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RISS 인기검색어
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- 저자 : Ryoo Gi Taek(류기택) (검색결과 4 건)
- 무료
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투사시와 객관주의 전통 - 찰스 올슨과 로버트 크릴리 : 투사시와 객관주의 전통
류기택(Gi Taek Ryoo) 한국영미어문학회 2007 영미어문학 Vol.- No.83
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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류기택 ( Ryoo Gi Taek ) 대한영어영문학회 2015 영어영문학연구 Vol.41 No.1
The innovative structure of William Carlos Williams's poetry presents a world of space-time continuum, a universe of relativistic distortion. In his poems, form is altered in a way that parallels the spatial distortions of relativistic velocities contingent on individual frames of reference. In Williams's poetry, any spatial configuration is also part of an ongoing temporal process; his words are but ‘vectors of energy’ attracted or repelled by others in multiple directions and combinations. His poems represent the creative transformation of imaginative ‘energy’ into the very ‘matter’ of the poetic object―the words on the page. Poetry, for Williams, is "a field of action," which is analogous to Einstein's idea of gravitational field in which 'energy is to mass what time is to space.' This paper explores the ways in which Williams's poems metaphorically embody Einstein's concepts of space-time couverture and energy-mass transformation, demonstrating how Williams's poetic construction can be explained by Einstein's theory of field equation. What this paper suggests is that relativistic concepts in physics and poetry in the 20th Century have emerged spontaneously through intuitive-imaginative means essential to both. (Chungbuk National University)
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`다시/쓰기(Re/Writing)`로서의 시 번역: 김수영의 로버트 로웰 시 번역 연구
류기택 ( Ryoo Gi Taek ) 한국비교문학회 2016 比較文學 Vol.0 No.70
일반적으로 우리는 번역가란 원본을 읽고 해석하는 독자이자 동시에 새로운 텍스트를 생산해 내는 작자라고 인식하고 있다. 본 논문은 번역가에 대한 이러한 일반적 인식의 근원을 밝히고자, 번역자의 창의성이 개입되는 과정을 읽기(reading)와 쓰기(writing)의 과정이 서로 결합된 `읽고/쓰기` 혹은 `다시/쓰기(re/writing)` 과정이라는 것을 증명한다. 이는 도착문화의 이데올로기나 시학에 의거해 원본을 다시 쓰는 Andre Lafevere가 정의하는 `다시쓰기(rewriting)`가 아닌, 번역자가 텍스트를 생산하는 과정에서 독자의 역할과 동시에 작자의 역할을 수행하는 것을 의미한다. 읽기와 쓰기 과정은 원본의 `불확실성` 혹은 `미결정성`의 영역을 채워나가는 창조적 과정이며, 이 과정에서 번역가는 독자로서 텍스트의 의미를 생산해 내고 동시에 작가로서 새로운 미적 영역을 개척해 나간다. 시 번역에 있어서 소위 `번역불가능성`은 출발텍스트와 도착텍스트간의 언어 문화적 차이라기보다, 근원적으로 번역자와 원본간의 상호작용 즉, 읽기와 쓰기 과정에서 비롯되는 창조적 긴장이라 볼 수 있다. 원문의 독창성은 따라서 번역자의 창의성으로 되살아나는 것이다. 본 논문은 읽기와 쓰기 문학 이론들을 통해 `다시/쓰기(re/writing)`로서의 번역이론의 가능성을 탐색하고, 김수영의 로버트 로웰 번역 사례를 통해 번역자가 어떻게 창조적 `다시/쓰기` 혹은 `읽고/쓰기` 과정을 통해 원본을 새롭게 변형/생산해 내는지를 살펴본다. This article demonstrates the creative process of poetic translation as a two-fold process of reading and writing. I will argue that the act of translation is never to be done without the translator`s creativity brought into play to work out the place of uncertainty involved in every process of reading and writing. Untranslatability, in this sense, is foremost and decisively a matter of intrinsic consequences of reading and writing, rather than a matter of linguistic difference and cultural absence that exist regardless of or independent of the translator`s action or interaction with the text. After all, it is not originality per se but creativity that is translated. This allows us to redefine the translator as a re/writer not that he is reproducing the original in TL or making it conform, in Andre Lafevere`s terms of "cultural turn," to dominant ideological and institutional poetics in TC, but that he assumes the very roles of the reader and the writer as he is involved in the artistic communication of reading and writing. This article intends to provide a plausible account of theories and application regarding the creative process of poetic translation, using examples drawn from the prominent Korean poet Kim Su-yeong`s translation of Robert Lowell`s poetry, in or order to show how, through the process of re/writing, the translator comes to write his own characteristic work in his translation.
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