이상 시와 영화 <M>의 예상 표절 연구

Abstract

본 연구의 일차적 목적은 상호매체적 관점에서 이상의 초기 시에서 발견되는 영화적 양상을 읽어내는 데에 있다. 이명세의 영화 <M>(2007)과 이상의 초기 시를 대상으로 유사한 이미지가 드러난 양상을 비교 해석함으로써 이상 시를 읽는 한 가지 방법을 제시하고자 한다. 문학의 지평을 문화로 확장시키는 관점을 견지하며 이상 시를 예술 매체의 결합과 변형의 소산으로 파악했을 때, 이상을 다르게 읽는 미학적 시도가 가능해질 것이다. 시각적 기호를 전경화한 이상의 초기 시는, 그 자신의 일반적인 창작 원리와 당대 문학의 보편적 경향으로부터 이중적으로 부조화한다. 이 부조화는 다른 시간, 다른 예술적 계보의 흔적을 발견하게 한다. 본 연구는 이상 시에 내재된 예외적 형상을 해명하기 위한 한 시도로서 ‘예상 표절’의 방법을 제기한다. 예상 비평 이론으로서의 예상 표절은 후대 예술가로부터 과거의 예술가가 영감을 받을 수 있다는 주장으로, 사건적 역사와 문학적 역사를 분리하여 예술 작품 각각의 고유한 위치를 찾아내고자하는 시도이다. 여기서 예상 표절론은 시간의 가역성에 입각한 몽상이나 진지한 윤리적 표절에 대한 문제제기와는 그 지향이 다르다. 이 작업은 예술 작품 내부에 잠재되어 있는 고유한 역사와 시간을 되찾고, 소급적 읽기를 통해 이전에는 온전히 해명되기 어렵던 난점, 부조화를 새롭게 파악해낼 수 있도록 하는 논평의 형식으로 이해되어야 한다. 부조화하는 구절의 계보는 미래의 원천, 즉 예상 표절 당한 미래의 작품과 함께할 때 비로소 제자리에 위치하게 된다. 그러므로 본 연구는 근대 작가 이상이, 도래할 포스트모더니즘 영화 <M>을 예상 표절했다는 총론적 가설 아래, 시간/공간 이미지를 다루는 서술적 형식을 그 구체적 양상으로 들어 논의하고자 했다. Ⅱ장에서는 시간 이미지를 중심으로 이상이 <M>의 탈근대적 시간관, 몽타주 형식, 초시간적 클로즈업 기법을 예상 표절하고 있음을 분석했다. ｢선에관한각서｣ 연작에는 진보를 향해 흘러가는 근대적 시간관과 부조화하는 이상의 탈근대적 시간관이 드러나 있다. 이는 시간 층위가 뒤엉켜 합착되어 드러나는 포스트모더니즘 영화 <M>의 중층적 시간 이미지를 선취한 것이다. 이 유사성은 탈근대적-중층 시간 이미지에 있어 바로 그 테마가 예술 구성의 중핵이 되는 분야가 포스트모더니즘 영화라는 점, 또한 바로 그 포스트모더니즘 영화 <M>이 그 요소를 더 완벽하게 제어하고 있다는 점에서 <M>을 예상 표절의 주(主)텍스트로 위치시킨다. 또한 이상은 몽타주와 클로즈업 기법을 작품 내부에 등록시킴으로써 시간 이미지를 구현하는데, 이는 도래할 영화성 없이는 고안되지 않았을 것처럼 보이는 미래적 인식의 체현이다. 그 자신의 시대에는 아직 완전히 도착하지 않은 요소의 체현으로부터 아나크로니스트 이상은 앞서가는 예술가로, 혹은 자기 시대의 외부자인 것처럼 고립된 인상을 남긴다. 이러한 구체적 시간 이미지의 비교로부터 이중적으로 부조화하는 이상의 초기 시가 예상 표절 관계의 부(副)텍스트로서 위치하고 있음이 규명되는 것이다. Ⅲ장에서는 이상 시가 ‘열린 공간’으로서 <M>의 변주하는 공간 이미지를 간취하였음을 시작으로, 미장아빔, 에니그마적 공간으로 대변되는 포스트모더니즘 영화의 특성을 문학적 형태로 내포하고 있음을 논증했다. <M>의 공간은 마치 살아 움직이는 인물처럼 성격화하면서 해체와 변주를 반복한다. 열린 공간으로서 주관성을 포함하는 일련의 공간 이미지는, 반복과 대칭을 통해 심연을 형성하거나, 난해한 무한 공간의 에니그마로 승화한다. 이러한 공간적 상상력을 바탕으로 ‘4차원적 공간’, ‘반복과 대칭의 공간’, ‘무한 공간’ 을 상념하는 이상 시의 도상적 표현을 다시 읽을 때, “M을 경유한 이상 시”가 창출된다. <M>으로 대표되는 현대 영상 미학을 포월(包越)할 때 이상의 텍스트는 소급적으로 ‘재읽기’될 수 있다. 현대 영화 텍스트가 연루된 이 제3의 텍스트는, 개별적인 이상 시에서는 발견되지 않던 면을 포함하는 또 다른 이상 시이다. 따라서 본 연구의 궁극적인 목적은 포스트모더니즘 영화성을 담지한 예상 표절의 방법론을 통해, 예술적 위계를 넘어선 이상 시를 살핌으로써 유동적 문학사의 한 가능성을 마련하는 데에 있다. 역사적 차원에서 이상은 20세기 근대인과 동시대인일지라도, 예술적 차원에서 그는 현대의 우리와 동시대성을 갖는다. 특정한 시공간 이미지의 주된 발명이자 구현으로서 존재하는 미래의 원천 <M>과의 예상 표절 논의를 통해, 도래할 예술을 예비하고 있는 이상의 시를 온전한 위치에 자리매김할 수 있을 것이다.| 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.; 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.