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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This paper examines the postcoloniality of 1910s Sinpa-guk.
1910s Sinpa-guk is first theatrical result of the discussion on the theatrical reform of Korean civilized period. Sinpa-guk had appeared on the stage with splendor as civil drama. Sinpa-guk play people stressed this assumption, at the same time, brought into relief authority of Japanese Sinpa-guk as civil drama. With this, 1910s Sinpa-guk strengthened authority of colonial power.
But 1910s Sinpa-guk's prosperity didn't stand long. After middle 1910s, Sinpa-guk lost there their audience rapidly. Finally Sinpa-guk play people flattered popularity of motion pictures. The play combined moving picture is result of this attempt. As a result, the play combined moving picture pressed decline of Sinpa-guk. In early 1920s, Sinpa-guk barely kept itself in existence through effort that settled itself in Korean manners.
Sinpa-guk play people made Korean audience object of reform with authority of Japanese Sinpa-guk. So Sinpa-guk spoke for colonial eye of colonial power with this. Whereupon Korean Sinpa-guk's audience reacted to the contradictory with unsuitable reaction. This reaction is applicable 'evil gaze' against 'colonial eye" from the point that it confused Sinpa-guk play people.
Korean Sinpa-guk play people were confused between authority of Japanese Sinpa-guk and evil gaze of Korean audience. They regarded Korean audience as object of reform, but Korean audience isn't passive being. The audience led alteration of Korean Sinpa-guk in late 1910's. And Korean Sinpa-guk couldn't display authority of colonial culture any longer.
1910s Sinpa-guk is first theatrical result of the discussion on the theatrical reform of Korean civilized period. Sinpa-guk had appeared on the stage with splendor as civil drama. Sinpa-guk play people stressed this assumption, at the same time, brought into relief authority of Japanese Sinpa-guk as civil drama. With this, 1910s Sinpa-guk strengthened authority of colonial power.
But 1910s Sinpa-guk's prosperity didn't stand long. After middle 1910s, Sinpa-guk lost there their audience rapidly. Finally Sinpa-guk play people flattered popularity of motion pictures. The play combined moving picture is result of this attempt. As a result, the play combined moving picture pressed decline of Sinpa-guk. In early 1920s, Sinpa-guk barely kept itself in existence through effort that settled itself in Korean manners.
Sinpa-guk play people made Korean audience object of reform with authority of Japanese Sinpa-guk. So Sinpa-guk spoke for colonial eye of colonial power with this. Whereupon Korean Sinpa-guk's audience reacted to the contradictory with unsuitable reaction. This reaction is applicable 'evil gaze' against 'colonial eye" from the point that it confused Sinpa-guk play people.
Korean Sinpa-guk play people were confused between authority of Japanese Sinpa-guk and evil gaze of Korean audience. They regarded Korean audience as object of reform, but Korean audience isn't passive being. The audience led alteration of Korean Sinpa-guk in late 1910's. And Korean Sinpa-guk couldn't display authority of colonial culture any longer.
목차
1.서론
2.풍속개량의 논리와 관객의 개량
3.신파극의 ‘눈물‘과 ‘불길한 응시‘
4.새로움에 대한 갈망과 익숙함에 대한 향수
5.결론
참고문헌
Abstract
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