시와 회화의 융합방법론 연구 - 이승훈의 『시집 샤갈』, 『나는 사랑한다』를 중심으로

Abstract

The affinity of poetry and painting and the fusion of genres have a long history. This is true even in modern times. The most applied method of fusion of poetry and painting is the poets who used so-called Deconstruction Poems. Among them, Lee Seung-hoon is the poet who actively attracted painting. Lee Seung Hoon experimented with Chagall's paintings through poetry. You can clearly see how poetry and painting penetrate and blend with each other to leave new text. As part of the poetry text, Chagall's painting is intervened. Readers can visually appreciate the communication and combination between the two genres by viewing and reading paintings and poetry together. This interpretation is possible because there is a perception that the image of the painting in the poem text functions as another text. Lee's collection of poems is bound together with psalms based on Chagall's paintings and is the most appropriate text to discuss the topic of poetic acceptance of paintings. There are two reasons for this. The first is that the entire collection of poetry uses the text of a painter. The second is the clear view of how the poet interprets and transforms Chagall's work. Lee chose a methodology to form Chagall's works in language through 'fantasy' that confronts or reconciles with reality. This can be confirmed by analyzing Lee's poems in a fantasy. Lee Seung-hoon is a poet who has worked for a long time based on language. The assault on language is combined with meta-perception to dismantle language. At the stage of language deconstruction, the combination of photographs with poetry texts is essential. Lee Seung-hoon accomplished post-modern poetic practice that emerged as a new methodology of the time through reinterpretation of nuclear power plants or transformation of nuclear power plants.