태국 최초의 ‘메이드 인 이탈리아’ 건축가 그라씨

신근혜,박문정 한국외국어대학교 동남아연구소 2024 東南亞硏究 Vol.34 No.1

본 논문에서는 19세기 말, 20세기 초 시암에서 활동한 이탈리아 건축가들 중 요아킴 그라씨가 그 1세대라는 것을 밝히고, 그에 대해 상이한 태국어, 이탈리아어, 영어 자료들을 비교 분석하여 정보를 정제하였다. 그리고 그라씨가 시암에서 성공할 수 있었던 이유와 함께 시암에서 철수하여 본국으로 돌아간 배경에 대해 검토하였다. 그라씨는 시암에 와 처음으로 왕실과 귀족계층에 소위 ‘메이드 인 이탈리아’를 각인시켜 이후 많은 이탈리아 건축가, 건설가, 예술가들이 시암으로 건너와 시암의 근대화 프로젝트에 참여할 수 있는 기틀을 마련한 인물이다. 그러나 그의 출생지는 이탈리아가 아닌 현재 슬로베니아인 코페르이며, 이후 시암에서 1883년 사업 확장을 위해 프랑스 국적으로 변경하기도 한다. 또한 하나의 양식을 고수하기 보다는 다양한 서양의 건축 양식을 활용하였을 뿐 아니라 시암의 전통 양식을 혼합하여 사용하기도 하였다. 건축 양식을 혼합하고, 사업을 위해 국적을 변경하는 그의 유연성은 초기에는 시암에 정착하는데 도움이 되었지만 이후에는 오히려 불리하게 작용하여 결국 시암에서의 사업을 접고 본국으로 돌아가게 만든 요인이 되었다. This study definitively identifies Joachim Grassi as the first generation of Italian architects to work in Siam during the late 19th and early 20th centuries. It refines the information by comparing and analyzing various Thai, Italian, and English documents. The study then examines the reasons for his success in Siam as well as his subsequent decline and return to his homeland. Grassi was the first to arrive in Siam and establish the “Made in Italy” image among the royal and aristocratic circles in Siam, paving the way for numerous Italian architects, builders, and artists to participate in the country's modernization projects. Although born in Koper, now Slovenia and not Italy, he became a French citizen in 1883 to expand his business in Siam. Rather than adhering to a single style, he utilized a variety of Western architectural styles and mixed traditional Siam styles. His flexibility in mixing architectural styles and changing his nationality for business purposes helped him settle in Siam in the early years. However, this ultimately became a disadvantage, and he eventually closed his business in Siam and returned to his homeland.

소설 『쿠깜』의 영화적 변용: 영화 “쿠깜”(1995)을 중심으로

신근혜 한국비교문학회 2019 比較文學 Vol.0 No.79

This article examines Thommayanti’s novel, Khu Kam, and its transformation into film with a focus on Sunset at Chaophraya (1995). Both examples of Khu Kam, the novel or the film, are melodramas that tell the story of two heroes, whose love was destined. Sunset at Chaophraya transforms the narrative and adapts the original text within a melodramatic plot of war and love, emphasizing the inner conflict between duty and emotions(heart) of the main characters. Formally, it enhances cinematic reality by inserting newspaper clips and actual war-related images along with a reverse sequence progression. It can be said that the film Sunset at Chaophraya closely adheres to the spirit of the original novel and faithfully reproduces the textual language of the original text onto images on the screen. However, in comparison to the novel which emphasizes the fateful love of the two protagonists amidst the war, the film emphasizes the tragedy of war itself. This is where the film differs from the novel, and the filmic transformation of the novel was implemented to realize this theme. While the film Sunset at Chaophraya remains faithful to the original novel, it also emphasizes that the tragic end of the main characters is brought by the war. 본 논문은 톰마얀띠의 소설 『쿠깜』이 영화 “쿠깜”(1995)으로 각색되는 과정에서 보이는 서사적 변용과 그 의미를 살펴보는데 그 목적이 있다. 쿠깜은 소설이든 영화든 두 주인공의 운명적인 사랑을 중심으로 하는 멜로드라마다. 영화 “쿠깜”(1995) 에 나타난 서사 변용과 각색 원리는 전쟁과 사랑이라는 멜로드라마적 구성에, 남녀 주인공의 의무와 마음(사랑)이라는 내적 갈등 위주의 성격을 부각시키고, 형식적으로는 역순행적 진행과 신문 자료 및 실제 전쟁 관련 영상을 삽입하여 현실성을 높인 것에 있다. 영화 “쿠깜”(1995)은 가능한 원작의 정신에 접근하여, 원작에서 문자 언어로 서술된 스토리를 영상으로 충실하게 재현해냈다고 할 수 있다. 그러나 소설 『쿠깜』이 전쟁을 배경으로 두 사람의 운명적인 사랑을 강조했다면, 영화 “쿠깜”(1995)은 전쟁의 비극성을 강조하는데, 이것이 바로 소설과 차별화되는 지점이며, 소설의 영화적 변용은 이 주제의식을 구현하는 방향으로 이루어졌다고 볼 수 있다. 영화는 원작소설에 충실하면서도 주인공들의 사랑이 비극적 결말을 맞이한 것은 “전쟁” 때문임을 강조한다.

영화 『왕과 나』(1956)에 나타난 동양의 이미지: 탈식민주의적 관점에서의 고찰

신근혜 한국외국어대학교 국제지역연구센터 2010 국제지역연구 Vol.14 No.3

1860년대 시암(Siam, 現 태국)의 왕이 자신의 자녀들과 왕족에게 영어와 서구사상, 철학을 가르칠 목적으로 영국인 미망인인 안나 부인을 가정교사로 맞이하면서 벌어지는 일을 그리고 있는 영화 <왕과 나 The King and I>(1956)는 서양인들의 동양에 대한 이국적인 호기심을 충족시키기에 충분했고, 이러한 이유로 오랜 세월 인기를 누려왔다. 하지만 태국에서는 태국의 왕실을 왜곡했다는 이유로 상영이 금지되었고, 지금껏 역사적 사실의 진위에 대한 논란이 끊이지 않고 있다. 본고에서는 영화〈왕과 나〉가 허구(fiction)로서의 필름텍스트라는 전제 하에 작품 속에서 나타나고 있는 여러 이야기와 갈등, 즉 동양과 서양, 문명사회와 미개사회, 독재와 민주주의 그리고 남성과 여성이라는 복합적인 소재들을 탈식민주의적 관점에서 고찰해 보고자 한다. 영화에서 왕과 안나는 동양과 서양, 전근대와 근대, 그리고 남성과 여성의 대립 쌍을 이루고 있는데, 문제는 이 대립쌍이 조화를 이루어 합의점을 찾는 것이 아니라 일방적으로 서구의 관점에서 평가되면서 극이 진행된다는 점에 있다. 즉 안나는 서구의 합리성을, 시암왕은 동양을 대표하는 인물로 그려지고 있는데, 감정적이고 가부장적이던 왕은 극이 진행될수록 안나의 말에 동의하고 따르는 모습을 보여준다. 영화는 시종일관 서구의 우월성을 드러내면서, 동양의 사고와 의식들은 그저 ‘문명화 되어야만 할’ 또는 ‘버려져야만 할’ 것으로 간주하고 있다. 또한 이 영화의 배경이 1862년의 시암이라는 것을 기본으로 하고 있음에도 불구하고 영화의 전편을 통해 나오는 태국인들의 모습과 풍습은 실제의 태국과는 달리 태국적인 것으로 생각하는 서양인들의 이미지의 재현일 뿐, 중국과 일본과 태국의 것이 마구 뒤섞여 새로운 변종을 생산해 내고 있음을 볼 수 있다. <The King and I>(1956) is the popular film produced from the story of Anna Leonowens, who is a strong-willed, widowed, English school teacher to the wives and children of King of Siam in 1862. It is based on Margaret Landon's 1944 novel “Anna and the King of Siam” that is based on Leonowens’ autobiographical story, considered historically questionable by some sources. Controversy has arisen over the historical accuracy of the film and its depiction of the King. Its disrespect for the monarchy led to the film's banning in Thailand. The purpose of this paper is to examine the conflicts in the story, such as the Orient vs. the Western, civilized society vs. primitive society, autocracy vs. democracy, and male vs. female, from the postcolonial perspective, under the premise that <The King and I> is a fictional film text. In the film Anna and the King are presented as opposing pairs, e.g., the Western and the Orient, Modern and Pre-Modern, and women and men. The problem is that the opposing counterparts presented throughout the film are unilaterally evaluated by the viewpoint of westerners, never to find common ground in harmony. In other words, Anna represents the rationality of the West, while the King of Siam represents the emotionality of the Orient. The King who has been an emotional and patriarchal person, however, becomes a person who agrees with Anna’s opinions and advice gradually. So the film consistently shows the superiority of Western in terms of progress, while thoughts and consciousness of the Orient are considered as things ‘to be civilized’ or ‘to be abandoned.’Although the background of this film is supposed to be Siam in 1862, figures and customs of Thai people in the film are just the representation of the images of Thailand according to westerners’ thoughts. Such representation consists of new variants which are rather the mixture of Chinese, Japanese and Thai societies and cultures.

영화 <OK Baytong>(2003)이 보여 주는 공존의 미학

신근혜,서명교 한국태국학회 2020 한국태국학회논총 Vol.27 No.1

Betong(Baytong) is the southernmost district of Yala Province, Thailand, and located at the boundary to Malaysia. Betong is a multicultural society where Thai Buddhists and Malay Muslims coexist in peace. Nonzee Nimiburtr, one of the most famous film directors in contemporary Thailand, directed a film named after the district Betong in 2003, entitled OK Baytong. The story tells about a monk named PhraTham who should return to civil life to take care of his orphaned and half-Muslim niece, Maria, after his sister was killed in a bombing. Although Tham does not adjust himself well to a new life, he is eventually integrated into the secular Thai society. This paper aims to investigate Tham’s secularization and the relationship between Thai Buddhists and Malay Muslims in Betong through the film OK Baytong. It examines the way of coexistence presented by the film through the film posters, one of the paratexts of the film. It intends to understand the meaning of OK and Baytong implied by the title OK Baytong and to seek the way to delimitate boundaries and coexist in harmony in a multi-ethnic, multi-religious, and multicultural society.

태국 현대 미술의 아버지, 이탈리아 출신의 씬 피라씨(1923-1962)

신근혜,박문정 한국외국어대학교 동남아연구소 2022 東南亞硏究 Vol.32 No.2

Silpa Bhirasri, considered the father of Thai contemporary art, emigrated to Siam in 1923 through a selection process conducted in Italy in 1922 in response to King Rama VI's active policy to hire and assign Italian artists to the Siamese royal family. Although he created numerous works as a sculptor, he also achieved great feats as an educator. Therefore, this study examines the complicated modern and contemporary history of Thailand and analyzes diachronically how Silpa Bhirasri, an artist and educator, influenced Thai contemporary art. The results confirmed that the nationalist cultural policy, the cultural education policy, the nationalist identity called “Thainess”, and Silpa Bhirasri’s art and educational perspective were in harmony, and that he was able to establish himself as the father of Thai contemporary art. 태국 현대 미술의 아버지라 불리는 씬 피라씨는 이탈리아 예술가를 시암 왕실에 고용하려는 라마 6세의 적극적인 방침으로 1922년 이탈리아에서 진행된 선발과정을 통해 1923년 시암으로 이주하였는데, 그의 대부분 그의 업적은 시암으로 이주한 뒤에 이루어졌다. 조각가로 수많은 작품을 남기기도 했지만 교육자로도 커다란 업적을 남겼다. 이에 본 논문에서는 씬 피라씨가 복잡다단한 태국의 근현대사를 관통하며 예술가이자 교육자였던 씬 피라씨가 태국 현대 미술에 어떻게 영향을 미쳤는지를 통시적으로 분석하였다. 그 결과 국가주의 문화정책과 문화교육정책, 그리고 “타이니스”라는 근대 태국의 정체성을 형성하는 흐름과 씬 피라씨의 예술 세계 및 교육관이 맞아 떨어지며 태국의 현대 미술의 아버지로 자리매김할 수 있었다는 것을 확인할 수 있었다.

『쿤창쿤팬』의 장르적 특성과 사회적 기능

신근혜 한국외국어대학교 동남아연구소 2010 東南亞硏究 Vol.20 No.1

The purpose of this paper is to examine the social functions on the basis of genre characteristics of KhunChang KhunPhaen which is the representative of Thai classical literature. In other words, this is a study which aims to prove that KhunChang Khunphaen has played an important role as an efficient means to propagate an ideal image of women under the patriarchal society through Sepha, a form of popular entertainment. KhunChang KhunPhaen proves how an ideal woman in the traditional Thai society must be, by showing the fate of Wanthong, the heroine who does not manage her own body carefully and not adheres to one husband and involves the second husband and eventually goes to the scaffold. At the same time, KhunChang KhunPhaen infuses the ideas and values about an ideal image of women as wives who have loyalty and faithfulness to their husbands with didactic passages directly and repeatedly. The ideas and values about an ideal image of women mentioned above could be generalized among the masses widely and effectively through Sepha which was the most popular form of entertainment in the 19th century and had genre characteristics that reflected social orders. So the ruling class could naturally inculcate this ideology, especially the ideal image of women, in the masses. Thus, listeners and readers understand and accept those ideas and values without rejection or dispute.

Comparative study on the aspects of death in Thai novel No Way Out and Korean novel A Dwarf Launches a Little Ball

신근혜 한국태국학회 2015 한국태국학회논총 Vol.21 No.2

The purpose of this study is to analyze the aspects of death in the Thai novel No Way Out and the Korean novel A Dwarf Launches a Little Ball, especially Boonma’s attempt of committing suicide and the death of the dwarf, thereby comparing the meaning of death of characters and social problems that emerged during the process of industrialization in Korea and Thailand. Thailand and Korea experienced rapid industrialization during 1960-70, with the government implementing development policies focused on big cities. In the process, countless people fell into poverty as they had to stay in the periphery after failing to make it to the center of the city, which constituted a social problem for both countries. The Thai novel No Way Out and the Korean novel A Dwarf Launches a Little Ball each portrays the particular social aspect through a tragic story of a poor urban family. The life of Boonma and Kim Bu-ri, a dwarf as the leader of the family describes the lives of the urban poor who are marginalized in society during the process of industrialization distinctly. Boonma, the main character of No Way Out, kills Dum, his youngest son and attempts committing suicide when he concludes that the misfortune of family is his fault. Meanwhile, the dwarf in A Dwarf Launches a Little Ball thinks that he is a burden to his family because he is not able to play a role as the family leader, so he launches a paper airplane and a little metal ball towards the moon on the top of the factory smokestack and falls to his death at the end. The aspects of death in both stories symbolize the death of people who are marginalized in the distorted social structure, as well as the failure of the urban poor in the capitalist economy. A little ball which the dwarf launches is a single cry of people who is marginalized and powerless against logic of exploitation and oppression. A cry of Boonma at night in jail is also a scream of people who is defeated which is not transferred to the outside. Their attempts to find the exit from the closed world turn up as their deaths.

『쿤창쿤팬』에 나타난 꿈 모티프의 해몽 양상과 태국인의 민간신앙

신근혜 한국외국어대학교 동남아연구소 2012 東南亞硏究 Vol.22 No.2

From ancient times, Thai people have believed that dreams foreshadow the destiny and fortune of people and these beliefs about dreams have been accepted in literature. The purpose of this study is to examine the function of dreams as a literary device and the Thai folk beliefs through dream motifs and dream interpretation in KhunChang KhunPhaen which is one of the most well-known classical Thai literary works. A variety of dream motifs that is found throughout KhunChang KhunPhaen performs its function as episodic elements in the structure of narrative and also shows beliefs related to dreams well at the same time. Most of dream motifs in KhunChang KhunPhaen are symbolic motifs which are needed to interpret the meaning of dream symbols and give some sign of foreshadowing about the characters’ fortune or events to happen in the near future. In addition, dream motifs and dream interpretation in KhunChang KhunPhaen shows the Thai folk beliefs which have been believed through symbolic representation of dreams by Thai people, such as beliefs about conception dreams, teeth falling out dreams. When literature is a reflection of the times and is the mirror of the inner world of people, dream motifs in KhunChang KhunPhaen functions to inform the direction of a narrative structure and shows that Thai people in the traditional society have believed sanctity of dreams, dreams’ function of foresight and revelation of dreams firmly as well.

『프라아파이마니』에 나타난 비일상적 상상력: 인간과 비인간의 결연을 중심으로

신근혜 ( Shin Keun Hye ) 한국외국어대학교 동남아연구소 2017 東南亞硏究 Vol.26 No.3

쑨턴푸의 『프라아파이마니』는 태국의 대표적 고전서사문학이자 환타지소설이다. 『프라아파이마니』에 펼쳐진 상상적인 세계에서 가장 흥미로운 부분 중 하나는 남자주인공 프라아파이마니와 비인간 여성인물인 낭피쓰(여성 거인)와 낭응으악(인어)의 결연이야기이다. 본고에서는 프라아파이마니에 나타난 비일상적 상상력의 구체화라고 할 수 있는 인간-비인간의 결연 양상을 살펴보고, 결연의 의미를 고찰해 보고자 한다. 인간과 비인간의 결연이야기는 작품의 도입부에 위치하여 독자의 호기심을 자극하고, 이후 다양한 에피소드로 방대한 분량의 스토리가 완성될 수 있게 만들어 준다. 『프라아파이마니』에 나타난 인간-비인간의 결연은 강제적/수동적이든, 자발적/능동적이든 간에 그 관계가 끝까지 지속되지 않고 죽음이나 이별로 끝나게 되는데, 이를 통해 인간-비인간의 결연은 초자연과 자연의 조화와 공존은 불가능하다는 사실을 보여준다고 하겠다. Phra Aphai Mani, a poetic tale by Sunthon Phu is one of the great poetic tales and well known fantasy stories of Thailand. The stories of conjugal relations between human and non-human beings may be considered as the most attractive part of this literature. This article aims to examine aspects of conjugal relations between human and non-human beings that might be called embodiment of unusual imagination in Phra Aphai Mani and to determine the meanings of those conjugal relations. Stories about conjugal relations between human and non-human beings, namely Phra Aphai Mani who is a human and a protagonist and both a female Yak or giantess and a mermaid which are non-human beings, are located at the beginning of the literature and stimulate the reader`s curiosity and then make the story of large volume complete by various episodes. Conjugal relations between human and non-human beings in Phra Aphai Mani do not last all the way and end with the death or separation. This shows that harmony and co-existence of the supernatural and the natural is not possible.

〈싸우크르아화〉: 태국에서 〈나비부인〉의 수용과 변형

신근혜(Keunhye Shin),박문정(Moonjung Park) 한국동서비교문학학회 2020 동서 비교문학저널 Vol.0 No.54

This study examines how Sao Krua fah (สาวเครือฟ้า), which was influenced by Puccini’s Madama Butterfly, was received and adapted in Thailand. During his second visit to Europe, King Chulalongkorn of Thailand watched Madama Butterfly in Paris on September 25, 1907, and wrote a letter to his daughter, in which he gave a detailed description of the work and his comments on it. After returning to his country, King Chulalongkorn ordered the creation of a Thailand-style Madama Butterfly based on the details provided in his letter. The musical drama thus produced was Sao Krua fah, which remains hugely popular among the Thai people. Sao Krua fah is a narrative that was first presented by King Chulalongkorn and has since enjoyed great popularity in Thailand through its adaptations for literary works as well as film and drama titles. Accordingly, this paper performs a chronological survey of the reception and adaptation of Madama Butterfly in Thailand through literature review. Its comparative analysis with Puccini’s Madama Butterfly especially focuses on the examination of the script of the musical drama, the first of the diverse versions of Sao Krua fah that are available in Thailand.