The Tempest 극중의 가면극과 음악의 극적효과2

하해성 영미어문학회 1989 영미어문학연구 Vol.5 No.-

The Tempest 극중의 가면극과 음악의 극적효과1

하해성 영미어문학회 1989 영미어문학연구 Vol.5 No.-

King Lear에 나타난 攝理的 秩序에 關한 硏究

河海成,姜敬一 진주여자전문대학 1982 論文集 Vol.4 No.-

This study is to anahze and interpret a providential order of events in King Lear. Looking at such characters as Lear, Cordeha and Gloucester, and Edgar they are thought to be kind people, for they have experienced their own passions and they have been purged. Especially the ending of the play supports the notion. Lear's remarks about the prison display that Lear does not think of his fate as unjust for he regards it as Paradise, where blessing and forgiveness are easily bestowed. We can find that the play takes on the colour of a concept similar to one of religion. Through the play we have an impression that as Cordeha is a creature with divine qualities, a divine irrationality destroys her. Like Christ s death, Cordeha's atones, on the level of man, for the sins of man. Therefore Cordeha must die for the purpose of completing this play's argument as an instance of the providential order of events it is God's providence.

Tempest劇 構造分析

河海成 慶尙大學校 1985 論文集 Vol.24 No.1

This study was carried out to analyze the construction of Shakespeare's Tempast. The results obtained are summarized as follows: firstly, the Tempast has its own distinctive construction, sets up its own peculiar pattern expectation. This play has in Prospero a controller who exercises through his magic a power like that of Heaven. Therefore, the plot of the Tempest is unlike many of Shakespeare's other plays in that it depends almost entirely on the use of supernatural powers. Here the destiny of everyone is decided by supernatural intervention rather than by their characters or their action. And the Tempast is the only one among the late plays that observes the Aristotle's theory of three unities of time and place, and action. All these features in themselves suggest that Shakespeare was moving in a new direction in this play, a view confirmed by an examination of its dramatic form. Secondly, certain contrasts in the play, such as between beauty and ugliness, or nurture and nature seem so thematically rendered as to allow an allegorical interpretation. And the use of masque and spectacle has also encouraged a treatment of the play as based on masque. At the same time Prospero's art is limited for his magic powers seems to have acquired since he arrived on Setebos; therefore, this powers are in some sense a function of the island and only operate in its vicinity. It is a magical art or power which subserves another end, that of regarding his princely powers.

Salome에 나타난 Oscar Wilde의 유미주의에 대한 연구

정식헌,하해성 慶尙大學校 1982 論文集 Vol.21 No.2

This study is researched the tragic structure and the death of three heroes of Oscar Wilde's aestheticism in Salome. The tragic structure through distinct cause and effect seems to be a battle of wills that consists of the 'tragic man' from the instinctive element of the individual and his relation to himself, and the deep conflicts from the different object of each other in seeking for love. These tragic men and conflicts are produced in mutual ignoring and misunderstanding. In a word, characters either neglect each other, misunderstand each other, or are rejected by each other. The Young Syrian is ignored by Salome. Salome is ignored by Jokanaan who sees in her the abominations of the inaccessible and untouchable. And as it is researched, we consider Salome as a simple plot is in accord with the completeness and unity of dramatic dianoia. In the death of tree heroes; The Young Syrian, through the humility of love which lies in self-sacrifice to his Platonic spirit in his great spiritual beauty, is embraced to the physical sublimation to be originated in his respondence and accordance of making him from spirit ot spirit in his inner mind. Jokanaan, through the imperishability of faith which is based on self- sacrifice to his communion soul with God in his absolute and spiritual love, is embraced to the martyrized sublimation to be created in his unchanged eternity of keeping him from faith to faith in his internal world. Salme, by being engaged herself to the intensity of love which grows in aesthetic self-hyphosis to her physical spirit of beauty in her passionary and visionary spiritual beauty, is devoted herself to the spiritual sublimation to be derived from her yearning and purification of growing her from physical form to spiritual form in her interior spirit. As it is examined, the target of Wilde's aestheticism in Salome seems to be the most beautiful and important love's sublimation of a human being. And in the maximum value of heroes' sublimated death, we can consider what Wilde seeking for as the mystical in Art, the mystical in Life, and the mystical in Nature from his love of the concrete. Thus the essence of Wild's aestheticism in Salome can be though that his 'art for art's sake' of pure aestheticism is sought into the 'love for love's sake' with developing Salome's spirit of love.

셰익스피어 최후기 劇들에 나타난 美學

하해성 한국영어영문학회 경남지부 1997 현대영미어문학 Vol.15 No.1

I wish to explore aesthetics reflected in the dramatic structure of Shakespeare's romances. Many Shakespearean Scholars have often noted that such two elements as music and dance are essential ingredients in the structure of Shakespeare's Romances, and few have analyzed their unique contribution to the dramatic structure. A study of the philosophical concepts of these elements in Renaissance society encouraged me to find the meaning of individual scenes that had been previously misinterpreted. For the purpose of understanding of the dramatic structure as a whole, I had to examine the specific aesthetic environment of the early Baroque Period. Accordingly this dissertation was to demonstrate the neglect of dramatic action in traditional criticism, and also such examples as dance and music in Shakespeare's romances led me to find that these element is able to carry dramatic meaning. It was found that Shakespeare's design to integrate verbal elements and non-verbal elements reflects the aesthetic environment of Jacobean court.

King Lear 의 미학구조

하해성,김길수 한국드라마학회 1997 드라마 論叢 Vol.- No.9

경상남도 주요 수산식품의 안정적인 생산 방안과 수산식품산업 육성

하해성 한국수산과학회 양식분과 2023 한국수산과학회 양식분과 학술대회 Vol.2023 No.6

Tempest 에 나타난 二元性

河海成 한국영어영문학회 경남지부 1985 현대영미어문학 Vol.3 No.-

This study is to analyze the contrastic duality in the Tempest: therefore, the results obtained here are summarized as follows : firstly, it seems that the duality consists of Prospero's practical idealism and Gonzalo's Utopian dream, for the Tempest is set between an impractical idealism on the one side and political villany and lust on the other. Secondly, it is emphasized that Prospero should have to accept the Caliban in Man, and that the civilized man's efforts with the savage brute should not be excluded, for the primitive even reveals the rudiments of a moral imagination in his graphic descriptions of punishment that anticipates from the angry mage Prospero. Thirdly, Caliban, representing the primitive, is more controllable in coming to terms with his own primitive and passinate urge, impulse to control than the sophisticated civilized men who commit one crime after another rationally, for it seems to me that Caliban's conspiracy is one of the ignorant multitude, while Antonio is of the ambitious and malicious. In the long run, Shakespeare seems to concentrate on the education of the audience for the purpose of achieving harmony with nature's order through the contrastic duality between nature and nurture in dramatizing the attainment of a practical idealism negatively pointed by the satire on Gonzalo's Utopian dream.

셰익스피어 로만스극속에 나타난 비언어적 요소들의 극적 기능

하해성 영미어문학회 1995 영미어문학연구 Vol.11 No.-