지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Poetry and films have not been closely scrutinized in terms of correlation of formal aesthetics. Thus, this paper aims to analyze a film called "With a Girl of Black Soil"to examine how diaphor of poetry is realized in the film, thereby discovering possibilities of a new method of communication between poetry and films.
First of all, diaphor, one of the major concepts herein, refers to a particular rhetoric encompassing aesthetical images in the context of poetry. Its equivalent in films is the collision-montage, which is a visual rhetoric representative of "radical changes" such as contrast, spring or collisions. As a result, diaphor, as a poetical rhetoric creates two types of effects: "implication through contrast" and "emotional, semantic shocks". The former revealed itself in diaphor which has, to a certain extent, the similarity principle of epiphor, while the latter was materialized in a rather pure form of diaphor in which spring and collisions could be felt.
The collision-montage, which was established by Russian film directors dedicated to formalism and is being stylized in various ways these days, realizes the aforementioned effects of diaphor through images. Collision-montage revealed through "implications through contrast" create new meaning and diverse relationships, and even proposed new ideas to the audience, whereas that for "emotional, semantic shocks" pluralized meanings by allowing different interpretations of meanings, leaving aesthetic afterimage to the audience, thereby drawing attention to the conceptual message inherent in the narrative.
If an Consilience research on formal aesthetics of poetry and films can be conducted going forward, individual works of the two media are expected to influence each other from the initial stage of planning, conception ideas to even provision of fresh ideas.
First of all, diaphor, one of the major concepts herein, refers to a particular rhetoric encompassing aesthetical images in the context of poetry. Its equivalent in films is the collision-montage, which is a visual rhetoric representative of "radical changes" such as contrast, spring or collisions. As a result, diaphor, as a poetical rhetoric creates two types of effects: "implication through contrast" and "emotional, semantic shocks". The former revealed itself in diaphor which has, to a certain extent, the similarity principle of epiphor, while the latter was materialized in a rather pure form of diaphor in which spring and collisions could be felt.
The collision-montage, which was established by Russian film directors dedicated to formalism and is being stylized in various ways these days, realizes the aforementioned effects of diaphor through images. Collision-montage revealed through "implications through contrast" create new meaning and diverse relationships, and even proposed new ideas to the audience, whereas that for "emotional, semantic shocks" pluralized meanings by allowing different interpretations of meanings, leaving aesthetic afterimage to the audience, thereby drawing attention to the conceptual message inherent in the narrative.
If an Consilience research on formal aesthetics of poetry and films can be conducted going forward, individual works of the two media are expected to influence each other from the initial stage of planning, conception ideas to even provision of fresh ideas.
목차
Ⅰ. 서언
Ⅱ. 시적 수사로서 은유와 병치은유
Ⅲ. 병치은유의 영화적 발현에 관한 두 가지 방식
Ⅳ. 〈검은 땅의 소녀와〉 분석을 통한 고찰
Ⅴ. 결언
참고문헌
Abstract
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