뉴미디어 시대 타자(他者)의 발견과 전파 ― 블로그를 통한 ‘신홍안 글쓰기(新紅顔寫作)’를 중심으로

Abstract

The emergence of new media such as blogs, Weibo, and WeChat in the 20th century has led to the active writing of women, which is one of the main characteristics of the 21st century poetry. This paper examines ‘New Beauty Writing’, which created a new poetry landscape by creating and publishing poetry mainly through blogs. The rather unique name ‘New beauty writing’ appeared by chance through Li Shaojun and Zhang Deming’s ‘Beach Dialogue’, and this paper examines ‘New beauty writing’ from the following aspects. The first aspect is the social significance of the naming process and birth of ‘New beauty writing'. They existed on the blog before and after being named, but by being given a ‘name’, they are recognized as a new creative trend and characteristic of the 21st century poetry world. The second aspect is an analysis of the achievements and limitations of the naming of ‘New beauty writing.’ It is a great achievement that the works of numerous female bloggers who are active under the surface have been brought into the institutional discourse through ‘naming’ and ‘calling out names.’ However, the controversy over the appropriateness of the name itself, ‘New beauty’, and the lack of poetic value seem to be limitations. The third aspect is a study on the representative creative characteristics of ‘New beauty writing’ and gender awareness. One of the characteristics of ‘New beauty writing’ is that it emphasizes and explores the life and fate of free and independent women, and Jinlingzi and Hengxingyanzhi are representative examples. Another creative character- istic is that it is a work that inherits traditional culture and classical poetry, and this paper will examine it focusing on Shishiran. By examining it in this way, I hope to show that the emergence of these women poets, who were called as a group through the ‘peeping’ of others in the new media era, was different from the emergence of other schools of poetry in the previous generation from the very beginning. In addition, I hope that it can serve as a reference for understanding the 21st century poetry world and studying trends in women’s poetry creation.