비교문학과 비평에 대한 문학적 고찰

양기찬 국제언어인문학회 2008 인문언어 Vol.10 No.-

La relation entre la littérature comparative et l'écriture critique est compréhensive plutôt que restrictive. La littérature comparative apparaît ces derniers temps dans le domaine littéraire et devient un genre principal au début de 20e siècle. Elle se distingue de la tendance dominante par le fait suivant : la recherche de la littérature comparative présume que tous les phénomènes culturels et littéraires reliés entre eux. Ce travail examine le développement du genre de la littérature comparative et les techniques qui proposent aux chercheurs les manières basées sur l'«objectivité». Tandis que le domaine de l'écriture critique est reconnu depuis Aristote, il partage et requiert les mêmes techniques de la littérature comparative. On accepte aujourd'hui ce point de vue selon lequel les deux domaines sont reliés du fait que tous les deux requièrent l'«objectivité» poru leur base. La littérature comparative peut être définie comme un processus théorique, l'écriture critique comme un processus créatif. Ainsi, les aspects théoriques de la littérature comparative ont fourni les bases de l'écriture critique d'aujourd'hui.

현대 연극에 나타난 언어의 위기 및 그 한계

양기찬 국제언어인문학회 2006 인문언어 Vol.8 No.-

The modern play is going through a change that is differentiating it from the plays of yesterday. The importance of narration through language, specifically that of words spoken on stage as a means of communication is being replaced by images and minimalism of words. The narration that depended on spoken words today depends more on the images that are conjured on stage. This movement shows also the very development of stage and its craft in the domain of theater and especially holds true in the avant-garde theaters of today. The avant-garde theater, in trying to duplicate the reality does not confine itself to oratory rhetorics that we see in the traditional plays of the past but expresses itself by mimicking the reality to the utmost possible.

〈삼류배우〉그 꿈의 아름다움을 생각하며_발제문

양기찬 공연과이론을위한모임 2005 공연과 이론 Vol.- No.16

[발제문] Off 대학로 페스티벌을 보고

양기찬 공연과이론을위한모임 2007 공연과 이론 Vol.- No.28

Beckett and the Hypertextual Age: An Aesthetical Enquiry

양기찬 국제언어인문학회 2010 인문언어 Vol.12 No.2

The values of literature and the identification of what can be constituted as a work of literature is a problem that is widely acknowledged in the domain of literature today. Distinguishing between what can be considered as literature and what is not literature lies at the very core of the identification process. The problem of identification faced by the academia today, in essence, deals with how to define the changes and the corresponding expansions in the field of contemporary literature today. In a wider perspective, this identification process of literature in hypertextual age is a question related to and founded on the very differences that one finds in each and every society since what is accepted by the said society defines the very nature and the subject of what is accepted as literature, be it text, audio or images. The question of how to discern what can be, or should be defined as belonging to the domain of literature in the strict sense of the meaning might seem somewhat obscure in the light of the changes and developments we are witnessing in today’s literary domain. Therefore distinguishing the very nature of literature in the hypertextual age is a question that should be answered through a theoretical approach, which will lead to relevant parameters from which to judge and identify literature in this hypertextual age. The paper will develop the argument through examining the relevance of Beckett’s works in respect to the hypertextual age. Becketts writings can be defined as being the first serious literature that opened the doorway to the hypertextual age in literature. This paper will try to discern the hypertextual aspects in Becketts works. Becketts works are actually referred to as belonging to the spectrum of modernity to post modern depending on the Researchers. The identification of the volubility that we find in Becketts works will lead to the identification of literature in the hypertextual age that we live in today. Defining what is literature is largely based on from what perspective one approaches the said materials that can be suggested as being literature. Becketts works in perspective not only narrows this field and is suggestive of the literature in the hypertextual age. Finally, the perspective of how to discern literature in this hypertextual age needs an objective approach rather than a subjective one, because the corresponding dilemma of discerning and locating literature in the hypertextual age of today has become a problem confronting not only the individual but also the subtle changes that one witness in today’s society.

Mystification and Demystification and the Subtext

양기찬 국제언어인문학회 2013 인문언어 Vol.15 No.2

Mystification and demystification are rhetorical tools and manifest through the subtext which convey the underlying message of the author to the audience/reader. Modern fiction use subtext for many different rhetorical reasons. These uses of subtext are closely related to the metaphorical rhetorics and allegorical inferences that one finds abundant in today’s fictional environment. Mystification tries to entrance the audience/reader to think that what is actually a fabricated imagery is based on actual reality while demystification on the other hand proposes to lay bare and to remove the symbolizations associated with narratives. This paper looks at the use of mystification and demystification as a rhetorical tool and their application in the modern drama. The symbolizations and the meanings underlying what is presented on stage and through text can generally be accepted as the theme that the author is trying to convey to the audience/reader and it can be quite different from what is actually presented and not represented.

연극비평 : 소극장 뮤지컬에 관한 단상 -≪락시터≫ 관객과의 대화

양기찬 한국연극평론가협회 2009 연극평론 Vol.54 No.-

[이론발제] 〈칼리큘라〉, 삶의 가치에 대한 논증

양기찬 공연과이론을위한모임 2014 공연과 이론 Vol.- No.55

발제 : 연극교육과 창의력

양기찬 한국예술교육학회 2007 학술대회 Vol.2007 No.1

The Use of Allegory in Modern Drama: Allegorical Representation and the Avant-Garde

양기찬 국제언어인문학회 2011 인문언어 Vol.13 No.1

The paper looks at the use of allegorical representation in Modern drama. The paper proposes to define and to reevaluate the use of allegory in Modern drama. Redefine how allegory is used, and to what purpose it is used in modern drama. The paper will demonstrate how allegory, allegorical representation in effect, has changed to adapt to the new stage. Allegory is no longer limited to words and its expressive powers as it was in the traditional context but has become more psychological. The paper also as to defines allegorically representation and its relation to objectivité. Allegorical representation to achieve its effects, has to be an ʻimitated imageʼ of reality, it should not be accepted as ʻrealʼ by the audience. The representation on stage is in relation to real but it is not a realistic image of society. Because it happens in a fictive world where there are no signs as to guide us where it is, in this sense, the dramatic theme requires and takes on a very objective perspective. Finally, The allegorical representation gives drama the expressive quality that which is easily lost in a materialistic perspective: openness in its translation and an objective perception which makes acceptable the story at hand to the audience even if it be fictive.