공포의 스펙터클 -빅토리아 시대를 향한 뮤지컬의 동경 <지킬 앤 하이드>, <스위니 토드>, <잭 더리퍼>를 중심으로-

최승연 ( Seung Youn Choi ) 한국연극학회 2013 한국연극학 Vol.1 No.51

이 논문은 한국 뮤지컬 시장의 레퍼토리 확장의 움직임을 포착하는 것에서 촉발되었다. 2010년 이후의 추리·스릴러 계열 뮤지컬의 약진은 새로운 레퍼토리의 개발이라는 측면에서 일단 긍정적인 평가를 받을 만하다. 이 논문에서는 이러한 관점 아래, 빅토리아 시대를 배경으로 하고 있는 추리·스릴러 계열 라이선스 뮤지컬 세 편을 분석했다. <지킬 앤 하이드>, <스위니 토드>, <잭 더 리퍼>는 ‘흥행성적’과 ‘로컬화’의 측면에서, 그리고 빅토리아 시대의 여러 양상들을 작품의 근간에 두고 있다는 점에서 분석 대상으로 선정되었다. 위의 작품들은 살인과 광기를 전경화하고, 그 안에 빅토리아 시대상에 근거한 계급의식과 성에 관한 이데올로기를 심어 놓고 있다. 하이드, 토드, 잭/다니엘의 행동패턴은 광기로 집약될 수 있을 정도로 이성의 세계를 벗어나 있다. 예측 불가능한 행동들은 무대에 공포를 조성하고, 특히 이들의 캐릭터 및 드라마의 변주는 실제 사건에 근거하거나 혹은 실재할 수도 있다는 집단적 믿음에 놓여있기 때문에 환상과 현실을 이중적으로 환기하는 공포를 자아낸다. 빅토리아 시대를 다룬 뮤지컬들의 일차적 매혹의 지점은 따라서 ‘공포’에 연원을 두고 있다고 말할 수 있겠다. 한편, 실제 무대에서는 텍스트의 이러한 면을 ‘즐길 수 있는 감성의 공포’로 재현한다. 주인공을 향한 연민의 정서가 강조되고 작품의 외피가 이국적인 낭만성으로 장식되는 것은, 대상 뮤지컬들이 공포의 정서를 대중과 소통할 수 있는 수위로 조절하는 하나의 방식이라 할 수 있다. This paper starts by capturing the motion of repertory expansion in the Korean musical market. The rapid expansion of mystery and thriller musicals is enough to receive positive praise in terms of development of new repertory after 2010. In this respect, this paper analyzes the appeal of musicals set in the Victorian Age along with the origin of the texts from a literature perspective. The three object texts foreground murder and madness and imbue an ideology of class consciousness and sexuality based on the opinions of the Victorian Age. The behavior patterns of Hyde, Todd, and Jack/Daniel are so outside the realm of reality that they could all be said to be mad. Their unexpected behavior patterns create an atmosphere of horror. In particular, their characters and the plots evoke a two-fold feeling of horror which rouses between reality and fantasy due to the public belief that these musicals are or could be based on actual events. Therefore, the primary fascination point of musicals dealing with the Victorian Age could be ‘horror.’ However, this characteristic is also described as ‘romance’ when shown on the actual stage. Most Korean audiences follow the reproduction method of romantic trends, and the romantic aspects of these musicals fascinates more when it is ‘exotically romantic.’ While “London in 1888, there was a romance” is the main copy of Jack the Ripper, these words don`t seem to be relevant to the story. However, these words are used to romanticize London in the Victorian Age and arouse ‘imagined exoticism.’ Horror and romance are the two main factors used for communication between musicals set in the Victorian Age and Korean audiences.

『프랑스 중위의 여자』에 나타난 자유의 양상

백혜진 ( Hye Jin Baek ) 아시아문화학술원 2010 인문사회 21 Vol.1 No.1

존 파울즈의 세 번째 소설인 『프랑스 중위의 여자』는 메타픽션 기법을 사용한 실험적인 글쓰기를 한 작품이다. 빅토리아 시대의 이야기와 문체를 모방한 이 작품은 간격이 몹시 넓다고 믿어지는 빅토리아시대와 20세기 사이의를 좁혀준다. 이 논문은『프랑스 중위의 여자』에 나타난 자유의 양상에 대해 다룬다. 파울즈는 명백히 마르크스와 다윈의 시대인 빅토리아 시대의 중요한 사건들의 실제 수치를 나타내는 19세기 사실주의 소설의 형태를 모방한다. 그는 독자들에게 그가 현실성 있게 모방한 역사적인 현실의 환상을 제시한다. 새러 우드러프에게 빠진 남자 주인공인 찰스 스미슨은 부유한 아마추어 고생물학자로 극히 평범한 어니스티나 프리먼과 약혼한다. 기이하고 감각적이며 타락해 보이는 새러 우드러프는 사람들에게 프랑스 연인에게서 버려졌다고 믿어진다. 찰스는 어니스티나와의 약혼을 새러가 파기해 주기를 원하지만 새러는 그를 피한다. 찰스가 로세티의 보호 하에 있는 새러를 다시 찾았을 때 그녀는 신여성이 되어있었다. 마침내 그는 사라처럼 따돌림 받는 사람이 됨으로서 그의 시대의 관습으로부터 자유를 얻었다는 것을 깨닫는다. 프랑스 실존주의로부터 영향을 받은 파울즈는 찰스 자신의 자유 성취를 통해 나타난 실존주의 이전에 존재했던 자유에 대한 의지를 보여준다. 작가는 그의 등장인물들의 자유뿐만 아니라 소설형식의 자유에 대한 주제 또한 탐구한다. 그는 자기 반영의 개입적인 비평을 끼워 넣었으며 복수결말을 제시한다. 이전의 연구들에서는『프랑스 중위의 여자』를역사소설의 특정 종류로 여겼다. 외견상 이것은 역사소설이지만 파울즈는 19세기 소설의 글쓰기를 이 작품에서 패러디하고 있다. 파울즈는 『프랑스 중위의 여자』를 빅토리아시대 소설의 관습에서 해방시키고 있다. 그는 그의 등장인물들에게 자율성과 최고의 자유를 주기위해 전지적 화자가 아닌 소설 속에 등장하는 화자를 개입시켰다. 그 소설 속에 등장하는 화자는 12장에서 "새러는 누구인가?" 하고 묻는다. 그리고 13장에서 그는 "나는 모르겠다"라고 대답한다. 그것은 우리에게 『프랑스 중위의 여자』가 역사소설이 아님을 상기 시켜준다. 소설 속에 등장하는 화자로서 파울즈는 그 자신의 목소리로 과학, 종교, 부패한 정치 그리고 빅토리아시대의 불변의 계급을 포함한 관습에 대해 많은 것을 말해준다. 복수결말은 전통적 소설형식으로부터의 자유를 보장하는 장치이다. 파울즈의 복수결말의 사용은 전통적으로 수동적인 관중인 독자들을 소설의 창작과 스토리와의 상호작용에 참여하게 만들었고 이는 독자의 자유의지에 의한 결말 선택의 욕구를 충족시켜준다. John Fowles``s third novel, The French Lieutenant``s Woman, is a work using the experimental writing technique of metafiction, and a response to the problem of modern fiction. Imitating Victorian stories and styles, this work narrows the gap between the Victorian age and the 20th century, which we have believed to be remarkably wide. This thesis deals with the aspects of freedom in The French Lieutenant``s Woman(1969). Fowles clearly imitates the nineteenth century realistic novel referring to such real figures of the Victorian age as Marx and Darwin and to important happenings. He presents to the readers the illusion of the historic reality as he imitates it realistically. Male hero Charles Smithson, a wealthy amateur paleontologist engaged to the conventional Ernestina Freeman, falls under the spell of eccentric, sensual, apparently "fallen" Sarah Woodruff. Sho is believed to have been deserted by the French lover of the title. Charles`` pursuit of Sarah destroys his engagement to Ernestina, but Sarah eludes him, and when he finds her again in the protection of D. G. Rossetti, she has become a new woman. Finally he realizes that he is free from its conventions of his age and becomes as "outcast" just like Sarah. Influenced by French existentialism, Fowles shows that the will to freedom had existed before existentialism; it is manifested through Charles`` accomplishing his own freedom. The author explores not only the theme of the freedom of his characters, but also of the freedom of the novel form. He inserts his own intrusive commentary featuring self-reflection and the suggestion of multiple endings. The previous studies on The French Lieutenant``s Woman have regarded it as a special kind of historical novel. Seemingly, it is a historical novel, but Fowles parodies the nineteenth century novel writing in the work. In The French Lieutenant``s Woman, Fowles emancipates the Victorian novelistic conventions. He inserts his own intrusive narrator, not an omnis- cient narrator, to give his characters an autonomy and the maximum degree of freedom. The intrusive narrator questions are: "Who is Sarah Out of what shadow does she come from?" in Chapter 12; and in Chapter 13 he answers "I do not know." It reminds us that The French Lieutenant``s Woman is not a historical novel. Fowles as an intrusive narrator tells many things with his own voice about the hypocritical Victorian society and its convention including the cautious science and incautious religion, the corrupt politics and the immutable castes of Victorian age. Multiple ending is the device which ensures freedom from the traditional novel form. Fowles`` use of the ending makes the reader, traditionally a passive spectator, participate in ``creating`` the novel, interact with the story, and choose the ending which is desired by the free will of the reader.cient narrator, to give his characters an autonomy and the maximum degree of freedom. The intrusive narrator questions are: "Who is Sarah? Out of what shadow does she come from?" in Chapter 12; and in Chapter 13 he answers "I do not know." It reminds us that The French Lieutenant``s Woman is not a historical novel. Fowles as an intrusive narrator tells many things with his own voice about the hypocritical Victorian society and its convention including the cautious science and incautious religion, the corrupt politics and the immutable castes of Victorian age. Multiple ending is the device which ensures freedom from the traditional novel form. Fowles`` use of the ending makes the reader, traditionally a passive spectator, participate in ``creating`` the novel, interact with the story, and choose the ending which is desired by the free will of the reader.

빅토리아 시대 영국교회의 교인 수 변화 및 사회적 역할에 대한 연구

김승호(Sung-Ho Kim) 영남신학대학교 2014 신학과 목회 Vol.41 No.-

This study is trying to investigate some interpretations on the social role of English churches as well as the growth and decline of churches in the Victorian age. Through this study, we are going to find the reasons about the crisis of Korean churches and the renewal method for it. To achieve this task, this study is divided into three parts as follows: Firstly, some theologians’ interpretations about church growth and decline in the Victorian age will be specifically investigated. In this part, we are going to look into the right time when the phenomenon of ‘religious boom’ of the Victorian church finished. Secondly, the reasons for the crisis of the Victorian church are going to be studied. Here, we will search for various reasons how churches today may fall into the crisis. Thirdly, social roles of the church will be searched. Whether the Victorian church in the Nineteenth century acted as a tool of social control or as a tool of social reform will be studied. In conclusion, we will deeply think of some instructions that English churches in the Victorian age give to Korean churches nowadays.

『서정시집』: 시인의 이상과 시대적 요구

유건상 한국중앙영어영문학회 2009 영어영문학연구 Vol.51 No.1

The age of Tennyson was the age of change and progress. During the reign of Queen Victoria, England attained a marvellous development throughout all over the areas of politics, economics, culture, and science. In this age of fast-paced expansion, the social function of the poet became a social issue. Victorians’ attitude toward the poet, as much as the poet’s own, was ambivalent. They inherited and in a sense gave more significances to the romantic view of the poet as hero and prophet. They demanded that the poet should guide and edify the public who were put in a spiritually impoverished condition of their society. So they bestowed on the poet the role of prophet and paid excessive tribute to his power for social good. They wanted help from the poet, and some writers complied with the public wish. Tennyson was the poet who was more sensitive to the social demand than any other poet in his age. But in an effort to satisfy the public need, Tennyson was torn between two impulses: his natural bent and public’s insistence. His natural bent was for intensely personal expressions. But to provide a firm guidance in the problems of his age, was a task that sometimes appalled him. The result was a conflict between the poet as a public leader and the poet as an aesthetic recluse which is manifested in Poems, Chiefly Lyrical(1830). To examine this process is the purpose of this paper.

빅토리아시대의 악몽 : 『드라큘라』

김경숙 ( Kim¸ Kyoung-sook ) 동국대학교 영어권문화연구소 2018 영어권문화연구 Vol.11 No.3

This essay aims at analyzing Bram Stoker’s Dracula not as a mere fantasy story about vampires but as a nightmare of the Victorian Age, which oppressed women, racial others, and colonies. This analysis is hinged upon an understanding of the Victorian Age as the Janusfaced period in which one half sends cheers toward progresses in science and civilization and the other half throws curses toward women, lower classes, and the colonized. On the one hand, Dracula can be read as dealing with a sort of “witch hunt” of female sexuality; on the other, it is about reinforcing the colonial cause and dispelling the fear of reverse colonization by the racial others. No matter how Dracula is described as an exotic, demonic foreigner in the text, the text Dracula, after all, reflects nothing but the self-portrait of the Victorian Age, which sucked the blood of women, the lower classes, and colonies.

테니슨의 『시편들』(1842) 연구: 시인과 시대

유건상 한국중앙영어영문학회 2010 영어영문학연구 Vol.52 No.4

Tennyson is well known as one of the most representative Victorian poets and a representative man of the nineteenth century, and there can be no other opinions in this matter. It's not only because he reflected vital parts of the Victorian experiences in his poems, but because his contemporaries recognized him as a leader of their culture and thoughts. That “Tennysonian” became through the years unavoidably synonymous with “Victorian” shows the general public’s reliance on him and his contribution to his age. But he could not satisfy the only role as a spokesman to his age whom the society wanted. He continuously came into conflict between the poet as a public leader and the role as an aesthetic recluse. He was the poet who was more sensitive to the social demand than any other poet in his age. But in an effort to satisfy the public need, Tennyson was torn between two impulses: his natural bent and public’s insistence. His natural bent was for intensely personal expressions. But to provide a firm guidance in the problems of his age, was a task that sometimes appalled him. The result was a conflict between the poet as a public leader and the poet as an aesthetic recluse which is manifested in Poems(1842). He tried to find a reconciliation between the two voices in it. To examine this process is the purpose of this paper.

『시편들』 연구

유건상(Yu Keon-Sang) 강원대학교 인문과학연구소 2010 인문과학연구 Vol.0 No.24

테니슨(Alfred Lord Tennyson)은 대표적인 빅토리아 조 시인이자 전형적인 19세 기인으로 잘 알려져 있으며 여기에 이견이 있을 수 없다. 왜냐하면 그는 자신의 시에 빅토리아적 경험의 중요한 부분들을 반영했을 뿐 아니라 그의 동시대인들은 그를 자신들의 문화와 사고의 지도자로서 인정했기 때문이다. 당대에 “테니슨풍”이라는 말이 “빅토리아 풍”이라는 말과 거의 동의어로 사용되었음은 테니슨에 대한 대중들의 의존도와 당대에 대한 그의 공헌도가 얼마나 지대했는지를 보여준다. 그러나 그는 사회가 요구하는 시대의 대변자로서의 역할에만 만족할 수는 없었다. 그는 대중의 지도자로서의 시인의 역할과 심미적 은둔자로서의 시인의 역할 사이에서 끊임없이 갈등하였다. 그는 동시대의 누구보다도 사회적 요구에 민감한 시인이었고 또한 대중의 기대에 부응하려고 노력했음에도 불구하고 그의 본능적인 경향에의 동경과 도덕적 사명감 사이에서 고뇌하였다. 그의 본능적인 경향은 자신만의 예술의 성에 머물며 미의 세계를 노래하는 것이다. 그러나 시대의 아버지로서 대중들의 마음을 어루만지고 당대의 문제들에 대한 확고한 지침을 제공하는 것은 때로 그에게 너무나 버거운 일이었다. 그 결과는 대중의 지도자로서의 시인의 역할과 심미적 은둔자로서의 시인의 역할 사이의 갈등으로 나타나며, 이는 『시편들』(Poems, 1832)에서 첨예한 대립양상으로 드러난다. 본 논문의 목적은 이 과정을 살펴봄에 있다. Alfred Lord Tennyson is well known as one of the most representative Victorian poets and a representative man of the nineteenth century, and there can be no other opinions in this matter. It's not only because he reflected vital parts of the Victorian experiences in his poems, but because his contemporaries recognized him as a leader of their culture and thoughts. That “Tennysonian” became through the years unavoidably synonymous with “Victorian” shows the general public's reliance on him and his contribution to his age. But he could not satisfy the only role as a spokesman to his age whom the society wanted. He continuously came into conflict between the poet as a public leader and the role as an aesthetic recluse. Tennyson was the poet who was more sensitive to the social demand than any other poet in his age. But in an effort to satisfy the public need, Tennyson was torn between two impulses: his natural bent and public's insistence. His natural bent was for intensely personal expressions. But to provide a firm guidance in the problems of his age, was a task that sometimes appalled him. The result was a conflict between the poet as a public leader and the poet as an aesthetic recluse which is manifested in Poems(1832). To examine this process is the purpose of this paper.

빅토리아 시대 소녀다움의 구성

한혜정(Han, Hye Chung) 새한영어영문학회 2013 새한영어영문학 Vol.55 No.4

This paper examines the ways in which the girlhood in the Victorian age was constructed by such (un)normative spaces as home, castle/school, grass plains, fair, and forest in George MacDonald’s fantasy novel The Day Boy and the Night Girl and Lucy Lane Clifford’s grotesque story “The New Mother,” both of which were published in 1882. In the Victorian age when ‘the cult of domesticity’ flourished, the innocent, submissive, asexual girl was regarded as the ideal embodiment of ‘the angel in the house.’ The Day Boy and the Night Girl seems to challenge the binary gender stereotypes; however, it returns to the very gender stereotypes as it concludes with the happily-ever-after marriage between the Day Boy (Photogen) and the Night Girl (Nycteris). Through the three contrasts between the cosy and spotless home and the carnivalesque fair, the good daughters and the subversive village girl, and the angelic mother and the monster-like new mother with glass eyes and a wooden tail, “The New Mother” exposes the fictitiousness and the uncanny of the ideal girlhood and the home. These two texts show that girlhood was a new social category constructed on the basis of the patriarchal gender ideologies of the Victorian age.

『와일드팰 홀의 거주인』에 나타난 빅토리아 시대 여성의 독립성과 정체성 연구

노춘화(Noh, Chun-Hwa) 신영어영문학회 2016 신영어영문학 Vol.64 No.-

This study examines how gender ideology in the Victorian Age is represented by Ann Bronte through different aspects of feminine consciousness in her novel, The Tenant of Wildfell Hall. The Tenant of Wildfell Hall covers the portrait of a woman’s liberative endeavor against male-centered gender ideology and a harsh life. Anne Bronte has a characteristic of expressing realism and pursuit of truth based on it. Within it, as a woman and as an individual woman, she creates an externally tender, but internally powerful woman. The female protagonist Helen is a woman who gets hurt from the Victorian age’s male-centered gender ideology, but tries to be reborn as a determined, brave woman. Helen did her best to stand on her own feet as an independent woman who fought firmly against Huntingdon. In this perspective, The Tenant of Wildfell Hall can be considered as the first solid feministic novel.

Evolution or Degeneration in Thomas Hardy’s Jude the Obscure in the Context of the Darwinism

KIM Chi-Hun 한국문학과종교학회 2015 문학과종교 Vol.20 No.3

빅토리아 시대 영국은 변화와 역설의 시기였다. 왜냐하면 과학과 기술과 관련하여 발전과 업적을 이루었지만, 동시에 서로 상반되는 생각들이 공존하는 시기였기 때문이다. 예를 들어 이 당시엔 물질주의와 반물질주의, 세속화와 영성, 과거와 현재 등이 복잡하고 미묘하게 서로 얽여 있는 시대였다. 한편으로 문명과 삶이 계속해서 발전해나갈 것이라는 낙관론이 있었지만, 동시에 퇴보라는 생각도 공존하였다. 특별히 챨스 다윈의 종의 기원이라는 책은 아마도 새로운 세상, 그리고 발전과 진보라는 희망을 상징할 것이다. 그러나 사람들은 그러한 희망 안에서 퇴보라는 느낌도 겪어야 했다. 토마스 하디의 비천한 주드라는 작품을 보면, 주드와 슈라는 두 등장인물 안에서 그러한 측면을 찾을 수 있을 것이다. 따라서 본 논문은 특별히 이 두 등장인물을 통해서 다뤄지는 종교와 여성의 문제에 관하여 빅토리아 시대의 문맥 안에서 이 작품을 고찰하고자 한다. 두 인물은 교육과 여성성과 관련하여 나름대로의 새로운 정체성을 확립하려고 노력하지만, 결국엔 실패로 돌아간다. 그들의 실패는 하디의 비관론적 차원에서 퇴보를 암시한다. The Victorian England was an age of transition and paradox in that it had experienced progress in relation to science and technology; however, at the same time contrasting ideas co-existed, for example, materialism and anti-materialism, secularization and spirituality. While it is coloured with the sense of progress, it has to deal with the idea of degeneration. Charles Darwin’s The Origin of Species may symbolize the hope of advancement, but the people still appear to experience the sense of degeneration. If we look at Thomas Hardy’s Jude the Obscure, we can find such thought in the two characters, Jude and Sue. Accordingly, this essay investigates Jude the Obscure, particularly, in terms of religion and women in two characters, Jude and Sue, in the context of the Victorian age. This essay portrays that the two characters attempt to build up a kind of new identity in relation to education and womanhood against a traditional authority, but their failures allude to degeneration in Hardy’s pessimism.