시쓰기가 시가 되기: 애쉬베리의 『볼록거울에 비친 자화상』에 나타나는 거리 만들기와 소격효과 (Making Poetry is Becoming Poetry: Distancing and the Estrangement Effects in Ashbery’s Self-Portrait in a Convex Mirror)

서지정보

· 발행기관 : 영미문학연구회
· 수록지 정보 : 영미문학연구 / 16호 / 37 ~ 68페이지
· 저자명 : 박정필

초록

Ekphrasising “Self-Portrait in the Convex Mirror,” a prominent work of an Italian Mannerist painter Parmigianino, John Ashbery points out various modes of being and nothing or minute differential flows in the picture. Above all, the large hand in it, unfolding the intertextuality with postmodern sensibility, implies such unorthodox themes as unbalance, distortion, bizzarreness, moving out, surprise effect, otherness, etc. Ashbery exalts this postmodern rereading and misreading to his dynamic, pluralistic, and different ontology.
Above all, Ashbery focuses on the increase of significant distance in the picture to the effect of the convex mirror. Not to mention anti-classic elongation the distancing generates various derivatives. First, the increase of distance is to swerve out, to be expelled far away, or to advance to the marginal or the void abandoning this saturated atmosphere for release or disturbing center, linearity, and order but risking instability. Then the distancing reaches the territory of void or the untouchable, in which language or cognizance is completely challenged and incommunicable. Second, the distance veils and obscures things for protection into haze or abstract darkness, but on the other hand can cause them to be buried in vapid equalization or generalization. Third, the distance as nullification, invisibility, or death implies that invaluable things also should accept the destiny of being discarded into vacuum. Finally distance as a mechanism of shocking effect tends to preserve its own difference as the gap between the text and the reader is seldom broken down and makes his anticipation fail.
The increase of distance produces varied estrangement effects. The most distinguished one is the emergence of unexpected otherness which makes all the accustomed things uncanny and turns small warp to be firm transgression as if an artist modifies his subject into monstrous in the finish. But this difference sometimes configurates disconnected connection paradoxically as in the meeting of many scholars who have different race, nationality, and major in a particular place. Another estrangement effect is an unexpected return as a boring story completely dead revives or something reappears from such hiding places as shade, hole, irregular crystal, etc. But all these strong and weak effects of eccentricity perish into the vacant, the opaque, or the ordinary itself. Even if emerging as otherness, progressing swervingly, and vanishing suddenly, order, identity, or organization could be implied. Various kinds of forms can be constructed in incessant flux of things. That is, Ashbery does not disregard any probabilities of connection, equalization, order, and coherence which usually take shape from the accumulation of facts. But essentially regularity and unity presume instability; for their ultimate sources are chaos, oblivion, and nothing.
Ashbery approves reservation, imbroglio, and ambiguity positively as the indispensable elements of inventing his poems; furthermore, they lead him up to erase any distinction between versification process and poetry itself. His unstable beings or words amount even to the forgettable, the destructible, or the unreachable but unexpectedly are reinstated as otherness, memory, or a sort of order. But again nothingness or equivocation inundates them agape letting something else be awaited.

영어초록

Ekphrasising “Self-Portrait in the Convex Mirror,” a prominent work of an Italian Mannerist painter Parmigianino, John Ashbery points out various modes of being and nothing or minute differential flows in the picture. Above all, the large hand in it, unfolding the intertextuality with postmodern sensibility, implies such unorthodox themes as unbalance, distortion, bizzarreness, moving out, surprise effect, otherness, etc. Ashbery exalts this postmodern rereading and misreading to his dynamic, pluralistic, and different ontology.
Above all, Ashbery focuses on the increase of significant distance in the picture to the effect of the convex mirror. Not to mention anti-classic elongation the distancing generates various derivatives. First, the increase of distance is to swerve out, to be expelled far away, or to advance to the marginal or the void abandoning this saturated atmosphere for release or disturbing center, linearity, and order but risking instability. Then the distancing reaches the territory of void or the untouchable, in which language or cognizance is completely challenged and incommunicable. Second, the distance veils and obscures things for protection into haze or abstract darkness, but on the other hand can cause them to be buried in vapid equalization or generalization. Third, the distance as nullification, invisibility, or death implies that invaluable things also should accept the destiny of being discarded into vacuum. Finally distance as a mechanism of shocking effect tends to preserve its own difference as the gap between the text and the reader is seldom broken down and makes his anticipation fail.
The increase of distance produces varied estrangement effects. The most distinguished one is the emergence of unexpected otherness which makes all the accustomed things uncanny and turns small warp to be firm transgression as if an artist modifies his subject into monstrous in the finish. But this difference sometimes configurates disconnected connection paradoxically as in the meeting of many scholars who have different race, nationality, and major in a particular place. Another estrangement effect is an unexpected return as a boring story completely dead revives or something reappears from such hiding places as shade, hole, irregular crystal, etc. But all these strong and weak effects of eccentricity perish into the vacant, the opaque, or the ordinary itself. Even if emerging as otherness, progressing swervingly, and vanishing suddenly, order, identity, or organization could be implied. Various kinds of forms can be constructed in incessant flux of things. That is, Ashbery does not disregard any probabilities of connection, equalization, order, and coherence which usually take shape from the accumulation of facts. But essentially regularity and unity presume instability; for their ultimate sources are chaos, oblivion, and nothing.
Ashbery approves reservation, imbroglio, and ambiguity positively as the indispensable elements of inventing his poems; furthermore, they lead him up to erase any distinction between versification process and poetry itself. His unstable beings or words amount even to the forgettable, the destructible, or the unreachable but unexpectedly are reinstated as otherness, memory, or a sort of order. But again nothingness or equivocation inundates them agape letting something else be awaited.

참고자료

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