학술논문
소위 ‘차유(差喩, transphor)’의 유형
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- 영문명
- Types of So-called ‘Transphor’
- 발행기관
- 한국문학회
- 저자명
- 신진(Shin Jin)
- 간행물 정보
- 『한국문학논총』제44집, 485~514쪽, 전체 30쪽
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- 어문학 > 한국어와문학
- 파일형태
- 발행일자
- 2006.12.01
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국문 초록
영문 초록
I"ve once suggested introducing, in addition to metaphor and metonymy, ‘transphor’, another pole of figurative principles for better interpretation of poetic discourses. ‘Transphor’, in contrast to metaphor and metonymy, literally signifies figurative use of difference. It is referred to as the process of filling up the interpretational gap resulting from differences in expressions that are unfamiliar, contradictory or unreasonable to other textual discourses and common sense. Filling up the gap, or interpreting differences, is possible by sensing the discourse circumstance outside the message or situational context. Tenor is comprehended in this process.
This thesis classifies transphors into three types and discusses them in a more detailed manner. It is intended not only for typification itself but for substantial discussions of their function, category and principle as well.
The result confirms that the principles of transphor are inherent in all poems and discourses. Given all the language, particularly, in poetic texts is metaphorical, transphor will, along with metaphor and metonymy, constitute three poles of the principle. We could identify three types of transphor: ‘transphor of (ironic) difference’, ‘transphor of (paradoxical) contradictoriness’, and ‘of negativeness’.
‘Transphor of difference’ is a figure coming from various differences in such expressions as contradictoriness, ambiguity, exaggeration, and discrepancy. It is generated between ordinary circumstance and poetic context, between the use of ordinary language and that of aesthetic language, between normative language in langue level and everyday language in parole level, and from semantic distances by syntagmatic, paradigmatic deviations, omissions and logical leaps of language in text.
‘Transphor of contradictoriness’ comes from contradictory or unreasonable use of language, or from contradiction or absurdity between linguistic use and inner truth. It is different from transphor of difference in that the latter arises from differences free from contradiction or absurdity on the surface. We can distinguish the two by the mere qualities like irony and paradox. Yet, the two are deeply inherent in discourses where neither paradox nor irony is found, for transphor is, along with metaphor and metonymy, based on difference, an essential principle both of all discourses and figures together with similarity and contiguity. A binary classification can be made: ‘verbal transphor’ when concentrated on partial figure and ‘situational transphor’ when made throughout the text. Thus it"s possible to use such names as ‘transphor of verbal contradiction’, ‘transphor of difference’, ‘transphor of negativeness’, ‘transphor of situational difference’ and ‘transphor of contradictoriness’.
‘Transphor of negativeness’ is oriented toward the third, unreal world through the negation of the established beauty and order. Like the ‘beauty of ugliness’, it springs from, in aesthetic sense, formlessness, incorrectness and deformation. We can take for its examples such avant-garde poems as futurism, cubism, dadaism, surrealism or deconstructionism. They have rich hues of irrationality, playfulness and nihility. While ‘transphor of difference’ and ‘transphor of contradictoriness’ are the product of imagination, ‘transphor of negativeness’ is the fruit of playful manipulation of illusory experience. Imagination bases itself on reality for analogy, whereas illusion on unreality.
‘Transphor of vabal negativeness’ grows out of unreal arrangement of nonsensical signs devoid of functions and meanings as vehicles, and out of linguistic arrangement and clash intending to deny and destroy reality. General use of language is denied and destroyed. While transphor in vabal dimension centers on negative language and its clash, ‘transphor o
This thesis classifies transphors into three types and discusses them in a more detailed manner. It is intended not only for typification itself but for substantial discussions of their function, category and principle as well.
The result confirms that the principles of transphor are inherent in all poems and discourses. Given all the language, particularly, in poetic texts is metaphorical, transphor will, along with metaphor and metonymy, constitute three poles of the principle. We could identify three types of transphor: ‘transphor of (ironic) difference’, ‘transphor of (paradoxical) contradictoriness’, and ‘of negativeness’.
‘Transphor of difference’ is a figure coming from various differences in such expressions as contradictoriness, ambiguity, exaggeration, and discrepancy. It is generated between ordinary circumstance and poetic context, between the use of ordinary language and that of aesthetic language, between normative language in langue level and everyday language in parole level, and from semantic distances by syntagmatic, paradigmatic deviations, omissions and logical leaps of language in text.
‘Transphor of contradictoriness’ comes from contradictory or unreasonable use of language, or from contradiction or absurdity between linguistic use and inner truth. It is different from transphor of difference in that the latter arises from differences free from contradiction or absurdity on the surface. We can distinguish the two by the mere qualities like irony and paradox. Yet, the two are deeply inherent in discourses where neither paradox nor irony is found, for transphor is, along with metaphor and metonymy, based on difference, an essential principle both of all discourses and figures together with similarity and contiguity. A binary classification can be made: ‘verbal transphor’ when concentrated on partial figure and ‘situational transphor’ when made throughout the text. Thus it"s possible to use such names as ‘transphor of verbal contradiction’, ‘transphor of difference’, ‘transphor of negativeness’, ‘transphor of situational difference’ and ‘transphor of contradictoriness’.
‘Transphor of negativeness’ is oriented toward the third, unreal world through the negation of the established beauty and order. Like the ‘beauty of ugliness’, it springs from, in aesthetic sense, formlessness, incorrectness and deformation. We can take for its examples such avant-garde poems as futurism, cubism, dadaism, surrealism or deconstructionism. They have rich hues of irrationality, playfulness and nihility. While ‘transphor of difference’ and ‘transphor of contradictoriness’ are the product of imagination, ‘transphor of negativeness’ is the fruit of playful manipulation of illusory experience. Imagination bases itself on reality for analogy, whereas illusion on unreality.
‘Transphor of vabal negativeness’ grows out of unreal arrangement of nonsensical signs devoid of functions and meanings as vehicles, and out of linguistic arrangement and clash intending to deny and destroy reality. General use of language is denied and destroyed. While transphor in vabal dimension centers on negative language and its clash, ‘transphor o
목차
Ⅰ. 서론
Ⅱ. 차이의 차유와 모순의 차유
Ⅲ. 전위적 표현과 부정의 차유
Ⅳ. 결론
참고문헌
〈Abstract〉
Ⅱ. 차이의 차유와 모순의 차유
Ⅲ. 전위적 표현과 부정의 차유
Ⅳ. 결론
참고문헌
〈Abstract〉
키워드
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