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.
이용수
초록· 키워드
오류제보하기
This work will illuminate the comic characters and the dramatic significance of the situation that characters are faced with by comparing the character types in Korean and European comedy. Kaksori, the narrative figure in Chinogy-Gut by Kim Ji Ha and Hanswurst, the representative form of Harlekin are the main objects of this comparative study.
An European clown is a plat character with stereotyped appearance and costumes. It stands for a specific professional and personal tribe of human beings. In contrast to this, Kaksori is not a static figure whose character trait and impression can be squeezed into certain categories. Its characteristic is flexible due to the social factors. Kaksori does not remind the spectators of human folly and weakness and make them a feel superior. Neither does he cause laughter with parody as it is typical for the comic characters. Its comic behavior consists greed and betrayal. Whereas its conduct and costume are abnormal and thus funny, the content of his "Taryeong" goes ahead of the peoples' knowledge and consciousness. Kaksori's specific comic corresponds with the characteristic of Maltuggi in traditional mask dance. In the latter a learned nobleman still does not reach Kaksoris level of consciousness. Malduggis comic behaviour, similar to Kaksoris, is mostly typified. His eloquence discloses the intimate life of the nobleman and in this, most of the irony is established. Kaksori's spectacular flood of words expresses strong scepticism against society, politic body, religion and public opinion. However, this dialogue produces less comic effects by means of comparisons and metaphors. It depends more on invectives as well as direct, sensual, and situational expressions. The noble man does not understand Malduggis rhetoric and is fooled from one side. Between him and Malduggi there is no peppy conversation that reminds us of two adversaries in a fencing fight. This shortcoming is only remedied by typified comic gestures. Yet in a situation, where the typified gestures cannot be handed down to upcoming generations, the comic of Korean mask dances inevitably hit on their limits.
An European clown is a plat character with stereotyped appearance and costumes. It stands for a specific professional and personal tribe of human beings. In contrast to this, Kaksori is not a static figure whose character trait and impression can be squeezed into certain categories. Its characteristic is flexible due to the social factors. Kaksori does not remind the spectators of human folly and weakness and make them a feel superior. Neither does he cause laughter with parody as it is typical for the comic characters. Its comic behavior consists greed and betrayal. Whereas its conduct and costume are abnormal and thus funny, the content of his "Taryeong" goes ahead of the peoples' knowledge and consciousness. Kaksori's specific comic corresponds with the characteristic of Maltuggi in traditional mask dance. In the latter a learned nobleman still does not reach Kaksoris level of consciousness. Malduggis comic behaviour, similar to Kaksoris, is mostly typified. His eloquence discloses the intimate life of the nobleman and in this, most of the irony is established. Kaksori's spectacular flood of words expresses strong scepticism against society, politic body, religion and public opinion. However, this dialogue produces less comic effects by means of comparisons and metaphors. It depends more on invectives as well as direct, sensual, and situational expressions. The noble man does not understand Malduggis rhetoric and is fooled from one side. Between him and Malduggi there is no peppy conversation that reminds us of two adversaries in a fencing fight. This shortcoming is only remedied by typified comic gestures. Yet in a situation, where the typified gestures cannot be handed down to upcoming generations, the comic of Korean mask dances inevitably hit on their limits.
목차
Ⅰ. 서언
Ⅱ. 논의의 초점
Ⅲ. 각설이 유형
Ⅳ. 하르레킨 Harlekin 유형
Ⅳ. 결언
참고 문헌
참고문헌 (22)
참고문헌 신청
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
국문학 연구에 있어 희극성의 ‘개념’과 ‘범주’ 설정을 위한 예비적 시론
인문논총
2011 .01
-
기계주의와 희극적 관례: 베르그송의 『웃음』과 『어니스트 되기의 중요성』의 희극성
외국학연구
2015 .01
-
근대 아동만화에 대한 인식과 전개 양상 연구 : 『아이생활』을 중심으로
아동청소년문학연구
2016 .06
-
Social Rules of Speech in Korean : The Views of a Comic Strip Character
Korea Journal
1976 .01
-
Comic Guarantees in Shakespeare’s Twelfth Night
영어영문학연구
2010 .01
-
신채호 서사의 희극성 연구 : <일목대왕의 鐵椎>, <용과 용의 대격전>을 중심으로
현대소설연구
2010 .08
-
『헛소동』 : 미완성 교향곡
Shakespeare Review
2001 .12
-
만화자료 분류체계 개선 방안 연구
인문학논총
2014 .06
-
『로미오와 줄리엣』에서의 장르 전환의 효과
Shakespeare Review
2004 .12
-
The Condition of Comic Genre in As You Like It
고전 르네상스 영문학
2005 .01
-
웹상의 만화를 활용한 초등영어 교수 학습
영어영문학연구
2006 .01
-
The Comic Subtext of Conrad’s Under Western Eyes
신영어영문학
2007 .02
-
이호철의 「문」, 『문』과 법의 폭력성에 대한 연구
비평문학
2019 .12
-
『京城日報』における＜四コマ漫画＞の始まり ー岩本正二の連載児童漫画を中心にー
일어일문학연구
2018 .01
-
영자신문 네 칸 연재만화 영한번역의 양상 고찰 : 유머번역을 중심으로
번역학연구
2018 .06
-
『착오희극』의 통과의례적 해석
Shakespeare Review
2000 .09
-
웹 만화의 매체적 특성과 스토리텔링에 대한 고찰
한국학연구
2009 .06
-
『로미오와 줄리엣』 : 희극과 비극의 대비와 조화
Shakespeare Review
2003 .03
-
셰익스피어 낭만 희극의 광대 배우와 즉흥연기
Shakespeare Review
2007 .06
이 논문의 저자 정보
이 논문과 함께 이용한 논문
Jo Seub 조습_비극적 역사와 희극적 예술 사이의 아이러니
안창현
더원미술세계
2013
.06
『굿나잇 데스데모나 (굿모닝 줄리엣)』에서 콘스탄스의 꿈 : 비극의 대안으로서 셰익스피어의 희극적 다시쓰기
김나영
Shakespeare Review
2011
.12
潘金蓮과 李甁兒 형상의 의의 : 두 가지 가치방향 형성과 그 선택에 따른 비극적 결말 비교
申珍我
중국어문학논집
2011
.10
『헛소동』에 나타난 아이러니와 그 희극적 효과
김기애
Shakespeare Review
1999
.09
바냐가 부르는 희극적인 절망의 노래 : 체호프의 드라마에 흐르는 음악과 일상성에 관한 연구
오종우
슬라브학보
1999
.06
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2012-705-003611848