CAJ | 학술논문

本文试图从立体主义绘画视角阅读艾略特《荒原》中的“死者的葬礼”和“对弈”。诗与画各自以语言或线条色彩为媒介,不过两种媒介也常常基于相同的原则,因而这两种艺术存在诸多共性。通过考察,本文认为艾略特的《荒原》是一首立体主义诗,不过比格特鲁德？斯泰因和毕加索等立体主义诗人更复杂,后者比艾略特的诗歌更连贯、更易读。本文探讨了《荒原》在某些方面与立体主义绘画艺术实践（特别是毕加索绘画艺术实践）相似的原因和表现,认为该诗可以被视为20世纪立体主义运动的一部分。
본문시도종입체주의회화시각열독애략특《황원》중적“사자적장례”화“대혁”。시여화각자이어언혹선조색채위매개,불과량충매개야상상기우상동적원칙,인이저량충예술존재제다공성。통과고찰,본문인위애략특적《황원》시일수입체주의시,불과비격특로덕？사태인화필가색등입체주의시인경복잡,후자비애략특적시가경련관、경역독。본문탐토료《황원》재모사방면여입체주의회화예술실천（특별시필가색회화예술실천）상사적원인화표현,인위해시가이피시위20세기입체주의운동적일부분。
This paper is a reading of T. S. Eliot＇s The Waste Land, particularly its two sections, ＂The Burial of the Dead＂ and ＂A Game of Chess,＂ from the perspectives of painting, in particular Cubist painting. Poetry and painting, make use of two different media, one the language, the other line and color, but the two media are dealt with on the basis of the same principles, and thus there are many things in common. Although The Waste Land belongs to the Modernist tradition, it is different from the Modernist poetry created by Cubist poets, such as Gertrude Stein and the poet Pablo Picasso, in that at first sight Eliot＇s still maintains its efforts to make sense of what the speaker in the poem says and thinks while the Cubist poetry looks far more radical than T. S. Eliot＇s The Waste Land. But the fact is that Eliot＇s is not as traditional as it looks while Stein＇s and Picasso＇s are more coherent and easier. This paper discusses why and how The Waste Land resembles some aspects of the Cubist practice in painting, in particular Picasso＇s painting, and claims that the poem is part of the Cubist movement in the 20th century.