중희극 『부의 신』 415-612의 논쟁에 나타난 부의 본질에 대한 의미 고찰

류재국 ( Ryu Jae-kook ) 한국브레히트학회 2020 브레히트와 현대연극 Vol.0 No.43

본고는 ‘부’를 대변하는 크레뮐로스와 ‘가난’을 상징하는 페니아의 논쟁이 담긴 『부의 신』 415-612 구절에 대한 논의이다. 이 구절에서 전개한 희극적 논쟁은 당시의 현실 세계에서는 아직 존재하지 않은 미래형 세상의 사회 프로그램이다. 이 프로그램은 공동체 사회의 부당한 부자들의 호화 생활을 조롱하기 위하여 신화에 나오는 플루투스를 부의 신으로 무장시키고 세상에 등장시킨다. 이는 아리스토파네스가 플루투스를 작품 속으로 초빙하여 관객들로 하여금 생각하게 만드는 희극의 과제이기도 하다. 『부의 신』 415-612는 가난을 폄하하고 부를 숭상하는 것 같지만 반어법적으로 정의의 중심 가치가 부재한 부의 위치를 관객들로 하여금 스스로 이해하고 조명하는 기회를 제공한다. 『부의 신』은 전체 구도가 논쟁에서 합리적인 적수를 만나서 변론으로는 그것을 극복하지 못하는데도 불구하고 부자가 모호하게 승리를 거두는 연극이다. 특히 415-612 구절에 나타나는 부와 가난의 문제는 폴리스의 구원을 작품의 줄거리로 삼기는 하나, 결국에는 개인의 안녕을 달성하고자 하는 부의 노력이 모든 사람이 행복하게 종결되지 않는다는 넌센스 희극이다. 이 작품을 쓴 아리스토파네스의 극작 목적은 가난의 불완전성을 웃음거리로 만들려는 것이 아니라, 그가 펼치는 공상 속의 부가 인간적 불완전성을 담은 보잘 것 없음의 본색임을 조롱함으로써 삶의 본질을 꿰뚫어 보고자 하였던 것이다. 이에 본고에서는 삶의 시가로서의 역할을 수행하고자 했던 부와 가난에 대한 아리스토파네스의 사회비판적 견해를 주목했고, 부의 본질에 대한 논쟁의 선취를 통해 그 의미를 고찰했다. This paper is about the verses of 415-612 from Plutus, which contains the debate between Chremylos, who represents ‘wealth,’ and Penia, which symbolizes ‘poverty.’ The comic debate developed in the verses is a social program of the future world that did not exist in the real world of the time. This program armed the mythical Plutus with a god of wealth and made it appear in the world in order to mock the luxury life of the wealthy of the community. This is also a comic task that Aristophanes invites Plutus into the work to make the audience think. At first glance, it seems to denigrate poverty and worship wealth, but ironically it provides an opportunity for the audience to understand the location of wealth that is lacking the value of justice. Plutus is a play in which the rich win vaguely despite the fact that the whole composition meets a reasonable opponent in the debate and cannot overcome it by argument. Particularly, it is a nonsense comedy that problem of wealth and poverty in the 415-612 verses takes the salvation of the polis as the storyline of the work, but in the end, the efforts of wealth to achieve individual well-being do not end happily. The purpose of Aristophanes’ dramatization in writing this work was not to make poverty imperfection a laugh, but to try to see through the essence of life by taunting that the fantasies he unfolds are the essence of human imperfection. In this paper, Aristophanes’ social-critical view of wealth and poverty, which was intended to play a role as a poet of life, was noted, and the meaning was considered through the preoccupation of the debate about the nature of wealth.

아리스토파네스 희극의 지향성에 관하여 - 사회비판의 기능을 중심으로

류재국 ( Ryu Jae-kook ) 한국연극교육학회 2017 연극교육연구 Vol.30 No.-

Aristophanes was an ancient Greek writer (B.C.445~386). He deeply involved raising political, social, and educational issues through his comedic plays on the side of public who had been suffered by the Peloponnesian War lasting 27 years. His comedic plays classified into two powers; normal power which is intrinsic and abnormal power living off those with normal power within urgent and vulgar reality of Athens. He also criticized popular intellectuals and demagogues and their deed to improve the social problems. The objects of his plays presented types of certain movements, not individuals. It is always at the center of controversy that Aristophanes gave shape to abstract by making obvious characters with existing people to criticize such as demagogues, corrupted intellectuals, and absurd political system. This paper studies ancient Greek theatre festivals and comedies and further criticized the social problems that Aristophanes’s plays trying to say. It also focuses on examining the roles and directivity of Aristophanes’ comedy to fix the general conflicts at the time. This paper gives a general description on 11 works created by Aristophanes under many constraints of chaotic state and studies its function of social criticism and meaning of its orientation. Aristophanes’s comedies are the means of studying social and political existence called Democracy as well as exploring human’s the most fundamental problems for whole community, not for a selected few. Aristophanes's comedy had more significance on education beyond simple entertainments. As his plays offered people a serious thought on the value of their lives and brought humane laughs from it, it is not enough to describe that one Aristophanes’s comedy had more philosophical and educational meaning than the real politics. Aristophanes’s comedies are the only ancient Greek plays that strengthened meaning of life and spirit of independence to the people. His plays are still meaningful as they germinated in citizenship and European humanistic spirit in those days.

아리스토파네스 3대 평화극에 나타난 평화관 - 『아카르나이의 사람들』, 『평화』, 『뤼시스트라테』를 중심으로

류재국 ( Ryu Jae-kook ) 한국브레히트학회 2018 브레히트와 현대연극 Vol.0 No.39

This paper tries to investigate the concept of “peace perspective” revealed in Aristophanes’ three peaceful plays. Aristophanes’ comedies are didactic plays which show contemporary Greek destituteness in reality. His plays not only seek desire and communication for peace with his own satire and humor, but further have epistemic possibility to pursue peace and order of community. Therefore, this paper aims to show possibility of metaphysical research which looks at reality from critical viewpoints based on comic characteristics. To fulfill the purpose, this paper explores the main characters’ fantastic dramatic actions to secure peace in the plays; Acharnenses, Pax, and Lysistrata. The dramatic actions appeal audiences with social, collective, and popular imagination, which break the mould of their daily life. It means to make the impossibles possible. Aristophanes’ view on peace is a critical key for understanding ancient Greek plays as participatory arts. His peaceful plays freely communicate with audiences about unfair issues in reality - “war and peace” - through conversational languages. In other words, his plays suggest ancient Greek to create a channel of communication with peaceful daily life which barely conceivable in their usual life. It has an important meaning that Aristophanes’ peace perspective can be used as comedy methods to secure peace described in languages.

로베르 르빠주의 연극 공간에서 매체연극과 테크놀로지의 융합과 수용

류재국(RYU Jae-Kook),강기호(KANG Ki-Ho) 한국문화융합학회 2021 문화와 융합 Vol.43 No.4

본 논문은 시대적으로 변화하고 있는 연극과 테크놀로지의 융합과 수용에 대한 연구이다. 특히포스트드라마 시대의 현대연극은 20세기 중반 이후부터 디지털미디어 시대에 이르는 동안 자발적으로 융합과 수용의 길을 걷고 있기는 하지만, 아직도 전통적 연극의 구술언어 위주의 체계가큰 비중을 차지하고 있는 것이 현실이다. 이러한 현실 가운데 다양한 매체의 융합과 수용의 시도들은 점점 더 요구되고, 더욱 더 빈번해지고 있다. 현대연극의 공간에서 테크놀로지 융합과 수용방법론을 모색하기 위해 매체연극의 대명사라 불리는 로베르 르빠주의 세 작품을 분석하였다. 르빠주의 연극은 시각과 청각을 깨우기 위해 다양한 방식의 테크놀로지가 연극과 교감하고 길항하는 것으로 밝혀졌다. 테크놀로지를 사용한 그의 연극은 무대 언어를 매개로 인간의 삶을 이야기한다. 그것은 매체 언어를 통해 진솔하고 내적인 삶의 생명력을 표현하고 있다. 르빠주 연극에서다양한 기술적 매체의 활용은 물리적인 시공간의 확장만을 의미하는 것은 아니다. 르빠주의 연극은 융합과 수용의 시대적 범주를 아우르고 있는 혁명적인 20세기와 21세기의 동시대 매체연극을수용한 테크놀로지의 확산을 이행하고 있다. 이러한 르빠주의 다양한 기술적 매체들이 투입된창작 과정의 변화는 연극예술의 모습을 새롭고도 다채롭게 만들면서 연극 공간영역의 다양한개념을 창출할 수 있게 한다. This study focuses on the convergence and acceptance of theater and technology, which have changed over time. Modern theater has voluntarily followed the path of convergence and acceptance from the mid-20th century to the digital media era; however, the system based on the oral language of traditional theater still occupies a large part of the field. In this situation, attempts for the convergence and acceptance of various media have become increasingly frequent. This study analyzed three works of Robert Repage, so-called media drama, to explore the methodology of convergence and acceptance of technology in the modern theatrical space. In Repage’s plays, it was found that technology both communicates and struggles with the plays in various ways in order to awaken sight and hearing. His plays using technology illustrate people’s lives through stage languages to express their genuine and inner vitality through media languages. The use of various technical media in his plays not only means the expansion of physical space and time but implements the expansion of technology that has embraced the contemporary media theater of the 20th and 21st centuries. The change in the process of creation through the involvement of various technical media of Repage has made it possible to create concepts in theatrical space while making theatrical art itself new and diverse.

Cloning of Isopenicillin N Synthase Gene from Lysobacter larctamgenus

RYU, JAE KOOK,NAM, DOO HYUN 영남대학교 약품개발연구소 1998 영남대학교 약품개발연구소 연구업적집 Vol.8 No.-

The gene for isopenicillin N synthase (cyclase; IPNS) was cloned from Lysobacter lactamgenus using DNA probe amplified with primers based on the consensus sequences of isopenicillin N synthase genes of other β-lactam-producing microorganisms. The genomic library of L. lactamgenus using pUC18 plasmid cloned at the SacI site were screened with the PCR-generated DNA probe and three positive clones were isolated. Enzyme activities in E. coli clones were confirmed by bioassay and HPLC assay. Throughout the functional mapping, it was observed that the gene for isopenicillin N synthase is located at the 1.3-kb XhoI-BamHI fragment of insert of positive clones. Nucleotide sequencing at both ends of the XhoI-BamHI fragment revealed that IPNS of L. lactamgenus has the common amino acid sequences at amino- and carboxy-termini.