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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2019.9
- 수록면
- 301 - 328 (28page)
- DOI
- 10.37967/emh.2019.09.145.301
이용수
초록· 키워드
오류제보하기
Festivals are so essential for humans to the extent that there is a saying called “Homo Festivalus”. However, few Korean novels have ever been written in front of the festival amid tough times. Lee Chung-joon"s 『Festival』 is an exceptional work that deals with the universality of the festival. Until now, Lee Chung-joon"s 『Festival』 was mainly discussed in relation to the film 『Festival』 due to his unique resume that he was created with Im Kwon-taek"s film. Discussions that focus on the nature of the festival of interest in this writing are mostly based on Bakhtin"s theory, focusing on the norm-destructive or causative aspects revealed in the work. By using various festival theories, I wanted to comprehensively reveal the complex nature of the festival presented in Lee Chung-joon"s 『Festival』.
In Chapter 2, we discussed the nature of the festival, focusing on Jun-seop"s mother, or the elderly, who is rarely discussed. In this work, the mother does not stay at a simple opportunity to make the festival possible, but can be seen as one of the central nuclei that form the fundamental meaning of the festival. The festival maximizes the nature of ordinary people as a transition period by setting up an extremely unusual household experience. In addition to the transition period inherent in ordinary routine, Jun-sub"s mother goes through the transition period (between the suspended animation experience and the real death) once again. It is a "fest in a festival" that clearly shows the nature of the festival"s rite of passage.
Chapter 3 focuses on Jun-sub and Yong-soon, who are at odds with each other in the opposite direction inherent in the festival, the orientation of "positive orientation of existing order" and the direction of "universal destructive excess." If Jun-sub represents the ceremonial side of the festival, Yong-soon represents the Chaos side of the festival. No one has superior power in this work. The two directions show that the power changes with time and conflict. This proves that 『Festival』 ultimately deals with funeral rites as a "border phenomenon" that is full of entertainment, seriousness, freedom and order.
The festival has the power to create new human beings. This aspect can be found in Yong-soon. Yong-soon was not even in a position to appear in the family before attending the funeral, but she appeared in the mourner"s house, showing herself as free-spirited as ever. After the funeral, it changes once again. Yong-soon is now reborn as one who has the power to resolve the family feud. A family photo in the center of Yong-soon is a clear symbol of Yong-sun"s stature. As the above discussion shows, Lee"s work on the festival is a masterpiece that deeply reflects the diverse nature of the festival in the extremely rare historical of Korean literature.
In Chapter 2, we discussed the nature of the festival, focusing on Jun-seop"s mother, or the elderly, who is rarely discussed. In this work, the mother does not stay at a simple opportunity to make the festival possible, but can be seen as one of the central nuclei that form the fundamental meaning of the festival. The festival maximizes the nature of ordinary people as a transition period by setting up an extremely unusual household experience. In addition to the transition period inherent in ordinary routine, Jun-sub"s mother goes through the transition period (between the suspended animation experience and the real death) once again. It is a "fest in a festival" that clearly shows the nature of the festival"s rite of passage.
Chapter 3 focuses on Jun-sub and Yong-soon, who are at odds with each other in the opposite direction inherent in the festival, the orientation of "positive orientation of existing order" and the direction of "universal destructive excess." If Jun-sub represents the ceremonial side of the festival, Yong-soon represents the Chaos side of the festival. No one has superior power in this work. The two directions show that the power changes with time and conflict. This proves that 『Festival』 ultimately deals with funeral rites as a "border phenomenon" that is full of entertainment, seriousness, freedom and order.
The festival has the power to create new human beings. This aspect can be found in Yong-soon. Yong-soon was not even in a position to appear in the family before attending the funeral, but she appeared in the mourner"s house, showing herself as free-spirited as ever. After the funeral, it changes once again. Yong-soon is now reborn as one who has the power to resolve the family feud. A family photo in the center of Yong-soon is a clear symbol of Yong-sun"s stature. As the above discussion shows, Lee"s work on the festival is a masterpiece that deeply reflects the diverse nature of the festival in the extremely rare historical of Korean literature.
목차
1. 서론
2. 노인의 가사체험에 나타난 축제의 통과의례적 성격
3. 축제에 내재된 상반된 지향의 갈등 양상
4. 준섭과 용순의 관계를 통해 드러난 축제의 경계현상적 성격
5. 결론
참고문헌
Abstract
참고문헌 (26)
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