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형식주의자로서 찰스 올슨(Charles Olson)의 시학연구
Articles in Korean : A Study on Poetics of Charles Olson as an Aestheticist
구자광 ( Gu Ja Gwang )
UCI I410-ECN-0102-2009-840-003120870
* 발행 기관의 요청으로 이용이 불가한 자료입니다.

Charles Olson`s main interest lies in form. Form as an extension of content cannot be one of subjectivism but one of objectism. Content determines form. The human subject is “an instrument”through which an extension of content is achieved. Content should be understood not as “mental furniture”but as “what was in the actual system that could manifest ‘itself’by whatever form was possible.”Form should be an instant extension of content here and now. But form cannot fully accommodate instant demands of content. It is subjected to archeological and methodological re-writing in that form never stops being another extension of so far undisclosed content. Form in poetics is not limited to a simple prosody. Form provides the subject with “a modality of being.”In poetics, the birth of an aesthetic being can be witnessed. There opens an aesthetic world over which aesthetic principles preside. Olson regards aesthetic methodology as “the discipline”to master reality. That is why Olson refers poetics as politics and elevates the poet to the position of “the boss of the kingdom.”Aestheticizing of politics introduces “small narratives”of aesthetic “Achievements”replacing “the grand narrative”based on the metaphysical ideas of “the Good and the Power.”In this aesthetic world, rather than phylogenetic arrangements through logic and classification, juxtaposition of ontogenic singularities is highly credited. Ontogenic generation of singularities are faithfully recorded through “COMPOSITION BY FIELD”which reflects space or place where singular lives are rooted. “Human landscape”is composed of innumerable disparate singular lives in space. It results from an application of ‘composition by field’to the real world. Aesthetic education can be done by the poet since the poet is “the only trusted pedagogue”who champions singularities to the utmost. It will be done case by case because no universal principle can be claimed in aesthetic education. In an aesthetic world, even ‘morality is implicit in form.’This morality is aesthetic morality preceding one based on the ideas of ‘the Good and the Power.’With the understanding of the ‘linguistic turn,’aesthetic morality works on the level of the signifier but the traditional morality of metaphysics does on the level of the signified. All above mentioned claims in terms of form, aesthetic world and place are confirmed with “3 in 1:tropos-typos-topos.”That is, tropos to content is embodied in typos as form and topos as spatial juxtaposition of forms. Tropos is another aspect of ethics and in form or type, aesthetics is exposed. Tropos-typos (aesthetic embodiment of ethics) are locally and temporally juxtaposed. ‘Human landscape’as an embodiment of ‘3 in 1: trope-typos-topos’is nothing but spatial juxtaposition of aesthetic embodiments or extensions of ethical demands of content.

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