이승하의 ‘사진시’에 나타난시 텍스트와 사진 이미지의 상호매체성 연구
A Study on the Intermediality between Poem Text and Photo Image in Lee Seung－ha's 'Photo Poetry
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The purpose of this study is to identifying the poetic world that Lee Seung－ha's 'photo poetry' has sought for and its value in poetic history by investigating the intermediality between poem text and photo image in Lee Seung－ha's 'photo poetry' in terms of aspects of adopting photographs, aspects of integrating media and effects of blending media. Therefore first I identified the fact that Lee Seung－ha's 'photo poetry' has adopted all the genres of photograph: photojournalism, documentary photography, fine art photography and advertising photography. I analysed photojournalism－adopted poems focusing on the concept Susan Sontag's 'ethics of photography'. Next, I investigated the aspects of integrating intermediality between poem text and photo image, based on the concept of Walter Benjamin's 'the author as producer'. I analysed it after dividing his poems into poems edited by form of single photo and poems edited by form of photo story. Lastly, I investigated effects of intermediality by method of meaning composition using poem text and photo image in Lee Seung－ha's 'photo poetry', quoting the concept of 'ancrage and relais' of Roland Barthes. I analysed it after categorizing his poems into three: poem text do 'ancrage' photo image, poem text do 'relais' photo image, and photo image and only word text from article are 'juxtaposed'. Eventually I also identified that Lee Seung－ha's 'photo poetry' has consistently shown the poetic world that has spoken up forhumanism by combining photo image with his poem text: text such as photo title, caption and word and breaking down the border between two different sign systems. I found that Lee Seung－ha's 'photo poetry' has faced the changing circumstances of media, circumstances of intermediality: photo media affect cultural art generally and literary texts also have relation to images and has pioneered avant－garde form and genre experiment, 'photo poetry', and that the value of his 'photo poetry' in poetic history is to develop new paradigm and to extend its horizon in Korean modern poetry.
Abstract
The purpose of this study is to identifying the poetic world that Lee Seung－ha's 'photo poetry' has sought for and its value in poetic history by investigating the intermediality between poem text and photo image in Lee Seung－ha's 'photo poetry' in terms of aspects of adopting photographs, aspects of integrating media and effects of blending media. Therefore first I identified the fact that Lee Seung－ha's 'photo poetry' has adopted all the genres of photograph: photojournalism, documentary photography, fine art photography and advertising photography. I analysed photojournalism－adopted poems focusing on the concept Susan Sontag's 'ethics of photography'. Next, I investigated the aspects of integrating intermediality between poem text and photo image, based on the concept of Walter Benjamin's 'the author as producer'. I analysed it after dividing his poems into poems edited by form of single photo and poems edited by form of photo story. Lastly, I investigated effects of intermediality by method of meaning composition using poem text and photo image in Lee Seung－ha's 'photo poetry', quoting the concept of 'ancrage and relais' of Roland Barthes. I analysed it after categorizing his poems into three: poem text do 'ancrage' photo image, poem text do 'relais' photo image, and photo image and only word text from article are 'juxtaposed'. Eventually I also identified that Lee Seung－ha's 'photo poetry' has consistently shown the poetic world that has spoken up forhumanism by combining photo image with his poem text: text such as photo title, caption and word and breaking down the border between two different sign systems. I found that Lee Seung－ha's 'photo poetry' has faced the changing circumstances of media, circumstances of intermediality: photo media affect cultural art generally and literary texts also have relation to images and has pioneered avant－garde form and genre experiment, 'photo poetry', and that the value of his 'photo poetry' in poetic history is to develop new paradigm and to extend its horizon in Korean modern poetry.
참고문헌 (22)
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