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투사시와 객관주의 전통 - 찰스 올슨과 로버트 크릴리

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

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  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.

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