마야꼬프스끼의 〈목청을 다하여〉에 나타난 시인과 시의 문제

저작시기 2001.12 |등록일 2010.01.15 파일확장자어도비 PDF (pdf) | 19페이지 | 가격 6,000원
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발행기관 : 한국슬라브학회 수록지정보 : 슬라브학보 / 16권 / 2호
저자명 : 석영중

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한국어 초록

It is well known that Maiakovskii"s 〈Vo ves" golos〉 was originally intended as an introduction to a large-scale "poema" about the First Five-Year Plan. However, the thematics of the text, including the poet"s immortality, the relationship of the poet and his poetry, etc., is personal and meta poetic rather than political. Furthermore, several circumstances suggest that it is as such a finished poema which Maiakovskii wanted to be his last work, a "poem-testament".
If we accept that 〈Vo ves" golos〉 is a "poem-testament", i.e. a text standing on the borderline of literature and biography, then in order to fully understand its meaning, we should examine not only those semantically important elements of the text but also the interrelationship between the textual elements and extra-textual elements, more specifically, between the poet and his poetry as they are mentioned in the text and the "real" poet Maiakovskii and his poetry in life. The aim of this paper is to analyze the 4 lines("But I subdued myself/and trod on my own song"s throat/Listen, comrades of posterity,/to an agitator, a stentorian leader") from 〈Vo ves" golos〉 and by doing so to investigate the problem of literature and biography, language and metalanguage, and, further, art and reality in Maiakovskii"s poetics in general.
As the analysis of the text shows, the 4 lines sum up Maiakovskii"s life-long search for immortality through poeticization of reality. For Maiakovskii, the ultimate target of poeticization is the poet himself, that is, he must be incorporated into the realm of art at the price of hs own life. Here, it goes without saying that the poet"s death caused by poeticization is a metaphor, but Maiakovskii pushes the metaphor too far, over the boundary of the literary text. Thus, when he kills himself after writing 〈Vo ves" golos〉, the figurative death in the text is duplicated in reality as the literal death, and the boundary between art and reality is finally removed. In this respect, 〈Vo ves" golos〉 is a piece of "literatura fakta" where the poetic language becomes its own metalanguage and vice versa.

영어 초록

It is well known that Maiakovskii's 〈Vo ves' golos〉 was originally intended as an introduction to a large-scale 'poema' about the First Five-Year Plan. However, the thematics of the text, including the poet's immortality, the relationship of the poet and his poetry, etc., is personal and meta poetic rather than political. Furthermore, several circumstances suggest that it is as such a finished poema which Maiakovskii wanted to be his last work, a 'poem-testament'.
If we accept that 〈Vo ves' golos〉 is a 'poem-testament', i.e. a text standing on the borderline of literature and biography, then in order to fully understand its meaning, we should examine not only those semantically important elements of the text but also the interrelationship between the textual elements and extra-textual elements, more specifically, between the poet and his poetry as they are mentioned in the text and the 'real' poet Maiakovskii and his poetry in life. The aim of this paper is to analyze the 4 lines("But I subdued myself/and trod on my own song's throat/Listen, comrades of posterity,/to an agitator, a stentorian leader") from 〈Vo ves' golos〉 and by doing so to investigate the problem of literature and biography, language and metalanguage, and, further, art and reality in Maiakovskii's poetics in general.
As the analysis of the text shows, the 4 lines sum up Maiakovskii's life-long search for immortality through poeticization of reality. For Maiakovskii, the ultimate target of poeticization is the poet himself, that is, he must be incorporated into the realm of art at the price of hs own life. Here, it goes without saying that the poet's death caused by poeticization is a metaphor, but Maiakovskii pushes the metaphor too far, over the boundary of the literary text. Thus, when he kills himself after writing 〈Vo ves' golos〉, the figurative death in the text is duplicated in reality as the literal death, and the boundary between art and reality is finally removed. In this respect, 〈Vo ves' golos〉 is a piece of 'literatura fakta' where the poetic language becomes its own metalanguage and vice versa.

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