시간성과 모더니티 —윌리암스의『봄과 모든 것』을 중심으로 (Temporality and Modernity: A Reading of William Carlos Williams’s Spring and All)

서지정보

· 발행기관 : 한국영어영문학회
· 수록지 정보 : 영어영문학 / 55권 / 1호 / 83 ~ 105페이지
· 저자명 : 손혜숙

초록

Modern poetry begins as criticism of modernity and, by so doing, rejects its
idea of time. Modernity emphasizes sequential, linear, and irreversible time
and progress. Williams rejects the modern view of time, and attempts to substitute
literature for history assuming that literature can take us into the immediacy
of time. His poetry asserts the true moment of experience as an immediacy,
of words co-existent with things. He suggests that modernity and its idea
of time already led to World War I and could clearly lead to an actual, manmade
apocalypse with continued technological progress. Already in the
1920s, Williams sensed that he was living in a world where such an end could
come all true, which is why Spring and All, his greatest early achievement,
begins with a parody of the modern apocalypse.
Throughout the work, Williams criticizes “crude symbolism” and expresses
his longing to annihilate “strained associations,” for he believes that the
metaphoric or symbolic association is related to order, the center, and the traditional
concept of time itself. The metonymic model of Spring and All substitutes
a self-reflexive, open-ended, and indeterminate structure of time for the
linear and closed one. Instead of supplying an end, Williams only asserts the
rebirth of time and attempts to arrive at immediacy while attacking the mediacy
of traditional art. His characteristic use of fragmentation and abrupt juxtapositions
disrupts the reader’s generic, conceptual, syntactic, and grammatical
expectations. His radical poetic experiments, such as the isolation of words
and the disruption of syntax, produce a sense of immediacy and force the
reader to confront the presence of the poem. His destruction of traditional
forms, of the tyrannous designs of history and time, opens up rather than closes
the possibility of signification, and takes us into a moment of beginning
while disallowing temporal distancing. Spring and All, as a criticism of the
modern idea of time, asks us to view Williams’s work not as an ahistorical
text but as a cultural subversion of modernity.

영어초록

Modern poetry begins as criticism of modernity and, by so doing, rejects its
idea of time. Modernity emphasizes sequential, linear, and irreversible time
and progress. Williams rejects the modern view of time, and attempts to substitute
literature for history assuming that literature can take us into the immediacy
of time. His poetry asserts the true moment of experience as an immediacy,
of words co-existent with things. He suggests that modernity and its idea
of time already led to World War I and could clearly lead to an actual, manmade
apocalypse with continued technological progress. Already in the
1920s, Williams sensed that he was living in a world where such an end could
come all true, which is why Spring and All, his greatest early achievement,
begins with a parody of the modern apocalypse.
Throughout the work, Williams criticizes “crude symbolism” and expresses
his longing to annihilate “strained associations,” for he believes that the
metaphoric or symbolic association is related to order, the center, and the traditional
concept of time itself. The metonymic model of Spring and All substitutes
a self-reflexive, open-ended, and indeterminate structure of time for the
linear and closed one. Instead of supplying an end, Williams only asserts the
rebirth of time and attempts to arrive at immediacy while attacking the mediacy
of traditional art. His characteristic use of fragmentation and abrupt juxtapositions
disrupts the reader’s generic, conceptual, syntactic, and grammatical
expectations. His radical poetic experiments, such as the isolation of words
and the disruption of syntax, produce a sense of immediacy and force the
reader to confront the presence of the poem. His destruction of traditional
forms, of the tyrannous designs of history and time, opens up rather than closes
the possibility of signification, and takes us into a moment of beginning
while disallowing temporal distancing. Spring and All, as a criticism of the
modern idea of time, asks us to view Williams’s work not as an ahistorical
text but as a cultural subversion of modernity.

참고자료

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