이원론의 해체 - 이윤택의 2005년 〈햄릿〉

이용은(Lee Yongeun) 한국셰익스피어학회 2006 셰익스피어 비평 Vol.42 No.1

The purpose of this paper is to examine the de-construction of dualism in Lee, Yuntak's 〈Hamlet〉 in terms of its inter-culturalism, its use of space and its presentation of some seemingly indissoluble issues of life and death. The de-construction of dualism is characterized by its multiple focal points, collage, pastiche, greater emphasis on images than languages. Lee's 〈Hamlet〉 is de-constructing in that it goes toward more wholistic view of the world by showing multiple focal points. Lee's 〈Hamlet〉 is practising the amalgamation of two different cultures, the Korean and the Western. Therefore what happens on the stage represents this inter-cultural aspect. The mix brings about the hybrid quality on the stage. The inter-cultural aspect of the performance is in its use of pre-expressivity with the appearance of the dead father of Hamlet. Pre-expressivity is a concept related to the extra-daily techniques of actors. Actors using the techniques have to present believable actions, which means that the actions of the actors are well understood to the audiences of the two different cultures. And Lee's 〈Hamlet〉 generally succeeds in making the performance believable to the audience, so that 〈Hamlet〉 may be called an inter-cultural performance. Lee's 〈Hamlet〉's most important use of space is that he takes the Korean way of using space and mixes it with the western way of using space by making the stage circular. Basically, this shows the Korean style of space within the western style of space. Furthermore, Lee's 〈Hamlet〉 often uses four-levels, or three levels of space. By doing so, the performance succeeds in offering the simultaneous and multiple experiences to the audience at the same time. Therefore, the audience can achieve a wider perspective and obtain a quick shift of tension and relaxation at the same time. The stage successfully expresses the invisible in a very unique and original way. The invisible is the ghost. By dancing the Korean traditional dance, the ghost represents the abstract and spiritual world as well as the concrete world. The presence of the ghost represents his belonging to the dead world, while at the same time he communicates with the living person, Hamlet. So that, finally, the eternal world and the everyday world become one and the split of these two worlds, life and death is overcome.

『자에는 자로』에서 생명정치와 주권권력의 행사

이용은(Yongeun Lee) 한국셰익스피어학회 2013 셰익스피어 비평 Vol.49 No.4

This article aims to examine Angelo’s and Duke Vincentio’s biopolitics in Shakespeare’s Measure for Measure and ways in which their biopolitics solidifies or weakens the sovereign power of the governors. Biopolitics is a ruler’s attempt to politicize the life of human beings and a political exercising of sovereign power for strengthening the basis of sovereignty by exerting their force over human lives. Giorgio Agamben regards the possibility that all human lives are included in biopolitics as the focal point of modern politics. To begin with, Angelo demonstrates biopolitics through his actions toward Claudio, Isabella and Barnadine. Angelo tries to execute Claudio for the purpose that the subjects are fearful of his sovereign power. Therefore, Angelo’s decision to kill Claudio is an attempt to strengthen his sovereignty. However, his decision to kill Claudio is unusual at the time and causes other subjects to complain. Furthermore, his decision to kill Claudio demonstrates extremely ‘exceptional’ exercising of the sovereign power. Sovereignty is characterized by exceptionality, however, governors’ excessive dependency on exceptionality may bring about weakened sovereignty. On the other hand, Duke Vincentio does not show biopolitical philosophy. Instead, he pardons Barnadine, Angelo, Claudio and Lucio and sets some of them up for marriage. By pardoning them and arranging their marriages, he reveals the aspects of a ‘godly’ and ‘ungodly’ governor at the same time. He does not aspire to be a godly governor so that he is humanized and less divine because of his shortcomings. That he is not biopolitical on his subjects and that he reveals the aspects of ungodly governors paradoxically solidifies his sovereignty. He achieves social integration by not excluding any characters from the comic ending, subsumes the illicit desire of his subjects into the lawful boundary by arranging their marriages and suggests that mercy is the basis of governing by granting seemingly impossible pardons as shown in the cases of murderer, Barnadine and Lucio.

메타서사와 관객의 각성

이용은(Yongeun Lee) 한국셰익스피어학회 2016 셰익스피어 비평 Vol.52 No.2

This article aims to show that Testament by She She Pop is a piece of meta-narrative, and as a meta-narrative, it successfully induces audience awakening. Meta-narrative is a self-referential process in which the realistic representation of the plot is eliminated. Meta-narrative can be defined as a story about a well-known story and as a story commenting on the narrative activity. Testament has these two characteristics. It is also a documentary drama in which the real fathers of the actor/actress appear as a real father and act halfly as actors on the stage. Firstly, Testament is a story about King Lear, and as such, it comments on Lear in comparison with the fathers in Testament. The story begins with fathers who are old and retiring, and the old and retiring fathers are analogous to Lear, who is old and trying to divide his kingdom among his three daughters. Also, Lear’s demand for 100 knights is compared with many books of one of the fathers who is old and who has to live with his daughter. Many books that fill all the empty space of the daughter’s house are the same as Lear’s demand for 100 knights to be housed at Goneril’s house. Through this, the audience comes to ‘newly understand’ Lear’s position(father’s side) and his daughter’s position. Secondly, Testament is a documentary drama in which the real fathers of the daughter-actresses appear as actors and as persons living in the real world. The presence of ‘real’ fathers show meta-process in a way that it weakens the dramatic illusion. The meta-narrative that demands the audience recognition of the performance and reality induces the awakening of the audience because, through the real fathers on the stage, the audience members come to substitute themselves in the position of the real fathers and daughters on the stage. Thirdly, meta-narrative reveals how the performance should be interpreted by the audience. A daughter tells a father, “we are making a scenario, we are testing a scenario”, which signifies that what happens on the stage is only a scenario. The performance makes it clear that the performance is not the real world so that the audience needs to be distanced from the scenario. The audience comes to recognize that the performance does not demand the audience empathy by this distance. Instead, it demands the reflection of the audience on the situation. In these three ways, Testament successfully functions as a meta-narrative that induces a new reflection on the performance and reality.

분절음 연쇄의 분포 정보와 한국어 음절하위 구성소

이용은(Lee, Yongeun) 경희대학교 언어정보연구소 2016 언어연구 Vol.33 No.S

Existing theories of probabilistic phonotactics suggest that language learners employ the distribution of segment sequences to infer the existence of prosodic units (e.g., subsyllabic constituents) during their phonology build-up process. The present study investigated the association strength of segment sequences inside Korean words and explored its implication for contrasting models of subsyllabic constituency in Korean. The results provided evidence of an asymmetry in mean association strengths between onsets and codas as they combine with the nucleus vowels inside syllable. Implications of the current findings are discussed regarding the predictions of the contrasting models of the prosodic constituency in Korean syllable.

2음절 한글표기 단어 시각적 어휘판단에서 음운표상의 역할

이용은(Lee, Yongeun) 언어과학회 2016 언어과학연구 Vol.0 No.79

Previous studies have reported that the consistency vs. discrepancy between the abstract and surface forms of words may mediate the visual access of the word forms, suggesting the involvement of phonological information in silent reading. The present study examined the role of phonological information in visually accessing two-syllable Sino-Korean words, extending previous studies both in terms of the magnitude of lexical-level factors controlled and the types of phonological changes that words undergo in visual lexical decision tasks. The present findings provide further support for the idea that phonological information is utilized in visually identifying words. The present study also provides novel findings suggesting that the number of phonological rules that words undergo may also play a role in visual identification of two-syllable Korean words.

퍼포먼스 텍스트로서의 <십이야>와 <타이투스 앤드로니커스>

이용은(Yongeun Lee) 한국셰익스피어학회 2012 셰익스피어 비평 Vol.48 No.1

Performance texts foreground the presence and shared experiences between actors and audiences to a greater extent than representation and communicated experiences. Furthermore, performance texts become largely presentational. This thesis positions <Twelfth Night>, directed by Yang Jeongung, and <Titus>, directed by Yun Sijung, as performance texts and analyses their characteristics. <Twelfth Night> centralizes the presence of actors and their shared experiences, as well as energy shared between the stage and the audience. At various points, fictional darama combines with non-dramatic reality. Male actors portray the roles of females, and subsequently, audiences gain an awareness of the male "bodies" of these actors. In these instances, presence becomes more significant than representation. In <Titus>, the barriers blocking the audience and the stage often disappear, and audiences become the cast and sometimes writers. Secenes of cruelty, in which many characters experience torture and murder, focus attention on the bodies of the actors. Subsequently, the audience and the stage develop shared experience, and fictional representation in the plot loses significance in comparison to the presence of "bodies" of actors.

송현옥의 <햄릿: 여자의 아들>에서 은유의 작동

이용은(Yongeun Lee) 한국셰익스피어학회 2015 셰익스피어 비평 Vol.51 No.3

This thesis aims to reveal how Songhyunok’s Hamlet: Son of a Mother achieves the metaphoric suggestiveness. Songhyunok’s Hamlet utilizes metaphors to overcome realistic representation by means of metaphoric gestures and metaphoric scenography. Metaphors say some things and mean some other things. This roundabout way of telling refrains from literal meaning, therefore providing significant meanings that are beyond the exact meaning. Thus it induces the audience to rethink of the situation, overcoming the limits of realistic representation. Metaphoric gestures in Song’s Hamlet are used in several ways. Sometimes they provide meanings that are not delivered by language, or they are culture-specific so that they embody the ontological beliefs inherent in the Korean culture. Furthermore, metaphoric gestures function as poetic metaphors. Metaphoric scenography is a means for meeting the audience in a new way. By means of these metaphoric modes the work can successfully intensify the existing meanings, make comments on the contemporary world, and engage the audience in an unconventional way. In these ways, this performance overcomes the limits of realistic representation by utilizing many forms of metaphor.

『로미오와 줄리엣』에서 반사회적 행위에서 출발하는 상호인식의 사랑법

이용은 ( Yongeun Lee ) 성신여자대학교 인문과학연구소 2016 人文科學硏究 Vol.34 No.-

This article aims to reveal that Romeo and Juliet reach mutual recognition, which presupposes their individualities and their mutual understanding. Thereby they achieve a new way of love which had not been accepted in Western philosophical history. In addition, their mutual recognition started from their anti-social actions. Through their anti-social actions, Romeo and Juliet do not come to accept the ideological demands as they are; instead, they become to be independent selves. Namely, their secret love makes it possible for them to be the ones detached from the ideological demands, such as parents oppression, so they can obtain individualities that are freed from the world’s demands. Obtaining individualities leads to obtaining mutual recognition about each other. Romeo says if she (Juliet) does not like the names of ‘Romeo’ or ‘Montague’, he would renounce the both, which means that what is important to them is not the perspectives of the people and the world but how they regard each other. Regarding each other in a meaningful way leads to mutual recognition. Furthermore, they want to know more about each other. Really knowing each other signifies that they come to understand each other more and they recognize each other more. They love not because they want to satisfy their fantastical lack, but their love is based upon sincerity. This signifies that their love is self-fulfilling as it is, and is not that which tries to delay the satisfaction of love, and to make the other party tantalized. Regarding each other in a meaningful way and love based on sincerity can be called love of mutual recognition.

언로드 성능 형상을 위한 디스크 범퍼의 제작 및 실험 연구

이용은(Yongeun Lee),이용현(Yonghyun Lee),이형준(Hyungjun Lee),박노철(Nocheol Park),박경수(Kyungsu Park),박영필(Youngpil Park) 한국소음진동공학회 2007 한국소음진동공학회 학술대회논문집 Vol.2007 No.11

햄릿의 자기(Self)의 재형성

이용은(Yongeun Lee) 한국셰익스피어학회 2010 셰익스피어 비평 Vol.46 No.1

Up to Act 4, Hamlet remembers the ghost. His actions, plots, and thinking have been the result of his compulsion to know which is related with the death drive. The death drive is characterized by self-destruction and aggressivity toward others. Hamlet indulged in this state of passivity, non-action, in many soliloquies, and in grappling with the impossible. At the same time he is so openly aggressive towards others that he torments Ophelia and Gertrude, distrusts women in general, and kills Polonius. He is not fashioning himself in an affirmative manner. However, in the 5th act, Hamlet begins to take care of himself and to refashion himself. Self-fashioning is a concept different from the pursuit of knowing that is contributive to self-indulgence. It is represented in the attitude of cherishing one's own self, one's own emotions, the spiritual aspect of life, and laboring to cherish them in reality. In Act 5, Hamlet decides to kill Claudius not only because Claudius killed Hamlet's father but also because Claudius tries to kill Hamlet himself. Hamlet also reveals his love for Ophelia, which he had denied before. He shows his inner feeling. His inner emotion, not the Ghost, becomes the most meaningful thing to Hamlet. Furthermore, he decides to engage in a losing game with Laertes, who was stronger in his fencing ability. It is Hamlet’s first time to be engaged in a losing game. He had often outwitted others and had never seriously failed. The fact that he is engaged in this losing game signifies that he does not care about winning over others and accepts that dying is something not to be afraid of and that death is so close to life. His changed attitude implies that he does not remember the ghost any more, which means that he has no guilty conscience towards the death of his father. Therefore Hamlet does not dwell on retaliating. The matter of living and dying does not torment him any more because he comes to accept the concept that dying is not the end of his life and dying is the action of Providence. Now Hamlet influenced by the ideas of the Reformation is refashioning himself. His attitude becomes serene and different from the soliloquy scene in which he was agonizing over the matter of living and dying and he has stronger inner power. And he engages in a losing game and expresses his love toward Ophelia. Hamlet comes to refashion in a new and positive manner.