함세덕 희곡의 극적 전략과 의미 구조 연구 = (A) Study of dramatic strategies and meaning structure in Ham Se Duk's dramas

다국어 초록 (Multilingual Abstract)

Ham Se Duk, a dramatist led properly and deeply the realism drama in 1930's, wrote several brilliant works for 10 years and so is now considered as an outstanding writer of intellectual horizon extension of realism drama in our literature history, They say this tendancy of work had frequently changed with the times and had lacked the understanding and critical power and insight into reality under the rule of Japanese imperialism. But his moderate liguistic sense is said to result in accuracy of explanation on human psychological condition and the radical fruit of dramatrugie to establish the characteristics of drama as a performance art of dramatic recognition of audiences. After surveyed formal structure and his tendencies to reality and thier meanings in all his works I gained the results as follows ;
In formal structure, his works sufficiently represent the basic elements of double semiotic structure both a literature and a performance art.
First, His works are complete structure as dramatrugie. In his early works, technique of dramatic event progress result in dramatic tension with onword movement motif. In his middle works, he uses the techniques of reverse by turning over events, suggestions beforehand, and the motief of resistance and oppression by hero and anti-hero to the dramatic expectancy of audiences and so build up completly a model of "well-made paly."
Second, he explains accurately human psychological condition with effective dramatic words. There are not only clear motives in dramatic event progresses and but close explanations of characters to explain the reason of their action in his works. His dramatic words are condensed, concentrated, and powerful and stresses active side and dramatic action. With new words, new representation, new unification, new rhythm and meaning, his dramatic words sinserely play a catalytic role to give probability to explanation of human psychological condition.
Third, the function as a cultural-social code of stage directions results in performance effect. The scenes of natural phenomenon, sound, stage properties and several objects play a meaningful semiotic system. These objects play not only an event suggestion or symbol in several motives of dramatic event progress, but also a significance function of social-cultural code to recognize reality for influencing on the dramatic recognition of audiences.
Forth, his works build up a model of "well-made play." His middle works of romantic historical dramas well represent commercial interest of popular drama with the reverse and suggestions beforehand of dramatic techniques and charaters' intricate conflicts on the basis of pathos and sentimentality of dramatic tone.
The several meanings of recognition of reality in his works are as follows:
First, a passive resistance as comformity and abandonment.<Sanhoˇgury> and <Muuˇido-Kihaeng>, his early works, well represent this charater. He criticizes the economical disseizin of Japanese imperialism through fish village's poverty and people's life, but doesn't connect with structual contradiction and just represents their real condition passively.
Second, reality recognition of tragic view of the world through inner reflection. The representative works are <Dongsuˇng> and <Haeoˇn>, which deal with the misery of life as an episode, to be a background without realization of reality recognition.
Third, Satiric reality recognition. <Gamja and Tchojebi and Oˇgyowon>before Liberation of Korea and <Komok> in the period of Liberation of Korea are representative, which criticize the contradictory economical system of Japanes imperialim dealing with main charater's comic actions and events. But these actions and events represent only comic side of realiyt with ending intentionally and without giving clear psychological probability. This satiric recognition of reality is a secondhanded technique of approaching to reality which come from writer's optimistic view of the world.
Fourth, Double meaning system through romantic historical dramas. <Nakwaam> and <Chujang Isabela> which initiated the writing of the pro-Japanese objective drama in the period of national Drama are representative. follow the colonial policy of Japanese imperialism externally but try to represent double meaning of secondhanded resistance against Japanese imperialism with pathos of grudge of a ruined country. But these double meaning system has a difficulty in getting persuasive power for the pro-Japanese objective drama.
Fifth, reality recognition through socialistic realism in works of the period of Liberation and after going to north Korea. <Komok> and <Kiminon 3 wol 1 il>, which are representative in the period of Liberation, criticize the people of vested rights with liquidating the vestiges of the pro-Japanes and feudalism and act in concert with people's idea achievement but just aim at simple logic of Leftism without subjectivly judging the period of Liberation and approaching essence of socialism.
<Sansaramduˇl> and <Sowi Daetongrong> are idealogicl Drama which explain legitimacy of Leftists' revolution and propaganda activity of communist country of north. <Sansaramduˇl> is composed of reality recognition of representation on the trouble of pressed people and criticisms and resistances against the vested rights-people with some extent of dramatic structure. While <Sowi Daetongrong> is composed of propaganda activity of communist country of north and fact perversion of invading north in history and so represents directive reality recognition and unbalance of dramatic structure. Thses are different form his other realism works and represent the distortion of reality and immaturity in dramatic structures.
This study surveyed the aspects of reality recognition, their meanings and formal structures in Ham Se Duk's works which have written under the rule of Japanese imperialism. with surveying all his works, I could find his greatness in that he had presented the self-reflection and the vision in future on intellectuals' impaired lives. Future study will be the organic relations reality recognition and real condition of political and social and the aspects of reality recognition through the characteristics of dramas as performanced works and texts.

목차 (Table of Contents)

• 목차 = ⅰ
• Ⅰ. 서론 = 1
• 1. 연구 목적 = 1
• 2. 연구사 검토 = 5
• 3. 연구 방법 및 범위 = 15
• Ⅱ. 내면화된 저항 의식 = 19
• 1. 작품의 형성 배경 = 19
• 2. 운명지배적 구조와 소극적 현실 인식 = 22
• 3. 복합적 플롯 구조와 체념적 현실인식 = 36
• Ⅲ. 현실 초월의 의식 = 53
• 1. 작품의 형성 배경 = 53
• 2. 완벽한 플롯 구조와 내면 성찰의 현실 인식 = 55
• 3. 단선적 플롯 구조와 운명론적 현실 인식 = 66
• Ⅳ. 국민연극의 친일 의식 = 85
• 1. 작품의 형성 배경 = 85
• 2. 상징적 플롯 구조와 이중적 현실인식 = 87
• 3. 통속극적 플롯 구조와 사대주의적 현실인식 = 96
• 4. 도식적 플롯 구조와 이중적 현실인식 = 110
• Ⅴ. 해방기의 사회주의 이념극 = 122
• 1. 작품의 형성 배경 = 122
• 2. 풍자적 플롯 구조와 낙관론적 현실인식 = 124
• 3. 단선적 플롯 구조와 민중지향적 현실 인식 = 134
• 4. 점층적 플롯 구조와 혁명적 변혁성의 현실인식 = 149
• Ⅵ. 월북 이후의 선전 · 계몽극 = 165
• 1. 작품의 형성 배경 = 165
• 2. 상징적 플롯 구조와 사회주의적 현실 인식 = 167
• 3. 삽화적 플롯 구조와 이념 편향의 현실인식 = 182
• Ⅶ. 함세덕 희곡의 문학사적 위상 = 192
• Ⅷ. 결론 = 196
• 참고문헌 = 200
• SUMMARY = 209