Earticle

The purpose of this paper is to examine how Keats’s political consciousness was actualized in Hyperion in connection with his poetic theory, Negative Capability. Keats supported the progressive and optimistic development of history and Hyperion clearly mirrors his historical view. Keats sympathizes with fallen titans such as Saturn and Hyperion throughout the work. In the speech of Oceanus he announces that the change of generations is an inevitable rule of nature and an eternal truth. However this work was left unfinished, I think, due to the inner conflict between his political consciousness (focused on the progressive development of history) and deep sympathy for the historical victims of progress. Nevertheless, it is clear that he displays his political awareness in Hyperion. Until very recently, Keats has been regarded as an apolitical romanticist who is remarkably disengaged from social and political issues and the historical anxieties of his own times. Many critics agree that this image of an escapist and aestheticist originated in malicious campaigns by Tory journalists including Z. While Keats’s early poems like “On Peace” and “To Hope” show his radical political awareness explicitly, his later poems—with their propensity for Greek myth, medieval romance, and beauty—do not appear to show any political opinions. However his strong faith in the possibility of progress is expressed metaphorically in his later poetry which is filled with his Negative Capability poetic theory. He discarded his own self in sympathy for other things and wrote poems using this poetic theory. This paper examines Keats’s political awareness as described in Hyperion. It also evaluates the reasons postulated for why the work remained incomplete in relation to his Negative Capability poetic theory.

This study aims to investigate how Keats’s “Negative Capability” affected Keats’s anxiety over his identity and shaped his concept of a poet-healer’s role. I try to focus on receptive sympathy ability, rather than the submission of the self and the extinction of identity, in the Negative Capability theory. Keats saw poetry as a potentially healing agent and a poet as a type of healer to humankind after he agonized over his own difficult problems and the sufferings of the world. He gave up the practice of medicine for poetry shortly after he gained licensure as an apothecary. However, he continued to see the poet and the medical worker as related. His medical experience helped to shape his concept of the poet’s role as a healer. Apollo the god embodied the hope of healing by sympathetic power in Hyperion. However, Keats couldn’t finish the poem because of the limited capacity of a god-hero to experience the suffering of humans. He was forced to find an alternative hero in the poet-healer of The Fall of Hyperion and expressed the role of a poet as a sage, a humanist, a physician to all men. Keats was able to reach deeper sympathy in uncertainty and extend the role of sympathy and healing into a poet as well as a physician through his private medical experience.

본 논문은 존 키츠와 W.B. 예이츠가 잃어버린 대상을 재구성하고 현실과 이상 사이의 관계를 변증법으로 재창조하는 방식을 탐구한다. 키츠는 ｢그리스 항아리에 부치는 송시｣와 ｢나이팅게일에게 부치는 송가｣에서 이상적인 세계를 매혹적이면서도 도달할 수 없는 꿈의 풍경으로 묘사한다. 하지만 화자는 결국 고통스러운 현실로 되돌려진다. ｢이사벨라, 혹은 바질 화분｣에서 키츠는 이사벨라가 잃어버린 대상을 이상화하고 그녀의 자아와 우울증적 동일시를 함으로써 일시적이지만 그 대상을 되살리는 모습을 그린다. 한편 예이츠는 ｢청금석 부조｣, ｢쿨 호수의 야생 백조｣, ｢서커스단 동물들의 탈주｣에서 불완전성을 시적 상징으로 변환함으로써 현실과 이상 사이의 긴장을 그려낸다. 예이츠에게 부재는 창조적 힘으로 작용하여 현실을 재구성하면서도 상상력이 현실이나 자아를 대체하지 않는다. 존재와 부재, 상상과 현실의 상호작용은 두 시인이 이러한 이중 영역을 조화시키려는 탐구의 핵심이다.

This paper examines how John Keats and W.B. Yeats reconstruct lost objects and dialectically navigate the relationship between reality and ideality. In “Ode on a Grecian Urn” and “Ode to a Nightingale,” Keats portrays the ideal world as an alluring yet elusive dreamscape, only to return his characters to the harshness of reality. In contrast, in “Isabella, or the Pot of Basil,” Keats depicts Isabella idealizing the lost object and reviving it, though temporal, through a melancholic identification with her ego. Yeats, on the other hand, embraces the tension between reality and ideality by transforming imperfections into poetic symbols in works such as “Lapis Lazuli,” “The Wild Swans at Coole,” and “The Circus Animals’ Desertion.” For Yeats, absence serves as a creative force that persistently reconstructs reality without allowing imagination to replace reality or the self. The interplay of presence and absence, reality and imagination, is central to Keats’s and Yeats’s efforts to reconcile these dual realms.

The purpose of this paper is to examine what critical reading endowed with “negative capability” is by analyzing the initial critical response to Samuel Beckett’s late prose work Ill Seen Ill Said through the concept of “the implied critic’s decision style” coming from Reuven Tsur’s cognitive poetics. ‘Negative capability,’ as originally formulated by the English poet John Keats, refers to the capability of “being in uncertainties, mysteries, doubts” or to the “ability to make up one’s mind about nothing” without irritably “reaching after fact and reason.” This study first introduces Tsur’s comparative analysis of Eva Metman’s and Günther Anders’s readings of Waiting for Godot, which are presented as two cases exhibiting different degrees of ‘negative capability.’ Tsur’s analysis shows that Anders’s reading, characterized by internal motivation, an operational definition with a highly descriptive content, and active shifts in mental set, exhibits a higher degree of ‘negative capability’ than does Metman’s reading, which is characterized by external evidence, a dependence on theoretical assumptions, and an unwillingness to shift mental set. In a similar fashion, the study goes on to analyze two initial critical readings of Ill Seen Ill Said respectively carried out by Marjorie Perloff and Nicholas Zurbrugg. The analysis finds that Zurbrugg’s reading features a higher degree of ‘negative capability,’ in that it more deeply explores the complex interrelationships between the stylistic characteristics and the semantic aspects of the work, than does Perloff’s reading, which, while specifically analyzing the stylistic characteristics of the work, ends up integrating such an analysis into her broader discussion of the cultural standing of contemporary poetry. The study concludes by pointing out the importance that the cultivation of ‘negative capability’ has for the development of an individual’s personality from an immature ‘ego’ to a mature ‘self’ in psychological and pedagogical contexts, a good close reading can contribute to such cultivation in students performing a non-professional type of literary criticism in secondary or higher education.

본 연구의 목적은 수형자의 부정적 자동적 사고가 공격성을 통해 자살실행력에 미치는 영향이 인지적 융합에 의해 강화되는지를 검증하는 것에 있으며, 이 를 조절된 매개모형을 통해 살펴보고자 하였다. 이를 위해 교도소 수형자 500명을 대상으로 수집한 자료를 SPSS 25.0과 SPSS PROCESS Macro를 사용하여 분석하였다. 연구 결과, 수형자의 부정적 자동적 사고와 자살실행력 간의 관계에 서 공격성의 완전매개효과가 있는 것으로 나타났으며, 부정적 자동적 사고가 유 발하는 공격성이 인지적 융합에 의해 더욱 강화되는 것으로 나타나 인지적 융합 의 조절효과를 확인하였다. 나아가 조절된 매개모형 분석에서는 인지적 융합에 의해 조절된 공격성의 매개효과 또한 유의한 것으로 나타났다. 이를 통해 인지 적 융합 수준이 높을수록 부정적 자동적 사고가 공격성을 거쳐 자살실행력에 미 치는 영향이 더욱 커지는 것으로 확인되었다. 본 연구의 결과는 수형자 자살 예 방을 위한 개입에 있어 심리적 문제의 중요성을 조명하며, 개입 모델에 대한 의 미있는 정보를 시사한다. 마지막으로, 한계점 및 추후 연구에 대한 제언을 논의 하였다.

The purpose of this study was to examine whether the effect of prisoners' negative automatic thoughts on capability suicide through aggression is enhanced by cognitive fusion. Moderated mediation analysis was conducted by SPSS 25.0 and SPSS PROCESS Macro. The data of 500 prisoners were collected. The results of the study showed that there was a full mediation effect of aggression on the relationship between negative automatic thoughts and capability for suicide among prisoners. In addition, the aggression induced by negative automatic thoughts was further strengthened by cognitive fusion. Lastly, this study found that the mediation effect of aggression moderated by cognitive fusion was also significant from the moderated mediation model analysis. This finding suggests that the higher the level of cognitive fusion, the greater the impact of negative automatic thoughts on capability for suicide through aggression. The results in this study highlight the importance of psychological problems in interventions to prevent prisoner suicide and suggest meaningful information for theoretical intervention models in correctional psychology.

In the final scene of Otho the Great, Ludolph is performing the paradox felt by Keatsian poet. Describing to produce an immortal work, Keats nevertheless uses his creative technique which has its foundations in the notion of a performance where fact and reason are giving up a feminine delight in doubts and mysteries. Masculine certainty and fixity are denied by the very artistic approach adopted. Just as Auranthe's murder is caused to be impossible by the mad performance that Ludolph believes it will bring about her death. Both Ludolph and poet cannot control or fix that state of femininity. Ludolph's performance in the final scene is factly a kind of non-performance in that it can't achieve his desire. And this failure can be related to larger issues within Keats's poetry as a whole. Maron B. Ross notes that Keats's rejection of masculine modes of poetic discourse was to prove ultimately debilitating. Keats's impotence is like Ludolph's impotence in the final scene. Keats's depiction of Ludolph may reveal his own insecurities as a poet, but those insecurities relate to more widely held doubts within society as a whole. In writing a tragedy, Keats was provided with the opportunity to explore the relationship between his own theories of poetry and his ideas of dramatic performance. This play dramatizes the tension in the story of all literatures and provides an enactment of the instabilities of masculinity in the early nineteenth century.

Keats’s tenet of negative capability, an ability and aspiration to negate one’s self by projecting into others’ thoughts, feelings, and even sensations through imaginative transference, has been held in high esteem not only as an aesthetic credo but also as self-effacing ideal befitting a gentle and humble poet, who kept his integrity and magnanimity in the face of ungenerous contemporary critics and personal hardships. In this paper, I would go against the grain and examine negative capability rather as a self-assertive, or even self-promoting gesture. I also emphasize on its derivative nature and see it as a variety of sympathy proffered by Adam Smith in The Theory of Moral Sentiments. Combined together, this approach to negative capability provide a useful backdrop against which I would discuss Keats’s enigmatic poem-fragment “This living hand” in all its sinister, or negative, potency. Part of a group of his last lyrics probably written to Fanny Brawne, this poem begins as a seemingly innocuous thought experiment of imagining the poet’s own death, but in its mere eight-line span turns into a haunting performance of “monumental self-assertion,” as one of its commentator puts it (Lipking 181): the titular hand reaches out and “grasp” the reader literally and metaphorically from beyond the grave, in order to exact the tribute of sympathy from the reader whom the speaker-poet forces to exchange places with him?a standard operation of Smithian sympathy, only in reverse order. By reading “This living hand” as an instance of aggression and not-so-benign coercion of sympathy, this paper also attempts to bring to the fore the latent vein of negativity in negative capability.

This paper will examine Negative Capability in two Hyperion poems of John Keats. Hyperion and The Fall of Hyperion reflect on the relationship between the acceptance of human limitations and the accomplishment of life and poetry. These poems reveal Keats’ awareness of the tragedy of life. In these poems, Keats emphasizes on the inevitability of suffering and suggests we have to encounter with tragic vicissitudes of existence such as death, suffering, desperation and so on. It can be explained as Negative Capability, Keats’ most famous insistence on the inevitability of suffering and his poetic vision. The recognition for negativity of our life will open doors for the possibility of life and the spiritual development of individuals.

본 연구는 다문화상담에서 기존의 문화적 역량 개념을 비판하고, 대안으로서 문화적 겸손 을 탐구하였다. 문화적 역량은 지식 중심 접근으로 인해 문화를 고정화하고 권력의 비대칭성을 간과하는 한계가 있으며, 이에 본 연구는 문화적 겸손 개념에 Bion의 정신분석학적 틀을 적용하여 상담자의 내면적 역량에 초점을 두었다. Gadamer의 해석학적 문헌연구를 통해 문화적 겸손을 상담자의 존재 방식의 변형으로 재개념화하고, Bion의 부정적 능력, 숭고, 정신분석적 믿음 개념을 그 실천의 세 축으로 구조화하였다. 부정적 능력은 불확실성을 조급히 닫지 않고 견디는 힘을, 숭고는 압도적 경험을 미적 경외로 전환하여 겸손과 성장을 이끌어내는 힘을, 정신분석적 믿음은 알지 못함의 현존 속에서도 진정한 만남을 지속하게 하는 신뢰의 태도를 의미한다. 또한 기독교 신학의 케노시스와 믿음을 통합하여 문화적 겸손을 영성적 차원으로 확장하고, 사례 분석을 통해 그 치료적·교육적 함의를 모색하였다. 본 연구는 문화적 겸손을 존재론적·무의식적 차원에서 재개념화하고 체계적 실천 메커니즘을 제시함으로써, 다문화상담의 교육과 임상 현장에서 상담자의 영성적 성찰과 문화적 민감성을 심화시키는 데 기여할 것으로 기대된다.

This study critiques limitations of the existing concept of cultural competence in multicultural counseling, which tends to essentialize culture and overlook power asymmetries due to its knowledge-centered approach. As an alternative, it explores cultural humility through Bion’s psychoanalytic framework, focusing on counselors’ internal capacity. Through Gadamer’s hermeneutic literature review, cultural humility is reconceptualized as a transformation in the counselor’s way of being, and Bion’s ideas of negative capability, the sublime, and psychoanalytic faith are framed as three pillars of its practice. Negative capability refers to the capacity to tolerate ambiguity without premature closure; the sublime represents aesthetic awe that transforms overwhelm into humility and growth; and psychoanalytic faith signifies a mode of trust that sustains genuine encounter in the presence of the unknown. Integrating Christian theological notions of kenosis and faith, the study expands cultural humility to a spiritual dimension and demonstrates its therapeutic and educational implications through case analysis.

이 논문의 목적은 문학에서 기원하는 소극적 수용력 개념에 대한 이해로부터 출발하여 일터 맥락 의 비판적 사고의 의미와 가치를 구체화하는 것에 있다. 영국의 낭만주의 시인 존 키츠가 처음 사용 한 것으로 알려진 소극적 수용력 개념은 사실과 이성에 구애받거나 지나치게 빠르게 사실과 이성을 추궁하면서 결론에 도달하지 않고 불확실하고 이해할 수 없으며 의심스러운 상태를 견디고 유지할 수 있는 인간의 능력이다. 문학에서 비롯되었지만, 소극적 수용력은 심리학, 경영학을 포함해 다양한 학문 분야에서 계승되어 논의가 이루어지고 있다. 일터 조직에서 비판적 성찰, 행위에 대한 정당화 노력, 그리고 실재적 추론의 결여를 의미하는 ‘질서정연한 어리석음’ 개념은 소극적 수용력 개념과 대비되면서 소극적 수용력 개념이 포섭하는 비판적 사고로서의 의미와 그 개념적 특성을 이끌어내는 데 도움을 준다. 질서정연한 어리석음 개념을 구체화하는 네 가지 형태인 인식종결, 감정적 사고의 결여, 동기적 결함, 도덕적 제약으로부터 도출된 소극적 수용력 개념의 특성은 (1) 학습할 수 있는 능 력, (2) 감정을 이입하고 공감하는 능력, (3) 창조성과 관용을 발휘하는 능력, (4) 일터의 바람직한 변 화에 참여할 수 있는 능력으로 제시되었다. 소극적 수용력에 터한 일터에서의 비판적 사고는 성과 지향의 일터 조직 운영과 상충하는 것이 아니라 공존할 수 있을 것으로 기대된다. 끝으로, 존 키츠의 소극적 수용력을 통해 일터와 비판적 사고의 공존을 모색하기 위한 시사점을 제시하였다.

The purpose of this paper is to embody the meaning and value of critical thinking in the workplace context with an understanding of the concept of negative capability that originated in the English poet John Keat’s literature. Negative capability was defined as the ability to be in uncertainty, mysteries, doubts, without any irritable reaching after fact and reason. Although it originated in literature, negative capability has been inherited and discussed in various disciplines, including psychology and management. The concept of functional stupidity, which means absence of reflexivity, not seeking cause or a good reason, and lack of substantive reasoning in work organizations, contrasts with the negative capability. This helps to derive the meaning of critical thinking that the negative capability embraces and its conceptual characteristics. The characteristics of the concept of passive capacity derived from closing down cognition, motivational defects, lack of emotional reasoning, moral restriction at base that embodied the form of functional stupidity are as follows: (a) the ability to learn, (b) the ability to empathize, (c) the ability to unleash creativity and tolerance, (d) the ability to participate in desirable changes in the workplace. It is expected that critical thinking in the workplace based on negative capability can coexist rather than conflict with the operation of a performance-oriented work organization. Finally, the implications for seeking the coexistence of workplace and critical thinking through John Keats’ negative capability were presented.

흑연 분말을 프탈로시아닌 또는 구리 프탈로시아닌과 함께 비활성 분위기에서 각각 열처리하여 표면처리를 진행하였고, 이의 속도특성과 저온 작동특성을 조사하였다. 표면처리 후 흑연 분말의 표면에 비정질 탄소와 구리의 코팅 층이 균일하게 형성되었다. 표면처리를 통하여 흑연 전극의 속도특성이 개선되는 것을 확인하였는데, 특히 구리 프탈로시아닌으로 처리한 경우 속도특성의 향상이 두드러졌다. 흑연 전극의 저항을 교류 임피던스와 펄스 저항측정법을 활용하여 조사하였는데, 구리 프탈로시아닌으로 처리된 흑연 전극의 경우가 저항이 가장 작았다. 프탈로시아닌으로 부터 유도된 비정질 탄소 층이 리튬이온의 확산을 용이하게 하고, 구리 프탈로시아닌으로부터 유도된 금속상태의 구리는 전자 전도도를 증가시키기 때문에 저항을 감소시키는 것으로 판단된다.

The rate capability and low-temperature characteristics of graphite electrode are investigated after surface treatment with copper phthalocyanine (CuPc) or phthalocyanine (Pc). Uniform coating layers comprising amorphous carbon or copper are generated after the treatment. The rate performance of graphite electrodes is enhanced by the surface treatment, which is more prominent with CuPc. The resistance of the graphite electrode estimated from electrochemical impedance spectroscopy and pulse resistance measurement is the smallest for the CuPc-treated graphite. It is likely that the amorphous carbon layer formed by the decomposition of Pc facilitates $Li^+$ diffusion and the metallic copper derived from CuPc improves the electrical conductivity of the graphite electrode.