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This article intends to clarify the essence of narrative impulse appeared in Seo Jung- Ju(徐廷柱)'s The Myth of Jilmajae(질마재 神話). In this work, Jilmajae the poet's real birthplace, becomes the imaginary place in which 'Shilla(新羅)' is realized as the Pure Land of eternity. He used various means to make it absolute and sacred, for example, with introducing many elements of 'laugh' and a narrator as 'storyteller' .
Laugh appears in two ways. One is an 'outer-laugh' caused by the abnormal appearances and deviant actions of many characters and the other is an 'inner-laugh' from the subversion of the former. While a comic laughter from the abnormality and breakaway of characters appears in the former, the laughter of reconciliation and unity from the rediscovery and recognition of them was hidden behind in the latter.
Various deviant acts of sex and excretion play an important role in the generation and conversion of laugh. The poet finds the healthiness and affirmativeness of folk culture from these acts which are often devaluated as dirty and vulgar. But laugh is at issue in a sense that it ultimately reconciles and mystifies the conflict and antagonism of historical reality into a non-conflictive and harmonious illusion. Such a illusion of unity and harmony becomes a controversial problem as much as his resignation of reality. Laugh functions as the mechanism for inscribing conservative immobility and non-historicity on the depth of Jilmajae.
Storyteller is not simply a messenger, but a narrator who judge, choose and produce the instructive and valuable story. Such a narrator is needed to make Jilmajae an ideal world for us to follow, from which two effects are possible. One is to clarify and inform the primitive characteristics of Jilmajae through the memory of childhood, and the other is to make the lives of others sacred and heroic through the adoption of folk tale. These also have a limitation in a sense that they are tied to the way of explanation and commentary by an authoritarian narrator.
Laugh appears in two ways. One is an 'outer-laugh' caused by the abnormal appearances and deviant actions of many characters and the other is an 'inner-laugh' from the subversion of the former. While a comic laughter from the abnormality and breakaway of characters appears in the former, the laughter of reconciliation and unity from the rediscovery and recognition of them was hidden behind in the latter.
Various deviant acts of sex and excretion play an important role in the generation and conversion of laugh. The poet finds the healthiness and affirmativeness of folk culture from these acts which are often devaluated as dirty and vulgar. But laugh is at issue in a sense that it ultimately reconciles and mystifies the conflict and antagonism of historical reality into a non-conflictive and harmonious illusion. Such a illusion of unity and harmony becomes a controversial problem as much as his resignation of reality. Laugh functions as the mechanism for inscribing conservative immobility and non-historicity on the depth of Jilmajae.
Storyteller is not simply a messenger, but a narrator who judge, choose and produce the instructive and valuable story. Such a narrator is needed to make Jilmajae an ideal world for us to follow, from which two effects are possible. One is to clarify and inform the primitive characteristics of Jilmajae through the memory of childhood, and the other is to make the lives of others sacred and heroic through the adoption of folk tale. These also have a limitation in a sense that they are tied to the way of explanation and commentary by an authoritarian narrator.
목차
1. 들어가며
2. 웃음의 두 차원과 그 의미
3. ‘이야기꾼‘과 ‘질마재‘의 가치화 양상
4. 결론을 대신하여
Abstract
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