오예슬 교수

Inspired by Buster Keaton’s sporadic but crucial presence in Elizabeth Bishop’s writing, this paper examines her artistic ideal of comic surrealism through the lens of queer phenomenology. Keaton’s slapstick comedy serves as a nice cinematic parallel to Bishop’s understanding of ‘real wit’ as ‘usually stoical, unsentimental, and physically courageous’. Taking the oft-cited 1964 letter and Bishop’s ‘Keaton’ (late 1950s) as points of departure, I carry out an intermedial analysis of the Keatonesqu

The front cover of Stephen Kern’s new book, Modernism After the Death of God: Christianity, Fragmentation, and Unification (2017), features Picasso’s Portrait of Wilhelm Uhde (1910) as a visual aid that illustrates the key motif of the book: a dialectic between fragmentation and unification. The painting is useful to Kern because Picasso emphatically defies a unified, coherent perspective of the all-encompassing painter by fragmenting a single object in various ways even while producing ‘a’ soli

Thomas Hardy’s Re-configuration of Time as a Circle in Poems of 1912-13 Ye Sul Oh (Seoul Nat’l Univ.) Thomas Hardy’s first wife, Emma, inspired him the most when she died unexpectedly in November 1912. Through the sequence of elegies entitled Poems of 1912-13, the poet aligns himself with the historic lineage of elegists by inheriting their legacies and at the same time revises its generic conventions to secure his originality. Reading the sequence mainly through textual analysis and also by

This paper applies the concept of museum to read contemporary Irish poet Eavan Boland’s first sequence “Writing in a Time of Violence: A Sequence” in her 1994 collection of poems. The conceptual framework relies on the periodic, generic, and thematic affinities between the ways modern Irish history museums have functioned in shaping the national identity and the kinds of questions at the core of Boland’s writing. Here, the term “museum” functions as both an actual institution and a spatial figur