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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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This paper examines the modernist desire, which is found in the works of Yi Sang and Gertrude Stein in common, to escape from square planar writing style. Stein’s poetry has been devalued in modernism due to its hermetic and recondite writing style. However, this incomprehensibility problem can be solved with understanding Yi Sang’s poetry. Both writers had profound knowledge and interests in modern mathematical methods, science, and painting. This makes the base for comparing two with the same perspective.
Yi Sang’s impassioned writings embody an exorbitant amount of scientific knowledge, showing his desire to dispose of square planar geometry and head into three-dimensional structures. When we use his poetry as a tool to understand Stein’s poetry, her works turn out to be giving body to Yi Sang’s poetics. Stein’s poetry paints an object as an event using multiple points of view which are thrown from every direction in a three-dimensional space. In other words, Stein’s works visualize the stereoscopic understanding of an object/event when Yi Sang’s non-planar poetic projection is applied to her works. Since the amount of academic achievements on Yi Sang’s poetry is much larger than on Stein in Korea, this approach can help understand the meanings hidden in Stein’s works. Although there exist the differences in terms of their sensitivity and style, the desire to establish a new style of poetic thinking and writing is the core of modernist’s desire in the early 20<SUP>th</SUP> century.
Yi Sang’s impassioned writings embody an exorbitant amount of scientific knowledge, showing his desire to dispose of square planar geometry and head into three-dimensional structures. When we use his poetry as a tool to understand Stein’s poetry, her works turn out to be giving body to Yi Sang’s poetics. Stein’s poetry paints an object as an event using multiple points of view which are thrown from every direction in a three-dimensional space. In other words, Stein’s works visualize the stereoscopic understanding of an object/event when Yi Sang’s non-planar poetic projection is applied to her works. Since the amount of academic achievements on Yi Sang’s poetry is much larger than on Stein in Korea, this approach can help understand the meanings hidden in Stein’s works. Although there exist the differences in terms of their sensitivity and style, the desire to establish a new style of poetic thinking and writing is the core of modernist’s desire in the early 20<SUP>th</SUP> century.
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UCI(KEPA) : I410-ECN-0101-2015-800-001062910