아이스퀼로스 오레스테이아의 교육적 여성상

장지원(Chang, Chi Won) 한국교육철학회 2015 교육철학 Vol.57 No.-

In this paper, I tried to figure out the elements of women’s education in Aeschulos Oresteia. Oresteia is the only trilogy which was based on the myth of Atreus family. In ancient Greek women were enforced to focus on their private life; however women character shown in Oresteia had capabilities to be a role model. They also affect the male citizens to change the viewpoint for the woman. There were three women in this trilogy: Ipigeneia, the daughter of Agamemnon and Klytimenestra, Klytimenestra, who killed Agamemnon after coming back from Troy, and Electra, brother of Ipigeneia who killed her mother for father's honor. Unless her resistence, Ipigeneia was the victim of the rituals for Agamemnon's troops which made Klytimenestra fury. Klytimenestra was considered evil character who killed her husband and affair to Aisgistos; however she was very active person for accomplishing her own purpose. her smart and bright deceive Agamemnon and almost without the help of Aigistos, she could kill the the daughter's slaughter. However her revenge provoked another innocents people's death and pain that was connected to another vendetta. Electra was different figure from Iphigeneia and Klytimenestra. She overcome Iphigeneia's weakness and strongly adhere to life based on justice(tropos dikaios). Electra who had kept Orestes safe prayed Orestes homecoming in front of the tomb of Agamemnon. After their reunion She transfer the memory of Agamemnon and cheer and help the revenge of Orestes. She kept median between Iphigeneia and Klytimenestra and her action was active in the allowance. All three characters gave some paradeigmatic role women to ordinary citizen in Athens, which enhanced understanding of women and their attitude on women's education.

테렌스 래티건의 『브라우닝 버전』에 나타난 아가멤논 신화의 전유

박희본(Heebon Park) 한국영미어문학회 2014 영미어문학 Vol.- No.112

This paper examines the critical dimensions of artistic appropriation in Terence Rattigan's 1948 stage play, The Browning Version. While focusing on the play's dramatic/literary use of the myth of Agamemnon's murder dramatized earlier in Aeschylus's Agamemnon, this study shall expose to critical scrutiny the ambivalence inherent to such an act of multi-layered re-contextualization, adopted and adapted on the one hand to portray the pragmatic post-war English society and the English psyche oppressed in the age of austerity, and yet on the other hand to suggest the possibility of a different future. The paper will look at the strategies of duplicity, transformation and reversal which have allowed the playwright to negotiate the meaning of the mythic narrative in a different socio-cultural framework to offer a humanistic analysis of the conflicts and uncertainties of life. It is argued that Rattigan's once overshadowed and overlooked work be revaluated through these critical paradigms, along with its thin beam of light carrying both timely and timeless resonances.

The Agamemnon Myth of the Curse in Shepard’s Curse of the Starving Class

Yim, Harksoon 한국중앙영어영문학회 2005 영어영문학연구 Vol.47 No.4

This paper deals with the mythic structure of Agamemnon myth with which Curse of the Starving intensifies its theme of inherited curse. Some critics have alluded to the mythic elements in the play, but none has delineated the play’s undercurrent mythic meanings related with the Agamemnon myth. Instead, many critics believe that the family in Shepard’s domestic drama is a metaphor for society and that the disintegration of the family is a metaphor for American culture. We can read a social criticism in the play through its surface manifestations. The approach of social criticism, however, seems to be an incomplete way to probe into the meanings in the undercurrent of Curse of the Starving Class since the play deals with the human condition, not merely its social manifestations. In its underlying structure the play deals intensely with the inheritance of a family curse. We may have to note that this theme of inherited curse is intensified through the undercurrent mythic structure borrowed from the Agamemnon myth in which the family curse of Tantalus is handed down through Atreus to Orestes.

인지과학의 관점에서 본 연극대사 : < 아가멤논 >의 사례를 중심으로

김용수 ( Yong Soo Kim ) 한국드라마학회 2011 드라마연구 Vol.- No.35

The dialogue has been faced with an ordeal in contemporary theatre. Today`s theatre called ``postmodern`` puts emphasis on audio-visual images that appeal to our senses, being freed from the literary text relying on language. Behind this movement is the prejudice against dialogue. It is believed that dialogue only expresses the intellectual idea. Because of this bias, the opinion that calls for the nonverbal theatre has emerged as in the case of Artaud. But is it true? My thesis starts with this question. Its basic assumption is that the dialogue can provide the physically sensuous experience. This idea is theoretically supported by the cognitive science. According to the cognitive linguistics, some aspects of word meanings arise from bodily experiences,appealing to the embodied mind. As such, the word not merely communicates the abstract concept but gives the bodily experience of it. Adopting the cognitive science,my thesis attempts to study the theatrical dialogue that causes the physically sensuous experience, leading to the conceptual idea. For this purpose my thesis analyzes the dialogues of Agamemnon as an example. The dialogue of Greek tragedy narrating the past events at length is designed so that we can feel those incidents with a physical sensation to the utmost, creating a kind of virtual action. Consequently it evokes the mental images of those incidents,making us to feel as if seeing them. The embodied emotions acquired this way lead us to think about their meanings through the ensuing cognitive process. To put it simply, the physically sensuous dialogue can cause certain feeling, and the feeling in turn can evoke certain idea. < Agamemnon > may be a good example that illustrates the features of dialogue described so far. Its dialogues not only make us to feel the theme ``dike``, that is, the punishment of justice, with a physical sensation, but also allow us to understand it in a special way. For instance, the speech of the chorus makes us to experience the punishment of Troy with a physical sensation as it narrates that the enraged eagles plunged their claws in a pregnant hare, and thus killed its unborn babies spurting of blood. From this bodily sensation emerges the nature of ``dike``(the punishment of justice). The realization of justice involves another crime. This idea is the result of the bodily sensuous experience that is expanded to the metaphorical meaning. As such, the physically sensuous dialogue can arouse certain idea, not remaining as a mere sense experience. Its result can be described as a ``embodiment of thinking.`` 오늘날 연극에서 말은 수난의 시기를 맞이했다. 소위 ``포스트모던 연극`` 혹은 ``포스트드라마``로 표현되는 현대연극은 이제 말을 중심으로 한 문학적 성격을 벗어나 관객의 감각에 호소하는 시청각적 이미지를 중시하게 된다. 이런 움직임 뒤에는 대사에 대한 편견이 있다. 즉, 대사는 ``말로 표현할 수 없는`` 삶의 진실을 전달하기에 부적합한 것이다. 그렇기 때문에 아르또처럼 비언어적 연극을 주장하는 입장이 대두되었다. 과연 그럴까? 본 논문은 이와 같은 의문에서 시작되었다. 본 논문의 기본가설은 대사가 신체 감각적인 경험을 일으킬 수 있다는 것이다. 이와 같은 생각은 인지과학에 의해 이론적으로 지지를 받는다. 인지언어학에 따르면, 언어는 구체적인 신체적 경험에서 비롯된 것으로, ``신체화된 마음(embodied mind)``에 호소한다. 이처럼 언어는 단지 추상적 개념을 전달하는 것이 아니라, 그런 상태에 대한 신체적 체험을 유발시킨다. 이에 본 논문은 인지과학의 관점에서 연극대사가 어떻게 신체 감각적인 체험을 불러일으키고, 그 체험이 개념적 사고로 이어지는지를 고찰하고자 한다. 이를 위해 본 논문은 고대그리스 비극인 < 아가멤논 >을 분석의 사례로 삼았다. 과거의 사건들을 아주 길게 서술하는 그리스 비극의 대사는 최대한 그 사건을 신체 감각적으로 느끼게 고안되어 일종의 "가상적 행동(virtual action)"을 창조한다. 그 결과 그리스 비극의 대사는 그것이 묘사하는 사건이나 상황에 관한 ``심상``을 불러일으켜, 마치 우리로 하여금 ``보는`` 것 같은 느낌을 준다. 이렇게 얻어진 ``신체화된 감정``은 후속적인 인지 처리과정을 형성하여 의미를 발생시킨다. 쉽게 말해 신체 감각적인 대사는 특정 느낌을 불러일으키고, 느낌은 특정한 생각을 환기시키는 것이다. < 아가멤논 >은 위와 같은 성격의 대사를 보여주는 사례 중의 하나이다. < 아가멤논 >의 대사는 극의 주제인 ``정의의 응징(dike)``을 신체 감각적으로 느끼게 할 뿐 아니라, 특별한 방식으로 이해하게 하는 것이다. 예를 들어 코러스는 트로이에 대한 응징을 우선 신체 감각적으로 느끼게 한다. 그것은 독수리가 날카로운 발톱으로 어미 토끼를 찢어 죽이고, 이로 말미암아 뱃속의 새끼까지도 피를 토하며 죽는 것이었다. 이와 같은 신체 감각적 느낌에서 ``정의의 응징``이 그 성격을 드러낸다. 즉, 정의 실현은 또 다른 끔찍한 죄를 범하는 것이다. 이와 같은 생각은 강렬한 신체 감각적 경험이 은유적인 의미로 확장된 결과이다. 이처럼 신체 감각적인 대사는 감각적 경험에 머물지 않고 특별한 생각을 환기시킬 수 있다. 그 결과는 ``생각의 신체화``라 할 수 있다. 비언어적인 표현이 각광을 받는 오늘날 우리가 연극의 본질을 언어의 관점에서 되돌아보는 계기가 필요한 것이 바로 이러한 이유에서이다. 그렇게 함으로써 우리는 편파적인 시각을 벗어나, 연극대사에 관한 균형 있는 이해를 도모할 수 있을 것이다.

<트로이>를 다시 말하다: 리더십의 양상을 중심으로

이영순 문학과영상학회 2014 문학과영상 Vol.15 No.4

Wolfgang Petersen’s Troy (2004), which was inspired by Homer’s Iliad that deals with a leader’s personality on a community’s fate, depicts America’s political and military confrontations in early 2000s. This article analyzes leadership types and characteristics of heroes in Troy: Agamemnon, Achilles and Hector. According to Joseph Nye’s concepts on power, it can be said that Agamemnon, who seeks to seize the supremacy of Peloponnesos by Troy conquest, is a hard power leader while Achilles, who seeks eternal honor, a soft power leader. Hector, a hero who fights for his nation and family, is regarded as a collectivistic hero who puts priority on community over an individual, and Achilles as an individualistic hero who fights for his own pride. Troy depicts Agamemnon as a brutal and ruthless tyrant despite his justifying reason to regain his tarnished reputation. This shows that Troy shares position with Nye’s optimistic perspective to view that America’s soft power has higher utility than China’s hard power. And Troy depicts Hector as more ideal hero than Achilles due to the external challenges like Iraq wars and China’s threat in early 2000s. In the end, it seems that Troy suggests proper directions for individualism through Achilles’ internal change process, and Paris as the alternative and future-oriented leadership.

『아가멤논』의 봉화

정동근(Jeong, Dong Geun) 한국서양고전학회 2014 西洋古典學硏究 Vol.53 No.1

아이스킬로스의 『아가멤논』에서 클리타임네스트라는 트로이로부터 아르고스(미케네)에 이르는 봉화 경로를 이야기한다. 이는 수 백 km의 장거리 통신 경로가 구체적으로 서술된 최초의 사례이다. 그런데 아이스킬로스가 언급한 중계 봉화대 중 같은 이름의 지명이 존재하지 않거나 혼동되는 경우도 많아서 그 위치를 비정(比定)하는 일은 오늘날에 이르기까지 여러 연구자의 관심을 끌어 왔다. 대부분의 기존 연구는 신화, 역사, 지리, 언어, 정치 상황 등에 주안점을 두고 텍스트를 분석하여 봉화대의 위치와 봉화전달 경로를 추정하였고, 봉화 경로 상의 각 구간에서 가시선(line-of-sight)이 확보되는지만 따져 그 구간에서의 통신 가능성을 판정하였다. 그러나 광통신이 실제로 기능하기 위해서는 가시선 확보 외에도 충족되어야할 조건이 많다. 본 연구는 최근의 광통신 이론에 근거한 통신공학적 분석을 바탕으로 각 구간의 기술적 타당성을 검증한다. 그 결과, 빛의 전파(傳播)에 따른 신호의 감쇄로 말미암아 적어도 아토스-마키스토스 및 이다-렘노스 등 두 구간에서는 정상적으로 봉화를 주고받기 어려웠다는 점을 논증한다. In the Aeschylus’ Agamemnon, Clytaemnestra has the ‘beacon speech,’ which defines the beacon path from Troy to Argos. This is the first-ever case of the long-distance telecommunication system of which route is described in detail. However, since some beacon-sites mentioned by Aeschylus do not match with current place names, to decide the actual location of beacon-sites has attracted many researchers’ attraction for several centuries. Most of the existing studies analyze the text and estimate the locations of beacon-sites and beacon path, based on myth, history, geography, linguistics, and political situation; for the link availability, they only take the maintainability of line-of-sight into account. However, for the practical optical communication, the link not only needs the line-of-sight signal path but also should meet many additional technical conditions, of which the most important is a requirement on the received signal power. In this study, we investigate the technical feasibility of optical links on the path, based on the modern optical communication engineering. As a result, we show that at least two links, Athos-Makistos and Ida-Lemnos, are not feasible, because of severe signal attenuation in these links.

아이스퀼로스와 셰익스피어 비교연구: 『오레스테이아』(Ὀρεστεια) 삼부작과 『맥베스』(Macbeth)에 나타난 운명의 이중성

정해갑 한국셰익스피어학회 2019 셰익스피어 비평 Vol.55 No.1

Fate, in Aeschylus and Shakespeare, is not the destiny given mechanically by divinities, but the oracle open to humans’ free will and choice. The tragic heroes, evil doers in this case have to answer for the results of their fate, since their ethos, or character works as a main force driving their life to tragic fall, as is the case of Adam and Eve. Remarkably, it is their own hybris, or pride that drives Agamemnon and Macbeth to fall a victim to the oracle, an oracle that is so ambivalent as to play the devil with their life. The oracle “in a double sense” is simply up to their choice or free will, and the result is really the product of “things bad begun” arising from their hybris. The dynamics of myth and reason in the 5th century BC accounts for the “double sense” aesthetics of fate linking Aeschylus and Shakespeare, with the court of Areopagus trying to accomplish justice, regardless of the oracle.

아이스퀼로스(Αἰσχυλος)의 극장정치에 관한 연구

정해갑(Haegap Jeoung) 한국셰익스피어학회 2018 셰익스피어 비평 Vol.54 No.1

In terms of theatrokratia, politics of theatre, this paper tries to analyze an Orientalist discourse, focusing on how Aeschylus’ theatre justifies the hegemony of polis Athenai, and furthermore mystifies it. The theatre works as a ritual space for divinities, a disciplining space for citizens, and a political space for rulers as well. In the 5th century BC classical Greece was waging a series of wars, especially the Persian Wars, later the Peloponnesian Wars, with political conflicts either between conservatives and radicals internally, or among Hellenic countries resulting from or in the wars. Accordingly, Aeschylus’ theatre was so political as to marginalize the Oriental other Persia and the Orient-rooted other Argos as well. Into the political space, Agamemnon and Xerxes enter as an effeminate (anandros) other having no power of government (akratos), lacking self-control (akrateia). In contrast, female characters Clytemnestra and Atossa appear manly (andros), with their roles reversed, which does not feature feminism, but Oriental otherness. Remarkably, the Oriental otherness juxtaposed with hybris and insanity (ate) accounts for their impious and reckless wars, and furthermore unfortunate fates. Their cities, Sousa and Argos, are also feminized (kenandros) and open to colonial imagination, with ‘veils of an Eastern bride’ waiting for conquerors’ touch. This kind of marginalization is the very strategy for the political theatre to justify the hegemony of polis Athenai. By putting the Oriental despotism onto the other side of impiety, the theatre tries to mark divine the democratic ideal of polis Athenai.

Utilization of Trichogramma in Rice Stem Borer Control in Egypt

M. R. Sherif,A. S. Hendawy,M. A. Ewais,E. A. Agamy,M. M. EI-Habashy 한국응용곤충학회 2005 한국응용곤충학회 학술대회논문집 Vol.2005 No.05

그리스 비극에 나타난 젠더와 아테네 제국주의

최혜영 한국외국어대학교 외국문학연구소 2008 외국문학연구 Vol.- No.29

이 글은 아이스킬로스의 󰡔오레스테이아󰡕를 중심으로 비극 속 여성상과 아테네 제국주의의 상관성을 살펴보고자 한 것이다. 그리스 비극에 대한 글들은 수없이 많이 있지만, 당시 아테네가 처한 ‘대외적인’ 정치외교적 상황 및 이와 연관한 아테네인들의 심성적 맥락과 연결하여 보는 글들은 거의 없는 듯하다. 당시 아테네는 페르시아 전쟁 이후 델로스 동맹국들을 이끌면서 점차 제국주의적 경향을 띠고 있었고, 이러한 제국주의 이데올로기의 버팀목은 ‘그리스 동맹국들을 이끄는 용감한 아테네 남성’이었다. 이러한 남성적 아테네와 대조적인 국가는, 󰡔오레스테이아󰡕의 배경이 되고 있는 아르고스였다. 페르시아전쟁 당시, 테바이와 더불어 친페르시아파로 분류되었던 아르고스는 아테네의 비극작가 아이스킬로스에 의해, 아가멤논이나 아이기스토스, 오레스테스처럼 남성이 여성스럽고, 클리타임네스트라나 엘렉트라처럼 여성이 남성 같은 나라이자, 악한 여성 혹은 유약한 남성이 폭군으로 통치하는 비극적 사회로 그려지고 있다. 이처럼 젠더(性정체성)는 아테네의 우월성과 아테네 적대국의 비극성을 강조하는 구도에서 유용한 도구였으며, 주요 유통 경로는 비극 상연이었다. 아테네 사회의 기반으로서의 남성들이 이상화되면 될수록, 여성과 이민족은 점점 타자화되어갔다. This paper is to trace the relationship between gender and ‘imperialistic mentality’ of Athens through analyzing Greek tragedies, especially the Oresteia of Aeschylus. In this play of Aeschylus, Argos, the homeland of Clytemnestra and Orestes is a representative country of manlish women and feminized men. This twisted gender-orientation constitutes one of the main frames of this play. Aeschylus created a new character of Orestes and of Clytemnestra, manipulating traditional myths for political purposes-that is Atheno-centric and anti-Argos. My argument is based on the historical fact that Argos (and Thebes) had taken the side of Persia against Athens during the Persian war and Athens wanted cultural revenge against those pro-Persian countries. It is not only for the past, but also for the present and future, since the Delian League lead by Athens was at work at that time. In short, the Oresteia of Aeschylos was performed as a propagandic civic project to strengthen the ideology of Athenian Imperialism, and one of the main frames of sustaining this ideology is ‘a twisted gender conception’.