상석권의 세계: 주네의 『엄중한 감시』와 연상호의 <돼지의 왕>

안영순 ( Young Soon Ahn ) 세계문학비교학회 2013 세계문학비교연구 Vol.42 No.-

The aim of this article is to study on the hierarchic structure of power and the aspects of the struggle for precedence among the alienated in Haute surveillance(The Deathwatch) (1947), Jean Genet``s first play, and <The King of Pigs>(2011), Yeon Sang-ho``s first feature animation. In Haute surveillance, the drama takes place in prison. Three handsome young prisoners share the same prison cell, which is the center of the action -- Yeux-Verts, a condemned murderer; Lefranc, a soon-to-be-released convict; and Maurice, an effeminate adolescent. The scene opens on an argument between Lefranc and Maurice, in which Yeux-Verts has intervened. Thus, the triangular relationship among the three men is established. Lefranc plays at being a great murderer by strangling Maurice, in order to belong to the world of Yeux-Verts and perhaps to that of the super-murderer Boule de Neige. But, like Maurice, Lefranc is the victim of a treacherous destiny. Since he has willed his crime, since he has chosen it rather than allowing it to choose him, he has failed completely. And he realizes at the end of the play, I really am all alone! In short, to reach to the Nomination and order of Boule de Neige and Yeux-Verts which symbolize the bourgeois or technocrat, in this play, Genet showed the oppressed can inherit only from the dominant ideology of the ruling class. In <The King of Pigs>, Hwang Kyung-min calls Jung Jong-suk up for a reunion after 15 years of mutual silence. At their middle school, they were classified by their wealth and grades. Hwang and Jung, at the bottom were called pigs. They were abused and humiliated by a ruling class called dogs, whose tyranny is fully condoned by the teachers. But they couldn``t do anything against the dogs. Then a king of pigs, Kim Chul, appears and becomes their idol. As a hero, Kim wholly disturbs the status quo. This film searches many subtle class gradations in Korean society and shows how it corrupts human interaction. The dramatic conflict, in <The King of Pigs>, doesn``t come from the opposition between the two opposing classes, but from among the oppressed. To cause the ruling class a trauma, Kim committed suicide in public. But far from having effect on them, his attempt results in his death. So Kim couldn``t grow into a powerful substance as a confronting mechanism against the ruling powers, but remains in the level of the illusion of pseudo-power for the own consolation of the oppressed. In short, Haute surveillance and <The King of Pigs> emphasize that the alienated need the solidarity and class consciousness for the settlement of the problem of inequality between classes.

불문학 / 주네의 『 흑인들 』 에 나타난 함정의 극작술

안영순(Young Soon Ahn) 한국불어불문학회 1999 불어불문학연구 Vol.38 No.1

Cet article a pour but d`analyser la structure de la pie`ge et ses fonctions dans Les Ne`gres. Cette pie`ce a la forme d`un spectacle que s`offre une troupe de come´diens noirs au de´triment des Blancs. Ecrite a` la demande d`acteurs noirs, la pie`ce est pourtant destine´e a` un public de Blancs. Les come´diens noirs qui sont sur la sce`ne vont jouer devant un public de Blancs a` e^tre tels que les Blancs les voient et les ont fac¿anne´s. Dans cette pie`ce qui se pre´sente comme un rite accompli par des Noirs pour le divertissement des spectateurs blancs, nous de´couvrons la subtilite´ de la technique de Genet. Originellement, ce sont les Blancs qui ont fait danser et chanter les Noirs. Il est donc normal que ce soit pour eux que la pie`ce soit joue´e. Le the`me central du rite est constitue´ par le viol et le meurtre, par Village, d`une commerc¿ante blanche. Ce meurtre est perpe´tre´ chaque soir avant le de´but du spectacle comme un genre de sacrifice. Le corps de la victims est alors amene´ et place´ sur un catafalque au centre de la sce´ne. La raison du crime, c`est pour fournir une justification de la perse´cution continuelle des Noirs par les Blancs. Mais finalement, apre`s que Ville de Saint-Nazaire entre en sce`ne pour annoncer la condamnation d`un trai^tre noir, c`est le triomphe des Noirs sur les Blancs quand ils re´ve`lent qu`il n`y a pas de cadavre dans le catafalque. Les Blancs n`ont donc aucune raison de les condamner. C`e´tait une pie`ge. Mais le vrai drams s`est de´roule´ dans les coulisses, pendant la repre´sentation. Les Ne`gres ne sont plus des acteurs jouant le ro^le de condamne´s mais des ennemis re´els. Les spectateurs blancs sont tombe´s dans la pie`ge que leur a tendu l`auteur au moyen de le´le´gance trompeuse de son the´a^tre. Ils subissent le choc, unis dans l`horreur. C`est parceque les Blancs racistes ne veulent pas reconnai^tre la haine contre les Noirs, qu`il faut la leur faire voir, sentir et admettre par la pie`ge. Genet pre´sente donc d`abord aux spectateurs un monde familier et il finit par leur exposer une partie de ce monde qu`ils n`oseraient gue`re imaginer. C`est bien pour `leur divertissement` qu`il a entrai^ne´ les Blancs dans cette haine qu`ils n`auraient su^rement pas reconnue avant la repre´sentation. C`est bien la` la technique dramatique de Genet.

장 주네의 초기희곡의 연극형태와 존재추구의 양상

안영순 ( Young Soon Ahn ) 한국불어불문학회 1997 불어불문학연구 Vol.34 No.1

Jean Genet manifeste un me´pris total a` l`e´gard du the´a^tre occidental. Selon lui, le the´a^tre doit e^tre la forme la plus valable de communion entre les hommes; comme en Orient, il doit e^tre fonde´ sur le rituel et la ce´re´monies; les acteurs sont les pre^tres de cette religion, dont les fide`les sont les spectateurs. Le mode`le du the´a^tre quo Jean Genet appelle de ses voeux est la ce´le´bration symbolique de la messe. Mais la messe quo Jean Genet ce´le`bre sur sce`ne est une messe noire. Chacune de ses pie`ces se pre´sente comme une ce´re´monie rituelle et sacre´e, dont les participants officient en faveur du mal avec la me^mo ferveur que les saints dans l`accomplissement du bien. Le mal est magnifie´, sanctifie´; le vice est la seule vertu; l`enfer est le seul paradis, les te´ne`bres la seule lumie`re. Le meurtrier authentique, beau et impassible, exerce une sorte d`envou^tement mystique: c`est un saint, touche´ par la gra^ce du crime; condamne´, il a l`e´clat myste´rieux des grands martyrs. En faisant appel au Mal, les re´prouve´s de Jean Genet essaient de de´passer lour statu quo et d`e^tre un Saint.

< 슈렉 > 에 나타난 패러디 전략과 그 효과

안영순(Young Soon Ahn) 문학과영상학회 2001 문학과영상 Vol.2 No.2

Sherk uses parody as a basic structure of the work strategically. Often called ironic quotation, pastiche, appropriation, or intertextuality, parody is usually considered central to postmodernism, both by its detractors and its defenders. For artists, the postmodern is said to involve a rummaging through the image reserves of the past. According to Linda Hutcheon, the collective weight of parodic practice suggests a redefinition of parody as repetition with critical distance that allows ironic signalling of difference at the very heart of similarity. And as a form of ironic represenrarion, parody is doubly coded in political terms: it both legitimizes and subverts that which it parodies. The purpose of this study is to analyze the structure and effect of parody in Shrek. The opposition between [swamp - Shrek] and [Duloc - Farquaad] functions as a metaphor of the relation between [DreamWorks SKG - Jeffrey Katzenberg] and [Walt Disney Company - Michael Eisner]. And the princess Fiona who mediates between the two, is created as a double-faced character. She acts on the typical paradigm of Disney`s fairy tales, but, on the other hand, is an active heroine who has ability to apprehend the inner world of the ogre. Upsetting our expectation, she marries not the Lord but the ogre, and besides, is not metamorphosed into a beauty in spite of her lover`s kiss. Borrowing Disney`s narrative strategies and inverting them thoroughly, Shrek mocks and doubts the authority of the Disney. Finally, the ethos of parody in this work is to introduce and to subvert the grammar and ideology of the Disney. And so, this parodic strategy is a method not only to overcome the Disney`s Kingdom but to search a way for the post-Disney. Shrek shows us an example of a postmodern parody as a self-reflexive mode.

미래형 인문영재학의 정립 모색-인문학의 융화와 확산을 위하여 ; 인문영재교육과 상상력: 생-텍쥐페리의 인간의 대지를 중심으로

안영순 ( Young Soon Ahn ) 순천향대학교 인문학연구소 2009 순천향 인문과학논총 Vol.24 No.-

Recently in Korea, the education of humanities for the gifted and talented has become a matter of concern and interest. The purpose of this study is to examine three phases of the imagination as a motive of creative thinking-formal imagination, material imagination and dynamic imagination. The three phases are referring to the theory of Gaston Bachelard whose most important work is on poetics and on the philosophy of science. This study will analyze several concepts on `Man` that Antoine de Saint-Exupery presented through his experience and imagination in Terre des Hommes(Wind, Sand and Stars). Antoine de Saint-Exupery(29 June 1900 31 July 1944) was a French writer and-aviator. He is most famous for his novella The Little Prince, and is also well known for his books about aviation adventures, including Night Flight and Wind, Sand and Stars. He was a successful commercial pilot pre-war, joining the Armee de l`Air (French Air Force) on the outbreak of war, flying reconnaissance missions until the armistice with Germany. Following a spell writing in the United States, he joined the Free French Forces. He went missing on a reconnaissance flight over the Mediterranean in July 1944. Terre des Hommes (Land of Men) is a memoir by Antoine de Saint Exupery published in 1939. This work is probably an excellent example of the embodiment of dynamic imagination. The pilot and philosopher recounts several episodes from his years flying treacherous mail routes across the Sahara and the Andes. The central incident details the 1935 plane crash he survived in the Libyan Sahara Desert, between Benghazi and Cairo. Saint Exupery, and his navigator Andre Prevot, are left almost without water and food, as chances of finding an oasis or help from the air gradually decrease. The book illustrates the author`s view of the world and his opinions of what makes life worth living. His ideas and concepts such as metier(duty), relation, communication, community, self-realization and `l`Homme` (`the Man`) form his macroscopic and cosmic vision which could be helpful for an educational system that cultivates creative men.

서사담론의 변화와 관객성

안영순(Ahn, Young-soon) 한국외국어대학교 외국문학연구소 2009 외국문학연구 Vol.- No.35

The purpose of this article is to study the aspect of transformation of narrative structure and characters, and how the change of narrative discourse is related to the spectatorship in Modern Boy, a popular novel by Ji-min Lee and <Modern Boy>, a film adapted and directed by Ji-woo Jung. In the novel, the writer describes minutely and vividly the transition of Hae-myeong Lee's personal desire, and depicts the process in which he sinks into the world of ‘small talk’ of ‘one-dimensional man’, instead of joining in his fiancée's ‘big talk’. And using the mystery structure in which ‘Terror Park’ reveals himself as a fictitious character at the dénoument, the writer succeeds in bringing out reader's immersion and identification. Transforming the novel into a Bildungsroman film, the director made him to assume her ‘big narrative’ in virtue of his love. Unlike the novel, the fundamental dramatic conflict comes from constant antagonism between her ‘macro-discourse’ and his ‘micro-discourse’ in the film. But in the process of adaptation, the voice of director failed to correspond with spectator's sensibility of the times, and to communicate with desire of the public in the present age. In spite of some excellent aesthetic results, such as filmic expression of narrative process by costume and music motif, the film ends in a commercial failure caused by imperfection of melodramatic basis between the two lovers and lack of dramatic reality and verisimilitude. 본 논문에서는 이지민의 소설 『모던보이』가 정지우 감독의 영화 <모던보이>로 각색되면서, 내러티브의 구조와 캐릭터가 변용되는 양상을 살펴보고, 이러한 서사담론의 변화가 수용의 문제와 어떻게 맞물리는지를 연구하기 위해, 먼저 원작소설과 영화의 내러티브 구조를 분석하고, 이어서 원작소설의 인물들의 캐릭터와 역할이 영화에서 어떻게 변화하고 있는지를 살펴보고, 끝으로 이를 토대로 소설과 영화의 미학적 성과와 함께 수용의 측면에서 작가와 감독이 2000년대 대중과 어떻게 소통했는지를 분석했다. 원작소설에서는, 1930년대 식민지 공간 경성을 배경으로, 주인공 이해명이 신임 총독 취임식 이틀 전부터 취임식 전날 밤까지의 이틀 동안 조난실을 추적하는 긴박한 과정을 다룬 일차 서사를 축으로 하여, 그와 난실의 계속된 만남과 헤어짐, 그리고 추적과 재회의 일련의 과정이 이차 서사로서 소급제시의 형태로 부단히 개입된다. 작가는 이러한 비연대기적 서사 방식과 더불어 주인공과 독자들에게 정보를 지연시키는 전략을 구사하며, 모든 의문과 수수께끼가 집약된 곳인 문화구락부를 해명이 찾아가는 마지막 종착지로 설정함으로써 독자들의 호기심과 기대감을 증폭시키고 있다. 그리고 소설은 이해명이 벌이는 사랑이라는 개인의 욕망의 흐름을 쫓아가며 그것의 추이를 세밀하고 생동감 있게 묘사하면서, 그가 자신의 욕망을 성취한 후에는 난실의 ‘큰 이야기’에 결코 합류하지 못하고 결국은 그의 본성이라 할 ‘일차원적 인간’의 ‘작은 이야기’에 함몰되어버리는 과정을 미묘한 심리 변화의 포착과 섬세한 묘사, 그리고 결말부에서야 테러 박이라는 가공의 인물의 정체가 드러나는 미스터리 구조를 사용함으로써 독자를 소설의 세계로 끌어들이는데 성공하고 있다. 그렇지만 감독은 이 소설을, ‘일차원적 욕망’의 수준을 결코 벗어날 수 없었던 해명이 난실에 대한 사랑 때문에 그녀의 ‘큰 이야기’를 뒤이어 떠맡는 인간으로 변모하는 성장 영화로 각색했다. 그렇기 때문에 영화의 기본 갈등 구조는 소설에서와는 달리 난실의 거대 담론과 해명의 미시 담론의 대립에서 나온다. 그러나 영화에서 해명이 그렇게 변할 수 밖에 없는 근거가 되는 난실과의 멜로드라마의 토대가 충분히 구축되고 있지 못하기 때문에 개연성과 극적 긴장이 떨어지고 있다. 그리고 영화에서 두 인물이 처한 당대의 식민성을 표현함에 있어, 해명을 쇠똥과 자신의 피로 더렵혀질 수밖에 없는 하얀 슈트를 통해서 묘사하고, 난실을 얼굴 없는 가수로 설정하여 <개여울>이라는 음악 모티프를 축으로 내러티브를 끌어간 것은 매우 독창적이고 뛰어난 미학적 성취임에도 불구하고, 영화의 상업적 실패는 결국 해명의 캐릭터와 두 연인의 멜로드라마의 토대 구축이 충분하지 않아 관객의 동화와 몰입을 방해하면서 드라마의 리얼리티와 핍진성이 어느 정도 훼손된 점에 기인한 것으로 보인다.

가토 전방내 혈액흡수에 미치는 Aspirin 의 효과에 관한 실험적 연구

안영순(Young Soon Ahn) 대한안과학회 1982 대한안과학회지 Vol.23 No.4

다카하타 이사오의 리얼리즘 연구

안영순(Ahn, Young-soon) 한국외국어대학교 외국문학연구소 2007 외국문학연구 Vol.- No.27

이 논문에서는 다카하타 이사오가 추구해온 ‘일상의 리얼리즘’의 완성을 보여주는 작품이라 할 수 있는 <반딧불의 묘>를 중심으로 그의 리얼리즘 예술관의 특징과 의미를 연구하였다. 다카하타의 리얼리티는, 시대의 상황과 배경을 정교하게 사실적으로 묘사하고, 과장, 비약, 왜곡, 생략이라는 애니메이션영화 특유의 자유로움으로 캐릭터를 그리지만, 관객들이 캐릭터의 상황 속에 몰입하고 그들의 기억과의 합치를 통해 관객의 일상에서 세부적인 것들, 그들 과거의 사소한 기억 하나하나가 영화 캐릭터의 삶을 통해 개연성을 얻게 되는 데 있다. 실사영화에서처럼 살아있는 배우들의 연기가 없기 때문에 일반적으로 애니메이션영화가 포착하여 표현하기 어려운 미세한 심리와 감정까지도 이 영화가 관객에게 현실보다 더 현실감 있게 전달할 수 있었던 것은 바로, 생명이 없는 불과 물 그리고 소도구들이 캐릭터들만큼이나 훌륭하게 연기를 함으로써 이미지와 소도구의 셔레이드가 역동적인 힘을 발휘했기 때문이다. 그리고 원작 소설에서와는 달리 다카하타는 자신이 작품에 개입하지 않고 세이타와 세츠코의 주관적인 상황을 객관적으로 전달하기 위해서, 주인공의 내레이션의 삽입을 포함하여 주로 원 씬 원 쇼트에 의한 롱 테이크, 아이 레벨 쇼트, 그리고 롱 쇼트를 사용하면서 영화를 다큐멘터리식으로 연출했다. 이처럼 감독은 내레이션을 포함한 다양한 다큐멘터리적인 연출 기법을 통해 죽어버린 세이타의 영혼이 자신이 죽음에 이르기까지의 과정을 객관화시켜 보여준다. 이러한 그의 리얼리즘관은 19세기 사실주의 소설가인 플로베르가 “예술가는 예술 작품을 창조함에 있어 그 표면에 자기 자신이 드러나지 않도록 하는 ‘비개인성’과, 거기서 자기 자신이 느껴지지 않도록 하는 ‘비감동성’을 철칙으로 삼아야한다고 생각한” 소설미학의 영화적 변용이라 할만하다. Grave of the Fireflies, an anime feature directed by Isao Takahata, tells the story of two children, Seita, a 14-year old boy and Setsuko, his 4-year old sister and their uphill struggle to survive the effects of American firebombing in Kobe near the end of World War II. Based on the semi-autobiographical novel of Akiyuki Nosaka, Grave of the Fireflies is a powerful experience that powerfully communicates the strength of the human spirit to carry on against overwhelming odds. The story is told by flashback as the two children are left alone to fend for themselves when their mother is killed in the bombing campaign. When their father is also killed in the Navy, they must struggle against starvation, the cruelty of an aunt they trusted, people's general indifference, and their own pride. Though both children eventually succumb to malnutrition, this work is so lyrical that it creates a magical, dream-like effect. This does not mask the tragedy but makes it all the more poignant. The director, Isao Takahata, obviously has a special resentment of the war, but manages to avoid condemning it outright. The director instead lets us focus in on the conflict as seen through the eyes of the two children, who watch unflinchingly as the realities of their world begin to falter before them. Grave of the Fireflies is a bold statement on the condition of the human soul during conflict. The purpose of this article is to study Isao Takahata's Realism, focusing on Grave of the Fireflies. The animation is both realistic and stylized but that's not the point, the main focus of this film is the character development of the brother and sister protagonists. This film though detailed and indeed beautiful in some sequences (namely relating to the title), is not by any means flashy but captures emotions and interactions between the characters perfectly. By using documentary style mise-en-scène, the director shows objectively the subjective situation of Seita and Setsuko in the middle of the war.

장 주네의 <발코니>와 미셸 오슬로의 <키리쿠와 마녀>에 나타난 가면놀이

안영순(Ahn, Young-soon) 한국외국어대학교 외국문학연구소 2005 외국문학연구 Vol.- No.20

The purpose of this article is to analyze the aspects of power of masquerade in Jean Genet's Le Balcon (The Balcony) and Michel Oslot's Kirikou et la Sorcière (Kirikou and the Sorceress). In these works, a serious consideration of the correlation between the power and the public is reflected. The order of the dominators to which the oppressed have aspired - the government, the sacred functions, the administration, the army etc. - is revealed as a masquerade based on the role-playing in Le Balcon. As far as the oppressed could not make the creative idea, their revolt always results in failure. The revolt and the order are two roles in the same masquerade. In a little village somewhere in Africa, a boy named Kirikou is born in Kirikou et la Sorcière. But he's not a normal boy because he knows what he wants very well. Also he already can speak and walk despite of his young age. His mother tells him how an evil sorceress has dried up their spring and devoured all males of the village except one. Hence, little Kirikou decides that he will accompany the last warrior to the sorceress. Due to his innocence and wisdom, he reveals the natural shape of the sorceress' power as a mask. These two works show how the power without reality is a fake image controls the unconsciousness of the public deeply. In conclusion, Jean Genet's Le Balcon and Michel Oslot's Kirikou et la Sorcière might be a remarkable study on the mentality of the public paralyzed by the interior oppression.

영화 〈택시운전사〉의 서사전략

안영순(Ahn, Young-Soon),이정욱(Lee, Jeong-Wook) 인문콘텐츠학회 2019 인문콘텐츠 Vol.0 No.53

본 논문은 영화 〈택시운전사〉의 서사 전략을 내러티브 구조와 시각화 과정의 두 가지 측면에서 연구했다. 이를 위해 우리는 주인공의 여정을 따라가면서 그의 변모 양상을 영화서사학의 연구 방법론과 그리고 조셉 캠벨의 신화연구에 기반한 영웅의 여정 패러다임을 적용하여 영화의 내러티브 구조를 분석하고, 이어서 주제 구현과 관련하여 주인공의 내면의식의 변화를 시각화하는 방식을 영상언어 장치들로서 상처의 모티프, 리본 그리고 에어 커튼 몇 가지 시각 기호들을 중심으로 분석했다. 만섭은 일상의 밥벌이가 소중한 평범한 소시민이었지만 “자기 삶을 자기보다 큰 것에 바친 사람”으로 변모함으로써, 캠벨이 밝혀낸 ‘천의 얼굴을 가진 영웅’의 원질신화를 반영하고 구현한다. 영웅서사에서 주인공이 움직인다는 면에서 볼 때, 역동적인 택시운전사는 분명 영화적으로 매력이 있다. 5·18 광주를 소재로 한 다른 영화들과는 달리 〈택시운전사〉는 영웅담의 형식으로 승리의 서사를 취하면서, 다양한 시각기호 장치들과 더불어 주인공과의 동일화 과정에 섬세하게 공을 들인 결과, 그동안 베일 밖 세상을 살았던 우리들 관객의 5·18 광주에 대한 미안함 혹은 부채의식을 위로해주는 것으로 보인다. This study aims to analyze the narrative of the film 〈A Taxi Driver〉 (Directed by Hun Jang, 2017) from the point of view of the Hero Narrative. To do this, we applied the methodology of narratology of film and the Hero’s Journey paradigm based on comparative study on the mythology by Joseph Campbell. 〈A Taxi Driver〉 is differentiated from other films about the May 18 Gwangju Democratic Movement in two regards. First, the narrative of this film is led by an outsider, taxi driver in Seoul who doesn’t know the Gwangju situation at all. Second, following the typical structure of Hero Narrative, movie audiences are easy to identify themselves with the taxi driver. Besides, backing up organically the solid structure of Hero narrative with the charade techniques ― the injury motif, ribbon and air curtain, scenes in the film do add emotional depth, meaning, and magnitude. Through the delicate process of identification with the Hero, the audiences could experience succeeding in escape from the extraordinary world. In doing so, the narrative of victory in 〈A Taxi Driver〉 seems to console our audience for the sense of debt about the May 18 Gwangju.