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발행기관 : 한국중세르네상스영문학회 수록지정보 : 중세르네상스 영문학 / 12권 / 1호
저자명 : 이진아

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삶과 죽음을 넘어
신앙과 시의 결합
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ABSTRACT

한국어 초록

Mary Sidney, Countess of Pembroke, was the first Elizabethan woman to achieve public acclaim as a literary figure, mainly through translation. Humanist educators included literary translation in their academic curriculum, and encouraged students to translate classical works into vernacular. The Reformation also stimulated the translation of religious writings. Even in the period when women"s public voice was silenced, especially translation of devotional writings was considered to be appropriate for women. Mary Sidney, intelligent, wealthy and part of a powerful family alliance in Tudor England, received an outstanding humanist education, following the standard humanist curriculum of the classics, the Church Fathers, and Latin, French, and Italian language and literature. Embarking on a course of imitation and experimentation in translation, she sought a clear literary vocation and found her own voice in the space between original texts and translated ones. Unlike any other female writers, she did not write prefaces apologizing for or defending her sex, and yet she by no means broke with feminine literary decorum. Thus in Psalmes, her most accomplished translated work, she represented herself as a model of a female literary figure to her own and succeeding generations.

영어 초록

Mary Sidney, Countess of Pembroke, was the first Elizabethan woman to achieve public acclaim as a literary figure, mainly through translation. Humanist educators included literary translation in their academic curriculum, and encouraged students to translate classical works into vernacular. The Reformation also stimulated the translation of religious writings. Even in the period when women's public voice was silenced, especially translation of devotional writings was considered to be appropriate for women. Mary Sidney, intelligent, wealthy and part of a powerful family alliance in Tudor England, received an outstanding humanist education, following the standard humanist curriculum of the classics, the Church Fathers, and Latin, French, and Italian language and literature. Embarking on a course of imitation and experimentation in translation, she sought a clear literary vocation and found her own voice in the space between original texts and translated ones. Unlike any other female writers, she did not write prefaces apologizing for or defending her sex, and yet she by no means broke with feminine literary decorum. Thus in Psalmes, her most accomplished translated work, she represented herself as a model of a female literary figure to her own and succeeding generations.

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