1930년대 희곡에 있어서 「떠남」에 관한 연구 : 유치진·송영·함세덕을 중심으로

다국어 초록 (Multilingual Abstract)

Defining 'departure' as meaningful spacial movements caused by something deficient, this study investigated the subject of departure depicted in 1930's play, centered on the works of Yu Chi Jin, Song Young, and Ham Seh Duk. The conclusions of this study can be summarized as follows:
1. Concerning Yu Chi Jin's three works:
①《Landscape of town with willow》is framed on leaving of Gae-soon and death of Deok-cho. In contrast to Gae-soon's departure is geographic spacial movement to Seoul, Deok-cho's is symbolic departure of death in this work. Departure and vanish make the tragic situation in which departure is confirmed and vanish is hopelessly accepted. This work describes with motif of departure the miserable reality of tenant farmers in 1930's.
②《Tomak》has a tragic structure of Myung-soo's leaving, imprisonment and death. While Myung-soo's leaving is aiming for ideological movement to cope with reality, Kyung-sun's family left for attaining a basic survival. in confirmative to the reality. This work, built on the motif of 'leaving is death', shows the incompatible reality in which the poor in urban are deprived of basic right to live.
③《So》is based on the conflict between Mal-tong's staying with and Gae-tong's leaving from a cow. The author suggests coping wills against reality and miserable lives and resisting consciousness of the poor farmer at that time through Mal-tong's staying, Gui-chan's mandatory departure and Gae-tong's voluntary leaving.
2. In regard to Song Young's three works:
①《Apyounjangee》treats the deviant departure from and staying in reality of Won-bo who is a Korean labour in Japan. This work traces the process of recovering the class consciousness, which was lost by enforcing reality paralyzing policies of Jananes empire, with class arousal of labour.
②《Hwanggeumsan》draws the departure of sisters following the main line of Kyung-soon's leaving from home for free marriage. This work critisizes hypocrisy and snobbery of bourgeois class and pictures the process of deviation from family system and family disband forced by reality.
③《Gasajang》delineates the departure from real world to masquerade world and returning from masquerade world to reality through pretended role exchange between a high class unemployee and a poor scholar. Song Young depicts in this work conflicts between longing for truth and hypocrisy through the struggle between intellectual group and bourgeois class.
3. In Ham Seh Duk's three plays:
①《Sanhoguri》portrays departure of Bokjo, madness of his mother, leaving of his eld sister triggered by departure of eld son and eld son in law. This trgedy identifies Bok-jo's symbolic departure of death, unrealistic departure of his mother's madness, realistic departure of Bun's mother for basic survival condition of living with failure in struggle between human and nature. These departure are meant to be the failure which leads to death.
②《Dongsung》is about the departure of Do-nyum and mistress on the prior condition of the leaving of Do-nyum's true mom and son of mistress. Here Do-nyum's leaving means the returning to real society and his taking action of humane longing to look for his own mother on the sentiment of nostalgic sweetness and continuous waiting. This work is seen as a trend of romantic tragedy with yearning and waiting for the motherhood.
③《Segulpun jaenung》is constructed with Man-pyo's leaving and Chun-suk's staying. Their leaving and staying are problem solving ones. This tragedy is about the intellegent in conflicts with cruel reality of agricultual village in that time.
4. In summary plays of Yu Chi Jin, Song Young, and Ham Seh Duk in 1930's assume 'departure' as the most important theme and motif. Their works have play historic significance in that they reveal contradictions of reality and lives of low class deprived of basic rights to live in suburbs and urban in tragic structure.

목차 (Table of Contents)

• 목차
• Abstract = i
• I. 서론 = 1
• 1. 문제의 제기 = 1
• 2. 연구의 목적과 방법 = 2
• II. 30년대 희곡에 있어서 「떠남」의 양상과 의미 = 7
• 1. 유치진 희곡에 있어서 「떠남」의 양상과 의미 = 7
• 1.1《버드나무 선 동네 풍경》; 상실의 비애 = 7
• 1.1.1 작품의 행위소 체계 = 7
• 1.1.2 지리적, 상징적 「떠남」과 현실 궁핍 = 10
• 1.1.3 소멸의 비극 구조 = 12
• 1.2《토막》; 죽음으로의 「떠남」 = 13
• 1.2.1 작품의 행위소 체계 = 13
• 1.2.2 현실 순응적, 현실 대응적 「떠남」 = 16
• 1.2.3 상실의 비극 구조 = 18
• 1.3《소》; 빼앗김, 그 파국 = 20
• 1.3.1 작품의 행위소 체계 = 20
• 1.3.2 자의적, 타의적 「떠남」과 현실 의지 = 25
• 1.3.3 저항의 비극 구조 = 28
• 2. 송영 희곡에 있어서 「떠남」의 양상과 의미 = 30
• 2.1《아편쟁이》; 현실 및 환상의 대립 = 30
• 2.1.1 작품의 행위소 체계 = 30
• 2.1.2 현실 일탈적 「떠남」과 노동 의식 = 33
• 2.1.3 노동자 계급 의식과 이념극적 구조 = 34
• 2.2《황금산》; 가치 개념의 갈등 = 36
• 2.2.1 작품의 행위소 체계 = 36
• 2.2.2 현실 관습으로부터의 「떠남」 = 39
• 2.2.3 축제의 이념극 = 41
• 2.3《가사장》; 지식인의 비극적 현실 도피 = 43
• 2.3.1 작품의 행위소 체계 = 43
• 2.3.2 현실 도피로서의 「떠남」 = 48
• 2.3.3 진실 / 허위의 이념극 = 49
• 3. 함세덕 희곡에 있어서 「떠남」의 양상과 의미 = 53
• 3.1《산허구리》; 운명적 삶 = 53
• 3.1.1 작품의 행위소 체계 = 53
• 3.1.2 상징적 「떠남」과 비현실적 / 현실적 「떠남」 = 57
• 3.1.3 갈등과 현실 모순의 비극 = 59
• 3.2《동승》; 인간사 세속으로의 「떠남」 = 62
• 3.2.1 작품의 행위소 체계 = 62
• 3.2.2 인간 세계로의 「떠남」 = 68
• 3.2.3 성장의 서정적 비극 = 70
• 3.3《서글픈 재능》; 머뭄 및 「떠남」의 역학 = 72
• 3.3.1 작품의 행위소 체계 = 72
• 3.3.2 문제 해결적「떠남」 = 74
• 3.3.3 지식인의 비극과 농민극 = 75
• III. 30년대 희곡에 있어서 「떠남」의 의의 = 77
• IV. 결론 = 81
• 참고 문헌 = 84