희곡과 영화의 「로미오와 줄리엣」비교 연구

이효원(Hyowon Lee) 한국전자출판학회 2019 전자출판연구 Vol.- No.12

로미오와 줄리엣의 사랑 이야기를 알고 있다면 대부분 영화를 통해 접했을 것이다. 가장 흥행한 영화는 1968년 프란코 제피렐리(Franco Zeffirelli)감독의 <로미오와 줄리엣>과 1996년 바즈 루어만(Baz Luhrmann)감독의 <윌리엄 셰익스피어의 로미오+줄리엣>이다. 전자는 원작의 재현에 초점을 맞추었다면 후자는 각색에 초점을 맞추어 서로 다른 주제를 드러내었다. 그밖에도 뮤지컬, 발레, 오페라 등, 셰익스피어가 연극 상연을 위해 쓴 희곡「로미오와 줄리엣」은 오늘날까지 다양한 장르로 OSMU되어 재생산되고 있다. 그 이유는 원작이 가진 예술성과 대중성 때문이다. 시공을 초월하는 사랑이라는 소재임에도 불구하고 무운시로 이루어진 대사와 르네쌍스의 영국문화가 녹아있는 희곡을 이해하기란 쉽지 않다. 바즈 루어만의 <로미오와 줄리엣>은 원작의 예술성을 잘 이해하고 대중적 코드에 맞춰 각색한 작품이라는 점에서 대중에게 기여한 바가 크다. 텍스트로 읽기 난해한 작품을 영화화 하여 대중에게 친숙하게 다가가는 작업은 중요하다. 관객들에게 원작에 대한 관심의 기회를 제공하기 때문이다. 본 논고에서는 바즈 루어만의 <로미오와 줄리엣>이 원작을 어떻게 각색했는지 다각도로 분석해봄으로써 셰익스피어와 그의 희곡 「로미오와 줄리엣」에 대한 이해를 넓히는 기회를 마련해보고자 한다. If you know the love story of Romeo and Juliet, probably you got through the movie. The most popular films are <Romeo and Juliet>, directed by Franco Zeffirelli in 1968, and <Romeo + Juliet>, directed by Baz Luhrmann in 1996. If the former focused on the reproduction of the original, the latter focused on the dramatization and revealed different themes. In addition, musicals, ballets, operas, and plays written by Shakespeare for theatre 「Romeo and Juliet」, have been reproduced in various genres as OSMU to this day. The reason is because of the artistry and popularity of the original plays. Despite the fact that love is transcending time and space, it is not easy to understand the drama of blank verse and the drama of Renaissance s British culture. <Romeo + Juliet> contributed greatly to the public in that he understood the artistry of the original work and adapted it to popular codes. It is important to make movies that are hard to read in texts and familiarize them with the public. It gives audience an opportunity to be interested in the original text. In this article, we try to find an opportunity to broaden the understanding of Shakespeare and his plays Romeo and Juliet by analyzing various ways in which <Romeo + Juliet> adapted the original play.

뮤지컬, 영화화된 셰익스피어 극과 원작과의 비교연구

김미예(Miye Kim) 한국셰익스피어학회 2014 셰익스피어 비평 Vol.50 No.4

Romeo and Juliet by Shakespeare has been made into a musical piece, West Side Story and two pieces of movies, Romeo and Juliet directed by Franco Zeffirelli(1968) and Shakespeare”s Romeo+Juliet by Baz Luhrmann, all of which have gained great popular success. Analyzing how each of the popular works deals with the last scene of death and reconciliation and comparing them with that of its original work by William Shakespeare, I was to find the answer to what Shakespeare tries to tell through the senses and sensibilities of the 14 or 15-year-old boy and girl. Romeo+Juliet by Baz Luhrmann, tries to show that time error or fortune is the decisive factor to cause young lovers’ death. The intensity of the moment of death makes us forget the importance of the entrance of Friar Laurence in Shakespeare’s Romeo and Juliet. Friar Laurence enters between the death of Romeo and that of Juliet in Shakespeare’s play, which makes us somewhat yawn. Nevertheless, Franco Zeffirelli intentionally cross-cuts by inserting the Friar Laurence scene between the two deaths. Friar Laurence presses her to leave the tomb, when Juliet sees Romeo’s death and firmly refuses to go out and remains with dead Romeo. Shakespeare shifted the focus from death to choice behavior by inserting the scene of the entrance of Friar Laurence and by showing a strong-willed 14-year-old girl. Zeffirelli read delicately Shakespeare’s intention and never missed its core that gave their love “mythic intensity”(Fisher 21). In West Side Story, Maria lives after the death of Tony and makes the ancient grudge of two immigrant gangster groups in 50’s be resolved. By putting stress on resolving the national and racial problem of America, this musical piece has lost the original intensity and meaning of Shakespeare’s Romeo and Juliet which shifts the focus from death to the choice behavior.

칼레이 감독의 영화『로미오와 줄리엣』에 관한 소고

서경희 ( Kyunghee Suh ) 21세기영어영문학회 2015 영어영문학21 Vol.28 No.3

Shakespeare’s Romeo and Juliet might be one of the most popular plays of all time on the screen. Among these film adaptations based on Romeo and Juliet, the most important ones were George Cukor’s 1936 production of Romeo and Juliet, Franco Jeffirelli’s 1968 film Romeo and Juliet, and Baz Luhrmann’s 1996 MTV-inspired Romeo + Juliet. All of these movies faced the same challenge of translating English Renaissance play-script to a new medium and for a contemporary audience, and they became a success or a failure in their own ways. In 2013, the Italian director, Carlo Carlei, hoped to bring back this famous story of star-crossed lovers with a fresh look so that it could be more appealing and accessible to the current young generation who are fans of the Twilight Saga films. Carlei’s Romeo and Juliet was filmed in the actual locations of Verona and Mantua, and set at the time it was written, and still felt almost like a fast-paced action movie with many spectacles. But most importantly, unlike previous major film adaptations, it used the script by Julian Fellowes who not only modernized and simplified Shakespeare’s original language but also invented and reconstructed new lines, in order to ‘rewrite’ Shakespeare for a new generation. In addition, some changes were made with respect to portraying young characters and Friar Laurence. However, all in all, Carlei’s Romeo and Juliet cannot be considered to be successful in creating a genuinely new movie about young ‘forbidden’ love, out of the too well-known story of Shakespeare. We might have to wait for another new film adaptation in the future.

『로미오와 줄리엣』을 통해본 ‘극적 밈(dramatic meme)’의 전이와 유희

안종훈 현대영미어문학회 2011 현대영미어문학 Vol.29 No.3

This paper suggests that we should find out a creative way of intertextual text production by way of a new interpretation of the classical works. In this paper W. Shakespeare's Romeo and Juliet is utilized to apply its intertextuality to the recent movie <Letters to Juliet>(2010) on the basis of 'dramatic meme' which can be the gene of dramatic literature. This study shows how to read the classical play, how to understand it, and finally how to use it in the field of writing a new text like screenplay in the contemporary culture.

판소리 『춘향가』와 셰익스피어의 『로미오와 줄리엣』의 비교연구 - 사랑의 주제를 중심으로

김현생(Hyun-saeng Kim) 한국영미어문학회 2007 영미어문학 Vol.- No.82

  This study is a comparative exploration of love reflected in two different societies, Renaissance England and 19th century Korea. The two heroines of this study, Chunhyang in P"ansori Chunhyang Ga and Juliet in Romeo and Juliet, both underwent suffering in order to remain faithful to their loyalty and maintain chastity.<BR>  In Chunhyang Ga, Chunhyang, the daughter of a kisaeng(the Korean female entertainer), and Mongryong, the son of noble man, fell in love, from the first time they met. After separation with Mongryong, Chunhyang was asked bed service by a district magistrate, Byun Hak-do. Refusing the offer, Chunhyang was ready to die. The love of Chunhyang and Mongryon"s finally got compensated for their trials and sufferings when Mongryon became a royal secret commissioner.<BR>  In Romeo and Juliet, the young lover, Romeo and Juliet were attracted to each other at first sight. But they also passed through trials which eventually led them to their deaths. Their love was completed in death, which might have considered of success of their love not failure, since their deaths brought about peace and reconciliations between the Montague and the Capulet.<BR>  The study will lead to the conclusion that both Chunhyang Ga and Romeo and Juliet will be loved forever by the Korean and the English people respectively.

Juliet과 STONESOUP 테스트 모음을 사용한 C/C++ 프로그램의 보안약점 탐지를 위한 정적 분석기 평가

서현지(Hyunji Seo),박영관(Young-gwan Park),김태환(Taehwan Kim),한경숙(Kyungsook Han),표창우(Changwoo Pyo) 한국컴퓨터정보학회 2017 韓國컴퓨터情報學會論文誌 Vol.22 No.3

In this paper, we compared four analyzers Clang, CppCheck, Compass, and a commercial one from a domestic startup using the NIST’s Juliet test suit and STONESOUP that is introduced recently. Tools showed detection efficacy in the order of Clang, CppCheck, the domestic one, and Compass under Juliet tests; and Clang, the domestic one, Compass, and CppCheck under STONESOUP tests. We expect it would be desirable to utilize symbolic execution for vulnerability analysis in the future. On the other hand, the results of tool evaluation also testifies that Juliet and STONESOUP as a benchmark for static analysis tools can reveal differences among tools. Finally, each analyzer has different CWEs that it can detect all given test programs. This result can be used for selection of proper tools with respect to specific CWEs.

가정법의 제국의 윤리? —『로미오와 줄리엣』의 후기식민주의 텍스트

김성제 문학과영상학회 2010 문학과영상 Vol.11 No.2

Juliet’s monologue, “That which we call a rose / By any other word would smell as sweet. . . .” in Romeo and Juliet, Act Ⅱ, scene 2 evokes some postcolonial problems of symbolic order of colonial modernity. Her rhetoric of subjunctive mood tries to express her domesticated desire and envisages her wish for the transformation of the Father’s law in Verona. Colonial discourses became the Father’s law constructed for the exploitation of the colonized, manipulating the difference of name, race or nationalty. A post-imperial text, Indian Ink appropriates some postcolonial arguments and intends to compromise ‘ethics of empire.’ Its plot mimics a post-imperial irony that needs circulating responsibility between the colonizer and the colonized. Flora, an English poet, plays the role of Juliet in Indian Ink, asking Das, an Indian painter, in a subjunctive mood to become more Indian and to draw her portrait with more Indian ink. Her rhetorical condition imposes the pronoun ‘you’ as the subject of her subjunctive needs, having Das meet the Imperial imperative. This kind of ironic compromise for the ethics of empire, however, rationalizes the historical violation of colonial modernization. Go is a film about Korean-Japanese of the 3rd generation who cannot but suspend confessing his nationality to his girl friend who is from one of Japanese elite families. Heroine of the film is a postcolonial Juliet of an age whose father has made her believe that the blood of Korean or Chinese people is rotten. And her spontaneous question should be where he was born and bred, however, she generates the subjectivity of ethics, not of ethics of empire. The plot of subjunctive mood develops the evolutionary desire of colonized Korean-Japanese boy and Japanese girl, attempting to lift certain pressures and limits of colonial domestication.

“From forth the fatal loins”: Heredity in Romeo and Juliet

이병은 한국고전중세르네상스영문학회 2020 중세근세영문학 Vol.30 No.1

Two lines from the prologue to Romeo and Juliet are often cited as part of the evidence for the basis of the formulation of Fate or Providence as the main theme: “From forth the fatal loins of these two foes / A pair of star-cross'd lovers take their life.” Much is made of the fact that the lovers are star-crossed, but little is said about the "fatal loins" and the influence of heredity in the lives of Romeo and Juliet. This paper tries to insist that Shakespeare’s plays, including Romeo and Juliet, of course, always intensify the dominant Elizabethan view that heredity or blood determines human individuals, and that heredity, acting through the "fatal loins," determined that Romeo, Juliet and other characters would have the characteristics of their respective families.

“내가 바로 작가야!”

김희진(Hee Jean Kim) 한국셰익스피어학회 2007 셰익스피어 비평 Vol.43 No.1

This study aims to analyze Ann-Marie MacDonald's method of rewriting two of Shakespeare's most famous tragedies, Othello and Romeo and Juliet. MacDonald converts two tragedies into an exuberant comedy, Goodnight Desdemona (Good Morning Juliet). This play not only revisits two narratives but also subverts their original genres by defusing the tragic elements and substituting them with comical ones. Pointing out that the reality is too contradictory to be fitted into the one-sided seriousness of tragedy, MacDonald presents as humorously inappropriate what these two tragedies has just represented as serious and consequential. Erasing the boundaries between tragedy and comedy, MacDonald uncovers and displays a broader spectrum of gender behavior. She highlights the synonymousness of idealized womanhood with passivity and makes obvious the performative and ideological limitations of that construct. MacDonald's Desdemona is not like the one we're used to. She is not a doomed and helpless victim but an adventurous, aggressive and even bloodthirsty Amazon encouraging Constance's transformation from "a Mouse" to a self-confident, strong, independent woman. MacDonald's Juliet is randy and adventurous, hardly the emblem of purity and innocence we're accustomed to. With this extremely erotic Juliet, Constance fully embraces her own sexuality. In addition, MacDonald questions the assumption that heterosexuality is the norm by rendering both Romeo and Juliet fall in love with Constance with both in error about her gender. In this story of a timid "Mouse" reclaiming the authorship of her own life, Macdonald appropriates the plots, characters, and very lines of Shakespeare making them her own. Her new story goes beyond the deconstruction of the texts that make up our cultural history to create new texts in which the old stories are re-imagined and reinterpreted from formerly excluded perspectives. It is Macdonald herself that claims "I'm the author!" declaring her independence form the Bard.

사랑과 죽음의 이중성 : 『로미오와 줄리엣』과 모순어법

박우수(Park WooSoo) 한국셰익스피어학회 2005 셰익스피어 비평 Vol.41 No.3

Shakespeare deals with the multiple and hidden aspects of love and death in his early tragedy of Romeo and Juliet. In this play love is a madness, a malady, a quest, and a cult, while timeless death is, in its nocturnal metaphor, transformed into the eternal stellarization of mortal and sensual love. Shakespeare depicts from the very beginning of the play that mingling of contradictory elements of love and hate, peace and violence, day and night, and body and spirit. These mutually exclusive elements are not, as they might appear, absolutely and essentially compartmentalized, but they suffer metamorphoses to the contrary in the operations of time and seasonal cycles of nature. Metaphor is the linguistic device par excellence to express this metamorphic character of things and ever shifting meanings of words. Oxymoron is the rhetorical device Shakespeare uses in this play predominantly of all others in order to dramatize the dialectical and dynamic nature of love and death. Oxymoron, or double-crossing, draws together of contrary elements to produce an unexpected sense of balance and some shocking recognition of seeming hidden truths of things. It is a kind of very witty and conceited play of words. However, here it is more than a witty word game. Rather it is a thematic device expressing the conflict and conflation of love and violent death. Oxymoron is also at the bottom of the structural development of the play, crossing comedy into tragedy, and tragedy into comedy in turn. Romeo and Juliet achieve their consummation of love in death, not in copulation. To Romeo death is his rival lover, not the destroyer of love. As is seen in Juliet's sexually candid apostrophe to Night, the typical image of Death, Death is eagerly wished for as a lover. In this play of names, the definition of a word is turned into its opposite, as poison is called a medicine, a cordial, and a restorative. In this double crossing of two or more contradictory dimensions, one is cancelled out by the other, and a third new con-fusion is brought forth. If Romeo and Juliet's love is possible from the fatal loins of the family feud, their death is the jointure drawing together of two enemy hands into love. Oxymoron is the golden monuments, made of the jointure of Romeo and Juliet. Tomb and womb are more than rhyme's sake in this play of turnings and tropes. Oxymoron is the rhtorical device as well as the thematic and structural one of the play. It is assumed to be the main character in this tragedy.