무어, 로월과의 관계 속에서 엘리자베스 비숍 읽기 —비숍 시의“내적 특성”들여다보기 (Reading Elizabeth Bishop in Her Relationship with Moore and Lowell: Looking into the “Intrinsic Qualities” of Bishop’s Poetry)

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초록

This study explores the characteristics of Elizabeth Bishop’s poetry in comparison
with the two of her closest friends and poets, Marianne Moore and
Robert Lowell. Bishop’s reputation has dramatically changed since her death.
In the 1970s she was “a writer’s writer’s writer,” and admired by a small
group of poets or critics. Since 1990s, however, there has been a great shift in
the evaluation of her poetry, which is so called “The Elizabeth Bishop
Phenomenon.” It does not seem to be an easy task to examine what has driven
the phenomenon, and why she used to be a minor poet or “the most honored
yet most elusive of poets” but now she has a widespread recognition by the
academy and beyond it. The “intrinsic qualities” of Bishop’s poetry, however,
can be one of the main reasons why it took several decades for Bishop to
become a central figure in the literary canon.
Looking into her “intrinsic qualities,” this paper discusses Bishop’s “The
Fish,” “Roosters” through the Moore-Bishop relationship, and reads Bishop’s
“Armadillo” and “The Monument” through the Lowell-Bishop relationship. It
also deals with letters, interviews, Moore’s “The Fish,” and Lowell’s “Skunk
Hour” and “For the Union Dead” to show the Bishop’s deep and complex
relationships with the two poets, and more importantly their differences.
Bishop’s poetry is difficult, “elusive,” and sometimes “enigmatic,” not
because her texts are full of difficult words to understand but because there
are the subtle interchange between perception and meaning, “the dynamics of
keen feeling,” the unresolved patterns, and the transient vision under the seemingly
transparent surface of the texts.

영어초록

This study explores the characteristics of Elizabeth Bishop’s poetry in comparison
with the two of her closest friends and poets, Marianne Moore and
Robert Lowell. Bishop’s reputation has dramatically changed since her death.
In the 1970s she was “a writer’s writer’s writer,” and admired by a small
group of poets or critics. Since 1990s, however, there has been a great shift in
the evaluation of her poetry, which is so called “The Elizabeth Bishop
Phenomenon.” It does not seem to be an easy task to examine what has driven
the phenomenon, and why she used to be a minor poet or “the most honored
yet most elusive of poets” but now she has a widespread recognition by the
academy and beyond it. The “intrinsic qualities” of Bishop’s poetry, however,
can be one of the main reasons why it took several decades for Bishop to
become a central figure in the literary canon.
Looking into her “intrinsic qualities,” this paper discusses Bishop’s “The
Fish,” “Roosters” through the Moore-Bishop relationship, and reads Bishop’s
“Armadillo” and “The Monument” through the Lowell-Bishop relationship. It
also deals with letters, interviews, Moore’s “The Fish,” and Lowell’s “Skunk
Hour” and “For the Union Dead” to show the Bishop’s deep and complex
relationships with the two poets, and more importantly their differences.
Bishop’s poetry is difficult, “elusive,” and sometimes “enigmatic,” not
because her texts are full of difficult words to understand but because there
are the subtle interchange between perception and meaning, “the dynamics of
keen feeling,” the unresolved patterns, and the transient vision under the seemingly
transparent surface of the texts.

참고자료

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