『삼국유사(三國遺事)』 ｢탑상(塔像)｣ 편의 기록성과 구술성 - ｢가섭불연좌석(迦葉佛宴坐石)｣·｢전후소장사리(前後所将舎利)｣ 조를 중심으로

Abstract

This paper rereads Samguk Yusa “Tapsang” based on the critical media literacy theory and deconstruction. The new media literacy theory reconceptualizes and historicizes the concepts of orality, literacy, and media in the context of the Samguk Yusa, the context of publication, and present acceptance.
 In “Tapsang,” the themes and forms of each story, or section(jo), which cannot be easily generalized and categorized, are gathered. “Gasubulyeonchasok” and “Jeonhusochangsari” refer to these characteristics as the heterogeneity and diversity of the text, “Gasubulyeonchasok” and “Jeonhusochangsari.” This is because various records and oral materials are cited and edited in these two sections, and the voice of the author or the compilation is intervened in various forms, such as chan, commentary, and reports between these oral and literacy transmissions.
 Therefore, this paper proposes analyzing citations, which are the main mechanisms for creating textual heterogeneity and diversity in “Tapsang” and reading its citations as performative enunciations rather than references. Reading citations as referential enunciations directs an accurate referent, testifies to the historical context, and reveals and excavates objects that authentically exist. In contrast, performative enunciations create, accumulate, and archive referents through a network of enunciations. I tried to explain the effect of citation as a performative enunciation through its analogic relationship with the pagoda or Buddha statue as a trace (medium) of the existence and absence of the sacred.