http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 김용태(Yongtae Kim) (검색결과 86 건)
- 무료
- 기관 내 무료
- 유료
-
-
영국 초기 근대 사회의 대중 극장 무대의 여성, 그리고 바이올라 / 세자리오
김용태(Yongtae Kim) 한국셰익스피어학회 2000 셰익스피어 비평 Vol.36 No.3
This article sets out to consider the changes of gender ideology and its social and sexual complications represented on the stage of public commercial playhouses in Renaissance England. In early modern England the public theatres aroused the antitheatrical sentiment in the City Fathers or Protestant Church leaders who sought to uphold established social order. They rendered the playhouses subversive, especially in terms of gender identity, focusing on the practice of cross-dressing on the stage in which boy actors take female roles or, more alarmingly for the patriarchs, female characters put on men's garments. Cross-dressing was not merely a matter of public stage but that of problematic cultural ideology. This theatrical practice was not wholly unfamiliar to those who encountered transvestism on the streets of London. Such occurrences both on the stage and in the streets were the very source of misogynist anxiety in antitheatricalists who regarded cross-dressing as a virulent assault on the patriarchal cultural system and a violation of the law of God. At the same time, cross-dressing prompted a reconsideration of such issues as ambiguous sexual relationships, erotic androgyny, and sexual discipline. This is the very case of Viola in Twelfth Night who finds it the best way for survival in an alien environment to transform herself into a man, Cesario. Viola's cross-dressing and her sexual indeterminacy cause ambiguous erotic responses from both Olivia and Orsino, and expands the space of erotic relations among the characters or between the (female) characters and the audience. Cross-dressed like a man, Viola endorses both the traditional and presently emergent views on gender: while seeking every way to be convinced of and reawaken her given feminity, she attempts to forge her gender identity according to her own will and thus repudiate sexual difference, for example, by dressing-down as an eunuch to castrate her exterior masculinity and by dressing-up as a man to assume male prerogatives. Viola's cross-dressing helps to make obscure the gender boundaries, give rise to the confusion of gender roles, and provide anxiety against and fantasy for the disruption of the established gender fixity. In Twelfth Night the practice of cross-dressing is not simply intended for comic resolution of sexual entanglements by the way of patriarchal marriages but rather for representing the ambiguous relationship of erotic desires caused by the confusion of gender identity. The public theatres in early modem England, therefore, were not merely artistic places but the special sites for the exploration of social problematic issues and the cultural contestation to look into the society in the state of flux.
-
-
-
김용태(Kim Yongtae) 역사비평사 2018 역사비평 Vol.- No.123
The dynastic change from Goryeo to Joseon around the 14th and 15th centuries signaled the transition from Buddhism to Confucianism. The previous scholarship emphasizes the new dynasty’s religious policy, “sungyu eokbul” (promoting Confucianism and persecuting Buddhism), with the establishment of Joseon, ignoring the continuity of Buddhist tradition. The idea of “sungyu eokbul,” however, was created in modern times, reflecting modern perception of Buddhism of the time, not the reality of Joseon Buddhism. With this idea, the severance between Goryeo and Joseon and the decline of Buddhism has been regarded one of the main features of Joseon Buddhism in academia. In the late 14th century, anti-Buddhism emerged as a trend of the time, being expressed in texts and real politics. In response, Buddhist apologetic writings also appeared, arguing that Buddhism and Confucianism were not different in terms of principle and teaching, and, at the same time, the former had national, social, and ethical values. The Buddhist tradition that formed the core of Goryeo philosophy and culture continued in the 15th century without much loss. In particular, the Buddhist notion of afterworld and devotional rituals that had served as an important element in Goryeo religious landscape still influenced the life of Joseon people, including some yangban literati. The major traditions of both Seon and Gyo such as Imje, Cheontae, and Hwaeom also continued though reducing in size. Despite anti-Buddhist sentiment and policy, Buddhist tradition remained rather active both in philosophy and practice. Joseon Buddhism of the 15th century was indeed the continuation of the 14th century Goryeo Buddhism. Buddhism survived in the dynastic change and rather flourished. Therefore, we need to look at this period as a change and continuation of the Buddhist tradition rather than severance.
-
-
“난 참으로 진기한 꿈을 꾸었어” : 『한여름 밤의 꿈』에서의 젠더 질서의 양면성
김용태(Yongtae Kim) 한국셰익스피어학회 2004 셰익스피어 비평 Vol.40 No.3
Traditional criticism on Shakespeare's romantic comedies has focused on love and marriage of intelligent and independent heroines, with the emphasis generally falling on the last phase of the play, which restores masculine authority by making light the preceding female sexual confusions and overturns. In this paper, I argue that such confusions and turns in A Midsummer Night's Dream are representative of gender mobility in the early modem England, which witnessed the appearance of the women who overstepped gender boundaries. I also argue that the ending is not merely a restoration of the masculine community but the beginning of a newly integrated social order. It is not a mere matter of feminine subversion and masculine containment. I suggest we need to look into the destabilization of gender ideologies and into the violence that patriarchal order brings to women. The play begins with Theseus's wooing of Hippolyta, Queen of the Amazons, shortly after his conquest by "sword" of her realm, a nation-state of the most unruly women in western myth. His wedding is a reward for men's violence on women and an expression of male anxiety about the power of threatening women. Theseus's concupiscent desire for Hippolyta, however, weakens his manly virtues and renders him effeminate and antithetical to his martial heroism. Thus, early in the play, he overturns the patriarchal ideal. On the other hand, Hermia and Titania represent resistance to their male masters, father and husband, and their female bodies are a locus of contestation of masculine authority and feminine power. They are Elizabethan willful subjects who refuse to be subjugated to men's control. The "little changeling boy" is a medium of exchange between Oberon and Titania, and he is representative of cultural transition from mother's world to father's man-centered world as the early modern culture confirmed. Counterpointing the notion of Oberon's paternity, however, Titania tries to imprison the boy to her womb. Oberon's love-potion initially symbolizes masculine regulation of women's claim for their own sovereignty, but in the Athenian wood Hermia and Helena do not come under its influence. It works only on the male lovers, Lysander and Demetrius, making them beings of 'changeability,' other effeminized male figures. In the end, Hermia and Helena marry the men of their choice despite the father's law, as Theseus' new form of order incorporates female lovers' decisions at the closing moment of the play. While A Midsummer Night's Dream seems to produce monolithic masculine order on the surface, it also produces heterodox gender discourses and call the legitimacy of patriarchy into question. Bottom's words after he awakes, "I have had a most rare vision," indicate a subversive process of challenging normal practices and inversing usual meanings. He articulates a discourse which helps to foreground the idea of gender disruption.
-
-
김용태(Yongtae Kim) 한국셰익스피어학회 2006 셰익스피어 비평 Vol.42 No.4
This article aims at exploring how Shakespeare's Hamlet and British actor-director Kenneth Branagh's film adaptation of it express the issue of political strategy of espying into others' hidden secrets by means of "seeing unseen." Court politics of the early modern England was dominated by the mechanism of surveillance which could establish the prevailing atmosphere of gazing and generalized espionage. This is a political mechanism since it is based on the maxim that knowledge is power. Shakespeare's Elsinore court is placed in a period of power transition after the sudden death of Old Hamlet, and thus structured in terms of multiple sights which represent an anxiety to see the hidden secrecy of one's political rivals. Hamlet and Claudius perform the same business: both are indulged in disclosing each other's inner truth to gather advantageous information for political purposes. The play-within-the play is a pivotal moment that Hamlet gains power over Claudius since Hamlet's gazing power takes over Claudius's by rendering the latter the object of accusing gaze. Kenneth Branagh is generally regarded as today's preeminent Shakespeare filmmaker who revived the commercial interest in Shakespeare movies in 1990s after their temporary decline in 80s, and who, breaking free from Laurence Olivier and Orson Welles's elitist art-house tradition, transformed Shakespeare into a source of contemporary popular movie genre. His Hamlet is a popular movie not only in that he incorporates Hollywood styles, but in that it likes to show a contemporary issue of political voyeurism working in the larger process of the historical cycle of rise and fall of a nation. The film conveys a political behavior that 'everyone spies on everyone.' Hamlet acts out of the Ghost's revelation of top secrets of his death to verify Claudius's crimes; Claudius is also busy disclosing Hamlet's "antic disposition" to have access to what "is" behind the "seems." Hamlet's "To be or not to be" scene provides best example of how political espionage works in Elsinore court. The state hall is structured by surrounding mirrored rooms, and all the mirrors are two-way mirrors which as a political device represent the political strategy of "seeing unseen," and which have spies behind them. Everyone has been hiding something, and everyone seeks to find it because the things on the surface and beneath it are different. But, it is Fortinbras who finally takes over Denmark by letting his troops move through the mirrored doors and finally tear down the statue of Old Hamlet. He has been looming throughout the film hiding himself in snow and fog, and nobody in Elsinore recognized or gave attention to his existence. He is the very person who answers to the opening question of the text "Who's there?" and who eventually succeeds in carrying out the strategy of "seeing unseen."
-
김용태(Yongtae Kim) 한국셰익스피어학회 2002 셰익스피어 비평 Vol.38 No.1
I set out the argument with an already generalized premise that the battlefields and the history described in Shakespeare's history plays are exclusive of women characters. The presence of women in history plays, therefore, functions as an ideological menace to the construction of an emergent national identity as masculine England. The patriarchal order remaining in the early modern England was still simple: all women should be chaste, silent, and obedient. But the expectation of obedience and silence was virtually impossible to meet. The actual appearances of unruly women and relatively independent women who refused to have been controlled by any man brought forth men's anxiety about them, and they were about to invent numerous ways of attack on them. The present article traces the ways of such attack in the plays turning those disruptive women into witches and relating subversive theatricality with dangerous feminity. The women characters in Henry Ⅵ Parts Ⅰ and Ⅱ are to be blamed for their subversive practices of undermining patriarchal order by their witch-like activities and of increasing social instability by their adoption of theatricality. Pucelle, who is incessantly attacked for her witchcraft by English warrior nobles, renders the masculine England powerless before the feminized France. Her transvestism and assuming the role of military leader in the French camps is the visible emblem of her theatricality that belie both her true social rank and gender identity. Eleanor in Part Ⅱ is also an overreacher who imagines herself as an actor seizing whatever role Fortune would give for her to play and who is willing to subject her to the evil spirits' prophesies about male opponents' future. They are the female characters who seek to overturn the masculine order by adopting male prerogatives and thus destroying rank hierarchy and gender status as well. They should be subject to men's punishment that exposes who they really are and expels them out of men's exclusive battlefields and history. But the plays fail to restore the broken order because the historical and political arenas are absent of masculine heroes and are afflicted with domestic dissensions caused by noble's private desire for power.
KCI연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
