어둠의 공명으로서의 시—세이머스 히니의 『산사나무 랜턴』
The Poems As Echoing of the Darkness: A Study of Seamus Heaney’s Haw Lantern
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Motivated by Mikhail Bakhin's proposition that every utterance is heteroglot and Wolfgang Iser's theory on reader's involvement in texts, this paper tries to identify how the poetic discourses in Heaney's The Hay Lantern are organized. Using a few poems of the above collection, this paper shows that in contrast to the earlier poems such as “digging”, in which all poetic elements are controlled to support a single poetic theme or discourse, the poems of The Hay Lantern loosen the various heterogeneous images, allowing the reader to freely interpret the voices present in the poem. Through the process of reading, the reader becomes aware of the gaps present in the poem, and is more eager to find out what the images and voices have to say. In order to enjoy the poem, the reader has to orchestrate it and needs to become a new creator of the poem, by participating in the poetic game and exploration. It is also important to verify how the discursive poetic elements illuminate the poet's artistic consciousness. Within the poem a discursive bridge exists between the speaker, reader and other voices present in the text. This bridge encourages the reader to experience the poet's cultural and artistic origins, and allows the reader to explore the various sources of one’s poetic gifts.
Abstract
Motivated by Mikhail Bakhin's proposition that every utterance is heteroglot and Wolfgang Iser's theory on reader's involvement in texts, this paper tries to identify how the poetic discourses in Heaney's The Hay Lantern are organized. Using a few poems of the above collection, this paper shows that in contrast to the earlier poems such as “digging”, in which all poetic elements are controlled to support a single poetic theme or discourse, the poems of The Hay Lantern loosen the various heterogeneous images, allowing the reader to freely interpret the voices present in the poem. Through the process of reading, the reader becomes aware of the gaps present in the poem, and is more eager to find out what the images and voices have to say. In order to enjoy the poem, the reader has to orchestrate it and needs to become a new creator of the poem, by participating in the poetic game and exploration. It is also important to verify how the discursive poetic elements illuminate the poet's artistic consciousness. Within the poem a discursive bridge exists between the speaker, reader and other voices present in the text. This bridge encourages the reader to experience the poet's cultural and artistic origins, and allows the reader to explore the various sources of one’s poetic gifts.
참고문헌 (15)
- Bakhtin, Mikhail, "Caryl Emerson and Michael Holquist" (1981), U of Texas P
- Burris, Sidney, "The Poetry of Resistance: Seamus Heaney and the Pastoral Tradition" (1990), Ohio UP
- Collins, Floyd, "Seamus Heaney: The Crisis of Identity" (2003), U of Delaware P
- Hamilton, Ian, "Excusez-moi", London Review of Books, pp.10~11 (1987)
- Hart, Henry, "Seamus Heaney: Poet of Contrary Progressions" (1993), Syracuse UP
- Heaney, Seamus, "The Haw Lantern" (1995), Farrar
- Heaney, Seamus, "The Place of Writing" (1989), Scholars
- Heaney, Seamus, "Poems 1965-1975: Death of a Naturalist, Door into the Dark, Wintering Out, North" (1988), Farrar
- Heaney, Seamus, "Preoccupations: Selected Prose 1968-1978" (1980), Farrar
- Iser, Wolfgang, "Reader-Response Criticism: From Formalism to Post-Structuralism" (1980), The Johns Hopkins UP
- Kinahan, Frank, "An Interview with Seamus Heaney", Critical Inquiry, 8(3-4), pp.405~414 (1982)
- Murphy, Andrew, "Seamus Heaney" (1996), Northcote
- Parker, Michael, "Seamus Heaney: The Making of a Poet" (1993), U of Iowa P
- Tobin, Daniel, "Passage to the Center: Imagination and the Sacred in the Poetry of Seamus Heaney" (1998), Kentucky UP
- Waterman, Andrew, "Keep it in the Six Countries, Heaney!", PN Review, 15(6), pp.37~41 (1989)