지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Through the Edo period, Noh was not only the entertainment but also the culture of the samurai. But Noh was forced to the verge of fatal collapse by the Meiji Restoration. The result that Edo Bakufu was dismantled by Meiji new government, Noh was fallen into a state of layoff. They had no more patrons, financial support, the stages they could play. But fortunately Noh had played a revival again as “the state entertainment” with the strong assistance of the state power. Noh was reborn as the performing arts to honor the national prestige of the Imperial Japan.
On the other hand, Utai=Yokyoku is more personal oriented entertainment to sing the vocal part of the script of the Noh play. Utai was prevalent among the upper class and middle class in Japan and other her colonies. In Seoul, before Japan annexed Korea by force in 1910, several utai-kai was established by Japanese residents. To Japanese people, Utai was the symbol of their social status and only high society people could enjoy that. But to almost all Korean people, Utai was an queer performing arts they could not understand at all. In such a situation, especially in case of Dong-wan KIM, Utai was the cultural device to promote the position of his hierarchy. Under the Japanese colonies, to become a bureaucracy to serve Japanese colonial power, it meant that socially they could stand on top of the Korean society as a power enforcer. And by mastering the Utai, when their ability of Utai exceeds the Japanese, they could stand on top of the most Japanese people culturally and mentally.
As a symbol of hierarchy, Noh and Utai had functioned as an effective device for cross-border. Here is the reason why we should pay attention to the cultural power to investigate what was the Noh and Utai under the Japanese colonial society.
On the other hand, Utai=Yokyoku is more personal oriented entertainment to sing the vocal part of the script of the Noh play. Utai was prevalent among the upper class and middle class in Japan and other her colonies. In Seoul, before Japan annexed Korea by force in 1910, several utai-kai was established by Japanese residents. To Japanese people, Utai was the symbol of their social status and only high society people could enjoy that. But to almost all Korean people, Utai was an queer performing arts they could not understand at all. In such a situation, especially in case of Dong-wan KIM, Utai was the cultural device to promote the position of his hierarchy. Under the Japanese colonies, to become a bureaucracy to serve Japanese colonial power, it meant that socially they could stand on top of the Korean society as a power enforcer. And by mastering the Utai, when their ability of Utai exceeds the Japanese, they could stand on top of the most Japanese people culturally and mentally.
As a symbol of hierarchy, Noh and Utai had functioned as an effective device for cross-border. Here is the reason why we should pay attention to the cultural power to investigate what was the Noh and Utai under the Japanese colonial society.
목차
Ⅰ. はじめに
Ⅱ. 京城の能と謠
Ⅲ. 文化権力としての謡
Ⅳ. むすび
参考文献
Abstract
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UCI(KEPA) : I410-ECN-0101-2016-830-002000298