본문 바로가기
KERD
논문KCI 등재

윌리엄 칼로스 윌리엄즈와 찰스 디무스의 상호텍스트성 연구

A Study on the Intertextuality between William Carlos Williams and Charles Demuth

1

조회

0

다운로드

2

인용

0

참고문헌

키워드

주제분류영어와문학

초록

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.

Abstract

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.

참고문헌 (22)

  1. 신채기, "1910년에서 1930년대까지 미국 미술에 나타난 국가 정체성에 관한 연구", 박사, pp.2004
  2. Aiken, Edward., "“‘I Saw the Figure 5 in Gold’: Charles Demuth's Emblematic Portrait of William Carlos Williams.”", Art Journal, 46(3), pp.178~184 (1987)
  3. Berger, John., "The Success and Failure of Picasso" (1965), Harmondsworth: Penguin
  4. Breslin, James E, "Williams Carlos Williams and Charles Demuth: Cross-Fertilization in the Arts", Journal of Modern Literature, 6(2), pp.248~263 (1977)
  5. Brown, Milton., "The Modernist Spirit: American Painting" (1977), London Arts Council of Great Britain
  6. Corn, Wanda M., "The Great American Thing: Modern Art and National Identity" (1999), Berkely: U of California P
  7. Farnham, Emily., "Charles Demuth: Behind a Laughing Mask" (1971), Norman: U of Oklahoma P
  8. Halter, Peter., "The Revolution in the Visual Arts and the Poetry of William Carlos Williams" (1994), New York: Cambridge UP
  9. Kern, Stephen, "The Culture of Time and Space: 1880-1918" (2003), Cambridge: Harvard UP
  10. Mariani, Paul., "William Carlos Williams: A New World Naked" (1981), New York: McGraw Hill
  11. Marinetti, Filippo., "The Founding Manifesto of Futurism", pp.41~ (1971), New York
  12. Marling, William., "William Carlos Williams and the Painters" (1982), Athens: Ohio UP
  13. Monroe, Harriet., "A Poet's Life: Seventy Years in a Changing World" (1938), New York: Macmillan
  14. Rozaitis, William Anthony., "Desire Reduced to a Petal’s Span: William Carlos Williams, Charles Demuth, and Floral Representation in Late Nineteenth and Early Twentieth-Century America", Diss, pp.1997
  15. Stavitsky, Gail., "Reordering Reality: Precisionist Directions in American Art", pp.12~39 (1994), New York: Harry N Abrams
  16. Stewart, Patrick Leonard., "Charles Sheeler, William Carlos Williams and the Development of the Precisionist Aesthetic, 1917-1931", Diss, pp.1931
  17. Tashjian, Dickran., "William Carlos Williams and the American Scene, 1920-1940" (1978), New York: Whitney Museum of American Art
  18. Williams, William Carlos., "The Autobiography of William Carlos Williams" (1967), New York: New Directions
  19. Williams, William Carlos., "The Collected Poems of William Carlos Williams" (1988), New York: New Directions
  20. Williams, William Carlos., "Interviews with William Carlos Williams: “Speaking Straight Ahead.”" (1976), New York: New Directions
  21. Williams, William Carlos., "Selected Essays of William Carlos Williams" (1969), New York: New Directions
  22. Williams, William Carlos., "The Selected Letters of William Carlos Williams" (1984), New York: New Directions

관련 논문AI추천

이 간행물의 다른 논문 (13건)