Mainly exploring Eliot and Loy, this essay examines their networks of literary modernism in relation to their journal publications. By excavating their uses of the words in the poems, I assume that their interrelationships came from literary magazines fluorescent at that time. Journal publication was quite important, and most modernist, even contemporary poets were communicating with each other in their works. Thus, I work on the use of poetic words in order to trace the influence of literary modernists on each other. In addition, quoting significant lines in Eliot’s “The Love Song of J. Alfred Prufrock”(1915) and The Waste Land(1922), and Loy’s “Songs to Joaness,”(“Love Songs,” 1915-1917), I attempt to find what similarities and differences they have. In terms of Kristevan connection of flesh/flash in “Stabat Mater,” The Waste Land’s “Murmur of maternal lamentation” is explained and anticipates further research.

21세기 현대사회를 대중 소비사회, 또는 포스트모더니즘 사회라고도 부르는데, 이러한 포스트모더니즘이라는 새로운 시대사조, 혹은 문화조류가 광고계에도 큰 변화를 가져왔다. 소비 산업이 발달하고 매체가 다양화됨에 따라 광고에 대한 관심이 높아지는 가운데, 광고는 사회의 영향력 있는 하나의 문화로 자리 매김하게 되었다. 따라서 본 논문은 현대의 인쇄광고에서 나타나는 포스트모더니즘적인 특징과 표현양식의 의미체계를 밝히고, 포스트모더니즘 광고가 사회 · 문화적으로 어떠한 영항을 미치는가 살펴보았다. 연구의 순서는 다음과 같다. 1장 서론에서는 연구의 목적과 방법을 서술하였다. 2장에서는 포스트모더니즘의 개념 및 특성을 알아보았다. 3장에서는 광고에 나타난 포스트모더니즘 현상을 살피고 기술하였다. 4장에서는 인쇄광고에 나타난 포스트모더니즘의 사례를 모아 분석하였다. 5장에서는 앞서 기술한 내용을 토대로 결론을 도출하였다.

This study of modernism examines the antithesis between high art and mass culture, which Andreas Huyssen closely analyzed in After the Great Divide (1986). Calling this antithesis the divide, Huyssen elaborated the Adomo/Horkheimer version of this chasm. Suggesting the necessary relationship between "High Modernism" and mass culture, Huyssen marked a comer of modernism--that is to say, the avant-gardism-- that had a positive relationship to mass culture. Dealing with the formation of early modernism and its avant-gardism, first I explore how modernism fits into the commercialization of the industrialized society. Modernist works become the commodities in mass culture, even while modernist writers assume "relentless hostility" to the conversion of their works into "easily consumed products." Though the unearthing early modernism has many controversial facets and writers, I mainly focus on Eliot and Pound, briefly presenting the examples of H. D., Joyce, and Lawrence. As Pound declares, Eliot's The Waste Land was a landmark that manifested the justification of the movement of their modem experiment since 1900. Pound was deeply involved in the editing stage of The Waste Land as well as in the historical process of its publication. As Lawrence Rainey says, the price of The Waste Land was actually that of literary modernism. Along with the historical account of marketing modernist works, literary journals between 1900-1930 are also crucial, in that they were the important venues for modernist poetic experimentation and avant-gardism and of first to publish modernist writers' works. For instance, in 1917, the editors of The Little Review, the American avant-garde magazine, proclaimed that they would "make no compromise with the public taste." However, at the same time, by employing a prominent advertising agent, they adopted plans to market the magazine. This inconsistency can be also found in the marketing strategy of The Egoist, for the poet Richard Aldington even suggested hiring sandwich-board man to march around London advertising and selling copies of The Egoist. While Eliot's The Waste Land was a terminal result of modernist poetic experimentation and avant-gardism since 1900, his and Pound's marketing strategy of The Waste Land was also to follow its determined course as in other modernist writers'. Thus, the publication of The Waste Land inevitably records the canonization and commercialization of literary modernism, which were socially and historically constituted.