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논문 기본 정보

자료유형
학술저널
저자정보
전우형 (중앙대학교)
저널정보
역사비평사 역사비평 역사비평 2020년 봄호(통권 제130호)
발행연도
2020.2
수록면
133 - 160 (29page)
DOI
10.38080/crh.2020.02.130.133

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초록· 키워드

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This paper attempted to identify one aspect of the rift in the political politics of commemoration performed by musicals and operas in 2019. And the tentative goal of the writing is to identify the dynamics of this fissure carrying out some sort of representational politics of remembering and commemorating history.
The musicals, The Eyes at Dawn and Opera 1945, were the media of commemoration. They boldly escaped the content and form of musical and operas of the past, reinventing the location of the subject who gave reflection to the commemoration itself. The Eyes at Dawn and 1945 do not deal directly with the historical events of the independence movement and liberation and the people and scenes involved in the dramatic style of the memorial. he archiving of the independence movement and the history and culture outside of the independence movement by the two works through the in between space and antiheros is related to the will to create a close dialogue space between it and the present.
The Eyes at Dawn and 1945 reinforce the meaning of the memorial to presentize history. The two works did not remain in the realm of commemoration because they did not fully reflect the problems of history raised in Korean society. At least the musical The Eyes at Dawn and Opera 1945 are commemorations of those who have not returned, come back, uncovered, revealed, remembered or recorded, and never been celebrated. The politics of representation is performed in that it is a memorial that has never been done before.

목차

1. 기념의 미디어로서 뮤지컬/오페라
2. 사이(in between)공간과 반영웅들(antihero)
3. 100주년의 시간성과 재현정치
4. 결론
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