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자료유형
학술저널
저자정보
저널정보
한국외국어대학교 외국문학연구소 외국문학연구 외국문학연구 제17호
발행연도
2004.8
수록면
123 - 143 (21page)

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Arnold was a child of contemporary modernity with his obsessional consciousness of the discrepancy between ever-changing modernity as reality and its ideals in his two-world vision, seeking to bridge the gap between the two. It means that modernity, for him, is a chronological and a qualitative concept at the same time, which turns out to be a pioneering perspective for the debate on modernity, one of the late-twentieth-century post-theorist controversies. At the contemporary stage of modernity, he found himself with a divided self between Arnold the poet and Arnold the critic: his life-long engagement with modernity, beginning with the poet's perception of unpoetical modernity, goes on with the classicist's observation of the modern spirit in historical 'modern' times in which a literature completely interprets its age with its illuminating intellect, and ends up with the critic's vision to confront contemporary modernity. The modern, in his two-world motif, is an attribute common to some exemplary ages in history, which means that his age is required to meet some prerequisites to be 'modern' in his idiosyncratic sense of the word. It leads to his critical project to designate the framework through which to capture multitudinous modernity engendering 'the dialogue of the mind with itself' and to envisage its ideals for intellectual maturity through his various two-world binary oppositions, ultimately seeking for a counter-modernity, or rather critical modernity, dialectically emanating from modernity itself. In this way, he conceptualises modernity as a kind of diachronic synchronicity emptied of historical time but capturing the past and present in the same order. Arnold's historical approach of this ahistorical kind is contrasted to the glorification of the fleeting present in the generalised understandings of modernity since his two formidable contemporary Marx's structural approach and Baudelaire's aesthetic modernity.

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