로맨스와 마법사 : 「바쓰의 여장부 이야기」와 『태풍』을 중심으로

다국어 초록 (Multilingual Abstract)

Romance may be the most misused literary term. Many scholars and critics have tried to define romance in terms suited to their interests. Their efforts have confused the issue. Romance has been commonly used as a collective label for the literary works which contain such characteristics as love, adventure, marriage, and so on. In addition, romance has been considered as a story focusing on the character, exploits, and accomplishments of the hero. Critics have paid much attention to the romance hero like the tragic hero and to its structural pattern. However, they are not enough to define romance as a literary genre. Besides romance, though sharing the similarities to other literary genres such as tragedy, comedy, and heroic epic, is distinct from those genres in terms of plot, character, and effect.
Above all, romance is different from other genres in terms of effect. Romance deals with the serious but does not end, as tragedy does, with the fall of the hero from some position of respect or power but with the entry of the hero into the world of new recognition or into some recognizably better world. The relief we feel in romance differs from the relief comedy affords us. In romance our relief grows out of our concern for the hero and his mission and difficulties. In particular, romance moves the readers through growing complications to a moment of crisis and discovery and finally to a period of success, in which the hero with his newfound knowledge becomes mature and better. As the readers follows the hero through his period of crisis and success, hope and new possibility for the future swells in the mind of the readers together with the hero. In addition, as the hero gains insight into the life and the world, the readers too gain insight into them.
The agent which helps the hero to fulfill his role and eventually to bring about the effect of hope for the readers is the magician in the romance. While the magician is not always a character in romance, the power he represents is vital, shaping the hero's adventures and frequently providing the means for the hero's success. In Chaucer's Wife of Bath's Tale and Shakespeare's The Tempest, the role of the magician has been overlooked. In the former, the loathly lady initiates the salvation of the young courtier from Arthur's sentence and serves as a key role to make the courtier to recognize the failings of his humanity and understand the true meaning of 'gentilesse.' In the latter, Prospero serves as both magician and hero. As an agent of aide in romance Prospero teaches the characters including Alonso how to repent and ask for mercy. Moreover, as the hero he moves from ignorance to knowledge, that is, new awareness that mercy and forgiveness are more meaningful than hate and revenge.

목차 (Table of Contents)

• 1. 로맨스의 구조적 패턴과 특징: 영국 전통의 이야기와 중세 로맨스를 중심으로
• 2. 로맨스의 주인공과 마법사
• 인용문헌
• Abstract

참고문헌 (Reference)

1 "켄터베리 이야기 I" 도서출판 2001

2 "중세후기 로맨스에 나타난 젠트리 계층의 이데올로기 결혼 그리고 신분계층" 161-83,

3 "Tree and Leaf" Allen & Unwin 1964

4 "The Works of Geoffrey Chaucer" 1957

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8 "The Structural Study of Myth" 81-106, 1965

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13 "Spiritual and Demonic Magic from Ficino to Campanella" The Warburg Institute 1958

14 "Shakespeare's Romances" Huntington Library P 1972

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17 "Prospero's Magic Power and Its Limitations in The Tempest" 31 : 193-224, 1997

18 "Prospects for a Search for Giordano Bruno and the Figure of Exile" 127-8 37, 1974

19 "Perspectives of Art and Morality in The Tempest" 171-82, 1972

20 "Middle English Literature" Methuen 1951

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22 "Anatomy of Criticism" Princeton UP 1971

23 "2nd Ed" U of Texas P 1968

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