조선후기 교방(敎坊)의 연행활동 연구 - 춤을 중심으로 -

권혜경 한국춤문화자료원 2006 춤과 지성 Vol.3 No.-

마법의 주문 깨뜨리기: 디즈니 애니메이션의정치성과 그 전복 영화 <슈렉 1><슈렉 2>를 중심으로

권혜경 문학과영상학회 2005 문학과영상 Vol.6 No.2

좀비, 서구 문화의 전복적 자기반영성: 조지 로메로의 <살아있는 시체들의 밤>과 <시체들의 새벽>을 중심으로

권혜경 문학과영상학회 2009 문학과영상 Vol.10 No.3

Zombies have enjoyed a popularity and longevity afforded to few other subgenres of horror in the Western culture. The living dead are a device to criticize real-world social ills, such as government ineptitude, racism, slavery, greed and exploitation, while indulging our post-apocalyptic fantasies. George A. Romero directed the black-and-white Night of the Living Dead in 1968, which turned zombies into metaphors for social decays and shifted them into the focal point of horror films. The film dramatizes the bewildering and uncanny transformation of human beings into the living dead. It also unsettles the audience through its focus on the taboo subject of cannibalism. Film historian Robin Wood sees the flesh-eating scenes of Night of the Living Dead as a late-1960s critique of American capitalism. Some critics say zombies reflect the return of the repressed. In this regard, zombies represent the younger generation of Americans in the late 1960s who wanted to overthrow traditions and replace them with a new social order. Romero explained that his movies are about revolution in the broadest sense in which a new society replaces the old and devours it. Night of the Living Dead is a horror film where all classical conventions have been cut out. The lead role of Ben was played by Duane Jones, an unknown black actor. Even the idea of a black hero at the time was something new and revolutionary. The surprising death of Ben at the end of the film offered audiences an uncomfortable, nihilistic feeling unusual for the genre. Dawn of the Dead, Romero’s second zombie film, is a satire on consumerism. In 1974, Romero was invited by his friend Mark Mason to visit the Monroeville Mall, which Mason’s company managed. That is where the idea of the film came from. A shopping mall is a quintessential suburban American symbol. In this movie, even the zombies can’t forget habits they had before dying. They wander aimlessly inside the mall just because they remember the place as an important part of their lives. They are the consumer zombies. As Peter says, “They are us.” Romero’s two films have had much influence on later zombie films. Edgar Wright’s Shaun of the Dead relates directly to the plots of Romero’s zombie films and the title is also both an obvious parody of and homage to the title Dawn of the Dead. The black-humored film, a so-called rom-zom-com, also brings a distinctive Englishness to the genre. Wright tries to deconstruct the traditional dichotomy between human beings and zombies by making zombies live with human beings as well as by making his characters imitate zombies in his film. Romero has been working outside of the Hollywood studio system for his entire career. He chose zombies to criticize the social ills and the abuse of power in the Western societies. They are regularly encountered in horror and fantasy themed fiction and entertainment as a symbol of subversion and resistance against the social decay of the modern society. Zombies have enjoyed a popularity and longevity afforded to few other subgenres of horror in the Western culture. The living dead are a device to criticize real-world social ills, such as government ineptitude, racism, slavery, greed and exploitation, while indulging our post-apocalyptic fantasies. George A. Romero directed the black-and-white Night of the Living Dead in 1968, which turned zombies into metaphors for social decays and shifted them into the focal point of horror films. The film dramatizes the bewildering and uncanny transformation of human beings into the living dead. It also unsettles the audience through its focus on the taboo subject of cannibalism. Film historian Robin Wood sees the flesh-eating scenes of Night of the Living Dead as a late-1960s critique of American capitalism. Some critics say zombies reflect the return of the repressed. In this regard, zombies represent the younger generation of Americans in the late 1960s who wanted to overthrow traditions and replace them with a new social order. Romero explained that his movies are about revolution in the broadest sense in which a new society replaces the old and devours it. Night of the Living Dead is a horror film where all classical conventions have been cut out. The lead role of Ben was played by Duane Jones, an unknown black actor. Even the idea of a black hero at the time was something new and revolutionary. The surprising death of Ben at the end of the film offered audiences an uncomfortable, nihilistic feeling unusual for the genre. Dawn of the Dead, Romero’s second zombie film, is a satire on consumerism. In 1974, Romero was invited by his friend Mark Mason to visit the Monroeville Mall, which Mason’s company managed. That is where the idea of the film came from. A shopping mall is a quintessential suburban American symbol. In this movie, even the zombies can’t forget habits they had before dying. They wander aimlessly inside the mall just because they remember the place as an important part of their lives. They are the consumer zombies. As Peter says, “They are us.” Romero’s two films have had much influence on later zombie films. Edgar Wright’s Shaun of the Dead relates directly to the plots of Romero’s zombie films and the title is also both an obvious parody of and homage to the title Dawn of the Dead. The black-humored film, a so-called rom-zom-com, also brings a distinctive Englishness to the genre. Wright tries to deconstruct the traditional dichotomy between human beings and zombies by making zombies live with human beings as well as by making his characters imitate zombies in his film. Romero has been working outside of the Hollywood studio system for his entire career. He chose zombies to criticize the social ills and the abuse of power in the Western societies. They are regularly encountered in horror and fantasy themed fiction and entertainment as a symbol of subversion and resistance against the social decay of the modern society.

'매체' 인식과 '말'의 문제: Samuel Beckett의 라디오극 All That Fall을 중심으로

권혜경 신한영미어문학회 1997 새한영어영문학 Vol.36 No.-

In all That Fall Samuel Beckett tries to express his own themes with the new media of 'radio,' whose techniques are wholly different from those of novel and theater. He always makes the audience conscious of the media, instead of making them fall into 'illusions.' In his first radio play, Beckett uses artificial and distorted sounds to get the effect of 'stylized realism.' He also makes use of the limitation of a radio play--that we cannot see it--and makes ambiguous dramatic atmosphere deliberately. With this, he can create the major effects of 'stasis' and 'allusion.' In a radio play, which consists of words, sounds and silence, characters are described only through words and then get their existence. This characteristic aspect of a radio play emphasizes the deeper relationship between man and words than that of any other media. Man must have the mediation of words and ideas between himself and reality, and if he becomes aware of the emptiness of the words he uses, he cannot avoid realizing that his entire life is empty life is empty as well. Dan and Maddy are both very close to this realization if they have not already reached it. Beckett refuses to find any conclusion or answer on life and tries to show life as it is. He focuses on characters' recognition of the reality of life and offers the audience an important opportunity to examine their own lives.

바벨 그 이후: 현대 서구 문화에 나타난 언어위기 인식

권혜경 東西大學校 1998 동서논문집 Vol.4 No.-

The primacy of the word, the Logos, was characteristic of the Greek and Judaic genius and carried over into Christianity. The clasic and the Christian sense of the world strive to order reality within the govermance of language. It is during the seventeenth century that significant areas of truth, reality and action recede from the sphere of language. The most decisive change in the Western intellectual life is the submission of larger areas of knowledge to the modes and proceedings of mathematics. It is no paradox to assert that in cardinal respects reality now begins outside verbal language. The retreat from the word has appeared in most of studies, economics, sociology, history as well as natural sciences. The greatest of modern philosophers was also the ne most profoundly intent on the recognition of the language crisis. Wittgenstein compels us to wonder whether reality can be spoken of, when speech is merely a kind of infinite regression. Language can only deal with a special, restricted segment of reality and the rest, the much larger part, si silence. The retreat from the range of verbal language plays an important role in the character of modern art, It is precisely against such verbal equivalence or concordance that modern art ahs rebelled. Post-impressionsism declared that the painter paints not what he sees but what he feels. What is seen can be transposed into words: what is felt may occur at some level anterior to language or inside it. In the modern literature, the recognition of language crisis has resulted in the revaluaation of silence, which is one of the most original, characteristic acts of the modern spirit. Silence is both the precondition of speech and the result or aim of properly directed speech. It is in the drama that the concept of silence has been more concretely expressed. Some playwrights, such as Samuel Beckett, Eugene Ionesco, Harold Pinter, Edward Albee, have chosen to communicate through the multidimensional, nonverbal expression of silence.

모녀관계와 여성적 경험 : 사무엘 베케트의『발소리』와『자장가』를 중심으로

권혜경 새한영어영문학회 1999 새한영어영문학 Vol.41 No.2

Samuel Beckett's Footfalls and Rockaby have a common dramatic structure which consists of a female character and her mother's (or her own) voice. They also have common motives which are the mother-daughter relationship and the feminine experience. The relationship between mother and daughter is hardly recognized in patriarchal culture, which does not recognize the difference between mother and daughter. In Freud's view, a daughter sees her mother only as someone who deprives her first of milk, then of sexual gratification, finally of a penis. The discovery of the preoedipal mother-daughter relationship required a general reformulation of psychoanalytic theory. A woman's preoedipal attachment to her mother largely determines both her subsequent oedipal attachment to her father and her later relationship to men in general. Footfalls and Rockaby show daughter's deep attachment to her mother and mother's strong influence on her daughter. In Footfalls, May shows an inner conflict between her passive state of being and her mother's image which makes her try to shape her own identity. This play, however, falls into deep stasis because her mother's image is not so strong and May cannot extend herself. Her mother has a deep guilty consciousness due to the unwelcome with and self-encapsulated state of her daughter. In Rockaby, the Woman shows us an active and open characteristic in trying to look for 'another like herself' - the Other- to perceive her own being. She not only finds the Other from the mother image in herself but also experiences a strong maternal heeling power. In addition, sharing the feminine experience which has been delivered from mother's mothers, she can acquire a firm identity and develop a receptive attitude toward life.

徐志摩詩의 人道主義的 觀點에서의 考察

權惠慶 韓國外國語大學校 外國學綜合硏究센터 中國硏究所 2002 中國硏究 Vol.30 No.-

Xu Zhimo(1897-1931) was born near xiashih in southern Zherjiang, and when still young raised the wealth of the family, so Xu zhimo was studied in United State and England. At this time he expanded his reading to include Keats and Byron, Xu began to ponder the freedom of the poet's soul. There was Xu Zhimo, the brilliant expounder of culture he had derived from Cambridge; there were a host of young poets, like Chu Hsiang, Liu Mengwei, ane Wen yidtuo, who were determined to take the new fortress by storm. Xu Zhimo wrote his loveliest poetry, introduced European romantic poetry. In according to his products, we deserved he was a romantic poet and bourgeoisie, but look into inside his works there was inciuding fundamental humanity. The early 20C in the China, there was lots of meaningless wars, starvations, poor peasants, Xu looked down these lower classes with full of lovely heart based on humanity. The Chinese peasants have hated the arts of war. War and terror of war have left their mark on the Chinese race, but even more merciless than war has been the poverty of the people. The threat of starvation is eternally real in the country, where life must be fought for and every grain of rice is precious. So death is present in these poems, there was poverty, because death stood before them eternally. He described those people's life and tears and sigh. This thesis focus on Xuzhimo's humanity in the his poetry, everybody knows he was a romantic poet he was pursuit of love throughout all his life. In this case his loving poetry also based on women's human right in spite of covering with loving affairs. This thesis conclude that Xu Zhimo wrote a poet with humanism also he was a bridge of tradtional poem hand down to modern poems, besides the western poem came into modern chinese poems.

한국 전통춤의 시간적 구조 분석 : 민속춤을 중심으로

권혜경 한국예술종합학교 무용원 2001 무용원 이론과 연구자료집 Vol.3 No.-

간호단위 내 업무 개선을 통한 소음 감소 활동

권혜경,김선화,정연희,이현주,정현경,홍혜영,한지희 한국의료QA학회 2006 가을학술대회 Vol.2005 No.2

Samuel Beckett의 후기극에 나타난 특징 : Football를 중심으로 on Footballs

권혜경 東西大學校 1996 동서논문집 Vol.2 No.1

Samuel Beckett tried to overcome the limitation of the language with two new factors, 'action' and 'silence' in drama, which are not in novel. this offered an important turning point to his writing. In his later plays, however, he met another important change. As compared to his earlier plays, Beckett's later plays condense and concentrate every element that has always been present, but in a more diffuse and more traditionally theatrical form. They avoid everything superflous and long for the stylistic purity. This kind of economy--concentration upon essentials and key images--is one of the hallmarks of supreme artistry. Throughout his life as a writer, Beckett has striven to reach the utmost degree of economy and density. It seems that he reaches it in his later plays. They also show the aesthetic perfection in that they are poetry of concrete and three-dimensional stage images, complex metaphors communicable in a flash of visual intuitive understanding. In Footfalls, one of Beckett's later plays, we can find the characteristics mentioned above. This is based on the story of a woman who exists but doesn't actually live. Through her own ceaseless 'footfalls' and self-encapsulated 'words', she attempts to perceive the passage of her life and give it meaning. This play also shows us deep 'stasis' because her ways of perception are only repeated and cannot extend themselves. However, Footfalls signifies much more than the repetition of 'foot-falls', 'words' and 'stasis'. With the symbolic factors of 'silence', 'emptiness' and 'darkness', Beckett makes the audience feel May's inner suffering and, by extension, perceive the existential anguish of human being.