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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
오류제보하기
This study argues that oppressive and hierarchical colonial discourses shaped in colonial reality were accompanied by a variety of other discourses on everyday life and folk culture. Previous studies on theater reformation discourses in Enlightenment period usually see them as national-patriotic discourse, having Korean Enlightenment thinkers as its agents. Beside this aspect, though, there were also contexts in which political control on daily life through folk entertainment and legal discourse were molded by the measure of 'folk culture', which in turn regulates modern Korean's daily life.
Since 1900s, public entertainment began to proliferate in modern Korean people's daily life. This transition would have been impossible had it not been backed by folk culture discourse and policies driven by Japanese colonial government. The Japanese colonial regime intended to manage the colonial Korea effectively through this kind of control: It sought to manage both Japanese nation and the colonial Korea successfully by institutionalizing private sector. The colonial regime identified the validity of entertainment practice in managing nation-state and society. This policy lead the 'theater', the place in which 'publicly exhibited acts' could be performed in 'public area', to acquire its status as a powerful medium to educate folk people. The theater reformism of Korea in early modern period, therefore, was suggested as a issue of folk culture reform, not as a aesthetical reform in literary genre of play. In this context, theater was also recognized as a 'place for folk education' in which audience were expected to be enlightened and reformed.
Since 1900s, public entertainment began to proliferate in modern Korean people's daily life. This transition would have been impossible had it not been backed by folk culture discourse and policies driven by Japanese colonial government. The Japanese colonial regime intended to manage the colonial Korea effectively through this kind of control: It sought to manage both Japanese nation and the colonial Korea successfully by institutionalizing private sector. The colonial regime identified the validity of entertainment practice in managing nation-state and society. This policy lead the 'theater', the place in which 'publicly exhibited acts' could be performed in 'public area', to acquire its status as a powerful medium to educate folk people. The theater reformism of Korea in early modern period, therefore, was suggested as a issue of folk culture reform, not as a aesthetical reform in literary genre of play. In this context, theater was also recognized as a 'place for folk education' in which audience were expected to be enlightened and reformed.
목차
1. 들어가며
2. 일본의 국가경영과 식민지경영에서의 ‘풍속’문제
3. 재한일본인 사회, 그 ‘사이’ 공간의 풍속
4. 선민교화(鮮民敎化)에서 일선융화(日鮮融和)로 - 공공오락기관으로서의 극장
5. 나오며
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UCI(KEPA) : I410-ECN-0101-2009-810-018276789