현대시의 구조 : 보들레르에서 20세기 중반까지

-해설 ··························11
-지은이에 대해 ······················19

-제1판 서문 ·························23
-제9판 서문 ··························27

제1장 전망과 회고
현대시에 대한 전망: 불협화와 비규범성 ·············33
부정(否定)의 범주들 ·····················39
18세기의 이론적 서곡: 루소와 디드로 ··············45
미래의 시문학에 대한 노발리스의 견해 ··············51
프랑스 낭만주의 ·······················55
그로테스크와 파편의 이론 ···················58

제2장 보들레르
현대성의 시인 ························63
탈개성화 ···························65
집중과 형식 의식: 시와 수학 ··················68
종말론과 현대성 ·······················73
추(醜)의 미학 ························76
‘불쾌감을 자아내는 데서 오는 귀족적인 만족’ ···········77
붕괴된 기독교 ························78
공허한 이상성 ························82
언어 마술 ··························85
창작적 상상력 ························90
해체와 데포르마시옹 ·····················94
추상과 아라베스크 ······················96

제3장 랭보
서론 ····························101
방향 상실 ··························103
견자(見者)의 편지: 공허한 초월, 비규범성의 추구, 불협화의 ‘음악’ ·105
전통과의 단절 ························109
현대성과 도회시 ·······················111
기독교 유산의 강요에 대한 저항: ≪지옥에서 보낸 한 철≫ ····113
인공적 자아: 탈인간화 ····················117
한계선의 돌파 ························120
＜취한 배＞ ·························122
파괴된 현실성 ························126
추화(醜化) ·························129
감각적 비실재성 ·······················133
전제(專制)적 상상력 ·····················135
≪일뤼미나시옹≫ ······················138
혼효(混淆)의 기법 ······················140
추상시 ···························145
독백시 ···························148
동역학과 언어 마술 ······················149
최종적 평가 ·························154

제4장 말라르메
서론 ····························159
세 편의 시 해석: ＜성녀(聖女)＞, ＜부채(말라르메 부인의)＞, ＜등성이에서 떠올라＞ ························162
문체 전개 ··························180
탈인간화 ··························183
탈인간화된 사랑과 죽음 ····················185
저항, 작업 그리고 유희로서의 시 ················188
무(無)와 형식 ························191
진술되지 않은 것에 대해 진술함: 몇 가지 문체 수단 ·······193
침묵으로의 근접 ·······················195
모호함: 공고라와의 비교 ···················197
이해 불가능한 암시적인 시 ··················200
존재론적 도식 ························202
a) 현실성으로부터의 전회 ···················202
b) 이상성, 절대성, 무 ····················204
c) 무와 언어 ························207
＜그녀의 순백의 손톱…＞(해석) ···············211
존재론적 불협화음 ······················215
비의(秘義)주의, 마술과 언어 마술 ···············220
순수시 ···························223
전제적 상상력, 추상과 ‘절대 시선’ ···············224
언어와 더불어 홀로 있음 ···················228

제5장 20세기의 유럽 시
방법에 대한 고찰 ·······················223
‘지성의 제전(祭典)’과 ‘지성의 몰락’ ··············236
20세기의 스페인 시 ·····················238
시에 대한 두 성찰: 아폴리네르와 가르시아 로르카 ········241
불일치 문체와 ‘신(新)언어’ ··················246
신언어에 대한 부연 설명 ···················251
한정사(限定詞)의 불확정성이 주는 효과 ············263
디오니소스에서 아폴로로 ···················265
현대성과 그 문학적 유산에 대한 두 가지 입장 ··········271
탈인간화 ··························276
고립화와 불안 ························282
모호함, ‘비의주의’, 웅가레티 ··················289
언어 마술과 암시 ·······················296
폴 발레리 ··························299
호르헤 기옌 ·························304
비논리시 ··························309
가르시아 로르카, ＜몽유의 발라드＞ ··············313
부조리: 유머 문체 ······················315
실재 ····························317
T. S. 엘리엇 ························320
생존 페르스 ·························323
전제적 상상력 ························327
전제적 상상력의 영향 ·····················328
혼효의 기법과 은유들 ·····················333
총괄적 결론 ·························339

-현대시 연표 ·························343
-옮긴이에 대해 ························349

Moderne Lyrik ist wie ein großes, noch nie vernommenes, einsames M?rchen; in seinem Garten sind Blumen, aber auch Steine und chemische Farben,? Fr?chte, aber auch gef?hrliche Drogen; in seinen N?chten und unter seinen extremen Temperaturen zu leben, ist anstrengend. Wer zu h?ren vermag, vernimmt in dieser Lyrik eine harte Liebe, die unverbraucht bleiben will und darum eher in die Wirrnis oder auch in die Leere spricht als zu uns. Die von der Gewalt der Phantasie entgliederte oder zerrissene Wirklichkeit liegt als Tr?mmerfeld im Gedicht. Erzwungene Unwirklichkeiten liegen dar?ber. Aber Tr?mmer und Unwirklichkeiten tragen das Geheimnis, um dessentwillen die Lyriker dichten.

-현대시는 아직 알려지지 않은 거대하고 고독한 동화와 같다. 그 정원에는 꽃들뿐만 아니라 별들과 화학 염료, 과일들, 그리고 위험한 비수들이 있다. 그 밤들에 그리고 그 극단의 온도 하에 산다는 것은 팽팽한 긴장일 따름이다. 들을 수 있는 독자라면 이러한 시 속에서 진부해지지 않기 위해서 우리 독자가 아니라 혼돈과 공허를 향하여 발언하는 냉혹한 사랑을 알아볼 것이다. 상상력의 힘에 의해 해체되거나 찢긴 현실은 시 속에서 폐허로 남아 있으며, 강요된 비현실은 그 위에 자리 잡고 있다. 그러나 폐허와 비현실은 시인들로 하여금 시를 쓰게 하는 비밀을 담고 있다.