Príncipes encobertos e princesas enamoradas: do disfarce por amor no teatro de Gil Vicente

Maria João Pais do Amaral 한국 포르투갈-브라질 학회 2008 포르투갈-브라질 연구 Vol.5 No.1

The main object of this essay is love disguise in two plays of Gil Vicente, Portuguese dramatist who developed his theatrical activity between 1502 and 1536 under the patronage of the monarchs Manuel I and João III. Widely spread in 16th century European literature, the motif of love disguise has its origins in chivalry romances, which are one of the many diverse sources of Gil Vicente's court theatre and also one of the dramatist's first spectators' favourite kind of books. I analyse it in Comédia do Viúvo and Tragicomédia de D. Duardos, where the protagonists, princes Rosvel and Duardos, hide their true identity and social rank from their beloved in order to prove the authenticity of their affection. In a first moment, I compare the way each of these two princes uses love disguise, reflecting on the function and meaning of the obvious differences this comparative analysis brings into light. In a second moment, I relate those differences with both the dramatic genre each of these two plays belongs and the conception of love that is on the basis of the stories enacted in Viúvo and Duardos, which, although originating in courtly love conventions, goes far beyond it. Finally, and because Gil Vicente's theatre is an art that strongly depends on circumstances, the date on which these spectacles were presented for the first time before the Portuguese king and court, as well as the purposes they were meant to fulfil, are also taken into consideration in this reflection on the innovative use of love disguise motif by one of the most important Portuguese dramatists of all times. The main object of this essay is love disguise in two plays of Gil Vicente, Portuguese dramatist who developed his theatrical activity between 1502 and 1536 under the patronage of the monarchs Manuel I and João III. Widely spread in 16th century European literature, the motif of love disguise has its origins in chivalry romances, which are one of the many diverse sources of Gil Vicente's court theatre and also one of the dramatist's first spectators' favourite kind of books. I analyse it in Comédia do Viúvo and Tragicomédia de D. Duardos, where the protagonists, princes Rosvel and Duardos, hide their true identity and social rank from their beloved in order to prove the authenticity of their affection. In a first moment, I compare the way each of these two princes uses love disguise, reflecting on the function and meaning of the obvious differences this comparative analysis brings into light. In a second moment, I relate those differences with both the dramatic genre each of these two plays belongs and the conception of love that is on the basis of the stories enacted in Viúvo and Duardos, which, although originating in courtly love conventions, goes far beyond it. Finally, and because Gil Vicente's theatre is an art that strongly depends on circumstances, the date on which these spectacles were presented for the first time before the Portuguese king and court, as well as the purposes they were meant to fulfil, are also taken into consideration in this reflection on the innovative use of love disguise motif by one of the most important Portuguese dramatists of all times.

『십이야』에 나타난 변장을 통한 성 정체성과 신분 상승

채유순 ( Chae Yoo-soon ) 대한영어영문학회 2011 영어영문학연구 Vol.37 No.1

This paper aims to examine the gender identity and the social mobility through disguise. After being focused on the queer studies in the academy, the criticism on Twelfth Night has been treated in many different ways such as gender problems(i.e, homoerotic love, heterosexual marriages, and bisexuality), and the social mobility to compare with the traditional criticism, which focused on the triangular relationship of Orsino, Viola, and Olivia, and the happy ending of the protagonists’ love affairs. Viola’s cross-dressing provokes Olivia’s homoerotic love, and her girlish face and voice brought Orsino Homoerotic love. Viola’s disguise and Malvolio’s transformation create confusion and pleasure. Malvolio’s false desire and ambition to marry up and dominate over his household are mocked by Sir Toby’s gang. The proclamation of the joint wedding ceremony between Orsino and Viola, and between Olivia and Sebastian will be indefenitly delayed, until the captain provides Viola’s maid’s garments. Everybody expects a happy marriage but Malvorio isolates himself from the joyful and comic festival because of his proclaiming revenge against all of his victimizers. (Hanseo University)

고소설 유형의 형성과 변이 양상 - 남녀결연서사를 중심으로

김종군(Jong-kun Kim) 어문연구학회 2007 어문연구 Vol.54 No.-

  The purpose of this paper is to survey the pattern forming of old Korean novel and variation mode according to love story between man and woman in old Korean novel. It is efficient to refer man and woman love story because there must be complete story board in this kind of story so this love story can be utilized as classification of old Korean novel.<BR>  There are various love story lines in Goounmong(구운몽) compared with early stage of old Korean novel treating biography and dream focusing on eroticism. It effected on the following love story later on. There are 8 kind specific love stories and love stories like Princes Nanyang(난양공주), Gyeseomwol(계섬월), Symyoyoun(심요연) are got evolved as specific patterns after 19th century.<BR>  Love stories were developed as family story, Gisaeng based love story, and female General story. This was applied to hero story; heroic episode was partially included to the love story. Readers and researchers categorized hero story and military story from private love story.<BR>  Variation in each pattern was accomplished by the change of love story and contribution level. In Compulsive marriage story, love story and family story were created as variation according to the relationship and conflict level between object of this compulsive marriage and male & female main characters, and in Gisaeng based love story, there are ‘pure love story (Gyeseomwol(계섬월))’, ‘husband support story(Okdanchoon(옥단춘))’ and ‘brave woman(Gangnamhong(강남홍))" etc. according to the role of Gisaeng. And HonggyewolJeon(홍계월전), and Ihaksajeon(이학사전) were from Female General story.<BR>  The work of categorizing types through man and woman love story is to break the surfaced frame work and estimate the development and evaluation according to internal motivation of olden story, so as to help describing the history of old Korean novel.

〈김희경전〉과 〈육미당기〉의 상관성 - 남장결연담을 중심으로 : 〈김희경전〉과 〈육미당기〉의 상관성

정준식(Jeong Jun-Sik) 한국문학회 2008 韓國文學論叢 Vol.48 No.-

Among the heroine novels, Gimhuigyeongjeon, Bujangyangmunrok, and Yukmidanggi share a strong similarity that all of them are characterized by unique love stories of women disguised in men. And of the three novels, Gimhuigyeongjeon and Yukmidanggi hold a common characteristic in the organizational details comprising of the love stories of women in men; thus, it is undoubtedly acceptable that the two works have some direct influential relationship. The love stories of women in men owe their origin to the novels of wits and beauties in the period of Ching including Okgyori or Chunryuaeng. Various love stories of women in men have been used constantly in domestic novels as well since they were modified in Honghwabaekjeon or Changseongamuirok. Particularly, Gimhuigyeongjeon and Yukmidanggi have a strong similarity on the point that both describe precisely with independent narration and the process of the "woman and woman"s betrothal"s completion to the "man and woman"s betrothal". From that, this article drew deduction that the "love story of Baek, Un-yeong and Seol, Seo-ran" described in Yukmidanggi was created by modifying the "love story of lang, Seol-bing and Yi, So-jeo" in the latter part of Gimhuigyeongjeon.

가부장적 관점에서 본 셰익스피어의 『좋으실 대로』

김경혜 한국셰익스피어학회 2019 셰익스피어 비평 Vol.55 No.1

Recently As You Like It has been studied mainly from a feminist viewpoint which focused on Rosalind’s love and marriage. However, this viewpoint just covers part of the play. So this article aims to analyse men’s world from the patriarchal viewpoint. This play deals with brothers’ relationships which are extended to their fathers. Sons are under their fathers’ influence by which they can develop their own identities. And they also change and grow into better sons by their symbolic fathers: Orlando by old Adam and the Senior Duke, Oliver by the Senior Duke, and Frederick by an old religious man of the Forest of Arden. Women are also under the influence of their fathers. However, they are a little different from men. Women choose their future spouse instead of their father. Rosalind’s disguise as a man can control and dominate Orlando. When she takes off her disguise for her marriage, she loses her power and domination over Orlando, and becomes a traditional woman who obeys her husband. After marriage, however, Orlando gets social position and political power due to his father-in-law, the Senior Duke. Their unions as men will be stronger than before. At the end of the play, their problems are solved and the order of their society is restored by the Senior Duke and Orlando. The marriages and festive mood mean that the patriarchal society is firmly and successfully reestablished by men.