와일드와 비어즐리의 <살로메>에 담긴 19세기 말 신여성 이미지

권오숙(Osook Kweon) 한국외국어대학교 영미연구소 2009 영미연구 Vol.20 No.-

Wilde's Salome is a poetic drama of sensual passion. It is a decadent treatment of the Biblical story of Salome. The play was barred from public performance in English on the basis that it was illegal to depict Biblical characters on stage. The narration of Salome is guided by the sexual desire of the characters. There are four different instances of unfulfilled desire in Salome: the Young Syrian's for Salome, Herod's for Salome, the Page of Herodias's for the Young Syrian, and Salome's for Iokaanan. Salome both in Wilde's and Beardsley's representation shows women's agency or power in sexuality. She is far from an inert, passive object of male desire and possesses sexual desire of her own. She frankly acknowledges her lust for Iokaanan. In addition she manipulates her admirers' desire for her to her own advantage. She offers to smile at the Young Syrian in exchange for her meeting with Iokaanan, and she agrees to dance for Herod in exchange for Iokaanan's head. In both cases, Salome is aware of the power of her attraction and effectively uses this power to get what she wants. Beardsley's illustrations emphasize Salme's cruelty and grotesqueness. In ‘The Dancer's Reward’ and ‘The Climax’ Salome was seen as being demonic. We can perceive the subtly misogynist subtext in Wiled's and Beardsley's representation of Salome. They cast her as one of many femmes fatale who circulated throughout late 19th-century art. Like other femme fatale figures, Salome invented by Wilde and Beardsley can be read as a vehicle through which the (male) artists reveal their anxieties about the increasing political, sexual, and social freedoms available to New women.

셰익스피어와 영국 역사화(畵)

권오숙(Kweon Osook) 한국외국어대학교 영미연구소 2005 영미연구 Vol.13 No.-

  Shakespeare"s plays are the most fascinating sources of paintings along with the Bible and Greek myths. Pictures based on Shakespeare"s plays accounted for about one fifth of the total number of literary paintings by British artists between 1760 and 1900. This number demonstrates how profoundly Shakespeare influenced British painters. In the contrary, the paintings evoked public interests in his plays and formed his popularity.<BR>  John Boydell built the Shakespeare Gallery with an ambition to establish a school of historical painting in England and commissioned the leading English artists to illustrate Shakespeare"s works. He issued engravings and prints based on the paintings. This endeavor is the first commercialization of Shakespeare. Some of the Boydell painters like Reynolds and Barry are showing a neoclassical style, very grand and symmetrical organized version of Shakespeare. They found visual equivalents of Shakespeare"s sublime words and heroic actions in high classical paintings of Italy and followed the style of Michelangelo and Raphael to express Shakespeare.<BR>  On the other hand, Hogarth who showed that Shakespeare"s plays could be used as the basis for English history painting in advance of them tried to represent Shakespeare in English tradition of painting. And Other painters painted for the Boydell Gallery including Fuseli favored romantic themes : the grotesque and the fantastic.<BR>  Although Ralph Cohen stated that “illustrations are non-verbal interpretations,” paintings based on Shakespeare"s works have been largely neglected in Shakespeare studies on the whole. Now, we have to embrace Shakespeare paintings as a tool to apprehend different reception of Shakeseare in different times.

17, 18세기 정치 풍토 속 『리어 왕』 재현 양상에 대한 연구

권오숙(Osook Kweon) 한국셰익스피어학회 2010 셰익스피어 비평 Vol.46 No.1

Nahum Tate’s History of King Lear replaced Shakespeare’s King Lear on the England stage from 1681 to 1838. Tate adapted Shakespeare’s play severely according to the contemporary aesthetic sensibility. He restores Lear to his throne and makes Cordelia marry Edgar. By adapting like that, Tate tactfully avoided the abdication motif. Scott Paul Gordon suggests that Tate’s Lear satisfies not only an aesthetic sensibility but also a political preference for orderly succession of the Restoration audience. On the other hands, James Barry who was a rebel against the art system of England challenged the contemporary political tendency as well as the artistic sensibility. He was expelled from the Royal Academy in 1799 because he severely charged his fellow artists on flattering patrons with their portraits instead of devoting themselves to history painting. He attributed the cause of stagnation of history paintings in England to the monarchy and then became a patriotic republican. He drew two paintings of Lear which represented the final scene of Shakespeare's play, not Tate’s adaptation. Barry’s paintings of Lear reveal his political view showing a monarch's fall and the emergence of republican order. He delivers such a narrative through composition and stylistic codes. Barry pushed Lear weeping over the dead Cordelia to one side and put Edgar and Albany at the center. By using such composition Barry made the heroes of the new generation replace the old monarch Lear. Besides, he represented Edgar and Albany in Neo-classical style and Lear in manneristic style. Through the contrast of still young men and extravagantly overwhelmed Lear Barry made the shift of power natural and appropriate. Tate’s adaptation and Barry’s paintings of Lear show how this play was represented to express the different political views in the complicated and sophisticated political circumstances of the seventeenth and eighteenth century. Nowadays, Shakespeare is still alive by being interpreted and adapted newly in accordance with a new social context.

재소자들의 윤리적 갱생을 위한 셰익스피어 치유법

권오숙(Osook Kweon) 한국셰익스피어학회 2016 셰익스피어 비평 Vol.52 No.4

Hamlet addresses a monologue “I have heard/ That guilty creatures sitting at a play/ Have by the very cunning of the scene/ Been struck so to the soul, that presently/ They have proclaimed their malefactions;……The play’s the thing/ Wherein I’ll catch the conscience of the king.”(2.2.541-558) before he has the actors stage a version of his father’s death in front of Claudius. Nowadays, Shakespeare’s plays perform such an ethical function in various correctional facilities in actuality. In recent decades, programs that consist of reading and dramatizing Shakespeare’s works for the ethical rehabilitation of convicts have become increasingly popular all over the world, especially in America. Redemptive power of Shakespeare’s plays has been demonstrated in such programs, showing dramatic decline of the rate of recidivism. The plots of Shakespearean plays overflowing with revenge, murder, and other criminal acts and the tragic characters voicing their inner thoughts before or after committing such acts help prisoners to look into their own acts and mind. In this study, I tried to find out how Shakespeare helps the criminals to retrospect their past, to develop life skill through becoming enlightened and to reintegrate themselves successfully into society. I also examined which of the bard’s plays are most used in correctional facilities and the reason behind these choices.

셰익스피어의 법률 희곡 『베니스의 상인』과 『자에는 자로』를 통한 셰익스피어의 법률관 연구

권오숙(Osook Kweon) 한국셰익스피어학회 2015 셰익스피어 비평 Vol.51 No.3

The Merchant of Venice is a Shakespeare’s representative legal play. Even though the play deals with many themes such as love, race, religion, appearance and reality, etc.. we can’t understand the play fully without considering its legal elements. Shylock tries to revenge Antonio who hindered his business and disdained him harshly by means of legal process. In Venice court, Shylock requires Antonio’s flesh persistently, sticking to the literal interpretation of the letters of the bond. Shylock’s cruel intention, however, is blocked by smart Portia’s judgment using the same literal interpretation of the bond as Shylock’s. Measure for Measure is Shakespeare’s another legal play and a parallel to The Merchant of Venice in many aspects. In this play, Shakespeare questions the rigid legalism once again by describing Angelo’s strict enforcement of the law and his abuse of legal authority. Daniel Kornstein insists that “the enduring legal contribution of this play is its sensible and balanced approach to the fundamental problems of law: how to control human behavior effectively by means of rules.” In both plays, Shakespeare deals with the concept of law, legal interpretation, and the conflict between the spirit of the law and the letter of the law. While Shylock and Angelo stand on rigid literalism and legalism, Portia and Isabella personify the spirit of equity. Shakespeare’s message in both plays may be the fact that laws can bring unjust results if they were not balanced with equity and that law and authority is to be exercised with understanding of human minds, equity, discretion and flexibility. According to some critics like W. Nicholas Knight, Shakespeare’s attitude to the law influenced the English legal history. Even today, many people in the judicial world refer to Shakespeare’s keen insight to the law.

『베니스의 상인』과 〈이춘풍전〉의 비교문학적 연구

권오숙(Osook Kweon) 한국셰익스피어학회 2014 셰익스피어 비평 Vol.50 No.1

Shakespeare`s The Merchant of Venice and our traditional novel Yichoonpoongjeon have lots of similarities in spite of the distinct gap of time and culture between the two works: prodigal and incompetent husbands, wise and courageous wives, slaves to money, trial scenes and transvestism. These similarities give the validity to this comparative study. We can explain the reason of those similarities between the two works on the basis of their analogical social background. The enormous economic and political changes were experienced by both the early modern England and the late Chosun dynasty: the shift from feudalism to capitalism, breakdown of conventional and the change of traditional gender roles, etc... Transvestite Portia in The Merchant of Venice and Ms. Kim in Yichoonpoongjeon refuse to accept the conventional stereotypes for gender and prove their wit and intelligence. Their brilliant roles under the patriarchy system reveal the change of the gender role in each society. The two works describe the long lasted and absurd contradiction of feudalism and patriarchism realistically and satirically. From the study we can conclude that the similar social background in different cultures gives birth to similar stories and this conclusion brings us to sense the universality of human mind and sensitivity.

설정식의 『하므렡』 번역의 의의 및 번역 텍스트 분석 연구

권오숙(Osook Kweon) 한국셰익스피어학회 2022 셰익스피어 비평 Vol.58 No.3

Sŏl Chŏng-sik, who translated and published Hamŭret in 1949, majored in English literature and Shakespeare in USA. His Korean translation Hamŭret has the significance of being the first translation of Hamlet by an English literature scholar based on the English text. Sŏl Chŏng-sik put a preface at the beginning of the main text which explains his translation strategy in detail and presented the English text he used and all the Japanese translations referenced in his translation. He added an explanation about Shakespeare and Hamlet at the end of the text. Kim Byeong-cheol who overviewed the entire translation history of Korea complimented Hamŭret as a translation work that raised the translation of Korea to the high level. This study conducted an in-depth analysis of Hamŭret for the first time. In his preface, Sŏl Chŏng-sik said that he used the metaphrase strategy, translated for the stage, and chose words that the audience could understand easily. He also tried hard to keep the aesthetic elements unique to Shakespeare’s plays such as alliterations and puns as much as possible. He added some stage directions and simple annotations for the reader’s understanding. Sŏl Chŏng-sik’s serious translation attitude would serve as a good example for translators in both creativity and sincerity.

『리어 왕』에 나타난 봉건적 이데올로기와 신흥 자본주의 이데올로기의 충돌

권오숙(Kweon Osook) 한국셰익스피어학회 2005 셰익스피어 비평 Vol.41 No.2

Elizabethan England was a transitional age when the dominance of the feudal aristocracy gave its way to that of the commercial bourgeoisie. King Lear represents this change of political power symbolically by means of the plot that Lear and Gloucester are overthrown by Reagan, Goneril, and Edmund. In the new bourgeois ethic, all the traditional bonds of feudal society are broken. Goneril, Reagan and Edmund who typify cynical selfishness, materialism and Machiavellism of rising capitalism break the sacred bonds between parent and children, master and servant, husband and wife. On the contrary, Cordelia, Kent and Fool retain feudal norms of value by practising their unchanged service to Lear after his abdication. The bond between signifiers and signifieds as well as bonds of human relationship are broken. In this age of social mobility, the Machiavellian use of words is a means of social promotion. For those who regard language as a means of self-fashioning, linguistic signifiers are no more fixed, but free floating signs to be manipulated at their disposition. While Goneril and Reagan "flattered" Lear "like a dog" to obtain his prize, Edmund put linguistic fraud into circulation constantly to take his father's and brother's power and property. Lear and Gloucester with a blind trust in language cannot read the truth of their hypocritical rhetoric and fall into an intolerable tragic situation. Shakespeare displays his attachment to many conservative feudal values and distaste to bourgeois values such as restless opportunism and acquisitive individualism. However, we can also hear radical critique of the social hierarchy, the typical characteristic of feudal society. Therefore, it is very controversial to decide which of them, feudalism and capitalism Shakespeare prefers to the other. Rather, I would like to look Lear and Gloucester's advocacy of egalitarianism through the redistribution of property as Shakespeare's political outlook.

18, 19세기 셰익스피어 우상화(bardolatry)에 대한 연구

권오숙(Kweon, Osook) 國際言語文學會 2010 國際言語文學 Vol.- No.21

19세기 아동 문학 풍토와 램 남매의 『셰익스피어 이야기』각색 연구

권오숙(Osook Kweon) 한국셰익스피어학회 2017 셰익스피어 비평 Vol.53 No.1

Shakespeare is one of the most authoritative authors in Korea. Lots of adaptations for young readers have been published. Though most of them are based on or are translated from Tales from Shakespeare written by Charles and Mary Lamb in 1807, they are circulated in the name of Shakespeare. And most readers think they read Shakespeare’s plays after reading these abridged versions in childhood. Strictly speaking, they didn’t read Shakespeare’s works because the abridged ones are contaminated or distorted by the adaptors’ way of thinking to some extent. William Godwin states that “I cannot tell what I should have been, if Shakespeare or Milton had not written”(140). This statement emphasizes works of Shakespeare or Milton contribute to a youth’s maturation and mind cultivation. The aim of this article is to survey meticulously Lambs’ adaptation and to check how they appropriate Shakespeare and to find its problems and limitations to promote a healthy and authentic consumption of Shakespeare in Korea. Lambs’ adaptation of Shakespeare for young readers was regarded as a very initiative and meaningful trial in post-enlightenment era when imaginative elements were excluded in children’s literature. In spite of that, it has lots of problems and limitations. The most serious problem is its oversimplifying the ambiguity and ambivalence of Shakespeare’s original texts. And its moral and didactic inclination goes against Shakespeare’s opinion the purpose of playing, “holding the mirror up to nature”(Hamlet 3.2.16). Therefore it is very regretful for many Korean readers to experience Shakespeare only through this version.