김현 시 비평에 나타난 상호텍스트적 읽기의 특징－1960~70년대 비평을 중심으로－

Abstract

Intertextuality-based reading is one of the prominent characteristics from Kim Hyun's early criticism. Connecting different texts and interpreting their significance is another way to make his criticism sound logic. He prefers active reading that constitutes intertextuality from the reader's point of view rather than examining the dialogicality between works that are revealed on the outside. His reading, which actively considers intertextuality when analyzing text, is inextricably related to the theme of 'meeting' that has continued since his early criticism. The purpose of this study is to examine these characteristics that appear in Kim Hyun's criticism, focusing on poetry criticism in the 1960s and 1970s, and to examine the patterns of his reading that change according to the deepening of criticism. Kim Hyun's early criticism, which dominated the formalist perspective, focused on the comparative literature analysis of Western and Korean poems, paying attention to the similarity of form. However, as of 1968, attention began to be paid to the relationship between literature and society, literature and history, his intertextuality-based reading also moved toward exploring the tradition and specificity of Korean literature. An example of the former reading is the theme criticism that analyzed the image of “flower,” one of the main motifs of Korean poetry, by comparing it with the image of “sea” of Western poetry. An example of the latter is <a study of madness >(1970), which analyzed the shape of the 'torn self' that appears in literary people during a acculturation period. The comparative analysis of poems by Lim Chun and Francois Villon, which can be cited as an example of “cultural and historical madness,” is a critical practice to carry out “archaeology of literature.” Kim Hyun evaluates the poems of those who expressed their self-image as “cursed poets” as pioneering works, and evaluates the their emotions expressed in their poems as a historical precedent for “féminisme” in romantic poems. This intertextuality-based reading, which finds an example of “cultural and historical madness” in medieval literature, intends to empirically rediscover the origin of Korean literature as modern literature by confirming the historical genealogy of Korean literature, and aims to prove that the acculturation between Korean literature and Western literature is not vertical but horizontal. Since then, the intertextuality of “cultural and historical madness” is interpreted as forming the spiritual genealogy of “nomad” by Choi Chi-won, Oh Se-jae, Kim Si-seup, and Kim Lip in Korean literature history.