밴브러의 『 재발 』 에 숨겨진 포핑턴 경의 이미지

이병은 한국고전중세르네상스영문학회 2021 중세근세영문학 Vol.31 No.3

John Vanbrugh had some reasons to hate and satirize Louis XIV. As an Englishman, he would have held a natural antipathy towards Louis. Vanbrugh was a Whig who had resented James II’s pro-French attitude, while Louis sheltered and backed James. Moreover, Vanbrugh was arrested on the order of Louis and held in prison from 1688 to 1692. This paper argues that, in The Relapse, Vanbrugh provides Foppington with a number of Louis’s traits, and allusions to people and events in Louis’s life to connect between the two. For example, Louis’s Hall of Mirrors at Versailles is ridiculed through a stinging accusation of Foppington’s vanity, and Louis’s designation of Le Roi Soleil is compared with Foppington’s eclipse statements. To the contemporary audience, Louis’s physical cowardice, wretched doctors, disdain for books, rigidly structured day, and an admirable degree of self-control would have been easily recognized in Foppington. .

내면의 갈등과 신과의 대화: 존 던의 종교시와 산문

최재현 한국고전중세르네상스영문학회 2006 중세근세영문학 Vol.16 No.1

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)

셰익스피어 소네트와 근대적 주체

이종우 한국고전중세르네상스영문학회 2013 중세근세영문학 Vol.23 No.2

This essay examines the ways in which the speaker persistently attempts to form self-identity as a modern subject in Shakespeare’s Sonnet 144. The speaker performs the interpretative journey to discover the true nature and meaning of love. In the process of refusing the conventional definition of love and constructing a new existence of love, the speaker self-consciously struggles to fashion himself on a basis of logical reasoning and material desire representing modernity. He is placed in a complex love relationship in which the speaker, a young man, and dark lady try to appropriate love in their own way. The young man tends to idealize love, defining love in terms of purity and physical beauty, while the lady pursues love physically and consumingly, approaching love as a means of sexual desire and temptation. The love of these characters is fragmented, selfish and static. Overcoming the negative aspects of love, the speaker examines the meaning of spirituality and physicality and seeks to redefine the relationship between spiritual love and physical love in a unifying method. In the course of confirming a new identity of love, the speaker grows into the modern subject through employing a modern way of thinking, critical doubt and logical examination. Especially he establishes himself as a modern subject by proving and strengthening the value and necessity of material desire shown in “a woman coloured ill”(4). He liberates himself from the closed system of the binary opposition between spirit and body, male and female, and furthermore advances to pontificate the power of material desire up to the point which it can bring the birth of modern man. His tireless quest for modernity satisfies the training and conditions needed to become a solid modern subject. In the last part of the sonnet, he once again stands to write a new love story containing the attempts of carrying out a modern spirituality rooted in material desire. He will certainly be a writing subject. Here lies the speaker's identity as a modern subject.

셰익스피어 대중문화와 한국의 실제: 2000년대 연극산업을 중심으로

임이연 한국고전중세르네상스영문학회 2012 중세근세영문학 Vol.22 No.1

This essay explores the signification of “popular” Shakespeare in contemporary Korea. After defining the meaning(s) of popular culture, the essay surveys Shakespeare’s cultural history in Britain and America. Shakespeare’s transformation from folk culture to high culture and popular culture suggests that highbrow/ lowbrow culture is not a rigid category. Paradoxically, Shakespeare as popular culture relies on the Bard’s cultural capital accumulated through his non-popularization and canonization as highbrow culture. Unlike his popularity in the West, Shakespeare’s presence is meager in Korean popular culture. Most Shakespearean theatre productions remain highbrow, even when they attempt to popularize the Bard. Three popular entertainments produced in the 2000s are examined in turn: Comic Show Romeo&Juliet (2008), Club Twelfth Night (2010), and Musical Hamlet (2007). These productions suggest that Shakespeare exists only in name(and thus virtually absent) or is elevated to the middlebrow taste. Genuine popularity presupposes appreciation. Popular Shakespeare in a positive sense, of being widely liked or originating from the people, seems inconceivable in current Korean culture, where Shakespeare is known only superficially as chunk of world classics.

이브를 어떻게 볼 것인가?

이성원 한국고전중세르네상스영문학회 2005 중세근세영문학 Vol.15 No.1

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."

17세기 종교시와 영시 교육: 던과 허버트의 구원론을 중심으로

박영원 한국고전중세르네상스영문학회 2009 중세근세영문학 Vol.19 No.1

Teaching 17th-century "Metaphysical Poets" means to make students to understand what Samuel Johnson says "the combination of dissimilar images" in their poetry by analyzing the process of finding "occult resemblances in things apparently unlike." Especially for most of our students unfamiliar with the Bible or Christianity, religious poems of John Donne and George Herbert are difficult to understand not only because those poems require a complete grasp of their syntax, poetic diction, and so-called "metaphysical conceits," but also because they contain deeply biblical images, metaphors, and allusions. Therefore, it is evitable that a teacher of 17th-century religious poetry must be deeply concerned with Christian values in order to fully explain to his or her students the meaning of each word, phrase, and sentence, which is closely related to various Christian resources, such as the Bible, theology, church, and liturgies, to name a few. Among those various Christian topics, therefore, this study explores the concept of salvation, one of the most important theological concerns of Christianity, demonstrated in Donne (Holy Sonnets) and Herbert (The Temple), and tries to make a distinction between these two representatives of Metaphysical Poets, in terms of their attitude toward the concept. For Donne, salvation does not seem to be a free gift; it is something of which he is not sure until the last moment of his life, while for Herbert, it is something he approaches with certainty. What entangles in this concept is a guilty feeling, suffering, and death, which have formed the Western culture. By teaching our students this basic concept of Christianity, we can lead them to a better understanding of difficult metaphysical and religious poetry of the 17th century.

Milton’s Mirth and Addison’s Humor

김순배 한국고전중세르네상스영문학회 2016 중세근세영문학 Vol.26 No.1

This essay is designed to construct a legitimate connection between John Milton and Joseph Addison via the notion of humor. In the process, I argue that Addison with his daily journal plays a critical role in mediating the Miltonic world of literature to his polite and amicable audience in the age of transvaluation of the early eighteenth century. For this argument, I first point out the fact that Addison and Milton belong to the protestant Whiggish party, so that they share similar political ideology and principles. Second, while Milton tries to establish the fundamental conditions of early-modern humanity such as liberal conscience and free will, Addison stresses the significance of freedom in readership. Third, the idea of humor encapsulates the idea of critical and creative spectatorship in consuming literary art. This does not simply mean moral ethos or epistemological confidence in response to the text. In the end, the journalist and critic of the early-eighteenth century introduces Milton as the precursor of aesthetic relationality between the audience and the text.

피치노의 사랑론과 예술적 영감

이순아 한국고전중세르네상스영문학회 2011 중세근세영문학 Vol.21 No.2

The intention of this thesis is to explore the concept of love(amor) and the artistic inspiration that it provided for Renaissance art by examining the Italian Renaissance philosopher Marsilio Ficino's Commentary on Plato's Symposium. The core of Ficino’s Platonism is the immortality of the soul, for which the goal of the human soul as the mediator of the universe is the union with God through a contemplative ascent. Accordingly, the immortal soul is the evidence of human dignity and divinity. The other aspect of the ascent of the soul is love. Love is the motive force of the whole universe, the universal pursuit of God, and so the key to Ficino’s entire system. In connection with Ficino’s cosmology, beauty is the radiance of the divine goodness, in which the actively loving God lights the universe. So it appears as a harmonious structure in the universe. That is, beauty is the lucid proportion(lucida proportio), and it motivates the ascent of the human soul by rousing love. Accordingly, love is the principle for cosmic harmony and unity, and so through the divine madness(furor divinus) of love, the human soul becomes united with God and acquires beatitude and immortality. This is the meaning of the ‘Platonic love,’ espoused by Ficino. According to Ficino’s thought which was influential in Renaissance period, art, which handles, changes, and forms the materials of the world, is the production of a god on earth, and a reflection of the divine. So, the concept of love became the inspirational principle for the exalted artist as the divine maker. Thus the role bestowed upon Renaissance artists was to intuit and represent the supreme beauty by the ascent to intelligible principles from sensible experiences through the divine madness of love for beauty. The divine madness was the creative motive for artistic activity. Thus, love is the motive for the inner ascent of the human soul. Indeed, through love for beauty as the splendor of the divine goodness, man can ascent from the earthly love to the heavenly love to unite with God, and artist can intuit the divine beauty from the sensible beauty for artistic creation.

중세 여성혐오, 매춘, 그리고 초서의 「선장의 이야기」

임현량,조영미 한국고전중세르네상스영문학회 2019 중세근세영문학 Vol.29 No.2

Prostitution as an institution was central to the function of medieval society; simultaneously, prostitutes as individuals were stigmatized as the shame of womanhood. Investigating discourses of medieval misogyny and contemporary practices of prostitution, this paper illuminates ambivalence towards female sexuality in literary representations of women and in late medieval English society, which both legalized and marginalized prostitution. A comparative analysis of the merchant’s wife in the Shipman’s Tale with prostitute saints in medieval saints’ lives and Ambrosia in Boccaccio’s Decameron demonstrates how Chaucer’s work both reflects and questions contradictions inherent in the canon law that dominated medieval Europe in its legal, practical, philosophical attitudes towards women. Chaucer’s attention to economic aspects of the anonymous wife’s dealings with the monk and the merchant in the Shipman’s Tale reveals the gap between theory and the experiences of late medieval women as the text destabilizes contemporary discourses of prostitution and female sexuality.

쇠퇴'와 '죽음'을 주제로 본 존 던의 엔트로피적 세계관

이상엽 한국고전중세르네상스영문학회 2005 중세근세영문학 Vol.15 No.1