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이미지즘 : 詩의 直觀的 이해 Intuitional Understanding of Poetry
朴在列 慶北大學校 英語英文學 硏究會 1982 英語英文論叢 Vol.2 No.-
이미지즘 운동을 현대영미시의 시발점으로 보는 데는 별로 이론이 없을 것이다. 사실 금세기의 초에 상당한 문학적 이즘들이 구시대의 문학적 전통에 반기를 들고 나왔으니 Georgians, Futurists와 Vorticists등이 그 예라고 볼 수 있다. 그러나 1953년에 T.S. Eliot는 ‘American Literature and the american Language’에 관한 연설에서 The Point de repere usually and conveniently taken as the starting point of modern poetry is the group denominated “imagists” in London about 1910. 라고 하여 imagists의 활동을 현대시의 시발점이라고 보았다. 1916년에 나온 이미지스트들의 사화집에 대한 서평으로 The Times Literary Supplement에서는 Imagist poetry fills us with hope; even when it is not very good in itself, it seems to promise a form in which very good poetry could be written. 라고 하여 이때 이미 Imagist들의 시적 실험 및 연마가 후세 시사에 깊이 기여할 것을 예언하였다. 그러면 이미지즘 운동의 시발은 어떠하였으며 그 원인은 무엇이었나? 이러한 물음은 필연코 당시의 시풍을 생각해 보지 않을 수 없다. 한 문학적 이즘의 탄생은 필시 그 시대의 문학풍토에 대한 역겨운 저항감과 혐오감에서 비롯되기 때문이다.
박재열 한국영미어문학회 2012 영미어문학 Vol.- No.104
Unlike the modernist and postmodernist experimental poets, W. S. Merwin was one of the few to extensively reflect on and intensively study the phenomenon of memory, struggling to discover how to bring to light the ineffable, virtual items in the pure past or in the involuntary memory. Like Deleuze, Merwin considered that memory does not simply recover former perceptions or meanings, nor reproduce previous experiences. Rather, it creates new forms, which can be classified as voluntary or involuntary manifestations of memory. When we recall the past, our ‘voluntary memory’ is based on our conscious perceptions, whereas the ‘involuntary memory’ has a deeper, and an a priori, and primordial meaning, which appears like an epiphany on rare occasions and has the capacity to open the way to the essence, as in his poem “Unknown Age.” Two kinds of reminiscence, ‘recall of image’ and ‘appeal to recollection’ act in parallel with the above two kinds of memory. The first implies that recollection becomes actualized and embodied as in the poem “Recognition.” The second has more to do with primordial, immemorial times in the pure past, and with the virtual, like the old man in “The River of Bees.” Hence, in Merwin’s story “Laurie,” Alma’s memory of Laurie comes from an a priori, pure past, rather than from actual experience, and the self that Merwin meets in “Cold Spring Morning” is his unrecognized self itself, emerging from the pure past. Just as Deleuze sees duration as essentially memory, consciousness, and freedom, Merwin’s “The Drunk in the Fumace” shows ‘former present’ and ‘present present’ (as Deleuze calls them) through duration and memory, suggesting that the two tenses do not signify temporal sequence, so that the former present can be contemporaneous with, and be represented through the present present. Thus the wounds and bruises of the Vietnamese in “The Asians Dying” are hidden in the former present and contracted into a living present. As Deleuze points out, a scar is the sign not of a past wound but of ‘the present fact of having been wounded.’