윌리엄즈의 의식의 구현
Williams’ Materialization of Consciousness
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For Williams, poetry does not represent daily experience but the poet’s ‘consciousness of immediate contact with the world.’ One can contact things beyond the barrier of conventions such as conceptual knowledge, logic, and story, by means of sympathy as a function of imagination. It enables the poet to detect their peculiarities, and thereby his consciousness is enlarged and participates in the universal process of nature. This is why particular things are the only source of universal experience. The peculiarities of things can be expressed only through the tangible features of language, which dominate Williams’ poetry. The other function of imagination, ‘design’ organizes words so as to keep them from being subordinate to syntax and logic that blurs their particularity and tangibility. It also represents the movement of the consciousness, the sympathetic pulses the poet feels ‘in the condition of imaginative suspension.’ His representation therefore becomes materialization, and his poetry an object tangible and dynamic, which is an extension of nature.
Abstract
For Williams, poetry does not represent daily experience but the poet’s ‘consciousness of immediate contact with the world.’ One can contact things beyond the barrier of conventions such as conceptual knowledge, logic, and story, by means of sympathy as a function of imagination. It enables the poet to detect their peculiarities, and thereby his consciousness is enlarged and participates in the universal process of nature. This is why particular things are the only source of universal experience. The peculiarities of things can be expressed only through the tangible features of language, which dominate Williams’ poetry. The other function of imagination, ‘design’ organizes words so as to keep them from being subordinate to syntax and logic that blurs their particularity and tangibility. It also represents the movement of the consciousness, the sympathetic pulses the poet feels ‘in the condition of imaginative suspension.’ His representation therefore becomes materialization, and his poetry an object tangible and dynamic, which is an extension of nature.
참고문헌 (15)
- Bernstein, Charles, "Content’s Dream: Essays 1975-1984" (1986), Sun & Moon
- Creeley, Robert, "Contexts of Poetry: Interviews 1961-1971" (1973), Four Seasons
- Fenellosa, Ernest, "The Chinese Written Character as a Medium for Poetry" (1969), City Light Books
- Gerber, Natalie, "’The Movements of the Imagination Revealed in Words’: Williams’s Poetics in ‘Spring and All’", William Carlos Williams Review, 24(2), pp.11~17 (2004)
- Halter, Peter, "The Revolution in the Visual arts and the Poetry of William Carlos Williams" (1994), Cambridge UP
- Kenner, Hugh, "The Pound Era" (1971), U of California P
- Weaver, Mike, "William Carlos Williams: The American Background" (1971), Cambridge UP
- Williams, William C., "The Selected Letters of William Carlos Williams" (1957), Mcdowell
- Williams, William C, "The Autobiography of William Carlos Williams" (1967), New Directions
- Williams, William C., "Paterson" (1969), New Directions
- Williams, William C., "Selected Essays" (1969), New Directions
- Williams, William C., "Imaginations" (1970), New Directions
- Williams, William C., "Interviews: Speaking Straight Ahead" (1976), New Directions
- Williams, William C., "A Recognizable Image: William Carlos Williams on Art and Artists" (1978), New Directions
- Williams, William C., "The Collected Poems of William Carlos Williams. Vol. 1" (1986), New Directions