패러디의 소통 방식 연구-1990년대 이후 패러디 시를 중심으로 (A Study on the Method of Communication of Parody - Focused on Korean modern poems after the 1990’s)

서지정보

· 발행기관 : 원광대학교 인문학연구소
· 수록지 정보 : 열린정신 인문학 연구 / 14권 / 2호 / 259 ~ 278페이지
· 저자명 : 이혜경

초록

Parody is, primarily, the proof of communication made between writerand phenomena. A set of processes of the author’s experience comingup as subjective values and being born as text must be much the sameway in poetic creation. With a different poetic trend by the times, now inthe 2000’s, abstruse poems have appeared as a premise forcharacteristic, which seems to have given up the will toward communionwith the reader. When the utility of the poetic genre has lost the times,reader, will toward discourse and communication ability, we must sense animmediate crisis that literature may be killed. However, the outdatedfetters about creation for a pure text come to degrade many poems as asimple parody. In such conflict, inflexible orientation about a pure textshakes the poet’s path of creation.
Parody is both the proof and doubt about technicality. The genre ofparody shows the pain of the times nakedly at the surface hiding theagony of the subject or making it disappear. Since writhing for acceptanceof the parody doesn’t simply cover the work of adopting the originaltext and its imitation, it is time we discuss the essential value of theparody text passing over the job of collating it with the original text. Thisstudy was intended to look at the author, ‘choice’ of the subject andits necessity through the recent works that can be considered parody andprove that behind the choice lies the purpose of communication all thetime. After all, this study was conducted with the purpose of finding theauthor’s will toward communication between the times and the masses. Itis expected that the definition of parody and work on the method of communication will be of help in diagnosing the present and future of themodern poems and discussing the value of parody as a creation and itsaesthetic value.

영어초록

Parody is, primarily, the proof of communication made between writerand phenomena. A set of processes of the author’s experience comingup as subjective values and being born as text must be much the sameway in poetic creation. With a different poetic trend by the times, now inthe 2000’s, abstruse poems have appeared as a premise forcharacteristic, which seems to have given up the will toward communionwith the reader. When the utility of the poetic genre has lost the times,reader, will toward discourse and communication ability, we must sense animmediate crisis that literature may be killed. However, the outdatedfetters about creation for a pure text come to degrade many poems as asimple parody. In such conflict, inflexible orientation about a pure textshakes the poet’s path of creation.
Parody is both the proof and doubt about technicality. The genre ofparody shows the pain of the times nakedly at the surface hiding theagony of the subject or making it disappear. Since writhing for acceptanceof the parody doesn’t simply cover the work of adopting the originaltext and its imitation, it is time we discuss the essential value of theparody text passing over the job of collating it with the original text. Thisstudy was intended to look at the author, ‘choice’ of the subject andits necessity through the recent works that can be considered parody andprove that behind the choice lies the purpose of communication all thetime. After all, this study was conducted with the purpose of finding theauthor’s will toward communication between the times and the masses. Itis expected that the definition of parody and work on the method of communication will be of help in diagnosing the present and future of themodern poems and discussing the value of parody as a creation and itsaesthetic value.

참고자료

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