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[영국문화론] 13강. 20th-C Modernism: T.E. Hulme, T.S. Eliot & Virginia Woolf
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13강. 20th-C Modernism: T.E. Hulme, T.S. Eliot &
Virginia Woolf
◈ 담당교수: 김문수
◉ 세부목차
1. 20세기 Modernism 해설
1) Modernism의 개요와 제요소
2) T.E. Hulme, T.S. Eliot, Virginia Woolf 해설
2. Hulme's "Romanticism and Classicism" 강의
3. Eliot's "Tradition and the Individual Talent" 강의
4. Woolf's "Modern Fiction" 강의
5. Modernism 보충자료
[영국문화론] 13강. 20th-C Modernism: T.E. Hulme, T.S. Eliot & Virginia Woolf
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용어 해설
Modernism20세기 초반의 새로운 문화 및 문학 현상으로서 낭만주의 후기의
지나친 주정주의(emotionalism)와 느슨한 표현을 배격한다.
ImagismHulme, Pound, F.S. Flint 등이 주도한 시 운동으로서 감상적이고
*Woolf는 판에 박은 플롯에 외적인 삶만을 다루는 기존의 소설가들을 materialist라고
비난하며, 새로운 소설은 삶의 외부가 아니라 인간내면의 무의식의 세계를 그려야 한다고
주장한다. 그리고 서술방식도 이에 맞추어 새로운 시간관과 심리학적 관점을 이용한 방식이
어야 한다고 말한다. Joyce의 Ulysses를 가장 좋은 예로 들고 있는 것으로 보아 Woolf가
생각한 새로운 서술방식은 stream-of-consciousness 기법으로 보인다. 4개의 Section 중
에서 Section A의 밑줄 친 부분만 음성으로 강의한다.
1. Section A(밑줄 부분만 음성강의)
Look within and life, it seems, is very far from being “like this.”1) Examine for a
moment an ordinary mind on an ordinary day. The mind receives a myriad
impressions—trivial, fantastic, evanescent, or engraved with the sharpness of steel.
From all sides they come, an incessant shower of innumerable atoms; and as they
fall, as they shape themselves into the life of Monday or Tuesday, the accent falls
differently from of old; the moment of importance came not here but there;2) so that,
if a writer were a free man and not a slave, if he could write what he chose, not
what he must, if he could base his work upon his own feeling and not upon
convention, there would be no plot, no comedy, no tragedy, no love interest or
catastrophe in the accepted style, and perhaps not a single button sewn on as the
Bond Street tailors would have it. Life is not a series of gig lamps symmetrically
arranged; life is a luminous halo, a semi-transparent envelope surrounding us from
the beginning of consciousness to the end. Is it not the task of the novelist to convey
this varying, this unknown and uncircumscribed spirit, whatever aberration or
complexity it may display, with as little mixture of the alien and external as possible?
We are not pleading merely for courage and sincerity; we are suggesting that the
proper stuff of fiction is a little other than custom would have us believe it.
*Notes
(1) “like this”: materialist로 비난받은 기존 소설가들이 그리는 외적인 삶을 말함.
(2) not here but there: ‘외적인 삶’이 아니라 ‘내적인 삶’을 뜻함.
*Points
(1) 구획된 외부의 삶이 아니라 복잡한 내면의 삶(의식)이 새로운 소설의 소재임
2. Section B(자습부분)
It is, at any rate, in some such fashion as this that we seek to define the quality
which distinguishes the work of several young writers, among whom Mr. James Joyce1)
[영국문화론] 13강. 20th-C Modernism: T.E. Hulme, T.S. Eliot & Virginia Woolf
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is the most notable, from that of their predecessors. They attempt to come closer to
life, and to preserve more sincerely and exactly what interests and moves them, even
if to do so they must discard most of the conventions which are commonly observed
by the novelist. Let us record the atoms as they fall upon the mind in the order in
which they fall, let us trace the pattern, however disconnected and incoherent in
appearance, which each sight or incident scores upon the consciousness. Let us not
take it for granted that life exists more fully in what is commonly thought big than in
what is commonly thought small.2) Any one who has read The Portrait of the Artist as
a Young Man or, what promises to be a far more interesting work, Ulysses, now
appearing in the Little Review, will have hazarded some theory of this nature3) as to
Mr. Joyce’s intention. On our part, with such a fragment before us, it is hazarded
rather than affirmed; but whatever the intention of the whole, there can be no
question but that4) it is of the utmost sincerity and that the result, difficult or
unpleasant as we may judge it, is undeniably important. In contrast with ⓐthose
whom we have called materialists, Mr. Joyce is spiritual; he is concerned at all costs
to reveal the flickerings of that innermost flame which flashes its messages through
the brain, and in order to preserve it he disregards with complete courage whatever
seems to him adventitious, whether it be probability, or coherence, or any other of
these signposts5) which for generations have served to support the imagination of a
reader when called upon to imagine what he can neither touch nor see.
*Notes
(1) Mr. James Joyce: (1882-1941) 전통적인 수법의 단편집 The Dubliners(1914)를
발표한 이후, 의식의 흐름 수법을 이용한 The Portrait of the Artist as a Young
Man(1917)을 출판하였다. Ulysses(1922)는 이 수법의 대표적인 예가 된다.
(2) what is commonly thought small: inner life, consciousness.
(3) will have ... nature: 이런 종류의 이론(즉, 새로운 소설의 이론)을 과감히 발표할 것
이다.
(4) there ... but that ...: ~라는 사실에 대해서는 의문의 여지가 있을 수 없다.
(5) these signposts: 기존 소설들의 각종 관습적 장치들을 말함.
*Points
(1) James Joyce의 Ulysses: 새로운 소설의 소재와 형식의 단적인 예
*Question
1. 밑줄 친 ⓐ에 해당하는 인물들을 다른 자료에서 찾아보시오.
<답> H.G. Wells, Arnold Bennett, John Galsworthy
3. Section C(자습부분)
Any method is right, every method is right, that expresses what we wish to
express, if we are writers; that brings us closer to the novelist’s intention if we are
readers. This method has the merit of bringing us closer to what we were prepared to
call life itself;1) did not the reading of Ulysses suggest how much of life is excluded
[영국문화론] 13강. 20th-C Modernism: T.E. Hulme, T.S. Eliot & Virginia Woolf
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or ignored, and did it not come with a shock to open Tristram Shandy or even
Pendennis2) and be by them convinced that there are not only other aspects of life,
but more important ones into the bargain.
However this may be, the problem before the novelist at present, as we suppose it
to have been in the past, is to contrive means of being free to set down what he
chooses. He has to have the courage to say that what interests him is no longer
“this” but “that”: out of “that” alone must he construct his work. For the moderns ⓐ
“that”, the point of interest, lies very likely in the dark places of psychology. At once,
therefore, the accent falls a little differently; the emphasis is upon something hitherto
ignored; ⓑat once a different outline of form becomes necessary, difficult for us to
grasp, incomprehensible to our predecessors.
*Notes
(1) life itself: 외부의 삶이 아니라 ‘내면의 삶’ 혹은 ‘의식’을 지칭함.
(2) Tristram Shandy or even Pendennis: 각기 Laurence Sterne(1713-68)과 William
Makepeace Thackery(1811-63)의 소설로서, 관습적인 소설과 전혀 다른 서술방식을 택하
고 있다.
*Points
(1) 현대소설의 소재: the dark places of psychology(ⓐ)
(2) 현대소설의 형식: 자유로운 형식, 기존과 다른 형식(ⓑ)→‘의식의 흐름’ 수법
4. Section D(자습부분)
But any deductions that we may draw from the comparison of two fictions so
immeasurably far apart are futile save indeed as1) they flood us with a view of the
infinite possibilities of the art and remind us that there is no limit to the horizon, and
that nothing—no “method”, no experiment, even of the wildest—is forbidden, but only
falsity and pretence. ⓐ“The proper stuff of fiction” does not exist; everything is the
proper stuff of fiction, every feeling, every thought; every quality of brain and spirit is
drawn upon; no perception comes amiss. And if we can imagine the art of fiction
come alive and standing in our midst, she2) would undoubtedly ⓑbid us break her
and bully her,3) as well as honour and love her, for so her youth is renewed and her
sovereignty assured.
*Notes
(1) save indeed as ...: 정말로 ~할 경우가 아니라면.
(2) she: the art of fiction(소설이라는 예술)이 여성으로 의인화되어 있다.
(3) bid us ... her: ‘우리가 그녀를 부스러뜨리고 괴롭히게 명령한다’는 어구는 ‘소설의
형식과 소재를 무제한으로 추구하는 것’을 말한다.
*Points
(1) 소설의 소재·형식의 무제한성(ⓐⓑ)--이것이 영국소설의 부흥의 길
[영국문화론] 13강. 20th-C Modernism: T.E. Hulme, T.S. Eliot & Virginia Woolf
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5. Modernism 보충자료
1. "Modernism and Postmodernism"
(M.H. Abrams, A Glossary of Literary Terms)
*20세기 초반의 Modernism과 20세기 후반의 Postmodernism을 함께 다룬 이 글을 통
해 20세기의 전반적인 문학사의 흐름을 알아보기 바란다.
The term modernism is widely used to identify new and distinctive features in the
subjects, forms, concepts, and styles of literature and the other arts in the early
decades of the present century, but especially after World War I (1914-1918). The
specific features signified by "modernism" vary with the user, but many critics agree
that it involves a deliberate and radical break with some of the traditional bases not
only of Western art, but of Western culture in general. Important intellectual precursors
of modernism, in this sense, are thinkers who had questioned the certainties that had
supported traditional modes of social organization, religion, and morality, and also
traditional ways of conceiving the human self--thinkers such as Friedrich Nietzsche
(1844-1900), Karl Marx, Sigmund Freud, and James G. Frazer, whose The Golden
Bough (1890-1915) stressed the correspondence between central Christian tenets and
pagan, often barbaric myths and rituals.
Some literary historians locate the beginning of the modernist revolt as far back as
the 1890s, but most agree that "high modernism," marked by and unexampled range
and rapidity of change, came after the First World War. The year 1922 alone was
signalized by the simultaneous appearance of such monuments of modernist
innovation as James Joyce's Ulysses, T. S. Eliot's The Waste Land, and Virginia
Woolf's Jacob's Room, as well as many other experimental works of literature. The
catastrophe of the war had shaken faith in the continuity of Western civilization and
raised doubts about the adequacy of traditional literary modes to represent the harsh
and dissonant realities of the postwar world. T. S. Eliot wrote in a review of Joyce's
Ulysses in 1923 that the inherited mode of ordering a literary work, which assumed a
relatively coherent and stable social order, could not accord with "the immense
panorama of futility and anarchy which is contemporary history." Like Joyce and Ezra
Pound in his Cantos, Eliot experimented with new forms and a new style that would
render contemporary disorder, often contrasting it to a lost order and integration that
had been based on the religion and myths of the cultural past. In the The Waste
Land (1922), for example, Eliot replaced the standard flow of poetic language by
fragmented utterances, and substituted for the traditional coherence of poetic structure
a deliberate dislocation of parts, in which very diverse components are related by
connections that are left to the reader to discover, or invent. Major works of
[영국문화론] 13강. 20th-C Modernism: T.E. Hulme, T.S. Eliot & Virginia Woolf
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modernist fiction, following Joyce's Ulysses (1922) and his even more radical
Finnegans Wake (1939), subvert the basic conventions of earlier prose fiction by
breaking up the narrative continuity, departing from the standard ways of representing
characters, and violating the traditional syntax and coherence of narrative language by
the use of stream of consciousness and other innovative modes of narration. Gertrude
Stein--often linked with Joyce, Pound, Eliot, and Woolf as a trail-blazing
modernist--experimented with writing that achieved its effects by violating the norms
of standard English syntax and sentence structure. The new forms of construction in
verse, prose, and narrative were emulated and carried further by many poets and
novelists; they have obvious parallels in the violation of representational conventions in
expressionism and surrealism, in the modernist paintings and sculpture of Cubism,
Futurism, and Abstract Expressionism, and in the violations of standard conventions of
melody, harmony, and rhythm by the modernist musical composers Stravinsky and
Schoenberg, and their radical followers.
A prominent feature of modernism is the phenomenon called the avant-garde (a
military metaphor: "advance-guard"); that is, a small, self-conscious group of artists
and authors who deliberately undertake, in Ezra Pound's phrase, to "make it new." By
violating the accepted conventions and proprieties, not only of art but of social
discourse, they set out to create ever-new artistic forms and styles and to introduce
hitherto neglected, and sometimes forbidden, subject matters. Frequently avant-garde
artists represent themselves as "alienated" from the established order, against which
they assert their own autonomy; a prominent aim is to shock the sensibilities of the
conventional reader and to challenge the norms and pieties of the dominant bourgeois
culture ....
The term postmodernism is often applied to the literature and art after World War II
(1939-45), when the effects on Western morale of the first war were greatly
exacerbated by the experience of Nazi totalitarianism and mass extermination, the
threat of total destruction by the atomic bomb, the progressive devastation of the
natural environment, and the ominous fact of overpopulation. Postmodernism involves
not only a continuation, sometimes carried to an extreme, of the countertraditional
experiments of modernism, but also diverse attempts to break away from modernist
forms which had, inevitably, become in their turn conventional, as well as to overthrow
the elitism of modernist "high art" by recourse for models to the "mass culture" in
film, television, newspaper cartoons, and popular music. Many of the works of
postmodern literature--by Jorge Luis Borges, Samuel Beckett, Vladimir Nabokov,
Thomas Pynchon, Roland Barthes, and many others--so blend literary genres, cultural
and stylistic levels, the serious and the playful, that they resist classification according
to traditional literary rubrics. And these literary anomalies are paralleled in other arts
by phenomena like pop art, op art, the musical compositions of John Cage, and the
films of Jean-Luc Godard and other directors.
An undertaking in some postmodernist writing is to subvert the foundations of our
[영국문화론] 13강. 20th-C Modernism: T.E. Hulme, T.S. Eliot & Virginia Woolf
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accepted modes of thought and experience so as to reveal the "meaninglessness" of
existence and the underlying "abyss," or "void", or "nothingness" on which any
supposed security is conceived to be precariously suspended. Postmodernism in
literature and the arts has parallels with the movement known as poststructuralism in
linguistic and literary theory; poststructuralists undertake to subvert the foundations of
language in order to show that its seeming meaningfulness dissipates, for a rigorous
inquirer, into a play of conflicting indeterminacies, or else to show that all forms of
cultural discourses are manifestations of the ideology, or of the relations and
constructions of power, in contemporary society.
2. "Modernism"
(The Concise Oxford Dictionary of Literary Terms--Answers.com)
*백과사전류에서 발췌한 두 개의 글을 통해서 Modernism의 다양한 양상을 알아보기 바
란다.
A general term applied retrospectively to the wide range of experimental and avant‐garde trends in the literature (and other arts) of the early 20th century, including
Symbolism, Futurism, Expressionism, Imagism, Vorticism, Dada, and Surrealism, along
with the innovations of unaffiliated writers. Modernist literature is characterized chiefly
by a rejection of 19th‐century traditions and of their consensus between author and
reader: the conventions of realism, for instance, were abandoned by Franz Kafka and
other novelists, and by expressionist drama, while several poets rejected traditional
metres in favour of free verse. Modernist writers tended to see themselves as an
avant‐garde disengaged from bourgeois values, and disturbed their readers by
adopting complex and difficult new forms and styles. In fiction, the accepted
continuity of chronological development was upset by Joseph Conrad, Marcel Proust,
and William Faulkner, while James Joyce and Virginia Woolf attempted new ways of
tracing the flow of characters' thoughts in their stream‐of‐consciousness styles. In
poetry, Ezra Pound and T. S. Eliot replaced the logical exposition of thoughts with
collages of fragmentary images and complex allusions. Luigi Pirandello and Bertolt
Brecht opened up the theatre to new forms of abstraction in place of realist and
naturalist representation. Modernist writing is predominantly cosmopolitan, and often
expresses a sense of urban cultural dislocation, along with an awareness of new
anthropological and psychological theories. Its favoured techniques of juxtaposition and
multiple point of view challenge the reader to reestablish a coherence of meaning
from fragmentary forms. In English, its major landmarks are Joyce's Ulysses and
Eliot's The Waste Land (both 1922). In Hispanic literature the term has a special
sense: modernismo denotes the new style of poetry in Spanish from 1888 to c.1910,
strongly influenced by the French Symbolists and Parnassians and introduced by the
Nicaraguan poet Rubén Darío and the Mexican poet Manuel Gutiérrez Nájera. For a
fuller account, consult Peter Childs, Modernism (2000).
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3. "Modernism"
(Britannica Concise Encyclopedia--Answers.com)
In the arts, a radical break with the past and concurrent search for new forms of
expression. Modernism fostered a period of experimentation in the arts from the late
19th to the mid-20th century, particularly in the years following World War I. In an era
characterized by industrialization, rapid social change, advances in science and the
social sciences (e.g., Darwinism, Freudian theory), Modernists felt a growing alienation
incompatible with Victorian morality, optimism, and convention. The Modernist impulse
is fueled in various literatures by industrialization and urbanization, by the search for
an authentic response to a much-changed world. Among English-language writers,
the best-known Modernists are T.S. Eliot, James Joyce, Gertrude Stein, and Virginia
Woolf. Composers, including Arnold Schoenberg, Igor Stravinsky, and Anton Webern,
sought new solutions within new forms and used as-yet-untried approaches to
tonality. In dance a rebellion against both balletic and interpretive traditions had its
roots in the work of Émile Jaques-Delcroze, Rudolf Laban, and Loie Fuller. Each of
them examined a specific aspect of dance—such as the elements of the human form
in motion or the impact of theatrical context—and helped bring about the era of
modern dance. In the visual arts the roots of Modernism are often traced back to
painter Édouard Manet, who beginning in the 1860s broke away from inherited notions
of perspective, modeling, and subject matter. The avant-garde movements that