• 영어영문학
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• 제58권1호
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• pp.43-67
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• 2012

My essay aims at illustrating Whitman's homosexual vision of utopia with a close reading of his representative homosexual text, Calamus. His expansive self is based upon his intimate contact with the world and is almost always drawn to a wider vision of community in which different individuals share the locus of commonness and reach beyond their empirical boundaries. While foregrounding the contingent and the singular, Whitman forges bonds with other people through a series of ecstatic moments that carry us into the public sphere and common interests. Contrary to the current Whitman studies, his homosexual text doesn't repress contingency in order to celebrate the universal, but fully develops the commensurability among diverse historical agents. Whitman knows well the social taboos and inhibitions at the time of national crisis and expansion, but keeps imagining the world where homosexuality plays a central and significant role in founding a democratic solidarity and achieving a desirable social structure. His ideal of America is not a deferred wish for the future, but a concrete vision that can be achieved here and now, realized by the spontaneous bonding and instant attraction among free men. Instead of interpreting history or suggesting practical alternatives, he keeps questioning the dominant ideologies and the given orders of social control, and suggests a free and open relationship among men where no exterior power or mediating other intervenes. His utopian vision is radical as well as ideal, in that it rejects the interventions of the power structure and its institutions and courageously inscribes his homosexuality in the process of writing about and reading his contemporary America. As a predecessor of a homosexual utopian vision of America, Whitman has inspired many later poets, showing a possibility of infusing a homosexual identity into a radical imaging of the nation and its future.

• 영어어문교육
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• 제9권spc호
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• pp.167-184
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• 2003

This paper is to analyze how Walt Whitman developed the theme and structure of Leaves of Grass with his ideal of democratic vistas. Whitman established his identity as an inspired poet, having faith in the divinity of man based on transcendental belief. After being awakened to the transcendental truth, he practiced his own common world view--his democratic vistas. Whitman searched for the unity with nature and identified his self with "common man and his nation." The poetry expresses "cosmological and national ideology" dedicated to the creation of an ideal nation united in eternal freedom and peace. By portraying common cosmic and national theme in terms of his individual personality, he brought various paradoxical and controversial ideas into one thing, namely "democracy", fusing diversity into unity. As in the symbol of the grass, there is a unity in variety reflected by democracy in a cosmological and political compound. With the form of free verse, he could express his liberal unrestrained and mystical thoughts of democracy. This new form has been associated with the poet's strong consciousness of the need for modernization in his country. He willingly assumed "the role of prophet and public voice for American democrat" with the rolling catalogues and I-persona which formed a sense of the common man and common things of America. Whitman pioneered a democrat literature with simple and dynamic tone and style. He successively pursued the democratic vistas in his Leaves of Grass.

• 영미문화
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• 제18권2호
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• pp.79-104
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• 2018

Chung Ji Yong is a well-known poet in the Japanese Occupation Period firstly as a lyrical and traditional poet as a member of the literary journal Simunhak(Poetry Literature) along with Park Yong Chul and Kim Young Rang and later as a prominent modernist poet in the late years of the Period. He is always highly estimated as a poet of pictorial images and lyricism, but his ardor for translations, especially Walt Whitman has been neglected so far. Before him, Ju Yohan, Yi Kwang Soo, Yi Un Sang, Kim Hyung Won and many other poets and critics had been interested in Whitman's democratic ideas and his poems. Chung Ji Young also translated Whitman's three poems in the hard days of 1930s. After the Imperial Japan surrendered to the Allied forces on 15 August 1945, ending 35 years of Japanese occupation, Korea was under the American forces and Russian troops. In this critical days of Korean's debating only one korea or separated Koreas, strangely enough, Chung ji Yong fully immersed in translating Whitman's poems only for four years as an English literature professor just before being abducted by North Korean Army, while almost discarding his own poetic ability and sense of duty as a leading poet in the literary circle with only just a few exceptions. Why did Chung Ji Yong focused on the translation of Whitman's poems in this important period as a poet and intellectual in the newly independent country? He may want to warn people too much ideological conflicts or at least express his frustration through translating Whitman's poems. Until now, academic endeavors on Chung Ji Yong's poems and life are focused on his lyrical and modernistic works of the Japanese Occupation Period and naturally little interested in the days of Independence period and his true motivations on translating Whitman's poems. As a proposal, this short article can be a minor trigger for the sincere efforts of Chung Ji Yong's last days.

• 문화기술의 융합
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• 제5권4호
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• pp.79-85
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• 2019

'예술과 기술의 실험' 그룹은 20세기 중반, 예술적 세계와 그 바깥의 영역까지 아우르며 거대한 상호 학제적인 실험을 전개하였다. 이러한 활동의 실제적인 동력은 서로 다른 오래된 학문적 관습의 경계를 가로지르며 창의적 가능성을 확장해온 예술가와 공학자의 협업이었다. 공학자 빌리 클뤼버와 프레드 발트하우어, 그리고 예술가 로버트 라우센버그와 로버트 휘트먼이 1967년에 공동 설립한 '예술과 기술의 실험' 그룹은 물질, 기술, 공학이 동시대 미술에 적용 가능한 여러 가능성을 선구적으로 수행하였다. 이들의 활동은 사회에서의 예술과 기술의 기능을 새롭게 성찰함으로써 궁극적으로 동시대 세계와의 유기적 관계성을 지니는 새로운 미학을 개발시키는 방법론을 개발해 나갔다는 점에서 그 학문적 연구의 의의를 가질 수 있다. 이에 본고에서는 우선, '예술과 기술의 실험' 그룹이 등장하게 된 사회문화적 맥락을 예술과 기술의 운동의 차원에서 살핀 후, 그룹의 다양한 프로젝트들을 검토함으로써 예술가와 공학자의 협업이 예술적 표현의 확장뿐만 아니라 예술과 공학과 사회 사이의 새로운 상호적 관계성을 생산하는 데 공헌하였음을 확인한다. 이러한 논의를 통해 동시대의 융합 담론에서 필요로 하는 구체적인 협업의 방법론의 한 모델로서 참조하고자 한다.