• 비교문화연구
• /
• 제24권
• /
• pp.19-31
• /
• 2011

This article examines the historical view of Benito $P{\acute{e}}rez$ $Gald{\acute{o}}s$ in his historical novel named "Zaragoza" and "$C{\acute{a}}novas$" by comparing with Numancia of Cervantes. In front of the national survival crisis, $Gald{\acute{o}}s$ recognizes that it is necessary that Spain should recover humanity and morality on basis of the krausist ideal. The krausists warned subjective idealism, stressing on free-will and moral conscience in a harmonious balance of rationality. Without refusing patriotism, they warned egoistic patriotism deformed by national selfishness or nationalism. Giner de los Ríos insisted on a necessity of harmonizing national inclination and universal one. $Gald{\acute{o}}s$ emphasizes that the identity of Spain is not possession of privileged class but sweat and tears of the mass of people in daily life. He represents Efemera as the ideal history on the basis of Unamuno's 'intrahistoria', by which, instead of $Luk{\acute{a}}cs^{\prime}$ progressive history, we can peep into a historical poetics of human free nature and vividness of discontinuous and endless shifting. According to the sub-history, we come to the conclusion that $Gald{\acute{o}}s$ and Cervantes would lay emphasis on sub-history, aiming to essence of Spanish soul originated from national landscape and people's daily life.

• 대한건축학회논문집:계획계
• /
• 제35권8호
• /
• pp.15-22
• /
• 2019

According to Kenneth Frampton, the modern architecture starts to be recognized as the poetics of construction and lays a great weight in its value on the technology of making forms and the inherent meaning in the tectonics. The tectonic connotes not only the technological construction of the architecture but also ontological details as the joint of material and texture. The works of Carlo Scarpa are examples to prove the way how the ontological meanings are exposed in the tectonic form of architecture. The purpose of this study was to analyze the connections between Carlo Scarpa's architectural thoughts and visual logic(schemata) from the characteristic of details in his work during the 1950s to 1970s. Through the analysis, the Italian tradition in the architecture is reinterpreted through isolation and break of recollected montages. Carlo Scarpa makes spatial fragments and aspects of reinterpreting in surroundings and situation with the architectural place in Venezia. As a result, the unique details of his craftsmanship provide lessons on how to reinterpret the traditional architecture. In conclusion, Carlo Scarpa's architecture emphasizes the passage of its perceptive experience aspects as a dis-joint of tectonic forms. It may imply the significance of his philosophical approach, especially to the ontological architecture and tectonics.

• 영어영문학
• /
• 제64권2호
• /
• pp.273-298
• /
• 2018

This paper, postulating that Lowell's Imagism is not some "Amygism" that wobbles with "emotional slither," "mushy technique" and "general floppiness" as Pound once mocked, but another kind of poetic discourse that deserves the fullest re-consideration, goes back to the very scene where Pound left for Vorticism, condescendingly allowing Lowell and her supporters to use the name "Imagism" for three years. There, it tries to illuminate how Lowell, making the most of the opportunity given to her, picked up what Pound had left behind, grafted it on the soil of America, and finally fulfilled her literary passion to awaken the common reading public to the taste for poetry reading. For the purpose, it looks into her critical reviews in Tendencies in Modern American Poetry, and stresses her creative critical efforts to re-address Pound's principles of "Imagisme." In particular, given the limit of space, it focuses only on the second principle of her Imagism and examines the modernity of her concepts of "a cadence," "suggestion," and "the real poem beyond." Then it reads "Patterns" in the context of Japanese poetry and Noh drama and analyzes the poetic patterns that Lowell made through a creative adaptation of Japanese aesthetics for Imagist poetics. In doing so, this paper aims to provide reasonable evidences to evaluate the modernity of Lowell's Imagist ars poetica and to consider her a truly serious Imagist poet worthy of a place in the history of American poetic modernism.

• 영어영문학
• /
• 제64권1호
• /
• pp.95-116
• /
• 2018

Although acclaimed as George Eliot's masterpiece, Middlemarch: A Study of Provincial Life (1871-72) has been attacked by feminists since shortly after it was serialized. The main cause of feminist criticism is that she portrays her heroine, Dorothea Brooke, in an androcentric viewpoint and describes her lived experiences through male discourses. In order to identify what such feminist criticism originates in, this article places the novel in the sociopolitical contexts where Dorothea lived while authoring herself, and then analyzes it with M. M. Bakhtin's two important concepts, self-authoring and architectonics. As a result, Middlemarch has many shortcomings in the phases of the heroine's self-authoring and eventually the architectonics. In case of self-authoring, Eliot does not fully explain Dorothea's responses to her first husband and egoistic priest Edward Casaubon, and then her second husband and English-Polish dilettante Will Ladislaw until she reaches her ultimate marriage conclusions. Incessant authorial intervention obstructs the heroine's smooth interactions with her two husbands. In addition, the novel does not provide any sufficient comments about Dorothea's responses to Middlemarchers' opinions even if handling their opinions in the heroine's self-authoring influences the novel's persuasiveness. Dorothea's story has proved its own limitations by its frequent omissions and authorial intrusions. In Bakhtin's terminology, Middlemarch does not properly contain I-formyself, the-other-for-me, and I-for-the-other. It can be said that these shortcomings resulting from Eliot's cross-dressing narrative have caused attacks by feminists.

• 한국철학논집
• /
• 제27호
• /
• pp.469-496
• /
• 2009

愚潭先生于理学, 以≪四七辨证≫贡献最大, 由此知名｡ 其诗咏作品, 传世甚少｡ 学者迄今鲜有论述｡ 那么愚潭之于诗学, 其才情如何, 即成疑问｡ 自宋周濂溪至朱晦庵以来, 理学诸儒多能吟咏, 故有"濂洛风雅"一派｡ 愚潭之诗與其理学著作, 究竟具有何种关联, 亦成疑问｡ 愚潭终身不仕, 儒书之外, 又谙熟佛典與仙道, 又性好游观, 凡此种种, 就外表而言, 则似介于儒学與佛,道之间, 那么愚潭先生之立身, 究竟为儒家, 为佛道, 亦颇有探讨价值｡ 其一生学养所归, 是否醇儒, 仍须辨明｡

• 영어영문학
• /
• 제56권3호
• /
• pp.445-459
• /
• 2010

William Carlos Williams discovers important sources of inspiration in the revolutionary avant-garde movements, in particular, Dada and Surrealism and attempted to embody the innovations in them in his poetic theory and practice. Williams's passion to create an indigenous American poetic work is compatible with his Dadaist experimentation with objets trouvés. Williams pays deep attention to objets trouvés, physical objects and marginalized people he comes across and transcribes his observations with poetic words freed from their instrumental contexts. In his characteristic poems written in the 1920s and 1930s, Williams records the social ruination and his task to give voice to the conflictual and fragmentary character of modernity is pursued through the Surrealist formulation of montage. In the Surrealist formulation of montage, the dialectical image is a central trope for reading the myth of modernity; it is positioned as both subject and object in the historiographic narratives of Walter Benjamin and Williams. As Benjamin tries to obliterate all traces of the author in the Arcades Project, Williams's montage poems like Spring and All only disperse argument into materialistic, dialectical images. The dialectical image in Williams's poetics becomes an organon of historical awakening so that truth can emerge from an unmediated juxtaposition of "things."

• 건축역사연구
• /
• 제20권4호
• /
• pp.45-60
• /
• 2011

The purpose of this paper is to research Gunnar Asplund's Woodland Chapel (1918-20) in terms of the revernacularization of classicism and to investigate into the matter of the constructional logic. The term 'revernacularization of classicism' was used by Alan Colquhoun to explain the process to return to the pure sources of classical architecture, and the case of a successful fusion of classicism and vernacular traditions was suggested by Demetri Porphyrios through Scandinavian Doricist sensibility in the early 20th century. Porphyrios's classicism, not as style but as sensibility, is premised on a constructional logic of vernacular, and is to achieve an aesthetic quality by its mythical elaboration. Woodland Chapel, a representative of the Scandinavian Doricism according to him, illustrates characteristics of the revernacularized classicism as in the fact that it thickly displays vernacular images at the same time as relying on classicism; in the return to primitive simplicity; and in the mythopoeic power. However, the constructional logic of this building was obscured in the capital of the portico columns, the interior dome, and the whole structure of the roof. Confronting this paradox, we have to remember that although Porphyrios emphasized the constructional logic he opened an aesthetic exit of the mythical elaboration, which is in accord with the concept of the tectonic as the poetics of construction. Woodland Chapel assumes atectonic features but is never anti-tectonic. Asplund intensified a poetic effect by setting the myth over construction in the chapel, and so it can be seen as a key example of the revernacularized classicism with the Doricist sensibility.

• 건축역사연구
• /
• 제15권3호
• /
• pp.119-135
• /
• 2006

This study based on the hypothesis which the spatial qualities in the Mies's early works are not extinct but potentially immanent in his latter works. In Mies's early works, destruction of outline, centrifugal extension of fluid space, and asymmetry are distinctly showed. These qualities probably revert to the indefiniteness of space. In Mies's latter works, however, these dynamic qualities are disappeared. Geometrically precise outline and exact grid structure represent universal space derived from zero-degree pure box. These qualities probably revert to tile definiteness of space, characterized by the unmovable emptiness. Although Mies works vary in external form, his expression technique of space reveals continually both the qualify of definitive and indefinitive space. For example, in the Museum for a Small City(1942) unbuilt project. elements defined by the perspective are fixed and static, but elements defined by the collages are floated and dynamic. The former reigns over the realized buildings of Mies, while the latter seems to be latent in terms of Schein which transcends reality. If we can penetrate this point, it's possible to read the other side of Mies' architectural works, distinct from both the canonized interpretation and the excessive criticism. Point is that later works of Mies must be understood as interplay of universal space appeared as phenomenon and flowing elements latent in. Architectural space of Mies keeps a distance with actual space through latent manner of being while preserves the empirical actuality It provides us with an occasion which appears only in an instant, in which even the ordinary things reveal its poetics.

• 한국콘텐츠학회논문지
• /
• 제13권10호
• /
• pp.132-139
• /
• 2013

본 연구는 영화 <전우치>의 텍스트 분석을 통해 한국형 슈퍼히어로 영화의 영상 미학적 특성을 고찰하고 있다. 기본적으로 영상 미학이라 함은 이야기의 구조, 인물 그리고 미장센 등 다양한 요소들을 포함한다. 따라서 본 연구에서는 영화<전우치>의 플롯구조에 대한 일차적 분석을 토대로 인물과 화면 등 기타 미학적 요소의 구성과 특징을 분석해 보았다. 본 연구가 특별히 영화 <전우치>를 텍스트로 선택한 이유는 기존의 할리우드 슈퍼히어로 영화와 비교될 만한 유사한 스토리 진행과 구성 그리고 장르적 스타일 때문이었다. 따라서 본 연구를 통해서 기존의 할리우드 슈퍼히어로 영화와 영화 <전우치> 사이에서의 공통된 영상미학적 특징들을 발견할 수 있었음과 동시에 국내 고전소설과 서구형 영웅장르의 새로운 접목으로 인한 제작상의 한계점 또한 존재함을 확인할 수 있었다.

• 인문언어
• /
• 제5권
• /
• pp.167-192
• /
• 2003

When Hart Crane′s poem cycle The Bridge was published in 1930, a group of influential reviewers accused Crane of immaturity, sentimentality, and lack of focus. They condemned crane′s wayward, fuzzy mysticism as backwards-looking and self-defeating. Even sympathetic critics, such as Harold Bloom, have consistently portrayed Crane′s poetry as the pyrotechnic final fizzle of late romanticism. These persistent, public reservations, however, have not prevented an impressive proliferation in secondary literature concerning Crane since the late 1960s. His promiscuity, alcoholism, erratic behavior, relative poverty, tragic death, and total commitment to art have since earned him the labels of New World Rimbaud and proto-Beat. His colorful career thus explains in part his retrospective fame. Nevertheless, living hard and dying young do not guarantee artistic immortality. This article poses questions as to why Crane has mattered so much to subsequent generations of U.S. readers and what these readers find so compelling in his poetry. The answer, I would argue, lies in Crane′s idiosyncratic use of language. Far from striving for transparency, he writes in an inimitably obstructive, artificial manner. There is something seductive and absurd in his wild use of words here, I would further argue, we discover the reason behind both Crane′s enduring appeal and his supposed inadequacy as a writer. Crane did "torture" syntax, semantics, and conventional associations, not because he saw his unusual language as an eccentric mannerism but because he saw it as a tool in the service of constructing a "myth of America" and reintegrating the human and divine. Understanding thy he considered this to be the case clarifies Crane′s achievement and illuminates why his work still seems so relevant today.