbol of a figure who can restore the paradise-state from which England has banished itself and hopes that Mary will diffuse Puritan social values outwards through society while transmitting them to the future. In the last stanzas Nun Appleton is seen to be a map to paradise. Yet the world outside the house seems chaotic. In conclusion, Marvell rewrites the topographical poem politically and portrays an ideal society as the Puritan world in which English people carry out Puritan virtues. We can say in this poem that Marvell celebrates Puritan virtues and a republic as his religious and political ideals. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.1.67 | kci_detailed_000256.xml | ||
ART001251114 | oai_dc | 앤드류 마블과 시적 상상력 | Andrew Marvell and Poetic Imagination | {
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"이종우(홍익대학교)"
] | During his career as a poet, Marvell has struggled to create poetic imagination like other seventeenth-century poets. In a poem "On Mr. Milton's Paradise Lost," Marvell hints at his devoted application of Milton's imaginative heights and depths to the composition of his own ambitious poetry. Poetic inspiration is the most important issue that should be tackled to dvance his lyrics to lofty and sublime poetry. Marvell enters a garden to build up the capacity of the poetic imagination through reflecting and imitating the garden as a typical embodiment of Nature. The garden represents those physical, mental and spiritual levels of apprehension that function harmoniously as an integrated mode of consecrated enlightenment essential for poetic imagination. In the garden Marvell hopes that problems of excessive desires and the tension of binary opposition can be solved, because these conflicts are two main obstacles to poetic inspiration and its proper workings. In the process of purifying destructive desires and establishing an organic relationship between wholeness and fragmentation, Marvell, turning into a soul-bird, successfully takes his imaginative flights into Paradise before the Fall. Even though he discovers original imagination and its powerful creativity that God or Adam employed in Eden, Marvell is aware that he can stay there only temporarily in imagination due to the intangibility and impracticality of Paradise. On this point Marvell experiences the realistic and perfect garden in the center of which a floral sundial is located as God the skillful Gardener designs and creates. In this garden the industrious bee produces honey of providing energy in the harmonious interaction with the “fragrant Zodiac” of flowers. The work of the bee is productive and wholesome in that it is progressed self-sufficiently with the time of the sundial. The fulfilling activities of God and bee can be understood as models of Marvell's attempts to complete his poetic imagination. God's downward flight and the bee's horizontal flight paradoxically can help Marvell soar toward heaven and its divine embodiment of imagination. Marvell might succeed in his imaginative adventurous flight as Milton did. However, Marvell recognizes that embers of his desire are still smoldering and that the duality of part and whole, soul and body, is waiting for him in the society outside the garden. Here lies Marvel's anxiety in restoring the lack of poetic imagination: all that he can do is just “wav[ing] in its plumes the various light” with the preparation for a “longer flight.” | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.1.95 | kci_detailed_000256.xml | ||
ART001251119 | oai_dc | 몸과 영혼의 갈등 양상의 차이: 던과 마블의 경우 | Difference in the aspect of Conflict between the Soul and the Body in Donne and Marvell | {
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"이상엽(경희대학교)"
] | This paper aims to show that Donne is different from Marvell in the aspect of conflict between the Soul and the Body. It seems that 1540s was the age of discovery of the Body in terms of Vasalius' anatomy while 1640s was the age of invention of the Body based on the duality of Descartes. The world view of those who followed Vasalius in 1540s was that the human body, as a micro-cosmos, was thought to be both the miniature of the universe as a macro-cosmos and the reflection of God's image in the form of flesh. The belief in the human body's correspondence to the universe means that the human body and the universe were internally and externally united into one by the concept of the Great Chain of Being. In Donne's works such as The Extasies and Air and Angels, I can find the concept that the world and human being harmonize with each other through correspondence. For one thing, Donne rejected the conventional Patrarchism and argued that, to be a perfect love, the Soul must be in need of the Body as a means to reconciling opposites. Of course Donne put the Soul before the Body as a scheme of hierarchy, but he thought that one soul might influence another only via the body first. In this respect, Donne suggested the mutual dependence of the two sides.
In contrast to this, although the Body must be thought to be the essential part of the Soul, Descartes thought that the Soul was basically separated from the Body in that the Body was not “I”, the subject of thinking. He said, “I think, therefore I am”(Cogito ergo sum), meaning that it was only the Soul that has the function of thinking and feeling. He regarded the Body as a machine or an automaton without the Soul. The dichotomy between the Soul and the Body in the name of dualism was reflected well in the poems of Marvell. Of course I cannot find any evidence anywhere that Marvell was influenced by the philosophical theory of Descartes, but I can assume that Marvell as an intellect read Descartes because Marvell was a contemporary of Descartes. For example, Marvell's works including Dialogue between the Soul and Body and A Drop of Dew showed well the conflict between the Soul and the Body, which resulted from being put asunder. In short, Marvell seems to put the contraction between the two sides into an unbearable state of discord. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.1.163 | kci_detailed_000256.xml | ||
ART001251112 | oai_dc | ＂새로운 해시계＂로서 정원 바라보기:『정원』에 나타난 역설 | "The Garden as a "Dial New":Paradoxes in "The Garden" | {
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"배경진(인하대학교)"
] | As with many of his poems, Andrew Marvell puts forward his point of view and then argues it logically in “The Garden.” This study aims to analyze various paradoxes implied in the logics of the poet. Located in a paradise of delights, the poet in the garden contemplates nature, society, fall, and Adam. The scene of “The Garden” is one of leisure and nature’s fecundity, but most of all, of solitude. The beginning of the “The garden” seems to take up a seamless argument that the leisured enjoyment of nature should be preferred to the futility of human labor. In the first four stanzas, the virtues of the garden are proved through comparison with the pleasures of the world of men. However, the tone of the poet makes it unclear as to whether the poet really shares the same views. As the poet compares the two worlds, the poet seems rather to fully inhabit neither of these worlds like a bird on a bough, which is poised between the white light of eternity and the varieties of color that light assumes in the creation, and the poet's praise of the garden is mitigated. Though the poetry begins with an assurance that being in the garden and away from other people is the best way to live, the second stanza plays wittily on the plants as virtues and on the old paradox that solitude is more pleasantly companionable than company. The poet even insists an odd paradox that trees are more amours than the loved lady. However, the amorous pleasures are not rejected in the garden, but merely take a different and decidedly unusual object: fair trees. This conceit provides the poem with its finest display of wit and also disrupts the poet’s credibility by introducing elements that make “The Garden” a poem impossible to read straight. When the poet addresses the pleasures of the body, the mind and the soul as they are gratified in the garden, negative elements are implied in his praise. In the end, the poet calls the garden a new kind of sundial which reckons hours much more sweet and wholesome. Its face consists of flowers and herb, which yield sweetness and light. However, flowers and herbs are transient, quickly sagging plants, unsustainable through seasons. The tone of the poem, the ridiculousness of its drunkenly stumbling poet, and implied paradoxes deflate the desirability of so perfect a withdrawal from the human world and make this poetry seriously witty and playfully philosophical. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.1.31 | kci_detailed_000256.xml | ||
ART001251353 | oai_dc | 앤드류 마블의 목가시에 나타난 자연과 존 밀턴의 『실낙원』에 나타난 자연 비교 | A Comparison of Andrew Marvell's Nature in His pastorals with John Milton's Nature in Paradise Lost | {
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"노이균(우송정보대학)"
] | Andrew Marvell and John Milton share in common the mystical idea that nature is the mirror which illuminates man's purposes and emotions. This argument can be established by the fact that both Marvell and Milton consider their nature as the resource which provides not only classical otium but physical and mental satisfaction as well. They also think that man has the ability to be in harmony with nature, let alone to be shut out of it. According to Marvell, man can come by physical satisfaction and mental repose from nature through the compliant life with it and proceed to 'Paradise Within'. He believes that there are purity and sacred power in nature and thus man can communicate with God through Christian meditation, retreating to nature. In other words, Marvell's nature does not depend on man, plays an active and subjective role, and has absolute perfectness in itself. In contrast with Marvell's attitude toward nature, Milton describes nature as passive nature, also known as 'Paradise Regained' which can be achieved through man's contrition only. This sort of nature is far from a perfect world, because man's labor is a prior prerequisite for Milton's nature. In Paradise Lost man's labor can give vitality and joy to life, stimulating man's creativeness. And it can also be used as an allusion to mental growth By means of enamelled images, Marvell and Milton try in common to describe more perfect and happier nature than that of the classical poets of the Golden Age. And moreover they each apply their own particular conceptional image into nature, let alone non-visual images. Marvell revives perfect nature which mingles a red and white world, known as a sensuous and secular one, and a green world, known as a mental and pure one, together. Milton, using olfactory images, tries to describe an exotic world and routine experiences remote from the earthly world. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.1.191 | kci_detailed_000256.xml | ||
ART001251118 | oai_dc | Andrew Marvell in ＂The Garden＂ | Andrew Marvell in ＂The Garden＂ | {
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"이병은(한성대학교)"
] | It seems that we know almost everything about Andrew Marvell, including his political positions and his relationship with John Milton, but in reality we actually know very little about his private self. As noted by Augustine Birrel, his biographer, he rarely comes to the surface. This paper proposes that in “The Garden,” Marvell comes to the surface revealing his vision of life; the poem shows the light and brisk movement of mind and wit which undergirded the firm grasp of the poet's experience. For example, stanzas three and four have a deep meaning which perhaps refers to the cross. Being a sincere and rational Christian, Marvell, as in his “Bermudas,” links nature and religion without confusing them. In stanza six Marvell's quest for an untroubled relationship between mind and world is accomplished in the redeemed space of the garden, In stanza seven the easy intimacy of Marvell with birds and trees reflects the oneness of the seventeenth century man with nature with his acceptance of the Neo-Platonic Great Chain of Being which at once distinguishes and unites all levels of existence. The tense-shift in stanza eight might be a subtle reminder of England's recent political turmoil which caused Marvell's retreat. The final stanza also shows the faithfulness towards order in diversity, unity in multiplicity, for the poet, renewed and enlivened by his contemplations, celebrates time's course in the single, quiet figure of the dial. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.1.17 | kci_detailed_000256.xml | ||
ART001251115 | oai_dc | ＂My Fruits Are Only Flowers＂: A Reading of Andrew Marvell's ＂The Coronet＂ | ＂My Fruits Are Only Flowers＂: A Reading of Andrew Marvell's ＂The Coronet＂ | {
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"임성균(숙명여자대학교)"
] | As a Protestant, and especially a Puritan, Andrew Marvell finds the problem of glorifying God with human arts a very difficult task to practice. On the one hand, he has to do his best to achieve something beautiful and great to reveal God’s supremacy or Grace; on the other hand, however, he must be cautious not to make his own works too admirable, so that the work itself may not intercept the praises which is to be directed to God and God only. “The Coronet” is unique in the sense that it manifests Marvell’s dilemma as a Protestant humanist. The poem is self-reflective and confessional. It becomes in itself the poet's coronet to glorify his Saviour, but the poet realizes that his work is contaminated by his own worldly desire. Compared to that of Donne or Herbert, Marvell’s awareness that his own artistic endeavor is ultimately insufficient to praise God seems more intense and pervasive. What is “crooked winding ways” to Herbert becomes “the Serpent old” to Marvell. It is ironic that the poet should recognize the serpent when his confidence in his work reaches its highest point. And to make the dramatic moment more catastrophic, this serpent appears to be closer to the poet himself than to Satan, and this makes the poet’s dilemma more difficult to resolve. Andrew Marvell’s “The Coronet,” although it inherits metaphysical conventions of Donne and Herbert in its style and metaphors, must be read within the tradition of Spenser and Milton. Marvell’s political stance and his pastoral sensitivity, together with his mild scepticism―as we can see in “To His Coy Mistress”―may have located him in the line of Cavaliers or metaphysical poets. But his keen awareness of the dilemma between Christianity and human aesthetics and the way he proposes to resolve it clearly position him within the Protestant humanism of the early modern period. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.1.1 | kci_detailed_000256.xml | ||
ART001248988 | oai_dc | Andre Marvell's Political Stance from the Cromwellian Regime to the Restoration | Andre Marvell's Political Stance from the Cromwellian Regime to the Restoration | {
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"카즈요시에노자와(게이오기주쿠대학교)"
] | This article attempts to sketch out briefly where Marvell as a man of letters stood in the midst of a turbulent age from the earlier to the mid-seventeenth century. Throughout his career, what stands out about Marvell's political stance is his toleration and apolitical attitude. From the outbreak of the Civil War in 1642 to its ending in 1649, Marvell was a non-political outsider, showing his pro-Royalist outlook, only occasionally towards the end of the Civil War, in the form of an elegy or verse epistle. Marvell in his political thinking was not rigid nor fixed, he was free and flexible enough to adapt himself to the needs of the times without throwing away his deep seated attachment for political toleration under a moderate monarchy and so the great political poem, “A Horatian Ode,” which he dedicated to Cromwell was not just a tribute to the Lord Protector to come, it was a message he left to posterity, to the effect that moderation and toleration is all there is, after all, to make our life on earth a little bit worth living for. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.1.151 | kci_detailed_000256.xml | ||
ART001251113 | oai_dc | 앤드류 마블의 역사성:『애플턴 저택』에 나타나는 시간과 공간 | Andrew Marvell's Historicity: Time and Space in Upon Appleton House | {
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"박영원(홍익대학교)"
] | Andrew Marvell's longest poem, The Appleton House, has been considered difficult to understand due to its inconsistent thematic distractions and elusiveness throughout the poem. As the title suggests, Marvell's work, belonging to a genre of topographical poetry that describes or praises a landscape or estate, seems to give us a guided tour of Lord Fairfax's estate's beautiful scenery. But it goes beyond its suggested traditional literary framework with its multi-layered references to contemporary historical events amidst the English Civil War, in which Marvell's patron has been deeply involved as Lord General of the Parliamentary forces. It is in this historical context that we are led to a better understanding of the poem. But this study finds that the historical approach, though hardly exhaustive in itself, cannot be well-documented enough to shape the meaning of the poem, let alone the intention of the poet in this context. For these historical moments referred to in Marvell's work do not simply remain whole to direct our attention to what they are supposed to suggest. It seems that these historical particulars in the seventeenth-century England transcend time and space to something universal, something beyond history to an Aristotelian higher truth. Just as a drop of dew does “express / The greater Heaven in an Heaven less,” Marvell's poem seems to refuse to remain in the local country house; it tries to fly to immortality of literature. | 영어와문학 | null | http://dx.doi.org/10.17054/jmemes.2008.18.1.49 | kci_detailed_000256.xml | ||
ART001107480 | oai_dc | Imitatio Christi: The Son as Exemplar in Paradice Regained | Imitatio Christi: The Son as Exemplar in Paradice Regained | {
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"Jin Sunwoo(서울신학대)"
] | Integral to our understanding of Paradise Regained is the theme of imitatio Christi or the meditations on Christ as an exemplar for human behavior. In Paradise Regained, Milton offers the unique example of the restorative and instrumental nature of the Son as a paradigm for man’s regeneration. In the poem, Milton offers to his readers the example of the Son who remains perfect and free of sin while undertaking the overthrow of Satan and the undoing of the effects of Fall as a second Adam, which he achieves through humility, faith, and obedience to the will of God. Despite being the source of contention during the Renaissance, it is important to remember the practice of imitatio Christi is supported by scripture as can be seen in 1 Cor. 11:1 where St. Paul exhorts Christians to “Imitate me, just as I also imitate Christ.” Milton himself states in Of Education that “[t]he end of Learning is to repair the ruines of our first Parents by regaining to know God aright, and out of that knowledge to love him, to imitate him, to be like him.” Thus, the recognition of the Son as an exemplar is important to the overall meaning of the poem. | 영어와문학 | null | kci_detailed_000256.xml | |||
ART001107478 | oai_dc | 『실낙원』 강의 준비의 실제 문제들 | Preparing to Teach Paradice Lost: Goals, Resources and Approaches | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"서홍원(연세대학교)"
] | Preparing for a course in Paradise Lost involves several considerations, the first of them being external conditions pertaining to the class, such as the objective of the course (whether to teach Paradise Lost as literature or as a theological narrative), the composition of the student group (whether English majors or not), the level of the course (whether undergraduate or graduate, for instance), etc. Once these factors are established, the next steps would be the choice of texts and textbooks in designing the syllabus. In Korea, the most widely available textbook for Paradise Lost for undergraduates are the Norton and Longman anthologies, whose selections of the epic vary, depending not only on the publisher but also on whether the textbook is a compacted version or not. In the case of compacted versions, which are becoming more and more popular in Korea, the selection of the epic available to us limits the way we can approach the poem. On top of these, the kinds of approaches we wish to follow (whether religious, political, feminist, etc.) will have final bearing on the selection and positioning of the selected parts of Paradise Lost. In the final part of this paper, I present a proposal for a change in syllabus for a survey course, in which I try to incorporate Milton's original intention: the justification of the ways of God to men. The changes in approach and text will serve, hopefully, to show not a model syllabus but the actual considerations involved in preparing for a syllabus to a specific course with a specific goal. | 영어와문학 | null | kci_detailed_000256.xml | |||
ART000961252 | oai_dc | 『실낙원』 번역본의 검토 | A Review of Korean Translation s of Paradice Lost | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"엄용희(명지대학교)"
] | Since the 1960s more than twenty translations of John Milton's Paradise Lost have appeared in Korean. This paper is based on a review of these works which attempts to ascertain the merits of each individual text. Four faithful copies have been discerned: the translations by Shinkwon Cho and Changho Choi, and two copies by Changbae Lee. Each of these four works achieves a certain degree of faithfulness and readability while demonstrating its own individual characteristics. Shinkwon Cho's translation excels in its accuracy while it suffers a loss of readability due to its use of complex vocabulary. On the contrary, Changho Choi's work attains the highest level of readability of all four works; however, this is marred by a few definite errors. Changbae Lee's two copies occupy the middle ground, securing more readability than Shinkwon Cho's texts and less errors than Changho Choi's. They show, however, a rather rigid use of tense: one sticks to present tense while the other goes to the past. Comparing and contrasting the four translations has led to an understanding of points to be overcome in rendering such an abstruse text as Paradise Lost. In this way, this paper attempts to elucidate some features of a better translation. It examines flaws in previous translations in the hope of laying a foundation for another text yet to come, which is equipped with the greatest possible accuracy and readability. | 영어와문학 | null | kci_detailed_000256.xml | |||
ART000961251 | oai_dc | The Influence of Stars: Milton's Astrology | The Influence of Stars: Milton's Astrology | {
"journal_name": "한국고전중세르네상스영문학회",
"publisher": null,
"pub_year": null,
"pub_month": null,
"volume": null,
"issue": null
} | [
"이병은(한성대학교)"
] | In the "Nativity Ode," Lycidas, Comus, Paradise Lost, and Paradise Regained, and in some of his prose works, such as History of Britain, An Apology against a Pamphlet, The Doctrine and Discipline of Divorce, and the Art of Logic, Milton referred to astrology on many occasions: he mentioned various types of the influence shed by stars. It might be little perplexing to see that Milton, who was a religious reformer agreeing with Calvin who opposed to the occult sciences, who had emancipated his intellect from many tyrannical traditions and superstitions, apparently took more than a metaphorical interest in astrology. Milton also possessed a horoscope and kept the records of the hours of family births. However, the facts astrology was so much pervasive and acceptable in seventeenth century England, and so many astrological tracts were published at that time make us understand that Milton was unwilling or unable to shake off his belief in this superstition. | 영어와문학 | null | kci_detailed_000256.xml |
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