徐志摩(1897-1931)는 중국 현대문학사 중 대표 시인이며 중국 문학 경계를 넘어서 세계 문학계에게 혁명적인 영향을 끼친 중대한 인물이었다. 《굿바이 캠브리지 (再见康桥）》，《눈꽃의 기쁨（雪花快乐）》, 《우연 (偶然）》은 주요 작품. 쉬즈모는 또한 여러 문학 단체에 활약하게 참여하였으며 1920대 중에 소위 '사상문학혁명'을 제창한 후스(胡适）, 이른바 '삼미(三美）를 제기한 원이두(闻一多)등이랑 낭만주의에 바탕을 둔 신월파 (新月社)를 결성하였다.
신월파는 당시에 활발한 창조파(创造社）의 분발한 상상력과 자유체 의 시형을 주장한 낭만주의적인 시의 운동을 계승하면서 또한 그것을 부정•극복하고자 한 시인 그룹이었다. 그들은 시인의 이상에 근거하여 자연과 사회 속에서 아름다움을 더 정련해 내고자 했으며, 이로부터 '이성에 의한 감정의 절제'라는 미학 원칙과 '시형식의 격률화"라는 주장을 제기하였다. 결국 그들의 격률시는 감정과 정서를 시의 핵심을 보면서도 이를 응축한 시 형식 속에서 정련화하려는 의식적 노력의 성과였다고 하겠다.
여기에서 '이성에 의한 감정의 절제'가 추구하는 것은 주관적 감정 토로에서부터 주관적 감정의 객관적 대사화이었다. 이를 예술적 상상과 구체적인 객관 현실에로의 변화를 통해 함축적•형상적인 표현을 이루어 내고자 하였다. 또한 이러한 미학의 원칙을 구현하기 위해, 그들은 시적 감정을 엄격히 규범화된 형식 속에 정제시키기 위한 시의 격률화를 제기하였다. 위에서 언급된 '삼미' 즉 음악미, 회화미, 검축미를 추구하였다.
쉬즈모는 낭미주의적 시를 상징한 자유, 사랑 및 아름다움의 추구를 통해 내면의 정감과 독특한 개성을 객관 사물의 이미지 속에 투사해 내면서, 한편 시의 내재적 형짓미와 음악 미의 조화를 바탕으로 한 미적 내용과 형식의 통일을 모색하였다. 역설적이게도 이러한 아름다운 사랑의 탐구를 중국 현대역사 중 가장 추하고 폭력적인 시적 때 진행한 것이다.
*공사중*
2010년 10월 14일 목요일
Hey man
Mi blood is blue
sometimes red.
You're black,
I'm white he's yellow and she's tan.
We're all the same
you're not
he is
but not her
I stand on my hands
fuck my face
fuck you!
Shit's up
shit's down
it's all around
but you
I am speaking to YOU!
Sit on your hands
your feet
your dick and ass
and apparently lips.
Fuck everyone.
I guess...
sometimes red.
You're black,
I'm white he's yellow and she's tan.
We're all the same
you're not
he is
but not her
I stand on my hands
fuck my face
fuck you!
Shit's up
shit's down
it's all around
but you
I am speaking to YOU!
Sit on your hands
your feet
your dick and ass
and apparently lips.
I stand on my hands
fuck my face
fuck you!
Fuck everyone.
I guess...
2010년 10월 3일 일요일
An Evolution in Musical Aesthetic
Performance. For far too long it has been neglected or accepted as a given following the innovations that had been wrought by some of the 60's and 70's leading innovators in the art of the musical performance. The Who, Hendrix, Pink Floyd, Ozzy Osbourne etc... To compile a thorough list is a job for another time, but suffice it to say that since the mid-80's due perhaps to the standardization of sound and performances featured in music videos and rap music as a new genre, the musical performance itself has, at least to this writer, felt and appeared to be rather sterile and meant for reproduction over and over.
Rock music has had the luxury of the 'Jam' or the 'Freestyle' in Hip-hop; that is to say nominal musical ad-lib during a live performance to serve in a guise as a brand new gift to the crowd to provide a sense of innovative creation. This element, however, usually adds little to nothing to the overall musical aesthetic if it doesn't negate from the overall production as a contrived superfluity. Musical aesthetic is a term that refers to the visual aspects of a musical performance (i.e. wardrobe, style of performance, colors and their symbolic importance as they relate to lyrics and the tenor of each song/set, background visuals/movements, and most importantly source of sound) and their emotional contribution to the overall musical performance.
Kanye West as an impetus; an impetus of change and evolution in musical aestheticism. After viewing his recent performances on the MTV Music Video Awards and on the October 2nd episode of SNL it's apparent that the movement begun by the Philadelphia based live instrumental Hip-hop collective known as the Roots, picked up by Mr. West beginning with is 'Late Registration' that witnessed a live orchestra performance has culminated in the complete deconstruction of the musical performance. A deconstruction not only in regards to Hip-hop, but as Linkin Park is also intimating at with their own deconstructed theatrical performances of our contemporary musical zeitgeist if you will.
In the language of the culinary sciences, a food properly deconstructed will maintain the essence of whatever food that is being deconstructed (e.g. taste and flavor levels) but will present the cuisine in a totally different manner often utilizing subterfuge in an attempt to psychologically manipulate onlookers expectations and palate. The pinnacle achievement of a truly great deconstructed food is to elicit an even greater emotional response from the taster; a feat synonymous with the creation of an even higher level of refinement and overall product.
The recent performances of Mr. West's are the epitome and, at the least, most contemporary if not only example of live musical deconstruction. Specifically speaking on behalf of Hip-hop, aside from the previously enumerated examples and the hackneyed DJ, Hip-hop performance has been similar to Georgian Architecture in the sense it has tried to hide all production from view and has kept the focal point on the performers only. The Roots brought the instruments back along with Mr. West's Orchestral arrangement, but his recent performances featured perhaps the very electronic beat machine used to create the song being performed, something that hitherto has remained in the production studio hidden during actual performances, with a twist.
At the beginning for "Runawayz" Mr. West seemingly punches in the ambient piano echos that loop over followed by the pre-selected bass-line and other complementing sounds. During the performance beautiful ballerinas pulsate and contort to the various tenors and pitches of the song re-creating what the electronic visualizations seen in Windows Media Player and more successfully in Apple Itunes. He also had fun with censorship and instead of either omitting the word in question or substituting an alternative word, he punched on stage a key with pre-record "'Hey!' in addition to adding new sound levels by superseding the DJ hitting with varying rapidity and frequency a few other pre-recorded sayings such as "Look at you!"
The red suit with gold accouterment, symbolizing the bleeding heart of musical royalty convulsing over an all white stage is powerful visual imagery serving to reinforce the base-emotion and raw essence that his new songs are implying. His movements on stage carry the same implications, contorting his body like the emotion he has experienced over the course of the past few years that twisted his psyche and soul. Mr. West has stripped all of the superfluities and ostentatious display for displays sake away from the performance, leaving only raw symbolic emotions and a deconstructed performance coalescing into a new pinnacle of musical aesthetic.
Rock music has had the luxury of the 'Jam' or the 'Freestyle' in Hip-hop; that is to say nominal musical ad-lib during a live performance to serve in a guise as a brand new gift to the crowd to provide a sense of innovative creation. This element, however, usually adds little to nothing to the overall musical aesthetic if it doesn't negate from the overall production as a contrived superfluity. Musical aesthetic is a term that refers to the visual aspects of a musical performance (i.e. wardrobe, style of performance, colors and their symbolic importance as they relate to lyrics and the tenor of each song/set, background visuals/movements, and most importantly source of sound) and their emotional contribution to the overall musical performance.
Kanye West as an impetus; an impetus of change and evolution in musical aestheticism. After viewing his recent performances on the MTV Music Video Awards and on the October 2nd episode of SNL it's apparent that the movement begun by the Philadelphia based live instrumental Hip-hop collective known as the Roots, picked up by Mr. West beginning with is 'Late Registration' that witnessed a live orchestra performance has culminated in the complete deconstruction of the musical performance. A deconstruction not only in regards to Hip-hop, but as Linkin Park is also intimating at with their own deconstructed theatrical performances of our contemporary musical zeitgeist if you will.
In the language of the culinary sciences, a food properly deconstructed will maintain the essence of whatever food that is being deconstructed (e.g. taste and flavor levels) but will present the cuisine in a totally different manner often utilizing subterfuge in an attempt to psychologically manipulate onlookers expectations and palate. The pinnacle achievement of a truly great deconstructed food is to elicit an even greater emotional response from the taster; a feat synonymous with the creation of an even higher level of refinement and overall product.
The recent performances of Mr. West's are the epitome and, at the least, most contemporary if not only example of live musical deconstruction. Specifically speaking on behalf of Hip-hop, aside from the previously enumerated examples and the hackneyed DJ, Hip-hop performance has been similar to Georgian Architecture in the sense it has tried to hide all production from view and has kept the focal point on the performers only. The Roots brought the instruments back along with Mr. West's Orchestral arrangement, but his recent performances featured perhaps the very electronic beat machine used to create the song being performed, something that hitherto has remained in the production studio hidden during actual performances, with a twist.
At the beginning for "Runawayz" Mr. West seemingly punches in the ambient piano echos that loop over followed by the pre-selected bass-line and other complementing sounds. During the performance beautiful ballerinas pulsate and contort to the various tenors and pitches of the song re-creating what the electronic visualizations seen in Windows Media Player and more successfully in Apple Itunes. He also had fun with censorship and instead of either omitting the word in question or substituting an alternative word, he punched on stage a key with pre-record "'Hey!' in addition to adding new sound levels by superseding the DJ hitting with varying rapidity and frequency a few other pre-recorded sayings such as "Look at you!"
The red suit with gold accouterment, symbolizing the bleeding heart of musical royalty convulsing over an all white stage is powerful visual imagery serving to reinforce the base-emotion and raw essence that his new songs are implying. His movements on stage carry the same implications, contorting his body like the emotion he has experienced over the course of the past few years that twisted his psyche and soul. Mr. West has stripped all of the superfluities and ostentatious display for displays sake away from the performance, leaving only raw symbolic emotions and a deconstructed performance coalescing into a new pinnacle of musical aesthetic.
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