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메타드라마의 요소를 통해 본 金祐鎭 戱曲 연구

Title
메타드라마의 요소를 통해 본 金祐鎭 戱曲 연구
Other Titles
(A) Study of Woo-jin Kim's Drama by the elements of Metadrama
Authors
김유진
Issue Date
1995
Department/Major
대학원 국어국문학과
Keywords
메타드라마김우진희곡
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
Hwang Dong Kyu who has actively written poems since 1958 has continuoslly gotten good attentions and remarks from the contemporary critics. They estimated that his work accomplished higher state in poetic technics. In these remarks from the contemporaries, this thesis wa s written for the purpose of looking into the basic paradigm of his poetic consciousness, which was revealed by researching into the aesthetic character of poeitc formation mecanically accompanied with pose and trans-process of world perspective of the persona. This study is to deal with most his works till to 「Be careful a crocodile?」(1986) In the part Ⅱ-A, this study focuses on the narrative form in which a first-person phenominal persona, the type of persona who is a root of lyric poetry and has generally appeared in Hwang Dong Kyu's early works, has made a speech lyrically and monophonically. The persona shows the will to be identified with the object, and then the object is presented as and invocation. Although the persona's hope for the object is to make a harmony with the world, in thematic aspect, the persona isolated from the out-side forms a contrasting relationship with the world. In this world, as a detached persona perceiver the non-existence of the listener, you, he/she is paradoxically to desire for a meaningful relationship through the waiting. The part Ⅱ-B is dealing with a continual poem, 「Elegy」. The poet accelerates the perception on the tragedy of life and world, and the persona detached in a deserted space explodes a strong emotion about the tragic of life and world. As the will toward the harmony between the persona and the object disappears, the speaker just sings a coverd inside consciousness in forlorn circumstance, and there is an incompatible tragic tension between the self and the world. The third chapter reviews the poetic examination of objective out-side world beyond gap and isolation placed on the self and the world. This transition of poetic perception is closely related with the attitude of the persona which transmits a point of view from an abstractive and non-existential space to a concrete and common space. The part Ⅲ - A examines 'objective narrating attitude' intending to show the principle of life and history which can be acquired by situations facing pieces of daily life and by distances keeping certain miles on at the object. At this times, the poet is getting out of closed absorption of his inner mind and posing to have a direct contact with readers and drawing their responses. The poet, as an observer, keeps up with unmovable in sight and critical consciousness and choose a point of view on situation as neutral reporter. The part Ⅲ - B considers that the sight of the poet, as a perspective subject, is developed by keeping a critical distance. The poet tries to make a complexities of meanings by using technics such as irony, paradox and satine. The poet through a winding discourse shows an analytic and intellectual perception of the world in methodology. The ironical discourse appearing on the surface of text becomes a mental device to enlighten the tension of meaning and the composite side of reality. The persona in the world where a self-identification is lost unfolds inside consciousness of the individual to be shattered, and indirectly carries out a negative view on the reality by expressing a scattered self. The forth chapter examines forms of meaningfulness accompanied with new usage and poetic style. This study is approached by two-divided stratifications. The part A points out the explorative consciousness of the poet to pick up the materials in an ordinary life and world and to put them into poetic shape, on weakening the winding discourse and socio-political characteristics in poems. The part B explains in detail 'dramatic lyric' in which the poet gives a poem round context and tries to make a new type of the poem and its vitality. In later Hwang Dong Kyu's work, he has attempted to freedom and integrality in the consciousness of poem through reflexible and vital usage. The usage of the persona based by a pervaded inside consciousness purposes to encounter the life, the world, and the self which have arrived at what the speaker has thought of the essential in them by getting out of the non-existential absorbed in the common. The poet does not intend to get the contrast but the harmony between contrary elements, for example, the individual and the society, the truth and the false, the life and the death. By this harmonic perception of the world, the poet can acquire more positive and vivid poetic consciousness.;문학의 자의식(literary self-consciousness)에 관심을 가지고 문학작품을 연구하게 될때, 김우진의 희곡들은 그러한 양상을 살피기에 적절한 대상이 된다. 왜냐하면 그의 희곡은 주관성의 강조라는 형식으로 문학적 자의식을 드러내고 있기 때문이다. 그러므로 본 논문에서는 연극이 자신의 허구적 본성을 드러내거나, 인생의 허구성에 대한 형이상학적 명상을 나타내거나, 연극시학을 암시적으로 드러내는 문학적 자의식을 중심으로 김우진 희곡에 드러난 메타드라마적 특성을 검토하였다. 메타드라마적 분석은 텍스트가 지시하는 현실에 의해 의미가 결정되기 이전의 텍스트 자체, 텍스트의 작업에 관심을 보인다. 그러므로 극중극(The play within the play), 배역연기(Role playing within the role), 상호텍스트성(Literary reference within the play), 자기지시(Self-reference) 등의 방법을 사용하여 텍스트 속에서 극적 환상을 파괴하고 연극의 허구적 본성과 구성 자체를 탐구하는 양상을 찾게 된다. 본 논문은 「山돼지」, 「難破」, 「李永女」, 「두더기 詩人의 幻滅」을 대상으로 하여, 김우진 희곡에 나타난 메타드라마적인 특성을 살펴보았다. 먼저, 「山돼지」의 메타드라마적인 특성은 극중극과 배역연기를 사용한다는 점에서 찾을 수 있다. 극중극은 꿈 형태를 가지며, 극의 주된 이야기와 다른 층위로 삽입되어 현실과 허구의 융합이라는 메타드라마적 효과를 산출하고 있다. 그리고 원봉이 자신의 배역연기에 대해 고찰하고 배역의 허구적 본성에 대해 인식하는 것을 메타드라마적이라고 보았다. 「難破」에서는 텍스트의 은유라고 볼 수 있는 시인의 주관성이 극중극으로 나타나며, 등장인물이 각자 극작가 의식을 가지는 문학적 자의식이 나타난다. 그리고 관객이 인식할 수 있는 다른 텍스트들이 인용되어 있는 상호텍스트적인 특성을 가진다. 「두더기 詩人의 幻滅」은 텍스트가 스스로 자신이 연극임을 드러내 극적환상을 직접적으로 파괴하는 자기지시성을 가진다. 그리고 원영과 정자의 논쟁은 연극적 언어의 진실성을 주제로 하고 있으므로 메타드라마적인 효과를 가진다는 점을 살펴보았다. 마지막으로, 「李永女」에서는 주된 극적 사건이 직접 서술되는 것이 아니라 기일 등의 기타 등장인물들에 의해 전달되고 있는 점이 극 속에서 관객과 연극의 관계를 보여주는 메타드라마적 특징이라고 보았다. 이상과 같은 분석을 통해, 김우진 희곡에서 문학적 자의식의 표현이라는 메타드라마적인 특성을 추출해 낼 수 있었다. 이러한 문학적 자의식은 김우진 희곡들이 텍스트로서의 자기의 구성에 대한 관심을 자신 안에 드러내고 있는 모습으로 나타나 있었다. 본 논문에서는 김우진 희곡이 텍스트의 표면적인 이야기 이전에 문학적 자의식의 표현을 암시적으로 드러내고 있는 메타드라마적 특징을 보이고 있었음을 살펴보았다.
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