• 영미문화
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• 제9권1호
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• pp.51-70
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• 2009

For a long time Westerners have considered the Orient as unknown and mysterious, but Orientals soon came to be seen as weak and dependent, or feminine. The Oriental woman became a synecdoche for the Orient itself. We can find this theme in several British plays that deal with the Orient and Oriental women, including Shakespeare's Antony and Cleopatra and Dryden's All for Love. Both of these plays have Egypt as their setting and Cleopatra as a main character. For a better society, Shaw emphasizes the importance of education. In Caesar and Cleopatra, Shaw sees Egypt as a weak and dependent country which needs the help of Rome. Accordingly, he depicts Cleopatra as young and ignorant, needing to be educated in her role as a queen. Shaw finds possibilities for growth and independence in the Egyptians and Cleopatra, who recognize themselves as Egyptians and pursue their identity apart from the colonialization of Rome. Here the Egyptians attempt to resist and escape the oppression of Rome. Young, dependant and ignorant Cleopatra becomes independent and knowledgeable as the result of her education by Caesar and in the end she becomes a real Egyptian queen. According to Shaw, the Orient and women have the potential to develop themselves and ultimately to overcome the government of Western countries and men. In this play, Shaw emphasizes the potential of the Orient and women and the importance of education. Shaw thinks women can grow and develop through education. Especially through Cleopatra's growth, his thought can be applied for Oriental women as well as Western women. His thought is beyond the 19th century British society in which this play was written. Through this play, we can see Shaw's thought is not limited by race, time and place and also has universality to transcend everything.

• 영미문화
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• 제13권1호
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• pp.83-103
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• 2013

This paper focuses on the function of suicidal images in the history of art including literature. Death has been romanticized or repoliticized into an existential act of defiance and rebellion in literary works, so questions remain about the correlation between literary suicide and the essence of suicide. Although Jacques Ranciere insists that the order of art contrasts with the order of common people whose acts and gestures can express either their specific purposes nor the rationalities of their frustration, literary suicide reflects the outside life of readers. In fact, images of suicide produces the order of things about the real world. William Shakespeare's Hamlet handled two oppositional self-murder significantly. As Ron M. Brown pointed out, Hamlet, by choosing confrontation, seeks out an end which is voluntary, thus he avoids self-destruction and feels triumph of heroic fashion. Ophelia's self-chosen death stems from loss, frailty and the disintegration of reason, which demeans the act and diminishes her from the tragic to the pathetic(16). In the $19^{th}$ century, the resurrection of Ophelia acted as the context for later periods where life itself is fictionalized from the differing periods of network of signifier and texts. Finally, in Ophelia's case, fiction became life(Brown 285). Her suicidal image was fixed in the Victorian Culture whose visual discourse was strikingly similar to that of the men. Likewise, the ambiguities of the suicide became intertwined with the social, cultural issues of a certain period, and the paradigm of suicide was conformed to the changing needs of successive generations. However, if literary art understands that a European culture grappled with the almost impossible task and coming to terms with this strangest and most persistent of phenomena, it will be able to focus on of the multi-layered suicide by recognizing the inherent instability of the verbal sign which cannot reveal the design and grammar of truth.

• 영어영문학
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• 제56권5호
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• pp.947-971
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• 2010

Anna Letitia Barbauld's poem "Washing-Day" (1797) has sparked a variety of feminist critical endeavors over the past two decades. While many feminist literary critics try to salvage the poem as a successful tongue-in-cheek riposte directed at the male dominant literary world, more rigorous Marxist feminists accuse Barbauld of being limited by her own middle-class woman's view on women's domestic labor. Legitimate as they may be, these readings fail to elucidate Barbauld's place in a larger literary and intellectual discourse during the eighteenth century. In this paper I read "Washing-Day" as a woman's georgic, a genre or mode concerned with agricultural labor, the public value of which was highly recognized in eighteenth-century England. Alluding to canonical texts by writers like Shakespeare, Milton, and Pope, Barbauld's "loaded lines" in mock-heroic form create a space in which the women's domestic labor of washing interrupts men's daily routines and disrupts their poetic assumptions. While she makes women's work visible, Barbauld also addresses its quintessential nature. Women's work is affective labor; women have to labor physically and mentally to produce the desired domestic comfort. By allowing the image of the soap "bubble" to echo with many "bubbles" in other writers' texts, from the soap bubbles the narrator used to play with as a child to the hot-air balloon "bubble" of the Montgolfier brothers, Barbauld pleasantly equates work and day-dreaming, men's toil and children's play, and finally public, scientific, and recognized labor and private, domestic, and imaginative activities.

• 감성과학
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• 제11권4호
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• pp.541-552
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• 2008

감정은 수량, 크기, 종류를 측정하기 어려워 언어로 표현하는데 한계가 있다. 세익스피어의 '햄릿'에서 주인공 햄릿의 경우 여러 가지 극적인 상황으로 인해 말로 표현하기 힘든 감정 상태를 가진다. 따라서 본 논문은 현재의 감정 상태를 말 대신 위치와 색으로 시각화하여 표현하는 인공감정을 제안하고, 이를 이용하여 '햄릿'에 나오는 등장인물들의 감정을 시각화했다. 제안된 인공감정은 네 단계에 걸쳐 구성된다. 첫 번째 단계에선 감정을 인과관계에 따라 분석하여 어떤 종류의 감정자극이 얼마만큼 들어왔는지 분석한다. 두 번째 단계에선, 감정의 생성과 소멸을 표현하는 단위감정그래프를 제안하고, 이를 통해 들어온 감정 자극의 생성, 유지, 소멸을 성격에 따라 표현한다. 세 번째 단계에선 단위감정그래프를 이용하여 같은 종류의 연속된 감정자극을 표현하는 감정그래프를 제안한다. 그리고 감정별로 감정그래프를 하나씩 둬서 각 감정들의 생성과 소멸을 개별적으로 관리한다. 네 번째 단계에선 서로 다른 감정 간의 상호관계에 따라 감정별 감정그래프의 현재 감정을 복합하는 감정장을 제안하고, 감정장상의 위치와 위치에 따른 색으로 현재의 감정 상태를 표현한다. 제안된 인공감정으로 감정상태의 변화를 시각화해보기 위해 '햄릿'에서 등장인물인 햄릿과 거트루드의 감정변화를 인공감정을 통해 시각화하였다.

• 한국연극학
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• 제40호
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• pp.307-344
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• 2010

Cultural Studies built on the critical mind of New Left exposes the relationship between culture and power, and investigates how this relationship develops the cultural convention. It has achieved the new perspective that could make us to think culture and art in terms of political correctness. However, the critical voices against the theoretical premises of Cultural Studies have been increased as its heyday in 1980s was nearly over. For instance, Terry Eagleton, a former Marxist literary critic, declared in 2003 that the golden age of cultural theory is long past. This essay, therefore, intends to show the weak foundations on which the approaches of cultural studies to theatre rest and to clarify the general problem of their introduction to theatre studies. The approach of cultural studies to theatre takes the form of 'top-down inquiry' as it applies a theory to a particular play or historical period. In other word, from the theory the writer moves to the particular case. The result is not an inquiry but rather a demonstration. This circularity can destroy the point of serious intellectual investigation as the theory dictates answers. The goal-oriented narrow viewpoint as a logical consequence of 'top-down inquiry' makes the researcher to favor the plays or the parts of a play that are proper to test a theory. As a result it loses the fair judgment on the artistic value of a play, and brings about the misinterpretation. The interpreter-oriented reading is the other defect of cultural studies as it disregards the inherent meaning of the text, distorting a play. The approach of cultural studies also consists of a conventionality as it arrives at a stereotyped interpretation by using certain conventions of reasoning and rhetoric. The cultural theories are fundamentally the 'outside theories' that seek to explain not theatre but the very broad features of society and politics. Consequently their application to theatre risks the destructive criticism, disregarding the inherent experience of theatre. Most of, if not all, cultural theories, furthermore, are proven to be lack of empirical basis. The alternative method to them is a 'cognitive science' that proves scientifically our mind being influenced by bodily experience. The application of cultural materialism to Shakespeare's is one of the cases that reveal the limits of cultural studies. Jonathan Dollimore and Water Cohen provide a kind of 'canonical study' in this application that is imitated by the succeeding researchers. As a result the interpretation of has been flooded with repetitive critical remarks, revealing the problem of 'top-down inquiry' and conventional reasoning. Cultural Studies is antipodal to theatre in some respect. It is interested chiefly in the social and political reality while theatre aims to create the fiction world. The theatre studies, therefore, may have to risk the danger of destroying its own base when it adopts cultural studies uncritically. The different stance between theatre and cultural theories also occurs from the opposition of humanism vs. antihumanism. We have to introduce cultural theories selectively and properly not to destroy the inherent experience and domain of theatre.

• 비교문화연구
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• 제50권
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• pp.483-507
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• 2018

"베니스의 상인"의 샤일록은 악한이자 악마로서 간주되거나 기독교 사회에서 부당하게 박해당하는 피해자로 간주되어왔다. 신역사주의와 문화유물론 이후의 비평에서는 문학 텍스트나 문학 비평의 영역에서 배제되었던 타자의 문제를 새롭게 부각시켜서 유태인 샤일록을 베니스의 기독교 사회에서 억압당하는 인종적, 종교적, 경제적 타자로 해석해냈다. 이 논문은 크리스테바의 비체화 이론을 토대로 타자로서의 샤일록이 어떻게, 왜 비체로서의 샤일록이 되었으며 어떤 방식으로 비체가 되었는지 살펴보는 것을 목표로 한다. 샤일록은 베니스의 기독교 사회가 깨끗하고 동질적인 정체성을 유지하기 위해 그어놓은 경계선에 의해 주변으로 밀려난 타자, 즉 비체가 되었다. 샤일록을 비체로 만드는 장치인 경계선에는 게토와 특수한 유태인 복장 같은 눈에 보이는 경계선과 종교적, 경제적 측면의, 눈에 보이지 않는 경계선이 있다. 그러나 샤일록은 빌려간 돈을 제날짜에 갚지 못한 앤토니오에게 1파운드의 살을 떼어달라고 요구함으로써 이런 경계선을 넘어 기독교 사회의 정체성을 위태롭게 만든다. 경계선을 넘으려는 샤일록의 시도는 1파운드의 살에 대해 다른 해석체계를 제시한 포오샤에 의해 저지당하고 샤일록은 다시 비체의 자리로 추방된다. 비체로서의 샤일록에 대한 비평은 타자의 수동적인 측면뿐만 아니라 항상 경계를 벗어나서 지배 체제에 도전하고자 하는 욕망을 강조한다.

• 한국엔터테인먼트산업학회논문지
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• 제13권8호
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• pp.223-230
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• 2019

본고는 바즈루어만 감독 영화음악의 특징을 분석하기 위하여 그의 대표작 <댄싱히어로>, <로미오와 줄리엣>, <물랑루즈>를 연대기 순으로 분석을 함으로서 각 작품에서 사용된 음악의 특징과 역할에 대하여 살펴보았다. 먼저, <댄싱히어로>에서는 댄스 스포츠의 다양한 춤을 역동감 있는 촬영 기법을 통해 담아내면서 다양한 장르의 댄스음악을 활용하여 내러티브를 주도했으며, 특히 메인 테마 음악으로 'Time after Time'을 사용하여 최신 팝 음악으로 관객의 감성을 자극했다. 그리고, 셰익스피어의 원작인 <로미오와 줄리엣>에서는 대사와 스토리를 유지하며 화려한 패션과 다양한 록 음악을 주크박스 스타일로 꾸며내었고, 또한 가장 현대적이고 트렌드한 MTV스타일 영상으로 조화를 이루었다. 마지막으로 <물랑루즈>에서는 고전적 백 스테이지 뮤지컬과 발리우드 영상을 담아내며 주크박스 형식의 트렌드한 곡으로 구성되었지만 그 곡을 섞어서 한곡처럼 부른 '믹스 앤드 매치'의 방법을 통해 영화음악을 발전시켰다. 결론적으로 바즈루어만 감독은 화려한 영상미와 더불어 다양한 주크박스식 음악을 영상과 연결하여 다양한 스타일의 영화음악을 트랜디하게 발전시켰고, 이는 기존의 곡조차 새롭게 느껴지게 하는 바즈 루어만 감독만의 독특한 영화음악 연출 방식으로 재탄생되게 되었다.

• 한국의류산업학회지
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• 제6권1호
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• pp.41-50
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• 2004

This research proposes the on-stage costumes for the play Hamlet of Shakespeare performed by Yunheedan Guhri Pae - the Street Theater Troupe. Stage costumes have an important role in displaying the characteristics of each characters to the audience and has big visual effects. However, in order to design the costumes in the object viewpoints of the audience, the survey on the images of the characters who had actually watched the performance was taken place and proposed the costume design according to the results of the survey. Hamlet a: This result was applied to propose a sweater in black color, black leather pants and vest. Hamlet b: This result was applied to propose hooded coat in purple in middle level of brightness and color spectrum and yellow coat. For free image, loose pants in blue and vest in the same color tone were proposed. Gertrude a: This result was applied to use purple (violet) with reddish tone to propose the formation of a dress applying tailored suit. Gertrude b: This result was applied to propose purple gown and the one-piece dress with black laces. Ophelia a: This result was applied to propose feminine white dress and cape in purple color tone. Ophelia b: This result was applied to propose dyed and weaved clothes. Through the surveys as above, the images of each character was driven in adjectives, and using the results driven from the brightness, coloration, and color, color images were proposed. Only one costume cannot make up for the stage costumes and because it exists as an element of stage production, it is true that costumes are limited in some areas. However, that limit can become the motive of the costume. There is a limit, which the designer cannot produce the costumes as he or she had designed but I believe it is the center of the on-stage customers to display the characteristics of the characters according to the given concept. The limit of this research is the fact that because the costumes were designed so they fit the conditions already given, thus it was difficult to regard the process of designing and producing the costume as a project done according to the interaction. And in the future, if it is possible, I wish for the joint research with the people responsible for stage art to take place as a practical stage art. It was possible to produce practical costume since they were produced for actual performance and the production of costumes considering the dance steps, line of flow, and acting, was able to reduce the trial and error on stage. Through this research, I felt that the understanding and smooth interaction on diverse other areas not limited to the costume design should be taken place and believe that this was a research that proposes new research method since there had been only a few previous research regarding the on-stage costumes for actual performances. Therefore, this research had depended on the surveys given to the audiences to endow objectivity, however, I wish this research can contribute to defining effective process and methods for the on-stage costumes with more active researches with diverse methods and in diverse areas. I am sorry that the costume production for all the characters and all the scenes in Hamlet couldn't be done due to many limitations. As the following research assignment, I am planning on designing the costumes for all the scenes.

• 마케팅과학연구
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• 제18권1호
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• pp.1-31
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• 2008

신뢰는 인간관계에서 동서고금을 통해 언제나 주목을 받아온 주제였으며, 신뢰의 중요성은 경영학 분야는 물론 인간생활의 모든 분야에서 이미 오랜 전부터 인식되어 왔다. 그러나 대부분의 연구는 주로 개인 간의 신뢰인 종업원에 대한 신뢰에만 집중하는 단일 차원적 관점에서 연구되어 왔다. 본 연구는 이와 같이 지금까지 주로 단일차원으로 연구되어 온 신뢰 대상을 판매원, 제품/서비스, 그리고 기업의 3차원으로 다차원화하여 이들 신뢰 대상이 재구매 의도에 미치는 영향을 검증하였다. 서울, 대구 경북지역의 거주자로 백화점에서 구매 경험이 있는 남녀 고객을 대상으로 수집된 자료를 분석한 결과, 기존 연구들에서 주로 다루어진 판매원신뢰뿐만 아니라 기업신뢰와 제품/서비스신뢰 또한 고객신뢰의 중요한 대상으로 나타나, 신뢰 대상은 다차원적인 구성개념임이 밝혀졌다. 이들 3차원의 신뢰는 모두 재구매 의도에 유의한 영향을 미치는 것으로 나타났으며, 특히 기업신뢰가 판매원신뢰와 제품/서비스신뢰보다 재구매 의도에 더 영향을 미치는 것으로 나타났다. 판매원신뢰와 제품/서비스신뢰의 영향요인으로 역량과 선의를, 기업신뢰의 영향요인으로 기업 평판과 물리적 환경을 설정하여 검증한 결과 역량과 선의는 판매원신뢰와 제품/서비스신뢰 모두에 유의한 영향을 미치는 것으로 나타났다. 기업신뢰의 경우, 평판은 유의한 영향을 미치는 것으로 나타났으나, 물리적환경은 유의한 영향을 미치지 않은 것으로 나타났다.