The primary purpose of this study is to identify the cinematic aspect discovered in the early poetry of Yi Sang in intermediale perspective. By comparing and interpreting the aspects that show similar images between Myungse Lee's film <M>(2007) ... The primary purpose of this study is to identify the cinematic aspect discovered in the early poetry of Yi Sang in intermediale perspective. By comparing and interpreting the aspects that show similar images between Myungse Lee's film <M>(2007) and Yi Sang's early poetry, a new way of reading Yi Sang's poetry will be suggested. Holding on to the view of expanding the grounds of literature to the culture, this aesthetic attempt to read Yi Sang's poetry differently may be possible when identifying it as an outcome of the transformation and combination of art medium. Yi Sang's early poetry which foregrounds visual signs shows mismatches from the general tendency of the contemporary literature and his own principles in creation. This incongruity helps to discover the trace of other ages and other artistic lineages. This study suggests the method of 'Anticipatory Plagiarism' as an attempt to resolve the exceptional formation in the poetry of Yi Sang. 'Anticipatory Plagiarism' as the theory of predictive criticism is an attempt to find the inherent positions of each art work by separating the cultural history and episodic history, arguing that the artists in the past can be inspired by the descendent artists. Here, 'Anticipatory Plagiarism' has a different aim from the serious ethical plagiarism or the fantasy based on reversibility of time. This work retrieves the inherent time and history in the art works, and it should be understood as the form of newly identifying the incongruity and the problems that were difficult to resolve in the past, through retroactive reading. The lineage of the incongruent phrases can be located in its proper position only when reading the source of the future, the future work that has been anticipatorily plagiarized, interactively. Thus this study discusses the detailed aspect of the descriptive formation that deals with the time and space, based on the hypothesis that the modern writer Yi Sang's text anticipatorily plagiarized the postmodern film <M>. Focusing on the time image, Chapter Ⅱ analyzes Yi Sang's text that anticipatorily plagiarizes the postmodern view of time, montage, and close-up method. In the sequel text called 'Memorandum Regarding Line' appears the postmodern view of time that shows mismatches from the modern view of time passing towards advancement. It indicates that Yi Sang's work preempted the layered time image of the postmodern film <M> in which the coalescent time layer appears complicatedly. The similarity situates the postmodern film <M> as the 'main text' of the anticipatory plagirism in that it is postmodern movie whose core element is the very theme, the postmodern and layered time image, and the film <M> can control the element completely. Furthermore, Yi Sang adopted montage, close-up methods in his text to implement time image and it is the realization of the recognition which could not be considered without the cinematic view in the future. Yi Sang, an anachronist, gives an impression that he was a foreigner from his age or a leading artist from the embodiment of the futuristic recognition. Therefore, it is investigated that Yi Sang's early poetry, which has incongruity, is located as the 'subsidiary text' of the Anticipatory Plagiarism from this concrete comparison of the time image in this chapter. Chapter Ⅲ starts from the perspective that Yi Sang's poetry perceived the spatial image from <M> as 'open space', and it argues that the poetry included the characteristics of postmodern films indicated as 'mise en abyme' and enigma space as its the literary format. The space of <M> repeats the process of dismantlement and variation, characterizing itself as if it was a live character. The serial spatial image including the subjectivity as an open space forms an abyss through repetition and symmetry or is sublimated as the enigma of difficult and infinite space. When re-reading the iconic expression of Yi Sang's poems which have the concepts '4th dimensional space', 'space of repetition and symmetry', and 'infinite space', 'Yi Sang's poetry laying over <M>' is created. When exceeding the inclusion of modern image aesthetics which is represented by <M>, Yi Sang's text can be 're-read.' This third text, where modern film text is invloved, is another poetry of Yi Sang that includes the facet that has not been discovered in Yi Sang's individual poetry. Thus, the ultimate purpose of this study is to provide the possibility of the fluctuating history of literature by investigating Yi Sang's poetry which goes further than the artistic hierarchy, through the method of Anticipatory Plagiarism that presupposes the charactieristics of the postmodern films. Although historically Yi sang was a contemporary with the 20th century's modern people, artistically he shared the same characteristics with us today. Through the discussion of 'Anticipatory Plagiarism' with <M>, the future resource, which exists as the most important invention and realization of the specific time and spatial image, Yi Sang's poetry which prepares for the upcoming art can be located in its original position. ，韩语论文，韩语毕业论文 |
