김지우·박찬홍의 '복수 3부작'에 나타난 파국과 성찰

권양현 忠南大學校 大學院 2016 국내박사

김지우·박찬홍의 복수 3부작, <부활>, <마왕>, <상어>는 인간성에 관한 통찰을 보여주며 사회, 역사의 모순과 부조리를 환기시킨다. 나아가 우리가 회복해야 할 정신적 가치들과 더 나은 삶의 자리에 대한 모색을 통해 문제적 현실에 대한 성찰의 계기를 마련하고 있다. 이 작품들은 과잉된 욕망에 매몰된 개인, 공권력과 기득권층의 부조리, 승자독식이라는 한국 사회의 위기들을 폭로하며 한국사회가 직면한 위기의 현실을 지속적으로 탐색하고 있는 것이다. 여기서 위기는 신자유주의 시대 자본주의 체제에서 비롯되는 것으로 한국 사회뿐 아니라 전 세계가 직면한 것이다. 신자유주의적 자본주의가 전 세계의 위기 혹은 위험의 배경이라고 보는 시각은 파국 담론과 관련되어 있다. 따라서 김지우·박찬홍 복수 3부작의 현실인식은 파국 담론과 연관지어 논의할 수 있을 것이다. 이에 본고는 김지우·박찬홍의 복수 3부작에 나타난 파국과 성찰에 주목하고 텔레비전드라마의 특질을 기반으로 복수 3부작의 내용과 형식을 고찰하였다. 이를 통해 한국 사회의 파국적 양상과 이 작품들에 나타난 성찰의 의미를 살펴보았다. Ⅱ장에서는 텔레비전드라마가 수용하고 있는 파국의 현실과 텔레비전드라마가 제공하는 성찰의 계기는 어떤 방식으로 이루어지는 살펴보았다. 텔레비전드라마에 수용된 파국은 기득권층과 공권력의 부조리로 인한 폐해와 강자 중심의 사회이다. 이러한 파국의 현실은 극적 상상력을 통해 시적 정의의 세계를 구현하거나 위반함으로써 형상화된다. 그것은 파국의 현실에 대한 비판적 인식과 고발적인 측면을 지닌다. 한편 텔레비전드라마는 캐릭터의 현실성을 확보하거나 정서적 리얼리즘에 호소하거나 비현실적 현상들에 대한 적극적인 상상력의 구현을 통해 성찰의 토대가 되는 공감을 유발한다. Ⅲ장과 Ⅳ장은 김지우․ 박찬홍의 복수 3부작 <부활>, <마왕>, <상어>의 텍스트를 분석하여 이 작품들에 나타난 파국의 현실과 성찰에 대해 논의하였다. Ⅲ장에서는 복수 3부작이 폭로하는 파국적 현실의 양상을 개인과 사회의 층위로 고찰하였다. 이 작품들의 인물들은 자신의 세속적 욕망을 선으로 위장하고 속임수를 일삼는다. 명예나 돈, 권력을 쫓으며 그것을 얻을 수만 있다면 타인을 죽음에 이르게 하거나 부당한 방법을 동원해서까지 진실을 은폐하는 그들은 신자유주의 시대, 세속적 욕망에 매몰된 개인들을 환기시킨다. 이를 통해 욕망에 대한 진정한 통찰 없이는 욕망의 주체도 될 수 없을뿐더러 욕망이 죄악으로 전도될 수 있음을 보여준다. 한편 과잉된 욕망에 사로잡힌 인물들과 그로 인해 고통 받는 인물들은 다양한 방식으로 장면화 된다. 빈번하게 구성되는 화면분할 쇼트, 오버 더 숄더 쇼트와 프레임 안의 프레임을 설정하는 방식은 시청자로 하여금 과잉된 욕망에 매몰된 인물들의 실상을 관찰자적 위치에서 목격하도록 하는 연출의 전략이다. 또한 색채 이미지의 극단적 대조를 통해 순수했던 인물들의 훼손을 부각시키면서 복수 행위에 대한 정당성을 부여한다. 복수를 위해 위장과 위악의 삶을 사는 인물들의 내면심리는 차갑고 어두운 조명을 통해 은유되며, 밝음과 어둠의 조명은 인물들이 겪게 될 내면적 갈등을 예고하기도 한다. 이처럼 복수 3부작은 권력자와 공권력의 결탁, 약자에 대한 차별, 승자독식의 사회분위기, 해결되지 않은 과거사 청산의 문제 등 한국 사회의 파국적 현실을 폭로한다. 이 작품들의 영상은 파국의 현실을 객관적으로 인식할 수 있게 한다. 가령 핸드 헬드 기법과 함께 구성되는 오버 더 숄더 쇼트는 거짓과 은폐를 일삼는 인물에 집중하게 하며 그러한 인물들이 저지르는 위법과 탈법의 행위들을 관찰자의 시점으로 바라보게 한다. 또한 줌인을 활용하여 쇼트의 크기를 점차 확대함으로써 시청자에게 냉혹한 현실과 대면하도록 한다. Ⅳ장에서는 복수 3부작에 나타난 성찰의 의미를 살펴보았다. 이 작품들은 윤리적 성찰과 정의 실천을 통한 소통이 파국의 징후가 완연한 시대를 극복할 수 있는 대안임을 보여줌으로써 성찰의 계기를 마련하고 있다. 윤리적 성찰과 정의 실천은 자기부정의 죄의식과 수행적 애도, 신뢰 회복을 통한 인간다움의 각성과 정의 실천을 위한 공감, 연대의 실현에서 비롯된다. 복수의 주체들이 겪는 죄의식은 남을 해치지 않고서는 충족될 수 없는 그들의 욕망에 균열을 내고 참혹한 고뇌의 과정을 거치도록 한다. 타인과의 관계는 그들을 비로소 하나의 주체로 설 수 있게 하고 윤리적 결단을 내릴 수 있게 하는 것이다. 복수주체들을 향한 여성인물들의 애도는 치유적인 역할을 수행하거나 타자 중심의 애도의 자세를 보여준다. 또 복수 당하는 자의 애도는 자신의 죄에 대한 성찰과 타인의 죄에 대한 용서를 성취한다. 한편 복수하는 자의 애도는 그를 이전과는 다른 삶의 주체로 거듭나도록 한다. 결국 애도는 타인의 죽음을 영접하고 타인을 영원히 기억할 때 치유의 역할을 할 수 있다. 복수3부작은 나의 고통에만 안주하지 않고 타인의 고통에도 응답하는 인물들을 형상화 한다. 실존적 고통 속에서도 타인에 대한 연민과 공감, 이해와 용서가 성취하는 것은 인간다움이다. 타인에 대한 공감은 연대를 형성해 은폐된 진실을 찾고 복수로 점철된 인물들의 고통에 대해 윤리적 책임을 다하고자 한다. 복수 3부작은 텔레비전드라마에서 자주 쓰이지 않는 카메라의 앵글, 롱 쇼트, 롱테이크 기법을 활용함으로써 성찰의 계기를 제공한다. 이를테면 부감과 롱 쇼트는 시청자와의 거리를 만들어 인물의 감정에 몰입하는 것을 차단하는 대신 인물의 상황에 대해 객관적으로 사유하게 하는 효과를 지닌다. 즉 카메라 앵글과 쇼트의 전략적 구성은 복수심과 죄의식, 선과 악에 대한 성찰의 틈을 만들어주는 장치이다. 요컨대 복수 3부작은 한국 사회가 당면한 파국의 현실을 복수극을 통해 보여준다. 복수극을 통해 드러나는 문제적 상황들은 당연하다고 생각했거나 무심하게 지나쳤던 우리사회의 파국의 국면을 각성하게 한다. 그것은 현대인의 욕망의 실상으로부터 한국 근현대사에서 해결되지 못한 문제들까지 환기시킨다. 이는 우리가 발 딛고 있는 체제에 대한 비판과 문제제기를 넘어서고 있다. 즉 현대사회가 당면한 문제적 상황을 재현하는 데 그치지 않고, 성찰을 통해 타인과의 윤리적 관계를 회복하는 인물들을 형상화함으로써 더 나은 삶에 대한 대안을 진정성 있게 모색하고 있는 것이다. 김지우·박찬홍의 복수 3부작은 결과적으로 선택적 시청자들과 소통했다는 점에서 한계를 지닌다. 그러나 이들의 복수 3부작은 시청률의 압박에 불구하고 작가의 세계관을 끝까지 견지하는 의지를 보여준 작품이다. 이들의 의지가 관철될 수 있었던 것은 작가의 세계관에 공감한 시청들의 지지와 능동적 수용방식에서 비롯한다. 이 과정에서 복수 3부작의 시청자들은 이전에는 없었던 시청방식을 창출해낸다. 이는 시청자가 창작 주체의 일원이 될 수 있음을 보여준 것으로 텔레비전드라마가 시청자를 통해 완성되는 영상예술임을 입증한 사례이다. 더욱 중요한 것은 김지우·박찬홍의 복수 3부작의 메시지에 응답한 시청자들의 참여와 소통은 텔레비전드라마가 문제적 현실을 각성하게 하고, 시청자에게 성찰의 계기를 제공하는 사회적 기능을 담보하는 측면을 지녔음을 증명한 것이라고 할 수 있겠다. The feature of a television drama is to reflexivitat spirit of the times when it aired through communicating with viewers and for its genre to be modified or differentiated. Thus the television drama cannot but be sensitive about the sense of the times. The recent sense of the times when they recognize the ills globalization of rampant neo-liberalism accompanies as crisis is being revived actively through television dramas. This dissertation defines here at this time of day as ‘catastrophe’ since we haven’t found an appropriate solution to the reality that although we are living there, it is becoming more and more dangerous rushing into ‘anti-humanization’ and ‘anti-life mood’ in the neo-liberalistic system. The dissertation is going to focus on the ‘Vengeance Trilogy’ made by Kim Jiwoo and Park Chanhong among the television dramas that revived the sense of the times, the catastrophe. ‘Vengeance Trilogy’ made by Kim Jiwoo and Park Chanhong deal with human fundamental problems and display the insight into humanity. Furthermore, they are the works that awaken the contradiction and irregularities of our society and history and consistently explore the reality of catastrophe that Korean society faces. Above all, the largest advantage of these ‘Vengeance Trilogy’ is the aspect that they try to find spiritual values we must restore and space of a better life in the lack of catastrophic reality based on reflexivitat. This dissertation studied the form and matter of the text, based on the features of a television drama, to find what reality of catastrophe and reflection in the ‘Vengeance Trilogy’ made by Kim Jiwoo and Park Chanhong imply and how they are illustrated. In this process I examined what the meaning and value of the ‘Vengeance Trilogy’ made by Kim Jiwoo and Park Chanhong are. The following are what were discussed in each chapter. In Chapter Ⅱ, I studied the meaning of catastrophe and reflexivitat and then examined how reality of catastrophe and reflexivitat are revived in the television drama. In Chapter Ⅲ, I studied how reality of catastrophe revived in the ‘Vengeance Trilogy’ made by Kim Jiwoo and Park Chanhong assume to be symbolized, dividing it into two aspects: the reality of desire of modern people and catastrophic society. The characters of <The Resurrection>, <The Devil> and <The Shark> do not realize that their desire is others’ desire and deficiency and voidness is the essence of desire. Therefore, they indicate the aspect of excessive desire not to mind using camouflage, deception and even violence just to achieve their desire. Their devious desire do not acknowledge others’ desire and only aspire to achieve their own. Those who are blind to ‘their own desire’ exclude others and even destroy freedom, vitality and humanity of others. Therefore, they make others feel humiliated and resentment, arousing an urge for revenge. It leads ‘others’ and ‘the subject’ to irrevocable destruction, increasing worse violence and returning like a boomerang. On the other hand, the characters consumed with excessive desire and those who suffer from them are expressed with scenes in various ways. The dark side of the inner world and restless mentality of the characters consumed with desire are expressed with the scenes using a window, looking fragmented, hidden by the objects or captured by obscure figures. Frequently organized split screens shots, over the shoulder shots and the method of setting a frame in the frame are the directing strategies that make viewers witness the true picture of the characters consumed with excessive desire from the viewpoint of observers. Besides, giving prominence to destruction of the innocent characters through extreme contrast of color images gives justification for their vengeance. The inner state of mind of the characters living camouflaged and playing evil for their vengeance is expressed metaphorically with cold and dark lighting and bright and dark lighting also portend the inner conflict the characters will go through. <The Resurrection>, <The Devil> and <The Shark> capture the signs of the social and historical problems Koran society is facing presently. They awaken the immediate problems our society faces such as collusion between the powerful and the public authority, social atmosphere of winner-take-all system and unsolved liquidation of the past history. Shots of <The Resurrection>, <The Devil> and <The Shark> effectively organize awareness of reality that recognizes our society as reality of catastrophe. The over the shoulder shot along with hand-held camera shot technique gets viewers focused on the characters who tell the untruth and cover up facts and also help the viewers to watch illegal acts and manipulations of the law committed by those characters from the viewpoint of observers objectively. Such is the strategy of keeping distance from characters that is the formal device enabling viewers to be aware of reality. In addition, it makes viewers meet face to face with pitiless reality by enlarging the size of a shot slowly using a zoom-in technique. In Chapter Ⅳ, I examined that the ways of different forms of life tried to be thought and found through criticizing the dominant order and the value system and questioning in <The Resurrection>, <The Devil> and <The Shark>. Reasoning and seeking a better life result from other-centered ethical reflexivitat. <The Resurrection>, <The Devil> and <The Shark> symbolize the characters not only settling for their own pain but also responding to the pain of others. We find underlying humanity from those who eventually recover their lost humanity with compassion and sympathy, understanding and forgiveness for others in the middle of their existential agony. They admit the value of others’ lives and move forwards sympathy, reconciliation and forgiveness. The other characters in <The Resurrection>, <The Devil> and <The Shark> show sympathy of trying to share the situation and feelings of others. Reflection starting from introspection extends to ethical responsibility for others. Reflexivitat in <The Resurrection>, <The Devil> and <The Shark> is presented with the scenes using the camera angle rarely used in a television drama, a long shot and a long-take technique. A crane shot and a long shot keep distance from the viewers and block them from being immersed in a character’s emotion. Instead, they have an effect on getting viewers to think about a character’s situation objectively. That is to say, the strategic composition of the camera angle and shots is the strategy that leaves viewers a margin of reflexivitat for themselves rather than forcing viewers to grasp the theme of the works. So far I have looked through reality of catastrophe and reflexivitat in the ‘Vengeance Trilogy’ made by Kim Jiwoo and Park Chanhong. ‘Vengeance Trilogy’ made by Kim Jiwoo and Park Chanhong display reality of catastrophe Korean society faces for the moment through revenge plots. The problematic situations revealed through the revenge plots urge us to acknowledge the catastrophic phases of our society which were taken for granted or passed by indifferently. That evokes from reality of desire of modern people to the problems unsolved in Korean modern history. It transcends criticism of our contemporary system and raising an issue about it. In other words, they do not merely stay reviving problematic situation our modern society faces but also ethical relationship with others through reflexivitat and look for a better life. ‘Vengeance Trilogy’ made by Kim Jiwoo and Park Chanhong could be said that they are valuable in that they broadened their ethical horizons of reflexivitat rarely seen in television dramas.

김기영의 시대인식과 영화세계

조규찬 忠南大學校 大學院 2019 국내박사

So far, researches on Kim Ki Young’s film has dealt with only a few films including sequels to <the Housemaid>. Based on this, Kim Ki Young’s film has been estimated as “magical black aesthetics that dissected the instinct of human”. However, selecting and evaluating only a few several films may cause a problem of overestimated or distorted evaluation. With this reason, this study chose all films made by Kim Ki-Young in order to study the awareness of the time and film works of him in a precise and objective way. Those are <Yangsan Province>, <The Housemaid>, <The Sea Knows>, <Goryeojang>, <Woman>, <Len's Sonata>, <Woman of Fire>, <Insect Woman>, <Transgression>, <Promises>, <Iodo>, <Soil>, <A Woman After a Killer Butterfly>, <Woman of Water>, <Neu-mi>, <Woman of Fire 82>, <Free Maiden>, <Hunting for idiots>, <Carnivorous animals>, and <Angel, Become an Evil Woman>. These selected Kim Ki-young’s films for this research are separated as disparate and coessential fields according to the possession of symbolic capital. Characters are in confrontation with each other while they try to satisfy their desire; conflicts and collisions occur from the confrontation. This works as an important matter that makes a difference from other movies in the same period. This means that the narrative of his films work focusing on symbolic capital related with power, desires, sacrifices, and escapes. Chapter Ⅱ deals with Burdieu’s theory as the research method and separates the theory into the field of social spaces and symbolic capital. The field as the social spaces means the group of individuals who shared the common habitus; the differences of habitus classify the disparate field and the homogeneous field. Also, symbolic capital is naturally formed when retaining economic, cultural and social capital. This brings symbolic power and symbolic violence through a tacit agreement. If the tacit agreement does not last, it causes opposition with conflict and collision. Chapter Ⅲ deals with confrontations, conflicts and collisions derived from the process that individuals in the disparate fields satisfy their desire in a hierarchical relationship. In this study, these conflicts are classified as sacrifices and escapes. First of all, characters who are the rulers of <The sea knows> and <Goryeojang> choose others as “the substitute victims” to meet their desires. These rulers uses force towards the subject people for voluntary obedience. If the subject people refuse to obey or show attempts to overthrow, the way of ruling becomes violence rather than power. The violence of the ruler towards the subject people is wielded as mental and physical violence. The violence, the change of the way of ruling, causes oppositions, conflicts, and collisions and come to a close with the death of the ruler. In <Yangsan province> and <Soil>, characters of the subject people refuse voluntary obedience in the hierarchical relationship. Thus, they deny the existing power relationship and try subversion. However, if the subject people refuse the voluntary obedience, they are defined as abnormal being; the subject people are experienced with repeated violence and are forced to give up on their desire. Consequentially, the subject people fail to subvert the hierarchical relationship because they have to give up on their desire by force rather than their willingness. The characters of the <Woman of Water> and <Hunting for idiots> have desire to get away from the isolation and the feeling of loneliness by forming the relationship with the other fields. However, in the process of characters’ attempts or denials of integration, their desires end up with failures since they prefer a dependant tendency without reference to the will of individuals or they do not agree with this officially. The characters of <The housemaid> express the madness to destroy others including themselves to meet their desire to be out from the feeling of isolation and loneliness from the formation of hierarchical relationship. At this time, characters try to integrate with objects by aiming for destructibility, but if the sympathizer refuses this, problems are caused. With this point of view, this study classifies films into <The Housemaid>, <Woman of fire> and <Insect Woman>, <Carnivorous animals>. Despite the differences, all the films are end up with death according to the common feature of destructibility. Chapter Ⅳ deals with sacrifices and escapes as conflicts and collisions occurred from the oppositions. Characters in <Woman> and <Neu-mi> have conflicts and collisions in the process of trying to own a woman through obsession. The difference of sex leads to the desire for men to own women by obsessing and restraining them and this causes the confrontation between men and women. The obsession and restriction of the man towards the woman causes mental diseases and obsessive compulsive disorder and drives themselves into sacrifice crisis and they end up to death. Characters in <Len’s Sonata>, <Transgression>, <A Woman After a Killer Butterfly> refuse the field they belong to in order to get rid of deficiency and give rise to confrontation in the process of pursuing another field which has new habitus. Furthermore, they become to be deported from the field they belong to and end up with sacrifice after having the crisis of survival. Characters in <Iodo> and <Angel, Become an Evil Woman> have the desire to attain the power that they are lack of by getting away from the isolation and the feeling of loneliness. Thus, characters try to harmonize to meet their own desire, this is appeared as sadism that governs and harass others. Nevertheless, they are unable to gain the power they are lack of and unable to escape from the feeling of isolation and loneliness. Thus, the sadism orientation of the characters is concluded only in failures. Characters in <Promises> and <Free Maiden> also have the desire to escape from the feeling of isolation and loneliness by acquiring their own power that they are deficient of. However, the integration with others as an option to meet their desire is shown as masochism rather than sadism. That is, they try to be dependent and subordinated to the others. This is because victims and assaulter are not divided clearly by the mental and physical violence and their goals are the same. Nevertheless, they have confrontation when they have different goals and this brings conflicts and collisions. As a result, this is led to a failure since they unable each other’s desire and want. Chapter Ⅴ examines the awareness of the time and film works that Kim Ki-young tried to deliver through his movies with periodic situations of Korean movies in 1960-70’s based on the analysis in chapter Ⅲ and Ⅳ. The period of 1960-70’s when Kim Ki-young produced a various movies is the time of the heyday and depression of Korean movies. The movies that Ki Ki-young produced in this time have distinctive features from other movies in the same period. First, Kim Ki-young constantly tried to deal with the matter of social problems in a direct and extreme ways rather than disregarding the reality. Since the social problems dealt in Kim Ki-young’s film are unable to be solved by the effort of an individual, he tried not to resolve the issue in a poor way. Thus, Kim Ki-young’s film unfolds the events in a dramatic way and it ends as tragedy. Second, Kim Ki-young tried to focus on the subject people or the relative weak people in the process of treating conflict and collisions from the characters’ confrontation. The important thing is that the result of the conflict and collision from the confrontation between the rulers and the subject people caused by symbolic capital does not show a perfect victory by none of the sides. This means that Ki Ki-Young only offered the opportunity for the audience to recognize the fundamental factor of social problems by themselves rather than suggesting unrealistic solutions or hope. Third, the social problems that Kim Ki-Young tried to deal with in his film is related with the symbolic capital and the matter whether one owns the symbolic capital or not causes desire of individuals. In this process of satisfying desires of individuals, conflicts and collision are caused from the confrontation with troubles with others. However, if the process of satisfying one’s own desire is done in a abnormal way, it always ends as a tragedy. As mentioned above, the awareness of the time and film works found in Kim Ki-Young’s films enables to explain the reason why his movie is distinctive from the other movies at that time and these mean that his point of view is being carried out. His films are differentiated from other movies that he constantly treated various social problems caused by the gloomy reality after the war and the control and the oppression by the government. That is, Kim Ki-Young used the film media in order to deliver diverse problems of the impoverishment after the war, the anxiety of extreme high growth, the formation of the irrational hierarchical relationship from the cornered capital phenomenon. By examining all of Kim Ki Young’s films in a general and overall way, an accurate and objective evaluation regarding the awareness of the time and film works could be done in this study. Furthermore, this study has the meaning of trying to overcome the limitations that other studies about Kim Ki Young’s movies have treated only a few particular movies.

봉준호 영화의 등장인물 연구

신다슬 忠南大學校 大學院 2018 국내석사

Drama is a literary genre created on the premise that it will be staged. In order for plays performed onstage, or dramatic performances, to convey stories to the audience, the actors on the stage must act. Dramatic texts ponder on humanity through the characters. Such characters occupy the most important position among the constitutive elements of both plays performed onstage and plays as written texts. In dramatic texts lacking narrators or speakers, appreciation by audience members or readers depends on the characters’ lines and actions. Consequently, the importance of the characters who develop the incidents in dramatic texts through their actions must not be overlooked. Such importance of the characters is shared by not only plays and drama but also genres including scenarios, film, and radio/television drama. Audience members receive movies through the characters captured by the camera. To audience members, such characters become the most superficial signs for understanding works. Research on the characters in South Korean cinema has focused on the family ideology or the modernization ideology. If the patriarchal family ideology has imposed the framework of the family on and judged the characters, the question of modernization has dichotomized the characters into subjects and Others, thus driving them to the question of subjectivity and Otherness. The characters in Bong Joon-ho’s movies, too, fit these types. This is because the issue of the family and Others are never omitted from his works. As a result, parents who are blindly devoted to their children and children who are protected, and dominating subjects and dominated Others present one direction for deciphering Bong’s characters. However, such a task of classification into types is only an approach that has become fixed through multiple repetitions. Consequently, it is necessary to examine the director’s characters from new perspectives. In order to achieve such goals, the present study sought to study Bong’s characters by using theater semiotician Anne Ubersfeld’s theory of the actantial model. She has established her actantial model theory by modifying Algirdas Greimas’ actantial model theory into a form appropriate for dramatic narratives. Denying the independence of actants, Ubersfeld has stressed the interdependent relationships through which actants are closely linked to one another. In addition, Ubersfeld has argued for a theory of three types of actantial triangles as substructures of the actantial model, thus focusing on particular relationships noteworthy in the actantial model. The task of extracting the actantial model from a text makes it possible to grasp clearly the roles played and, moreover, the networks of meanings formed by the characters in the text. Consequently, the task of analyzing the actantial model in each work seems to be the most appropriate method for studying Bong’s characters. Based on this, Chapter II analyzed the actantial model in six of Bong’s feature films. The chapter examined the tendencies in the six actants in Bong’s texts by surveying and summarizing the actantial model in and comparing and contrasting six of the director’s works. In Bong’s texts, there are usually two characters who function as subjects, functioning as either a helper or an opponent in terms of the other’s wishes. As for opponents, in addition to characters who interfere with subjects’ wishes as individuals, noteworthy is society, which imposes restrictions on subjects. On the other hand, the objects of subjects’ yearnings are located mainly off-screen. Generally characters around subjects, helpers affect the latter’s actions. Actants in the background, senders are not easily discernible. Based on the analysis in Chapter II, Chapter III summarized the types of characters in Bong’s works. Characters performing the functions of subjects, opponents, and helpers are depicted as powerless individuals who strive to fill their deficiencies but succumb to or are exiled by an all-powerful society. Those who mainly perform the functions of objects and receivers are the weak such as senior citizens, people with disabilities, and children, portrayed as individuals who are alienated amidst social indifference. In other words, characters in Bong’s films can be classified into the two types of active and passive, and these two types are but individuals powerless in a society that oppress them. However, Bong reveals his belief in ordinary individuals by not relinquishing the possibility for individuals to subvert society. Chapter IV, the conclusion, synthesized and summarized the contents of Chapters II and III. The present study elucidated that characters in Bong’s movies, analyzed by using Ubersfeld’s actantial model, could be classified into two types who may be called active actors and passive actors and that these two types of characters reflected attitudes toward life adopted by those who could not shake free from reality. Consequently, the present study is significant for elucidating that characters in Bong’s works can be classified from new perspectives other than existing methods for classification and for confirming that the director’s characters effectively depict individuals who must adapt to reality.

영화 <클래식>을 활용한 한국어 통합 교육 방안

최수정 忠南大學校 大學院 2017 국내석사

This study is developed based on two points; first, movie as a teaching method is very useful to Korean leaners in a way that interests and motivates learners to actively learn the foreign language. Secondly, there is a need for a new media that can compensate the traditional learning method. To be specific, by utilizing various features of a movie, such as dialogue, visual presentation, and sound tracks, Korean language can be taught with more integrated and effective way. In this study, taking account of the fact that using the whole film in a class is impossible, it tried to use only partial clips that are closely related to main motives of the movie. In addition, selection of the movie considered whether it includes human universal emotion and a story that most of people can empathize with. That makes it easier for learners to understand the story and react to the movie even if the learner is not fluent in Korean language. As a result, the learner is expected to overcome the obstacles of learning foreign language more easily. In addition, by using the movie as a teaching method, learners can go through Korean culture that is embedded in a movie. Concretely speaking, this study had the movie, <the classic> as the study’s object. The movie has the ‘first love’ motif that one can easily empathize with and might have experienced. This study made an integrated class model for beginners and presented an integrated lesson plan on the basis of the model. Year by year, more learners from diverse backgrounds with different motivations are willing to learn Korean language. Following that, the need of various supplementary textbooks and materials is on a rise. Also, teaching methods and materials that are appropriate to learners’ level of education have to be prepared. As a result, learners can choose their textbook and other materials by themselves according to their perceived level of study and that can lead to widen opportunities of enhancing language ability . This study has its significance in a way that it took one step further than traditional teaching method by choosing a movie and edit it in a form that is suitable to beginners to make a use in class. Furthermore, it rediscovered movie as a integrated teaching method for language education by utilizing various traits of movie such as visual presentations, sound tracks, live dialogues, printed scripts. 본 연구는 영화라는 매체가 한국어 학습자들에게 지속적으로 학습에 대한 흥미와 동기를 자극하는 데 유용하다는 점과 함께 문자매체를 통한 전통적인 학습방법의 한계를 보완하는 방법으로 다양한 영상과 미디어를 활용해야 한다는 점에 착안하였다. 영화는 영상매체와 그 속의 담화, 영화대본, 등을 적극 활용하여 언어의 말하기, 듣기, 읽기, 쓰기 기능을 통합적으로 활용하기에 유용할 뿐 아니라 한국의 문화 또한 자연스럽게 접할 수 있는 통로가 된다고 보았다. . 본 연구에서는 영화 전편을 수업에 활용하는 것의 한계를 인식하고 영화의 주요 모티프를 중심으로 장면을 부분적으로 편집하여 수업에 활용하였다. 이때 인간의 보편적인 감정과 이야기를 다룬 영화(의 장면)를 선택함으로 한국어에 능통하지 않은 외국인이라도 쉽게 공감하게 됨으로 한국어를 쉽고 재미있게 학습하도록 유도하였으며 한국의 문화도 자연스럽게 습득할 수 있도록 하였다. 구체적으로 이 논문에서는 누구나 공감하고 흥미를 가질만한 첫사랑 모티프를 주제로 한 영화 <클래식>을 연구대상으로 삼아 초급 학습자를 중심으로 한 4차시로 구성된 통합 지도안을 만들어 보았다. 해를 거듭할수록 한국어를 배우려는 학습자의 동기와 배경이 다양해지고 있는 때에 한국어를 보다 효과적으로 가르치기 위해서는 교재 이외에 다양한 교육용 부교재와 자료 개발이 절실해 보인다. 이러한 요구에 부응하기 위해서는 수준별로 다양한 자료가 구축되어 교육 현장에서 활용할 수 있는 선택의 폭이 넓어져야 하며 학습자들 스스로 주도적으로 수준에 맞는 작품을 골라 한국어 능력을 향상시킬 수 있는 기회를 늘려갈 필요가 있다. 이와 같은 맥락에서 본 연구가 지향하는 바는 크게 세 가지로 요약할 수 있다. 첫째, 영화 한 편을 선택하여 그것을 학습자의 수준에 맞게 편집하여 학습자 중심으로 수업에 활용함으로 교재 중심의 문자매체로서의 수업에서 한 걸음 더 나아갔다. 둘째, 제 5의 언어기능으로도 불리는 문화를 자연스럽게 학습할 수 있는 단초를 제공하였다. 셋째. 언어의 네 가지 기능을 동시에 학습할 수 있는 통합학습법을 시도하였다는 점이다.

한국과 중국 SF영화 비교 연구 : - <승리호>와 <유랑지구>를 대상으로 -

우흔동 忠南大學校 大學院 2023 국내석사

한국과 중국에서 SF 콘텐츠에 관한 논의가 시작된 지 백 년이 넘어가는 2020년을 전후한 시기에 역사적인 SF영화가 거의 동시에 제작되었다. 한국의 <승리호>와 중국의 <유랑지구(流浪地球)>가 그것이다. <승리호>와 <유랑지구>는 한국과 중국의 첫 번째 우주 SF영화로 성공을 거두었고, 양국 국민에게 자국의 SF 미래에 대한 희망을 불러일으키면서 서양과 다른 동양 SF의 매력을 세계에 보여주었다. 이처럼 미국과 유럽에 비해 SF 관련 콘텐츠가 부족한 동아시아에서 한국과 중국의 SF영화는 동양적인 시선으로 인류의 미래 발전과 미지의 세계에 관한 상상을 본격화하고 있다. 하지만 작품의 편수가 많지 않고, 동아시아의 SF를 체계적으로 분석할 수 있는 이론이 정립되어 있지 않다. 따라서 미국과 유럽의 SF와 다른 동양적 SF의 특성을 명확하게 구명할 수 있는 연구가 필요하다. 본고는 한국과 중국의 우주 배경 SF영화 <승리호>와 <유랑지구>를 대상으로 동양적인 독특성을 구현하는 SF 영상콘텐츠의 내용과 형식을 구체적으로 분석하는 것을 목적으로 한다. 특히 <승리호>와 <유랑지구>의 내용과 형식적 특성을 분석하고, 이를 바탕으로 두 작품에서 구현된 ‘과학적 개연성’을 살펴보고자 한다. 더 나아가 <승리호>와 <유랑지구>에 내재된 동양의 전통 사상을 고찰하고자 한다. It's been 100 years since South Korea and China started talking about science fiction, and around 2020, around the same time, historic science fiction films were made in both countries. Korea s "Space Sweepers" and China s "The Wandering Earth" are among them. "Space Sweepers" and "The Wandering Earth" were successful as the first space SF movies in Korea and China, raising the hopes of the people of both countries for the future of SF in their countries, and showing the world the charm of SF in the East, which is different from the West. In East Asia, where SF content is scarce compared to the U.S. and Europe, Korean and Chinese SF movies have begun to imagine the future development of mankind and the unknown world from the perspective of the East. However, the number of works is small and there is no systematic analysis of SF theory in East Asia. Therefore, studies are needed to clarify the characteristics of eastern SF, which are different from American and European SF. Based on Korean and Chinese space background SF films "Space Sweepers" and "The Wandering Earth," this article analyzes the content and form of SF films that reflect the uniqueness of the East. The key point is to analyze the content and form characteristics of "Space Sweepers" and "The Wandering Earth", and on this basis, observe the "scientific contingency" reflected in the two works, and further investigate the internal Oriental traditional thought of "Space Sweepers" and "The Wandering Earth".

노희경 드라마의 등장인물 연구 : 남성인물을 중심으로

이다운 충남대학교 대학원 2009 국내석사

Since its first appearance, Television became an essential part of human life with its far-reaching effects. Among various television genres, drama, mainly based on a storytelling function, is clearly appealing. Stories as one of human instincts help us understand human life and the world that we can not experience otherwise. In other words, dramas can bring us to the various aspects of human life and assist us to see the current social trends by tellingstories through pictures. A television drama reflects the contemporary cultures and ideologes with its unique characteristics of nowness and simultaneity. It presents not only the condition of contemporary life, universal feelings and interests, also underlying moral structures. In this sense, dramas have been palying a representative role of society, and provided a place for discussion. There are numerous writers for dramas, the center of television cultures. However, No, Hee Gyeong is obviously at the top of the field. Evaluated as ‘the most influential drama writer’ and ‘the writer who overcomes the limits of Korean dramas’, she has created the works that went beyond limitations found in Korean dramas, namely extreme good and evil structures among characters, adaptation of unrealistic characters as sons of conglomerates, obsession with eye-pleasing yet shallow settings. The reason No, Hee Gyeong dramas are remembered even many years later rather than gaining an instant fame is due to revealing the plain truth of humans. No, Hee Gyeong shows real life instead of beautifully disguising it. The main characters in her dramas are far from attractive, and rather they make us feel uncomfortable watching them. What is more, they deal with their mental wounds and imperfections, and she shows their honest inside through brutally bald words. Moreover, No, Hee Gyeong made those characters with many defect become healed via understanding and affection. This healing process which is necessary in her dramas is helping us to question what could be the most important thing in the world. Not only current, but also in the future, No, Hee Gyeong's works will remain the center of Korean dramas as they leave meaningful messages about our life instead of giving temporary pleasures. Therefore, study on her works that overpass the limit of a small TV screen and deliver various meanings to the viewers should be accomplished. However, most of No, Hee Gyeong's works so far have been viewed as motherhood or feminity based on the biased perspective. Despite of her using male main characters, female characters’ idealistic side was only focused and it made her to be perceived as being obsessed with motherhood and female characters. Women and mothers in No, Hee Gyeong's dramas who get the most attention are the values we may pursue. On the other hand, men in her works represent our current situations we face. We can understand male characters and share feelings with them, and also get over our wounds by watching them. No, Hee Gyeong's works are based on wounded humans and their true life and also the healing process so that study on male characters in her dramas are essential to deeply understand and evaluate her works.

드라마 <도깨비>를 활용한 한국문화교육 방안 연구

정택희 忠南大學校 大學院 2022 국내석사

Although the motivations and backgrounds of learners who want to learn Korean are diverse, if they want to learn a language, understanding and education about the culture must follow. Based on the close interrelationship between language and culture, language and culture should be taught at the same time. Therefore, in order to teach Korean culture more effectively, active use and development of various auxiliary materials and materials other than textbooks is necessary above all else. Textbooks are the most relied on in the field of actual Korean language education, and cultural education for foreign learners is limited to fragmentary knowledge transfer. In addition, it is insufficient to meet the needs of learners due to lack of dynamism and weak reflection of actual reality. Therefore, in this study, the drama <Goblin> was used as a teaching method that can improve language and cultural abilities. Korean traditional goblins are familiar to Koreans. Narratives are generally used as reading materials for foreign language learners. However, it is not easy to motivate and motivate learners with only textbook-centered teaching methods, and it is also difficult to explain the visual image of the traditional goblin. If you use the drama <Goblin>, you can more easily teach the visual image of the traditional goblin. In addition, it is easy to access the tale of the goblin by presenting additional educational materials related to goblin that contain Korean culture. Therefore, this study tried to suggest an educational method using drama for effective Korean culture education for intermediate learners, the subjects of this study. The research process and contents are summarized and presented as follows. In Chapter 1, the necessity and purpose of research on Korean education methods using dramas are presented, a study that categorizes cultural elements by type in Korean education, a study that emphasizes the use of dramas and movies, and a study of the drama <Goblin> in Korean education. Previous research was reviewed by dividing it into one field. Chapter Ⅱ investigated the educational effects of using dramas as media educational materials for cultural education in Korean language education. It also revealed the reason for selecting the target of cultural education as intermediate level learners. Next, in order to select cultural elements, previous studies on existing cultural contents were reviewed, and cultural elements in dramas were classified into language culture, living culture, spiritual culture, social culture, and popular culture for Korean culture education. Based on these cultural factors, this study tried to suggest an educational method that reflects the characteristics of Korean culture education by considering the organic interrelationship between each item. In Chapter Ⅲ, the drama <Goblin> was selected as an educational media material for Korean culture education, and the contents of the drama were analyzed to use as basic data for extracting cultural elements appearing in the drama <Goblin>. In addition, based on previous studies, cultural elements appearing in the drama <Goblin> were presented, and cultural contents with educational value were presented according to the cultural element classification set in the previous chapter. Then, a teaching-learning model was established and a teaching-learning guidance plan was designed. This study planned a Korean language course for intermediate level learners to learn through drama. Classes are planned twice a week with 6 lessons, and this study devised a guide for teaching and learning Korean culture education in 3 lessons. Classes are structured so that learners can understand Korean culture knowledge, Korean language culture, life culture, and spiritual culture along with the context in the video, and compare and discuss with their own culture. In addition, cultural materials related to the target culture were additionally presented so that learners could indirectly experience Korean culture more easily and interestingly. In order to improve communication skills, we tried to devise a lesson plan so that the four language domains, listening, speaking, reading, and writing, are interconnected. In order to arouse interest and motivate learners, it was planned to watch the drama Goblin video at every class based on the audiovisual teaching method. After watching, a lesson plan was devised to reach the learning goal through various activities such as group activities, presentations, and discussions. In order for learners to participate faithfully in class, the instructor provides learning information through SNS and is configured to give feedback on assignments. In addition, it was possible to conduct self-evaluation and peer-evaluation after the 3rd class discussion activity using the evaluation paper. Through this study, it is expected that various educational methods and follow-up activities using dramas in the actual Korean language education field, and follow-up studies that supplement the limitations of this study will be developed, resulting in more meaningful research results. Finally, I hope that this study will be of some help to the development of Korean language education. 한국어를 배우려는 학습자의 동기와 배경이 다양하지만, 언어를 배우고자 한다면 문화에 대한 이해와 교육이 반드시 뒤따라야 한다. 언어와 문화의 밀접한 상호 관련성을 토대로 언어와 문화가 동시에 교육되어야 한다. 그러므로 한국문화를 보다 효과적으로 가르치기 위해서는 교재 이외에 다양한 부교재와 자료의 적극적인 활용과 개발이 무엇보다도 필요하다. 실제 한국어 교육의 현장에서 가장 크게 의존하고 있는 것이 교재이며, 외국인 학습자를 위한 문화교육이 단편적인 지식 전달에 머무르고 있다. 또한, 역동성이 부족하고 실제 현실의 반영이 미약하여 학습자들의 요구를 충족시키기에는 부족한 상황이다. 따라서 본 연구에서는 언어능력과 문화능력을 증진시킬수 있는 교수방법으로 TV드라마 <도깨비>를 활용하였다. 한국의 전통 도깨비는 한국인에게 친숙한 존재이다. 설화는 일반적으로 외국어 학습자를 위한 독서 자료로 사용되고 있다. 그러나 교재 중심의 교육방법만으로는 학습자들에게 흥미와 동기를 부여하기가 쉽지 않을 뿐만 아니라 전통 도깨비의 시각적 이미지를 설명하기도 어렵다. 드라마 <도깨비>를 활용한다면 전통 도깨비에 대한 시각적 이미지를 보다 더 쉽게 가르칠 수 있다. 또한 한국문화를 담고 있는 도깨비 관련 추가 교육자료를 제시하여 도깨비 설화로 접근하기에 용이하다. 이에 본 연구에서는 수업 대상인 중급 학습자의 효과적인 한국어 문화교육을 위하여 드라마를 활용한 교육방안을 제시하고자 하였다. 연구 진행 절차와 내용을 요약하여 제시하면 다음과 같다. 1장에서는 드라마를 활용한 한국어 교육 방안의 연구 필요성과 목적을 밝히고, 한국어 교육에서 문화요소를 유형별로 범주화한 연구와 드라마와 영화의 활용을 강조한 연구, 한국어 교육에서 드라마 <도깨비>를 연구한 분야로 나누어 선행연구를 검토하였다. Ⅱ장에서는 한국어 교육의 문화 교육을 위한 매체 교육 자료로서 드라마를 활용할 때 어떤 교육적 효과가 있는지 알아보았다. 그리고 문화교육의 대상을 중급수준의 학습자로 선정한 이유도 밝혔다. 다음으로 문화 요소를 선정하기 위해 기존의 문화 내용에 대한 선행연구들을 살펴본후 한국어 문화교육을 위해 드라마 속 문화 요소를 언어문화, 생활문화, 정신문화, 사회문화, 대중문화로 분류하였다. 본 연구는 이러한 문화요소를 바탕으로 각 항목 간의 유기적 상호관련성을 고려하여 한국어 문화교육의 특성을 반영한 교육방법을 제시하고자 노력하였다. Ⅲ장에서는 한국 문화 교육을 위한 교육 매체 자료로서 TV드라마 <도깨비>로 선정하고, 드라마<도깨비>에 나타난 문화요소를 추출하는데 기본 자료로 삼고자 드라마의 내용을 분석하였다. 또한 기존의 선행연구를 바탕으로 드라마 <도깨비>에 나타난 문화요소를 제시하고앞장에서 설정된 문화요소분류에 따라 교육적 가치가 있는 문화내용을 제시하였다. 그리고 교수학습모형을 설정하고 교수 학습 지도안을 설계하였다. 본 연구는 중급수준의 학습자를 대상으로 드라마로 배우는 한국어 강좌를 계획하였다. 주2회 6차시로 수업을 계획하고, 본 연구에서는 3차시의 한국문화교육 교수 학습 지도안을 고안하였다. 학습자가 영상 속 상황 맥락과 함께 한국문화 지식과 한국인의 언어문화 , 생활문화, 정신문화를 이해하고 자국의 문화와 비교하며 토론할 수 있도록 수업을 구성하였다. 또한 목표 문화와 관련된 문화 자료를 추가로 제시함으로써 학습자가 좀 더 쉽고 흥미있게 한국문화를 간접 체험할 수 있도록 하였다. 의사소통 능력의 향상을 위해 언어 4가지 영역인 듣기, 말하기, 읽기, 쓰기 영역이 서로 연계되도록 수업지도안을 고안하고자 노력하였다. 학습자들의 흥미 유발과 동기부여를 위해 시청각 교수법을 토대로 매 차시마다 드라마 도깨비 영상 시청을 하도록 계획하였다. 시청 후 조별 활동, 발표, 토론 등의 다양한 활동 등을 통해 학습 목표에 도달하도록 수업지도안을 고안하였다. 학습자들이 수업에 성실하게 참여하도록 교수자는 SNS를 통해 학습 정보를 제공하고, 과제에 대한 피드백도 할 수 있게 구성하였다. 또한 평가지를 이용하여 수업의 3차시 토론 활동 후 자기평가와 동료평가를 실시할 수 있게 하였다. 본 연구를 통해서 앞으로 실제 한국어 교육현장에서 드라마를 활용한 다양한 교육방법과 후속활동이 개발되기를 기대한다. 또한 본 연구의 한계점들을 보완하는 후속연구가 개발되어보다 의미있는 연구 결과가 나오기를 기대한다. 마지막르로 본 연구가 한국어 교육 발전에 조금이나마 도움이 되기를 바란다.

이강백의 1990년대 희곡 연구

허경숙 충남대학교 교육대학원 2012 국내석사

This paper discusses the recurrent theme in Lee, Gang-baek's works of the 1990s not under discussion due to interpretative difficulties. It also ponders over how he has utilized his recurring tools like 'allegory' and 'dual structure' for thematic emphasis since his debut in the 1970s. Lee, Gang-baek's dramas written in the 1990s fall into two broad categories: those addressing the quest for truth in an invisible world in pursuit of the essence of thinking and those embodying introspection within the context of social reality. First, <Bubble>, <As if Seeing Flowers in the Winter Solstice>, <Diary of a Journey to Yongwol>, <Feeling, Like Nirvana>, and <Bone and Flesh> reveal the unseen's true meaning through the quest for truth in an invisible world. For thematic emphasis, they embody the unseen in ‘sacrifice,' ‘moderation,’ ‘pond,’ and ‘destiny.' Defining the unseen's meaning as an invisible world, they draw no distinction between the unseen and the seen while embracing the seen. Second, <Yeongja and Jintaek>, <The Man Who Set Fire>, <Fishy Man>, <Jowl of Dried Pollack>, <Jumping Over a Barrel>, and <About Suicide> look at the social reality from a critical viewpoint. They highlight personal introspection within a social mechanism. Each work features individual characters with different appearances, but all of them have ultimate connotations of 'social reality.' Moreover, individual characters therein sacrifice themselves for group salvation and integration and guide their acquaintances into the value of life. They are also manifested in a dependable and mature human being for our introspection. To stress the quest for truth in an invisible world plus personal introspection, Lee, Gang-baek continues to use his unique hallmarks like allegorical technique and diverse forms of dual structure in his works of the 1990s. First, Lee, Gang-baek showcased his own allegorical technique. In particular, those works of allegorical embodiment usually offer significant implications for the unseen's value, thereby presenting a world view of reconciliation and tolerance. Typical examples include <Bubble>, <Diary of a Journey to Yongwol>, <Feeling, Like Nirvana>, <Yeongja and Jintaek>, <The Man Who Set Fire>, and <Jowl of Dried Pollack>. Second, Lee, Gang-baek demonstrated various forms of dual structure. The dual structure manifested in several works not only enables audiences to clearly recognize theatrical meaning but also arouses theatrical fun from audiences. Typical examples include <Bubble>, <As if Seeing Flowers in the Winter Solstice>, and <Diary of a Journey to Yongwol>. Even though such dual structure doesn't appear in all his works of the 1990s, he continued to use it in his own way from the outset of his literature. 이 논문은 해석의 여러움으로 인해 논의되어지지 않은 이강백의 1990년대 작품 에서 드러나는 일관된 주제에 대해 논의하고 있다. 더불어 작품에 드러난 주제를 부각시키기 위해 1970년대 등단 이후 지속적으로 사용되어온 알레고리와 이중구조가 어떻게 활용되어지고 있는지에 대해 고찰하고 있다. 이강백 작가의 1990년대 희곡은 사유의 본질을 찾아가는 과정에서 비가시적인 세계의 진실 탐색을 주제로 드러내는 작품들과 사회현실의 문제안에서 자아성찰을 드러내는 작품들이 대부분이다. 첫째, <물거품>, <동지섣달 꽃 본듯이>, <영월행 일기>, <느낌 극락같은>, <뼈와 살>에서는 비가시적 세계의 진실 탐구를 통해 보이지 않는 것의 진정한 의미를 드러내고 있다. 보이지 않는 것은 ‘희생’, ‘중용’, ‘연못’, ‘운명’ 등으로 제시되어 주제를 부각시키고 있으며, 비가시적 세계인 보이지 않는 것의 의미는 보이는 것과 경계 짓지 않을 뿐만 아니라 보이는 것까지도 포용하는 것임을 주제로 드러내고 있다. 둘째, <영자와 진택>, <불지른 남자>, <물고기 남자>, <북어대가리>, <통 뛰어넘기>, <자살에 관하여>는 사회현실을 비판적 시선으로 보고 있는 작품들이다. 이 작품들은 사회라는 집단속에서 개인의 자아성찰을 주제로 드러내고 있다. 각각의 작품속에 드러나는 개인들은 그 모습을 달리 하고 있지만 결국 사회 현실의 문제를 내포하고 있다. 더불어 개인들은 그들의 희생을 통해 집단을 구하기도 하고, 통합시키기도 하며, 주변 인물들이 삶의 가치를 찾게도 해주며, 의지적이고 성숙한 인간의 모습으로도 제시되어 우리들로 하여금 자아 성찰을 하게 한다. 이러한 비가시적 세계의 진실 탐색과 자기 성찰이라는 주제를 드러내기 위해 이강백은 그만의 고유한 특징이라 할 수 있는 알레고리 기법과 다양한 형태의 이중구조를 1990년대 작품에 지속적으로 드러내고 있다. 첫째, 알레고리 기법을 제시하고 있다. 특히, 알레고리가 드러나는 대부분의 작품들에는 보이지 않는 것의 가치를 의미있게 드러내는 작품이 많았으며, 이를 통해 화해와 포용의 세계관을 제시하고 있다. 이에 해당하는 작품으로는 <물거품>, <영월행일기>, <느낌 극락(極樂)같은>, <영자와 진택>, <불지른 남자>, <북어대가리> 등이다. 둘째, 다양한 형태의 이중구조를 확인할 수 있다. 몇몇 작품속에서 분명하게 드러난 이중구조는 관객들에게 극의 의미를 분명하게 인식하게 할 뿐만 아니라 극적 재미까지 유발하게 한다. 이러한 이중구조가 나타나는 대표적 작품으로 <물거품>, <동지섣달 꽃 본듯이>, <영월행 일기>가 있다. 이러한 이중구조가 1990년대의 모든 작품에 나타나지는 않지만 초기작부터 끊임없이 자신만의 방법으로 구사하고 있다.

드라마 <별에서 온 그대>를 활용한 한국어 어휘 교육 방안 연구

박경선 忠南大學校 大學院 2022 국내석사

어휘의 습득은 언어를 배우고 사용하는데 가장 기본적인 언어 활동이며 적절한 수준의 어휘 학습 지도는 의사소통 능력을 향상 시키는데 큰 영향을 끼친다. 즉 어휘를 많이 습득 시키고 이를 활용할 수 있는 능력을 향상 시킬 수 있도록 지도하는 것이 언어 교육의 최대 목표인 것이다. 그래서 언어를 가르치는 교사들은 어휘의 습득을 높일 수 있는 지도 방안과 학습에 흥미와 몰입을 높일 수 있는 수업 방안을 구상하게 되는 것이다. 최근 들어 한국어를 외국어로 배우고자 하는 사람들이 급격히 증가하고 학습 목적도 다양하다. 이들 중에는 한국의 드라마나 영화, K-POP등에 관심을 가지고 한국 문화나 한국어를 배우고 싶어 하는 이들도 늘고 있는 추세다. 그래서 실제 한국어 수업에서 영상 매체를 수업 도구로 활용하여 수업의 변화를 꾀하는 경우가 많아지고 있다. 그래서 이 논문은 어휘 지도와 매체 활용의 연관성을 알아보고 여러 영상 매체를 활용하여 한국어 어휘 교육을 할 때의 교육의 효과에 대해 살펴보고 그중 드라마를 활용하여 교실 수업에 실제로 사용될 수 있는 어휘 통합 수업 지도 안을 구상하였다. 처음 학습자들은 한국어 학습에 적극적인 관심을 보이고 열심히 참여하지만 단계가 올라갈수록 중도 포기하는 경우가 많다. 대부분 어휘를 암기하는데 어려움을 느끼고 발음이나 문법적 오류의 수정을 어려워하는 경우가 많다. 또한 반복 패턴의 교재 수업에서 느끼는 흥미 저하 등도 지속적인 학습을 방해하는 요소가 되는 것 같다. 그래서 본 고는 학습자의 흥미를 유발하고 지속적인 관심을 가지고 학습할 수 있도록 교재 수업 외에 특강 형식의 영상 매체를 활용한 수업 지도 안을 계획하였다. 논문은 총 3장으로 구성하였는데 1장은 연구의 필요성과 목적을 담은 서론과 2장은 한국어 어휘의 특징과 교육 방안에 대해 언급하였는데 어휘 교육과 매체 활용의 연관성과 여러 영상 매체를 활용한 어휘 교육의 효과에 대해 알아보았다. 3장에서는 드라마를 활용한 어휘 교육의 실제로 학습자들이 많이 알고 있는 드라마 ⌜별에서 온 그대⌟를 활용한 3차 시의 수업 안을 마련하였다. 드라마는 실제 영상을 담은 학습 자료로 교재에서 배울 수 없는 어휘나 표현, 문화적 지식 등을 자연스럽게 익힐 수 있고 학습자의 흥미와 학습 동기를 유발하기에도 적합한 자료다. 수업은 드라마의 시청 전 단계, 시청 단계, 시청 후 단계로 진행하였는데 각 단계 별로 학습자가 알아야 할 어휘와 표현을 다양한 활동을 통해 습득하고 활용할 수 있도록 구상하였다. Vocabulary acquisition is the most basic language activity to learn and use a language, and appropriate level of vocabulary learning instruction has a great influence on improving communication skills. In other words, the greatest goal of language education is to learn a lot of vocabulary and to teach it to improve the ability to use it. Therefore, teachers who teach language come up with instructional methods that can increase vocabulary acquisition ability and instructional methods that can increase interest and immersion in learning. Recently, the number of people who want to learn Korean as a foreign language has increased rapidly, and the purpose of learning is diverse. Among them, more and more people are interested in Korean dramas, movies, and K-pop and want to learn Korean culture and Korean. Therefore, in actual Korean language classes, there are more and more cases of using video media as a teaching tool to try to change the class. Therefore, this thesis examines the relationship between vocabulary instruction and the use of media, examines the effect of education when teaching Korean vocabulary using various video media, and among them, a vocabulary integrated instructional plan that can be practically used in classroom lessons using dramas. was envisioned. First-time learners show an active interest in learning Korean and participate eagerly, but as they go up the level, they often give up halfway. In most cases, it is difficult to memorize vocabulary and it is often difficult to correct pronunciation or grammatical errors. In addition, the decrease in interest felt in the repetitive pattern textbook class seems to be a factor that hinders continuous learning. Therefore, in this paper, we planned a lesson plan using video media in the form of special lectures in addition to textbook lessons so that learners can arouse interest and learn with continuous interest. The thesis consists of three chapters. Chapter 1 is an introduction containing the necessity and purpose of the study, and Chapter 2 is about the characteristics and educational methods of Korean vocabulary. found out about In Chapter 3, a lesson plan for the 3rd session was prepared using the drama ⌜My Love from the Star⌟, which is actually a lot of learners know about vocabulary education using drama. Dramas are learning materials that contain actual videos, and they can naturally learn vocabulary, expressions, and cultural knowledge that cannot be learned in textbooks, and are also suitable materials to motivate learners and motivate them to learn. The class was conducted in the stages before, watching, and after watching the drama, and it was designed so that learners can acquire and utilize the vocabulary and expressions they need to know through various activities at each stage.

송영(宋影)과 샤이엔(夏衍) 戱曲의 특징 비교 연구 : 1930~1940년대 중심으로

왕훼천 忠南大學校 大學院 2018 국내석사

In the 1920s and 1930s, based on Marx's thought and with the purpose of incitement, the left-wing literature was sprouted in Europe, and gradually spread in East Asia. Among these literatures, the left-wing drama was developed from German workmen's literature first and then widely spread in Europe, America, Asia and other regions through the worker revolution. The left-wing drama is usually accompanied by revolution and subversion, inciting and publicizing the basic literary form of breaking the irrational social order and pursuing the new ideal world. Of the three East Asia countries, the left-wing drama first became popular in Japan. At that time, Koreans and Chinese in Japan began to get into the trend of Western literature and art, hoping to fight through literature and save the country from hot water. Most of the Koreans and Chinese in Japan are workers, farmers, or proletariat, such as foreign students. Among them, Song Yeong and Sha I yen as representative writers of Korean and Chinese left-wing literature, were also a member of the progressive youth in Japan. They contacted with each other in Japan deeply and learned the socialist ideology, and actively started the creation of Pro literature. In August 1925, Song Yeong participated in the Korean organization of the proletarian literary and artistic alliance, and has been active in the left wing literary world as an important member of KAPF. In 1930, Sha I yen participated in the League of left wing Chinese writers and later made great contributions as key members of the left-wing literature. Based on the 30s and 40s, and considered Song Yeong and Sha I yen as the research object, this thesis aims to study the characteristics of their works first, and then based on the basis of marxist methodology, mainly to find out the two writers of the similarities and differences of drama. by make a comparative analysis. Although the two writers' nationality, language, growth experience, and the environment are different, their creative motivation and ideology are similar. They are all created for the purpose of winning the support of the peasants, workers and the proletariat. In particular, they have learned the theory of proletariat by reading the works of the proletarian revolutionaries such as Soviet Russia and their experience in Japan. Therefore, in the introduction part, we described the growth experiences of Song Yeong and Sha I yen and their works so as to find out the similarities and differences between the two writers. In the second chapter, we took the script as the research object and analyzed the realistic cognition of Song Yeong and Sha I yen's ethnic problems under colonial and feudal system. The realistic understanding of Song Yeong was mainly reflected in the emphasis on class consciousness and the realistic criticism in the colonies. While Sha I yen was reflected in the strengthening of national consciousness and the criticism of reality in semi feudal and semi colonial area. Then we compared the problem consciousness of the two writers. In the third chapter, we also focused on the scripts. Firstly, the analysis of the expression techniques used in the works of Song and Sha respectively. In the awakening of class consciousness, Song Yeong mainly used the means of satire, while Sha I yen used the lyric technique in the awakening of national consciousness. Then compared the main methods of expression of the two writers' dramas. Finally, in the conclusion part, the characteristics of Song and Sha’s dramas, that is, the writer's thought and the means of expression, are generally combed and compared. On the basis of the above points, it is concluded that this study is the result of the value and significance of the comparison.