현대시와 비유의 모델

Abstract

The purpose of this study is to elucidate the status and correlation of figures in modern poetry through a three-dimensional model of figure. To this end, he pointed out the problems of the terms, the original concept (the tenor) and the auxiliary concept (the vehicle), which have been used as a unit of figure, and suggested new terms to replace them: the center-image and the world-image. The positions of the figures are designated according to the coordinates where the two images are developed. The three axes (x-axis, y-axis, and z-axis) set in this paper indicate the comparability, systematicity, and productivity of meanings, respectively. A metaphor and a synecdoche are assigned to the basic axis in two-dimensional coordinates, and the places of a symbol and an allegory are assigned through the intersection of the metaphor and the synecdoche. Whereas other figures produce meaning, metonymy is concerned with the circulation of meaning. Therefore, metonymy is located on the line of the third axis. Where metonymy marks the low point of the figure, irony marks the high point of the figure. Irony is located beyond the horizon of languages ​​and is revealed through failure or contradiction of language. In the place of irony, the reality of the world that language has not yet captured is revealed. Irony appears in the subject's speech and in his contradictory attitude toward the world. Also, irony is revealed in the contrarian of language, and it appears repeatedly in the failure of analogies. The diversity of irony can be compared to the diversity of figure, since the irony is structured. The structure of irony can be established that corresponds to the entire analogy structure. At this point, adding a structure of rhythm that is organized differently in each psalm will reveal the whole of poetry. The three-dimensional model of the figure is an important element for exploring the whole of poetry.