『힐다의 책』의 텍스트의 물질성

The Material Textuality of Hilda's Book

The material textuality of Hilda's Book clearly expresses that this handmade bool codes a bifurcated allegiance to the medievalism of the late nineteenth-century Printing Renaissance as well as to modernism Whereas the ornamentally decorated handwritten poem 1in Hilda's Book looks backward to the medieval world or the Pre-Raphaelite poetry, the typewritten poems look forward to the birth of modernist poetry Under the strong influence of Pre-Raphaelite poets and the late nineteenth-century printing conventions, Pound was forced to imitate their archaic and romantic dictions, and their elaborate calligraphy in Child of the Grass" But when Pound was equipped with the new materiality, such as the typewriter and the small size of the paper. he could easily break down the conventional poetic forms and explore a new scope of language Through using "the physical medium" (McGann, The Textual Condition 56) of the typewriter, Pound renewed the late Victorian romanticized love poems into modernist poems, and innovated his outmoded style With his self-publication of Hilda's Book. Pound learned that the poetic medium could be integrated into verbal art. and came to grips with "the problem of poetry is relation to its material encoding" (McGann. Black Riders 45) With the aid of the textual materiality Pound produced Hilda's Book as the first aesthetic and cultural artifact formulating distinctive modernist sense and sensibility In Hilda's Book. what Pound privately intended to signify to H D. is not only his romantic Jove, but also his new aesthetic ideas that foreshadow modernist poetry