咸世德 硏究 = (A) Study on Ham Se Duk

다국어 초록 (Multilingual Abstract)

This thesis refers to a playwriter, Ham Se Duk. He was an important writter between in 1930's and 1940's - the time of actual formation of modern play in Korea. But His projapanese and going to North Korea made him forgotten in the history of play. So his works were not estimated properly and his position in the history of play was ignored, too.
Then now I will begin from the actual survey of his life and ultimately try to reveal the fundamental factors of popularity which attracted spectators. For this, All of his works - that is, including the works written after going to North Korea - will be analyzed. The contents of this thesis can be summarized as follow. In the chapter 2, His life and works is summarized. In the chapter 3, I examine the process of changes of his works gradually and study the fundamental causes of the constant popularity although his works vary diversely. In this process, <SAN HOKURI; 산허구리>, <TONG SUNG; 동승>, <HAE YUN; 해연>, <SEOGULPUN JEANUNG; 서글픈 재능>, <MYUTO KIHEANG; 무의도 기행>, etc - early works - generally gain the popularity from the lyricism in the farming and finishing communities. <NAKHYAM; 낙화암>, <CHUCANG ISEBERA; 추장 이사베라> - estimated as japonophilic works - have double sructure conaining resistance and they content the destruction of the nation, so they appeal to spectators in colonization.
<KIMINYN SAMWOLILIL; 기미년 삼월일일>, <KOMOK;고목> - created after liberation - contentsw the hope of building socialistic nation and express his personality to participate in society, so I can see the change of his disposition. In 1947, He went to North Korea. <TEATONGRYNG; 대통령>, <SANSARAMTEL; 산사람들> - written after that - criticized violently others but can't be coincided with the play demanded by socialistic play.
In chapter 4, like this HAM SE DUK's position in the history of play should be reestablished not as disappearance writter of divided history of play but as prominent new playwriter.
Through this study I can find the fact that although he has been treated negligently, in our modern play - history, he is important writter aguiring popularity from romanticism, his characters of writing play.
The first significance of this thesis is that the study about HAM SE DUK, evaded because of his japanophilicity and going to North Korea, is performed including the works written after going North Korea and from this, we can provide systemic characteristics in his works. But the more important meaning is the possibility of foundation of study of some writers like HAM SE DUK.

목차 (Table of Contents)

• 목차 = ⅰ
• 1. 서론 = 1
• 1.1 연구목적과 방법 = 1
• 1.2 연구사 = 3
• 2. 생애와 작품활동 = 5
• 3. 본론 = 8
• 3.1 농어촌을 배경으로한 서정성 - <山허구리>·<童憎>·<海燕>·<서글픈 才能>·<舞衣島紀行> = 8
• 3.1.1 동정받는 인물 = 9
• 3.1.2 좌절하는 이야기 구조 = 15
• 3.1.3 사실적 작품배경 = 22
• 3.2 저항을 내포한 친일극 - <落花岩>·<酋長 이사베라> = 28
• 3.2.1 시대상황과 국민연극 = 28
• 3.2.2 위장된 이중성 = 31
• 3.2.3 망국적 상황이라는 공통성 = 40
• 3.3 방황하는 경향성 - <古木>·<己未年三月一日> = 48
• 3.3.1 해방공간의 문단 = 48
• 3.3.2 <已未年三月一日> = 50
• 3.3.2 <古木> = 57
• 3.4 예술성이 거세된 선전극 - <大統領>·<山사람들> = 67
• 3.4.1 <大統領> = 68
• 3.4.2 <山사람들> = 75
• 3.4.3 사회주의극과 인물창조 = 79
• 4. 연극사적 위치 = 82
• 5. 결론 = 84
• 參考文獻 = 90
• ABSTRACT = 95