윌리엄 칼로스 윌리엄즈와 다다주의: 『지옥의 코라』와 『봄과 만물』을 중심으로
William Carlos Williams and Dadaism in Kora in Hell and Spring and All
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Williams is strongly attracted to Dadaism, one of the avant-garde art movements of the early 20th century which characterizes negation of and rebellion against all the traditional artistic conventions. In fact, Dada, which erupted in Zurich in 1916 during the First World War, is a paradoxically destructive yet affirmative anti-art movement that ultimately tries to embody the idealistic world. Williams had an opportunity to witness Dada through an expatriate French painter, Marcel Duchamp, who then shook up the establishment art world in New York. Thus, he gradually comprehended the principles and techniques of Dadaism and could apply them to his own prose and poetry. Above all, Dadaism means “the release of SOMETHING” for Williams' works. The “Prologue” to Kora in Hell has been regarded as a tribute to Marcel Duchamp. In addition, Williams stresses that Duchamp’s ready-made such as “Fountain” provokes him to write “－something new－something American.” In the “Prologue,” Williams states an imagination based on “a more flexible, jagged resort.” This imagination strongly arouses Dadaistic imagination which subverts all the rational and logical order. With this imagination, Williams creates his own versions of Dadaist works such as Kora in Hell and Spring and All, which are regarded as his representative early prose and poetry. These works show his outstanding Dadaist techniques such as “decompositions,” “automatic writings,” “collage,” “photomontage,” etc. Significantly, in the poems such as “At the Faucet of June” and “Agonized Spires” in Spring and All, Williams brilliantly uses violently clashing images, mixed metaphors, run-on sentences, rapidly shifting scenes with modern technology and city imagery so that they create the effect of “collage” and “photomontage.” Accordingly, I believe that Williams could construct the indigenous American poetics which shows “－something new－something American” based on Dadaism.
Abstract
Williams is strongly attracted to Dadaism, one of the avant-garde art movements of the early 20th century which characterizes negation of and rebellion against all the traditional artistic conventions. In fact, Dada, which erupted in Zurich in 1916 during the First World War, is a paradoxically destructive yet affirmative anti-art movement that ultimately tries to embody the idealistic world. Williams had an opportunity to witness Dada through an expatriate French painter, Marcel Duchamp, who then shook up the establishment art world in New York. Thus, he gradually comprehended the principles and techniques of Dadaism and could apply them to his own prose and poetry. Above all, Dadaism means “the release of SOMETHING” for Williams' works. The “Prologue” to Kora in Hell has been regarded as a tribute to Marcel Duchamp. In addition, Williams stresses that Duchamp’s ready-made such as “Fountain” provokes him to write “－something new－something American.” In the “Prologue,” Williams states an imagination based on “a more flexible, jagged resort.” This imagination strongly arouses Dadaistic imagination which subverts all the rational and logical order. With this imagination, Williams creates his own versions of Dadaist works such as Kora in Hell and Spring and All, which are regarded as his representative early prose and poetry. These works show his outstanding Dadaist techniques such as “decompositions,” “automatic writings,” “collage,” “photomontage,” etc. Significantly, in the poems such as “At the Faucet of June” and “Agonized Spires” in Spring and All, Williams brilliantly uses violently clashing images, mixed metaphors, run-on sentences, rapidly shifting scenes with modern technology and city imagery so that they create the effect of “collage” and “photomontage.” Accordingly, I believe that Williams could construct the indigenous American poetics which shows “－something new－something American” based on Dadaism.
참고문헌 (25)
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