야누스의 얼굴 : 멜로드라마의 실상

김진식(Jin Shik Kim) 한국연극학회 1989 한국연극학 Vol.3 No.1

This thesis aims to study the nature and characteristics of melodrama, which is usually rated as a transpontine one. The word `melodrama` means a drama with music, which is no longer part of the modern definition. Melodrama, if not the ideal term, has advantage of being known and adaptable, and so valid is the proposition that it is an eternal dramatic form from Euripides to Albee and holds an important place in the history of drama, because this can hardly be surpassed in its function and popularity. Melodrama stresses sensationalism, sentimentalism and commercialism, in which are found stock characters, intricate plot, episodic structures, perfunctory style, scenic marvels, musical background, comic relief and rigid poetic justice. Melodrama is to tragedy as farce is to comedy. Melodrama, like tragedy, utilizes seriousness temporarily arising from an obvious threat caused by a merciless villain and leads the sympathetic protagonist to be happy at the end. But an ending that gives reward and happiness to the hero is not enough; it should provide punishment or unhappiness for the villain as well. In melodrama, good and evil are to be more clearly distinguished than in tragedy and comedy. Guilbert de Pixerecourt (1775-1844) established the pattern of popular melodrama with sensational incidents, violent emotional appeal and happy ending. Its plot revolves around malevolent intrigue and violent action, while credibility of both character and plot is sacrificed for violent effect and emotional opportunism, with the result that melodrama has become a term of abuse and contempt. The word `melodramatic` is used to describe not only lucky men who have a narrow escape but also casual incidents. This is because, certain scholars say, melodrama falsifies life, its characters are puppets, its action absurd, its scenic marvels mere theatrical effects, its language grotesque and exaggerated, its poetic justice naive and its escapism infantile. But if it were defined as an illogical and irrational drama, Euripides and Shakespeare would be included in the indictment. And yet it is most often employed by 20th century playwrights. Although this kind of play is more easily constructed than a tragedy or a comedy, it can be skillful, beautiful, and valuable as an art object, and therefore even a weak melodrama can command rapt attention from an audience. The proof of this is that modern entertainment industries depend on melodrama as their basic material. By 1918, melodrama on the stage was virtually extinct. There were several causes for this : the appearance of realistic drama and cinema, and glossy touring productions replaced with the old stock companies. Before anything else, melodrama itself was responsible for its decay, for it did not try to find new way to progress; it failed to keep up with the coming generation of audiences. But the technique of theatrically effective melodrama was borrowed by more refined writers, Hugo and Dumas, among the rest Ibsen and expressionists. Melodrama may not be deprived of popularity, because it creates a dream world inhabited by dream people and dream justice, offering audiences the fulfilment and satisfaction found in dreams. Melodrama, if treated fairly, can be exciting and satisfactory. It is where man`s will can triumph over adversity, and abounds in eternal materials of drama, such as the rises and falls, encounters and confrontations, reversals and discoveries. Melodrama seeks not aesthetic detachment but emotional identification. Founded on primal human emotions on a universal sense of right and wrong, melodrama has endured and will always endure.

肺內 및 縱隔洞氣管支性 囊腫의 治驗例

金忠哲(Cgung Chul Kim),金珍植(Jin Shik Kim) 대한외과학회 1972 Annals of Surgical Treatment and Research Vol.14 No.6

원발성폐암(原發性肺癌)에 있어서 기관지조영(氣管支造影)의 진단적(診斷的) 가치(價値)에 관(關)한 연구(硏究)

손말현,조광현,우종수,김진식,Sohn, Mal Hyun,Cho, Kyung Hyun,Woo, Jong Soo,Kim, Jin Shik 대한흉부심장혈관외과학회 1976 Journal of Chest Surgery (J Chest Surg) Vol.9 No.1

In the presence of clinical evidence and chest roentgenogram suggestive of bronchogenic carcinoma, reliance is almost wholly placed on Papanicolaou staining of the sputum, bronchoscopy, and biopsy of peripheral lesion, together referred to as the "diagnostic triad". However, bronchography remains relatively non-utilized. Our experience with 56 bronchograms in which the modality of bronchial obstruction, distance to obstruction and reduction rate of caliber in leading bronchus were used in an attempt to explain underlying chest pathology and operability of bronchogenic carcinoma, indicated as follows: 1. The bronchographic findings in bronchogenic cancer consist of malignant bronchial obstruction in which the modality of obstruction is classified as abrupt type, conical type and compressed type in incidence of 50.0%, 23.2% and 26.8%, respectively. 2. Abrupt type of bronchial obstruction is more common in hilar type and particularly in squamous cell and undifferentiated cell type of bronchogenic cancer. In this type of obstruction the inoperability revealed in 57.8% and resectability in 17.8%. 3. Conical type of obstruction was a sign of most malignancy, in which 61.5% was undifferentiated cell type and 38.4% was squamous cell type. All this type of obstruction was inoperable even feasibility was presumed in simple roentgenograms. 4. Compressed type of obstruction was more common in peripheral type of bronchogenic cancer and showed 50.0% of resectability. 5. The distance from carina to bronchial obstuction revealed average 3.8cm in undifferentiated type, 5.76cm in squamous cell type and 7.60am in adeno cell type of carcinoma. 6. The reduction rate of caliber in leading bronchus to obstruction (mm per unit cm lenghth of leading bronchus) revealed average 2.15mm/cm in undifferentiated type 1.90mm/cm in squamous cell type and 1.13mm/cm in adeno cell type of carcnoma. 7. The reduction rate of caliber in leading bronchus showed 2.14mm/cm in inoperable cases and 1.42mm/cm in resectable cases. 8. The modality of bronchial obstruction and estimation of the reduction rate of caliber seemed to be a most reliable key-point to decide feasibility of resection.

무기폐(無氣肺)가 폐표면활성도(肺表面活性度)에 미치는 영향에 관(關)한 실험적(實驗的) 연구(硏究)

우종수,조광현,김종원,손말현,신근수,김진식,Woo, Jong Soo,Cho, Kwang Hyun,Kim, Jong Won,Sohn, Mal Hyun,Sihn, Kun Soo,Kim, Jin Shik 대한흉부심장혈관외과학회 1976 Journal of Chest Surgery (J Chest Surg) Vol.9 No.2

The effects of atelectasis on surface activity of lung extracts were examined in rabbits. Experimental atelectasis was produced in rabbits by artificial pneumothorax and surface tension properties were measured on saline extracts of lung 24 hrs, 48 hrs, one week and four weeks after the induction of pneumothorax. The results were as follows; 1) The minimum surface tension of excised lung extracts 24 hrs after pneumothorax was significantly increased to 28.3 0.41 dynes/cm, and the stability index was significantly decreased to 0.30 from normal value of 0. 87. 2) In the group which was re-expanded 24 hours, later from pneumothorax the surface activity was returned to almost normal range 24 hrs after reexpansion of collapsed lung, 3) When the atelectasis was continued by mechanical means, the extracts of atelectatic lung showed progressive decrease in surface activity, but it was found that surface activity returned to normal level after four weeks even the presence of atelectasis. 4) These observations suggest to us that atelectasis per se does not cause an increase in surface tension of lung extracts, and even in prolonged atelectasis the re-expansion of collapsed lung may be possible when the mechanical cause of atelectasis was excluded.

Eugene O'Neill의 중심정조

金珍植 단국대학교 1990 論文集 Vol.24 No.-

This thesis aims to trace some tragic emotions hidden in the plays of Eugene O'Neill under the hypothesis that stress or a kind of emotional factor gave birth to his negative consciousness of misbegottenness, homelessness and rootlessness. In order to clarify the central emotion in O'Neill's play this thesis explores how his tragic emotions are reflected in one of his masterpieces, Long Day's Journey Into Night. O'Neill's tragic emotions give a reasonable ground to the argument that like most of his plays. Long Day's Journey Into Night is autobographical in origin and naturally implies his first-hand experience of a round robin battle among his family. O'Neill's outlook as playwright shows that man must be proud of life and should know that the living of life can be noble in the face of the destiny of being defeated. He sought the meaning of existence by making explicit the courageous of hopeless hope. This hopeless hope is a kind of relief that helps deliver the Tyrones from the tragic condition of life. The ring leader that brought about the Tyrone family's misery in Long Day's Journey Into Night can be said to be the unseen presence, which is synonymus with tragic emotions. The psychological journey of the Tyrones is a different journey for each of the characters ; a sad journey into a fog of dream and detachment for Mary, a miserable journey down the wrong road, away from an earlier triumph for James, and a hopeless journey into the night of despair for Jamie. But for Edmund, it is a journey beyond night. Therefore, Edmund represents O'Neill's view of tragedy that "a man wills his own defeat when he pursues the unattainable. But the struggle in his success…… Such a figure is necessarily tragic, but he is exhilarating." It may safely be concluded that his tragic emotions caused by stress lead to O'Neill's creative motives and contribute to dramatizing man's inner life. This argument can be justified by the close analysis of the Tyrone characters in Long Day's Journey Into Night.

原發性肺癌에 있어서 氣管支造影의 診斷的 價値에 關한 硏究

金珍植 부산의대 1975 부산의대잡지 - 부산대학교 의과대학 Vol.15 No.2

유진 오닐의 실험적 극작술

김진식 단국대학교 1998 論文集 Vol.32 No.-

Eugene O'Neill was the first American playwright to initiate the modern drama in America and to introduce new dramatic devices to the history of the world drama. He is not only the creator of American drama but also the successful innovator in dramatic form. The second period of O'Neill's dramatic creativity can be defined as the period of experimentation. The experimentation can be seen in the combination of several dramatic styles within one drama, in the modern use of mask, and in the use of long asides. O'Neill replaced the technique of stressing and pointing out by the technique of the ideas. The experiments began with The Emperor Jones - a powerful dramatic study in fear. The development of action is restricted to the monologue in order to focus the entire action on the behavior of a single character. The motif of fear is brought out by the distant beating of the tom-toms. The entire play is regarded by the majority of critics as written on the expressionistic style. The action of The Hairy Ape is focused on the psyche of an individual. The play is an extraordinary blend of the naturalistic, expressionistic and symbolic styles. The expressionistic elements in The Hairy Ape are the typization of the protagonist, the scene about the human marionettes. the voices of the protagonist's mates functioning as the ancient chorus, etc. The experimental element in Desire Under the Elms is developed in the treatment of the plot. An example of the play experimental both in plot and in dramatic technique is provided in Mourning Becomes Electra. The suggested devices made O'Neill define Mourning Becomes Electra as the play of "unreal realism." Strange Interlude lacks some very important dramatic qualities : it does not have a climax. Another element is the modern use of asides which serve for revealing inner thoughts of the characters. To clarify the problem of masks and their different uses, it is necessary to analyze The Great God Brown where masks play the most important role. In Dynamo one can perceive the last traces of the expressionistic style. The central contrivance in Days Without End is the introduction of the two conflicting impulse of a single individual in the form of the separate characters : the man and his visible "alter ego" - man's split personality. The play, in spite of the realistic element, is obviously fantastic. The device of presenting a single individual in the form of two separate characters is as mechanical and artificial as the masks or asides. The third and the last stage of O'Neill's dramatic activity has been defined as a return to the realistic style. He stopped using obvious tricks such as masks and asides. Instead, one of the most striking qualities, evident in all of his later plays, is the really impressive quantity of alcohol consumed in each of them. This phenomenon represents the technique which is to serve for the same dramatic function the mechanism of the earlier plays. O'Neill's dramatic experiments such as sounds, asides, masks and settings help his plays to be seen vividly and be heard distinctly on the stage.

이상한 막간극 小考

김진식 단국대학교 인문과학대학 영어영문학과 2001 Lucifer Vol.- No.17

Strange Interlude, which gained O' Neil his third Pulitzer Prize, is famous for its dramatic use of the interior monologue, really a development of the soliloquy, to convey the thoughts of the individual characters. The original director, Philip Moeller, hit upon the 'free-frame'"when one character si engaged in an interior monologue, all the other characters 'freeze' in place. This was very effective on stage, and even in exchange of interior monologues it was apparent to the audience hat what it was hearing was spoken thoughts rather than dramatic conversation. The most important person in this play is Nina Leeds, and he entire action both internal and external, revolves around her relationship with six men, for whom O' Neill drew four different relationships, father, lover, husband and son. All the men of the play define themselves in relationship to Nina, Each man attempts to rid himself of this relationship, but each finds himself trapped. Nina is looking not for sexual freedom or equality but rather for control, only to find that what she really wants is protection. Through the sometimes open apposition of what is thought and what is said, Strange Interlude derives a density of meaning which might otherwise be impossible of achievements in drama.

『지평선 너머』의 언어 외적 표현 장치

김진식 檀國大學校英美文化硏究所 1996 英美文化 Vol.5 No.-

A playwright may communicate his meaning through dialogue only. He may also rely on nonverbal images, the emphasis being on spectacular effects rather than on the spoken text. He uses dialogue to present his themes but at the same time reinforce(or on occasion contradict) the ostensible meaning of verbal statement in the play by utilizing spectacular means of expression, that is, setting, properties, costumes, lighting effects, groupings, the actor's individual expression, his gesture, movements, make-up, vocal or facial expressions. Aural effects such as sound and music may be also considered as nonverbal means of expression. These elements are essential to the realization of a dramatic event in the theatre. Robert Mayo, the protagonist in Beyond the Horizon, is forced to face the meaninglessness of his dreams. When his efforts prove to be futile, death becomes the only possible way out for him. The course from hope and dream through the agony of disillusionment to death is illustrated by the plot and action of the play, but it is also implied by verbal and nonverbal images. The analysis of Beyond the Horizon proves that O'Neill focuses on the imagery of imprisonment, decay, and death, and the emphasis is on the loss rather than the longing. Interior scenes represent disillusionment, confinement, and eventually death. The exterior scenes, on the other hand, may symbolize the longing, but they are so permeated with the same imagery one finds in the indoor scenes that inevitability of loss is implied, too. In creating images, O'Neill uses both verbal and nonverbal devices; therefore, it is not possible to speak about purely verbal or exclusively nonverbal imagery in Beyond the Horizon. There exists a close relationship between the verbal and nonverbal images in the play-they are supportive and beneficial to one another. O'Neill begins with nonverbal images and then supports them by verbal references. O'Neill seems to be visually oriented technique, we may conclude, is direct, heavily charged, and expressive of more complex nuances. In fact, the verbal element in O'Neill's plays tends to provide the color for the nonverbal actions. The verbal elements thus serves to suggest to the audience the manner in which the nonverbal nuances should be viewed.

허황된 희망의 연극미학

김진식 단국대학교 1999 論文集 Vol.34 No.-

For Eugene O'Neill, the play-writing was to confront and solve a pressing life problem, and to explain and justify human suffering rooted in a discrepancy between what man desires and what he actually gets in life. Many of O'Neill's heroes are romantic dreamers fascinated by the ideal of an impossible beauty beyond the horizon, and all of his power of invention dramatized the contrast between dream and reality. O'Neill's characters live in two worlds: one, the outward of physical reality and the other, a world of unfulfilled and passionate desires. Since the reality is always ugly and hard to face, his characters escape into the world of their own imagination seeking the only consolation possible in hopes or dreams. According to O'Neill, it may be that the individual life is not noble and it is full of pain and defeat. Man must realize that life is a hopeless hope but still a hope. Nothing matters if we can conceive the whole of life. The ecstatic affirmation of life, pure and innocent, is salvation. In the face of defeat, death or pain, man must be proud of life and must know in his heart that the living of life can be noble. O'Neill solves the problem by making explicit what men have always found to be the essence of tragedy, which is the courageous affirmation of life in the face of individual defeat. But all his characters were not philosophers. All they knew was that they did not succeed in their lives, and they could not find any way out. Though they knew nothing of the satisfaction the very fact of living could bring to them, they sought salvation in hopeless hope. O'Neill's philosophy of hopeless hope serves as salvation, that is, a motor of the struggle of man in suffering who is not only afraid to live but also more afraid to die.