지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This thesis chooses "Kwangjang"and other five dramas as a main text and ''Whadoo'' as a reference, and aims at examining characteristics, meaning and value of 'sacrifice ritual' represented in Choi In-hoon's literature. "Kwangjang" is a work which shapes a problematic character, Lee Myong-Joon, who gets persecuted by three groups and then driven to be a scapegoat In the first edition, however, Choi In-hoon neglects the anthropological fact that a group and an individual are supposed to be tied by while devoting himself to political conditions between North and South Korea. This has been complemented steadily through untiring revision, And he has begun to visualize anthropological results which he realizes unconsciously into another writing work. The results are a series of playwritings including "Whueo-y wheoy long long ago".
A social abnormal symptom (sacrifice crisis) which causes a scapegoat mechanism appears and what the persecutor is, is visualized in the works discussed in this study. A persecutor is necessarily bound to pick up a scapegoat and a scapegoat sign is presented as a proof. The character who is given the scapegoat sign, suffers tacit or agreed punishment (death penalty or suicide, or expulsion or mockery) and at last he is turned away or expelled form the reality. A group or a society whose scapegoat has been got rid of recovers its peace by the regaining order. However, Choi In-hoon's literature allusively says that it is momentary and disguising.
Choi In-hoon's literature, especially in drama, represents procedure of sacrifice ritual somewhat completely. Beginning with sacrificial crisis and indiscrimination phenomenon and leading to scapegoat's sign and" persecution, it almost has a series of conventional styles. But if Choi In-hoon had expressed such a anthropological theme unfamiliarly, the meaning couldn't be appreciated properly. Choi In-hoon succeeds in acquiring a remarkable result of capturing meaningful subject and expressing it by a sophisticated dramatic form, employing a variety of mythical materials and repeating seeking for a form which supports it properly. This proves that Choi In-hoon's literature combines literary universality and concreteness, and proper understanding on a form of drama.
The essence of Choi In-hoon's literature is that he acutely reveals the trick and transiency of the order which comes out after a scapegoat mechanism Especially, "Whueo-y wheoy long long ago" deserves to appreciate in many ways. This work studies relations between group and individual, and between authority and victim, and fluently puts a consciousness of actual problems into traditional tales. His literature becomes one that contains profound insights on our contemporary society and civilization with anthropological, diachronic and mythical universality and maturity, not one that directly spits out the 1970s' gloomy political situation. For writer's own part, it is worth while to observe closely in that he has a chance to regain an ability to take up a real challenge, which could have lost because of being buried in political situation and ideal recognition of reality, and to establish a new literary location. And also, it lies in the continuity between novel and drama, so that it provides a motive to look into characteristics and unique qualities of each genre, Like this, in rewriting "Kwangjang" and creating plays- especially creating "Whueo-y wheoy long long ago", Choi In-hoon's literature is very important in that he is aware of his role that he should play in reality, arranges a way in which he struggles against oppression of power, and encourages a desirable consciousness of writer's. In conclusion, 'sacrifice ritual' is not only a thematic message of Choi In-hoon's literature which presents a consciousness of reality, political response, and writer's duty, but also a structural frame which shapes such a message into a sophisticated dramatic(or narrative) form.
A social abnormal symptom (sacrifice crisis) which causes a scapegoat mechanism appears and what the persecutor is, is visualized in the works discussed in this study. A persecutor is necessarily bound to pick up a scapegoat and a scapegoat sign is presented as a proof. The character who is given the scapegoat sign, suffers tacit or agreed punishment (death penalty or suicide, or expulsion or mockery) and at last he is turned away or expelled form the reality. A group or a society whose scapegoat has been got rid of recovers its peace by the regaining order. However, Choi In-hoon's literature allusively says that it is momentary and disguising.
Choi In-hoon's literature, especially in drama, represents procedure of sacrifice ritual somewhat completely. Beginning with sacrificial crisis and indiscrimination phenomenon and leading to scapegoat's sign and" persecution, it almost has a series of conventional styles. But if Choi In-hoon had expressed such a anthropological theme unfamiliarly, the meaning couldn't be appreciated properly. Choi In-hoon succeeds in acquiring a remarkable result of capturing meaningful subject and expressing it by a sophisticated dramatic form, employing a variety of mythical materials and repeating seeking for a form which supports it properly. This proves that Choi In-hoon's literature combines literary universality and concreteness, and proper understanding on a form of drama.
The essence of Choi In-hoon's literature is that he acutely reveals the trick and transiency of the order which comes out after a scapegoat mechanism Especially, "Whueo-y wheoy long long ago" deserves to appreciate in many ways. This work studies relations between group and individual, and between authority and victim, and fluently puts a consciousness of actual problems into traditional tales. His literature becomes one that contains profound insights on our contemporary society and civilization with anthropological, diachronic and mythical universality and maturity, not one that directly spits out the 1970s' gloomy political situation. For writer's own part, it is worth while to observe closely in that he has a chance to regain an ability to take up a real challenge, which could have lost because of being buried in political situation and ideal recognition of reality, and to establish a new literary location. And also, it lies in the continuity between novel and drama, so that it provides a motive to look into characteristics and unique qualities of each genre, Like this, in rewriting "Kwangjang" and creating plays- especially creating "Whueo-y wheoy long long ago", Choi In-hoon's literature is very important in that he is aware of his role that he should play in reality, arranges a way in which he struggles against oppression of power, and encourages a desirable consciousness of writer's. In conclusion, 'sacrifice ritual' is not only a thematic message of Choi In-hoon's literature which presents a consciousness of reality, political response, and writer's duty, but also a structural frame which shapes such a message into a sophisticated dramatic(or narrative) form.
목차
Ⅰ. 서론
Ⅱ. 「광장」에 나타난 희생제의
Ⅲ. 희곡에 나타난 희생제의
Ⅳ. 희생제의의 문학적 의의
Ⅴ. 결론
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