지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2007.2
- 수록면
- 263 - 289 (27page)
이용수
초록· 키워드
오류제보하기
The Cenci with its very factual background has been usually considered as a kind of exception among Shelley's seemingly overall idealistic works, but this thesis would be one of the efforts to relocate The Cenci within Shelley's major works, which have been created from and also has created his strenuously sustained thinking itself about poetic imagination and its hard-to-define relation with human realities. And with this ponderous problem under its arm, furthermore his poetry dares to put a disturbing but critical question to itself, one like “are you just making up realities of 'words' or revealing any ‘real’ realities beyond?”
Every main character in this tragedy is found out to be involved within inner struggles, during which he or she should settle for his own realities, chasing ‘what must be thought and may be done’ along many-convoluted paths through his mind. His mind is necessarily driven to glimpse its own limit, the limit of its capablities of representing realities, its limit of words. His mind is driven to a certain boundary, from which it could be possible to enter into an unimaginable, expressionless dimension of being. This ends not just as an idle musing, but as a life-and-death matter for the characters of The Cenci ; Seek the way within his own mind out or die(or live a death-like life). Giacomo, the son of Count Cenci, is found left shivering on the brink of his own imagination. He never dares to see the outside world clearly, as his vision is irreparably dimmed by its foggy inner fears. He never imagines any realities beyond, in which father is not a only and absolute value-giving center. Thus he never acts.
Count Cenci, in his outrageously straightforward way, tries to represent the outer realities. as real as believed by himself to be. He torments human bodies for the body in pain could work as a unmistakable sure sign of the man's inner state. As for Count Cenci, how to represent means how to dominate. Abstracted from any earthly relations, he tries to embody for himself pure essence of dominating power but he would not admit the very conditions of that embodiment. Thus he would not allow the inevitable influx of history, he rapes his own daughter Beatrice, with a view to existing in presence there, as a hideous eye to control the future life. He tries to gulp down every concrete detail of life, into lifeless shreds signifying his power.
Beatrice is the only one in real struggle. Though her inevitable associations and fears are the most intense and tormenting, she never succumbs to them and never locks herself within. Her greatest ‘act’ is accomplished during the last tribunal act. Here we rather should describe that she acts only with the words. She tries to defend her own case, in other words, she tries to represent her own realities without mentioning her father's unnameable misdemeanor but also drawing her deeply felt power of words from that inexpressible wrong. Here Beatrice's words bring into being another dimension of human reality, against the one ruled as absolutely real. Though she fails in gaining her case, what she achieves through this act is that her words bring these latent realities to life, restoring a possibility of freely proliferating meaning to the words. She embodies herself the limit of words and also proves by her own being the existence of its beyond. May I say Shelley tried to embody a poet in the world, through Beatrice?
Every main character in this tragedy is found out to be involved within inner struggles, during which he or she should settle for his own realities, chasing ‘what must be thought and may be done’ along many-convoluted paths through his mind. His mind is necessarily driven to glimpse its own limit, the limit of its capablities of representing realities, its limit of words. His mind is driven to a certain boundary, from which it could be possible to enter into an unimaginable, expressionless dimension of being. This ends not just as an idle musing, but as a life-and-death matter for the characters of The Cenci ; Seek the way within his own mind out or die(or live a death-like life). Giacomo, the son of Count Cenci, is found left shivering on the brink of his own imagination. He never dares to see the outside world clearly, as his vision is irreparably dimmed by its foggy inner fears. He never imagines any realities beyond, in which father is not a only and absolute value-giving center. Thus he never acts.
Count Cenci, in his outrageously straightforward way, tries to represent the outer realities. as real as believed by himself to be. He torments human bodies for the body in pain could work as a unmistakable sure sign of the man's inner state. As for Count Cenci, how to represent means how to dominate. Abstracted from any earthly relations, he tries to embody for himself pure essence of dominating power but he would not admit the very conditions of that embodiment. Thus he would not allow the inevitable influx of history, he rapes his own daughter Beatrice, with a view to existing in presence there, as a hideous eye to control the future life. He tries to gulp down every concrete detail of life, into lifeless shreds signifying his power.
Beatrice is the only one in real struggle. Though her inevitable associations and fears are the most intense and tormenting, she never succumbs to them and never locks herself within. Her greatest ‘act’ is accomplished during the last tribunal act. Here we rather should describe that she acts only with the words. She tries to defend her own case, in other words, she tries to represent her own realities without mentioning her father's unnameable misdemeanor but also drawing her deeply felt power of words from that inexpressible wrong. Here Beatrice's words bring into being another dimension of human reality, against the one ruled as absolutely real. Though she fails in gaining her case, what she achieves through this act is that her words bring these latent realities to life, restoring a possibility of freely proliferating meaning to the words. She embodies herself the limit of words and also proves by her own being the existence of its beyond. May I say Shelley tried to embody a poet in the world, through Beatrice?
목차
Ⅰ. 시작하는 글
Ⅱ. 『첸치』의 역사성과 현실성
Ⅲ. 비아트리스?언어, 현실 그리고 상상력
Ⅳ. 맺는 말
인용 문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
Prohibition and Enjoyment: The Double Facet of the Law in Shelley's The Cenci
영어영문학연구
2004 .01
-
중국 전통소설의 ‘리얼리즘’과 텍스트성에 대한 試論적 고찰
중국문학
2009 .01
-
두 이탈리아 이브의 죽음
영어영문학연구
2012 .01
-
셸리의 <풀려난 프로메테우스>: 필연성과 사랑
18세기영문학
2017 .01
-
김종삼 시의 현실 인식 방법의 특성 연구
한국시학연구
2005 .04
-
Yeats’s Attachment to the Reality in “Sailing to Byzantium”
한국 예이츠 저널
2014 .01
-
한자 ‘기(氣)’로 끝난 단어들의 조어법 분석
한국학(구 정신문화연구)
2019 .09
-
셸리의 갈등과 성취: ｢삶의 개선 행렬｣ 읽기
영어영문학연구
2012 .01
-
상상력의 열림과 닫힘 : 그 생성 원리 및 양상
국어국문학
2007 .09
-
漢字語의 단어 형성의 특성에 대한 일고찰 : 名詞에 限하여
어문론집
2008 .03
-
능가하기와 닮아가기―월러스 스티븐스의 『바위』(The Rock)에서 상상과 실재의 관계에 나타나는 근접과 차이
현대영미시연구
2009 .01
-
모호함의 메시지 : 셸리의 「종달새에게」 읽기
19세기 영어권 문학
2006 .02
-
최인훈 문학의 재현 방식 연구 : 『회색인』과 『서유기』를 중심으로
국어교육연구
2013 .08
-
현대문학과 상상력의 총체성
국어국문학
2007 .09
-
1930년대 시어, 인공어와 자연어의 구도 : 백석 시어의 근대적 특성을 중심으로
한국시학연구
2005 .08
-
孤山 詩歌에 나타난 현실인식 연구
어문론집
2000 .12
-
‘재현/현시 해체’와 ‘2차적 실재’의 귀환 : 영화적 상상력을 넘어서
철학논총
2011 .01
-
The Failure of Hegemonic Masculinity in the Romantic Gothic Dramas: Remorse, Manfred, and The Cenci*1)
영미문학페미니즘
2019 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-840-016520780