{"id":38547,"date":"2022-04-01T09:44:44","date_gmt":"2022-04-01T00:44:44","guid":{"rendered":"https:\/\/clumsy.site\/en\/?p=38547"},"modified":"2022-10-28T08:52:35","modified_gmt":"2022-10-27T23:52:35","slug":"metaphysical-light-in-turin-2","status":"publish","type":"post","link":"https:\/\/clumsy.site\/en\/blog-metaphysical-light-in-turin-2\/","title":{"rendered":"Metaphysical Light in Turin 2"},"content":{"rendered":"\n\n\tMetaphysical Light in Turin
\n\ud29c\ub9b0\uc758 \ud615\uc774\uc0c1\ud559\uc801 \ube5b\n\t

02<\/p>\n\tText by Guy Davenport\u00a0\uac00\uc774 \ub2e4\ubca4\ud3ec\ud2b8
\nTranslation by Mimi Park \ubc15\uc0c1\ubbf8\n\tIt is, this vision of De Chirico’s, an enigma. That is his own word. It is also Nietzsche’s word. The world deprived of illusion and unthinking acceptance is reduced to an enigma, a riddle, a comprehensive re-asking of all questions about the nature of reality. De Chirico and his school-Carlo Carr\u00e0, Giorgio Morandi, and later by emulation Max\u00a0 Ernst, Rene Magritte, Otto Dix, Oskar Schlemmer-called themselves i metafisici.\u00a0 Like the English metaphysical poets, they came at a time when science was revising basic tenets. And as for Donne with his maps and compasses, the still life of philosophical meditation was a vehicle congenial to them.\n

 <\/p>\nDe Chirico, in his most characteristic canvases, was fusing still life and landscape. Joyce, at about the same time, was doing the same thing in Ulysses. The chapter called the Lestrygonians, in which Bloom has lunch, is a series of symbolic still lifes fitted into a narrative structure that is moreover organized around the idea of architecture (the chapter’s “art,” as Joyce designated in the schema he made for Linati). Architecture and food come together in various ways. We ornament buildings with garlands of harvest fruit in stone. Joyce’s opening words in this chapter, uPineapple rock, Lemon Platt, Butter Scotch,55 describe a display of sweets in a shop window, but pineapple rock is also a stone pineapple, as on the cornices of neoclassical buildings, a symbol of hospitality.\n

 <\/p>\nOne way of recognizing verities is to look at them as if you had never seen them before, to make an enigma of the familiar. This “estrangement” of reality, in order to know it at all, was the program of De Chirico’s and Joyce’s contemporaries Osip Mandelstam and Viktor Shklovski. Mandel stam in his terse novels and tightly wrought poems manipulates the inventory (as of his father’s bookshelf, like Joyce cataloging Bloom’s books) and the exhaustive list (as of his schoolmates, or the furnishings of an aesthete’s rooms) much as De Chirico explores the reality of Turin by dislocating it, arranging it into unfamiliar conjunctions.\n

 <\/p>\nLet us look, now, at the fate of a still life in Keats and how its sensual brightness can be reseen in the age of Faraday and Marconi, and then at a philosophical still life by Shelley, as a first statement of the metaphysical art of De Chirico and all the enigmatic still lifes of our century. We must approach Keats through Milton:\n

 <\/p>\nIn Paradise Regained, Christ, having fasted in the wilderness for forty days, “hung’ring more to do [his] Father’s will” than from “the sting of Famine,”\u00a0 dreamed, “as appetite is wont to dream,” of Elijah fed by ravens, “Or as a guest with Daniel at his pulse.” Waking, he meets Satan in a grove, who invites Him to break his fast, displaying\n

 <\/p>\nIn ample space under the broadest shade<\/em>
\nA Table richly spread, in regal mode,<\/em>
\nWith dishes pil’d, and meats of noblest sort<\/em>
\nAnd savour, Beasts of chase, or Fowl of game,<\/em>
\nIn pastry built, or from the spit, or boil’d,<\/em>
\nGris-amber-steam’d; all Fish from Sea or Shore,<\/em>
\nFreshet, or purling Brook, of shell or fin,<\/em>
\nAnd exquisitest name, for which was drain’d<\/em>
\nPontus and Lucrine Bay, and Afric Coast.<\/em>
\nAlas how simple, to these Cates compar’d,<\/em>
\nWas that crude Apple that diverted Eve!<\/em>\n

 <\/p>\nMilton’s contrast between the cooked and the raw is the tension of his age between archaic Protestant simplicity and Catholic luxury, between farm and castle, chastity and sensuality. The art, however, is baroque, and feeds on both terms of its tense contrast. That fusion of Bible and Greek myth constitutes the formula for the baroque, exemplified in Bach’s masses (Greek chorus, Roman cadences, arabic musical instruments, Christian mythos), Racine’s Ph\u00e9dre (two myths, rhyming in analogue, one Hebrew,\u00a0 one Greek, in a provincial dialect of Latin refined to a precision of diction and elasticity of expression that rivals those of Virgil), and Milton’s own Samson Agonistes (where Jewish folktale and Greek theater are so harmoniously joined that we feel that the word renaissance should never mean anything other than the cooperation of the Bible with Greek poetry):\n

 <\/p>\nAnd at a stately side-board by the wine<\/em>
\nThat fragrant smell diffus’d, in order stood<\/em>
\nTall stripling youths rich-clad, of fairer hue<\/em>
\nThan Ganymede or Hylas; distant more<\/em>
\nUnder the Trees now tripp’d, now solemn stood<\/em>
\nNymphs of Diana’s train, and Naiades<\/em>
\nWith fruits and flowers from Amalthea’s horn,<\/em>
\nAnd Ladies of th’ Hesperides, that seem’d<\/em>
\nFairer than feign’d of old, or fabl’d since<\/em>
\nOf Fairy Damsels met in Forest wide<\/em>
\nBy Knights of Logres, or of Lyones,<\/em>
\nLancelot or Pelleas, or Pellenore;<\/em>
\nAnd all the while Harmonious Airs were heard<\/em>
\nOf chiming strings, or charming pipes, and winds<\/em>
\nOf gentlest gale Arabian odours fann’d<\/em>\n

 <\/p>\nFrom their soft wings, and Flora’s earliest smells. These sixteen lines begin with the odor of wine and end with the fragrance of flowers. With archaic symmetry like that of Mimnermus or the Iliad, they resolve into a diptych. Next in toward their center we find Ganymede and Hylas on one side, medieval lovers and knights on the other. Then a symmetry of nymphs and fairy damsels. The median is a blur of northern forests and imaginary islands at the end of the world. The passage ako moves from east to west, turning at midpoint eastward\u00a0 again. Such patterns in Milton’s still life (analogous to gorgeous Dutch pronkstillleven and the richness of Caravaggio and Giorgione) show the allusive versatility of the genre. Local, exact, and palpable, it makes a nest of symbols flown in from elsewhere. It couches time and space in an elegance. Milton’s passage will admit of far more extensive unfolding than I have suggested.\n

 <\/p>\n

 <\/p>\n

\"\"
Giorgio de Chirico, The Uncertainty of the Poet, 1913<\/center><\/figcaption><\/figure>\n
\n
\"\"
William Blake, Christ refusing the banquet, 1816 -18<\/center><\/figcaption><\/figure>\n
\n
\"\"
Willem Claesz Heda, Still Life with Gilt Goblet, 1635<\/center><\/figcaption><\/figure>\n
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\n\uc9c4\uadc0\ud55c \uc774\ub984\uc758 \uac83\ub4e4. \uc544, \uc774\ub7f0 \uc9c4\ubbf8\uc5d0 \ube44\ud558\uba74<\/em>
\n\uc774\ube0c\ub97c \uaf84 \uc800 \uc57c\uc0dd\uc758 \uc0ac\uacfc\ub294 \uc5bc\ub9c8\ub098 \uc18c\ubc15\ud588\ub358\uac00!<\/em>\n

 <\/p>\n\ubc00\ud134\uc758 \uc775\ud78c \uc694\ub9ac\uc640 \ub0a0 \uac83\uc758 \ub300\uc870\ub294 \uadf8\uc758 \uc2dc\ub300\uc5d0 \uc874\uc7ac\ud558\ub358 \uac1c\uc2e0\uad50\uc758 \ub2e8\uc21c\ud55c \uc0dd\ud65c\uacfc \uac00\ud1a8\ub9ad\uc758 \ud638\ud654\ub85c\uc6c0, \ub18d\uac00\uc640 \uc131, \uc815\uc808\uacfc \uad00\ub2a5 \uc0ac\uc774\uc758 \uae34\uc7a5\uc744 \ub098\ud0c0\ub0b8\ub2e4. \ud558\uc9c0\ub9cc \ub2f9\uc2dc \uc608\uc220\uc740 \ubc14\ub85c\ud06c\uc600\uace0, \uac15\ub82c\ud55c \ub300\uc870\uac00 \uac00\ub2a5\ud55c \ud615\ud0dc\uc600\ub2e4. \uc131\uc11c\uc640 \uadf8\ub9ac\uc2a4 \uc2e0\ud654\uc758 \uc870\ud569\uc740 \ubc14\ub85c\ud06c\uc758 \uacf5\uc2dd\uc774 \ub418\uc5c8\uace0, \ubc14\ud558\uc758 \ubbf8\uc0ac \uc74c\uc545(\uadf8\ub9ac\uc2a4 \ud569\ucc3d\uacfc \ub85c\ub9c8\uc2dd \uce74\ub374\uc2a4, \uc544\ub77c\ube44\uc544\uc758 \uc545\uae30, \uae30\ub3c5\uad50\uc758 \uac00\uce58\uad00\uc5d0 \ubc14\ud0d5\ud55c), \ub77c\uc2e0\uc758 <\ud398\ub4dc\ub974Phedre> (\ub450 \uac1c\uc758 \uc2e0\ud654\uac00 \uc6b4\uc728\uc744 \uc774\ub8e8\ub4ef\uc774 \uc5f0\uacb0\ub418\uc5b4 \uc788\ub2e4. \ud558\ub098\ub294 \ud788\ube0c\ub8e8\uc5b4, \ud558\ub098\ub294 \uadf8\ub9ac\uc2a4\uc5b4\ub85c, \ub77c\ud2f4 \uc0ac\ud22c\ub9ac\uac00 \ubca0\ub974\uae38\ub9ac\uc6b0\uc2a4\uc758 \uc5b8\uc5b4\ucc98\ub7fc \uc815\uad50\ud55c \uc5b4\ubc95\uacfc \uc790\uc720\ub85c\uc6b4 \ud45c\ud604\uc73c\ub85c \uc138\ub828\ub418\uac8c \ud45c\ud604\ub418\uc5c8\ub2e4.) \uadf8\ub9ac\uace0 \ubc00\ud134\uc758 <\ud22c\uc0ac \uc0bc\uc190> (\uc720\ud0dc\uc778\uc758 \uc124\ud654\uc640 \uadf8\ub9ac\uc2a4 \ud76c\uace1\uc774 \uc798 \uc870\ud654\ub41c \uc791\ud488\uc73c\ub85c, \uc774 \uc791\ud488\uc744 \ubcf4\uba74 \ub974\ub124\uc0c1\uc2a4\ub780 \uacb0\uad6d \uc131\uc11c\uc640 \uadf8\ub9ac\uc2a4 \uc2dc\uc758 \uc870\ud569, \uadf8 \uc774\uc0c1\ub3c4 \uc774\ud558\ub3c4 \uc544\ub2c8\ub77c\uace0 \ub290\uaef4\uc9c8 \uc815\ub3c4\ub2e4) \uc774 \uadf8 \uc88b\uc740 \uc608\uc774\ub2e4.\n

 <\/p>\n\ud638\ud654\ub85c\uc6b4 \uc2dd\uae30\ub300, \ud5a5\uae30\ub85c\uc6b4 \ub0c4\uc0c8\ub97c \ud48d\uae30\ub294 \uc640\uc778 \uc606\uc5d0 \uac00\ub2c8\uba54\ub370\uc2a4*\ub098<\/em>
\n\ud790\ub77c\uc2a4*\ubcf4\ub2e4\ub3c4 \ub354 \ud654\uc0c9\uc774 \uc88b\uc740, \ud654\ub824\ud558\uac8c \ucc28\ub824\uc785\uc740<\/em>
\n\ub0a0\uc52c\ud55c \uc80a\uc740\uc774\ub4e4\uc774 \uc9c8\uc11c\uc815\uc5f0\ud558\uac8c \uc11c\uc788\ub2e4.<\/em>
\n\uc880 \ub5a8\uc5b4\uc838 \ub098\ubb34 \ubc11\uc5d0\ub294 \ub514\uc544\ub098\ub97c \ubaa8\uc2dc\ub294 \uc694\uc815\ub4e4\uacfc<\/em>
\n\uc544\ub9d0\ud14c\uc774\uc544\uc758 \ubfd4\uc5d0\uc11c \ub09c \uaf43\uacfc \uacfc\uc2e4\uc744 \ub4e0 \ub098\uc774\uc544\uc2a4\ub4e4,<\/em>
\n\uadf8\ub9ac\uace0 \uc61b\uc774\uc57c\uae30\ub098 \uadf8\ud6c4 \uc804\uc124\uc5d0 \ub098\uc624\ub294<\/em>
\n\ub85c\uadf8\ub808\uc2a4\ub098 \ub9ac\uc624\ub124\uc2a4\uc758 \uae30\uc0ac\ub4e4\uc778 \ub79c\uc2ac\ub86f, \ud3a0\ub808\uc544\uc2a4,<\/em>
\n\ub610\ub294 \ud3a0\ub808\ub178\uc5b4\uac00 \ub113\uc740 \uc232\uc18d\uc5d0\uc11c \ub9cc\ub0ac\ub2e4\ub294<\/em>
\n\uc120\ub140\ub4e4\ubcf4\ub2e4\ub3c4 \ub354 \uc544\ub984\ub2e4\uc6cc \ubcf4\uc774\ub294 \ud5e4\uc2a4\ud398\ub9ac\ub370\uc2a4\uc758<\/em>
\n\uc5ec\uc778\ub4e4\uc774 \ub54c\ub85c\ub294 \ucda4\uc744 \ucd94\uae30\ub3c4 \ud558\uace0 \ub54c\ub85c\ub294<\/em>
\n\uc11c \uc788\uae30\ub3c4 \ud588\ub2e4. \uadf8\ub7ec\ub294 \ub3d9\uc548 \uc870\uc74c\uc774 \uace0\uc6b4<\/em>
\n\ud604\uc774\ub098 \ub9e4\ub825\uc801\uc778 \ud53c\ub9ac\uc758 \ub178\ub7ab\uac00\ub77d\uc774<\/em>
\n\ub4e4\ub838\uace0, \ubd80\ub4dc\ub7ec\uc6b4 \ubc14\ub78c\uc740 \uadf8 \ud3ec\uadfc\ud55c \ub0a0\uac1c\ub85c<\/em>
\n\uc544\ub77c\ube44\uc544\uc758 \ud5a5\uae30\uc640 \ud50c\ub85c\ub77c\uc758 \uc774\ub978\ubd04 \ud5a5\uae30\ub97c \ud48d\uacbc\ub2e4.<\/em>\n

 <\/p>\n\uc774 \uc5f4\uc5ec\uc12f \uc904\uc740 \uc640\uc778 \ub0c4\uc0c8\ub85c \uc2dc\uc791\ud574\uc11c \uaf43\uc758 \ud5a5\uae30\ub85c \ub05d\uc744 \ub9fa\ub294\ub2e4. \ubc08\ub124\ub974\ubaa8\uc2a4Mimnermus*\ub098 \uc77c\ub9ac\uc544\ub4dc\uc5d0\uc11c \ubcf4\uc774\ub294 \uace0\uc804\uc801\uc778 \uc88c\uc6b0\ub300\uce6d\uc740, \ud55c\uc30ddiptych\uc73c\ub85c \ubcc0\ud654\ub418\uc5c8\ub2e4. \uc989 \uae00\uc758 \uc911\uac04 \ucbe4, \ud55c\ucabd\uc5d0\ub294 \uac00\ub2c8\uba54\ub370\uc2a4\uc640 \ud790\ub77c\uc2a4\uac00, \ub2e4\ub978 \ucabd\uc5d0 \uc911\uc138 \uc5f0\uc778\uacfc \uae30\uc0ac\ub4e4\uc774 \ub4f1\uc7a5\ud55c\ub2e4. \uadf8 \ub2e4\uc74c\uc5d0 \ub2d8\ud504\uc640 \uc694\uc815\uc774 \uc88c\uc6b0\ub300\uce6d\uc73c\ub85c \ub4f1\uc7a5\ud55c\ub2e4. \uc911\uac04\uc5d0\ub294 \ubd81\uad6c\uc758 \uc232\uacfc \uc138\uc0c1 \ub05d\uc758 \uc0c1\uc0c1\uc758 \uc12c\ub4e4\uc774 \ub4a4\uc11e\uc5ec\uc788\ub2e4. \uadf8 \ud589\ub85c\ub294 \ub3d9\ucabd\uc5d0\uc11c \uc11c\ucabd\uc73c\ub85c \ub098\uc544\uac00\uace0 \uc911\uac04\uc5d0\uc11c \ub3d9\ucabd\uc73c\ub85c \ub2e4\uc2dc \ud2bc\ub2e4. \ubc00\ud134\uc758 \uc815\ubb3c(\ud654\ub824\ud55c \ub124\ub35c\ub780\ub4dc \ud504\ub871\ud06c\uc2a4\ud2f8\ub808\ubca4\uacfc \uce74\ub77c\ubc14\uc9c0\uc624, \uc870\ub974\uc9c0\uc624\ub124\uc640 \uc720\uc0ac\ud558\ub2e4\uace0 \ud560 \uc218 \uc788\ub294)\uc5d0\uc11c\uc758 \ud328\ud134\uc740 \uc774 \uc7a5\ub974\uc758 \uc554\uc2dc\uc801\uc778 \uac00\ub2a5\uc131\uc744 \uc798 \ubcf4\uc5ec\uc900\ub2e4. \uc7a5\uc18c\ud2b9\uc815\uc801\uc774\uace0, \uc815\ud655\ud558\uace0, \uad6c\uccb4\uc801\uc774\uc5b4\uc11c \ub2e4\ub978 \uacf3\uc5d0\uc11c \ub0a0\uc544\ub4e4\uc5b4\uc628 \uc0c1\uc9d5\ubb3c\ub4e4\uc758 \uc548\uc2dd\ucc98 \uac19\uc740 \ub290\ub08c\uc744 \uc8fc\uba70 \uc2dc\uac04\uacfc \uacf5\uac04\uc744 \uc6b0\uc544\ud558\uac8c \ub2f4\uc544\ub0b8\ub2e4. \ubc00\ud134\uc758 \ud589\ub85cpassage\ub294 \ub0b4\uac00 \ub9d0\ud55c \uac83\ubcf4\ub2e4\ub3c4 \ud6e8\uc52c \uad11\ubc94\uc704\ud558\uac8c \ud3bc\uccd0\uc9c8 \uc218 \uc788\ub2e4.\n

*enigma\uc758 \uc0ac\uc804\uc801 \uc815\uc758\ub294 \uc218\uc218\uaed8\ub07c\ub85c, \uc9c8\ubb38\uc744 \uc77c\uc73c\ud0a4\ub294, \uc54c \uc218 \uc5c6\uace0 \uc2e0\ube44\ub85c\uc6b4 \uc0c1\ud0dc\uc758 \uac83\uc774\ub098 \uc0ac\ub78c\uc744 \ub9d0\ud55c\ub2e4.<\/p>\n

*riddle: \ud480\uae30 \uc5b4\ub824\uc6b4 \uc9c8\ubb38, \ub09c\uc81c<\/p>\n*\uc874 \ub358 John Donne (1572-1631)
\n\uc601\uad6d\uc758 \uc2dc\uc778, \ud559\uc790, \uad70\uc778, \uad00\ub8cc\ub85c\uc11c, \ub300\ud45c\uc801\uc778 \ud615\uc774\uc0c1\ud559\ud30c \uc2dc\uc778\uc73c\ub85c \uc54c\ub824\uc84c\ub2e4. \uadf8\ub294 \uc11c\ub85c \uad00\uacc4\uc5c6\ub294 \uac83\ub4e4\uc744 \uc5f0\uacb0\uc2dc\ud0a4\ub294 \uac83\uacfc \uac19\uc740 ‘\ud615\uc774\uc0c1\ud559\uc801 \uc7a5\uce58metaphysical conceit’\uc5d0 \ub2a5\ud588\ub294\ub370, \uc774\ub97c\ud14c\uba74 \uc5f0\uc778\uc758 \uad00\uacc4\ub97c \ub098\uce68\ubc18\uc758 \ubc14\ub298\uc5d0 \ube44\uad50\ud558\ub294 \uc2dd\uc774\uc5c8\ub2e4.\n

*\uc728\ub9ac\uc2dc\uc988\uc758 8\ubc88 \uc9f8 \uc5d0\ud53c\uc18c\ub4dc\ub85c \ube14\ub8f8\uc774 \uc810\uc2ec\uc2dc\uac04\uc5d0 \ud38dpub\uc5d0\uc11c \uc2dd\uc0ac\ud558\ub294 \uc7a5\uba74, \uadf8\uac00 \uba39\ub294 \uc74c\uc2dd\ub4e4\uc774 \ubb18\uc0ac\ub41c\ub2e4.<\/p>\n

*\uce5c\uad6c \uce74\ub97c\ub85c \ub9ac\ub098\ud2f0\uc758 \uc774\ud574\ub97c \ub3d5\uae30 \uc704\ud574 \uc870\uc774\uc2a4\uac00 \uc81c\uc791\ud55c \uc774 \ub3c4\ud45c\ub294 \uac01 \ucc55\ud130\ub9c8\ub2e4 \uadf8\uc5d0 \ud574\ub2f9\ud558\ub294 \uc2dc\uac04, \uc0c9, \uc0ac\ub78c\ub4e4, \uacfc\ud559\/\uc608\uc220, \uc758\ubbf8\ub97c \ud574\uc81c\ucc98\ub7fc \ub2ec\uc544\ub193\uc558\ub2e4. \uc5ec\uae30\uc11c \uc800\uc790\uac00 \uc5b8\uae09\ud55c \ucc55\ud130 “\ub808\uc2a4\ud2b8\ub9ac\ub2c8\uc5b8\uc988”\uc5d0 \ud574\ub2f9\ud558\ub294 “\uc608\uc220”\uc740 \uac74\ucd95\uc774\ub2e4.<\/p>\n*\uc624\uc2ed \ub9cc\ub378\uc2a4\ud0d0\u00a0Ossip Mandelstamm (1891-1938)
\n20\uc138\uae30\ub97c \ub300\ud45c\ud558\ub294 \ub7ec\uc2dc\uc544\uc640 \uc18c\ub828\uc758 \uc2dc\uc778\uc73c\ub85c, \uc2dc\ub300\ub97c \ud48d\ubbf8\ud558\ub358 \uc0c1\uc9d5\uc8fc\uc758\uc5d0\uc11c \ubc97\uc5b4\ub098 \uc2e0\uace0\uc804\uc8fc\uc758\ub85c \ud5a5\ud558\ub358 \uc544\ud06c\uba54\uc774\uc2a4\ud2b8Acmeist \uc2dc\uc778\uc73c\ub85c \uc77c\uceec\uc5b4\uc9c4\ub2e4.\n*\ube45\ud130 \uc26c\ud074\ub85c\ube0c\uc2a4\ud0a4 Victor Shklovsky (1893-1984)
\n\ub7ec\uc2dc\uc544\uc640 \uc18c\ub828\uc758 \ubb38\ud559\uc774\ub860\uac00\uc774\uc790 \ube44\ud3c9\uac00\ub85c, 20\uc138\uae30 \uac00\uc7a5 \uc911\uc694\ud55c \ubb38\ud559, \ubb38\ud654 \uc774\ub860\uac00\ub85c \uce6d\uc1a1\ub418\uba70, \ubb38\ud559\uc774\ub860\uc5d0 “\ub0af\uc124\uac8c \ud558\uae30” \uae30\ubc95\uc744 \ub4e4\uc5ec\ub193\uc740 \uac83\uc73c\ub85c \uc54c\ub824\uc838 \uc788\ub2e4.\n*\ub9c8\uc774\ud074 \ud30c\ub77c\ub370\uc774 Michael Faraday (1791-1867)
\n\uc601\uad6d\uc758 \ubb3c\ub9ac\ud559\uc790\uc774\uc790 \ud654\ud559\uc790\ub85c \uc804\uc790\uae30\ud559\uacfc \uc804\uae30\ud654\ud559 \ubd84\uc57c\uc5d0 \ud070 \uae30\uc5ec\ub97c \ub0a8\uacbc\ub2e4.\n*\uad74\ub9ac\uc5d8\ubaa8 \ub9c8\ub974\ucf54\ub2c8 Guglielmo Marconi (1874-1937)
\n\uc774\ud0c8\ub9ac\uc544\uc758 \ubc1c\uba85\uac00\uc774\uc790 \uc804\uae30\uacf5\ud559\uc790. \ubb34\uc120 \uc804\uc2e0\uc744 \ubc1c\uba85, \uc2e4\uc6a9\ud654\ud588\uace0, 1909\ub144 \ub178\ubca8\ubb3c\ub9ac\ud559\uc0c1\uc744 \uacf5\ub3d9\uc218\uc0c1\ud588\ub2e4.\n

 <\/p>\n

*\uc2e4\ub099\uc6d0\uc774 \uc0ac\ud0c4\uc758 \uc720\ud639\uc5d0 \ub118\uc5b4\uac00 \uc544\ub2f4\uacfc \uc774\ube0c\uac00 \ub099\uc6d0\uc744 \uc0c1\uc2e4\ud55c\ub2e4\ub294 \ub0b4\uc6a9\uc778 \ubc18\uba74, \ubcf5\ub099\uc6d0\uc740 \uc608\uc218 \uadf8\ub9ac\uc2a4\ub3c4\uac00 \uc0ac\ud0c4\uc758 \uc720\ud639\uc744 \uc774\uaca8\ub0b4\uace0 \uc783\uc5b4\ubc84\ub9b0 \ub099\uc6d0\uc744 \ucc3e\ub294\ub2e4\ub294 \ub0b4\uc6a9\uc774\ub2e4.<\/p>\n

\"\"<\/figure>\n

Adriaen van Utrecht, Banquet Still Life, 1644<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n*\uac00\ub2c8\uba54\ub370\uc2a4Ganymede
\n\uc81c\uc6b0\uc2a4\uac00 \uc2dc\ub3d9\uc73c\ub85c \uc0bc\uae30 \uc704\ud574 \ub0a9\uce58\ud574 \uac04 \ubbf8\uc18c\ub144\n*\ud790\ub77c\uc2a4Hylas
\n\ud5e4\ub77c\ud074\ub808\uc2a4\uac00 \uc0ac\ub791\ud55c \ubbf8\uc18c\ub144\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n*\ubc08\ub124\ub974\ubaa8\uc2a4Mimnermus
\n<\/u>\uace0\ub300 \uadf8\ub9ac\uc2a4\uc758 \uc11c\uc815\uc2dc\uc778\uc73c\ub85c, \uae30\uc6d0\uc804 630-600\ub144\uc5d0 \ud65c\ubc1c\ud560 \ud65c\ub3d9\uc744 \ud588\ub2e4.\n\t

RELATED POSTS<\/p>\n\tThe CLUMSY Plan
\nAddress : 4Fl. 199 Itaewon-ro (Itaewon-dong) Yongsan-gu, Seoul
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\n\uc774\uc6a9\uc57d\uad00<\/a>\u00a0 \uc815\uae30\uacfc\uae08\uc774\uc6a9\uc57d\uad00<\/a> \u00a0\uac1c\uc778\uc815\ubcf4\ucde8\uae09\ubc29\uce68<\/a>\n\n","protected":false},"excerpt":{"rendered":"

Metaphysical Light in Turin \ud29c\ub9b0\uc758 \ud615\uc774\uc0c1\ud559\uc801 \ube5b 02 Text by Guy Davenport\u00a0\uac00\uc774 \ub2e4\ubca4\ud3ec\ud2b8 Translation by Mimi Park \ubc15\uc0c1\ubbf8 It is, this vision of De Chirico’s, an enigma. That is his own word. It is also Nietzsche’s word. The world deprived of illusion and unthinking acceptance is reduced to an enigma, a riddle, a comprehensive re-asking…<\/p>\n","protected":false},"author":321,"featured_media":35113,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"tpl-no-header-footer.php","format":"standard","meta":{"footnotes":""},"categories":[162,158],"tags":[18,44],"class_list":["post-38547","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-guy-davenport","category-writing","tag-form","tag-guy-davenport"],"_links":{"self":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts\/38547","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/users\/321"}],"replies":[{"embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/comments?post=38547"}],"version-history":[{"count":2,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts\/38547\/revisions"}],"predecessor-version":[{"id":38916,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts\/38547\/revisions\/38916"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/media\/35113"}],"wp:attachment":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/media?parent=38547"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/categories?post=38547"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/tags?post=38547"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}