User:Zuhui/π/Georges Perec's Thinking Machines
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).