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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
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Around 1910-1920, Japan was in the transition period from Meiji to Taisho era, and the cultural trend of that time changed Eastern Asian people’s quality and value of life enormously. Especially those who lived in Korea and Japan. It is also noticeable that original plays touched on prosperity of pop culture. Plays created by novelists were very popular in this period, and interestingly, most of these plays were so called ‘Lesedrama’ which means readable play.
Lesedrama can create a fantastic atmosphere by utilizing dramatic elements of novels and plays. From a writer’s perspective, Lesedrama would be the easiest way to express the writer’s obsession that instills, in one form or another, his or her existence in works.
Considering the facts listed above, readers who culturally matured in the 1910-1920’s accommodated Lesedrama as a way of expressing oneself. Readers also recognized it as a literary device, so novelists expanded the creation of Lesedrama. Although the literary and theatrical circles of that time assessed Lesedrama as an extension of a novel and looked upon it with a cynical eye, this theatrical reform was an active form of expression of 1910-1920’s novelists who tried to build one’s own literary world on paper.
In that sense, Shingeki drama in the 1910-1920’s represents literature oriented and dramatic expressional era of play. In this paper, I tried to consider the desire to drama the creation of novelist that has been entrusted to “Why novelist of Japan do not write a drama?” of Yukio Mishima. Through it, I will try to read the face of 1910-20 that’s drama creation of novelist had form a vogue once.
Lesedrama can create a fantastic atmosphere by utilizing dramatic elements of novels and plays. From a writer’s perspective, Lesedrama would be the easiest way to express the writer’s obsession that instills, in one form or another, his or her existence in works.
Considering the facts listed above, readers who culturally matured in the 1910-1920’s accommodated Lesedrama as a way of expressing oneself. Readers also recognized it as a literary device, so novelists expanded the creation of Lesedrama. Although the literary and theatrical circles of that time assessed Lesedrama as an extension of a novel and looked upon it with a cynical eye, this theatrical reform was an active form of expression of 1910-1920’s novelists who tried to build one’s own literary world on paper.
In that sense, Shingeki drama in the 1910-1920’s represents literature oriented and dramatic expressional era of play. In this paper, I tried to consider the desire to drama the creation of novelist that has been entrusted to “Why novelist of Japan do not write a drama?” of Yukio Mishima. Through it, I will try to read the face of 1910-20 that’s drama creation of novelist had form a vogue once.
목차
〈Abstract〉
1. はじめに
2.「?曲を書きたがる小?書き」の出現
3.「日本の小?家はなぜ?曲を書かないか?」
4. 終りに
?考文?
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UCI(KEPA) : I410-ECN-0101-2015-700-002609894