일본 현대시의 포스트모던적 요소

Abstract

The alienation of people living in cities was deepened by the threat of human extinction in World War II; the loss of human nature; the diffusion of consumer-oriented material culture of ‘late-capitalism,’ which led the postwar world economy; and the development of technology. In turn, this brought the advent of the postmodern era which was marked by disorder, chaos, doubt and the like. Modernism and postmodernism pursue the experiment of denial and rally against tradition or human existence. However, postmodernism that is interested in commercial art and sub-culture is defined as a very rebellious and kitsch cultural phenomenon. This paper appears the postmodernity in modern Japanese poetry from the viewpoint of emphasis on the play elements and surface structure of language; boundaries between genres that are the ‘deconstruction’; the recognition of reality and modern science and the denial of the truth system; and ‘écriture-féminine’. First, the ‘avant-garde’ poetry which is performed in the first half of 1920 shows a visual format based on various linguistic experiments characteristic of ‘concrete-poetry’ that is representative of postmodernism poetry. As it appears in the introduction of photography techniques and advertisements in the poetry and ‘sine-poem’, the avant-garde spirit of modernist literature that prefers language play and the intertextuality of genre blending from poststructuralism to postmodernism is based on postmodernity. ”Souryo” (1958) by Yoshioka Minoru shows the demarcation of the sexual and the common and proposes a coexistence and conflict structure in the same time and space of life and death through the appearance of the monstrous monk who was no longer sacred. It is this challenge to authority that makes up the ‘meta-narrative’ based on the recognition system of binary opposition. Furthermore, in ”Moeru” (1970) by Yoshimasu Kozo, the gallop of poetic imagination in which reality, dreams, the human world, and the universe intersect chaotically with each other spurts the radical poetic energy which cannot be suppressed in the world of ‘surrealism’ that connects the reality with the imagination organically on human subconscious or unconsciousness. Finally, ‘écriture-féminine’ which Isaka-yoko and Ito-hiromi purse brings down the myth of androcentrism which is a man as a subject and a woman as the “other.” It is postmodernism that recognizes things based on the sexuality of woman and changes the position from the “other” to the subject for oneself.