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Iconological Symbols and Montage Techniques in A Game of Chess of The Waste Land
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엘리엇의 『황무지』 2부 「체스게임」에 나타난 도상학적 상징과 몽타쥬기법

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Type
Academic journal
Author
Sunghyun Kim (서울과학기술대학교)
Journal
T. S. Eliot Society of Korea T. S. 엘리엇연구 T. S. 엘리엇연구 제31권 제2호 KCI Accredited Journals
Published
2021.9
Pages
1 - 30 (30page)

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Iconological Symbols and Montage Techniques in A Game of Chess of The Waste Land
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T. S. Eliot’s The Wasteland consists of four parts, each of which is worth analyzing independently because of its own vastness and complexity of meanings and devices. Most existing studies have dealt with the work in its totality. However, this paper focuses on the second part of The Wasteland, “A Game of Chess.” An analysis of an individual part will provide a more thorough study of the part, ultimately contributing to a better understanding of the whole poem. In particular, the symbolism employed in the painting image in “A Game of Chess” and the combination of fragmentary dialogues and montage techniques is so unique that it seems justifiable enough to see the second part independently of the whole poem. Eliot clearly left his fingerprints in the wake of Carlo Ginzburg, whose uncharacteristic poetry embodies the paradox of being discriminated against by its uncharacteristic nature. The second part of the poem describes the bourgeois room and the montage techniques used in movies at that time. Paradoxically, Eliot was an author who betrayed himself most manifest by way of hiding himself.

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