『질마재 신화』에 나타난 탈근대적 특성- 70년대 미당의 유년기 자서전과 상호텍스트성을 중심으로 -

Abstract

In the period of 1970s, The Myth of Jilmajae(1975) has been regarded as a ‘peak’ of Seo Jeong-ju's poetry in both the modernist position and the realistic position. However, if only the actual performance is used as the criterion of evaluation while overlooking the frame of modernity, the ‘anti-modernity’ of Mi-Dang is hard to secure new interpretation. If we can not dispel the ‘virtual’ intervention by ‘not-seeing-something’ in the process of measuring the realistic performance of anti-modernity, the place transcending it will eventually be located in the world of fiction. In the world where the value of the original is nullified, instead of a profound plan of the subject's intention and the aesthetic modernity, the world that is given value by the recipient who enjoys the replicas is inherent in the old language that we have called 'post-modernity'. This article examines the intertextuality of The Myth of Jilmajae, The story of the village where Dokkaebi was born(1977), later Autobiography of the childhood and My eternity is Water Lilac(1977). Although presented in the form of poems and autobiographies respectively, by describing different autobiographical contents in poetry texts as well as in autobiographical texts, the experience of childhood(original) that is adapted in literature shows the shape of the variation and proliferation. This process of creation, in which the authority of the writer and the original text are diluted and the character of the text is defined by the audience, can refer to the similarity and the aesthetic planning of post-modern art. In the point of recognizing the recipients(workers) directly exposed to the ‘deficient modernity’ beyond the frame of ‘modernity’ formed in the process of literary controversy in the 1970s, the ‘eternity’ of Mi-Dang comes out not through a sense of reality but through a product of reality.