18세기 미국 선거풍토와 정치풍자극의 지형도

박정만(Park, Jungman) 한국현대영미드라마학회 2015 현대영미드라마 Vol.28 No.3

제임스 헌의 ‘진실을 위한 예술’론과 휴머니즘 : Margaret Fleming에서의 사회적 혼혈 이슈와 여성 문제

박정만(Park Jungman) 한국현대영미드라마학회 2009 현대영미드라마 Vol.22 No.2

James A. Herne’s 1897 manifesto of ‘Art for Truth’s Sake’ was a revolt against the practice of contemporary American play-writing and stage production which was dominated by the popular genre of melodrama and spectacular extravaganzas in the stage business. Indicating that the existing melodrama and farce genres failed at reflecting the true human condition, Herne voiced that the higher purpose of drama is to expose social injustice so that the general public open their eyes to some large truth of life. Herne’s principle of ‘Art for Truth’s Sake’ is regarded as embodying the transition from the old convention of mindless melodrama and frivolous farce to a new tradition of realism and drama of ideas. Herne’s influence on American drama and theatre is often compared to that of European dramatist Henrik Ibsen, and in this respect Herne is even called the American Ibsen. Herne’s 1890 play Margaret Fleming is regarded as the best dramatic realization of the ‘Art for Truth’s Sake’ principle. What is worth noting is that the ‘Art for Truth’s Sake’ principle is fundamentally rooted in Herne’s deep sense of universal humanism, which is resonant in the author’s attitude toward dealing with the issues of the social mulatto and women question in Margaret Fleming. In the play, Herne exhibits his sympathy for the socially weak, especially the illegitimate children of the mixed-class and the general women in the patriarchal society. Meanwhile, Herne shows a sophisticated sense of reality by dealing with the issue of mulattoness as a complicated problem of social identity rather than just as a racial issue. In addition, Herne shows a modern perspective on the roles of women by presenting a female character who takes the initiative in judging her husband’s marital infidelity, managing the family business during her husband’s absence, and eventually suturing the breakdown of family bonds. Related to this, Margaret, the heroine of the play, appears as a new woman who is even differentiated from Nora, the representative radical woman character in literature until that time. Likewise, Herne shows both modern sensibility and originality in striking out at unequal standards and unjust system from a humanistic perspective, capturing some large truth out of this, and finally weaving the captured truth into a form of art.

뉴욕의 아일랜드인 : The Mulligan Guard Ball에서의 아이리쉬 캐릭터, 정체성, 기억의 문제

박정만(Park Jungman) 한국현대영미드라마학회 2011 현대영미드라마 Vol.24 No.2

Edward Harrigan, a representative Irish-American dramatist in the late 19C, tries to mirror up the contemporary multi-ethnic immigrants in the Lower East Side of Manhattan, New York City. While exerting himself to make plays like pages from actual life, Harrigan creates an Irish comic character ‘type’ named Dan Mulligan. Dan, who is allowed positive sides of personality, is differentiated from the earlier Irish characters as ‘whiteface’ stereotypes. Such positivity of Dan, the Irish character type, reflects Harrigan’s self-conscious pride for his own ethnic heritage or nostalgia for the Motherland which the playwright had never been to but had known by listening to his parents. In this respect, Harrigan’s Irish character embodies the playwright’s diaspora identity. This paper, by reading Harrigan’s The Mulligan Guard Ball (1897), explores the process in which Irish character types in the play embody Irish-American identity and reshape it into a bias-free Irish ethnicity, successfully avoiding the trap of ‘whiteface’ stereotypes. To this end, this paper especially focuses on the theme of ‘Irish Memory’: how the Irish Memory to be reflected in the formation of Irish character types; how the Irish Memory to be merged into the Irish-American identity which is implied and expressed out by the Irish character types. This paper is expected to widen and deepen the study of the theme by locating it in the late 19C American environment and by discussing the Irish Memory theme in terms of ‘aboriginality’ and ‘diaspora’ experience, differentiating itself from the existing practices in which the Irish Memory theme is regarded as an exclusive possession of modern time and, therefore, is exhausted in the study of 20C modern Irish dramas including Brian Friel’s.

상상에서 현실로

박정만(Park Jungman) 한국현대영미드라마학회 2006 현대영미드라마 Vol.19 No.2

상상된 아프리카

박정만(Park Jungman) 한국현대영미드라마학회 2006 현대영미드라마 Vol.19 No.1

“당신 같은 놈팡이 난 필요 없어”

박정만(Park, Jungman) 한국현대영미드라마학회 2017 현대영미드라마 Vol.30 No.2

낙인찍힌 한 예술가의 자화상

박정만(Park, Jungman) 한국현대영미드라마학회 2005 현대영미드라마 Vol.18 No.2

엘리자베스 시대 세계관과 그 디오라마

박정만(Jungman Park) 한국셰익스피어학회 2007 셰익스피어 비평 Vol.43 No.4

This paper aims at exploring the dynamics between the Elizabethan world view and the Shakespearean theatre space. First of all, this paper elucidates the meaning of the Elizabethan view of the world through the examination of the contemporary popular sciences such as medicine, astrology and alchemy. Then, it demonstrates the way in which the Elizabethan world view was represented and, at the same time, presented itself on the Shakespearean theatre space, especially, though the 'Heaven' of the Globe Theatre. The Elizabethan world view was deeply rooted in the Ptolemaic notion of geocentricism, that is, the Earth is the center of the universe and all the creatures in the universe are organically connected one after another and structured in the form of a Great Chain of Being. The practices of the contemporary popular sciences show well that such a world view was in ubiquitous circulation in daily life and accordingly accepted as familiar by the public of the time. Along with the geocentricism, the notion of the micro-macro universal correspondence formed the norm of the Elizabethan conception of the world order. With these notions, Queen Elizabeth could make and mythify a national pride that England was the center of the world and then implant the pride in her subjects who thought themselves to be the selected people of the world. During the reign of Queen Elizabeth. England was in desperate need to free herself from the political and religious influence of Spain. Considering this, the production and circulation of the England-centered world view or national pride should be the order of the time that Elizabeth had to take. As a popular and public place for entertainment, the contemporary playhouse could be an easy and useful means to propagate and, consequently, popularize the Elizabethan world view among the general public. The circular pattern of zodiacal symbols in the 'Heaven' of the Globe Theatre explains best such a possibility. Together with the motto "torus mundus agit histrionem"(the whole world is a stage) inscribed at the entrance of the building, the zodiacal signs (re)presented the Elizabethan world view by making the audience members assume the playhouse as the world, identify themselves with the actors on the stage and consequently accepting their position as the center of the universe. Furthermore, the presence of the zodiacal signs in Heaven of the Globe Theatre leaves behind to chance for the reconsideration that the structure of the Elizabethan theatre building, as a diorama of the world view of the Elizabethan age, was the embodiment of the England's own peculiar context of the times.

인간 이후의 인간에 대한 미래보고서 『플루토』

박정만 ( Park Jungman ) 세계문학비교학회(구 한국세계문학비교학회) 2020 世界文學比較硏究 Vol.73 No.-

우라사와 나오키의 그래픽노블 『플루토』는 인간과 인공지능 로봇이 공존·공생하는 가상의 트랜스/포스트휴먼 미래 사회를 배경으로 한다. 이야기는 ‘지상최강 로봇들’이 악당로봇 ‘플루토’에게 연쇄적으로 살해당하는 사건 및 안드로이드 로봇탐정이자 지상최강 로봇 중 하나인 게지히트가 의문의 사건을 추적하는 여정을 따른다. 『플루토』는 로봇들의 연쇄살해 및 이와 결부된 인공지능 로봇의 삶을 통해 인류의 종말이라는 화두를 던지면서 인간과 인간다움에 대한 실존적 질문을 제기하고 인류에 대한 비판적 성찰을 시도한다. 작품은 인간은 취약성을 안고 있는 신의 실패작이라는 커다란 질문을 던진다. 인간은 인간적 증오의 지배를 받고 악의 힘에 조정당하며 전쟁과 살인을 자행했고 그렇게 창조주의 기대를 져버려왔던 것이다. ‘인간의 완벽함’의 실체가 ‘인간을 죽이는 완벽함’이라는 통찰은 인간 존재의 근본적 한계와 취약성에 대한 통렬한 지적이다. 한편 『플루토』는 안드로이드로봇 탐정 게지히트의 존재를 통해 인간 존재의 가능성과 미래에 대한 낙관적 기대를 제시한다. 죽음 직전 그가 남긴 것은 “증오는 아무 것도 낳지 못 한다”라는 사랑과 용서라는 인간적 감정이다. 게지히트의 존재는 인공지능이 육체적·윤리적으로 보다 완벽한 인류로 진화해 왔음을, 결과적으로 인간 이후의 인간의 시대가 이미 시작되었음을 증언한다. Urasawa Naoki’s graphic novel Pluto (2003-2009) is set in a virtual trans/posthuman world where humans and robots neighbor together. In Pluto, the ‘greatest robots on earth’ are killed consecutively by ‘Pluto’ a mysterious robot villain. Gesicht, android robot detective and protagonist, tracks the murder case. The story attempts a critical reflection on the human and humanity, both ontological and epistemological, ironically through the life of artificial intelligence robots. Pluto raises a question that man is a flawed creation, therefore a failure. Human beings have been manipulated by the human feeling of hatred and committed wars and murders, defeating the expectations of the Creator. The insight that the truth of human perfection is nothing but the perfection of killing humans is a devastating point about the fundamental limitations and weakness of human existence. On the other hand, Pluto suggests optimism on human existence and future through the robot detective Gesicht. Just before his death, what he left behind is a human feeling of love and forgiveness, along with the words “Nothing comes from hatred.” The existence of Gesicht tells that artificial intelligence has already evolved into a new humanity of physical and ethically perfection, and consequently posthuman age has begun.

한국의 얀 마텔 연구 현황과 전망

박정만(Jungman Park) 한국영미문학교육학회 2023 영미문학교육 Vol.27 No.3

More than 20 years have passed since 2002 when the novel Life of Pi and author Yann Martel’s name began to become known in Korea with the winning of the Man Booker Prize, and since 2004 when the novel was translated and published in Korea. Additionally, about 10 years have passed since the novel was adapted into a film in 2012, and the film Life of Pi was released in Korea the next year of 2013. It has been at least 10 or as long as 20 years since Yann Martel’s name was imprinted in the memory of Korean readers and the film public. At this point a question arises. So, how has Yann Martel been remembered during this period, not by readers and the film public, but by Korean academics? In other words, how has Yann Martel ‘research’ developed in Korea over the past 20 years to the present? Responding to the question, this study examines the development and status of Yann Martel research in Korea, focusing on research papers published in domestic academic journals over the past 20 years to date, to be precise, from 2015 to 2023. To this end, a quantitative analysis of the papers and a qualitative analysis of the topic and content covered by the papers will be conducted together. As a conclusion, this study will diagnose the challenges and future prospects left by the current Yann Martel research in Korea.