워즈워스 시의 “완전한” 판본: 『무너진 오두막』의 다층적 전자텍스트 개념모델을 위한 시론 (A Conceptual Model of Multi-layered Electronic Text of Wordsworth’s The Ruined Cottage)

서지정보

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초록

Wordsworth defined poetry as “spontaneous overflow of powerful feelings,” but he never wrote his poems “spontaneously.” Quite to the contrary, he revised the drafts again and again even after manuscripts were in the publisher’s hands giving him the notorious title of a “publishers’ nightmare.” The Prelude being the prime example, he sometimes decided not to publish the poems he had laboriously revised for a long time. The Ruined Cottage, generally regarded as one of the finest achievements of Wordsworth's entire poetic career, was another example that was never given the chance to be published as a separate poem in Wordsworth's lifetime. Wordsworth started to work on it from as early as 1796 and presented it to the world after many revisions in 1814 as the first book of The Excursion. Even after publication, the poet did not stop tinkering with the poem until as late as 1845, five years before he died. There is no doubt that the Cornell edition of The Ruined Cottage is an example of the best textual scholarship imaginable within the limits of print book technology, but its use has been by and large limited to Wordsworth specialists. My objective is to present a conceptual model of a multi-layered electronic edition of The Ruined Cottage, making use of recently developed encoding technique, which we hope will render the results of textual scholarship contained within the Cornell edition more readily available to the general readers through multimedia visualizing technology.


Making the best of all the useful knowledge from the preceding research, we hope to contribute to the scholarship of electronic text with our multi-layered electronic text of The Ruined Cottage by incorporating:- User-friendly interface using multimedia visualization techniques - Three-dimensional graphic images showing the depth of multi-layered e-texts - VR navigation techniques to feel the volumetric effects of the layers - Comparison among various hypertext poems using XML techniques -Graphical rendering with the original calligraphy and material according to the change of some parts in the e-texts

Wordsworth’s life-long textual manipulation of his major works makes him in hindsight a precursor to the hyper-textual author: he, for example, had an ambition to organize all his poetic texts into one great work allocating a proper place for each poetical text in the hierarchical structure of his poetic corpus where each poem is implicitly or explicitly cross-referenced (“linked”) with each other, which was all done within the limits of print book technology. The textual history of any single poem of Wordsworth, therefore, cannot be revealed until it is shown within the complex web-like structure of his poetic corpus. The multi-layered electronic text with its three-dimensional visualizing technique could offer a clearer picture of a poem’s connection to the Wordsworthian docuverse system, The Ruined Cottage first to be show-cased.

영어초록

Wordsworth defined poetry as “spontaneous overflow of powerful feelings,” but he never wrote his poems “spontaneously.” Quite to the contrary, he revised the drafts again and again even after manuscripts were in the publisher’s hands giving him the notorious title of a “publishers’ nightmare.” The Prelude being the prime example, he sometimes decided not to publish the poems he had laboriously revised for a long time. The Ruined Cottage, generally regarded as one of the finest achievements of Wordsworth's entire poetic career, was another example that was never given the chance to be published as a separate poem in Wordsworth's lifetime. Wordsworth started to work on it from as early as 1796 and presented it to the world after many revisions in 1814 as the first book of The Excursion. Even after publication, the poet did not stop tinkering with the poem until as late as 1845, five years before he died. There is no doubt that the Cornell edition of The Ruined Cottage is an example of the best textual scholarship imaginable within the limits of print book technology, but its use has been by and large limited to Wordsworth specialists. My objective is to present a conceptual model of a multi-layered electronic edition of The Ruined Cottage, making use of recently developed encoding technique, which we hope will render the results of textual scholarship contained within the Cornell edition more readily available to the general readers through multimedia visualizing technology.


Making the best of all the useful knowledge from the preceding research, we hope to contribute to the scholarship of electronic text with our multi-layered electronic text of The Ruined Cottage by incorporating:- User-friendly interface using multimedia visualization techniques - Three-dimensional graphic images showing the depth of multi-layered e-texts - VR navigation techniques to feel the volumetric effects of the layers - Comparison among various hypertext poems using XML techniques -Graphical rendering with the original calligraphy and material according to the change of some parts in the e-texts

Wordsworth’s life-long textual manipulation of his major works makes him in hindsight a precursor to the hyper-textual author: he, for example, had an ambition to organize all his poetic texts into one great work allocating a proper place for each poetical text in the hierarchical structure of his poetic corpus where each poem is implicitly or explicitly cross-referenced (“linked”) with each other, which was all done within the limits of print book technology. The textual history of any single poem of Wordsworth, therefore, cannot be revealed until it is shown within the complex web-like structure of his poetic corpus. The multi-layered electronic text with its three-dimensional visualizing technique could offer a clearer picture of a poem’s connection to the Wordsworthian docuverse system, The Ruined Cottage first to be show-cased.

참고자료

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