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류수용(Sooyoung Ryu) 한국셰익스피어학회 2012 셰익스피어 비평 Vol.48 No.2
There are two critical discussions of Measure for Measure. Seen from the point of view of the character, including Duke, Measure for Measure is a problem play, but from the point of view of the implied dramatist it is a tragicomedy. The play has affinities with Ibsenite problem plays of a much later period but in many important respects Measure for Measure conforms to tragicomedy as it was defined by Italian tragicomedy theorist Guarini. The Duke in some sense stands in for the dramatist. As manipulator of the play’s action and thus its quasi-author, the Duke exists at the border of the play’s internal and mediating communication systems, his role is never quite clearly defined by these two genres. His presence throughout the play certainly provides assurance of a formally comic ending. But as a controlling artist figure he is unreliable, and our attempt to see things from his point of view is repeatedly frustrated by his imperfect problem-solving. Shakespeare creates the full expectation of a comic rather than a tragic conclusion in Measure for Measure, and at the same time he problematizes the tragic means by which it will be produced. The chief problem is Duke, the guarantor of a happy ending, whose flawed and comedic problem-solving, at odds with the seriousness of the character’s difficulties, produces much of the play’s discomfort. But it is this dissonance that produces Measure for Measure as a darkly ironic version of tragicomedy, and in particular as a tragicomedy whose indeterminacy links it with modern versions of the genre. In Measure for Measure Shakespeare dramatizes the instability of human experience, the imperfect resolutions that can pervade in this world and expose the hypocrisy and contradiction of the Duke in a satirical mode. The discomfort and dissatisfaction aroused by Measure for Measure, especially by it’s ending, are not the product of flaws in the play’s design; they are part of tragicomedy’s inherent aesthetic and the validation of tragicomic integrity in Measure for Measure.
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류수용 ( Su Yong Ryu ) 동국대학교 영어권문화연구소 2014 영어권문화연구 Vol.7 No.1
The purpose of this study is to explore the use and contra-use tragicomedy in Winter’s Tales. As a way of facilitating such an enquire, we shall employ Giambattista Guarini’s theory of tragicomedy, focusing primarily on his analysis of the phenomenon of fusion between tragedy and comedy. Guarini is an Italian playwright strongly interested in dramaturgy and the emotional effect of tragicomedy. To make an authentic tragicomedy, he argues, there must be a harmonious mixture of tragic and comic elements far removed from the kind of tension or emotional confrontation which characterizes most modern tragicomedies. At its best, according to Guarini, tragicomedy happens when the two distinct entities are melded into parts that cannot be divided. For this to occur though, Art, as a kind of demiurge, must alter the autonomous natures of the tragic and comic so that they can be successfully integrated as tragicomedy - thus producing a perfect blend in which the comic and the tragic moderate one another. It is important, however, not to think of this blending as an equal identity of opposites; for, despite Guarini's idea of tragicomedy as an organic form, much of his observation clearly demonstrates that the tragic is subordinate to the comic. According to Guarini, it is tragicomedy that adopts the comic order. The Winter's Tale is a unique play in which Shakespeare appears to succeed in deceiving his audience by making them believe that Hermione has really died in Act Three. Until Act Five, Scene One and Two, the audience is given no clues to whether Hermione is still alive. At the same time Shakespeare makes his audience anticipate emotionally, if not cognitively, the play's happy ending―perhaps through the suggested restoration of Hermione--by means of a tragicomic dramaturgy that is extraordinarily subtle, implicit, and suggestive. Finally, the audience is brought to share fully in Leontes's sense of wonder at the miracle of the statue that comes to life. Paulina, as a dramatist-actor in the play, directs the miracle of the statue scene, and, by doing so, implicitly creates an identity with the theater as medium for the artifice of art. Since the resurrection of Hermione is enacted on the border between the miraculous and realistically possible, the joy it occasions is strangely muted, both for the characters on the stage as well as for the audience. The realistic touches employed in the presentation of the family reunion serves to remind the audience vividly of past suffering and the terrible price that has been paid for Leontes' sin and error. Shakespeare's tragicomic endings induce critical discomfort in the audience because his dramatist-actor goes against audience expectation. However, the discomfort or dissatisfaction aroused by Shakespeare's dramatist-actor, especially one experienced in dramatic resolution, is not the result of any flaw in the play's design. The reason for this is because ‘the flaw’ is very much part of the inherent design underpinning Shakespeare's tragicomic aesthetics.
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류수용(Ryu, Soo-Yong),곽노경(Kwak, No-Kyung),박민철(Park, Min-Chul),정상국(Jeong, Sang-Guk),이송(Lee, Song) 한국지반환경공학회 2012 한국지반환경공학회논문집 Vol.13 No.8
수평하중을 받는 말뚝의 해석에서 수평지반반력계수(kh)의 결정이 중요하나 시간과 비용 등의 문제로 기존의 제안식을 이용하여 수평지반반력계수를 산정하고 있어 말뚝기초의 거동을 상이하게 평가하고 있다. 따라서, 본 연구에서는 수평재하시험결과를 이용한 Chang 방법 및 수치해석 역해석 방법으로 수평지반반력계수를 산정하여 기존 제안식과의 상관성을 비교·분석하여 적정성 및 신뢰성을 규명하였다. 수평재하시험에 의한 수평지반반력계수 분석결과는 Chang 방법으로 산정된 값이 역해석에 의한 방법에 비해 과소평가 되었다. 그리고 도로교 표준시방서 방법으로 산정 시 지반의 변형계수는 Eo≒1,400∼1,600N 적용하는 경우 수평재하시험에 의한 수평지반반력계수와 유사한 범위를 가지는 것으로 확인되었다. Even though decision of coefficient of horizontal subgrade reaction is important in analysis for pile under lateral load, the behavior of pile under lateral loading is estimated differently due to using established suggestion. Therefore this study estimates coefficient of horizontal subgrade reaction by using Chang’s method or numerical inverse analysis method with the result of lateral load test. Then this study investigates the adequacy and reliability for coefficient of horizontal subgrade reaction. The analytical results of coefficient of horizontal subgrade reaction with lateral load test showed that coefficient of horizontal subgrade reaction with Chang’s method was underestimated as compared with inverse analysis. Deformation modulus of foundation by Standard Specifications for Highway Bridges and Eo≒1,400∼1,600N showed similar range like range of coefficient of horizontal subgrade reaction with lateral load test.
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장르이론 관점에서 본 셰익스피어 비희극 극작술 : 『자에는 자로』를 중심으로
류수용 ( Ryu¸ Su-yong ) 동국대학교 영어권문화연구소 2010 영어권문화연구 Vol.3 No.1
Typical dramatic form is tragicomedy in Renaissance; the most of Shakespeare's play also combine tragic and comic elements in varying degree and various composition. Therefore, the study on the aesthetic of tragicomic dramaturgy is a useful method to understand Shakespeare plays in the perspective of contemporary dramatic genre. In fact it is elusive to theorise the comprehensive concept of tragicomedy as well as Shakespeare's unique tragicomic dramaturgy. But supposing that the nature of Shakespeare tragicomedy is a product of ‘the consciousness of dramatic genre’ which might influence Shakespeare's plays in many ways, genre is practical way to clarify the aesthetics of Shakespeare's tragicomedy. Shakespeare is conscious of the generic assumption and distinction in his time. To create specific effects in his audience, Shakespeare often uses the parody and the contra use of gene in his plays. For that reason it is important to konw how Shakespeare disturbs and recreates dominant genre theory in studying tragicomic dramaturgy in Measure for Measure. There are two critical discussions of Measure for Measure. Seen from the point of view of the character, including Duke, Measure for Measure is problem play, but from the point of view of the implied dramatist it is a tragicomedy. The play have affinities with Ibsenite problem plays of much later period but in many important respects Measure for Measure conforms to tragicomedy as it was defined by Italian tragicomedy theorist Guarini. Duke in some sense stands in for the dramatist. As manipulator of the play's action and thus quasi -author, the Duke exists at the border of the play's internal and mediating communication systems, his role never quite defined by these two genres. His presence throughout the play certainly provides assurance of a formally comic ending But as a controlling artist figure he is unreliable, and our attempt to see things from his point of view is repeatedly frustrated by his imperfect problem - solving. Shakespeare creates the full expectation of a comic rather than a tragic conclusion in Measure for Measure, at the same time he problematizes the tragic means by which it will be produced. The chief problem is Duke, the guarantor of happy ending, whose flawed and comedic problem-solving, at odds with the seriousness of the character's difficulties, produces much of the play's discomfort. But it is this dissonance that produces Measure for Measure as a darkly ironic version of tragicomedy, and in particular as a tragicomedy whose indeterminacy links it with modern version of the genre. In Measure for Measure Shakespeare dramatizes the instability of human experience, the imperfect resolutions that can be provided in this world. The discomfort and dissatisfaction aroused by Measure for Measure, especially by it’s ending, are not the product of flaws in the play's design; they are part of tragicomedy's inherent aesthetic and the validation of Measure for Measure's tragicomic integrity.
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