조이스의 「은총」(“Grace”)에 나타난 ‘상투성’ 분석: 로렌스의 ‘클리셰’ 비판과 하이데거의 ‘에피파니’를 중심으로 (A Study on the Cliché in James Joyce’s “Grace”: Focusing on the Cliché Criticism of D. H. Lawrence and ‘Epiphany’ of Martin Heidegger)

서지정보

· 발행기관 : 한국로렌스학회
· 수록지 정보 : D.H. 로렌스 연구 / 29권 / 2호 / 1 ~ 25페이지
· 저자명 : 김영호

초록

Lawrence realizes the practice of consistent art as the practice of life. In order to reveal that the vitality of life is a creative process implemented by vividness, art must overcome various commonality problems. Heidegger also finds the logic of overcoming the conventional idealism in Cezanne’s paintings. Lawrence-Heidegger’s development of art practice by overcoming the cliché in Cezanne’s paintings can be studied in Joyce’s epiphany writing.
Joyce’s “Grace” in Dubliners is a short story that shows the problem of Irish paralysis in the terms of religious grace and secular depravity, and Joyce’s term for ‘simony’. It is a work that ironically presents paralytic situation with a description strategy of a gap [gnomon style], and its main feature follows the structure of Dante’s The Divine Comedy.
In this context, it can be confirmed that the vitality of ‘full imagination’ should be affirmed through the narrative form in the way of cliché criticism through Mr. Kernan’s paralytic situation and the simony of Irish religion.

영어초록

Lawrence realizes the practice of consistent art as the practice of life. In order to reveal that the vitality of life is a creative process implemented by vividness, art must overcome various commonality problems. Heidegger also finds the logic of overcoming the conventional idealism in Cezanne’s paintings. Lawrence-Heidegger’s development of art practice by overcoming the cliché in Cezanne’s paintings can be studied in Joyce’s epiphany writing.
Joyce’s “Grace” in Dubliners is a short story that shows the problem of Irish paralysis in the terms of religious grace and secular depravity, and Joyce’s term for ‘simony’. It is a work that ironically presents paralytic situation with a description strategy of a gap [gnomon style], and its main feature follows the structure of Dante’s The Divine Comedy.
In this context, it can be confirmed that the vitality of ‘full imagination’ should be affirmed through the narrative form in the way of cliché criticism through Mr. Kernan’s paralytic situation and the simony of Irish religion.

참고자료

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