Dialectical Images: William Carlos Williams’s Avant-Garde Poetry
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
William Carlos Williams discovers important sources of inspiration in the revolutionary avant-garde movements, in particular, Dada and Surrealism and attempted to embody the innovations in them in his poetic theory and practice. Williams’s passion to create an indigenous American poetic work is compatible with his Dadaist experimentation with objets trouvés. Williams pays deep attention to objets trouvés, physical objects and marginalized people he comes across and transcribes his observations with poetic words freed from their instrumental contexts. In his characteristic poems written in the 1920s and 1930s, Williams records the social ruination and his task to give voice to the conflictual and fragmentary character of modernity is pursued through the Surrealist formulation of montage. In the Surrealist formulation of montage, the dialectical image is a central trope for reading the myth of modernity; it is positioned as both subject and object in the historiographic narratives of Walter Benjamin and Williams. As Benjamin tries to obliterate all traces of the author in the Arcades Project, Williams’s montage poems like Spring and All only disperse argument into materialistic, dialectical images. The dialectical image in Williams’s poetics becomes an organon of historical awakening so that truth can emerge from an unmediated juxtaposition of “things.”
Abstract
William Carlos Williams discovers important sources of inspiration in the revolutionary avant-garde movements, in particular, Dada and Surrealism and attempted to embody the innovations in them in his poetic theory and practice. Williams’s passion to create an indigenous American poetic work is compatible with his Dadaist experimentation with objets trouvés. Williams pays deep attention to objets trouvés, physical objects and marginalized people he comes across and transcribes his observations with poetic words freed from their instrumental contexts. In his characteristic poems written in the 1920s and 1930s, Williams records the social ruination and his task to give voice to the conflictual and fragmentary character of modernity is pursued through the Surrealist formulation of montage. In the Surrealist formulation of montage, the dialectical image is a central trope for reading the myth of modernity; it is positioned as both subject and object in the historiographic narratives of Walter Benjamin and Williams. As Benjamin tries to obliterate all traces of the author in the Arcades Project, Williams’s montage poems like Spring and All only disperse argument into materialistic, dialectical images. The dialectical image in Williams’s poetics becomes an organon of historical awakening so that truth can emerge from an unmediated juxtaposition of “things.”
참고문헌 (19)
- Benjamin, Walter, "Selected Writings: 1927-1934. Vol. II" (1934), Harvard UP
- Benjamin, Walter, "The Arcades Project. Trans. Howard Eiland and Kevin McLauhlin" (1999), Harvard UP
- Diggory, Terence, "The Geometry of Dreams: Projecting the Place of Surrealism in Williams’s Poetics", William Carlos Williams Review, 22(Spring), pp.45~62 (1996)
- Garcia, Jose Maria Rodriguez, "Ruination and Translation in William Carlos Williams", Genre, 32(Fall), pp.225~244 (1999)
- Hatlen,Burton, "William Carlos Williams and the Language of Poetry" (2002), The National Poetry Foundation
- Ickstadt, Heinz, "Negotiations of America’s National Identity" (2000), Stauffenburg
- Lowney,John, "The American Avant-Garde Tradition: William Carlos Williams, Postmodern Poetry, and the Poetics of Cultural Memory" (1997), Bucknell UP
- Mariani, Paul, "William Carlos Williams:A New World Naked" (1990), Norton
- McCole, John, "Walter Benjamin and the Antinomies of Tradition" (1993), Cornell UP
- Steinman, Lisa, "William Carlos Williams: Spring and All. In: A Companion to Twentieth-Century Poetry", pp.403~413 (2001), Blackwell
- Tashjian, Dickran, "Williams and Automatic Writing: Against the Presence of Surrealism", William Carlos Williams Review, 22(1), pp.5~16 (1996)
- Tzara, Tristan, "Surrealist Painters and Poets: An Anthology" (2001), MIT P
- Weigel, Sigrid, "Body-and Image-Space: Re-Reading Walter Benjamin" (1996), Routledge
- Williams, William Carlos, "The Collected Poems of William Carlos Williams. Vol. 1: 1909-1939" (1986), New Directions
- Williams, William Carlos, "The Farmers’ Daughters" (1961), New Directions
- Williams, William Carlos, "I Wanted to Write a Poem: The Autobiography of the Works of a Poet" (1978), New Directions
- Williams, William Carlos, "Imaginations. Ed. Webster Schott" (1970), New Directions
- Williams, William Carlos, "In the American Grain. 1925; reprinted" (1956), New Directions
- Williams, William Carlos, "Selected Essays" (1969), New Directions