• Journal of Digital Convergence
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• v.17 no.2
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• pp.363-371
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• 2019

The purpose of this study was to look at the grotesque characteristics of the preface to "Cromwell, 1827" by Victor Hugo and to identify the differences in the ancient Gris Tragedy. Also, Victor Hugo and Nietzsche were interested in the Middle Ages, and wanted to see if there were any differences. The main findings of the study are the grotesque phenomenon of Victor Hugo in the "Satirus" at Dionyson Theater in Nietzsche's Gris tragedy. When you classify them, first, the appearance of humans and animals mixed in. Second, Satyrus uses the mask as a grotesque material in a humorous and funny atmosphere. Although there were many ways to define grotesque aesthetics and philosophy, there was still a lack of research on grotesque. Future studies should be conducted in detail in social phenomena over time.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.307-308
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• 2013

빅토르 위고의 "노틀담의 꼽추"의 '인도주의'와 뮤지컬 "노트르담드 파리"의 '문화적 인본주의'

• The Science & Technology
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• no.6 s.457
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• pp.92-93
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• 2007

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.323-324
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• 2014

뮤지컬 "노트르담 드 파리"의 전체 이야기를 전개해나가는데 크게 공헌한 것은 원작의 취지와 장르적 완성도를 보여준 노래와 음악이다. 이런 관점에서 스토리와 음악을 결합시킨 송스루 뮤지컬(Sung-through Musical)인 아리아(aria)는, 대사를 말하듯이 노래하는 기존의 서창이나 랩과는 달리, 그 어떤 음악이나 예술장르보다 가장 완벽하게 빅토르 위고의 작품을 재현해 냈다.

• Korean Architects
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• no.11 s.355
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• pp.57-57
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• 1998

대전의 근ㆍ현대 건축을 돌아보면 우리의 도시건축이 특정한 방향성이 전제되지 않은 채, 좌충우돌 격변의 시기를 겪어온 셈이라 할 수 있다. 좋게 말하면 다양한 경험을 축적할 수 있었던 시기라 할 수도 있지만, 그러한 긍정적인 시선이 정당화되려면 마땅히 그 원인과 결과에 대한 검토와 상철이 뒤따라야 옳은 일이라 여겨진다. 건축을 문화의 자산으로 보는 관점을 유지하면서 그간 우리는 무엇을 잃었으며, 무엇이 복원되어야 할 가치이며, 그 속에 잠재하고 있는 가능성을 구체적으로 점검하는 일이야말로 매우 시급한 과제가 아닐 수 없기 때문이다. 빅토르 위고의 지적처럼 역사는 책으로도 쓸 수 있다는 교훈을 되살려 보면서 우리 도시건축의 미래를 전망하기 위해서는 과거에 대한 이해가 급선무라 할 수 있을 것으로 보인다. 그것도 아주 가까운 과거에 대한 경시풍조는 이 시점에서 다시 한 번 경계해야 할 태도라 할 수 있을 것이다. 가까운 과거를 서구 근대건축의 완성도에 못 미친다는 편협 된 잣대만으로 그 가치를 평가하지 말고 여러 가지 다른 조건과 더불어 재조명함으로써 우리 고유의 가치를 재발견하는 작업을 서둘러 해야 할 일이라고 생각한다. 아울러 도시건축의 구체적인 현상으로서 현재 일어나고 있는 일상의 모습을 통해 우리 고유의 지역성이나 정체성을 재구성해낼 수 있는 가능성 또한 염두에 둘 일이 아닐 수 없을 것으로 보인다.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.737-742
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• 2023

This paper attempts to analyze how Paris was transformed by Haussman through comparing flaneurs in works by Balzac and Baudelaire. In both writers' works, flâneurs as the emblems of modernity observe Paris, especially architecture. Although representative of modernity, they are ambivalently obsessed with the heritage of the past. Balzac's The Wrong Side of Paris, Godefroid as a male bourgeois, is a flaneur observing antiquated architectures, the heritage of past. In Baudelaire's "The Swan for Victor Hugo" the flaneur passing through the modern Caroussel feels the Old Paris is gone. In "Parisian Dream," illusionary Paris exhibits metopolitan imagery wrought by capitalism led by Napoleon the third. The difference between the two writers demonstrate how Paris was changed by modernity.

• Cross-Cultural Studies
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• v.44
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• pp.315-342
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• 2016

There exists a general misunderstanding of the Musical as being both a dramatic genre and a musical genre. This misunderstanding lies in the fact that music fills the role of the drama. In other words, there exist a series of narrative episodes that help the development of the drama and music generates the ambience that corresponds to each episode. In this case, music is subordinated to the drama and thus becomes secondary. However, this paper seeks to show that in the Musical, musical composition is so strongly linked to the development of the drama that it is through the musical development that the drama unfolds. This paper seeks to explore this view through one of the most successful musicals of our time, Les $Mis{\acute{e}}rables$. A musical adapted from a novel is not the retrenchment of a series of episodes from the original novel. The process of dramatizing the novel compels the musical creators to observe what to draw out as a dramatic action. The interesting points of a musical consist of how the musical creator has reflected his understanding of the fiction through the composition of the music. This is why this paper has created a table analyzing the forty musical compositions in Les $Mis{\acute{e}}rables$. This table is meant to visualize the musical motifs employed in this play in order to explain the relationship between the musical composition and the development of the drama. The theme of Les $Mis{\acute{e}}rables$ lies in the transformation of Jean Valjean. His change includes the process of transformation from a thief to finding Jesus and his denial of being a sinner to his confessions of sinning. This paper explores the transformation of the dramatic action of Jean Valjean, which is symbolized by such themes as Misery, Love and Name established in musical form. The dramatic conflict between Jean Valjean and Javert as well as between Jean Valjean and $Th{\acute{e}}nardier$ is also explored through the composition of music. The success of Les $Mis{\acute{e}}rables$ lies in its successful constitution of music that embodies the in depth interpretation of the original play.