User:Zuhui/π/Georges Perec's Thinking Machines: Difference between revisions
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==Die Maschine== | ==Algorithm and Death== | ||
===Kafka machine=== | |||
<blockquote> | |||
...But that would only lead to a conventional βFrankensteinβ scenario, and Perec dropped the idea. He then turned to an entirely different use that '''might be made of an imaginary computer: to answer the question, What is poetry?''' | |||
</blockquote> | |||
<blockquote> | |||
the most exciting work at that time concerned authorial attributions through the use of rival stylometric algorithms.<br> | |||
...<br> | |||
What attracted Oulipo's particular attention was the idea that if it was possible to identify authorship by algorithm, then the same algorithm might be used in reverse to produce a synthetic text that would be indistinguishable (for a computer) from authentic material. | |||
</blockquote> | |||
-Today's AI | |||
'''1.문체 λΆμ μκ³ λ¦¬μ¦:''' 문체 λΆμ μκ³ λ¦¬μ¦μ μ μμ κ³ μ ν 문체λ₯Ό νΉμ μμΉλ λ³μ(μ: λ¨μ΄ λΉλ, νκ· λ¬Έμ₯ κΈΈμ΄ λ±)λ‘ λΆμνλ€. μ΄λ₯Ό ν΅ν΄ νΉμ ν
μ€νΈκ° νΉμ μκ°μ 문체μ μΌμΉνλμ§ νλ³ν μ μμΌλ©° μλ₯Ό λ€μ΄, μ΄λ€ ν
μ€νΈκ° λ¨μ΄ λΉλλ λ¬Έμ₯ ꡬ쑰λ₯Ό ν΅ν΄ βμΉ΄νμΉ΄βμ μ€νμΌκ³Ό μ μ¬νμ§λ₯Ό λ°μ Έλ³Ό μ μκ² λλ€. | |||
'''2.μλ°©ν₯ μ μ©:''' μ¬κΈ°μ μΈλ¦¬ν¬μ ν₯λ―Έλ‘μ΄ λ°μμ μ΄ μκ³ λ¦¬μ¦μ μμΌλ‘ μ¬μ©νλ κ²μ΄λ€. μ¦, μΉ΄νμΉ΄μ μ€νμΌ λΆμμμ μΆμΆν λ³μλ€μ μ΄μ©ν΄ μκ³ λ¦¬μ¦μ΄ μ§μ μΉ΄νμΉ΄μ μ μ¬ν μ€νμΌμ ν
μ€νΈλ₯Ό μμ±νλλ‘ νλ κ². μ΄λ κ² λ§λ€μ΄μ§ ν
μ€νΈλ, νΉμ μκ°(μ΄ κ²½μ° μΉ΄νμΉ΄)μ 문체λ₯Ό λ°μνλ―λ‘ μ»΄ν¨ν°λ λ
μλ μ§μ§μ ꡬλ³νκΈ° μ΄λ €μΈ μ λλ‘ κ·Έ μκ°μ λΉμ·ν 문체λ₯Ό κ°μΆκ² λλ€λ κ²μ΄λ€. | |||
'''3.μΉ΄νμΉ΄ κΈ°κ³:''' μ΄λ₯Ό ν΅ν΄ λ§λ€μ΄μ§ κΈ°κ³, μ¦ βμΉ΄νμΉ΄ κΈ°κ³βλ μΉ΄νμΉ΄μ μ€νμΌμ λͺ¨λ°©νμ¬ μλ‘μ΄ ν
μ€νΈλ₯Ό μλμΌλ‘ μμ±νλ μ₯μΉκ° λλ€. μ΄ κΈ°κ³κ° μλνλ€λ©΄, μ€μ λ‘ μΉ΄νμΉ΄κ° μ΄ κ²μ΄ μλλ°λ κ·Έμ 문체μ λ§€μ° λΉμ·ν, βμΉ΄νμΉ΄μ βμΈ ν
μ€νΈλ₯Ό μμ±ν μ μκ² λλ κ²μ΄λ€. μ΄λ λ§μΉ μΉ΄νμΉ΄μ 무μμμ μΈ μ°½μ κ³Όμ μ κΈ°κ³κ° μ¬νν΄λ΄λ κ²μ²λΌ 보μ΄κΈ° λλ¬Έμ΄λ€. | |||
===Die Maschine=== | |||
<blockquote> | |||
But Die Maschine is not just a way of subverting Goethe. '''The last part of this sixty-minute play takes a different approach, and seeks the connections between this poem and the nature of poetry through analogous lines from the vast thesaurus of world poetry that the speaking computer naturally contains.''' <u>The βexplosion of quotationsβ of lines of verse in seven languages about nature, silence, and mortality produces a final movement that is the reverse of the play's aggressive number-crunching start.</u> The verse tails off into the words for βsilenceβ and βpeaceβ repeated rhythmically in Japanese, Russian, English, Spanish, Italian, French, and German; a long βshhhβ¦β; and then silence. In the end, something really has been said about what poetry is. | |||
</blockquote> | |||
''' ''What enabled this to speak about poetry?'' '''<br> | |||
Because of the universality of themes that humans address in poetry? | |||
<br> | |||
===Flow chart=== | ===Flow chart=== | ||
[[File:George-Perec The-Art-of-Asking-Your-Boss eng.jpeg|thumb|right|The Art of Asking Your Boss]] | |||
<blockquote> | |||
...βIt consists of a certain number of propositions that can take either yes or no for an answer, each answer having certain consequences. The concatenation of causes and effects and the choice of answers are represented by arrows that are the only syntactic connectors between the propositions. In brief, '''it is a tree structure, a network, a labyrinth, and the βreaderβ chooses ONE route among all the possible routes, the totality of possible routes being presented SIMULTANEOUSLY on the flow-chart.'''β | |||
</blockquote> | |||
<blockquote> | |||
A flowchart, as Perec explained to Helmle, <u>shows simultaneously all the steps and the order of their recursion in a set of instructions.</u> It also contains within it all the possible moves allowed by the algorithm. It is therefore an essentially Perecquian device, '''being at once exhaustive and simultaneous'''. | |||
</blockquote> | |||
When put like this, it's such an interesting concept. | |||
Β | |||
'''1. νλ‘μ°¨νΈμ "μμ μ±"κ³Ό "λμμ±"'''<br> | |||
'''μμ μ±(Exhaustiveness):''' νλ μ νλ‘μ°¨νΈλ μ£Όμ΄μ§ μ μ°¨μ λ°λΌ λ°μν μ μλ λͺ¨λ κ²½λ‘μ λ¨κ³λ₯Ό λͺ¨λ ν¬ν¨νκ³ μλ€. μ¦, μ΄λ€ κ²½μ°μλ λΉ λ¨λ¦¬μ§ μκ³ κ°λ₯ν λͺ¨λ νλμ μ νμ§μ κ²½λ‘λ₯Ό μ μνλ κ΅¬μ‘°μΈ κ². μ΄λ νλ μ΄ μΆκ΅¬ν βμμ§(Exhaustion)β κ°λ
κ³Ό λ§λΏμ μλλ°, νλ μ λ¬Ένμ κΈ°λ²μ νΉμ μ£Όμ λ ꡬ쑰λ₯Ό μ² μ ν νꡬνκ³ , λ€λ£¨κ³ μλ λͺ¨λ μμλ₯Ό λΉνμμ΄ λ€λ£¨λ €λ μλλ₯Ό ν¬ν¨νλ κ²μ΄λ€. μ΄ νλ‘μ°¨νΈλ κ·Έ λ³Έμ§μ μ 보μ¬μ£Όκ³ μλ κ². | |||
'''λμμ±(Simultaneity):''' νλ‘μ°¨νΈλ λ¨μν μμ°¨μ μΌλ‘ λ¨κ³κ° μ§νλλ κ²μ΄ μλλΌ, λͺ¨λ λ¨κ³κ° λμμ νΌμ³μ Έ 보μ¬μ§λ©΄μ λ€μν κ°λ₯μ±μ νλμ νμΈν μ μκ² νλ€. μ΄λ λ
μκ° νΉμ μν©μμ μ νμ§λ₯Ό 보λ κ²μ΄ μλλΌ, κ°κΈ° λ€λ₯Έ μ νμ§κ° λμμ μ‘΄μ¬νλ€λ μ μ μΈμνκ² λ§λλ κ². μ΄λ¬ν λ°©μμ νλ μ΄ κ°μ‘°ν βλμμ μμ¬βμλ μ°κ΄μ΄ μλ€. κ·Έλ λ€μν μ¬κ±΄κ³Ό μΈλ¬Όμ΄ λμμ λ°μνλ μν©μ λ¬μ¬νλ κ²μ μ¦κ²Όκ³ , μ΄λ₯Ό ν΅ν΄ νΉμ ν νλ¦μ΄ μλ μ¬λ¬ κ°λ₯μ±μ 볡ν©μ μΌλ‘ 보μ¬μ£Όλ μμ¬ λ°©μμ λ§λ€μ΄λΈλ€.<br> i.e. βLife A User's Manualβ, similarly an exhaustive description of all the rooms in the building at 11, rue Simon Crubellier, and a simultaneous account of all that is happening there toward eight in the evening on June 23, 1975β¦ | |||
Β | |||
'''2. νλ‘μ°¨νΈμ "μ¬κ·μ±κ³Ό 무ν 루ν", μκ°μ μ¬μ½μ
κ³Ό μμ¬μ νκ³'''<br> | |||
νλ‘μ°¨νΈμλ '''μ¬κ·μ±(recursiveness)'''μ΄λΌλ μ€μν νΉμ±μ΄ μ‘΄μ¬νλ€. μ¬κ·μ±μ΄λ νΉμ 쑰건μ λ°λΌ μ΄μ λ¨κ³λ‘ λλμκ°λ κ³Όμ μ λ°λ³΅ν μ μλ ꡬ쑰λ₯Ό μλ―Ένλλ°, νλ μ νλ‘μ°¨νΈλ μ¬μ©μκ° μ/μλμ€ λ±μ μ νμ λ°λΌ λ€μ μμ¬μ μ¬λ¬΄μ€λ‘ λμκ°κ±°λ μ²μλΆν° λ€μ μλνλ μμΌλ‘ 무νν μνν μ μλ ꡬ쑰λ₯Ό κ°μ§κ³ μλ€.<br>μκ³ λ¦¬μ¦μ΄ μ΄λ‘ μ μΌλ‘ 무νν λμκ° μ μλ ꡬ쑰λ₯Ό κ°μ§κ³ μλ λ°λ©΄, νλ μ μ΄ μμ¬λ₯Ό μΈ λ μκ°μ΄ μμ°μ€λ½κ² μμ¬μ κ°μ
νλ€λ κ²μ λ°κ²¬νκ² λλ€. μλ₯Ό λ€μ΄, κΈμ¬ μΈμμ μμ²νλ μ§μμ΄ μμ¬λ₯Ό λ§λλ¬ κ° λλ§λ€ μκ°μ΄ νλ₯΄κ³ κ·Έ μ¬λμ λμ΄λ₯Ό λ¨Ήμ΄κ°λ€. μ΄λ€ μ νμ νκ³ λ€μ μμ¬μ μ¬λ¬΄μ€λ‘ λμκ°λ κ³Όμ μ΄ μμ°¨λ‘ λ°λ³΅λλλΌλ, κ° μλλ§λ€ μ§μμ μ‘°κΈμ© λμ΄κ° λ€μ΄κ°λ©° μκ°μ΄ νλ₯΄λ κ²μ λλ μλ°μ μλ€. κ²°κ΅, μκ³ λ¦¬μ¦μ ꡬ쑰μμ λ²μ΄λμ§ μλλΌλ μΈκ°μ μμ¬λ μκ°μ λλ°ν μλ°μ μλ μ
. | |||
Β | |||
'''3. νλ λ¬Ένμμμ "λμμ μ₯μΉ"λ‘μμ νλ‘μ°¨νΈ'''<br> | |||
νλ‘μ°¨νΈκ° νλ νΉμ μ λ¬Ένμ μ₯μΉλ‘ μ€μν μ΄μ λ, κ·Έμ μνλ€μ΄ λμμ μ¬λ¬ μ¬κ±΄κ³Ό μΈλ¬Όμ λ€λ£¨κ³ , κ°μμ μ νμ΄λ μν©μ΄ μ¬λ¬ κ°μ§ λ°©μμΌλ‘ λ³νν μ μλ κ°λ₯μ±μ μ μνλ€λ μ μ μλ€. μλ₯Ό λ€μ΄, κ·Έμ λνμ 'μΈμ μ¬μ©λ²'μ νλμ 건물 μμ μ‘΄μ¬νλ λ€μν λ°©κ³Ό μΈλ¬Όλ€μ λμμ μμ νλ©΄μ, λ§μΉ λ
μκ° κ±΄λ¬Όμ μ¬λ¬ λ°©μ ν λ²μ λ³Ό μ μλ λ€μ€μ κ΄μ°°μμ²λΌ λλΌκ² νλ€.<br>μ΄μ λ§μ°¬κ°μ§λ‘ '''νλ‘μ°¨νΈλ νλμ νλ¦μ΄ μλ, λ€μν κ°λ₯μ±λ€μ΄ λμμ νΌμ³μ§λ€(μ¦, λͺ¨λ λ¨κ³μ μ νμ§κ° μ΄λ¦° μνλ‘ μ‘΄μ¬νλ€)λ μ μμ νλ μ λ€μΈ΅μ μ΄κ³ λ€κ°μ μΈ μμ¬ κ΅¬μ‘°λ₯Ό λ°μνλ€.''' νλ‘μ°¨νΈλ νλ μ΄ μΆκ΅¬νλ μ¬λ¬ μμ¬μ κ°λ₯μ±μ νλλ‘ ν΅ν©ν΄ λμμ 보μ¬μ£Όλ νμμ μ₯μΉμΈ κ². | |||
Β | |||
===Clinamen=== | ===Clinamen=== | ||
<blockquote> | |||
The theory of the clinamen, insofar as it relates to Perec's work, is that <u>intentional irregularity softens the harshness of a text written under constraint, '''bringing all-too-human fallibility into the domain of formal art.'''</u> | |||
</blockquote> | |||
<blockquote> | |||
It's a way of having your cake and eating it too, for a clinamen is not an example of fallibility, but '''an intentional bending of self-imposed rules to show that the writer is in complete command not only of necessity, but also of chance.''' | |||
</blockquote> | |||
<blockquote> | |||
Its secondary effect is perhaps even more important in the end: systematic non-respect of a systematic rule makes the rule unrecoverable from the finished text. = '''κ·μΉμ 체κ³μ μΌλ‘ μ§ν€μ§ μμμΌλ‘μ¨ μ΅μ’
ν
μ€νΈμμ κ·μΉμ μΆμ ν μ μκ² λ§λ λ€λ μ .'''<br>βοΈ λ λ μ΄μ¦λ μκ³ λ¦¬μ¦μ μ μ°¨λ₯Ό μ΄λ μ λ λ°λΌκ°λ©΄μ λ£λ μ΄μκ² λΆκ°νΌν μ’μ κ°μ μ¬μ΄μ£Όμ§λ§, κ·Έ κ·μΉμ μΆ©λΆν λ²μ΄λ μμλλ μκ³ λ¦¬μ¦μ ꡬ쑰λ₯Ό νμ
ν μ μκ² νλ€. μ¬μ― κ°μ λͺ©μ리λ νμ λ
Όλ¦¬μ μ μ°¨μ λ°λΌ λ§νλ κ²μ΄ μλκ³ , μ¬μ― κ°μ μμκ° ν λ²μ© μννλ κ³Όμ λ λ°λμ κ²°λ§μ μ΄λ₯΄μ§λ μμΌλ©° , λ‘ νμλ μΌμ μ μ§ λν λ°λμ μ μ°¨μ μμμ μΌλ‘ λμκ°λΌλ μλ―Έλ μλλ€. κ·Έλμ μ무리 μ μ¨λ νλ μ μκ³ λ¦¬μ¦μ μ°κ·Ήμμ μ€μ μκ³ λ¦¬μ¦μ μΆλ‘ ν μ μκ² λλ κ²°κ³Όλ₯Ό λ§λ λ€.'' | |||
</blockquote> | |||
'''The Conceptual Background of Clinamen'''<br>Clinamen is a concept originating from the ideas of the ancient Greek philosopher Epicurus and the Roman poet Lucretius. Lucretius, from an atomistic perspective, described how all atoms fall in a straight line but sometimes deviate slightly, moving unexpectedly due to a βsmall swerveβ (clinamen). He saw this swerve as creating opportunities for all things and phenomena to change freely, beyond predetermined laws or necessity. | |||
'''ν΄λ¦¬λλ©κ³Ό μκ³ λ¦¬μ¦μ ꡬ쑰μ κ΄κ³'''<br>ν΄λ¦¬λλ©μ μκ³ λ¦¬μ¦μ ꡬ쑰λ κ·μΉμ μ‘΄μ¬λ₯Ό λΆμ νμ§λ μμ§λ§, κ·Έ μμμ λ°μν μ μλ νΈμ°¨λ μ€λ₯, μμΈλ₯Ό μμ°μ€λ½κ² λ°μλ€μΈλ€. λ°λΌμ ν΄λ¦¬λλ©μ μκ³ λ¦¬μ¦μ μλ²½νκ² λ°λ₯΄μ§ μλ μΌμ’
μ μ μ°μ±μ μ§λλ©°, μ΄λ μκ³ λ¦¬μ¦μ μ μ°¨κ° κ°λ κΈ°κ³μ κ²½μ§μ±μ μΈκ°μ κ΄μ μμ μννλ λ°©μμΌλ‘ μμ©ν μ μλ€. ν΄λ¦¬λλ©μ κ·μΉ λ΄μμ λ°μνλ λΆκ°νΌν μΌνλ‘, μ΄λ μμ ν κ·μΉμ μλ°νλ κ²μ΄ μλλΌ κ·μΉμ μ μ§νλ©΄μλ κ·μΉμ ν μμμ μμ λ‘μ΄ νΈμ°¨λ₯Ό νμ©νλ κ°λ
μ΄λ€. | |||
'''ν΄λ¦¬λλ©μ μμ'''<br><br> | |||
'''리ν¬κ·Έλ¨(Lipogram)μμμ μμ μΌν'''<br> | |||
리ν¬κ·Έλ¨μ νΉμ κΈμλ₯Ό μ ν μ¬μ©νμ§ μκ³ κΈμ μ°λ μ₯λ₯΄μ΄λ€. μλ₯Ό λ€μ΄, μ‘°λ₯΄μ£Ό νλ μ 'μ¬λΌμ§ λ¨μ(A Void)'λ βeβλΌλ κΈμλ₯Ό μ ν μ°μ§ μκ³ 300νμ΄μ§μ λ¬νλ μμ€μ μ΄ μμ΄λ€. μ¬κΈ°μμ κ·μΉμ βeβλ₯Ό μ°μ§ μλ κ²μ΄μ§λ§, μ΄ κ·μΉμ΄ μ£Όλ νκ³λ₯Ό 극볡νκΈ° μν΄ νλ μ λ€μν μΈμ΄μ λ³μ£Όλ₯Ό μλνκ² λ©λλ€. μ¦, βeβλ₯Ό νΌνκΈ° μν΄ λ λ§μ λ¨μ΄λ₯Ό μ€λͺ
νκ±°λ ννμ μ°ννλ κ³Όμ μμ μλμΉ μκ² λ
νΉν 문체λ μμνμ§ λͺ»ν ννμ΄ λμ€κ² λμ£ . μ΄λ‘ μΈν΄ λ°μνλ μΈμ΄μ λ€μμ±μ ν΄λ¦¬λλ©μ μ±κ²©μ μ§λλ©°, κ·μΉμ΄ μνμ λ¨μ‘°λ‘κ² λ§λλ λμ μνμ μ°½μμ±μ νμ₯νκ² λ§λλ μμλ‘ μμ©ν©λλ€. | |||
<br><br> | |||
'''ν λ¦μ€ νλμ 100λ§ λ²μ§Έ μλμ κ°μ μ격ν μ«μ κ·μΉ μμμμ μΌν'''<br>β¨μΈλ¦¬ν¬μ λ€λ₯Έ μν μ€, ν λ¦μ€ νλμ 100λ§ λ²μ§Έ μλλ μ격νκ² μ«μλ₯Ό κΈ°λ°μΌλ‘ μ°μΈ μμ΄λ€. μ΄ μνμ μ νν 100λ§ κ°μ κΈμλ‘ μ΄λ£¨μ΄μ ΈμΌ νλ€λ κ·μΉμ λ°λ₯΄λ©°, κΈμ μλ₯Ό λ§μΆκΈ° μν΄ μΌλΆ λ¨μ΄λ ννμ μμμΉ λͺ»νκ² μ€μ΄κ±°λ λ리λ λ³νμ΄ μ겨λκ² λλ€. μ΄ κ³Όμ μμ κΈμμ μλ₯Ό λ§μΆκΈ° μν΄ λ¬Έμ₯μ μΌλΆκ° μλ΅λκ±°λ, λ§λΆμ¬μ§κ±°λ, λ°λ³΅λκΈ°λ νλ€. μ΄λ μΌμ’
μ νμ°μ μΈ ν΄λ¦¬λλ©μΌλ‘ μμ©νλ©°, λ
μλ μ ν΄μ§ κ·μΉ μμμ μκΈ°λ μμμΉ λͺ»ν 리λ¬κ³Ό ꡬ쑰μ λ³νμ κ²½ννκ² λλ κ².<br><br> | |||
'''νμ΄μΏ (δΏ³ε₯)μμ λ°μνλ μμμΉ λͺ»ν μλ―Έ λ³μ£Ό'''<br>β¨μΌλ³Έμ μ ν΅ μμΈ νμ΄μΏ λ 5-7-5 μμ μ μ격ν κ΅¬μ‘°λ‘ μ§μ΄μ§λ€. μ΄ νμμ λ§€μ° μ νμ μ΄κΈ° λλ¬Έμ, μμ°μ€λ½κ² λ¨μ΄ μ νμ΄ λ§€μ° μ μ λλ©° 볡ν©μ μΈ μλ―Έλ₯Ό κ°κ² λλ κ²½μ°κ° μκΈ΄λ€. μλ₯Ό λ€μ΄, μ΄λ ꡬμ μ κ³μ μ΄λ κ°μ μ΄ νλ λ¨μ΄λ‘ ννλ λ, λ
μλ κ·Έ 짧μ 문ꡬ μμ ν¨μΆλ μ¬λ¬ μλ―Έλ₯Ό ν΄μνκ² λλ€. μ΄λ° κ²½μ°, 짧μ νμ μμμ μμμΉ λͺ»ν ν΄μμ΄λ κ°μ μ΄ λ°μνλλ°, μ΄λ νμ΄μΏ μ κ·μΉ μμμλ νμ°μ μΌλ‘ λ°μνλ μμ°μ€λ¬μ΄ λ³μ£Όμ΄μ ν΄λ¦¬λλ©μ μλ‘ λ³Ό μ μμ.<br><br> | |||
'''μκ³ λ¦¬μ¦μ ꡬ쑰μμμ μΌν'''<br>β¨μλ₯Ό λ€μ΄ νλ μ λ λ μ΄μ¦μμ μ¬μ©λ μκ³ λ¦¬μ¦μ ꡬ쑰λ κΈμ¬ μΈμμ μμ²νλ μ μ°¨λ₯Ό μ격νκ² λ°λΌκ°λ νμμ΄μ§λ§, μ΄μΌκΈ° μμμ μ£ΌμΈκ³΅μ΄ μμ¬λ₯Ό κΈ°λ€λ¦¬λ€ λ³μ μ»κ±°λ, μμ¬κ° μλ‘μ΄ μΈλ¬Όλ‘ κ΅μ²΄λλ λ±μ μΈλΆ μμΈμ λ°λ₯Έ μμμΉ λͺ»ν λ³νκ° λ°μνκ² λλ€. μ΄λ μκ³ λ¦¬μ¦μ΄ νμ©νμ§ μλ μμΈμ΄μ§λ§, νμ€μ μΈ μ€μ μ λ°μνλ©΄μ μκ³ λ¦¬μ¦μ λ°λ³΅μ ꡬ쑰μ λ³νλ₯Ό μ£Όλ μν μ νλ€. μ΄λ κ² μ격ν κ·μΉμ μ μ§νλ©΄μλ μΌμμ μΈ μ°μ°μ΄ μ½μ
λλ λ³μ£Όκ° ν΄λ¦¬λλ©μΌλ‘ μμ©νλ κ². | |||
<br><br> | |||
'''βν΄λ¦¬λλ©μ ν΅μ¬: κ·μΉμ μ€μνλ©΄μ λ°μνλ μ°½μμ μμΈ'''<br> | |||
ν΄λ¦¬λλ©μ ν΅μ¬μ κ·μΉμ κΉ¨μ§ μμΌλ©΄μλ κ·Έ κ·μΉ μμμ μλμΉ μκ² λ°μνλ μμ λ³νκ° μμ μ ν¨κ³Όλ₯Ό λ§λ€μ΄λΈλ€λ κ²μ΄λ€. μ΄λ¬ν λ³νλ κ·μΉμ λ°λ₯΄λ μλ°μ μΈ μΌνμ΄μ, κ·μΉμ΄ μκ°λ λ
μμκ² μμμΉ λͺ»ν μ°½μμ±μ μ 곡νλ μκ°. |
Latest revision as of 21:45, 31 October 2024
Semantic Poetry and P.A.L.F
The "Semantic Poetry" devised by Stefan Themerson is an experimental approach that deconstructs the meaning and essence of traditional poetry by replacing words in the poem with their dictionary definitions.
(take a line from William Wordsworth)
βI wandered lonely as a cloudβ¦β
β
βI wandered lonely as a mass of watery vapor suspended in the upper atmosphereβ
μ΄ κ³Όμ μμ, μλ ꡬμ μ΄ κ°κ³ μλ μμ μ μμ μ΄λ―Έμ§κ° μμ€λκ³ , λμ 무미건쑰νκ³ κΈ°κ³μ μΈ μΈμ΄κ° λ¨κ² λλ€. ν λ©λ₯΄μμ μ΄ κΈ°λ²μ λ κ°μ§ μΈ‘λ©΄μμ λ νΉνλ€:
1. μμ μ μ²΄μ± ν΄μ²΄: μλ―Έ μλ λ μκ° μλ₯Ό ν΄μν λ λλΌλ μ§κ΄μ μλ¦λ€μκ³Ό κ°μ±μ μλμ μΌλ‘ μ κ±°ν΄ λ²λ¦°λ€. κ°μ±μ μ΄κ±°λ μμ§μ μΈ μΈμ΄λ μ¬μ μ μ μλ‘ μΉνλλ©°, μ΄λ μμ ννμ΄ μλ λ¨μν μ€λͺ μΌλ‘ λ°λμ΄ μκ° κ°μ§ λ³Έλμ 맀λ ₯μ λΉΌμλ κ²μ΄λ€. μ΄λ₯Ό ν΅ν΄ μκ° λ¨μν μΈμ΄μ κ΅¬μ± μ΄μμ κ²μ΄λΌλ μ μ μμ€μ μΌλ‘ κ°μ‘°νλ μ . 2. λ¬Ένμ μ§μ μ±μ λν μ§λ¬Έ: ν λ©λ₯΄μμ μλ―Έ μλ₯Ό ν΅ν΄, λ¬Ένμ΄λ μκ° βμ§μ ν μλ―Έβλ₯Ό μ λ¬νλ€κ³ λ―Ώλ μ ν΅μ κ΄μ μ μ‘°λ‘±νλ€. κ·Έλ μΈμ΄μ μλ―Έμ μκ΄κ΄κ³κ° λ°λμ μ§κ΄μ μ΄κ±°λ κ°μ μ μΌ νμκ° μμΌλ©°, λ¬Ένμ΄ λ³Έμ§μ μΌλ‘ 무μλ―Έν ννμ΄ λ μλ μμμ 보μ¬μ€λ€.
P.A.L.F and exhausting the lexicon experiment
P.A.L.F. makes translation by semantic definition a recursive device (applying it over again to the output of the βmachineβ) and quickly produces monstrously inflated expressions that tend asymptotically toward the inclusion of all the words in the lexicon. Perec and BΓ©nabou hypothesized that if any text subjected to the automatic production device tended toward the exhaustion of the lexicon, then any two texts would at some point of expansion come to include the same words as each other.
Technically it didn't work, but I like it. Like some kind of a philosophical jest suggesting that if all texts were infinitely expanded, they would ultimately converge to the same content in essence.
60s' Post-structuralism
P.A.L.F. is of interest as the first explicitly mechanical device entertained by Perec for the production of literary texts, and also as a symptom of the β60sβ fascination with the potential of the signifier to subvert, overturn, and generally wreak havoc with meaning and authorial intention.
1.κΈ°νΈμ μ 볡μ μ μ¬λ ₯:
κΈ°νΈκ° λ¨μν μλ―Έλ₯Ό μ λ¬νλ μλ¨μ΄ μλλΌ, μλ―Έλ₯Ό λ°κΎΈκ³ λ€μ§κ³ νΌλμ€λ½κ² λ§λ€ μ μλ μ μ¬λ ₯μ κ°μ‘λ€κ³ λ³Έ μκΈ°. κΈ°νΈ κ·Έ μμ²΄κ° μλ―Έλ μλ(authorial intention)λ₯Ό μ½κ² κ³ μ μν¬ μ μλ νμ κ°μ§λ€λ μΈμμ νμ°.
e.g. ν λ¨μ΄κ° νΉμ μλ―Έλ₯Ό μ λ¬νλ € νμ§λ§, κ·Έ λ¨μ΄ μμ²΄κ° λ€μμ±μ κ°μ§κΈ° λλ¬Έμ, μλμλ λ€λ₯Έ ν΄μμ΄ μκΈΈ μ μλ€. μ΄λ° μ μμ 1960λ λ μ¬μκ°λ€μ κΈ°νΈκ° λ¨μΌν μλ―Έλ‘ κ³ μ λ μ μλ€λ κ²μ λ°κ²¬νκ³ , κΈ°νΈμ μ΄ νΌλμ€λ¬μ΄ νμ μ κ·Ήμ μΌλ‘ νꡬνλ€. 2.μ μ μλμ ν΄μ²΄:
κΈ°νΈμ μλ―Έκ° λ³ν¨μ λ°λΌ, μ μμ μλ μμ μ 볡λ μ μλ€λ μκ°μ΄ 1960λ λμ νΌμ§κΈ° μμνλ€. μ΄λ ν¬μ€νΈκ΅¬μ‘°μ£Όμμ μ€μν μμ΄λμ΄ μ€ νλλ‘, μ μκ° λ¬΄μΈκ°λ₯Ό μλ―Ένλ€κ³ ν΄λ, λ μκ° κ·Έ κΈ°νΈλ₯Ό μ΄λ»κ² ν΄μνλλμ λ°λΌ μλμλ λ€λ₯Έ μλ―Έκ° μκΈΈ μ μλ€λ κ². λ°λΌμ ν μ€νΈλ λ μμ ν΄μμ λ°λΌ κ³μν΄μ μ¬κ΅¬μ±λ μ μλ μ‘΄μ¬κ° λλ©°, μ μμ μλλ μ μ λ 무μλ―Έν΄μ§κ±°λ λΆμ°¨μ μΈ κ²μΌλ‘ κ°μ£Όλ¨. 3.P.A.L.F.μ κΈ°νΈ μ€ν:
νλ μ P.A.L.F.λ κΈ°νΈκ° κ°μ§ μ΄λ¬ν μ 볡μ νμ μ€ννλ μ₯μΉμ΄λ€. μ΄λ κΈ°κ³μ μΌλ‘ ν μ€νΈλ₯Ό λ§λ€μ΄λ΄λ©°, λ¨μ΄μ κΈ°νΈλ₯Ό λ°λ³΅μ μΌλ‘ μ μνκ³ λ³ννλ©΄μ μλμ μλλ₯Ό μ 볡μν€κ³ , μ΅μ’ μ μΌλ‘ ν μ€νΈμ λν μ΄ν΄λ₯Ό μμ ν νΌλμ€λ½κ² λ§λλ λ°©μμΌλ‘ μλνκΈ° λλ¬Έμ΄λ€.
μ΄λ₯Ό ν΅ν΄ μλ―Έλ μλλ κ³ μ λ μ μκ³ λ¬΄λμ§ μ μλ λΆμμ ν κ²μ΄λΌλ μ μ μ€ννκ² λλ κ²μ΄λ©°, μ΄λ 1960λ λμ μΈμ΄μ κΈ°νΈμ λν κ΄μ¬, κ·Έλ¦¬κ³ κΈ°νΈκ° κΈ°μ‘΄μ μλ―Έ 체κ³λ₯Ό μ 볡νλ κ°λ₯μ±μ μ 보μ¬μ£Όλ μλΌκ³ ν μ μμ.
Constraint
A constraint is any operation that can be made fully explicit on some level or another of a language (sound, letter, word, sentenceβ¦) and which gives rise to a new text. The first of Perec's Oulipian works to appear in French was his famous lipogram, A Void, a novel of three hundred pages written without the help of the letter e (the constraint being to write with only twenty-five letters, but within the grammar and lexis of the standard language nonetheless).
Algorithm and Death
Kafka machine
...But that would only lead to a conventional βFrankensteinβ scenario, and Perec dropped the idea. He then turned to an entirely different use that might be made of an imaginary computer: to answer the question, What is poetry?
the most exciting work at that time concerned authorial attributions through the use of rival stylometric algorithms.
...
What attracted Oulipo's particular attention was the idea that if it was possible to identify authorship by algorithm, then the same algorithm might be used in reverse to produce a synthetic text that would be indistinguishable (for a computer) from authentic material.
-Today's AI
1.문체 λΆμ μκ³ λ¦¬μ¦: 문체 λΆμ μκ³ λ¦¬μ¦μ μ μμ κ³ μ ν 문체λ₯Ό νΉμ μμΉλ λ³μ(μ: λ¨μ΄ λΉλ, νκ· λ¬Έμ₯ κΈΈμ΄ λ±)λ‘ λΆμνλ€. μ΄λ₯Ό ν΅ν΄ νΉμ ν μ€νΈκ° νΉμ μκ°μ 문체μ μΌμΉνλμ§ νλ³ν μ μμΌλ©° μλ₯Ό λ€μ΄, μ΄λ€ ν μ€νΈκ° λ¨μ΄ λΉλλ λ¬Έμ₯ ꡬ쑰λ₯Ό ν΅ν΄ βμΉ΄νμΉ΄βμ μ€νμΌκ³Ό μ μ¬νμ§λ₯Ό λ°μ Έλ³Ό μ μκ² λλ€. 2.μλ°©ν₯ μ μ©: μ¬κΈ°μ μΈλ¦¬ν¬μ ν₯λ―Έλ‘μ΄ λ°μμ μ΄ μκ³ λ¦¬μ¦μ μμΌλ‘ μ¬μ©νλ κ²μ΄λ€. μ¦, μΉ΄νμΉ΄μ μ€νμΌ λΆμμμ μΆμΆν λ³μλ€μ μ΄μ©ν΄ μκ³ λ¦¬μ¦μ΄ μ§μ μΉ΄νμΉ΄μ μ μ¬ν μ€νμΌμ ν μ€νΈλ₯Ό μμ±νλλ‘ νλ κ². μ΄λ κ² λ§λ€μ΄μ§ ν μ€νΈλ, νΉμ μκ°(μ΄ κ²½μ° μΉ΄νμΉ΄)μ 문체λ₯Ό λ°μνλ―λ‘ μ»΄ν¨ν°λ λ μλ μ§μ§μ ꡬλ³νκΈ° μ΄λ €μΈ μ λλ‘ κ·Έ μκ°μ λΉμ·ν 문체λ₯Ό κ°μΆκ² λλ€λ κ²μ΄λ€. 3.μΉ΄νμΉ΄ κΈ°κ³: μ΄λ₯Ό ν΅ν΄ λ§λ€μ΄μ§ κΈ°κ³, μ¦ βμΉ΄νμΉ΄ κΈ°κ³βλ μΉ΄νμΉ΄μ μ€νμΌμ λͺ¨λ°©νμ¬ μλ‘μ΄ ν μ€νΈλ₯Ό μλμΌλ‘ μμ±νλ μ₯μΉκ° λλ€. μ΄ κΈ°κ³κ° μλνλ€λ©΄, μ€μ λ‘ μΉ΄νμΉ΄κ° μ΄ κ²μ΄ μλλ°λ κ·Έμ 문체μ λ§€μ° λΉμ·ν, βμΉ΄νμΉ΄μ βμΈ ν μ€νΈλ₯Ό μμ±ν μ μκ² λλ κ²μ΄λ€. μ΄λ λ§μΉ μΉ΄νμΉ΄μ 무μμμ μΈ μ°½μ κ³Όμ μ κΈ°κ³κ° μ¬νν΄λ΄λ κ²μ²λΌ 보μ΄κΈ° λλ¬Έμ΄λ€.
Die Maschine
But Die Maschine is not just a way of subverting Goethe. The last part of this sixty-minute play takes a different approach, and seeks the connections between this poem and the nature of poetry through analogous lines from the vast thesaurus of world poetry that the speaking computer naturally contains. The βexplosion of quotationsβ of lines of verse in seven languages about nature, silence, and mortality produces a final movement that is the reverse of the play's aggressive number-crunching start. The verse tails off into the words for βsilenceβ and βpeaceβ repeated rhythmically in Japanese, Russian, English, Spanish, Italian, French, and German; a long βshhhβ¦β; and then silence. In the end, something really has been said about what poetry is.
What enabled this to speak about poetry?
Because of the universality of themes that humans address in poetry?
Flow chart
...βIt consists of a certain number of propositions that can take either yes or no for an answer, each answer having certain consequences. The concatenation of causes and effects and the choice of answers are represented by arrows that are the only syntactic connectors between the propositions. In brief, it is a tree structure, a network, a labyrinth, and the βreaderβ chooses ONE route among all the possible routes, the totality of possible routes being presented SIMULTANEOUSLY on the flow-chart.β
A flowchart, as Perec explained to Helmle, shows simultaneously all the steps and the order of their recursion in a set of instructions. It also contains within it all the possible moves allowed by the algorithm. It is therefore an essentially Perecquian device, being at once exhaustive and simultaneous.
When put like this, it's such an interesting concept.
1. νλ‘μ°¨νΈμ "μμ μ±"κ³Ό "λμμ±"
μμ μ±(Exhaustiveness): νλ μ νλ‘μ°¨νΈλ μ£Όμ΄μ§ μ μ°¨μ λ°λΌ λ°μν μ μλ λͺ¨λ κ²½λ‘μ λ¨κ³λ₯Ό λͺ¨λ ν¬ν¨νκ³ μλ€. μ¦, μ΄λ€ κ²½μ°μλ λΉ λ¨λ¦¬μ§ μκ³ κ°λ₯ν λͺ¨λ νλμ μ νμ§μ κ²½λ‘λ₯Ό μ μνλ κ΅¬μ‘°μΈ κ². μ΄λ νλ μ΄ μΆκ΅¬ν βμμ§(Exhaustion)β κ°λ κ³Ό λ§λΏμ μλλ°, νλ μ λ¬Ένμ κΈ°λ²μ νΉμ μ£Όμ λ ꡬ쑰λ₯Ό μ² μ ν νꡬνκ³ , λ€λ£¨κ³ μλ λͺ¨λ μμλ₯Ό λΉνμμ΄ λ€λ£¨λ €λ μλλ₯Ό ν¬ν¨νλ κ²μ΄λ€. μ΄ νλ‘μ°¨νΈλ κ·Έ λ³Έμ§μ μ 보μ¬μ£Όκ³ μλ κ². λμμ±(Simultaneity): νλ‘μ°¨νΈλ λ¨μν μμ°¨μ μΌλ‘ λ¨κ³κ° μ§νλλ κ²μ΄ μλλΌ, λͺ¨λ λ¨κ³κ° λμμ νΌμ³μ Έ 보μ¬μ§λ©΄μ λ€μν κ°λ₯μ±μ νλμ νμΈν μ μκ² νλ€. μ΄λ λ μκ° νΉμ μν©μμ μ νμ§λ₯Ό 보λ κ²μ΄ μλλΌ, κ°κΈ° λ€λ₯Έ μ νμ§κ° λμμ μ‘΄μ¬νλ€λ μ μ μΈμνκ² λ§λλ κ². μ΄λ¬ν λ°©μμ νλ μ΄ κ°μ‘°ν βλμμ μμ¬βμλ μ°κ΄μ΄ μλ€. κ·Έλ λ€μν μ¬κ±΄κ³Ό μΈλ¬Όμ΄ λμμ λ°μνλ μν©μ λ¬μ¬νλ κ²μ μ¦κ²Όκ³ , μ΄λ₯Ό ν΅ν΄ νΉμ ν νλ¦μ΄ μλ μ¬λ¬ κ°λ₯μ±μ 볡ν©μ μΌλ‘ 보μ¬μ£Όλ μμ¬ λ°©μμ λ§λ€μ΄λΈλ€.
i.e. βLife A User's Manualβ, similarly an exhaustive description of all the rooms in the building at 11, rue Simon Crubellier, and a simultaneous account of all that is happening there toward eight in the evening on June 23, 1975β¦
2. νλ‘μ°¨νΈμ "μ¬κ·μ±κ³Ό 무ν 루ν", μκ°μ μ¬μ½μ κ³Ό μμ¬μ νκ³
νλ‘μ°¨νΈμλ μ¬κ·μ±(recursiveness)μ΄λΌλ μ€μν νΉμ±μ΄ μ‘΄μ¬νλ€. μ¬κ·μ±μ΄λ νΉμ 쑰건μ λ°λΌ μ΄μ λ¨κ³λ‘ λλμκ°λ κ³Όμ μ λ°λ³΅ν μ μλ ꡬ쑰λ₯Ό μλ―Ένλλ°, νλ μ νλ‘μ°¨νΈλ μ¬μ©μκ° μ/μλμ€ λ±μ μ νμ λ°λΌ λ€μ μμ¬μ μ¬λ¬΄μ€λ‘ λμκ°κ±°λ μ²μλΆν° λ€μ μλνλ μμΌλ‘ 무νν μνν μ μλ ꡬ쑰λ₯Ό κ°μ§κ³ μλ€.
μκ³ λ¦¬μ¦μ΄ μ΄λ‘ μ μΌλ‘ 무νν λμκ° μ μλ ꡬ쑰λ₯Ό κ°μ§κ³ μλ λ°λ©΄, νλ μ μ΄ μμ¬λ₯Ό μΈ λ μκ°μ΄ μμ°μ€λ½κ² μμ¬μ κ°μ νλ€λ κ²μ λ°κ²¬νκ² λλ€. μλ₯Ό λ€μ΄, κΈμ¬ μΈμμ μμ²νλ μ§μμ΄ μμ¬λ₯Ό λ§λλ¬ κ° λλ§λ€ μκ°μ΄ νλ₯΄κ³ κ·Έ μ¬λμ λμ΄λ₯Ό λ¨Ήμ΄κ°λ€. μ΄λ€ μ νμ νκ³ λ€μ μμ¬μ μ¬λ¬΄μ€λ‘ λμκ°λ κ³Όμ μ΄ μμ°¨λ‘ λ°λ³΅λλλΌλ, κ° μλλ§λ€ μ§μμ μ‘°κΈμ© λμ΄κ° λ€μ΄κ°λ©° μκ°μ΄ νλ₯΄λ κ²μ λλ μλ°μ μλ€. κ²°κ΅, μκ³ λ¦¬μ¦μ ꡬ쑰μμ λ²μ΄λμ§ μλλΌλ μΈκ°μ μμ¬λ μκ°μ λλ°ν μλ°μ μλ μ .
3. νλ λ¬Ένμμμ "λμμ μ₯μΉ"λ‘μμ νλ‘μ°¨νΈ
νλ‘μ°¨νΈκ° νλ νΉμ μ λ¬Ένμ μ₯μΉλ‘ μ€μν μ΄μ λ, κ·Έμ μνλ€μ΄ λμμ μ¬λ¬ μ¬κ±΄κ³Ό μΈλ¬Όμ λ€λ£¨κ³ , κ°μμ μ νμ΄λ μν©μ΄ μ¬λ¬ κ°μ§ λ°©μμΌλ‘ λ³νν μ μλ κ°λ₯μ±μ μ μνλ€λ μ μ μλ€. μλ₯Ό λ€μ΄, κ·Έμ λνμ 'μΈμ μ¬μ©λ²'μ νλμ 건물 μμ μ‘΄μ¬νλ λ€μν λ°©κ³Ό μΈλ¬Όλ€μ λμμ μμ νλ©΄μ, λ§μΉ λ μκ° κ±΄λ¬Όμ μ¬λ¬ λ°©μ ν λ²μ λ³Ό μ μλ λ€μ€μ κ΄μ°°μμ²λΌ λλΌκ² νλ€.
μ΄μ λ§μ°¬κ°μ§λ‘ νλ‘μ°¨νΈλ νλμ νλ¦μ΄ μλ, λ€μν κ°λ₯μ±λ€μ΄ λμμ νΌμ³μ§λ€(μ¦, λͺ¨λ λ¨κ³μ μ νμ§κ° μ΄λ¦° μνλ‘ μ‘΄μ¬νλ€)λ μ μμ νλ μ λ€μΈ΅μ μ΄κ³ λ€κ°μ μΈ μμ¬ κ΅¬μ‘°λ₯Ό λ°μνλ€. νλ‘μ°¨νΈλ νλ μ΄ μΆκ΅¬νλ μ¬λ¬ μμ¬μ κ°λ₯μ±μ νλλ‘ ν΅ν©ν΄ λμμ 보μ¬μ£Όλ νμμ μ₯μΉμΈ κ².
Clinamen
The theory of the clinamen, insofar as it relates to Perec's work, is that intentional irregularity softens the harshness of a text written under constraint, bringing all-too-human fallibility into the domain of formal art.
It's a way of having your cake and eating it too, for a clinamen is not an example of fallibility, but an intentional bending of self-imposed rules to show that the writer is in complete command not only of necessity, but also of chance.
Its secondary effect is perhaps even more important in the end: systematic non-respect of a systematic rule makes the rule unrecoverable from the finished text. = κ·μΉμ 체κ³μ μΌλ‘ μ§ν€μ§ μμμΌλ‘μ¨ μ΅μ’ ν μ€νΈμμ κ·μΉμ μΆμ ν μ μκ² λ§λ λ€λ μ .
βοΈ λ λ μ΄μ¦λ μκ³ λ¦¬μ¦μ μ μ°¨λ₯Ό μ΄λ μ λ λ°λΌκ°λ©΄μ λ£λ μ΄μκ² λΆκ°νΌν μ’μ κ°μ μ¬μ΄μ£Όμ§λ§, κ·Έ κ·μΉμ μΆ©λΆν λ²μ΄λ μμλλ μκ³ λ¦¬μ¦μ ꡬ쑰λ₯Ό νμ ν μ μκ² νλ€. μ¬μ― κ°μ λͺ©μ리λ νμ λ Όλ¦¬μ μ μ°¨μ λ°λΌ λ§νλ κ²μ΄ μλκ³ , μ¬μ― κ°μ μμκ° ν λ²μ© μννλ κ³Όμ λ λ°λμ κ²°λ§μ μ΄λ₯΄μ§λ μμΌλ©° , λ‘ νμλ μΌμ μ μ§ λν λ°λμ μ μ°¨μ μμμ μΌλ‘ λμκ°λΌλ μλ―Έλ μλλ€. κ·Έλμ μ무리 μ μ¨λ νλ μ μκ³ λ¦¬μ¦μ μ°κ·Ήμμ μ€μ μκ³ λ¦¬μ¦μ μΆλ‘ ν μ μκ² λλ κ²°κ³Όλ₯Ό λ§λ λ€.
The Conceptual Background of Clinamen
Clinamen is a concept originating from the ideas of the ancient Greek philosopher Epicurus and the Roman poet Lucretius. Lucretius, from an atomistic perspective, described how all atoms fall in a straight line but sometimes deviate slightly, moving unexpectedly due to a βsmall swerveβ (clinamen). He saw this swerve as creating opportunities for all things and phenomena to change freely, beyond predetermined laws or necessity.
ν΄λ¦¬λλ©κ³Ό μκ³ λ¦¬μ¦μ ꡬ쑰μ κ΄κ³
ν΄λ¦¬λλ©μ μκ³ λ¦¬μ¦μ ꡬ쑰λ κ·μΉμ μ‘΄μ¬λ₯Ό λΆμ νμ§λ μμ§λ§, κ·Έ μμμ λ°μν μ μλ νΈμ°¨λ μ€λ₯, μμΈλ₯Ό μμ°μ€λ½κ² λ°μλ€μΈλ€. λ°λΌμ ν΄λ¦¬λλ©μ μκ³ λ¦¬μ¦μ μλ²½νκ² λ°λ₯΄μ§ μλ μΌμ’ μ μ μ°μ±μ μ§λλ©°, μ΄λ μκ³ λ¦¬μ¦μ μ μ°¨κ° κ°λ κΈ°κ³μ κ²½μ§μ±μ μΈκ°μ κ΄μ μμ μννλ λ°©μμΌλ‘ μμ©ν μ μλ€. ν΄λ¦¬λλ©μ κ·μΉ λ΄μμ λ°μνλ λΆκ°νΌν μΌνλ‘, μ΄λ μμ ν κ·μΉμ μλ°νλ κ²μ΄ μλλΌ κ·μΉμ μ μ§νλ©΄μλ κ·μΉμ ν μμμ μμ λ‘μ΄ νΈμ°¨λ₯Ό νμ©νλ κ°λ μ΄λ€.
ν΄λ¦¬λλ©μ μμ
리ν¬κ·Έλ¨(Lipogram)μμμ μμ μΌν
리ν¬κ·Έλ¨μ νΉμ κΈμλ₯Ό μ ν μ¬μ©νμ§ μκ³ κΈμ μ°λ μ₯λ₯΄μ΄λ€. μλ₯Ό λ€μ΄, μ‘°λ₯΄μ£Ό νλ μ 'μ¬λΌμ§ λ¨μ(A Void)'λ βeβλΌλ κΈμλ₯Ό μ ν μ°μ§ μκ³ 300νμ΄μ§μ λ¬νλ μμ€μ μ΄ μμ΄λ€. μ¬κΈ°μμ κ·μΉμ βeβλ₯Ό μ°μ§ μλ κ²μ΄μ§λ§, μ΄ κ·μΉμ΄ μ£Όλ νκ³λ₯Ό 극볡νκΈ° μν΄ νλ μ λ€μν μΈμ΄μ λ³μ£Όλ₯Ό μλνκ² λ©λλ€. μ¦, βeβλ₯Ό νΌνκΈ° μν΄ λ λ§μ λ¨μ΄λ₯Ό μ€λͺ
νκ±°λ ννμ μ°ννλ κ³Όμ μμ μλμΉ μκ² λ
νΉν 문체λ μμνμ§ λͺ»ν ννμ΄ λμ€κ² λμ£ . μ΄λ‘ μΈν΄ λ°μνλ μΈμ΄μ λ€μμ±μ ν΄λ¦¬λλ©μ μ±κ²©μ μ§λλ©°, κ·μΉμ΄ μνμ λ¨μ‘°λ‘κ² λ§λλ λμ μνμ μ°½μμ±μ νμ₯νκ² λ§λλ μμλ‘ μμ©ν©λλ€.
ν λ¦μ€ νλμ 100λ§ λ²μ§Έ μλμ κ°μ μ격ν μ«μ κ·μΉ μμμμ μΌν
β¨μΈλ¦¬ν¬μ λ€λ₯Έ μν μ€, ν λ¦μ€ νλμ 100λ§ λ²μ§Έ μλλ μ격νκ² μ«μλ₯Ό κΈ°λ°μΌλ‘ μ°μΈ μμ΄λ€. μ΄ μνμ μ νν 100λ§ κ°μ κΈμλ‘ μ΄λ£¨μ΄μ ΈμΌ νλ€λ κ·μΉμ λ°λ₯΄λ©°, κΈμ μλ₯Ό λ§μΆκΈ° μν΄ μΌλΆ λ¨μ΄λ ννμ μμμΉ λͺ»νκ² μ€μ΄κ±°λ λ리λ λ³νμ΄ μ겨λκ² λλ€. μ΄ κ³Όμ μμ κΈμμ μλ₯Ό λ§μΆκΈ° μν΄ λ¬Έμ₯μ μΌλΆκ° μλ΅λκ±°λ, λ§λΆμ¬μ§κ±°λ, λ°λ³΅λκΈ°λ νλ€. μ΄λ μΌμ’
μ νμ°μ μΈ ν΄λ¦¬λλ©μΌλ‘ μμ©νλ©°, λ
μλ μ ν΄μ§ κ·μΉ μμμ μκΈ°λ μμμΉ λͺ»ν 리λ¬κ³Ό ꡬ쑰μ λ³νμ κ²½ννκ² λλ κ².
νμ΄μΏ (δΏ³ε₯)μμ λ°μνλ μμμΉ λͺ»ν μλ―Έ λ³μ£Ό
β¨μΌλ³Έμ μ ν΅ μμΈ νμ΄μΏ λ 5-7-5 μμ μ μ격ν κ΅¬μ‘°λ‘ μ§μ΄μ§λ€. μ΄ νμμ λ§€μ° μ νμ μ΄κΈ° λλ¬Έμ, μμ°μ€λ½κ² λ¨μ΄ μ νμ΄ λ§€μ° μ μ λλ©° 볡ν©μ μΈ μλ―Έλ₯Ό κ°κ² λλ κ²½μ°κ° μκΈ΄λ€. μλ₯Ό λ€μ΄, μ΄λ ꡬμ μ κ³μ μ΄λ κ°μ μ΄ νλ λ¨μ΄λ‘ ννλ λ, λ
μλ κ·Έ 짧μ 문ꡬ μμ ν¨μΆλ μ¬λ¬ μλ―Έλ₯Ό ν΄μνκ² λλ€. μ΄λ° κ²½μ°, 짧μ νμ μμμ μμμΉ λͺ»ν ν΄μμ΄λ κ°μ μ΄ λ°μνλλ°, μ΄λ νμ΄μΏ μ κ·μΉ μμμλ νμ°μ μΌλ‘ λ°μνλ μμ°μ€λ¬μ΄ λ³μ£Όμ΄μ ν΄λ¦¬λλ©μ μλ‘ λ³Ό μ μμ.
μκ³ λ¦¬μ¦μ ꡬ쑰μμμ μΌν
β¨μλ₯Ό λ€μ΄ νλ μ λ λ μ΄μ¦μμ μ¬μ©λ μκ³ λ¦¬μ¦μ ꡬ쑰λ κΈμ¬ μΈμμ μμ²νλ μ μ°¨λ₯Ό μ격νκ² λ°λΌκ°λ νμμ΄μ§λ§, μ΄μΌκΈ° μμμ μ£ΌμΈκ³΅μ΄ μμ¬λ₯Ό κΈ°λ€λ¦¬λ€ λ³μ μ»κ±°λ, μμ¬κ° μλ‘μ΄ μΈλ¬Όλ‘ κ΅μ²΄λλ λ±μ μΈλΆ μμΈμ λ°λ₯Έ μμμΉ λͺ»ν λ³νκ° λ°μνκ² λλ€. μ΄λ μκ³ λ¦¬μ¦μ΄ νμ©νμ§ μλ μμΈμ΄μ§λ§, νμ€μ μΈ μ€μ μ λ°μνλ©΄μ μκ³ λ¦¬μ¦μ λ°λ³΅μ ꡬ쑰μ λ³νλ₯Ό μ£Όλ μν μ νλ€. μ΄λ κ² μ격ν κ·μΉμ μ μ§νλ©΄μλ μΌμμ μΈ μ°μ°μ΄ μ½μ
λλ λ³μ£Όκ° ν΄λ¦¬λλ©μΌλ‘ μμ©νλ κ².
βν΄λ¦¬λλ©μ ν΅μ¬: κ·μΉμ μ€μνλ©΄μ λ°μνλ μ°½μμ μμΈ
ν΄λ¦¬λλ©μ ν΅μ¬μ κ·μΉμ κΉ¨μ§ μμΌλ©΄μλ κ·Έ κ·μΉ μμμ μλμΉ μκ² λ°μνλ μμ λ³νκ° μμ μ ν¨κ³Όλ₯Ό λ§λ€μ΄λΈλ€λ κ²μ΄λ€. μ΄λ¬ν λ³νλ κ·μΉμ λ°λ₯΄λ μλ°μ μΈ μΌνμ΄μ, κ·μΉμ΄ μκ°λ λ
μμκ² μμμΉ λͺ»ν μ°½μμ±μ μ 곡νλ μκ°.