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The critics such as Leavis, Matthiessen, and Gardner, who had broadly followed the critical discourse of British and American formalism, argued that The Waste Land has the organic unity based on the primitive fertility myth. Such views had their base of arguments from Eliot's own writing, especially 'Ulysses, Order, and Myth' and his 'Notes' referred to the general plan of the poem and to Tiresias. But postmodern critics claim to read the indeterminate signs and floating referents through the gaps, absences, and inconsistencies in the literary work. In spite of the poet's proclaimed intention, the poem reflects the fragmented human condition of the ruined civilization in Europe around 1920s. For example, the typist is a worker named metonymically for the machine she tends, that she is called a "typist" even at home. Showing the division of labor, she is the very type of the social system that accumulates its members by mere aggregation. Yet this type is linked syntactically to Tiresias as well, erasing ordinary boundaries between active and passive, subject and object. So we may say that the poem's parts have the unity of stars in a constellation, or the archaeological coherence of a ruined city. Like Schliemann's Troy, the poem is ruin of a ruin, comprising remnants of a lost civilization destroyed in flames. Reminding the narrative technique of Benjamin's 'Thesis on the Philosophy of History', the historical perspective of The Waste Land is not that of evolutionary meliorist or socilal democrat but that of historical materialist. The poem seeks to rescue history in a moment of danger through the tiger's leap to the past, and sometimes, like stars in a constellation, redeems the utopian moments for a time.

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 Abstract

저자

• 김철수 [ Kim, Chul-Soo | 경북대 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  영어영문학연구 [Studies on English Language & Literature]

• 간기

  계간

• pISSN

  1226-8682

• 수록기간

  1972~2020

• 십진분류

  KDC 840 DDC 820