Modernity and Paradox: Image, Symbol, and Juxtaposition as Means of Objective Poetics in Early T. S. Eliot
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
One of the distinctive characteristics of modern poetry is ambiguity, which means something open to multiple interpretations, none of which are determinative. Paradox generating from such indeterminacy is the very essence of the modernists’ objective poetics. Allowing and connecting paradoxical points of view in the name of artistic autonomy, Eliot and the modernist poets aimed to go ‘beyond’ the very paradoxical nature of life in this world. More importantly, artistic autonomy liberates the poet while the poetic meaning vacillates between opposites or contradictions. When Eliot declared the poetics of impersonality in 1917, his objective was to liberate his poetic self. The way Eliot wrought autonomy is by making his work of art paradoxical, with meaning that is hard to determine, being subjected to multiple interpretations. He boldly violated chronological time sequences, spatial normalities, and referential expectations, in his use of linguistic elements such as verbal tenses and personal pronouns. Particularly, the way he applies in practice conventional techniques such as image, symbol, and juxtaposition, was quite unconventional, as exemplified in the two early poems, “Rhapsody on a Windy Night” and “La Figlia Che Piange.” Eliot’s uses of the various techniques are deliberately made unusual in order to effect paradox, with impersonated nonhuman speakers, ungrammatical tenses, and the abrupt juxtapositions of conflicting points of view.
Abstract
One of the distinctive characteristics of modern poetry is ambiguity, which means something open to multiple interpretations, none of which are determinative. Paradox generating from such indeterminacy is the very essence of the modernists’ objective poetics. Allowing and connecting paradoxical points of view in the name of artistic autonomy, Eliot and the modernist poets aimed to go ‘beyond’ the very paradoxical nature of life in this world. More importantly, artistic autonomy liberates the poet while the poetic meaning vacillates between opposites or contradictions. When Eliot declared the poetics of impersonality in 1917, his objective was to liberate his poetic self. The way Eliot wrought autonomy is by making his work of art paradoxical, with meaning that is hard to determine, being subjected to multiple interpretations. He boldly violated chronological time sequences, spatial normalities, and referential expectations, in his use of linguistic elements such as verbal tenses and personal pronouns. Particularly, the way he applies in practice conventional techniques such as image, symbol, and juxtaposition, was quite unconventional, as exemplified in the two early poems, “Rhapsody on a Windy Night” and “La Figlia Che Piange.” Eliot’s uses of the various techniques are deliberately made unusual in order to effect paradox, with impersonated nonhuman speakers, ungrammatical tenses, and the abrupt juxtapositions of conflicting points of view.
참고문헌 (16)
- Batra, Manjula, "The Pattern of Images in the Poetry and Plays of T. S. Eliot", PhD, pp.1999
- Buber, Martin, "Between Men & Men" (1968), Fontana
- Buber, Martin, "I and Thou" (1996), Simon & Schuster
- Buber, Martin, "The Philosophy of Martin Buber. Ed. Paul Arthur Schilpp and Maurice Friedman" (1967), The Open Court Publishing Co
- Cooper, John Xiros, "S. Eliot’s Orchestra: Critical Essays on Poetry and Music" (2000), Garland
- Eliot, T. S., "The Complete Poems and Plays of T. S. Eliot" (1969), Faber
- Eliot, T. S., "Knowledge and Experience in the Philosophy of F. H. Bradley" (1964), Farrar, Straus and Company
- Eliot, T. S., "Selected Essays" (1950), Harcourt, Brace, and Company
- Eliot, T. S., "Selected Prose of T. S. Eliot" (1975), Faber
- Kearns, Cleo McNelly, "T. S. Eliot and Indic Traditions: A Study in Poetry and Belief" (1987), Cambridge UP
- McArthur, Murray, "Deciphering Eliot: ‘Rhapsody on a Windy Night’ and the Dialectic of the Cipher", American Literature, 66(3), pp.509~524 (1994)
- Perloff, Majorie, "The Futurist Moment: Avant-Garde, Avant Guerre, and the Language of Rupture" (1986), U of Chicago P
- Riquelme, John P., "The Transformation of Romantic Tropes in Eliot’s ‘Rhapsody on a Windy Night’", Style, 23(1), pp.1~15 (1989)
- Sarker, Sunil Kumar, "T. S. Eliot: Poetry, Plays and Prose" (2008), Atlantic
- Schneider, Elizabeth, "T. S. Eliot: The Pattern in the Carpet" (1975), U of California P
- Unger, Leonard, "T. S. Eliot: Moments and Patterns" (1956), U of Minnesota p