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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2011.6
- 수록면
- 339 - 361 (23page)
이용수
초록· 키워드
오류제보하기
An art is a work revealing men’s spirit world, accordingly a work and an activity of art reflect the inner aspects of an artist. There exists a world of consciousness and unconsciousness in an artist’ spirit world, and it is certain that the unconsciousness of human nature would be an important element to an activity of artists’ art creation. However, an artist does not create his perfect work based on the only his unconsciousness. Consequently, an artwork could be an outcome exposing an artist’s consciousness and unconsciousness all together. Considering this point of view, illustration has a point in common with the pure art in respect of configurating an artist’s spiritual world. Especially, illustrators have to reinterpret the comprehension and impression of reading as pictures along with devoting essential purpose, namely conveying information when preparing illustrations. Marc Chagall (1889-1985), who was called the master of the imaginary, completed many illustration works, and it is noticeable that he selected to illustrate a Shakespeare play-The Tempest-at the age of eighty-eight.
In The Tempest, it seems that exiled protagonist Prospero bidding farewell to his art is identified with playwright Shakespeare preparing for his final vision of life. As Shakespeare was ready to return to his home after finishing The Tempest, it is acceptable that the aging magician Prospero is the same as retiring theatrical magician Shakespeare. Selecting the play, Chagall seems to identify himself with Prospero and Shakespeare related to his personal history. He produced Shakespeare’s text with creative lithographs including fifty illustrations. What is important, he attempted to interpret the play with his personal, autobiographical perspective. As a result, his paintings consist of his unique world combining own poetic imagination and private elements such as his home Vitebsk, his mythology, and loving wife. Chagall finally succeeds in representing Shakespeare’s The Tempest based on his wonderful imagination. Moreover, Chagall, who longed for becoming a poet himself, comes to enter poetic world through his paintings describing the story of the play. As an original illustrator, he eventually completes ‘meta-art,’ a new artwork reflecting his excellent imagination and sincere attitude on the reading of the play.
In The Tempest, it seems that exiled protagonist Prospero bidding farewell to his art is identified with playwright Shakespeare preparing for his final vision of life. As Shakespeare was ready to return to his home after finishing The Tempest, it is acceptable that the aging magician Prospero is the same as retiring theatrical magician Shakespeare. Selecting the play, Chagall seems to identify himself with Prospero and Shakespeare related to his personal history. He produced Shakespeare’s text with creative lithographs including fifty illustrations. What is important, he attempted to interpret the play with his personal, autobiographical perspective. As a result, his paintings consist of his unique world combining own poetic imagination and private elements such as his home Vitebsk, his mythology, and loving wife. Chagall finally succeeds in representing Shakespeare’s The Tempest based on his wonderful imagination. Moreover, Chagall, who longed for becoming a poet himself, comes to enter poetic world through his paintings describing the story of the play. As an original illustrator, he eventually completes ‘meta-art,’ a new artwork reflecting his excellent imagination and sincere attitude on the reading of the play.
목차
Ⅰ. 들어가는 말
Ⅱ. 샤갈의 『폭풍우』
Ⅲ. 맺음말
인용문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2013-840-000474836