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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.
초록· 키워드
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Christina Rossetti' s Manna Innominata is a very idiosyncratic sonnet-cycle challenging the existing male sonnet-tradition in that the female object of the male poet's love speaks as the poetic subject--a nameless female poet. The figure of a female poet as poetic speaker comes from Rosseti's ambitious poetic project to create a new sonnet mode from the female perspective.
Rossetti' s manna innominata sings desperately her unhappy and self-contradictory love for the specterlike beloved even fourteen times. There is nowhere any sign of the vision of the earthly accomplishment of her love. The speaker, nevertheless, stops singing, for the act of singing itself is the most important to her, and for she regards the earthly love as far less worth pursuing than the heavenly love.
The course of singing the earthly love is, to her, that of renouncing that love and absorbing herself into the "Primal Love", the love of God. Her fundamental goal is put on her soul's final self-purification through the power of the aesthetic words and their establishment of the artistic shelter. As the cycle progresses, the power of the imagination and the act of singing are emphasized; at the end of the cycle, the songs are immersed into the song of silence inhabiting her deep heart; the self-purification reaching the summit.
In this way, the love songs of Rossetti's manna innominata are not completely unhappy, but they reveal the female poet's existential limitation in the Victorian England and her desperate effort to overcome it as well.
Rossetti' s manna innominata sings desperately her unhappy and self-contradictory love for the specterlike beloved even fourteen times. There is nowhere any sign of the vision of the earthly accomplishment of her love. The speaker, nevertheless, stops singing, for the act of singing itself is the most important to her, and for she regards the earthly love as far less worth pursuing than the heavenly love.
The course of singing the earthly love is, to her, that of renouncing that love and absorbing herself into the "Primal Love", the love of God. Her fundamental goal is put on her soul's final self-purification through the power of the aesthetic words and their establishment of the artistic shelter. As the cycle progresses, the power of the imagination and the act of singing are emphasized; at the end of the cycle, the songs are immersed into the song of silence inhabiting her deep heart; the self-purification reaching the summit.
In this way, the love songs of Rossetti's manna innominata are not completely unhappy, but they reveal the female poet's existential limitation in the Victorian England and her desperate effort to overcome it as well.
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참고문헌 (12)
참고문헌 신청
Battiscombe, Georgia. , 1981 , Christina Rosseti: A Divided Life , London:Constable
Harrison, Antony H. , 1988 , Christina Rossetti in Context , Brighton: The Harvester Press
Harrison, Antony H. , 1998 , Victorian Poets and the Politics of Culture: Discourse and Ideology , Charlottesville: UP of Virginia
Marsh, Jan. , 1994 , Christina Rossetti: a literary biography , London: Jonathan Cape
Montefiore, Jan , 2004 , Feminism and Poetry , London: Pandora Press
Harrison, Antony H. , 1988 , Christina Rossetti in Context , Brighton: The Harvester Press
Harrison, Antony H. , 1998 , Victorian Poets and the Politics of Culture: Discourse and Ideology , Charlottesville: UP of Virginia
Marsh, Jan. , 1994 , Christina Rossetti: a literary biography , London: Jonathan Cape
Montefiore, Jan , 2004 , Feminism and Poetry , London: Pandora Press
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