Earticle

초록

영어

William Carlos Williams discovers significant sources of inspiration in the revolutionary avant-garde movements, in particular, Dada and Surrealism. He tries to pursue the experimentalist innovations in them for his own poetic needs. Williams’s desire to establish an indigenous American poetic work is compatible with his avant-gardist experimentation with objets trouvés. Williams puts forth his greatest effort into dedicating himself to hearing the voices and understanding the lives of marginalized people he comes across, and he translates his observations with poetic language freed from their instrumental contexts. His early poetry written from the 1910s to 1930s betrays American social ruination, and his goal to give voice to the conflictual and fragmentary character of modernity is carried out by the Surrealist formulation of montage. In that formulation, the dialectical image not merely becomes a central trope for deciphering the myth of modernity, but it functions as both subject and object in the historiographic narratives of Walter Benjamin and Williams. Objets trouvés and dialectical images become the most pivotal tropes that do justice to the diverse facets of social reality Williams attempts to disclose throughout his career as a modernist poet.

목차

I. 다다이즘과 오브제
 II. 초현실주의와 대항적 이미지
 III. 나가며
 인용문헌
 Abstract

키워드

저자

• 김홍기 [ Hongki Kim | 광운대학교 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  영어영문학21 [English21]

• 간기

  계간

• pISSN

  1738-4052

• 수록기간

  1967~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 840 DDC 820