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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The aim of this essay to examine the feature of the spirit of the age and to examine Kim Woo-Jin and the Japanese Colonial Modernity with his dramas and critical works. Kim Woo-Jin was poet and dramatist and critic in one. And he was a marxist as well as Hamlet. Also he was an intellectual who criticized a problem of class as well as an intellectual who wandered in his fate. Phantoms of his ancestor and his family harassed him constantly.
He was, so to speak, an one writer who explored the modernity of 1920’s and tried to break down the contradiction of the time. This shows the fact that his inner world was not simple and says that the discoursive struggle in the process of his developing activity of drama was very diverse. The utopia, that he suggests, is a world of poem or mother, in other words, the peaceful period of childhood and space of the “imaginary”.
In 〈Shipwreck〉, the destination where the protagonist sought struggling with phantom of his ancestors. 〈Shipwreck〉 belong to the fantasy that is very regressive and childish in that sense. 〈Shipwreck〉 was a expressionism drama, and this drama was a very unaccustomed genre in 1920’s of Chosun. 〈Lee Young Nyeo〉 is a realism drama. We can see t1lat Kim Woo-Jin covers a wide range of genres from realism drama to expressionism drama. The diversity of his dramas shows that Kim Woo-Jin’s coping with modernity of 1920’s was a metonymy. We can say that it was a syndrome that Kim Woo-Jin would like to respond to modernity of the Japanese colonial period.
We must take a note about the fact that Kim Woo-Jin used expressionism drama as a media to understand the modernity and the inner world of himself in 1920’s. Kim Woo-Jin is a writer who have been investigating opportunities for modernity of Korean modern drama of 1920’s. The diversity of his dramas or the syndrome of borderlines guide us to interrogate on modernity of Korean modern dramas.
He was, so to speak, an one writer who explored the modernity of 1920’s and tried to break down the contradiction of the time. This shows the fact that his inner world was not simple and says that the discoursive struggle in the process of his developing activity of drama was very diverse. The utopia, that he suggests, is a world of poem or mother, in other words, the peaceful period of childhood and space of the “imaginary”.
In 〈Shipwreck〉, the destination where the protagonist sought struggling with phantom of his ancestors. 〈Shipwreck〉 belong to the fantasy that is very regressive and childish in that sense. 〈Shipwreck〉 was a expressionism drama, and this drama was a very unaccustomed genre in 1920’s of Chosun. 〈Lee Young Nyeo〉 is a realism drama. We can see t1lat Kim Woo-Jin covers a wide range of genres from realism drama to expressionism drama. The diversity of his dramas shows that Kim Woo-Jin’s coping with modernity of 1920’s was a metonymy. We can say that it was a syndrome that Kim Woo-Jin would like to respond to modernity of the Japanese colonial period.
We must take a note about the fact that Kim Woo-Jin used expressionism drama as a media to understand the modernity and the inner world of himself in 1920’s. Kim Woo-Jin is a writer who have been investigating opportunities for modernity of Korean modern drama of 1920’s. The diversity of his dramas or the syndrome of borderlines guide us to interrogate on modernity of Korean modern dramas.
목차
1. 머리말
2. 김우진과 마르크시즘
3. ‘표현주의’라는 형식과 김우진의 내면 풍경
4. 맺음말
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2014-700-003668119