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Embracing “Native Things”: Williams and the American Indian
심진호 한국영미어문학회 2008 영미어문학 Vol.- No.86
It is noteworthy to see that Williams always endeavors to adopt the Indian and “Indian-like” perspective as a central theme and motif in his works. For Williams, the American Indian represents in some way the missing aspects of the American self. The American Indian reflects the “New World” which is opposed to the Old World represented by the Puritans and their descendants, white people in modern America.Williams strongly believes that the white people can restore American self lost in the Puritan's prejudiced values which bring violence, conquest, separation and sterility to the New World. Significantly, Williams' emphasis on Indian or “Indian-like” is firmly based on his recognition of the fertile, womanly spirit of place which he calls “supplying female.” He clearly recognizes that the “supplying female” is acquired through the marriage to the spirit of place embodied in the Indian.By continually overlaying the Indian with the feminine Williams attempts to break the Western masculine authority in American history. Thus, he can have an other-oriented perspective in which multiple differences of the world co-exists and are accepted. Consequently, he was able to construct a new American poetics by using the Indians with “supplying female” as the new ground for a New World writing.
심진호 사단법인 인문사회과학기술융합학회 2019 예술인문사회융합멀티미디어논문지 Vol.9 No.12
월트 휘트먼(Walt Whitman)은 그의 대표시집 『풀잎』(Leaves of Grass)을 통해 “리얼리티와 과학”의 이미지를 강조했다. “ 풀잎 에서 모든 것이 문자 그대로 사진 찍혀진다”라는 시인의 언급에서 단적으로 입증되듯 『풀잎』에 충만해있는 “리얼리티와 과학”의 이미지는 시인을 매료시킨 사진과 불가분적 상관성을 지니고 있다. ‘사진술의 피카소’로 불리는 에드워드 웨스턴(Edward Weston)은 1941년 리미티드 에디션 클럽의 의뢰를 받고 『풀잎』의 시각적 이미지에 부합되는 사진을 찍게 된다. 웨스턴은 단순히 삽화로서의 사진 이미지에 그치지 않고 자신의 “미국적 비전을 구성하는 근원적인 주제와 객관적 리얼리티를 시각화”하려했다. 『풀잎』의 사진들은 엄격히 통제되고 클로즈업과 배타적 형식주의의 스타일을 특징으로 하는 그의 초기 사진과 구별되는 웨스턴의 더욱 성숙하고 포괄적인 비전, 즉 “나의 미국”을 암시한다. 시대와 매체의 차이를 가로질러 『풀잎』에 있는 웨스턴의 사진과 휘트먼의 시 사이의 상호매체성은 새로운 미학적 가능성을 확장시키고 있다. Walt Whitman emphasizes images of “realities and science” throughout his representative poetry collection Leaves of Grass. As his statement that “In these Leaves, everything is literally photographed” manifests, Whitman’s fascination with images of “realities and science” is indivisibly interrelated with photography. Edward Weston, considered Picasso of photography, seizes an opportunity to take pictures which resonate with Whitman’s poems commissioned by the Limited Editions Club of 1941. Weston longs to visualize “the underlying themes, the objective realities, that make up Whitman's vision of America” rather than literally illustrate Leaves of Grass. These photographs suggest Weston's more mature and inclusive vision of “my America” distinguished from his earlier works featuring the style of strictly organized, close-up and exclusionary formalism. Intermediality between Weston’s photography and Whitman’s poetry in Leaves of Grass extends the new aesthetic possibility, transcending boundaries of ages and media.
윌리엄 칼로스 윌리엄즈와 찰스 디무스의 상호텍스트성 연구
심진호 새한영어영문학회 2008 새한영어영문학 Vol.50 No.2
This paper investigates how the works of Williams and Demuth have a common artistic direction. Since they knew their identical interest in both poetry and painting, the two artists have had a longtime friendship. Through the exchanges of their intertextual discourse, they can create a unified art across the boundary between pictorial and linguistic media. Thus, Williams' "The Pot of Flowers" and Demuth's "I Saw the Figure Five in Gold" are their collaborations of intertextuality. Significantly, they endeavored to create a new American expression which is based on Precisionism. In fact, Precisionism, which intrinsically has poetic and aesthetic characteristics at the same time, is said to be regarded as the most indigenous American art. Both Williams and Demuth try to reflect an American identity in poetry and paintings through a medium of Precisionism.Therefore, Precisionism plays an important role as a link which connects the two artists. However, the two artists want to recreate a new work of art by avoiding the mere literal imitation of each other's works. They adopt pictorial elements in poetry and linguistic elements in paintings so that they can ultimately make true collaborations. Accordingly, Williams and Demuth intend a unified art which reflects the most American things by mutually supplementing the limits of poetry and paintings respectively.
심진호 새한영어영문학회 2007 새한영어영문학 Vol.49 No.1
In reading William Carlos Williams' poetry, it is necessary to understand his Latin roots which include Spanish heritage from Spain and Latin America. Recognizing his Latin blood from his family background, especially through his Puerto Rican mother Elena, Williams can discover and establish his self-identity. Through his entire life, Williams tries to reconcile his two antagonistic selves, Anglo Bill and Latin Carlos. Mingling Anglo Bill and Latin Carlos, Williams can construct his own self-identity and American identity beyond narrow-minded Puritanism and "Puritan lineage", that is, the tradition of orthodox English literature. Williams believes that the cultural colonialism of America originates from Puritanical viewpoints which denies differences, diversities, and otherness, representing "south." Therefore, he always emphasizes the New World, America, to be anti-Puritan through his works. Above all, Carlos Williams' attachment and alliance with Latin self continuously make him explore Spanish language and literature. Williams can reconfirm his Latin self when he chases Spanish artist and writers such as Juan Gris, Luis de Go′ngora, Juan Ruiz, and Federico Garcia Lorca. Williams also strongly aspires the hybridized New World by exploring his Latin self. He regards the mingling New World's positive traits as "the best spirit of the New World." However, he refuses compulsive and indiscreet mingling strategies. Locating his Latin half as a spiritual center, Williams can construct the authentic literary and cultural identity of America.
시와 애니메이션의 상호매체성 연구: 영화 『울부짖음』을 중심으로
심진호 새한영어영문학회 2022 새한영어영문학 Vol.64 No.1
Since its first publication in 1955, Allen Ginsberg’s epic poem “Howl” has been expanded into various forms of media such as film, animation, and graphic novels. “Howl,” which is Ginsberg's most controversial work, full of obscenity, decadence and madness, represents the starting point of the Beat movement. In the 1980s, Ginsberg became fascinated by the Moloch images in “Howl” by Eric Drooker, an American graphic artist. Regardless of the generation gap, the two artists inspired each other and created new works of art by transcending different media including poetry and pictures. Most of all, they had a strong connection to Expressionism in the woodcut graphic novels by Frans Masereel and Lynd Ward. In Rob Epstein and Jeffrey Friedman's 2010 film Howl, live action and animation are excellently fused together. Unlike the previous films dealing with poets’ works, the film Howl reveals its distinct multi-layered intermediality by fusing these different forms of media. Significantly, a lot of lines of Ginsberg’s “Howl” are converted into Drooker’s animated footage in the film through media transcoding. Drooker’s animated sequences of the film displays the remarkably expressionist images of bones and skulls emphasized in “Howl.” “Howl” continues to inspire new media beyond the genre of poetry and presents a vision for the possibility of unlimited public art.
심진호 한국중앙영어영문학회 2018 영어영문학연구 Vol.60 No.4
Throughout her entire life, Elizabeth Bishop constantly reveals her preferences for writing poems full of images and motifs of water. Bishop’s poems often suggest elusive meanings like the dual properties of water which shows the difference between the surface and depth at the same time. Particularly, it is worthwhile to note Bishop’s third book of poems entitled Questions of Travel. This book includes a number of poems about recognizable water images from Nova Scotia to Brazil where the poet spent precious periods in her life. Images of water in a lot of her poems set in North America are described as dry and barren landscapes due to her sense of homelessness derived from the loss of her parents in her early childhood. This is best exemplified in her expression of “the water doesn’t wet anything.” However, it is important that Bishop’s maternal desire is latent under the surface of her poems on the loss of maternity. Her maternal imagination linked to the water images is most manifested in her poems on the “Brazil” section of Questions of Travel. Moreover, a series of poems with images of water devoid of fluidity and maternity set in Nova Scotia allude to Bishop’s latent maternity. Bishop’s water images lurking in maternal desire act as a source to dissolve the dichotomous thinking originated from Western Chauvinism.
랜드스케이프 어바니즘 관점에서 본 월트 휘트먼의 탈경계적 상상력
심진호 한국중앙영어영문학회 2016 영어영문학연구 Vol.58 No.4
Living in New York City for a long time both as a journalist and a poet, Walt Whitman was immediately faced with various urban problems. As Whitman experiences the deteriorating urban environments, he criticizes sharply New York as a “vast and dry Sahara” and “Gomorrah.” He insightfully realizes that parks can act as catalytic agents for urban regeneration. The poet believes that the urban park should transcend the dichotomy of park versus city which Frederick Law Olmsted’s parks are based on. Whitman’s urban park suggesting the indivisible interaction between the park and the city parallels the perspective of Landscape Urbanism in the post-industrial era. Landscape Urbanism is a hybrid discipline transcending the boundaries of different genres such as architecture, landscape architecture, and urban planning. Landscape Urbanists emphasizing urban ecology and infrastructural landscape believe that parks and open spaces facilitate the sustainable urban development to the city. The city Whitman desires to embody has indivisible connections with parks and open spaces with which the “programme of culture” activates for citizens. Whitman’s very changeable city is strongly correlated with Landscape Urbanists’ city which has the traits of the open-endedness, indeterminacy, and change demanded by contemporary urban conditions.