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- 저자 : 김인표 ( In Pyo Kim ) (검색결과 11 건)
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테네시 윌리엄스와 임희재 비교: 『욕망이라는 이름의전차』와 『꽃잎을 먹고 사는 기관차』
김인표 ( In Pyo Kim ) 한국현대영어영문학회 2016 현대영어영문학 Vol.60 No.1
This paper is a comparative study of Tennessee Williams’ A Streetcar Named Desire and Im Hee-Jae’s A Train Which Feeds on Floral Leaves. Im Hee-Jae dramatized realistically the miseries of the Korean society in the 1950s after the Korean War. A Train Which Feeds on Floral Leaves was influenced by A Streetcar Named Desire. As Williams uses various kinds of symbols and dramatic devices such as costumes, lighting, sounds, music and repeated actions in A Streetcar Named Desire, Im Hee-Jae uses many visual as well as aural symbols in A Train Which Feeds on Floral Leaves Im Hee-Jae succeeded in dramatizing Korean people of the 1950s in a realistic way and using many symbols even though A Train Fed on Floral Leaves does not reach the level of A Streetcar Named Desire, which shows a harmony of form and content and a balance among main characters. Im-Hee-Jae should be rated as an important playwright in that he tried to deal with universal subjects as well as to make his play original under the specific context of Korean society after the Korean War. (Kongju National University)
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김인표(Kim In Pyo),박정근(토론자) 한국현대문학회 2007 한국현대문학회 학술발표회자료집 Vol.- No.-
Yoo Chi Jin was influenced by Sean O'Casey. As O'Casey portrayed the tragic lives of Dublin people during the 1920's revolutionary period for independence in his 'Dublin Trilogy', The Shadow of A Gunman, Juno and the Paycock, and The Plough and the Stars, Yoo Chi Jin dramatized the miseries of Korean peasants who were tormented under the rule of Japanese colonization in his three peasant plays, A Hut, A Landscape of a Vilage with a Willow, and A Cow. Yoo Chi Jin believed that his duty was to dramatize the actual situation realistically and to criticize Japan. In his plays Yoo Chi Jin succeeded in dramatizing the lives of Korean peasants during the 1930's realistically but did not succeed in discovering the vitality because the image of Korean peasants from his point of view was weak and pessimistic. He believed that the meaning of realism was to copy the actual situation, and hence only portrayed a passive and pessimistic image of Korean peasants. Moreover, as O'Casey Yoo Chi Jin tried to show the daily lives of Korean peasants objectively like O'Casey. He tried not to reveal his message directly through characters, but we can easily see the anger of the Yoo Chi Jin's characters against Japan. Yoo Chi Jin could not completely be free from the duty to criticize Japan. This duty restricted his imagination and detracted from his plays. Yoo Chi Jin also used tragicomic techniques like O'Casey. In his plays he wanted do reveal the nihilism of the Koreans, that is, tears mixed with laughter, just as O'Casey showed the sorrow of Irish people in a tragicomic way. Yoo Chi Jin's comic characters are not very successful but there are many comic situations in his plays, and through those comic characters we come to feel Koreans' sense of humor. Yoo Chi Jin's three peasant plays are not without faults, but he succeeded in dramatizing the Korean peasants of the 1930's in a realistic way. He used O'Casey's influence in an original way, treating the Korean peasant society and Korean peasants in their own unique situation. He did not merely imitate O'Casey's materials and characters, but developed his own images from Korean peasant society. His characters use realistic and earthy language expressions. We should consider Yoo Chi Jin as the most important realistic dramatist who portrayed the lives of the Korean peasants under the rule of Japanese colonization. Even though he was influenced by O;Casey, he had his own originality and did much more than merely imitate.
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김인표 ( In Pyo Kim ) 한국현대영어영문학회 2014 현대영어영문학 Vol.58 No.4
Riders to the Sea was dramatized based on the experiences which J. M. Synge had firsthand in the Aran Islands. He often visited there from 1898 to 1901 and acquired the materials for his drama through observing the inhabitants of the islands and their customs. In that Synge depicted meticulously everything in detail such as the surroundings of the islands, the people he met and their customs and tradition in his play, Riders to the Sea, he is a realist and the play is very realistic. However, Riders to the Sea is also full of many symbols. The props, the characters` behavior and dialogue, and the events in the play are symbolic as well as realistic. Realistic things on stage contain deeper symbolic meanings and the play reveals a harmonious effect of realism and symbolism. Also through the harmony this play broadens our vision to the universal theme ‘acceptance of fate’ and Maurya, the protagonist, achieves the status of a tragic heroine through accepting her fate and praying her merciful prayers not only for her dead sons but also for all the people left living in the world. Maurya`s tragic awareness and her tragic vision throughout the play prove that Riders to the Sea is a true tragedy.
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김인표(Kim In-Pyo) 한국영어어문교육학회 2004 영어어문교육 Vol.10 No.3
Sam Shepard is one of the leading American playwrights who represented Off-Off Broadway in the 1960s and 1970s. In his early days, he wrote many experimental plays but later he turned to realism. However, under the superficial realism in his later plays, we find that they contain experimental devices and themes True West (1980) is the last play of his realistic family trilogy. This play shows that the tradition of Old West, which is symbolized and replaced by desert, disappeared in the industrialized cities of modern West The Old West is compared with the modern West through the struggle of two brothers, Lee and Austin. Their father, 'Old Man', ran out on his family and went to the desert but did not succeed there. He shows that he failed in achieving the American Dream. The family appears unusual and demolished. The relationships of the characters are not based on love and belief. The family symbolizes the negative aspects of modern American society. After Austin recognizes the actual situation finding that there is no real life in the modern West, he tries to leave the city and his family. He wants to go to the desert in search of a new life. However, in the last tableau Lee blocks the exit and the two brothers square off. It implies that they are doomed to continue their struggle. The message implies that American society today is lacking the same positive values they once had in the Old West.
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데이비드 헨리 황의 『엠. 나비』: 제국주의적 환상 깨뜨리기
김인표 ( Kim In-pyo ) 대한영어영문학회 2009 영어영문학연구 Vol.35 No.2
David Henry Hwang, a Chinese-American playwright, shows that imperialistic fantasies exist between the West and the East in his best play, M. Butterfly(1988). These fantasies are formulated in ideas such as the West considering the East as a woman and Western men thinking Eastern women to be submissive, modest and shy. These stereotypes of the Orient and Oriental women originate from Orientalism. Hwang thought that Westerns have imperialistic fantasies about the East and such typical cultural prejudices can be found in Giacomo Puccini's opera Madame Butterfly (1904). He tries to reverse the basic structure of Madame Butterfly in M. Butterfly. In the opera Pinkerton is a cruel white man and Cho-Cho San (Butterfly) is a submissive Japanese woman who sacrifices herself for the love of a worthless western man. Rene Gallimard, hero in M. Butterfly, a French diplomat in China meets Song Liling, a Peking opera singer. Gallimard considers himself as Pinkerton and that Song is like Cho Cho San. However at the end of the play, Song turns out to be a man as well as a spy who passed critical information on to China from Gallimard. Finally, Gallimard realizes that he is a Butterfly and Song is Pinkerton and commits hara-kiri. Hwang tries to break imperialistic fantasies through such issues, as Song an Oriental man acting as an Oriental woman, transvestism, and reversal of roles. Hwang aims to demolish the stereotypes of Asian Americans and to find the proper identity of Asian Americans. It is doubtful that Hwang succeeded in achieving his initial aims, but he contributed to causing white American audiences to be more interested in various kinds of problems between the West and the East. (Kongju National University)
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김인표 한국현대영어영문학회 2001 현대영어영문학 Vol.45 No.3
Sam Shepard's Buried Child is considered his best drama. Even though the setting of it appears very realistic, it still contains many elements of absurd drama. The message is not so concrete because the motivation of characters' action can not be verified and sometimes the dialogues which characters speak are contradictory. Therefore, it is not so easy for the readers to understand the meaning of the drama. Some critics argue that there does not exist any hope in the drama, but others comment that they can find some optimism in the drama. In this thesis, the vision of salvation is investigated in Buried Child The atmosphere of this drama seems to be hopeless but if we analyze the drama in a comprehensive way by unifying images, characters, dialogues, metaphors etc., we can recognize the vision of salvation out of the past curse suggested in the drama. The cause of curse on the Dodges is incest between Halie, Dodge's wife and Tilden, his eldest son. As soon as the child was born, Dodge drowned it and then buried it on his farm. Because of the curse, the relations among the family collapsed. Husband and wife can not communicate each other. We can expect nothing from the three sons. However, Vince, Dodge's grandson is a young man who has the positive values of cowboys and can inherit the tradition of the family from Dodge. Also, the plants such as corn and carrots which Tilden brings from the back yard can considered as the symbol of rebirth. The plants mean new life out of the sterile farm. The characters confess and admit their sin and forgiveness and expiation are possible. The last scene presents the striking visual image of the rite of confession. Buried Child can be a metaphor of American society. In conclusion, Shepard suggests that American society still has a vision of salvation to escape from the present situation through candid acceptance and confession of their past sins.
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