시적 담론의 탈 중심화—셰이머스 히니의 『현장답사』 (The Decentralization of the Poetic Discourse: Seamus Heaney’s Field Work)

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초록

The Decentralization of the Poetic Discourse:Seamus Heaney's Field Work, as the title implies, is excavatory. “Vowels ploughed into other: opened ground”, the first line of the first sonnet of “Glanmore Sonnets”, Which seems to be intentionally placed in the center of this collection, is suggestive of Heaney’s changed poetic consciousness in the many poems of Field Work, which was published after the announcement of his independence as a artist from the troubles of the Northern Ireland. His poetic consciousness removed from the narrow range of the poetic land and ploughed into new, various, other, opened ground. The dominant and important change of heaney’s poetic self in Field Work is from the mythologized and monologic of North to the social and dialogic.
The poetic discourse created by the conversational and opened poetic self of Field Work is not stayed by the speaker’s utterance but various voices enter into dialogue with the speaker and become viable participants in the text. Although Haney creates the texts, he attempts to wield no authority in them. Heaney’s speaker is distinguished from ones in other collections before Field Work by his autonomy to evade, or confront, address, explore, and recollect the many other autonomous voices in the text. The discourses fluctuate because the speaker who is always in conversation with himself or others often makes discursive shifts which reveal his artistic consciousness. The on-going drama of diverse voices including silences operating in the poems of Field Work make the end of the poems unbalanced, indeterminate, and opened.

영어초록

The Decentralization of the Poetic Discourse:Seamus Heaney's Field Work, as the title implies, is excavatory. “Vowels ploughed into other: opened ground”, the first line of the first sonnet of “Glanmore Sonnets”, Which seems to be intentionally placed in the center of this collection, is suggestive of Heaney’s changed poetic consciousness in the many poems of Field Work, which was published after the announcement of his independence as a artist from the troubles of the Northern Ireland. His poetic consciousness removed from the narrow range of the poetic land and ploughed into new, various, other, opened ground. The dominant and important change of heaney’s poetic self in Field Work is from the mythologized and monologic of North to the social and dialogic.
The poetic discourse created by the conversational and opened poetic self of Field Work is not stayed by the speaker’s utterance but various voices enter into dialogue with the speaker and become viable participants in the text. Although Haney creates the texts, he attempts to wield no authority in them. Heaney’s speaker is distinguished from ones in other collections before Field Work by his autonomy to evade, or confront, address, explore, and recollect the many other autonomous voices in the text. The discourses fluctuate because the speaker who is always in conversation with himself or others often makes discursive shifts which reveal his artistic consciousness. The on-going drama of diverse voices including silences operating in the poems of Field Work make the end of the poems unbalanced, indeterminate, and opened.

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