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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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One problem with reading English Romanticism has been masculine romanticism which was given too much emphasis while ignoring the women's voice in the text. Similarly, the women's voice was also denied in political activities of the day, even though English working classes were being formed for the first time in English history. Politically, women's role in the 1790s of radicalism was only a supplementary one in giving some support to men's activities, and consistently portrayed the female as secondary to the male. We need to reread English Romantic poems to include the women's voice and their response in order to find a truer meaning of romanticism.
Blake was one of the artisans in London who were interested in political freedom; vis a vis the strong statement “Empire is no more!”(‘A Song of Liberty' MHH, S124) in the revolutionary age. His prophetic poems such as MHH, VDA, FZ, Europe and Jerusalem institute a broad critique of inherited religion, philosophy, artistic production, society, and male-female relationships. Naturally, his prophetic poems must be filled with examples of his revolutionary spirit, such as “The thrones of kings are shaken”(FZ, S432). Blake thinks that his Jerusalem is an ideal society of imaginative vision with “eternal delight”(MHH, S106) for both women and men. Blake was concerned with an ideal way of life such as wage-earning women’s status and vision during this radical period.
Because William Blake tried to imagine and construct a utopia including women (unlike other romantic poets), he could be a visionary poet in his prophetic poems. His utopia is a place where Oothoon, representing women, cried “Love! Love! Happy, happy love, free as the mountain wind!”(VDA, S185) as an independent being, as equally powerful and respected as men. Claiming women's entitlement to vision as a subjective means of imaginative insight, Oothoon was compared to a contemporary chaste woman who could not speak of sexual violence in the book of Women's Silence Men's Violence. By announcing women's desires in her long speech, Oothoon is to be the subject who desires someone, not the object of another's desire.
Women's obsessive morality in their discourses is important in analyzing Blake's prophetic poems, because it is essentially concerned with the patriarchal control of female sexuality. Oothoon scoffs at modesty and shows us that she may still be at odds with her essential self. Blake anticipated the liberation of women from sexual repression and patriarchal tyranny in spite of his culture's denigration of the feminine gender. Blake believed that a utopia will be built when women freely and equally participate in a new world beyond masculine centered society. We are able to understand one of the romantic ideas, the divine potential humanity, when we reread romantic poetry beyond masculine centered reading.
Blake was one of the artisans in London who were interested in political freedom; vis a vis the strong statement “Empire is no more!”(‘A Song of Liberty' MHH, S124) in the revolutionary age. His prophetic poems such as MHH, VDA, FZ, Europe and Jerusalem institute a broad critique of inherited religion, philosophy, artistic production, society, and male-female relationships. Naturally, his prophetic poems must be filled with examples of his revolutionary spirit, such as “The thrones of kings are shaken”(FZ, S432). Blake thinks that his Jerusalem is an ideal society of imaginative vision with “eternal delight”(MHH, S106) for both women and men. Blake was concerned with an ideal way of life such as wage-earning women’s status and vision during this radical period.
Because William Blake tried to imagine and construct a utopia including women (unlike other romantic poets), he could be a visionary poet in his prophetic poems. His utopia is a place where Oothoon, representing women, cried “Love! Love! Happy, happy love, free as the mountain wind!”(VDA, S185) as an independent being, as equally powerful and respected as men. Claiming women's entitlement to vision as a subjective means of imaginative insight, Oothoon was compared to a contemporary chaste woman who could not speak of sexual violence in the book of Women's Silence Men's Violence. By announcing women's desires in her long speech, Oothoon is to be the subject who desires someone, not the object of another's desire.
Women's obsessive morality in their discourses is important in analyzing Blake's prophetic poems, because it is essentially concerned with the patriarchal control of female sexuality. Oothoon scoffs at modesty and shows us that she may still be at odds with her essential self. Blake anticipated the liberation of women from sexual repression and patriarchal tyranny in spite of his culture's denigration of the feminine gender. Blake believed that a utopia will be built when women freely and equally participate in a new world beyond masculine centered society. We are able to understand one of the romantic ideas, the divine potential humanity, when we reread romantic poetry beyond masculine centered reading.
목차
Ⅰ.
Ⅱ. 블레이크와 영국 급진주의 전통
Ⅲ. 블레이크의 예언시와 가부장제 비판
Ⅳ. 페미니스트로서의 블레이크
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UCI(KEPA) : I410-ECN-0101-2009-840-015214538