17, 18세기 영시의 풍자 전통

김옥수 한국고전중세르네상스영문학회 2005 중세근세영문학 Vol.15 No.1

This essay is designed to examine what the two satiric traditions in English poetry are and how they form the mainstream of English satiric traditions, and to examine the nature of satire as a literary mode.English satiric traditions are divided into the Horatian tradition and the Juvenalian tradition. Juvenalian satire regards the nature of satire as invective and is full of direct blame, so it is called savage satire. Horatian satire focuses on laughter, uses irony and dialogue form as its devices, so it is called laughing satire. The Elizabethan era was dominated by the tradition of Juvenal, which was harsh and savage. In the Augustan period, however, poets believed that good satire was milder and gentler, and thought that Horatian satire, which told the truth with laughter, was the best model for writing satire. For example, The Rape of the Lock was written in the mode of Horatian satire. Pope continued to imitate Horatian satire in the 1730s. In his later satires, however, Pope ‘Juvenalized’ Horace in imitating his poems. In fact, we can say that the 18th-century English satire combined Horatian satire and Juvenalian satire, even though it changed from comic to harsh satire.In conclusion, this combination of Horatian satire and Juvenalian satire tells that attack, morality and laughter compose the satiric vision, and that a careful fusing of all three elements is necessary for successful satire.

사적풍자와 일반풍자 -드라이든과 애디슨의 풍자론

강문순 ( Moon Soon Kang ) 21세기영어영문학회 2013 영어영문학21 Vol.26 No.1

The legality of satire was the key issue confronted by the Augustan theorists of satire. The issued originated in the debate about the merits of general and personal satire: is personal satire more libellous than general satire? Critics divide the Augustan satirists into groups according to their preferences for particular types of satire they wrote. Addison favors general satire and Dryden, who is equivocal, seems to favor both general and personal satire. While Dryden defends personal satire on legal grounds, he also acknowledges that personal satire violates the principle of Christian charity, a higher law. These two satirists develop those terms which dominate the study of satire, one of which is “libel.” with its source from Rome.

정치적 풍자의 자유와 한계에 관한 탐색적 연구−오프라인 공간에 나타난 정치 풍자 판례를 중심으로

이정기 경성대학교 사회과학연구소 2019 社會科學硏究 Vol.35 No.1

The purpose of this study was to investigate the nature of political satire and the trends of its regulation by analyzing precedents related to political satires in offline spaces. The analysis of 18 precedents in eight cases led to the following findings: first, of the eight cases that resulted in lawsuits, the subject of satire was an artist, social activist, and instructor/researcher in six, one, and one cases, respectively. That is, it was artists that usually did political satire in offline spaces. Of the eight cases, seven and one took place during the administration of Park Geun-hye and Lee Myung-bak, respectively; second, of the eight cases, the medium of satire was a wall/street, official government promotional material, and public space in five, one, and two cases, respectively; third, the object of satire was a voluntary-political celebrity in all eight cases. A president was the object of satire in all the cases; fourth, there was no cases in which the former or incumbent presidents filed the lawsuit for defamation as the object of political satire. In addition, all the lawsuits were filed without a request from the victims that claimed they suffered damage due to the political satire; fifth, political satire-related lawsuits happened in the violation of legal principles such as property damage crimes and misdemeanor punishment acts rather than in the violation of personal rights such as defamation; and finally, of the 18 precedents in eight political satire cases, the person directly involved in the satire won the lawsuit in only five precedents in three cases. The justice department took into consideration the intention of damage and economic utility of property, direct impacts on an election, and whether it was a simple expression of opinions as grounds to limit the freedom of expressive art in satire work. 이 연구는 오프라인 공간에서 이루어지는 정치적 풍자와 관련한 판례분석을 통해 정치 풍자의 성격과 규제 동향에 대해 살펴보고자 하였다. 8개 사건 18건의 판례에 대한 분석을 통해 규명한 연구의 결과는 다음과 같다. 첫째, 소송으로 비화된 8개의 사건 중 풍자 주체가 예술가인 경우는 6건, 사회적 활동가인 경우는 1건, 강사/연구원인 경우는 1건 나타났다. 즉 오프라인 공간에서의 정치적 풍자는 주로 예술가들에 의해 표현되어지고 있음을 확인할 수 있다. 8개 사건 중 7개 사건은 박근혜 정부에서 1개 사건은 이명박 정부에서 나타난 소송이었다. 둘째, 8개 사건 가운데 풍자 매체가 담벼락, 길거리인 경우는 5건, 정부 공식 홍보물인 경우는 1건, 공적 장소인 경우는 2건으로 나타났다. 셋째, 8건의 사건 모두 풍자 대상은 자발적-정치적 공인이었다. 대통령은 모든 사건에서 풍자의 대상이었다. 넷째, 정치적 풍자의 대상인 전직, 현직 대통령이 명예훼손을 이유로 소송을 제기한 이유는 한 건도 없었다. 아울러 모든 소송이 정치적 풍자물에 의해 피해를 당했다고 주장하는 피해자의 요청 없이 이루어지고 있음을 확인할 수 있다. 다섯째, 정치적 풍자 관련 소송은 명예훼손과 같은 인격권 침해의 상황에서 나타나는 것이 아니라 재물손괴죄, 경범죄처벌법 등과 같은 법리 위반에 의해 나타나고 있음을 확인할 수 있다. 여섯째, 8개 사건 18건의 정치적 풍자 관련 판례 중 풍자 당사자가 승소한 경우는 3개 사건 5개 판례에 불과했다. 재판부는 풍자물의 표현예술의 자유를 제한할 근거로 피해의 고의성과 재산물의 경제적 효용성을 고려하고 있었다. 아울러 선거에 직접적인 영향력을 미치는지 여부와 표현이 단순한 의견표명인지 여부 등을 고려하고 있었다. 다만, 재판부의 정치적 풍자 관련 소송에 명확한 기준은 찾아보기 어려웠다.

현대 풍자소설의 계보

이도연 한국문학이론과비평학회 2013 한국문학이론과 비평 Vol.61 No.-

Satire is a literary form related to the position of subject. It is determined bythe relationship between subject and object. Because satire inevitably needs targetas a object of satire. Therefore it is more essentially social, except as in the caseof self-satire. Satire is a style which is possible when there is possibility of modificationsof the society, or at least still remain the desire to change. In other words, as thepossibility of transformation disappears, the spirit of satire disappears. Ultimately,the question of recovery of satire, it depends on the aesthetic choice and determinationof writers as subjects of literary production. As there are still remain clues of negation,satire is still possible and also required. We regard as major satire writers in modernkorean novels, as follows, Chae Man-sik, Lee Moon-gu, Sung seok-je, and analyzethe Comic texts of them. We discovered the aesthetic transfiguration and presentaspects of satire in their novels. 풍자란 주체와 관련된 문학적 형식이다. 그것은 주체의 자리와 위치에 관계한다. 보다 정확히 표현하자면 그것은 주체와 대상의 관계에 따라 결정되는 문학적 양식이다. 풍자란 필연적으로 풍자의 대상을 필요로 하기 때문이다. 따라서 풍자란 이상의경우처럼 자기풍자를 제외한다면, 본질적으로 사회적인 것이다. 익히 알듯 사회적풍자란 한 사회의 개조 가능성에 대한 열망이 미만하거나 적어도 아직 남아 있을때 가능한 양식이다. 바꾸어 말하면 한 사회의 변혁 가능성이 사라짐에 따라 풍자의정신도 그만큼 위축된다는 뜻이다. 한국문학사에서 풍자문학에 대한 논의가 본격적으로 제기된 것은 1930년대였다. 주지하듯 그 논의의 단초가 된 것은 최재서의「풍자문학론」이다. 그 논의의 선구성은 인정되지만, 최재서의 「풍자문학론」은 외국이론에 지나치게 의존한 채 한국문학의 구체적 양상들을 살피지 못했다는 한계를지닌다. 식민지 치하의 문학적 상황 속에서 풍자소설을 이론이 아니라 실제 작품을통해 실천해 보인 작가는 다름 아닌 채만식이었다. 채만식 소설의 자전적 수준은풍자적 경향의 증감과 대체로 반비례한다. 김유정이 개척해놓은 해학의 전통을 계승하여 농촌공동체의 문제로 지속․변주한 작가는 이문구였다. 그의 최후 유작인, 내몸은 너무 오래 서 있거나 걸어왔다는 우리 동네를 이어 여전히 해결되지 않은농촌문제들을 풍자적 시선으로 다양하게 포착하고 있다. 성석제 소설은 채만식의풍자, 김유정의 해학, 이문구의 방언 등, 한국문학의 유구한 그러나 희소한 전통의하나인 희극성을 계승하면서도 거대서사 혹은 소위 대타자가 붕괴한 90년대 이후한국 문학 장 내부의 의미론적 폐허를 효과적으로 재구성한 희귀한 예에 속한다. 박민규는 알레고리를 통해 풍자의 정신이 한국소설의 유구한 전통임을 입증하고있지만, 그것은 지금-여기 역사적 현재에 대한 문학적 응전력을 소진한 대가로 얻어진 것이다. 박형서 소설은 사회적 노동체계라는 현실원칙과는 엄연히 분리된 채쾌락원칙만이 지배하는 감각의 제국이다. 이기호의 유머가 뒤틀린 형상을 띠고 있는것은, 그것이 날카로운 풍자가 아니라 희비극(tragicomedy)의 경계에서 벌어지는아이러니이기 때문이다. 풍자성의 회복이라는 문제는 궁극적으로는 문학적 생산의주체로서 작가의 미학적 선택과 결단에 달려있다. 예술에 있어 여전히 부정의 계기가남아있는 한 그것은 가능하며 필요한 일이기도 하다.

포프의 「호라티우스풍의 제2권 제1편 풍자시」와 풍자에 대한 변호

김옥수(Kim, Ogsoo) 미래영어영문학회 2022 영어영문학 Vol.27 No.2

The essay examines Alexander Pope’s “First Satire of the Second Book of Horace Imitated” as an apologia for his satire from the legal context. Pope uses Horace as his mentor, and tries to defend his satire as lawful poetry. Like Horace’s satire, Pope presents his poem as a dialog between him and his friend Fortescue about what poetry he should write. Being attacked by many people, Pope seeks legal advice from his friend. His friend advises rest, and sleep to take the mind off writing. He also advises Pope to write an encomium to the king, not satire. Pope, however, defends his satire as a social mirror in which he attacks the foibles of rogues. He insists that he should write satire, and punish rogues. Pope’s view about satire is close to the traditional principle of judicial punishment, namely deterrence, while literary satire is supposed to reform people. The lawyer responds by a warning to watch out for libel laws. Pope, however, insists that he should punish rogues like Walpole exempt from effective legal retribution. Then Pope’s satire becomes an honest quasi-judicial sanction to lash criminals escaping from laws. If laws fail to punish criminals properly, he has to punish them using satire.

월콧의 풍자시학― 오거스턴 시대 풍자시인들의 어조, 문체 그리고 수사양식에 대한 수용과 변용

이영철 한국현대영미시학회 2010 현대영미시연구 Vol.16 No.2

This study discusses Derek Walcott’s satiric poetics echoing from the critical voice on the Caribbean elites’ corruption, injustice, racism, separatism, oppression and failure. Walcott’s voice is different from that of an idealist whose genuine goal is to change society, eliminate vice, purge away corruption and establish the tyranny of virtue. It is also far away from that of a revolutionist who attempts to cut off the currency of established ideas and replace them with his own ideal notions. Instead, it has a remedial purpose, such as the exposure, censure and punishment of corruption, racism, separatism, and failure. Yet on closer investigation it doesn’t ask for change but for grumbling acquiescence. Walcott’s satiric imagery is direct. The poet doesn’t make relatively little use of irony and writes in a style closer to that of direct satire. Therefore, the poet’s raillery and rage may echo the low satire of Samuel Butler, one of John Dryden’s principal masters in the art of satire rather than the Horatian style of John Wilmot and Alexander Pope. But the poet’s direct imagery is far closer to Dryden’s Juvenalian one. The poet mingles irony with direct raillery as Dryden did in “MacFlecknoe”. And his mingling is more effective than pure irony. Yet the poet’s satirist is different from the Augustan satirists. The poet’s satirist seeks after justice, conscience, equality and unity as the Augustan satirists did. But the satirist is a humble, ugly, unfavorable and isolated artist while the Augustan satirists are highly intellectual, moral, philosophical guides or teachers. This imagery of the poet’s satirist reflects that of the artist who has been oppressed by the Western colonists, isolated by racism and religious prejudice.

<이춘풍전>에 있어서 풍자와 해학의 문제

송철호(Song, Chul-Ho) 한국문학회 2013 韓國文學論叢 Vol.65 No.-

본고는 이 작품이 보여주는 해학성에 주목하였다. 이를 위해서 먼저 중세해체기인 19세기의 전환기적 성격과 당대 시정의 유흥문화를 살펴보았다. 이를 바탕으로 하여 이 작품의 풍자양상을 먼저 검토했으며 이후 해학성을 검토하고 해학이 갖는 작품 내적 의미를 규명했다. <이춘풍전>은 전환기적 시대의 잘못된 유흥문화에 빠져 가산을 탕진하고 가정을 버린 한 남자에 관한 이야기이다. 그는 그의 그릇된 삶의 태도를 바로잡으려는 아내를 폭행하는 등 인간성마저 파괴된 인물이다. 이 작품은 남편의 잘못된 삶의 태도를 바로잡아 바람직한 가정의 모습을 찾으려고 하는 아내의 강한 의지가 돋보이는 작품이다. 판소리적 성격이 강한 전반부는 잘못된 유흥문화에 빠져 그릇된 삶을 살아가는 남편의 모습이, 문장체 성격이 강한 후반부는 그런 남편을 바로잡으려는 아내의 모습이 상대적으로 두드러진다. 풍자는 이 과정에서 이루어졌다. <이춘풍전>은 결말 부분을 제외하고는 거의 풍자로 이루어져 있다. 해학은 결말 부분에서 짧게 나오는 것에 불과하다. 문제는 이러한 분량의 차이가 실제로 작품에서 차지하는 비중의 차이인가에 있다. 결론부터 말하자면 그것은 아니다. <이춘풍전>에서 풍자보다 더 큰 비중을 차지하는 것은 해학이다. 해학은 춘풍의 아내가 춘풍에게 보여주는 연민의 마음, 춘풍이 아내가 원하던 인간형으로 변모했다는 사실, 화목한 가정을 되찾고 더 큰 긍정의 세계를 이루었다는 사실, 춘풍의 아내에 대한 높은 평가 등을 통해서 파악할 수 있었다. 이 작품에서 풍자는 인간의 어리석음과 악덕을 폭로하고 공격하는 데 목적을 두고 있지 않다. 일반적으로 풍자는 부정과 비판, 그리고 공격이 목적인데 <이춘풍전>은 그것이 목적이 아닌 것이었다. 이 작품에서의 풍자는 '개선'을 목적으로 했다. 본래 풍자가 '개선의 의도'가 없는 것은 아니지만 그것은 어디까지나 주변에 머물러 있을 뿐이며 본질은 부정에 대한 비판과 공격에 있었다. <이춘풍전>에서 풍자는 '개선'이라는 목적을 달성했고, 그럼으로써 작품은 해학적 성격을 갖게 되었다. 따라서 이 작품에서 풍자는 해학을 위해 존재하는 것이라고 할 수 있으며, 해학은 풍자를 통해서 완성된다고 할 수 있다. This study shows the transition <Leechunpungjeon(이춘풍전)> humor noted. First, due to the dissolution of the 19th century, medieval transitional nature and nightlife looked at his time of visibility. Based on this, the satirical aspects of this work since the first review and examine humor and humorous work with the inner meaning were identified. <Leechunpungjeon(이춘풍전)> the transitional period has to be added wrong nightlife which has squandered the family is the story of one man. To his right to grab the wrong attitude towards life as a battered wife, even the destruction of humanity, is a man. This work is the wrong way of life for my husband's right to hold the desired look of your home to find his wife's strong will to work is outstanding. Nature p'ansori a strong first half of nightlife located in the wrong husband, the appearance of living the wrong life, writing style personality husband just such a strong second half to grab a relatively prominent figure of his wife. This process was done in satire. <Leechunpungjeon(이춘풍전)> except for the ending part is made up of almost satire. Humor in the ending part that is only a short appearing. Problem is that these differences in the amount of the difference is actually in the works is in proportion. Conclusion to say it is not. <Leechunpungjeon(이춘풍전)> greater than the proportion in the satire that is humorous. Chunpung humor of the show compassion to chunpung wife, chunpung transformed into the fact that my wife wanted Humanoid, harmonious family regain a greater positive the fact that the world is finished, the wife of chunpung through and understand the high ratings could. In this work, satire to expose human folly and vice, and is not aimed to attack. In general, satire and criticism of the negative, and the purpose of the attack is <Leechunpungjeon(이춘풍전)> it was not a goal. In this work, the satire 'improvement' made ​​for the purpose. Original satire 'intention of improving' it does not have to be, but it only stays around forever. The essence is to negative criticism and attacks. <Leechunpungjeon(이춘풍전)> satire on the 'improvement' to achieve the objectives, and the work thus became humorous nature. Therefore, in this work that exists for humorous satire can be a humorous satire that can be completed through.

Adieu to the Public Function of Satire: The Art of Life in Alexander Pope`s Imitations of Horace

전인한 ( In Han Jeon ) 한국18세기영문학회 2007 18세기영문학 Vol.4 No.2

The purpose of this paper is to analyze the cause of the separation of satirist`s private integrity from the public function of satire in Alexander Pope`s later satires. This paper first points out that in the Epilogues to Satires (1738), Pope`s last formal verse satire, Pope advocates his personal integrity at the expense of the public function of satire unlike in Satire II. i (1733), where Pope`s advocation of the corrective function of his satire is closely related with the vindication of his personal integrity. This paper argues that we can conceive why and how Pope has come to give up the public function of satire through analyzing some of Pope`s Horatian imitations written between 1733 and 1738. Satire II. ii (1734) is a rare occasion, this paper asserts, in that in this satire is witnessed Pope`s conviction that private morality can be a basis of public engagement. Yet, the conviction of this kind is not to last, as, in Epistle II. ii (1737), the possibility of achieving private morality, that is, the art of life, is seriously doubted. This kind of doubt verges on pessimism, as Pope reveals the urgent need to tend to the perfection of his inner self. While Epistle II. ii reveals Pope`s doubt whether he can achieve the ideal of the art of life, To Murray (1738) shows Pope`s belief that politics and the active involvement in the world is futile and thus should be the object of "not to admire." Epistle II. ii and To Murray can be regarded as a pair of poems that demonstrates Pope`s inner conflict between his public self and private self. In these poems, Pope is very reluctant to acknowledge the need to sever the link between his public self and private self, as the possibility of achieving inner perfection is doubted at the same time as his desire to engage in the contemporary world is secretly recognized. Yet, at last in To Bolingbroke (1738), the need to sever the link is no longer resisted. In this poem, the room for the public function of satire is put aside for the more urgent need of achieving and maintaining personal integrity, as Pope`s powerful yearning for personal improvement struggles hard against inner doubt and the fear of failure.

미국 TV애니메이션 시리즈〈사우스 파크〉의 풍자적 기법

김보현(Bo Hyun Kim) 한국애니메이션학회 2012 애니메이션연구 Vol.8 No.3

매체는 소통의 수단이며, 소통의 핵심은 의미의 전달이다. 이 글에서는 풍자의 효과와 관련하여 그 의미를 전달하는 데에 있어서 애니메이션이라는 매체의 특성을 어떻게 효과적으로 사용하였는지 미국 성인용 TV 애니메이션 시리즈 <사우스 파크>의 풍자적 기법을 통해 살펴보고자 한다. <사우스 파크>의 풍자적 기법은 풍자의 형상화 방식과 수용자를 인식한 풍자 방식을 중심으로 희극적 기법과 이중 구조적 기법, 해설적 기법으로 설명할 수 있다. 희극적 기법은 대상의 형상화와 움직임에서 풍자효과와 관련된 부분을 가리키며, 이중 구조적 기법은 한 에피소드 안에서 또 다른 이야기를 들려주는 형식 즉, 속이야기의 형상화에서 나타나는 풍자효과를 말한다. 그리고 해설적 기법은 풍자가의 풍자적 해설이 캐릭터의 대사를 통해 나타나는 특징을 말한다. 이 기법들의 효과는 풍자 대상과 수용자와의 비판적 거리를 형성하게 함으로써 수용자가 풍자의 의미를 파악하도록 하며, 풍자가와 배경지식을 달리하는 수용자의 이해를 도와 풍자의 한계를 극복하는 하나의 전략으로 작용한다. 즉 풍자 애니메이션으로서의 <사우스 파크>는 비판 대상을 풍자하는 데에 있어서 이미지를 통한 대상의 구체적 형상화와 화면에 제시되는 요소들의 조합으로 새로운 의미를 창출해 내는 애니메이션이라는 매체의 특징을 더욱 부각시키는 기법을 사용하여 표현함으로써 보다 차원 높은 풍자를 고취한다. 이것은 소통 도구로서의 애니메이션이 그 매체가 실은 내용과의 치밀한 관계 속에서 더 강한 소통의 힘을 발휘했다고 볼 수 있다. Media is a means of communication and the core of the communication lies in the conveyance of signification. Thus, this paper aims to investigate how effectively the characteristics of media, animation, are used to convey the signification in respect of the effect of satire in American TV adult animation series <South Park>. The satirical techniques in <South Park> can be explained as a comic technique, a dual-structure technique and a commentary technique, focusing on the embodiment technique of satire and a satirical technique recognizing audience. A comic technique refers the part relating to the satirical effect in the embodiment and the movement of the subjects; and a dual-structure technique refers to the narration of another story in one episode, that is the satirical effect appearing in the embodiment of the another story in one episode. A commentary technique refers to the characteristics in which satirical commentation of a satirist appears in the lines of a character. The effects of these techniques help the audience to understand the signification of satire, forming a critical distance between the audience and the subject of satire and serve a role as one strategy to overcome the limits of satire, helping audience with different background knowledge from the satirist to understand the signification of satire. In other words, satire animation <South Park> aims higher level satire, utilizing the technique highlighting the characteristics generating new signification based on the combination of the elements represented on the screen and the concrete embodiment of the subjects through images when satirizing subjects, which implies the animation has unleashed a greater power of communication in the close relationship with the content in the media as a means of communication.

낭만주의 시대 멜로드라마의 풍자: 더글라스 제럴드

김성중 19세기영어권문학회 2024 19세기 영어권 문학 Vol.28 No.1

Gary Dyer contends that satire was not any less prevalent during the Romantic period than it was in the 18th century. He highlights satirical poems from that era but fails to deal with satirical plays. Dyer opts for the term “satirical” to broaden the scope of satire. This paper aims to demonstrate the existence of satirical plays in the Romantic period by examining three melodramas: Black-eyed Susan, The Mutiny at the Nore, and The Rent Day by Douglas Jerrold. As a close friend of Charles Dickens, Jerrold collaborates with him to critique societal ills using satire. In Black-eyed Susan, he satirizes the absurdity of the judiciary by portraying the admiral sentencing William, innocent of a felony, to death. The Mutiny at the Nore satirizes governmental injustice towards sailors risking their lives for their country, while The Rent Day satirizes the cruelty of squires evicting tenants for failing to pay their rent. Instead of directly condemning the ruling class, Jerrold exposes their hypocrisy and tyranny towards the working class through satire in his melodramas. This satirical approach can be attributed to Jerrold's success on stage during the politically tumultuous post-war era with France. While there is no definitive evidence of these plays' political influence on contemporary audiences, their popularity among ordinary people suggests a potential significant impact on their political consciousness at the time.