마티스의 창문그림에 나타난 심리 상징적 의미연구 : 상징적 부친살해의 관점으로부터

손혜주,정재원 사)한국아동발달지원연구소 2022 임상미술심리연구 Vol.12 No.3

This study is a study on the symbolic meaning of windows, an important element of indoor painting, and aims to present a perspective of window painting interpretation, by examining Matisse's painting symbolically, expressing the relationship between the outside world and his own inner world, through window painting. Matisse is a representative painter of the post-impressionist Fauvism, and is said to have overturned the traditional values and systems of the past, and initiated the start of modern art. The researcher considered that Matisse's window painting represented the scene of the overturning of the system, and noted that this could explain the process of patricide in psychoanalysis. For the study, existing Matisse studies, chronicles, autobiographies, and window paintings by period were analyzed, along with patricide research literature. Through this study, it was found that Matisse actively used windows in indoor paintings to express his internal world, and in the process, the scene of symbolic patricide was represented through window paintings. The interior painting not only represents his inner world, but also shows, in a psychological sense, the patricide beyond his father's world, through the expansion of the self, and expresses the main moment of Matisse's painting life as an independent artist. This study is meaningful as a proposal for a psychological follow-up study and discourse of window paintings, by expanding the scope of projective interpretation of window paintings. 본 연구는 실내그림의 주요 요소인 창문의 상징적 의미에 대한 연구로, 창문 그림을통해 외부세계와 자기세계의 관계를 상징적으로 표현한 마티스의 그림에 대해 살펴봄으로써 창문 그림 해석의 한 방향을 제시하고자 하였다. 마티스는 인상파 이후의 야수파를대표하는 화가로 이전의 전통적인 가치관과 체제를 전복시키고 현대미술의 시작을 알렸다는 평가를 받고 있다. 연구자는 마티스의 창문 그림에 체제 전복의 장면이 표상되었다고 보며, 이것이 정신분석의 부친살해 과정을 설명할 수 있음에 주목하였다. 연구를 위해기존의 마티스 연구와 연대기, 자서전, 시기별 창문 그림을 부친살해 연구 문헌들과 함께분석하였다. 본 연구를 통해 마티스가 자신의 내부세계를 표현하기 위해 실내그림의 창문을 적극적으로 사용하였으며, 이 과정에서 상징적 부친살해의 장면이 창문 그림을 통해표상되었음을 알 수 있었다. 마티스의 실내그림은 그의 내부세계를 표상함은 물론, 자아의 확장을 통해 부친의 세계를 넘어서는 상징적 ‘부친살해’의 이야기를 보여주며, 독립된작가가 되어가는 그림 인생의 주요순간을 표현하고 있다. 연구의 결과로 볼 때 본 연구는창문그림의 투사적 해석 범위를 넓히고 창문 그림의 독자적 의미 연구와 담론을 위한 제안으로 의의가 있다고 할 수 있다.

논문(論文) : 영화 ≪조씨고아≫의 각색 양상 연구 -영아살해와 부친살해를 중심으로

신정수 ( Jeong Soo Shin ) 중국어문연구회 2014 中國語文論叢 Vol.0 No.61

The Orphan of Zhao, a Yuan drama about a feud between the Zhao and the Tu clans in ancient China, includes various kinds of death: from massacre and homicide to suicide and others. Among these deaths are two murders deemed “unnatural”: infanticide and patricide. The villain Tu Angu decimates the Zhao clan and kills an infant thought to be the last remaining member of the family; in fact, the baby is the child of the Zhao family’s doctor Zheng Ying, who has no other choice as his son is killed but to watch helplessly for the sake of saving the last heir of the Zhao clan, Gu’er. Fifteen years later, when he learns the truth, Gu`er immediately kills Tu Angu and redeems his family’s honor. The problem, however, is that the two have been as close as father and son. In his film Sacrifice (2010), the director Chen Kaige noticed this problem and adapted it in order to satisfy a contemporary audience. This paper examines Chen Kaige`s criticism of the original drama through the analysis of his cinematic adaptation.

頻婆娑羅와 阿闍世에 관한 僧團認識의 딜레마 고찰

염중섭 대동철학회 2009 大同哲學 Vol.48 No.-

頻婆娑羅는 붓다의 성도 이전부터 붓다와 깊은 친연관계를 맺고 있었던 인물인 동시에, 붓다의 成道 이후에 불교교단의 가장 큰 후원자로 등장하고 있는 국왕이다. 그러나 빔비사라는 붓다에 대한 깊은 신심에도 불구하고, 태자인 阿闍世의 政變으로 인하여 비극적인 최후를 맞이하게 된다. 그런데 빔비사라 사후 왕권이 안정되자, 아사세는 耆婆의 권유로 붓다에게 귀의하게 된다. 그리고 붓다께 귀의한 뒤로는 불교교단의 최대 후원자로써 자리매김을 하기에까지 이른다. 이렇게 되어 승단인식에는 빔비사라와 아사세의 양자를 공히 攝受해야만 하는 문제가 제기되는 것이다. 그런데 빔비사라와 아사세 사이에는 殺父라는 逆罪가 존재하고 있다. 그러므로 두 사람을 모두다 종교적으로 구제한다는 것은 매우 복잡한 완충논리를 확보해야만 하는 측면이 존재하게 된다. 즉, 역죄로 분기되어 있는 두 사람의 동시구원이라는 문제 속에서 승단인식은 심각한 딜레마에 빠질 수밖에 없는 것이다. 이와 같은 딜레마를 극복하기 위해서 승단은 먼저 다음과 같은 두 가지의 방어논리를 전개하게 된다. 첫째, 아사세는 빔비사라를 석방하려고 했으나, 그러한 과정에서 빔비사라가 죽게 된 것이므로 죽이려는 목적성은 없었다는 것. 둘째, 아사세는 提婆達多에 의해 현혹된 상태에서 판단 오류를 범한 것이므로 역죄는 제바달다에게 부과되어야 한다는 것. 그러나 이와 같은 방어논리는 합리적인 설득에 있어서 타당성이 부족하다는 자체적인 한계를 가지게 된다. 그로 인하여 문제는 빔비사라와 아사세 간의 宿業과 관련된 측면이라는 새로운 가능성을 타진하게 된다. 이러한 문제해결 방향의 선회는 후대의 승단인식을 통해서 보다 구체화되면서 정교한 논리로 발전하기에 이른다. 또한 이를 통해서 빔비사라와 아사세의 동시구원이라는 難題와 빔비사라의 비극적인 최후가 이들 양자간의 定業과 관련된 것으로 제한되게 됨으로 인하여 승단인식은 훨씬 더 유연하고 자유로운 측면을 확보하게 된다. Bimbisāra is the person who had close relation with Buddha even before his attainment of Great Wisdom. At the same time, the king became the most ardent supporter of the Buddhist sect after Buddha's attainment of Great Wisdom. But, in spite of his deep faith in Buddha, he met the tragic fate because of the coup of Crown Prince Ajātaśatru. When the royal authority was stabilized after the death of Bimbisāra, Ajātaśatru was converted to Buddhism through the Jīva's persuasion. And, after the conversion to Buddhism, he became the greatest supporter of the Buddhist sect. Due to this, there arise a problem in the recognition of Buddhist order that both of Bimbisāra and Ajātaśatru have to be accepted reverently. But, between Bimbisāra and Ajātaśatru, there exists a treason of patricide. Therefore, to allow the religious salvation to both of them, it is necessary to establish a very complicated buffering logic. In the simultaneous salvation of two antagonistic persons due to the treason, the recognition of Buddhist order comes to get into a dilemma inevitably. To overcome this dilemma, the Buddhist order first developed the following two defensive logics: First, Ajātaśatru tried to set free Bimbisāra, and Bimbisāra died in the process. Therefore, Ajātaśatru had no intention to kill his father. Second, as Ajātaśatru made a mistake of his judgment in the state confused by Devadatta, the treason must be imposed on Devadatta. But, these defensive logics had the limit in them that they lacked the feasibility for the rational persuasion. Because of it, people tried to find a new solution for the problem in the aspect of Karma in former life between Bimbisāra and Ajātaśatru. This change of problem solving direction became more concrete through the later recognition of Buddhist Order, and was developed to the elaborated logic. In this process, the hard problem of Bimbisāra and Ajātaśatru's simultaneous salvation came to be limited to the settled Karma between two persons, and the recognition of Buddhist Order came to acquire more flexible and free ground.

한국 구전서사 속 "부친살해" 모티프의 역방향 변용 탐색

김영희 ( Young Hee Kim ) 한국고전문학회 2012 古典文學硏究 Vol.41 No.-

한국 신화의 전통에서 ``부친살해``는 소거되거나 회피되어 있다. 신화의 주인공은 ``부친살해`` 없이 자기 세계 건설에 나서거나 애초에 아버지가 ``결여``된 존재로 드러난다. ``부친살해``의 계기가 마련되지 않는 것이다. 신화적 서사의 전통에서 ``부친살해``는 ``자식살해``로 나아가는 또다른 변용의 조짐을 드러내기도 하는데 이 가운데 가장 눈에 띄는 것이 ``기아(棄兒)`` 모티프다. 부모 세대가 주도하는 분리·독립이라는 점에서 ``기아``는 ``자식살해``의 변주 징후를 드러낸다. ``자식살해``로 나아가는 변용의 구체적인 정황은 <손순매아(孫順埋兒)>와 <동자삼(童子蔘)>류의 효행담과 <아기장수>와 <우투리> 등의 이야기를 통해 확인할 수 있다. 이들 이야기에서 부모는 공동체의 규범과 가치를 수호하고 질서를 유지하기 위해 과감하게 ``자식살해``에 나선다. 그러나 그 양상은 사뭇 다른데, 전자의 이야기들에서 ``자식살해`` 후 이에 대한 윤리적 책임을 회피하는 방어 기제로서 ``보상``이 등장하는 반면, 후자의 이야기들에서는 ``자식살해`` 후 이에 대한 파토스적 회한과 반성의 조짐이 나타난다. 이로 인해 전자가 공동체로의 동화와 순응을 강제하는 억압과 강박의 징후만을 드러내는 데 반해, 후자는 이와 더불어 이 동화와 순응을 비판하고 이로부터 벗어나려는 움직임의 단초를 보여주기도 한다. ``부친살해``의 회피나 역방향으로의 변주 지향은 한국 구전서사의 전통이 공동체적 동일성에 긴박된 주체 생산에 관여해왔음을 짐작케 한다. 특히 내적 동요 없이 ``자식살해``에 나서는 부모의 형상은 공동체적 가치 수호에 적합하도록 몸과 마음이 규율화된 주체 구성의 효과를 추론하는 단서가 된다. 그러나 부조리와 모순으로 점철된 ``자식살해``는 회의와 반항이라는 비판적 효과를 만들어내기도 한다. ``부친살해``를 역방향으로 돌리는 반동적 움직임이 ``부친살해``적 충동을 부추기는 역설적 효과를 만들어내는 것이다. This study is intended to analyze several aspects of reversing variations of the motif of ``patricide`` in the tradition of korean oral narratives. It deals with several aspects varied from the motif of ``patricide`` to the motif of ``filicide``. The ``patricide`` is a general motif in many heroic myths in which heroes creates their own new world. Especially, it is focused on what effects are to be made by variations on the theme of ``patricide`` and ``filicide``. If locutionary acts are going to be described as performances with social and powerful effects, then oral-narrative performances are to be interpreted as perlocutionary and performative acts as well. In korean myths there is not a father of main character to construct his own new world escaping from an old world. And a father of the future successor, the son, abandons him before he leaves his father. Therefore, murdering father does not occur in these stories because the father abandons his son first. The ``patricide`` is avoided in the tradition of korean oral narratives. There is a motif of ``filicide`` in narratives like in the stories of filial duty. First example of this is "Sonsunmaea(孫順埋兒)". In this story, Sonsun finds the bell while he buries his son eating grandmother`s food to take care of his mother very well, with his wife. "Dongjasam(童子蔘)" is the story about a husband and a wife who boil their child in a caldron to do their filial duties to the husband`s sick parents. In these stories, parents kill their child even without any inner conflicts or a moment of hesitation. However, strange enough, they get rich in reward or they get to see their living son again with the help of god later on. In the story of "Agijangsu(아기장수)", a parent kills its son to be a great hero in one community where people regard a baby as a man with possible threat to the society. In the story of "Utury(우투리)", a child who has the possibility of saving the world or becoming a new king fails to be because his mother accidently reveals her son`s secret or because one commander dispatches soldiers to kill Utury with much threat. The values and disciplines of community acquire a stupendous preponderance in these narratives. If the oral-narratives constitute scenarios indicating specific social identities and its performance implies symptoms of the gendered, performing itself is the processes of enacting the gender-identity of male or female and the performative mechanism is the matrix which produces the gendered subject. Furthermore, when the performance of these oral narratives present the structure having an effect of initiation into a society, it works on individual performers as a normalization system based on the criterion and standard of social homogenization.

殺戮與救贖的兩難抉擇 -余華和金英夏的父權意識比較分析

정동매 ( Dong-mei Zheng ),김학철 ( He-zhe Jin ) 중국어문연구회 2015 中國語文論叢 Vol.0 No.72

There are two similar features about Jin Yingxia, a writer from South Korea and Yu Hua from China. Both of them explore the thing of death in aesthetic style, and they also get the critical consciousness to fathers. This paper takes their novels as sample to study the features and differences of patricide consciousness in these works, to analyze the patricide impulsion and perplexity of these young writes who grew in cultural atmosphere of patriarchal system and matured in industrialized society of great change, and then reveals their introspection and seeking on social order. The two writers both grew in East Asian society with background of traditional Confucian culture, but because of different social system and culture, there are profound differences in their understanding on fathers. Jin Yingxia denied the capitalistic New Order based on interest relationship, but he still hovered in imaginative reconstruction of ideal society, while Yu Hua focused on history by revealing tininess of individual. The figure of fathers are ridiculed and deleted in Jin’s novels, while investigated and blamed in Yu’s work. As contemporary writers, they both took themselves in a contradiction of patricide impulsion and fear of lost their fathers. That is, when they attempted the new possibility of patricide consciousness, it’s hard to hide their restlessness and anxiety, and then showed their intention to do redemption for their fathers.

샘 셰퍼드의 작품에 나타난 부친 시해의 의미『성령처럼』, 『고 헨리 모쓰씨』,『말 못하는 혀』에 대한 정신분석학적 고찰

남정섭(Nam Jeongsub) 한국영미어문학회 2008 영미어문학 Vol.- No.86

The absence of father is one of the issues most frequently visited by Sam Shepard; fathers absent from their home and wandering in exile in the desert are found in many works of Shepard such as Holy Ghostly (1969), True West (1980), Fool for Love (1983), Silent Tongue (1992), The Late Henry Moss (2000), and more. Patricide appears, in his works, as just one of many strategies to make fathers absent even though it sounds an extremely unethical crime. In fact, Shepard"s world seems to present profound perversity and uncomfortable strangeness to realistic eyes. We must understand that mythical and psychological stages are what he aimed to create not realistic ones since he tried to produce modern myths about those who psychologically struggle to cope with the symbolic world of modern times. This paper analyzes Holy Ghostly, The Late Henry Moss, and Silent Tongue in order to argue that first, patricide is a symbolic death of the imaginary father; second, the murdered father and the murderous son can enter the symbolic order by the death of the father; third, an imaginary association with the outdated ideology of Eurocentric machoism is the other side of the fathers who identity themselves with and keep hold of the ideology.

오이디푸스 콤플렉스의 문학적 변형과 위장 - 김동리 장편소설 「사반의 십자가」를 중심으로

신정숙 ( Shin Jung-suk ) 국제어문학회 2015 국제어문 Vol.0 No.65

이 논문에서는 김동리 장편 소설 『사반의 십자가』(1955~1957)에 나타난 `아버지/남편의 부재`의 서사구조(부친살해 욕망의 문학적 변형/위장), `남매지간/모자지간`의 근친상간의 서사구조를 분석함으로써 유아기에 고착화 된 오이디푸스 콤플렉스가 사회 윤리 및 작가 자신의 윤리적 지향성으로 인해서 문학적 변형, 혹은 위장의 과정을 거치게 된다는 사실을 고찰하였다. 김동리의 오이디푸스 콤플렉스는 구체적인 문학 작품 속에서 확인될 수 있을 뿐만 아니라, 그의 어린 시절에 대한 기억을 기록한 많은 수필 등에서도 확인할 수 있다. 이는 그의 오이디푸스 콤플렉스가 어린 시절 경험했었던 특수한 가정환경과 밀접한 연관성을 갖고 있다는 것을 의미한다. 그의 어머니는 김동리를 출산할 당시 이미 노산이었고, 집안의 실질적인 가장의 역할을 하느라 너무나 바빴기 때문에, 김동리는 (프로이트적인 관점에서) 최초의 `연애대상`이었던 어머니로부터 충분한 모유/사랑/관심을 받을 수 없었다. 또한 유아기 때부터 지속된 아버지의 심각한 주사와 어머니에 대한 폭력은 아버지에 대한 미움(증오)과 어머니에 대한 원망(혹은 사랑)을 심화시키는 요인으로 작용하게 된다. 이처럼 유아기 때 어머니로부터의 분리의 경험과 비정상적인 부모의 관계에서 비롯된 정신적 외상은 김동리의 오이디푸스 콤플렉스를 고착화 시켰던 결정적인 요인으로 볼 수 있다. 그러나 이러한 오이디푸스 콤플렉스는 그의 문학 속에서 사회 윤리 및 그의 윤리적 지향성으로 인해서 직접적으로 형상화되지 못하고, 변형 혹은 위장의 방식으로 표현된다. 김동리 장편 소설 『사반의 십자가』는 가장 `김동리적`인 방식으로 자신의 오이디푸스 콤플렉스를 형상화한 작품으로 볼 수 있다. 이 작품은 오이디푸스 콤플렉스가 전면에 제시되지 못하고, 변형 또는 위장의 방식을 취하고 있다. 이 소설에서 부친 살해의 욕망은 `아버지/남편의 부재(사망/방랑/이별)`라는 서사구조로, 모자지간의 근친상간은 남매지간의 근친상간으로 변형되어 있다. 흥미로운 점은 부친살해 욕망과 근친상간에 대한 욕망이 소설의 부수적인 등장인물들로 볼 수 있는 나바티안스의 왕과 왕자들이 미인과 나라(권력)를 두고 벌이는 피의 대결과정을 통해서 구체적으로 제시된다는 것이다. 나바티안스의 왕과 왕자들은 일반적인 부자지간의 돈독한 관계가 아니라 완벽한 경쟁관계로 설정되어 있다. 늙은 왕은 미인을 차지하기 위해서 친아들인 첫째 왕자를 살해하기도 하며, 둘째 왕자는 부왕을 살해하고 장차 어머니(계모)가 될 미인과 나라(권력)를 동시에 탈취하는 모습을 보여준다. 이러한 서사구조는 소포클레스의 『오이디푸스 왕』에 등장하는 `친어머니(이오카스테)`가 `계모(실바아)`로 변형되어 있을 뿐 아들이 아버지를 살해하고, 어머니와 나라(권력)를 동시에 차지하게 된다는 『오이디푸스 왕』의 서사구조와 거의 일치한다. 또한 남매지간/모자지간의 근친상간을 범한 이들의 최후 역시 『오이디푸스 왕』의 주인공의 운명과 별반 다르지 않다. 이들은 모두 각기 다른 이유로 인해 죽음에 이르게 되는데, 이는 근친상간적 욕망에 대한 죄의식을 반영한 것으로서 단죄의 의미를 지니고 있다고 볼 수 있다. 이와 같이 김동리 문학의 주요한 특징 중의 하나가 오이디푸스 콤플렉스의 문학적 형상화이며, 장편 소설 『사반의 십자가』는 이러한 오이디푸스 콤플렉스가 가장 `김동리적인` 방식으로 재현된 대표적인 작품이라고 볼 수 있다. The fact that Oedipus complex fixed at infant period goes through process of literary transformation or disguise was examined because of the social ethics or ethical directivity of the writer himself by analyzing narrative structure of `absence of father/husband`(the literary transformation/disguise of patricide desire and the that of incest of `brother and sister/mother and son`, which was expressed in Kim, Dong-Lee`s novel “Saban`s Cross”(1955~1957) in this study. The Oedipus complex of Kim, Dong-Lee could be considered as fundamentally originated from the abnormal family environment he experienced in his young age. His mother was already old when she gave a birth to Kim, Dong-Lee, and because she was so busy acting a role of effective patriarch, Kim, Dong-Lee (in the view point of Freud) couldn`t get enough breast milk/love/attention from his mother who was his first `objective of love`. And the father`s serious drunken act and violence on his mother, which had been continued from his infant period, worked as a factor that deepened hatred on his father and blame(or love) on his mother. Like this, the mental injury caused by the experience of separation from his mother at infant period and abnormal relationship of parents worked as a critical factor which made Kim, Dong-Lee`s Oedipus complex was fixed. But this Oedipus complex was not formed as an image directly but expressed in the literary transformed or disguised way in his works because of the social ethics and the ethical directivity of the writer himself. “Saban`s Cross”, the novel of Kim, Dong-Lee, could be considered as a work in which his Oedipus complex was formed as an image in the most Kim Dong-Lee` s way among his various works of expressing incest motif. In this novel, the desire of patricide was transformed as a narrative structure of `absence of father/husband(death/wander/separation)`, and the incest of mother and son was transformed as incest of brother and sister. An interesting point is that the desires of patricide and incest are concretely presented through the process of bloody confrontation for a beauty and the state(power) of king and princes of Nabatians, which could be considered as accompanying characters of the novel. These characters are set as perfect competitors not a close relationship of general father and sons. The old king kills his first prince to get a beauty, and second prince shows the image of killing his father, the king, to obtain the beauty who would be his mother(step mother) in the future and the power of the country. This narrative structure is perfectly same as that of “Oedipus The King” which has the structure that the son kills his father and takes his mother and the state(power) at same time, the only difference is that the `natural mother(Jocasta)` in the “Oedipus The King” transformed as the `step mother(Sylvia)`. Ant the last moment of them who ommitted incest of brother and sister/mother and son are not much different from the destiny of the main character of “Oedipus The King”. They all died with different reasons, and it reflects the sense of guilt for the desire on incest, and could be thought as containing the meaning of punishment. Like this, one of the main characteristics of the literature of Kim, Dong-Lee is the imagery of Oedipus complex, and the novel “Saban`s Cross” could be considered as the work in which this Oedipus complex was reproduced in the most Kim, Dong-Lee`s way.

『마틴 처즐윗』 연구: 조너스 처즐윗을 중심으로

장남수 현대영미어문학회 2014 현대영미어문학 Vol.32 No.4

Dickens, in his preface to the Cheap Edition of Martin Chuzzlewit, says that the main object of this work is "to show how Selfishness propagates itself, and to what a grim giant it may grow, from small beginnings." Jonas Chuzzlewit's selfishness, or his greed surpasses that of other characters including Martin Chuzzlewit, Seth Pecksniff, and Mrs Gamp. His impatience for inheritance and violence toward his wife reflect his longing for social recognition, the ruthless pursuit of which makes him nothing but an arch villain, though. Montague Tigg, after getting to know Jonas's secret of patricide, blackmails him to obey his instructions, and Jonas resolves to murder Tigg, because there is no way of escaping Tigg's clutches. Jonas thereafter emerges as a living character, not a stereotypical villain, through the vivid evocation of his psychology, that is, his terrified self-division. The portrayal of the later Jonas, together with the writer's awareness of the social interconnections, comprises the chief achievements of Martin Chuzzlewit, which is a transition between Dickens's early works and mature later ones.

아자따사뚜의 친부살해와 오이디푸스 신탁에서 오는 파국

원혜영(Hae-Young Won) 한국동서비교문학학회 2014 동서 비교문학저널 Vol.0 No.30

There are many beautiful and noble, yet catastrophic consequences in Eastern and Western classics where a protagonist takes power by killing his own father. These attractive stories describe a mixture of the various feelings of sympathy, sensitivity, regret and frustration in the male-dominant history and mythological abyss. In the early history of Buddhism, Aj?tasattu leads the murder of his own father as he was obsessed with the desire for power. Power has captivated human beings throughout history as those who become obsessed with power come to have the courage and madness to destroy any obstacle which blocks their path to it. Later, Aj?tasattu regretted what he did and strongly desires to be forgiven. In the process of repentance, he was forgiven through Buddha. In another masterpiece, it was inevitable for Oedipus to kill his father, but afterward, he fell into despair stemming from incest. The Oedipus episode is all the more dramatic since it is done in the name of an oracle. Readers can concentrate on the episode of King Oedipus, which happened overnight, because of its catastrophic plot and the exceptional tension of events with conflict. Oedipus the King is the classic that built the foundation for the Western tragedies due to its artistic value. Both of the protagonists surpass their fathers’ achievements and accomplish outstanding results in their roles as rulers. Surprisingly, despite killing their own fathers, they are very much influenced by their fathers, and they also inherit their fathers’ achievements. Variations of the dramatic plots in other literature show diverse perspectives of the two protagonists. In famous Eastern and Western literature, Aj?tasattu and Oedipus show a proactive attitude in overcoming their trauma of murdering their own fathers even though they chose different ways to cope. Although it seems like they represent weak and doomed human beings, they take a risk to find an answer they wanted to know and faced the catastrophic consequences they decided to take with dignity, instead of living a humiliating life.

The “Root-seeking” Journey of Chinese Film In the New Era

Wen Caiyun 인하대학교 다문화융합연구소 2019 다문화와 교육 Vol.4 No.1