투사시와 객관주의 전통 - 찰스 올슨과 로버트 크릴리

Projective Verse and the Tradition of Objectivism: Charles Olson and Robert Creeley

  This paper attempts to examine the characteristics of Olson"s "Projective Verse" poetics and the ways in which Olson‘s and Creeley"s works succeed to and move beyond Pound-Williams" Imagism-Objectivism.. Just as Objectivism grew dialectically out of Imagism, what Olson and Creeley tried to develop in their poetry and poetics grew dialectically out of Objectivism--not in opposition to it but in fruitful tension. Imagism is concerned with the moment the subjective becomes objective; Williams goes further by shifting the emphasis of the poem from subjectivity to its objective expression; however the Projectivists turn themselves into objects and try to meet the objects in nature directly. Thus, I will argue in this paper, in spite of their striking similarities, the Projectivists have come to redefine the traditional concept of Pound-Williams" "Objectivism" by calling our attention to the fact that art is more than a way of perceiving and describing objects; it becomes a way of entering the world of objects and thus a way of participating in their becoming. The artist needs no longer be considered as creative mind outside of what he makes; the art object literally becomes a place where artist and the world of objects meet and shape each other. Accordingly, the projectivists have conceived a new aesthetic designed to permit reality to occur directly in art in the way it actually does occur in nature.