엘리엇의 『네 개의 사중주』(Four Quartets)에 있어서의 인식과 표현:불교, 음악과 포스트모던적 글쓰기
Communion and Communication in T. S. Eliot’s Four Quartets:Lyric Imagery, Buddhism, Music and Postmodern Writing
1
조회
0
다운로드
2
인용
0
참고문헌
키워드
초록
T. S. Eliot shows in almost all his poems that he strenuously wrestles with words to express the inexpressible. In his last poem, Four Quartets, he tries to write in an easier and simpler way by using lyric images, visual images and music, all of which just serve as methods to articulate the inarticulate. When Eliot speaks of the lyric, he is concerned not only with measured verse but also with a transmutation of thought and emotion into a communicable medium of language. His usage of lyric imagery is greatly influenced by his study of Dante and Buddhism. In Four Quartets, Eliot finds a way in music to compensate for dispersed and divided meanings of a word. Musical properties that he makes use of are the sense of rhythm and the sense of structure. He tries to write a poem with music of imagery for the secondary meanings of the words. The use of recurrent themes, images and symbols deepens and expands meanings of words. He makes a new whole out of superficially unrelated themes by weaving them together. He develops recurrent themes in Four Quartets through different subject matters such as air, earth, water, and fire. This method is similar to the development of a theme by different groups of instruments in music. The result is very similar to the strategy of Derrida’s writing as the trace. A word is inaccurate and incomplete, but necessary, and so it should remain legible being crossed out instead of being removed. This is why Eliot continues to write again and again, and the ceaseless writing is his text.
Abstract
T. S. Eliot shows in almost all his poems that he strenuously wrestles with words to express the inexpressible. In his last poem, Four Quartets, he tries to write in an easier and simpler way by using lyric images, visual images and music, all of which just serve as methods to articulate the inarticulate. When Eliot speaks of the lyric, he is concerned not only with measured verse but also with a transmutation of thought and emotion into a communicable medium of language. His usage of lyric imagery is greatly influenced by his study of Dante and Buddhism. In Four Quartets, Eliot finds a way in music to compensate for dispersed and divided meanings of a word. Musical properties that he makes use of are the sense of rhythm and the sense of structure. He tries to write a poem with music of imagery for the secondary meanings of the words. The use of recurrent themes, images and symbols deepens and expands meanings of words. He makes a new whole out of superficially unrelated themes by weaving them together. He develops recurrent themes in Four Quartets through different subject matters such as air, earth, water, and fire. This method is similar to the development of a theme by different groups of instruments in music. The result is very similar to the strategy of Derrida’s writing as the trace. A word is inaccurate and incomplete, but necessary, and so it should remain legible being crossed out instead of being removed. This is why Eliot continues to write again and again, and the ceaseless writing is his text.
참고문헌 (27)
- 김현자, "한국 선시의 감각과 공간구조 『시: 구조와 분석 I』. 이어령 선생님 화갑기념. 논문집 간행위원회편" (1993), 창
- 오쇼 라즈니쉬, "죽음의 예술" (1983), 청하
- 윤재근, "시론" (1990), 둥지
- Eliot, T. S., "Collected Poems: 1909-1962" (1974), Faber
- Eliot, T. S., "On Poetry and Poets" (1976), Noonday
- Eliot, T. S., "The Sacred Wood" (1972), Methuen
- Eliot, T. S., "Selected Essays" (1980), Faber
- Eliot, T. S., "The Use of Poetry and the Use of Criticism" (1980), Faber
- Ackroyd, Peter, "T. S. Eliot" (1984), Hamilton
- Alldritt, Keith, "Eliot’s Four Quartets: Poetry as Chamber Music" (1978), Woburn
- Brady, Ann P., "Lyricism in the Poetry of T. S. Eliot" (1978), Kennikat
- Cahill, Audrey F., "T. S. Eliot and the Human Predicament" (1967), U of Natal P
- Eagleton, Terry, "Literary Theory: An Introduction" (1983), Blackwell
- Easthope, Antony, "Poetry As Discourse" (1983), Methuen
- Gardner, Helen, "The Composition of Four Quartets" (1978), Faber and Faber
- Gardner, Helen, "The Art of T. S. Eliot" (1979), Faber
- Gish, Nancy K., "Time in the Poetry of T. S. Eliot" (1981), The Macmillan P
- Hall, Donald, "The Art of Poetry 1: T. S. Eliot, an Interview, T. S. Eliot: Critical Assessments. Ed. Graham Clarke. Vol. I", pp.72~91 (1990), Helm
- Hargrove, N. D., "Landscape As Symbol in the Poetry of T. S. Eliot" (1978), UP of Mississippi
- Harmon, William, "T. S. Eliot’s Raids on the Inarticulate, T. S. Eliot: Critical Assessments. Ed. Graham Clarke. Vol. IV", pp.383~399 (1990), Helm
- Hay, Eloise K., "T. S. Eliot’s Negative Way" (1982), Harvard UP
- Lyotard, Jean-Francios, "The Postmodern Condition: A Report on Knowledge" (1984), Minnesota UP
- Manganiello, Dominic, "T. S. Eliot and Dante" (1989), Macmillan
- Murray, Paul, "T. S. Eliot and Mysticism: The Secret History of Four Quartets" (1991), Macmillan
- Nassar, E. Paul, "The Cantos of Ezra Pound: The Lyric Mode" (1976), The Johns Hopkins UP
- Rajan, Balachandra, "The Overwhelming Question: A Study of?the Poetry of T. S. Eliot" (1976), Toronto UP
- Sarup, Madan, "An Introductory Guide of Post-Structuralism and Postmodernism" (1988), Harvester Wheatsheaf