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ART001107423	oai_dc	이브를 어떻게 볼 것인가?	How Should We Look at Milton's Eve?	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이성원(서울대학교)" ]	In teaching such a difficult poem as Milton's Paradise Lost to the undergraduates, one possible way to make the poem "approachable" even to students with insufficient literary training is to focuss our attention to the human pair. The way Milton depicts Adam and Eve in the Garden of Eden may well be approached in the tradition of Renaissance love-lyric and romance literature. Given the limited time and the students' ability to cope with Miltonic language, the instructor may choose to go directly to Bk IV, and go on to Bks V, VIII, and IX. Reading through those books allows the students to have the "key" experience of the epic, provided that the reading is supplemented by adequate explanations from the instructor.Of most importance is to let the students understand how Adam's love for Eve functions both as a psychological necessity for Adam to choose to eat from the forbidden tree and, thus, as a narratological necessity that makes the fall inevitably come to pass to the first parents of mankind. In doing this Milton radically redefines human subjectivity in relation to eros. Although Milton brings in the perplexing issue about physical love in Paradise, our task still remains to interpret how human sexuality is related to the primordial human experience of "the Fall."	영어와문학	null		kci_detailed_000256.xml
ART000961123	oai_dc	＂잘 배우고 갑니다＂ : 『실낙원』 수업에서 마주치는 문제들	"greatly instructed I shall hence depart": Problems incountered in Teaching Paradice Lost	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "임성균(숙명여자대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART000961124	oai_dc	쇠퇴'와 '죽음'을 주제로 본 존 던의 엔트로피적 세계관	john Donne's Entropic World View with Reference to Decay and Death	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이상엽(경희대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART001107479	oai_dc	정통주의와 수정주의 입장에서 본 밀턴과 살마시우스의 영국혁명에 관한 논쟁	A Historical Analysis of the Discourse between Milton and Salmasius on the English Revolution	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김민제(홍익대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART000961255	oai_dc	경제 비유에 드러난 밀턴의 소명의식	The Sence of Vocation in Milton's Language of Economy	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이철호(충주대학교)" ]	After Milton gave up the expectation of becoming a clergyman, he has dedicated his life to the struggle for the political and religious freedom of his nation. In this paper I focus on Milton's sense of vocation throughout his career in the economic context of three characters' reacting voices to the grace of God; that is, on how Milton persuasively expresses the sense by means of the language of economy. The delicate differences of the poetic words, the poet's diction “account” (6) of “Sonnet 19”, Satan's “debt” (4.52) of Paradise Lost, and Manoa's “score” (433) of Samson Agonistes, show indirectly but convincingly how the vicissitudes of Milton's life have given various voices to his sense of vocation. By “My true account” of “Sonnet 19,” the speaker means that he will at least try to make the best use of his talent in spite of the blindness. Arrogant Satan's term, “debt,” suggests that he takes God's grace not for something to which he should pay gratitude but for something against which he must retaliate. When disappointed Manoa uses the expression of “That rigid score,” he unconsciously implies that Samson's punishment seems to be a little too harsh. Milton, however, comes to “assert Eternal Providence, / And justify the ways of God to men” (PL 1.25-26) through Samson's final concession that “the strife / With me hath end; all the contest is now / 'Twixt God and Dagon” (SA 460-62) and his tragic recognition that only “God will relent, and quit thee [him] all his debt” (509).Even if we can't exactly tell what his sense of vocation is, and how it changes before and after his blindness and the Restoration, we can safely say that he tries consistently to repay God's favor in literary, political and religious fields.	영어와문학	null		kci_detailed_000256.xml
ART001107482	oai_dc	17, 18세기 영시의 풍자 전통	Satiric Tradition in 17th-century and 18th-century English Poetry	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김옥수(제주대학교)" ]	This essay is designed to examine what the two satiric traditions in English poetry are and how they form the mainstream of English satiric traditions, and to examine the nature of satire as a literary mode.English satiric traditions are divided into the Horatian tradition and the Juvenalian tradition. Juvenalian satire regards the nature of satire as invective and is full of direct blame, so it is called savage satire. Horatian satire focuses on laughter, uses irony and dialogue form as its devices, so it is called laughing satire. The Elizabethan era was dominated by the tradition of Juvenal, which was harsh and savage. In the Augustan period, however, poets believed that good satire was milder and gentler, and thought that Horatian satire, which told the truth with laughter, was the best model for writing satire. For example, The Rape of the Lock was written in the mode of Horatian satire. Pope continued to imitate Horatian satire in the 1730s. In his later satires, however, Pope ‘Juvenalized’ Horace in imitating his poems. In fact, we can say that the 18th-century English satire combined Horatian satire and Juvenalian satire, even though it changed from comic to harsh satire.In conclusion, this combination of Horatian satire and Juvenalian satire tells that attack, morality and laughter compose the satiric vision, and that a careful fusing of all three elements is necessary for successful satire.	영어와문학	null		kci_detailed_000256.xml
ART001107481	oai_dc	찰스왕의 처형과 왕당파의 애도시	The Execution of King Charles and Royalist Ellegies	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "박은미(한국외대)" ]	This paper aims to explore the character of royalist elegies published after the execution of Charles I in 1649. Elegy as a genre has a long history ranging from the classical and biblical traditions to its exuberant growth in the Renaissance period, and it has the three elements of lament, praise and consolation as one of its conventions. The royalist elegies reveal their intimate relationship with the traditional practices in expressing lamentation over the death of King Charles, praise for his rule as an ideal monarch and his courage as a martyred king, and consolation in the possibility of Charles II's restoration. Along with these characteristics, they convey the royalists' poetic responses to the historical particularities of Charles's execution and the establishment of the English republic, which is a feature derived from a Donnean tradition of elegies. As in the Donnean tradition, the royalist elegies adopt the dramatic and argumentative style and serve as a vehicle of anger at, and denunciation of, the political forces responsible for the execution of Charles I and the government form without a king. This paper investigates the intersection between the traditional conventions and the various responses to specific historial situations in the royalist elegies, and argues that they show the "features of a politicised poetics," extending beyond a simply artistic expression of lamentation, memorial and praise.	영어와문학	null		kci_detailed_000256.xml
ART001025479	oai_dc	밀턴의 기독교 휴머니즘과 신플라톤주의적 전통	A Reconsideration of Milton's Christian Humanism and the Neoplatonic Tradition	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김경한(한국교원대학교)" ]	This paper identifies John Milton's Christian humanism with the tradition of neoplatonism, which has been developed since Marsilio Ficino. Milton is considered the embodiment of Christian humanism in the Renaissance England. Milton is well known for his effort to prove the divinity of human faculty through classical education. Yet there has not been much written on what specific aspects in Milton Christian elements are harmonized with humanistic elements. Especially, there is very few research on the connection between Milton's Christian humanism and the neoplatonic tradition. The traditional neoplatonic doctrine of salvation is challenged by the protestants in the 16th century. The debate between Desiderius Erasmus and Martin Luther on the idea of free will is an indication of this confrontation. It is undeniable since the Reformation that the general current of Protestantism is unfavorable toward humanism. It seems that the ambiguous and provocative assertion of human dignity or divinity is impossible under the doctrines of Protestantism.Considering that Milton serves as a core member of the protestant government during the Puritan Revolution in England, Milton's humanism should be labelled as "Protestant" or "Puritan" in nature. Technically, his Protestantism should be in conflict with the tradition of Christian humanism, but we rather find the more harmonious fusion of Protestantism and humanism in Milton's works. There exists just a change of religious form, not of humanistic spirit. Despite the Protestant revolution, the tradition of Christian humanism, that is, the neoplatonic spirit of harmony between Christianity and humanism, evolved since Ficino, turns out to be still alive in Milton.(Korea National University of Education)	영어와문학	null		kci_detailed_000256.xml
ART001106764	oai_dc	＂Something Approximating a Transformation of the Genre＂: Samson as an Alternative Revenger in Samson Agonistes	"Something Approximating a Transformation of the Genre": Samson as an Alternative Revenger in Samson Agonistes	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "선우진(경찰대학)" ]	Despite Milton's declaration in his preface that Samson Agonistes never was intended for the stage, there are many parallels between conventional revenger such as Hamlet and Samson that makes the closet drama an interesting study as a version of the revenge tragedy. The importance of the drama of revenge in Samson Agonistes is pointed out by various critics, including Peggy Anne Samuels who argues that "of all the dramatic sub-genres surely it is revenge drama that Milton's play most blatantly recalls." In Renaissance drama, thus, Milton found a repertoire of conceptions of human action against which he could delineate his own model in Samson Agonistes. As indicated by John F. Andrews, however, despite having the traditional attributes of the typical protagonist of a revenge tragedy, Milton's Samson differs substantially from his original model, creating "something approximating a transformation of the genre." In Samson Agonistes, Milton reveals a new approach to revenge, one that valorizes patience and obedience over precipitous and rash action, moving from active force to passive fortitude. (Seoul Theological University)	영어와문학	null		kci_detailed_000256.xml
ART001026188	oai_dc	Milton's Tree of Knowledge: Why ＂Sacred＂ Fruit?	Milton's Tree of Knowledge: Why "Sacred" Fruit?	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "Hodges, Horace Jeffery(고려대학교)" ]	John Milton has Adam describe fruit from the tree of knowledge as "sacred fruit" (PL 9.924), which raises three questions. (1) Does Adam express Milton's own view? Answer: yes, but whether Adam shares Milton's understanding of two sorts of sacredness remains unclear. (2) What might "sacred" mean here? Milton seems to mean not the dynamic power of holiness but the holy as pure and set apart, whereas Adam's view on this point remains unclear. (3) Would the fruit remain sacred after being taken? Milton portrays the fruit as no longer sacred after its plucking but as "unhallowd" in the strong sense of being imbued with a force of impurity, a point that Adam fails to recognize. An excursus on chaos and evil follows after these points and argues that chaos is not intrinsically evil, for it is not intrinsically impure, but also that it can be misused for impure, evil purposes.(Korea University)	영어와문학	null		kci_detailed_000256.xml
ART001106760	oai_dc	The World of Chaos and Subversion: Dynamics of Language and Imagery in John Webster's The White Devil	The World of Chaos and Subversion: Dynamics of Language and Imagery in John Webster's The White Devil	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김태원(서강대학교)" ]	This paper attempts to ascertain the ways in which John Webster utilizes language and imagery in The White Devil as a way of producing a stunning portrait of chaotic and disintegrated world. With the fragmented and destructive images, I have argued, the playwright succeeds in presenting and representing the endemic chaos of the society which is closely related to the disintegrated principle of justice in the patriarchal order. The dexterous deployment of language and imagery becomes effective in codifying the moments in which the characters strive for defining, but thereby only destroy, one another with their own values and terms. The images of devil, poison, disease, earthquake, witchcraft, and animal serve for a representation of disorder and perversion in the courtly society, inasmuch as the corrupted image of this world is reinforced by the sexualized images of venereal disease, whores, cuckoldry, and adultery. Vittoria's virtuous appropriation of language betrays the fact that the prosecuting male characters are, indeed, prisoners of their own distorted world. With the deliberate juxtaposition of verbal and visual effects, John Webster is able to stage a chaotic and fragmented world which, in turn, proves a scathing criticism on the social injustice of misogynist society. (Sogang University)	영어와문학	null		kci_detailed_000256.xml
ART001025609	oai_dc	'열정'의 수사학: 밀턴의 <실낙원>	Rhetoric of 'Passion': Milton's Paradise Lost	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "양병현(상지대학교)" ]	Milton's concept of passion regarding the divine voice builds up a traditional view of religious ethics: the formulation of inferior passion as enemy, submission to law of reason, free will to obedience, and self-sufficiency controlling passion. In Paradise Lost, Milton reflects the notion of Aristotlean and Aquinas's ethics developing to C. S. Lewis's notion of hierarchy principles; and then he expands it by accepting the Platonic interpretation of self-knowledge in a way the subjective experience toward the infinite of God is the truth. Milton's Christian Incarnation is achieved largely through the function of the temporal passion as self-experience in regard to the eternity of Heaven.Milton contrasts dynamics which work on the prior nature of passion in human being: how the body, the female, and inferior passion interact with reason or imagination; how they really themselves with virtue as well as vice; and how they prepare the way for action, all in accord with a divine scheme. Throughout the drama, Milton presents the passion as a central matter of rhetoric, a way of persuading the story of Adam and Eve in humanity towards the perfect stage of heavenly love. Milton demonstrates that Adam ought to know how he learns what. The former is a metonymy, a reality of the narrative; the latter is a metaphor, a human-centered warm message of passion.(Sangji University)	영어와문학	null		kci_detailed_000256.xml
ART001106762	oai_dc	시인으로서의 재생과 해석의 고뇌: 헨리 보온의 섬광과 부싯돌	Regeneration as a Poet and the Agony of Interpretation: Henry Vaughan's Silex Scintillans	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이종우(홍익대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART001106763	oai_dc	Woman's Rights in Milton's Divorce Tracts	Woman's Rights in Milton's Divorce Tracts	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "구영회(대구가톨릭대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART001106761	oai_dc	'Mummy' in Donne's ＂Love's Alchemy＂	'Mummy' in Donne's "Love's Alchemy"	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이병은(한성대학교)" ]	The term "mummy," which figures in the crucial metaphor of Donne's "Love's Alchemy," has been the subject of some scholars. This paper purports to survey scholarly comments on Donne's use of the "mummy" and to offer an eclectic interpretation of the mummy metaphor based upon the scholarship and upon my reading of the poem.Literally here "mummy" means mindless dead flesh, and the image of conjugal union with a corpse is horribly repugnant; yet his basic point in the poem is just such a bitter recoiling from the horrible bestiality that he perceives love to be. "Mummy" also is a medicinal whose efficacy Donne seems to have believed in. Women are a sort of purgative for lust after all Platonic foolery is stripped away; they are mummy or dead flesh which men lust to possess.At yet another level "mummy" can be seen as pun on "mommy" without any Freudian ramifications. Such a pun is not unreasonable in view of Donne's penchant for the device and also in view of his "pregnant pot" and "hoarse minstrelsy" earlier in the poem. "Mommy possest" sounds as the mindless behavior of the female in mating season.(Hansung University)	영어와문학	null		kci_detailed_000256.xml
ART001025478	oai_dc	＂Look What a Wardrobe Here Is for Thee＂: Costume in the Early Modern Theatre	"Look What a Wardrobe Here Is for Thee": Costume in the Early Modern Theatre	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "임이연(영남대학교)" ]	This essay reviews a series of extant evidence relating to early modern costume and reappraises the commonly held belief that actors wore contemporary clothes in Shakespeare's theatre and that thus they had no concerns for historically or geographically accurate representation of the dramatic world. I argue that Shakespeare's stage did make efforts to represent the play with some chronotopic precision within their resources. The purpose of this essay is twofold: to highlight the materiality of the early modern theatre, particularly costume, as an active participant in the formation of Elizabethan and Jacobean culture as well as in the production of theatrical meanings, and to challenge the universality myth of Shakespeare that transcends time and space by showing that the setting in his plays was not a mere label that could be anywhere and anytime but had significance of its own.For this purpose, I examine the "period" costumes recorded in the wardrobe inventories for the Lord Admiral's Men and estimate their impact on the stage, which, I would argue, was far greater than their number suggests. We also need to gauge the range of contemporary clothes in early modern England. I underscore the fact that "foreign" fashion was an essential part of Elizabethan and Jacobean sartorial culture. Despite the attempt at chronotopic accuracy, however, the representation of the dramatic world was far from complete; anachronism was inevitable on the stage. Anachronism has been traditionally taken to signal inconsistencies and disregard for chronotopicity in the early modern theatre; rather, it is a gargantuan desire typical to the Renaissance to encompass both past and present, fiction and reality. Like a "Mbius strip," as Leah Marcus terms it, what relates Shakespeare more cogently to the modern audience is such chronotopic pluralism that encourages dialogues between his times and ours.(Yonsei University)	영어와문학	null		kci_detailed_000256.xml
ART001025477	oai_dc	Edmund Spenser's Class-Consciousness in the Squire of Dames' Tale of The Faerie Queene	Edmund Spenser's Class-Consciousness in the Squire of Dames' Tale of The Faerie Queene	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "박윤희(동국대학교)" ]	The Squire of Dames' tale is a tale adopted from one of Ludovico Ariosto's indecent novelle, Orlando Furioso, 28. The Squire of Dames' cynical attitude toward women and love undercuts Spenser's idealistic celebration of chastity in Book III of The Faerie Queene. However, the most problematic question in this tale of the Squire is Spenser's choice of a country damsel, instead of a noble lady, as the only chaste woman who refuses the Squire's lewd temptation for the sake of chastity itself. This choice is indeed strange, for Spenser was one of the most conservative Elizabethans who were keenly conscious of the hierarchical structures of society or different qualities of human blood.This paper is to bring to light Spenser's class-consciousness reflected in this tale by examining several points at issue: how Spenser has dealt with his source, why he has chosen a country girl as a model of chastity, and whether she is really a woman of low degree or not. On the whole, it is hard to believe that the country damsel is really of low degree. One should therefore consider that the damsel might have an unidentified noble origin like Pasrorella. And Spenser himself might not have felt the necessity to reveal her secret origin as he does in the case of Pastorella in Book VI, for the Squire of Dames is never equal to Sir Calidore (the Squire is even a man base enough to visit the whorehouse), and he is a man of low quality and degree, who cannot be matched with the gentle chaste country damsel.(Dongguk University)	영어와문학	null		kci_detailed_000256.xml
ART000944480	oai_dc	존 던의 『풍자시 3』: 종교와 정치	Religion and Politics in Donne’s “Satire 3”	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "최재헌(경북대학교)" ]	Donne's Satires express a sense of the degeneracy of late sixteenth century English society. Donne's five satires written in his early twenties satirize different aspects of society. In these 5 satires, 1 is closely related to 3, and 2 is closely related to 5. “Satire 3” reveals an aspect of Donne's complex feelings about the public world. This poem dramatizes the conflict between the individual conscience and civil law, and opens the question of a state religion's influence on the individual conscience. Donne rails at the world for being preoccupied with earthly things at the expense of the eternal soul. This poem is about the difficulty, yet necessity, of finding true religion. There is a sense of frustration and skepticism in his voice. It also suggests the anxiety and alienation that Donne felt in a Protestant society that persecuted Catholics. Donne surveys the existing Christian religious institutions and criticizes not only the vices of his society but also the corruption of its institutions and systems. He criticizes all forms of authority, Catholic as well as Protestant and religious as well as secular. Donne advises a distrust of all established dogma and emphasizes the responsibility of the individual in the quest for the truth. The speaker in the poem realizes that the quest itself, rather than the end of the quest, is the only attainable objective in this world. Though Donne is talking about religion and religious truth, his emphasis is on seeking and on the process of discovering religious truth.	영어와문학	null		kci_detailed_000256.xml
ART000944481	oai_dc	Like One of Us: Milton's God and Fallen Man	Like One of Us: Milton's God and Fallen Man	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "Horace Jeffery Hodges(고려대학교)" ]	The paper analyzes God's announcement to the heavenly assembly in Paradise Lost 11.84-85, which begins with these puzzling words: "O sons, like one of us man is become / To know both good and evil." The words are puzzling because prelapsarian Adam and Eve already knew the difference between good and evil. The paper's argument turns on the ambiguity of the word "knowledge," which can be either conceptual or experiential. Thomas Blackburn noted this distinction in a 1971 article, but his argument is flawed in its conclusion that Adam and Eve come to share the experiential knowledge of evil that the faithful angels have from their fight against the fallen angels. Blackburn's argument fails because the faithful angels never experience evil within themselves. Rather, Adam and Eve come to share experiential knowledge of evil with the fallen angels, who have already experienced evil within themselves. God's words about man in 11.84-85 coming to be "like one of us" thus refer to Satan (and his minions), not to the faithful angels. That a fallen Adam and Eve are like Satan should not be especially surprising, but this reinterpretation of Genesis 3:22 is nonetheless rather bold, perhaps even unprecedented in the Christian tradition.	영어와문학	null		kci_detailed_000256.xml
ART000944514	oai_dc	“자연은 자기 할 일을 다 했다”: 밀턴의 창조력 회복과 아담의 자아 정체성 형성	"Nature hath done her part": Milton's Restoration of Imagination and Adam'sFormation of Self-identity	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이종우(홍익대학교)" ]	This essay explores the ways in which Milton aims to restore his creative power through expressing prelapsarian Adam's proper practice of creation-centered spiritual power in his relationship with nature. In Paradise Lost Milton has suffered from a lack of inspiration and in the prologue to Book 7 emphasizes his fears of actual or potential failures in creating a sacred and adventurous epic. To continue the process of poetic creation, Milton needs the substantial aid of 'Light' as an absolute source of wisdom and creativity. Here my argument is that Milton experiences creation-centered spirituality as a form of Light from nature in the same way Adam is engaged in the flow of creative power by the "contemplation of created things" in the process of realizing his identity. Actually, Milton thinks that the creative power itself is immanent in creation and created things. Nature can be understood as the means and the end of creative spirituality because it serves as the source of providing the spirituality as well as it is the representative of the purpose of creation inherent in created things. In a sense the creative imagination dependent upon nature is safer and more reasonable than the inspiration from Muse in that the first is discursive but the latter is arbitrary. So in Book 8 Milton would have creative spirituality penetrate the very fiber of his being and give other beings their appropriate authority. Finally, all the beings of Book 8 including Milton himself join in "sacred song, and waken raptures high; / No voice exempt, no voice but well could join / Melodious part." In this point Milton restores the imagination of nature's self-revelatory spirit and depending upon it, continues to sing the remaining half of Paradise Lost.	영어와문학	null		kci_detailed_000256.xml
ART001107418	oai_dc	에밀리아 러니에의 『유대인의 왕 하느님 만세』에 나타난 지혜 연구	Wisdom in Aemilia Lanyer's Salve Deus Rex Judaeorum	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이진아(한국외국어대학교)" ]	This paper aims to explore the idea of wisdom in Aemilia Lanyer's Salve Deus Rex Judaeorum in the context of the classical, medieval and Renaissance ideas of wisdom, and the biblical wisdom tradition, and to illuminate that the idea of wisdom empowers Lanyer to try to overcome the conflicts arising from class difference and to assert radical feminist concerns.Lanyer's Salve Deus Rex Judaeorum parallels and deftly compares two ideas of wisdom, classical and Christian. Wisdom, in its classical terms, which was revived in the Renaissance is a naturally acquired human perfection, a human's active commitment to virtue. In Christianity, God is Wisdom and Wisdom is also identified with the Second Person of the Trinity. So Jesus is the Wisdom Incarnate. In her dedications to the patronesses, she never misses to praise their virtue of wisdom in the classical sense, and then invites them to accept the true source of their wisdom, the superior one, the Wisdom Incarnate. In her invitation to Jesus-Wisdom, Lanyer fashions herself as a teacher to her patronesses, implying that she is no less inferior to them in spiritual matters, though there exist the enormous differences in degree between herself and her dedicatees. In the title poem, “Salve Deus Rex Judaeorum,” God-Jesus is frequently called Wisdom, and Jesus-Wisdom is prominently feminized. Wisdom, the feminine attribute of Yahweh, appears personified as Woman in Jewish Scriptures and Apocrypha. Inspired and granted spiritual authority by the feminine Wisdom, Lanyer frequently associates the passion of Jesus-Wisdom with the blames and misunderstandings that women have experienced in patriarchal societies. Thus Wisdom empowers Lanyer to defend women from the blames by patriarchal ideologies.	영어와문학	null		kci_detailed_000256.xml
ART000944484	oai_dc	Subordination, Substance, and the Trinity in Milton's Paradise Lost and De Doctrina Christiana	Subordination, Substance, and the Trinity in Milton's Paradise Lost and De Doctrina Christiana	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "구영회(대구가톨릭대학교)" ]	Whether Milton's works represent his Arian beliefs or Trinitarian orthodoxy has been hotly debated. Arianism denies the coessentiality, coequality, and cosubstantiality of the Father and the Son and subordinates the Son to the Father. While Milton's theological treatise De Doctrina Christiana clearly reflects some key Arian dogmas which repudiate the Trinity, his poetic representations of the Father and the Son in Paradise Lost seems to support Trinitarian doctrines. Our knowledge of the political religious situations of seventeenth-century England will help us understand this seemingly incompatible evidence. One noticeable fact is that while his prose work was a posthumous treatise never published during his lifetime, his poetic work was intended to address his contemporaries during his lifetime. In the seventeenth century Arianism was considered to be heretical by the clerical and political authorities. And Milton was well aware that lots of Arian believers were severely persecuted for having heretical thoughts. Even though Milton claims that he firmly bases his systematic theology on Holy Scripture, and in his Doctrina he cites many passages from the Bible to support his Arian arguments, his public confession of having his unorthodox beliefs in his published poetry might have caused him a lot of trouble. And some Miltonists find several implicit Arianism in Paradise Lost. Therefore, even though Paradise Lost contains the key Trinitarian dogmas, the social and ecclesiastical circumstances in which lots of Arians were persecuted could have affected the poetic representations of Milton's religious issues. The defeated and frustrated republican might have wanted to avoid other troubles caused by his unorthodox writings.	영어와문학	null		kci_detailed_000256.xml
ART001107422	oai_dc	때깔 좋은 옷을 입은 전쟁: 18세기 영국에 있어 무역의 호전성	War in Fancy Dress: The Bellicosity of the Trade in the Eighteenth-Century Britain	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "전인한(서울시립대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART001107419	oai_dc	근대적 사랑의 자기준거성과 담론적 폐쇄성:존 던의 「노래와 소네트」	The Self-reference of Modern Love and Its Discursive Closure: John Donne's Songs and Sonnets	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김철수(경북대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART001107421	oai_dc	『투사 삼손』: 폭력, 죽음, 살아남은 자들의 선택	Samson Agonistes: Violence, Death, and the Choice of the Survivors	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "황원숙(경일대학교)" ]	It is not easy to read Milton's Samson Agonistes which has been the subject of dispute for its violence and massacre. After 911, John Carey wrote an article on Samson Agonistes and criticized Stanley Fish's, though not without waver, praise of Samson's act as moral act of God's chosen person. He pointed out the similarities between Samson and the real world violence of the 911, both of which could be justified as divine acts by the supporters. He, therefore, suggested to exclude Samson Agonistes from the reading list. In fact, in Samson Agonistes, we meet the characters who acknowledge the violent physical ability of Samson as disposition of Providence. Violence, however, is often criticized as well and is not always a signifier of God's grace, which becomes clearer after Samson destroyed the theater and killed (by accident, according to Milton's point of view) himself. The results of violence and massacre are left to be interpreted and are anything but indisputable God's grace. Samson Agonistes rather asks us to think about how to get oneself out of the unjust pressure and what is the result of the violence as a possible alternative in an impelling situation than simply exhorts us to praise his act. Therefore, even with deep understanding on Carey's worries and after the painful experience in the real world, Samson Agonistes should be kept in the reading list.	영어와문학	null		kci_detailed_000256.xml
ART001107420	oai_dc	밀턴 산문 속의 식민주의	Colonialism in Milton's Prose	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이병은(한성대학교)" ]	European countries of the sixteenth and seventeenth century were eager to expand their empires, and England was no exception. Ireland and North America were her main colonies for political and religious reasons and financial resources. Milton, who lived in the age of early English imperialism and worked for the Commonwealth government, must have known the English colonial policies and might have been involved in actual colonial operations. Milton's prose, Observations Upon the Articles of Peace, Reason of Church Government, Defensio Secunda Pro Populo Anglicano, Animadversions, The History of Britain, Eikonoklastes, Brief History of Moscovia, for examples, reveal evidences of Milton's view toward colonialism. This paper insists that Milton's view was not very different from that of the colonialists of his time: English colonialism was beneficial to Ireland and the Americas, which was God's divine intention. Colonialism itself does not mean anything to Milton, and what matters to Milton was who colonized whom. If the colonizers were Spain or the English Royalists, the act of colonization was sinful, but if it were England or the Puritans, it was propitious to the colonized and the colonizer.	영어와문학	null		kci_detailed_000256.xml
ART000944482	oai_dc	Metamorphosis of the Poetic Persona in Andrew Marvell's Poems	Metamorphosis of the Poetic Persona in Andrew Marvell's Poems	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김봉은(고신대학교)" ]	Eun KimAndrew Marvell, perceiving the limitations of language, overcomes them by constantly transforming his poetic persona. Some critics interpret that the metamorphoses reflect the psychological distress of the persona, and others claim that they represent the complicated social condition of then-contemporary world. In four poems, "Damon the Mower," "The Garden," "The Gallery," and "The Nymph Complaining for the Death of Her Fawn," the transformation of the poetic persona is rather noticeable than in other poems by Marvell. In these poems, Marvell attributes different roles to the poetic persona. One of the common poetic techniques used for the metamorphosis corresponds to T. S. Eliot's "objective correlative." The association of seemingly irrelevant images without explanatory comments stimulates the reader's imagination. The significance of the poem depends upon the reader's thoughts, senses and experiences, thus yielding different reading for each reader and consequently separating both the reader and the poem from the poet. The identity of the poetic persona, in such a poetic context detached from the poet, becomes obscure on account of its constant metamorphosis. The objectification of the poetic persona as well as the poet erases the personal traces of Marvell from the poem. According to T. S. Eliot in "On Andrew Marvell," Marvell retreated from his public position at the political and social turmoil and chose to become a poet. If Eliot is right, Marvell's withdrawal from his poetic text through the metamorphosis of his poetic persona embodies his endeavor to conceal his personal traces even in literary sphere.	영어와문학	null		kci_detailed_000256.xml
ART001199947	oai_dc	『롤랑의 노래』에서 『실성한 올란도』로: 사라센의 르네상스?	From La Chanson de Roland to Orlando Furioso: A Renaissance of the Saracens?	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김현진(서울대학교)" ]	The increasing tolerance for the Saracens characterizing the evolution of the Carolingian epic from La Chanson de Roland (c. 1100) to Orlando Furioso (1516-32) does not attest a commensurate progress in the Western attitude towards Islam. History tells otherwise: bitter antagonism between the West and the Islamic East was not quite mitigated in the early sixteenth century, as it had never been in the preceding centuries. As far as the literary portrayal of the Saracens is concerned, a more interesting, and possibly more important, factor might be a pair of complex socio-cultural changes that were generated within the Western civilization itself and brought about the making of the High Middle Ages and, later, of the Renaissance. The rise of the romance (and of romance chivalry) in the late twelfth century and its further development in the thirteenth century opened a way to romanticize the Saracenic other and decentralize the ideal of the crusades in fictional narratives, whereas the Humanist project of recovering, interpreting, and emulating classical antiquity in the Italian Quattrocento and Cinquecento helped establish a metonymical relationship between the Greek (thus pagan) classical texts and the imaginary pagans from the Near East and Africa, who serve as de facto heirs to the long-lost Greek civilization.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.1.19	kci_detailed_000256.xml
ART001072208	oai_dc	"And therefore, being so masked . . . ": Whispering Rooms in The New Arcadia and Astrophil and Stella	"And therefore, being so masked . . . ": Whispering Rooms in The New Arcadia and Astrophil and Stella	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "Brett Conway(남서울대학교)" ]	This paper looks at literary constructions of gender, rhetoric, and male subjectivity in Philip Sidney's The New Arcadia and Astrophil and Stella, arguing that the writer dons a series of literary poses or masks to retain mastery in both works. The New Arcadia, however, deconstructs and exposes such poses, thereby calling into question the poet's authority. In the end, both The New Arcadia and Astrophil and Stella can be seen as being representative of the Early Modern literary tradition which often questioned rather than merely helped to prop up the dominant Tudor ideology. Philip Sidney's New Arcadia, a work in the pastoral genre, often comments on its own construction as a literary work. One part in the work showing this is Book 2, Chapter 2, the scene where Musidorus, disguised as the shepherd Dorus, recounts to Pyrocles, dressed as the Amazon Zelmane, his attempts to woo his beloved, Princess Pamela. In shepherd garb, he can't speak to Pamela freely, so talks to her through Mopsa, a shepherdess. Musidorus' means of story-telling echoes Sidney's own in Astrophil and Stella, where Sidney took on the role of Astrophil to woo Stella. As the sonnet sequence was written for the "dear ladies" who were Sidney's sister and the other women at her home in Wilton, Musidorus' account of wooing to his audience of Zelmane, who the narrator always refers to as "she" despite being a cross-dressed prince, compels one to wonder about how The New Arcadia echoes tropes and schemes found in the sonnet sequence. The New Arcadia more than echoes the sonnets, however, since the object of Musidorus' affection, Pamela, unlike Stella, does have a voice and calls the rhetorical poses of her suitor into question.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.1.43	kci_detailed_000256.xml
ART001072218	oai_dc	Scottish Presbyterian Piety: Samuel Rutherford and the Literature of Civil War-era Puritanism	Scottish Presbyterian Piety: Samuel Rutherford and the Literature of Civil War-era Puritanism	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "통스폴(연세대학교)" ]	This essay seeks to broaden our understanding of the Civil Wars and Restoration era in the British Isles by close attention to the ideology of Samuel Rutherford (c. 1600-1661), the most important radical political theologian of the Scottish Presbyterian Covenanters and a major figure in Anglo-Scottish relations during this period, particularly due to his role as a Commissioner from the Scottish Kirk to the Westminster Assembly of Divines. Rutherford’s influence and impact on the seventeenth-century British Isles is demonstrated, ironically, in the virulence with which he was attacked as a champion of repressive intolerance by John Milton. As an ardent and vocal supporter of Scottish Presbyterian ecclesiology and Calvinist soteriology, Rutherford was one of the leading enemies of toleration of the sects by the English Puritan Parliamentarians, the Scots Covenanters’ erstwhile allies. Rutherford believed that the English Puritans, such as Cromwell and Milton, were bound by their oaths in support of the 1643 Solemn League and Covenant to impose a Scottish Presbyterian-style National Church Establishment on England, and indeed their sister Kingdom of Ireland. The Scottish Covenanters thought that the English Independents had committed a heinous betrayal of their sacred obligations to their allies and, most importantly, to God, by tolerating heresy. Milton’s assault on Rutherford as the archetypal Scottish Presbyterian bigot, however, should not be allowed to obscure the crucial historical insights that we can gain from devoting genuine attention to his life and arguments. In fact, Rutherford’s last, post- humously published, piece of writing, his Testimony to the Covenanted Work of Reformation, is especially helpful for us in attempting to develop a more rounded and sympathetic comprehension of the profound upheavals and traumas experienced by all parts of the British Isles during the Civil Wars era.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.1.127	kci_detailed_000256.xml
ART001072219	oai_dc	불가능한 계승의 권위와 권위의 계승: 권위 논의와 17, 18세기 영문학의 자기모순	Impossible Authority of Succession and Succession of Authority: The Problem of Authority and the Self-contradiction of the Seventeenth- and the Eighteenth-Century British Literature	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "전인한(서울시립대학교)" ]	This paper aims to discuss the disturbing patterns of the subversion of authority in the Seventeenth-and the Eighteenth-century British literature. As the heated discussion about the origin of authority―whether it originates from the God above, thus originates from the right of succession or whether it comes from the contract between the sovereign and the people―characterizes the socio-political climate of this period, the literature of this period can be understood to participate actively in the advocation or the rebuttal of one theory about the authority. Yet, this paper demonstrates that the literary works of this period continually subverts the theory of authority they try to advocate. In the discussion of Absalom and Achitophel, this paper discusses how the authority of succession is established by Dryden's skillful appropriation of the authority of the Bible and his masterful imputation of the absolutism to his opponents. Yet, this paper demonstrates, this poem reveals inadvertently the authority based on succession untenable, as this work discloses the advocation of the authority of succession dependent inextricably on the authority based on contract. On the other hand, the works such as The Way of the World and Robinson Crusoe undermine the authority of contract even when they try to vindicate the settlement of the Glorious Revolution and the authority of contract. Congreve's The Way of the World, this paper contends, argues for the new authority of contract based on mutual trust, as Mirabel, the gentleman of new kind, succeeds in securing the Wishfort estate through gaining the trust of Millamant, Lady Wishfort and Mrs Fainall, defeating Fainall who believes in the old order of things such as the absolute domination of husband over wife and thus stands for the authority of succession. Yet, The Way of the World also reveals the desire for the authority of succession, as Mirabel tries to dominate Millamant using his hereditary status as man and wishes the male heir to the Wishfort estate. Robinson Crusoe can be said to be free from the desire of this kind, because there is no desire for the succession of estate. If there is a desire concerning succession, there is only a desire to be freed from it, as Crusoe refuses to succeed to the station of his father, the middle one. Robinson Crusoe is a work abundant of the authority of contract based on mutual trust, as Crusoe establishes his authority over Friday, the Portuguese, and the English Captain and sailors through acquiring their agreement to his authority. Yet, the seemingly firm authority of contract is undercut at the same time, because it is found that Crusoe's authority of new kind would have been impossible without the legacy from the past―that is, the vital salvage from the shipwreck―and without the help of Friday with whom he establishes the traditional father-son relationship characterized by father's absolute authority and son's passive obedience. This paper discusses the eventual outcome of this self-contradiction in the debate about authority. This paper interprets the final triumph of the "Night Primaeval" in the Book IV of The Dunciad as the logical outcome of the dissolution of authority regardless of its origin. The normal succession of authority―that is, from Settle to Eusden, from Eusden to Cibber―is suddenly negated by the mother's (the goddess Dullness's) retrieval of throne from her son Cibber and then the 'night primaeval's reclaim of throne from her daughter, the goddess Dullness and finally "Universal Darkness buries All." Where there is no authority, Pope seems to assert, the only possible outcome is the restoration of the original darkness.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.1.141	kci_detailed_000256.xml
ART001072210	oai_dc	해체적 전략으로서의 존 던의 '몸':황홀을 중심으로	John Donne's Body as a Deconstructive Strategy: With Reference to The Extasie	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이상엽(성균관대학교)" ]	The western metaphysics tends to presuppose the center, which results in the Platonic binary opposition such as reality/appearance, soul/body, and mind/material. This binary opposition often leads to a very serious problem of violent hierarchization and differentiation, namely, a structure of oppression and the oppressed. Derrida uses two stages of decon- struction to break up this hierarchical structure. The first stage is intervening in and reversing the hierarchy. For example, when there is a structure of speech/writing, the reversed hierarchy of writing/speech is the first stage. The reversed hierarchy is once again turned upside down by denying the newly privileged term. And the reversing of the fixed hierarchy is continued, resulting in chiasmus. The Elizabethan court, like the Elizabethan church, is hierarchical in organization. For one thing, the head rules the other parts of the body because, as the seat of reason, it is the noblest part. The fixed structure of spiritual love/physical love is distinctively dominant in many Elizabethan sonneteers such as Wyatt, Sidney, and Spenser, etc under the influence of Petrarchism. Donne does not entirely reject the Elizabethan tradition of love poetry. His love poems reflect the Elizabethan mode of thought. But in a way similar to Derrida, Donne tries to break up the tradition of spiritual love by reversing the hierarchical structure, with the emphasis on the physical love. He, especially in The Extasie, shows that the uniting of the souls is the purest and highest form of love, but this can only be attained through the uniting of the bodies as a medium. He chooses the word 'descend' in line 65 to mark the way the lovers' souls return to their bodies in that he views the shift from this ecstasy as a step down. It is an unavoidable step which leads to their perfect love. He uses 'sense' in line 67 which means that without their bodies they cannot live a meaningful life. In short, Donne attempts to make a statement of the interconnection and mutual dependence of the body and the soul.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.1.81	kci_detailed_000256.xml
ART001072207	oai_dc	Seduction: The Eye under the Veil in The Arabian Nights	Seduction: The Eye under the Veil in The Arabian Nights	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "윤민우(연세대학교)" ]	To the western eye, The Arabian Nights is the world of adventure and fantasy in which violence, wiles, and sexuality intersect fantastic charms. The number 1001 provides us with a freely given bonus of game. It leads us to the seduction of "one more night." While repression or sublimation of individual instincts is essential to the Christian civilization, in Islam the satisfaction of the libidinal desire is a prerequisite for the spiritual pursuit. To grapple with the spiritual core, they must solve the problem of the surface first. In medieval Islam, the female body was viewed as the locus of strong erotic desire. Facing the woman's threat ("fitna"), Islamic men usually attempted to find ways of hiding or secluding women. Thus, the "hijab" (veil and chador) and harem were invented. Then, interestingly, to screen or cover up a scene (off + scene) makes the scene "obscene," paradoxically increasing seduction. Therefore, veil and harem have not been the hiding or protecting device but the very locus of female power of seduction. "Covering" derives from the male presupposition of the depth against the surface, the Real against the Symbolic. But in woman, the Real lies in the very appearance; the truth of the surface, without postulating core or depth under the veil, is the Real for the woman. However, seduction does not point to the subversive power unleashed from social constraint; rather, it is manipulation and trick, utilizing the surface of the male official discourse. In "The Story of the Porter and the Three Ladies," woman is no longer the object of male gaze but performs the autonomous and flexible reading of her own body. And the porter buys the rule of female language game and produces a narrative, using the words on which they have collaborated. Here, the female exposure and language dampens the male language, i.e., an "obliteration" (off + literation) of male texts. The playfulness of the three sisters, like Medusa that laughs, replaces the shamefulness, and the "fitna" of female body is turned into intimacy. So the metonymic extension of seduction continues.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.1.1	kci_detailed_000256.xml
ART001072209	oai_dc	이상사회에 내재된 갈등: 『새로운 아틀란티스』를 중심으로	Conflicts embodied in Bacon's New Atlantis	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "배경진(이화여자대학교)" ]	This study examines both the scope and the crucial limitations of Bacon's approach to his ideal society through a detailed consideration of the New Atlantis. The New Atlantis is well known as a 'scientific utopia' and it has the assured tone of Bacon's most confident works. However, it also has an ambivalent attitude toward the way in which in practice the ideal society operates. While most commentaries have been unbalanced in their emphasis on the 'scientific' aspects of Bacon's ideal society, it is necessary to explore other aspects such as political, cultural, or religious details. Bensalem is independent and self-sufficient, receiving nor foreign aid or exchange. It is a civilization that revolves around science and relies on discoveries of the House of Salomon for success. Though the Fellows of the House of Salomon create the appearance that purpose of their activities is under the guidance of God, it is politically implied that the minority of elite scientists controls the multitude needs and maintains order and peace within society. Throughout the New Atlantis run contradictory suggestions of moral perfection and moral failure, suppression unnecessary and suppression in operation. The laws which limited the rights of those who defy patriarchal authority and marry without parental consent assumed that such defiance would and did take place. There is no nation on earth as chaste as Bensalem and yet it remains a function of the Tirsan to suppress vice in his family. Bacon admitted the moral fallibility and corruptibility of the Fellows of Salomon's House. But scientific knowledge is power and it can, as Bacon believed, alter the material conditions of society and enhance the human happiness. Bacon's failure to complete an ideal-society vision and his inability to assume the automatic integrity of the scientist still remain unresolved at the moment of the conception of modern science.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.1.65	kci_detailed_000256.xml
ART001072221	oai_dc	밀턴의 형이상학: 실낙원의 육체적 본질 다시 보기	A Reinterpretation of Miltonic Metaphysics: Reinstating the Bodily Substance in Paradise Lost	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "박영원(충남대학교)" ]	This study finds that John Milton's theological ideas are largely based on his monistic view of body and spirit, which he thinks are inseparable and integrated into a man as a whole existence. This view has been, in fact, considered one of heretic elements in Milton and overshadowed by a dominant, traditional Christian perspective in Milton's theological system. The fact that Milton is considered a Christian humanist has such a great influence on Milton criticism that his works, major and minor poems alike, have been seen from a dualistic point of view. Milton's metaphysics, however, is not based on dualism, a system of thought deeply rooted in western thought of the early modern period, which claims that mind and matter are two ontologically separate categories. Especially in his description of angelic love, which is supposed to be made by spiritual entities, Milton makes it clear that there is no distinction between body and spirit in that angels have pleasure and feel happiness just as man does before the Fall. Earthly food served for Raphael and heavenly feasts enjoyed by angels show materialism Milton holds for his metaphysics. Likewise, Adam and Eve enjoy a perfect spiritual union in their prelapsarian sex just as angels feel in their embraces. In this respect, this study reinterprets Milton's idea of body and makes it an important part in our understanding of his poetry. For the concept of Milton's body has some characteristics difficult to be explained by dualism that considers body inferior or subordinated to spirit. Granted that Milton's theological ideas are well reflected in Paradise Lost, his metaphysics based on monism gives an important clue to a better understanding of the doctrinal background of the great Christian epic.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.1.107	kci_detailed_000256.xml
ART001072220	oai_dc	정치적 풍자시: 포프의 아우구스투스에게	Political Satire: Pope's "To Augustus"	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김옥수(제주대학교)" ]	This article aims to read Pope's "To Augustus" as political satire that attacks George II and Walpole's government. This poem was written to oppose George's pro-Whig policy and Walpole's corrupt government. Pope thought that Walpole backed up the moneyed class, denied the landed class their rights in governing the country, and ruled England by means of bribery and corrupt policy. George II was thought to encourage Walpole's corrupt policies instead of playing the role of a unified monarch. In "To Augustus", therefore, Pope dared to point the rapier of ironic ridicule against the King. Pope employed Horace's Augustus as an example of monarch who became the norm of political leadership and patronized literature wisely, and by means of this example he judged George. The norm of Augustus deepened and validated the irony Pope directed at George. By writing this political satire, Pope wanted to be instrumental to collapsing both George's political power and Walpole's government. In conclusion, Pope played the role of literary arm of Opposition and tried to attack the King in order to expose the corrupt political systems of England. Finally, he wanted to form the Tory government by toppling Walpole's government.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.1.167	kci_detailed_000256.xml
ART001200982	oai_dc	History and the Poetic Quest of Civic Vision: Milton's Sonnets 15, 16 and 17	History and the Poetic Quest of Civic Vision: Milton's Sonnets 15, 16 and 17	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이종우(홍익대학교)" ]	In Sonnets 15, 16 and 17, Milton is concerned with the ways in which historical events and enlightened leadership correspond. During the period that these sonnets were written, Milton maintains hope that his country will build up the commonwealth and realize republican ideals and religious tolerance. This hope is considered a proper response to God's providential plan and the Good Old Cause. However, caught between the Cause and their own partisan interests or private desires, the English people fail to carry out their historical mission. To cope with the distortion of historical progress, Milton relies upon the leadership of a wise minority, whom he believes will be used by God as His instrument, to settle the hot issues of the day, including true reformation and liberty. Milton expects the strong leadership of an enlightened few in the heroes of the sonnets, Fairfax, Cromwell and Vane. As proven leaders through great achievements such as military victories or successful diplomatic negotiations, they are also aware of civic vision as the theoretical foundation of ethical responsibility to undertake the historical mission given to England. Civic vision is a key notion for representing a new ethos of republican ideals and virtues to replace slaved, state-controlled morality and principles. Thus, in these sonnets Milton emphasizes the importance of individuals, equipped with civic vision, to deliver England from its ruin and miseries, in a period of urgent issues, political and religious, which could be solved only by the known excellence of a minority than the uncertain virtue of the majority. As described in the sonnets, a succession of corrupt events block the realization of republican aims: Parliament's financial fraud, the restriction of religious freedom, the diplomatic and military conflicts between England and Holland, and the difference between spiritual and civil power. In this situation, Milton urges Fairfax, Cromwell, and Vane as de facto leaders to intervene in these events and exercise their powers to rectify the mismanagement of affairs. Milton considers their influential actions to be the best way to deal with these issues and actualize civic vision. Here lies the importance of Milton's civic vision and its historical embodiment.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.2.343	kci_detailed_000256.xml
ART001200984	oai_dc	욥기와 투사 삼손에 나타나는 고통의 미학	The Aesthetics of Human Suffering in The Book of Job and Samson Agonistes	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김종두(연세대학교)" ]	There are at least three different types of suffering that human beings experience. The first type is the one which man goes through even if he had no fault of his own. The suffering of Job can be said this type of suffering. Though he was blameless and upright, he lost his wealth, children, and health. However his friends and his wife were convinced that Job had brought this suffering on himself because he had committed sin. Therefore the greatest trial of Job was not the physical pain or the economical loss but his not being able to understand why God allowed him to suffer. At the outset, when Job faced the disaster he fell into despair by doubting God's righteousness. Although God is present everywhere, Job felt he might seem far away. He was not able to understand fully what the suffering meant to his existence. The writer of the Book of Job shows that suffering can be, but is not always, a penalty for sin. Even those who love God like Job are not exempt from suffering. But it is evident that whether man can understand the meaning of suffering or not, it leads him to rediscover God and his lost identity. Job's suffering is educational. Through suffering he learns that God is enough for his lives and his future. What makes Job achieve his mission from God and rediscover his lost identity through his own recognizing the essential relationship between God and himself is the very suffering that Job experiences. His suffering is the unscrutable gift from God to make him God's true champion. Samson also suffered but his case shows that he himself blames on his suffering because he committed the sin of lechery. Milton's concern lies in showing Samson's inner transformation resulted from his having passed through a series of severe sufferings. He recognizes his faults and makes repentance through the painful experience of trial. He also comes to know that he is a helpless sinner who acted as a petty god. However his suffering leads him to the way of self discovery and he appears to be God's true servant by whom God's providence is fulfilled. Therefore his suffering can be said the painful gift from God which is used as the driving force that causes Samson's repentance and regeneration.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.2.383	kci_detailed_000256.xml
ART001200746	oai_dc	Accountability and Responsibility of the Self:The Practices of Presentation and Representation in Shakespeare's Othello	Accountability and Responsibility of the Self:The Practices of Presentation and Representation in Shakespeare's Othello	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김태원(서강대학교)" ]	Prompted by the so-called Senate scene in which Othello tries to defend himself against Brabantio's accusation of stealing Desdomona, this article tries to trace how Othello activates the dynamics of representation and the represented past in his re-citational presentation of courting, and thereby attempts to identify accountability and responsibility of the self as the central concern of the play. This paper would argue that the play's investment in self-presentation is closely tied with its metatheatrical speculation on the presentational and representational power of dramatic text. A comparison of the Senate scene with others in the play, for example, reveals the fact that self-presentation is almost always a process of reflecting itself upon the other and thus refers itself to the fictionality of identity or the self in the making. Therefore, the gap becomes perceptible in between the process of representing and its product, which in turn calls into question the ways in which we legitimize the rationale of focusing on the self as a foundational idea. What is revealed in the discussion is that the issue of knowing one's self or the knowledge of self is inevitably contingent on the danger of méconnaissance in presentation and representation. Against this rather demystifying portrait of the self, the play seems to propose that what is central from the ethical perspective is not the authenticity of self but rather the responsibility of self. On this ground, this paper defines Othello as a tragedy about the danger and cost of knowing one's self which is always caught between the dynamics of presentation and representation and thus of recognition and misrecognition.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.2.229	kci_detailed_000256.xml
ART001200747	oai_dc	메리 로쓰의 유레이니어에 나타난 젠더와 권력	Gender and Power in Mary Wroth's Urania	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이진아(한국외국어대학교)" ]	This paper explores the relationship between gender and power in The Countess of Mountgomeries Urania by illuminating the way the central figure Pamphilia relates her femininity and her preeminent virtue of constancy to her queenship. As the power of love and the love of power impenetrate each other as the driving forces of the plot in Urania, and the issue of love involves gender relationship, the discussion of love, especially the constant but painful love of Pamphilia for Amphilanthus is necessarily contained in the process of examining the interrelationship between gender and power in this work. Mary Wroth portrays Pamphilia as the embodiment of constancy, the virtue which had not been traditionally associated with woman. She develops Pamphilia not only as a virtuous and constant woman in love but also as a queen who transcends her private love to commit herself to the public good. Constancy is a right and immovable strength of mind, neither elated nor depressed by external or chance events. It nourishes patience which makes one endure without complaint of all things that can happen to or in a person. Pamphilia continuously suffers from frustrations, sorrows, unhappiness and despair due to Amphilanthus's inconstancy. Constancy sustains Pamphilia all through her passionate and selfless love for Amphilanthus. Pamphilia's personal sufferings in love discipline her patience, fortitude, self-control, and autonomy, which in turn help her govern her kingdom as a successful prince like Elizabeth 1. Pamphilia's frequent withdrawals into a deep wood or a secret garden provide her with settings in which she confronts her passions for Amphilanthus and pour them out unnoticed. In these private spaces, she probes the darkest part of herself, and learns to embrace it as her own. Her ability to be alone like her constancy trains and improves the autonomy of her self, so that she can be maturely detached from the crowd and be her constant self even in company. She is esteemed to have a masculine spirit, judgment and courage, and yet Wroth does not make her a martial queen like Britomart. Instead Pamphilia actively exerts her feminine heroic virtues such as patience, humility, and particularly constancy in the public realm. Thus Pamphilia's private virtues in love are translated into her public principles, and constancy becomes the core in the nature of her queenliness as well as her femininity.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.2.245	kci_detailed_000256.xml
ART001200744	oai_dc	자서전 글쓰기와 여성주체: 마저리 캠프의 책을 중심으로	Writing an Autobiography and the Female Subjectivity: The Book of Margery Kempe	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "최혜원(연세대학교)" ]	This essay examines autobiographics and female subjectivity inscribed in The Book of Margery Kempe, the autobiography of a medieval female mystic Margery Kempe. The "I" in an autobiography is generally a "fictional I" which does not represent the real self, for the autobiographical subject is a constructed one in process of representation. Furthermore, the represented "I" should be elucidated in the context of cultural codes, because subjectivity is influenced by social, historical, and linguistical codes. An autobiographical "I" cannot be the same as a real self, the unitary subjectivity. Therefore, an autobiographical "I", to a large extent, registers the textual, metonymical, and constructed subjectivity, and it is never able to escape from the predominant discourses. From this point of view, Margery in The Book of Margery Kempe is not her real self represented without any distortion. Especially, as a female subject in the medieval period, Margery needed strategies to claim the authority of her own self. Hiring male scribes for the Book is one of her writing strategies to gain an authority as a female mystic. Because her eccentric religious behaviors functioned as a threat to orthodox Catholic church, she was always in danger of being burned as a heretic. Thus the priest, the male scribe of her Book, could be a good source to guarantee the authority of her text. More importantly, her image of subjectivity which seeks to adapt herself to the predominant religious discourse reveals her effort for negotiation with the world of male authority. As the autobiography of a female subject, The Book of Margery Kempe shows a process of constructing a female subjectivity. It is meaningful that Margery claimed her subjectivity in the medieval patriarchal society through the writing process of her transgressive mystical experience. She was, however, only a lay person, not a nun, a professional meditator, nor a radical feminist. Margery Kempe, represented in her Book, is an eccentric and subversive subject, but seeks a reintegration into the predominant male discourse.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.2.183	kci_detailed_000256.xml
ART001200981	oai_dc	왕과 관료의 재직조건에 나타난 밀턴의 국민주권론	Milton's Idea of People's Supreme Power in The Tenure of Kingsand Magistrates	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "송홍한(동아대학교)" ]	The Tenure of Kings and Magistrates exhibits Milton's fundamental idea of people's supreme power, as it discusses the tenure of kings and magistrates. This prose was published just two weeks after the execution of Charles I, though some of it had been written before his execution. Thus, it was hastily composed during or after the trial of the king. Admittedly, it is basically a justification of the execution of the tyrant, but for the purpose, it emphasizes the supreme power of people that can even depose the tyrants. It should be noted that Milton's concept of people was somewhat limited by the historical context surrounding him. He could not accept as people those who defend the tyrants or support the monarchy. But Milton says in Defensio Prima, "By people we mean all citizens of our society." Thus, his concept of people may be extended to our modern concept of it, though it was limited by the circumstances of the revolutionary age. Milton's idea of people's supreme power can be compared with the ideas of his two comtemporary political theorists, Tomas Hobbes and John Locke, or his later theorist Jean-Jacques Rousseau. Even though these also proposed the theory of social contract, they failed to break away the tradition of monarchy. Milton's idea of people's supreme power goes beyond an opportunistic excuse to defend the execution of the tyrant. It is closely related to his idea of human dignity and freedom, and it is also based upon the law of God and natural law. So, regardless of the writer's motivation, The Tenure of Kings and Magistrates shows well his idea of people's sovereignty, which is the primary condition of the free republic.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.2.323	kci_detailed_000256.xml
ART001200979	oai_dc	The Radical Change in the Perceptionof Death in the 17th Century and Milton's Lycidas	The Radical Change in the Perception of Death in the 17th Century and Milton's Lycidas	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "Osamu Nakayama(Reitaku University)" ]	With respect to the idea of death, the Reformation and the Counter-Reformation had a great influence on the artistic and poetic imagination of 17th century England. As a result, the age saw a revolution in the expressions of bereavement and loss in art and literature such as painting, sculpture, poetry and music. Milton's Lycidas is no exception. Just like the commissioning of a painting, a tomb and the bereaved funeral, a creation of an elegy such as Lycidas should be viewed as a part of the same process of mourning. As the radical change in the attitudes towards the dead was brought about initially at the theological level in the form of the abolition of the Catholic doctrine of Purgatory, focusing upon this problem of Purgatory, I believe, will provide us with an interesting perspective in the consideration of the relation between the living Milton and the departed Edward King. I also believe that the refusal of the doctrine of Purgatory by reformed Protestants had accelerated the individualization in the perception of death, in their funeral customs, as well as in the manner of their emotional expression towards the departed, Lycidas being a good case in point.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.2.295	kci_detailed_000256.xml
ART001200978	oai_dc	양성 간의 긴장과 성 역학의 전도: 존 던의 엘레지	The Tension between the Sexes and Reversed Sex Roles in Donne’s Elegies	{ "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 area are occurring in England. We can see these changes of the sex roles and gender identities, the relations between sexes in Donne's Elegies. The Elegies contain Donne's most unconventional and outspoken poems, and they record the defiance to the conventional authority of parents, fathers, and husbands with the vivid dramatic realism. There is an emphasis on the sexual transgressions of the masculine woman and the feminine man in the Elegies, and these transgressions are regarded as a symptom of eroded values and social destabilization. Most of Donne's elegies deal with the nature and roles of women and men, and the relations between sexes in the family and society. The social circumstances and cultural currents of the 16th and 17th century England century generated fears of social disruption and breakdown of gender identities and distinctions. Donne's elegies show these anxieties of men who fears the loss of their traditional sovereignty and mastery over women, and the tension between the male mastery and female resistance to man's control and dominance. The narrators of these elegies fear the change of sexual roles which would bring on the disintegration of family and society. The purpose of this study is to examine the tension between the sexes and reversed sex roles in Donne's Elegies, especially focussing on “Elegy 1: Jealousy,” “Elegy 3: The Change,” and “Elegy 7: Nature's Lay Idiot.”	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.2.273	kci_detailed_000256.xml
ART001200745	oai_dc	자연에서 은총으로: 선녀여왕 1권에 나타난 목가와기독교 인문주의	From Nature to Grace: Pastoral andChristian Humanism in The Faerie Queene I	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "임성균(숙명여자대학교)" ]	This study is to examine and re-evaluate the pastoral tradition manifested in Edmund Spenser's The Faerie Queene, Book One, so as to understand the nature of the poet's Christian humanism and its relationship to pastoralism. Pastoral, as a literary genre, often deals with shepherds' love affairs within the idealistic rural environments. The tradition is known to have started with Theocritus's Idylls, followed by Virgil's Ecologues, and after having had disappeared during the Medieval periods, resurfaced with Petrach's Ecologues as an influential literary genre to the early modern poets and courtiers. Strictly speaking, classical nature does not go well along with Christian world view. The idealistic rural world portrayed by classical pastoralists, however, is reviewed by Renaissance humanists and presented as a type of the paradise, now lost through human corruptions. The classical nature has transformed itself into the moral nature. Thus, nature in Renaissance literature is almost always related to the way that human beings achieve paradise within themselves, the salvation. Book One of The Faerie Queene shows that Spenser's portrayal of nature, or his pastoralism, is different from the nostalgia for the golden age and from the desire to restore the paradise. It is God's creation and given to haman beings as a present; nevertheless, it rarely protects, cures, and then returns human beings back to their civilizations. Rather, pastoral innocence (often synonymous with ignorance) and otium endanger and test the heroes, and therefore it becomes what the heroes must overcome. The Redcross knight must finish the race before he indulges in pastoral pleasure. Actually, his early failures to recognize the pastoral danger and his later realization that he must accept God's Grace while working hard constitute the plot and the meaning of the book.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.2.207	kci_detailed_000256.xml
ART001200980	oai_dc	리시다스의 천국에 나타난 밀턴의 프로테스탄티즘	Milton's Protestantism and the Heaven Passage in Lycidas	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이병은(한성대학교)" ]	An early Miltonic concept of Heaven is present in lines 173-79 of Lycidas. This paper suggests that the passage describing Heaven was influenced by Milton's Protestantism and was an indirect warning to the Roman Catholics and high-church Anglicans through Milton's encouragement of his fellow Protestants in their faith. The encouragement is made manifest in the lines that parallel certain passages in the book of Revelation which sixteenth-century Protestants, including John Bale, Thomas Brightman, Johann H. Alsted, and Milton, considered to be anti-Roman Catholic in nature. Since the Apocalypse ignores church administrative officials.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.2.309	kci_detailed_000256.xml
ART001200983	oai_dc	When Did Adam Fall in Paradise Lost	When Did Adam Fall in Paradise Lost	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "Horace J Hodges(Kyung Hee University)" ]	The specific moment of Adam's fall in Paradise Lost would seem unambiguous. It occurs at the moment that he accepts and eats the apple. One might object that these are two slightly distinct moments and that Adam is breaking two slightly different prohibitions, i.e., neither to touch the tree nor to eat the fruit, but Milton plays upon an etymological ambiguity in the word "taste" (="touch") to conflate God's two commands and Adam's two violations. Thus does one sort of ambiguity appear to resolve the other sort. If we look more carefully, however, the precise moment in which Adam falls dissolves into a process of falling that was prepared for through Adam's idolatrous worship of Eve, confirmed by Adam's inner assent to the evil of placing Eve before God by deciding to accept her gift of the apple, and completed in Adam's act of taking and eating the fruit of the tree. This process has the effect of stretching out Adam's sin, making his fall a process of falling, but it has the advantage of making understandable Adam's decision for Eve and death over God and life.	영어와문학	null	http://dx.doi.org/10.17054/jcmrel.2007.17.2.363	kci_detailed_000256.xml
ART001106707	oai_dc	No ＂Pattern of Love＂: The Frustraterd Desire for Genuine Love in Rochester's Obscene Poems	No "Pattern of Love": The Frustraterd Desire for Genuine Love in Rochester's Obscene Poems	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "전인한(서울시립대학교)" ]	This paper aims to read Rochester’s obscene poems as his despair about the possibility of genuine love in which one can confirm one’s sense of existence through the union of the mind and body. This paper contends that, in Rochester’s obscene poems, love is not consummated but consumed, as the physical intercourse fails repeatedly to develop into the union of mind, thus only proves to be nothing but the letting out of bodily fluids irrelevant of one’s emotion. Then, this paper examines whether the union of mind can develop into the union of body in Rochester’s poems. This is not to be, as Rochester shows his frustration over how the persons in mental love cannot consummate their love as the male partner’s impotence sets in.Also, for Rochester, homosocial relationship cannot afford him with safe haven in which he can confirm his value of existence in the relational point of view, as the all-male companionship in his poems is always threatened by another form of exploitative human relationship, that is, buggery. In Rochester’s poems, the male has to satisfy his bodily desire, whether the exploited partner be a female or a male, which points out that the cordial all-male companionship is never self-sufficient.The failure of any meaningful human relationship, this paper argues, explains why there is abundant reference to masturbation in Rochester’s poems. As all forms of love fail to let one connect with another, these loves prove nothing but the various strata of masturbation, which confirms one’s solitary state in the Hobbesian world and which thus threatens one’s existence. This paper discusses Rochester’s “Upon Nothing” as the logical stalemate of Rochester’s cogitation on the possibility of genuine love, for the fear of non-entity is bravely tackled only to be found as insurmountable condition of human existence.	영어와문학	null		kci_detailed_000256.xml
ART001106706	oai_dc	『복낙원』에 나타난 언어의 회복	The Recovery of Language in Paradise Regained	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김종두(연세대학교)" ]	In his brief epic, Paradise Regained Milton traces Christ's recovery of the fallen language. The epic battle between Christ and Satan is fought almost exclusively with words, which at last ends with Christ's victory over Satan's various strong wiles. When Adam falls in Paradise Lost, so does his language. As a result of the fall, human language acquires what might be called Satanic features. However, Christ recovers what Adam lost through his firm obedience to God's words. His attitude and use of language show that how he is able to restore and renew the fallen language. Most of all, Christ's use of language reflects how much his thought is focused on God's words. When being confronted with Satan's various assaults of words he always responds and rejects them by telling God's words only. He discerns quite well what is the differences between what Satan tells and what Satan means. He also has spiritual insight and wisdom which can distinguish clearly the surface meaning of Satan's language and the deep intention of the devil's wiles. He brings back the intrinsic purpose of language which was undone by Satan's abuse of language. In particular, his absolute obedience to God's words and his waiting for God's time show that he has the excellent inner virtues enough to make him a good model for the recovery of man's fallen language.	영어와문학	null		kci_detailed_000256.xml
ART001106705	oai_dc	Economy of Damnation: Satan's Fall in Paradise Lost	Economy of Damnation: Satan’s Fall in Paradise Lost	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "Horace Jeffery Hodges(고려대학교)" ]	The article argues that Milton's Satan in Paradise Lost cannot repent because in falling he lost his libertarian free will and became enthralled by causal chains to the prideful passions of his own divided self. Unlike the fallen Adam and Eve, Satan never receives the prevenient grace that could restore his freedom. He does not receive it because due to his fallen nature, he would never make use of a restored free will to choose repentance. He has fashioned his own hardened nature through the thoughts and actions stemming from the pride that occasioned his fall, and his pride would stand between him and repentance even if he were once again to possess libertarian freedom. God's decree that those angels who reject the Son's rule will fall into a "place / Ordained without redemption, without end" (5.614-615) thus serves more as a warning about the consequences of character-shaping choices than as a threat of divine vengeance (and even less a circumlocution implying predestination of the fallen angels). Adam and Eve, having been deceived by Satan and not sharing his overweening pride, have fallen natures of a kind that would motivate them to choose repentance if granted the prevenient grace that restores free will, which explains why God bestows it upon them. Satan, by contrast, remains trapped in an economy of damnation, as do also the other fallen angels.	영어와문학	null		kci_detailed_000256.xml
ART000977458	oai_dc	밀턴의 자유론에 대한 역사적 재고	Historicizing Milton's Idea of Freedom	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김경한(서원대)" ]	This paper reconsiders the Renaissance meaning of freedom with a historical overview of John Milton's times and thereby reviews John Milton's conception of freedom, especially focusing on his Protestant individualist theology. The study examines the theological origin and the historical formation of the idea of freedom in Milton and reveals the religious nature of Renaissance culture of the time. Religion in the Renaissance was not merely an individual faith but a cultural dynamic that produced and reproduced every meaningful relation in society, the way of thinking, cultural life, and so forth. It is no exaggeration to say that Milton's theology and work are all about the idea of freedom. Milton not only expresses his own theological concept of the freedom of the will but also his faith in the freedom of religion, of the press, of divorce, and of protest against the tyranny of princes and prelates. As the main historical drive of the period, the word freedom was the key issue among the contemporary Europeans as well as Milton. It created a very sensitive reaction among people throughout the whole Europe. So far many studies on Milton's idea of freedom have been done from diverse perspectives, but most of them have dealt with it from a modern sense of freedom. There has not been much written on its religious nature. Milton's idea of freedom is a historical product that reflects the contemporary longing of English people for religious freedom. It is a final result from Milton's effort to rationalize the republic's secular policies in the face of the religious dissensions of the time.	영어와문학	null		kci_detailed_000256.xml
ART000977462	oai_dc	각주의 미학과 정치학: 근세 영국문학의 경우	The Aesthetics and Politics of Footnotesin Early Modern English Literature	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "윤혜준(연세대학교)" ]	The emergence and suppression of footnotes in early modern English literature constitutes the privileged moment in literary history allowing us to enjoy the spectacular confrontation between the objective forces of modern book market and the authorial self-consciousness of those taking part in it, which we characterize as an aesthetics of Hegelian "unhappy consciousness," of being at once in and above the levelling realm where "dunces" and hacks roam. Whereas the seventeenth-century marginal notes, Biblical referencing, and note-like digressions (which we trace from the Geneva Bible to Anatomy of Melancholy) tend to supplement (as in Bunyan's Grace Abounding to the Chief of Sinners) and fortify (as in Leviathan) the main text, with uneven political gains, eighteenth-century texts published for the free print market, such as Bernard Mandeville's Fable of the Bees, Dunciad Variorum, and Henry Fielding's Tragedy of Tragedies, betray greater tension, political and cultural, between the main text and the notes, each de-constructing the self-sufficiency of the other, and in doing so constructing the other as self-divided textuality. The key to understanding this self-conscious and self-disruptive aesthetics of annotation we find in A Tale of a Tub, where the author's refusal to round off his text as a consumable unit or item of book commodity by constantly unsettling his text with digressions and footnotes speaks for his anti-market politics, which the growing literature market quickly ceased to tolerate.	영어와문학	null		kci_detailed_000256.xml
ART000977459	oai_dc	밀턴의 자전적 문서와 자아 창출의 담론: 달란트 활용의 문학적 실제	Milton's Autobiographical Writing and theDiscourse of Self-Formation: A LiteraryPractice of Talent Improvement	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이종우(홍익대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART001106704	oai_dc	서양 중세 사회의 성윤리와 『실낙원』에 나타난 밀턴의 성윤리 비교	Sexual Ethics in the Middle Ages and inMilton's Paradise Lost	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "노이균(우송대)" ]	The purpose of this paper is to compare sexual ethics in the middle ages and in Milton's Paradise Lost. There were some distinctive features in the sexual ethics of the middle ages. First of all, most women in the middle ages did not hold civil or ecclesiastical rights, attend universities, or engage in the major professions. They lived their lives only as sex partners, mostly without their own identity. Sexual ethics of these ages were marked by the women's passivity and subordination to men. Further examination reveals that the inner theory of the medieval sexual ethics preconditioned the severely corrupted patriarchal and masculine social structure. For example, most early Church fathers and Christian theologians regarded the aim of marriage only as the source of propagation. Such belief brought forth a sexual prejudice toward woman and had an effect on woman's inequality to man. In contrast, open marriage did not matter because the public considered marriage not to be a divine service but to be just a contract. Against the prevailing sexual ethics of the middle ages, Milton, advocates monistic sexual ethics on the assumption that 'Man is originally good.' This sexual ethics attempts to unify nature, human body and soul, and human mind, refuting the dualistic sex ethics in the middle ages. Milton regards 'the organic sexual ethics' as the real sexual ethics that blends the biological and spiritual with the social characteristics.	영어와문학	null		kci_detailed_000256.xml
ART001106709	oai_dc	역할모델로서의 존 던의 완전한 사랑	John Donne's Perfect Love as a Role Model	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이상엽(경희대학교)" ]	According to the dictionary, "Role Model" means "a person whose behaviour in a particular role is worshipped and copied or is likely to be worshipped and copied by others." Some of The Songs and Sonnets show male speaker, or a couple of lovers, who embody 'perfect love' faithfully enough to be role models. These poems include "The Canonization", "Twicknam garden", "A nocturnall upon S. Lucies day", "A Valediction: forbidding mourning", "The Relique", "Negative love", "The Paradox", "Farewell to love", and "The Baite". For one thing, in "The Canonization" I can read such a passage as this, "Beg from above / A patterne of your love!"(37-45; italics mine), which evidently represents a role model as perfect love. Donne's perfect love as a role model seems to be related to a strong desire for engraving his peculiar personality in his works. According to J. E. V. Crofts, most of the sentences of John Donne begin with the pronoun "I" (133). He suggests that for Donne everything begin and end in this manner, which means that throughout his life he is a man self-haunted, unable to escape from his own drama, unable to find any window that will not give him back the image of himself. Even the mistress of his love poems, who must be a real person, remains for him a mere abstraction of sex: a thing given. In this respect I can say that it is not of her that he writes, but of his relation to her; not of love, but of himself loving. After all, every word of Donne is resonant with his voice; every line seems to bear the stamp of his self-assertion.	영어와문학	null		kci_detailed_000256.xml
ART001010499	oai_dc	『폴리』에 나타난 ＂영국 신민,＂ 여성, 노예	"A Subject of Britain," Woman, and (Sex)Slavery in Polly	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이시연(광주과학기술원)" ]	LeeJohn Gay's Polly, sequel to The Beggar's Opera, is distinct from Alexander Pope's The Rape of the Lock or William Hogarth's The Harlot's Progress, in its representation of the interrelationship between gender and colonialism. While the latter two, representative of the dominant contemporary discourse, frame diverse signs of the colonized Other, from exotic luxury goods to the black slave, to reflect on women as their end-consumers, Polly sets the relationship right by placing in its forefront the enslavement of woman by the empire/man. Polly is set in the West Indies, the outpost of British colonial trade of sugar and slaves throughout the eighteenth century. On disembark- ation, Polly is immediately trafficked to Ducat, "a subject of Britain" and planter, and threatened with sex slavery and/or slave labor in his sugarcane plantation. Polly effectively 'uncovers' the male subject of the empire by two 'coverings,' of Polly's gender and Macheath's race. Polly, disguised as a man to survive pirates' riot without being ravished, 'performs' the male heroic ambition in tune with the pirates'. It is Polly's performative manhood that exposes Western male heroism as mere plunder and slaughter. Macheath's disguise is even more uncanny as he appears blackface as pirate Morano, virtually enslaved to Jenny Diver. Macheath/Morano's blackface mirrors what the imperial subject has made of itself in subjugating and enslaving the colonized Other. (Seoul National University)	영어와문학	null		kci_detailed_000256.xml
ART001010495	oai_dc	내면의 갈등과 신과의 대화: 존 던의 종교시와 산문	Inner Struggle and Dialogue with God: Donne'sDivine Poetry and Prose	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "최재현(경북대학교)" ]	Donne is chiefly remembered as a poet, but the greater part of his work is in prose. Of the prose works of Donne, the most popular was the Devotions upon Emergent Occasions (1624). It follows Donne's recovery from a dangerous sickness during the previous year, and takes the twenty-three days of illness as the basis of private meditation and prayer about the spiritual condition of himself and the world. "Death's Duel" is his last sermon delivered shortly before his death in 1631, and shows his obsession with the physical decay and the dissolution of the body. Written in a critical time, “Good Friday, 1613. Riding Westward” develops a feeling of conflict about the Good Friday in terms of eastward versus westward movement. Donne dramatizes his dilemma by placing himself as riding westward away from God. He wrote "A Hymn to God the Father" during a serious illness of 1623. Though Izaak Walton, Donne's biographer, assigns "Hymn to God my God, in my Sickness" to the last days of his life, it was probably written in December 1623. These two poems and Devotions then were written at the same period. Donne's agonistic and introspective religious poetry and prose are often dominated by spiritual anxiety and terror of damnation, and sense of sinfulness. They show Donne's inner struggle and record his dialogue with God. Donne's divine poems explore man's relation with God, often describing it in terms of human love. He exploits analogies between sexual and religious love and seeks to discover the true relation between man's love for woman and the love between God and man.(Kyungpook National University)	영어와문학	null		kci_detailed_000256.xml
ART001106710	oai_dc	존 던과 조지 허버트의 시에 나타난프로테스탄티즘과 구원의 패러다임	Protestantism and the Paradigm of Salvation inthe Religious Poetry of John Donne and George Herbert	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김종두(연세대학교)" ]	Jongdoo KimNo other poets in the history of English poetry are more religious than those of the seventeenth century. They all make the Bible the source of their inspiration and writings. Their poems are the means by which they show their conviction and hope for their religion. They reflect the poets' attitude toward God and the religious issues and tendencies which affected the minds of the people of the times.Protestantism and Protestant principles which concern the nature of the spiritual life are most important factors that determine the trend and the direction of the religious lyrics in this period. Among the well known metaphysical poets of this age, especially John Donne and George Herbert adopted the Protestant system of sin and salvation to show the human soul progresses according to the six distinguishable steps, which are called in Calvinian terms, election, calling, justification, adoption, sanctification, and glorification. Their religious lyrics tell us how much they are deeply influenced by Protestant issues. For instance, John Donne's Holy Sonnets follow constantly the paradigm of the salvation of human soul which was proposed by John Calvin, an important leading figure of Protestantism. Herbert's religious poems in The Temple also reveal how the poet uses the Protestant principles and ways to explore the spiritual development of the human soul which moves from the state of despair to the state of hope, from the fallen man's uselessness to the spiritual restoration through repentance and God's grace. (Yonsei University)	영어와문학	null		kci_detailed_000256.xml
ART001010496	oai_dc	신화로서의 『실낙원』	Paradise Lost as a Myth	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "강흥립(경원대학교)" ]	Heung-lip KangMost stories of Greco Roman myths warn us of the danger of human pride and challenge against gods. Whenever man steps over his own limitations or the forbidden knowledge, gods chastise mortals with cruel punishment. The same is true in Milton's Paradise Lost. God punishes man with all "our woes, death, and the loss of Eden" because Adam and Eve tried to taste the forbidden fruit. The name of the forbidden fruit is a clue. God calls it the tree of knowledge, of good and evil. I think that the tree of knowledge symbolizes nothing more than the forbidden knowledge to man. We can say that the forbidden knowledges exist even today. Modern studies about atomic power, cloning, genetic technology, and mechanical man can symbolically correspond to our own forbidden knowledge in a sense. Unhappily someday another Paradise Lost may be written as the result of such dangerous researches. That is the core reason why we should read Milton's Paradise Lost carefully again and reconsider the position of man in relation to our forbidden knowledge. Paradise Lost warns us that we should not do everything in our power. I think that this is the main message of the Greco Roman myths to us living today as well.(Kyungwon University)	영어와문학	null		kci_detailed_000256.xml
ART001010497	oai_dc	원근법으로 본 밀턴의 『실낙원』？: 입체적 내러티브에 나타난 작가의 주관과 권위	Paradise Lost in Perspective: Authorial Subjectivity Reflected in Milton's Multi-Dimensional Narrative	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "박영원(홍익대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART001010498	oai_dc	Joseph Andrews as Henry Fielding's Realistic Hero	Joseph Andrews as Henry Fielding's Realistic Hero	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "조전래(경기대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART001106708	oai_dc	『시를 위한 변론』에 나타난 시드니의 갈등	Sidney's Dilemma in An Apology for Poetry	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "배경진(인하대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART001106759	oai_dc	＂열등한 자에게 무슨 자유가 있으랴?＂:『실낙원』에 나타난 성과 권력	"For inferior who is free?": Sex and Poweras is Reflected in Paradise Lost	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "임성균(숙명여자대학교)" ]	YimThis paper argues that in Paradise Lost sex as power significantly affects the relationship between Adam and Eve and that Milton's justification of God's "Eternal Providence" is in part dependent upon his concept of sexual roles between male and female.Heaven is a sphere where the masculine authority maintains an absolute decree, while feminine rhetoric and relative superiority of language dominate in hell. The two spheres collide in Eden, where both masculinity and femininity take viable forms in Adam and Eve. The sex as gender prefigures their hierarchy; nevertheless the sex as activity disrupts it. The problem arises from the fact that although Eve is clearly the object of sexual desire for Adam, he is not necessarily the same for Eve. In their prelapsarian relationship, Eve maintains the sexual superiority over him. Since Adam's male superiority is unable to prevail over Eve's world of experience, she finds it difficult to accept the given hierarchy. Eve is in conflict.Eve's dream, filled with sexual allusions, is significant in the sense that it provides her with sexual alternatives. Satan's temptation is in essence sexual, and Eve's speech after her transgression signifies that the power lies in sexual superiority. The relationship between Adam and Eve changes after their first sexual intercourse which seems feasible to us. Adam's repulsive reaction thereafter typifies biological characteristics of male, and Eve's admission of male authority places her in a position inferior to his. Does Eve ultimately achieve freedom by giving up her superiority? That's the question.(Sookmyung Women's University)	영어와문학	null		kci_detailed_000256.xml
ART000961537	oai_dc	Convention, Reason and Mutual Understanding in Milton's Paradise Lost	Convention, Reason and Mutual Understanding in Milton's Paradise Lost	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "구영회(대구가톨릭대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART000961399	oai_dc	Spenser's Major Virtues and the Western Ethical Tradition	Spenser's Major Virtues and the Western Ethical Tradition	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이진아(제주대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART000961540	oai_dc	밀턴의 『기독교 교리』의 저자는?: 종교, 문학, 언어와 정치	Who Wrote Milton's Christian Doctrine?: Religion, Literature, Language and Politics	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "서홍원(연세대학교)" ]	In this paper, I am interested in tracing the roots of William Hunter's dissatisfaction with Milton's Christian Doctrine. Following a couple of local skirmishes with Hunter on the issue of free will and mortalism, I move on to Hunter's emphasis on the Holy Spirit as the invoked, despite the Christian Doctrine's prohibitive assertions against invoking the Spirit. I point out that Hunter's concern with the Holy Spirit is part of a long crusade, on the part of Hunter, to cleanse Milton of the taint of heresy. I take as case in point the collection of essays in Bright Essence, coauthored by Hunter, Patrides and Adamson. I note that, in the essay "Further Definitions: Milton's Theological Vocabulary," Hunter manages through a mighty convolution to transform no less than Christian Doctrine itself into an orthodox treatise. His efforts, though, fell woefully short as evidenced by his abandonment of the treatise in 1991. I then move on to Hunter's claim that Milton became a staunch Anglican, a notion that should not for one moment be considered, given his vastly ironical treatment of the oppressions of the Church of England in Of True Religion. Finally, I ask my readers not to fall into implicit faith, but rather to seek out the texts in question to judge for themselves where truth lies.	영어와문학	null		kci_detailed_000256.xml
ART000961405	oai_dc	왕정복고와 밀턴의 가정	The Restoration and Milton's Family Life	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "박상익(우석대학교)" ]	In the years after the Restoration, Milton deliberately sought obscurity. He had to move house often, and his finances were strained. He had, however, his consolation. His friends remained staunchly loyal, providing the assistance a blind man needs in managing his affairs. He had friends, students, and amanuenses to read him and write for him. His program of reading and writing, however, must have been far less orderly. He often had to depend on the chance visits of friends with the requisite skill. Perhaps Milton's daughters were in the care of someone else, maybe their grandmother Powell, while their father was in hiding. They returned to Milton when he moved to the house in Jewin Street. Milton required his daughters' services as rote readers when better help was not at hand. They, however, inherited neither the talents nor the intellectual aptitude of their father. They resented the circumstances of their life with him, and he could neither understand nor cope with their defiance. They probably resented keenly the loss of station, financial security, and marriage opportunities that his disgrace brought upon them. They perhaps felt put upon in having to perform the constant personal services their blind father would require. Milton's third marriage brought domestic comfort to his life, though his daughters complained bitterly about their new stepmother. They keenly resented his marriage, both because the new stepmother sought to control them and because they feared she would displace them as heir to Milton's property. Milton's achievements during these years took place in the face of obstacles that can hardly be imagined.	영어와문학	null		kci_detailed_000256.xml
ART000961403	oai_dc	조지 허버트의 신앙과 모형시	George Herbert's Faith and Pattern Poems	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "강엽(부산대학교)" ]	George Herbert described his poetry as "a picture of the many spiritual Conflicts that have past betwixt God and my Soul, before I could subject mine to the will of Jesus My Master." He profited from every aspect of John Donne's style, but he always adapted it to his own temperament, and employed more than one hundred stanza forms, many of them extremely complicated. In "Easter Wings" and "The Altar" Herbert made the poems visual hieroglyphs to create them in a shape which formed an immediately apparent image relevant both to content and structure, whereas in "Aaron," "The Church-floore," and "Paradise" the patterns are valuable as contents, that is, they are used as the objects which crystallize the meanings of the poems, and the poems could be constructed as formal hieroglyphs which mirrored the structural relationships between the natural hieroglyphs, the poems, and the individual's life. Finally in "The Collar" Herbert ventured in hieroglyphic form. The object of imitation is the disordered life of self-will. He has given a formalized picture of chaos in the elaborate anarchy of the patterns of measure and rhyme. But the poetry of Herbert is so intimately bound up with his faith as a Christian and his practice as a priest that those who want to enjoy the poetry without sharing his faith may well feel some presumption in attempting to define the human, as distinguished from the specifically Christian, value of his work.	영어와문학	null		kci_detailed_000256.xml
ART000961401	oai_dc	Love in Donne's Holy Sonnets	Love in Donne's Holy Sonnets	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "박세근(경기대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART000961402	oai_dc	The Images, Devices, and Situations of Secular Love Poetry in George Herbert's Religious Poetry	The Images, Devices, and Situations of Secular Love Poetry in George Herbert's Religious Poetry	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "박윤희(동국대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART000961538	oai_dc	Milton's Muse as Brooding Dove: Unstable Image on a Chaos of Sources	Milton's Muse as Brooding Dove: Unstable Image on a Chaos of Sources	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "Horace Jeffery Hodges(한신대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART000961400	oai_dc	17세기 서경 명상시 연구: 「펜써스트 저택」과 「쿠퍼 언덕」을 중심으로	A Study of Seventeenth-Century Landscape Poems: Jonson's "To Penshurst" and Denham's "Cooper's Hill"	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이철호(청주과학대학)" ]	In the literature of the English civil war period the desire for reconciliation and peace is expected to be one of the recurring themes. Sick of slaughter and destruction, many writers, whether they are royalists or parliamentarians, frequently want to seek in their works a middle course between political and religious extremes before, during, and after the vortex of the civil war. This may explain why one of Ben Jonson's best known images of the good society, "To Penshurst", begins with, and circles back to, one controlling idea—the modesty of Penshurst and the virtues of its host. In the tight little world of Penshurst man is inseparably connected to nature and the relation between the ruler and the local farmers is based on a reciprocal human kindness. Jonson sees his ideal society in terms of an unforced love rather than governing and submission. The whole range of values which he felt necessary for the good society is suggested in the part of his children's education: "The mysteries of manners, armes, and arts"(98). Summarized in that line is Jonson's sense of the fusion of cultural, moral, and religious life in society. Another poet, John Denham, sympathetic to the crown, treats this idea in a long poem, "Cooper's Hill", which manages to be well balanced by reproving directly or indirectly both the excesses of Parliamentarian reform and the abuses of the royal prerogative. Though ultimately royalist in spirit, "Cooper's Hill" is thought to be a call for moderation on both sides. The greater part of the poem is devoted to answering the question "Is there no temperate Region. . . ?" (139), that is, to showing various examples in both society and nature in which a happy medium or "concordia discors" can be embodied. He finds these examples in the marriage of Charles I with Henrietta Maria which manifests the political trinity of England, Scotland, and France and in the great river Thames which is deep yet clear, strong without rage, and without overflowing full. Though the general eulogies upon "To Penshurst" and "Cooper's Hill" in the following centuries has been based on their depictions of topography and successes as landscape poems, their controlling theme is far more ethical, philosophical, and topical than topographical. The former presents a perfect emblem of the ideal society the basis of which is modesty and generosity, and the latter puts an emphasis on seeking a middle course among seemingly incompatible elements in nature and society.	영어와문학	null		kci_detailed_000256.xml
ART000961406	oai_dc	지식과 권력의 규범적 관계 모색: 밀턴의 도덕적 지식과 이성적 정체(政體)	Towards a Normative Relationship Between Power and Knowledge: Milton's Moral Knowledge and Ideal Polity	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이종우(홍익대학교)" ]	This essay discusses the problem of the relationship between power and knowledge, considering Milton's idea that true knowledge can provide the conditions for a thorough reform of society. In his political tracts, Milton expresses the idea that a new formation of political information and knowledge is required to limit the manipulative power of the politicians or partisan writers over susceptible people. According to Milton, the means of solving the problem of social control which stands in the way of a general reformation is to ensure the better circulation of knowledge and proper ethics. The process of King Charles I's condemnation and the event of his execution in 1649 raised some controversies about whether his trial was justified and the meanings that it had politically. Many pamphlets condemning the King or Parliament were published that voiced different views and explanations of the event. Royalists claimed that the execution was not carried out according to the proper procedures of the law. This view was opposed by Milton who argued in his political tracts that the King was a tyrant rather than a just ruler who abused his power and broke his contract with the people. Therefore, his execution was fully justified. Milton's concerns were not limited to the exploration of the King's wrong-doing nor the attacks of those who disagreed with him. He was also concerned with the problem of rhetoric which was shrewdly employed by the Royalist apologists to deceive the opponents. In Eikonoklastes, he aims to expose the crimes of King's regime. By showing how much of King's rule was dependent upon ill-conceived political machinations rather than a proper governmental policy, he attempts to demystify the King's image and to counter the false forms of knowledge created by Royalist propaganda. According to his argument, the King was not a locus of political authority rooted in intellectual leadership supported by true knowledge but a key figure in political imposture armed with the vanity of mere words. Although the King was far from being the earthly manifestation of the godly rule which Milton expected at the time, the people, nevertheless, tended to approve his tyrannical rule and engage in his idolatry. In this context, Milton's self-appointed task was to ensure that the people would be equipped with the ability to choose the interpretation which would best reveal the true nature of the King's words and deeds so that they could become no longer his dupes but his judges. As Milton continually stresses, the power of the state remains the province of the people rather than being inherent in authority. Therefore, as he suggests in Eikonoklastes, there is a need for active readership on the part of the English people in responding to Charles's regime and his carefully-crafted image. As Milton emphasizes in his political tracts of late 1640s and 1650s, it is very important for the readers to see a political situation correctly. One model he suggests is to break the "double sense deluding." It is a model of reading based on reason and judgement that can produce the moral knowledge necessary for the construction of an ideal polity rather than on the external authority of an institution. Warning about the moral and epistemological failure of the King's regime, Milton claims that an ideal new polity should base itself in the search for moral knowledge. The moral knowledge can be epitomized as following: "Truth is but Justice in our knowledge, and justice is but Truth in our practice." This knowledge, if understood properly, can provide the means to tackle some of the political problems of seventeenth-century England and lead to the creation of an ideal polity.	영어와문학	null		kci_detailed_000256.xml
ART000961539	oai_dc	초기 미국문학에 끼친 밀턴의 영향	Milton's Influence upon Early American Literature	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "송홍한(동아대학교)" ]	Milton had a great influence upon American literature, especially from the colonial period through the early Republican period, He is sometimes called "the American Milton." His epithet "American" sounds persuasive when we take it into account that his republican ideas had greatly contributed to the development of the American Republic, either directly or indirectly. His influence upon American literature worked in various respects, political, religious, literary and so on. All these influences may well be literary, since all these derive from his literature. In other words, his literary influence is not limited to a literary field only but extended to other fields, political, religious, cultural, educational and so on. This essay is focused upon Milton's influence upon the early American literature, though its results may not be literary. Milton's influence upon American literature goes back to the early colonial period of America. Even before his great poems were published, Americans had already showed interest in his prose works. After the publication of his epics, they became more and more interested in his literature, especially Paradise Lost. Early American writers found their poetic models in Milton's poetry, and found their political ideas in his prose works. During the Revolution his influence was directed toward the political world. Adopting Milton's language and imagery in their political writings became popular just like a fashion. Milton was among representative political leaders for Americans who were struggling for the Revolution. Milton the poet, however, had greater influence upon the emotional respect of the Revolution. Hugh Henry Brackenridge, John Trumbull, Joel Barlow, Timothy Dwight, and Philip Freneau are major representative poets influenced by Milton's literature. These poets are sketched in terms of their dependency upon Milton. Though we may have various arguments about "what makes American literature," the American Milton worked as one influence, as John T. Shawcross admits.	영어와문학	null		kci_detailed_000256.xml
ART000961404	oai_dc	허버트의 시 속에 나타난 음악성	Music in Herbert's Poetry	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "고명은(목원대학교)" ]	George Herbert was one of the leading members of the group classified as metaphysical poets in 17th-century English literature. He was born of a noble family, whose ancestors were in the service of the king and in local affairs. Educated at Trinity College, Cambridge, Herbert once seemed to want a political career, but he was strongly influenced by John Donne, his senior poet, and was resolved to devote himself to both religious poetry and the church. Appointed rector of Bemerton, Herbert repaired and rebuilt the churches and rectory in addition to placing God's Word and service to his parishioners as the leader of the community. He also revised many of his earlier poems and composed over half the poems in The Temple. He served God as an ideal courtier to the King, and worked devotedly for his people. The Temple is, in short, the God's courtier, Herbert's spiritual autobiography, in which we see his intention to instruct his reader on the relation between man and God. Into the poems in The Temple Herbert put all his complaints and thanksgivings: hope from despair, joy from sorrow, wonder from frustration. He speaks, and still sings all these things through the various musical conceits such as musical forms, musical images, and musical contrast structure consisting of speech mode and song mode. Music was, as Izaak Walton described, Herbert's "chiefest recreation," and, at the same time, his sustenance on earth, and his way to draw himself closer to God. We cannot have a correct understanding of Herbert's poetry until we have heard the music in it and appreciated it.	영어와문학	null		kci_detailed_000256.xml
ART000961536	oai_dc	「그리스도 탄생하신 날 아침에」에 나타나는 밀턴의 시간관: ‘아기 하나님’의 개념을 중심으로	Milton's View of Time in "On the Morning of Christ's Nativity": Based on the Concept of 'the Infant God'	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김종두(연세대학교)" ]	Milton uses 'the infant God' as the expression for Jesus Christ who came to this world as a saviour in his "On the Morning of Christ's Nativity." The expression, 'the infant God' is a kind of oxymoron which cannot be explained logically, but through this name Milton shows that Jesus Christ is the one who intersects eternity and time. From the perspective of time, God is being of eternity and man is being of time. Therefore, 'the infant God' meaning 'God-man' indicates that Jesus Christ is both being of time and being of eternity. He is generally called the son of God. However, strictly speaking, he is the one of 'Word made flesh'. His birth is the significant incident in which God, the eternal being, has descended into this world of time. Therefore his birth, that is, his forsaking 'the courts of everlasting day' and choosing a 'darksome house of clay' can be interpreted as showing eternity has come into time. It is through eternity's coming into the world of time that the destructiveness and meaninglessness of time are conquered, as a result, all human beings are able to get the opportunity to be redeemed. Milton describes Jesus Christ who was born as a baby will dispel the whole darkness spreading this world. His birth changes the old order into a new one. It brings the new order and the new time which are centered on God's providence and government to this world. His coming has the power of changing misery into delight, war into peace, and curse into happiness. Especially, it makes the destructive time disappear and the redeemed time appear in this world. Through Jesus Christ who is to work as scapegoat and judge of all human beings, all the evil powers are also destroyed, and man can return to golden age. In a word, Milton shows us that Jesus Christ, 'the infant God', is the focal point of time and history in this poem.	영어와문학	null		kci_detailed_000256.xml
ART000961395	oai_dc	영웅 이야기로서 성서의 삼손 이야기와 밀턴의 『투사 삼손』 비교 연구	A Comparative Study of the Heroic Narratives of the Biblical Samson and Milton's Samson Agonistes	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김종두(연세대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART000961396	oai_dc	『투사 삼손』에 나타난 묵시적 비전과 정치성	An Apocalyptic Vision and Its PoliticalSignificance in Samson Agonistes	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "송홍한(동아대)" ]		영어와문학	null		kci_detailed_000256.xml
ART000961397	oai_dc	드라이든의 오거스턴 신화와 현실: 『압살롬과 아키토펠』과 「콩그리브에게」를 중심을	Historicizing Christian Humanism	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김옥수(경성대)" ]		영어와문학	null		kci_detailed_000256.xml
ART000961398	oai_dc	낭만주의 시대의 밀턴 수용의 특징: 밀턴 독자로서의 낭만주의 여성 시인들	The Reception of Milton: Romantic WomenPoets as another Readership	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "박혜영(영남대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART000961389	oai_dc	“Intellectus” and “Affectus” in Piers Plowman	“Intellectus” and “Affectus” in Piers Plowman	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "윤민우(연세대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART000961391	oai_dc	이상적 시인의 모습과 문학적 전망: 밀턴의 『코머스』 읽기	Milton's Ideal Poet and Literary Vision:A Reading of Comus	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이종우(홍익대)" ]		영어와문학	null		kci_detailed_000256.xml
ART000961392	oai_dc	밀턴의 부조리: 『리시다스』에 나타나는 언어의 모순과 모호성	Milton's Incoherence: Linguistic Contradictions and Ambiguities in Lycidas	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "박영원(충남대학교)" ]		영어와문학	null		kci_detailed_000256.xml
ART000961393	oai_dc	Free-Will Theodicy, Middle-Knowledge Theology, Ramist Linguistics, and Satanic Psychology in Paradise Lost	Free-Will Theodicy, Middle-Knowledge Theology, Ramist Linguistics, and Satanist Psychology in Paradise Lost	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "Horace Jeffery Hodges(한신대)" ]		영어와문학	null		kci_detailed_000257.xml
ART000961394	oai_dc	대화재 · 대역병 · 『실낙원』	The Great Plague, the Great Fire and Paradise	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "박상익(우석대)" ]		영어와문학	null		kci_detailed_000257.xml
ART000961390	oai_dc	고전적 정의(正義)와 기독교적 정의의 역동적 관계: 스펜서의 『요정 여왕』 제5권	The Dynamics of Classical Justice andChristian Justice: Spenser's The FaerieQueene, Book 5	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김호영(숭실대)" ]		영어와문학	null		kci_detailed_000257.xml
ART000961380	oai_dc	기독교 공동체의 이상과 한계: 스펜서의 『요정 여왕』 제6권	The Ideals and Limits of the ChristianCommunity: Edmund Spenser's TheFaerie Queene	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김호영(숭실대)" ]		영어와문학	null		kci_detailed_000257.xml
ART000961379	oai_dc	＂기독교 휴머니즘“의 역사적 의미	Historicizing Christian Humanism	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "김경한(서원대)" ]		영어와문학	null		kci_detailed_000257.xml
ART000961384	oai_dc	Aspects of Meditation in the Select Prose Works of John Donne and John Bunyan	Aspects of Meditation in the Select Prose Works of John Donne and John Bunyan	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "선우진(서울신학대)" ]		영어와문학	null		kci_detailed_000257.xml
ART000961385	oai_dc	「리시다스」에 나타난 죽음	Milton's Fear of Death in Lycidas?	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이병은(한성대)" ]		영어와문학	null		kci_detailed_000257.xml
ART000961387	oai_dc	『복낙원』: 세 번째 유혹의 의미	Paradise Regained: The Meaning of the Third Temptation	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "황원숙(경일대)" ]		영어와문학	null		kci_detailed_000257.xml
ART000961388	oai_dc	Tropes, Machines, and French Connections: Rhetoric in John Cleland's Memoirs of a Woman of Pleasure	Tropes, Machines, and French Connections: Rhetoric in John Cleland's Memoirs of a Woman of Pleasure	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "윤혜준(외대)" ]		영어와문학	null		kci_detailed_000257.xml
ART000961381	oai_dc	Femininity and Religious Devotion in Amelia Lanyer's Salve Deus Rex Judaeorum	Femininity and Religious Devotion in Amelia Lanyer's Salve Deus Rex Judaeorum	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이진아(한국외국어대학교)" ]		영어와문학	null		kci_detailed_000257.xml
ART000961382	oai_dc	존 단의 『연가』에 나타난 사랑의 정치학: 여성 혐오를 중심으로	Politics of Love in John Donne's The Songs and Sonnets: An Approach in Viewof Misogyny	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "이상엽(성균관대학교)" ]		영어와문학	null		kci_detailed_000257.xml
ART000961383	oai_dc	젠더와 식민주의: 존 단의 『엘레지』의 정치학	Gender and Colonialism: The EroticPolitics in Donne's Elegies	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "최재헌(경북대학교)" ]		영어와문학	null		kci_detailed_000257.xml
ART000961386	oai_dc	Who Is the Late Saint in Milton's Sonnet XXIII?	Who Is the Late Saint in Milton's Sonnet XXIII?	{ "journal_name": "한국고전중세르네상스영문학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "구영회(대구가톨릭대)" ]		영어와문학	null		kci_detailed_000257.xml
ART001976704	oai_dc	Research on the Management Establishment Plan for Development of Leading Technology- Focusing on the SWOT Analysis -	Research on the Management Establishment Plan for Development of Leading Technology- Focusing on the SWOT Analysis -	{ "journal_name": "한국방위산업학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "최기일(방위사업청 계약관리본부 원가 총괄팀); 박상원(방위사업청)" ]	As maturing technology of weapon system stands out the importance of leading technology management and development, this paper aims for establishment of the management plan for leading technology development through analyzing its current condition and problems. Leading technology development(LTD) is a business that rapidly develops future weapon system technology using outstanding technology and competence of civil enterprise so that it can take preemptive place in weapon system. In this paper, LTD management plan was prepared from the analysis of current LTD condition through SWOT analysis technique. The research is focused on the process and business management of LTD, and it proposed new LTD management plan that can be attached to new concept and method of future warfare conduct. This paper concluded that in order to actively response on the change of defense environment and to sustain development of core technology, it is necessary to develop defense technology by activating research agreement between civil and military.	군사학	null		kci_detailed_000257.xml
ART001976684	oai_dc	변수변환 기법을 적용한 무기체계 비용추정 향상 방안에 관한 연구	A study on the method to improve cost estimation of weapon system by using variable transformations	{ "journal_name": "한국방위산업학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "황정희(국방대학교); 김수환(국방대학교)" ]	비용 추정은 효율적인 국방예산운용, 자원 획득과 집행을 위해 필수적인 과정으로 무기체계 획득을 위한 초기단계에서 모수추정법을 이용한 비용추정 연구가 활발히 이루어지고 있다. 하지만 다양한 무기체계에 대한 연구개발 경험이 있는 미국이나 유럽 일부 국가와 달리 국내 개발 실적이 저조하여 실제 분석에 사용되는 데이터의 수가 매우 적으므로 일반적인 회귀분석 기법을 활용할 경우 비용추정에 대한 정확도가 낮아지는 경향이 있다. 또한 기존의 비용추정모델 개발 간에는 비용과 비용인자 간의 관계를 선형적으로 가정하고 회귀분석을 실시하였으나, 무기체계의 형상 및 성능이 향상되는 정도와 이에 따르는 연구개발 및 양산 비용간의 관계는 선형이 아니라 비선형으로 해석되는 경우가 많다. 이는 종속변수와 독립변수의 관계를 비선형으로 분석할 필요가 있다는 것을 의미하고, 특히 데이터의 수가 적은 경우는 그 필요성이 더욱 요구된다. 본 연구에서는 비용추정 결과의 정확도를 향상시키기 위해 모수추정법을 적용한 비용추정관계식 개발간 다양한 변수변환 기법을 적용하여 결과를 비교하고, 데이터의 이상치와 비선형성 등의 특성에 따른 효율적인 적용 방안을 제시한다.	군사학	null		kci_detailed_000257.xml
ART001976695	oai_dc	SNA 개념을 적용한 국방정보보호관리체계 취약점 분석·평가 모형 연구	A Study on the Assessment Model for DISMS using SNA	{ "journal_name": "한국방위산업학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "장영천(아주대학교); 강경란(아주대학교); 최석철(국방대학교)" ]	최근 유비쿼터스 사회로 진화에 따른 정보보호분야에 대한 관심이 증가하고 있다. 이에 따라 군은 국방정보보호관리체계(DISMS)의 취약점을 분석하고 평가하는 지침을 발전시켰으며, 이 방법은 전문가에 의한 정보체계내에 각 요소들에 대한 부여된 단순한 평가 값을 적용하는 방식으로서 체계내 요소들 간의 상호연관성을 반영하지 못하고 있다. 따라서 본 연구에서는 사회연결망분석(SNA)의 개념을 적용하여 개선 모형을 제안하고 분석 사례를 제시하고자 한다.	군사학	null		kci_detailed_000257.xml
ART001976712	oai_dc	방산업계의 국방기술혁신역량 평가체계 구축 연구	The Evaluation Methodology for Technology Innovation Capability of Defense Industry	{ "journal_name": "한국방위산업학회", "publisher": null, "pub_year": null, "pub_month": null, "volume": null, "issue": null }	[ "유형곤(서울과학종합대학원 대학교)" ]	최근 정부는 업체주도 연구개발 비중을 확대하는 등 방산업계의 국방기술혁신역량을 강화하기 위해 적극적으로 노력하고 있다. 하지만, 아직까지 국내 방산업계의 국방기술혁신역량 평가체계가 제대로 마련되어 있지 않기 때문에 현재 어느 정도 수준인지 파악하기 곤란한 실정이다. 본 고는 포터의 국가경쟁력 모델을 기반으로 (1)방산업계의 연구개발 기반 및 활동수준, (2)정부의 기술혁신 노력 수준, (3)동반성장 수준 및 방위산업 생태계 건강성, (4)타 부처 및 국내·외 유관기관과의 협력 수준 등의 분야에서 국내 방산업계의 국방기술혁신역량을 평가할 수 있는 지표 항목과 평가체계를 제시하였다.	군사학	null		kci_detailed_000257.xml

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