[수상작_이진아] 특별한 날 외 5편

이진아 고요아침 2017 한국동시조 Vol.- No.4

1970년대 『연극평론』의 해외연극론 수용 연구

이진아 한국극예술학회 2019 한국극예술연구 Vol.0 No.63

This study examines the influence acceptance relationship of overseas theatre theory by studying Yeonguekpyeonron(The Korean Theatre Journal) published by Yoh Sukkee in the 1970s. In particular, this study examines what kind of relationship was made between the ‘anti-realistic experimental theatre’ and the ‘modernization of traditional performances’, which were important discourses in theatre in the 1970s, while also investigating how the major discourses of the critique and theatre circles were formed and progressed. The 1970s was a period that opened the door to the age of expert critiques in Korean theatre history and Yeonguekpyeonron was the most representative journal on theatre during this period. It introduced the avant-garde theatre of the west to stimulate the Korean theatre circles and it also emphasized the contemporary potential of traditional performances from the perspective of modern dramatics rather than folklore studies. It especially took notice of the implications of aboriginal and ritual features of traditional performances, and attempted to practice it in our theatre sites. However, their perspective on traditional performances did not come from autonomous introspection on our culture. The theatre anthropology that was played out broadly from the western culture worlds and the growing interest on Asian theatre of the 1960s and 1970s, and the interest on total theatre and performance studies by western critique and academic circles had a huge impact on us. In particular, ‘Yeonguekpyeonron’ and ‘TDR (The Drama Review)’ (formerly ‘The Tulane Drama Review’) was quite close, and actual correlation could be found in the editorial of the journals, source of translated pieces and articles, composition methods of special articles, critical perspective, etc. Under such given problem, this study empirically reviewed the articles of ‘Yeonguekpyeonron’ to reveal the influencing relationship of overseas theatre theories that affected the formation of theatre criticism views and production of discourses. 본 연구는 1970년대 여석기 발간 『연극평론』을 연구대상으로 하여 해외연극론과의 영향 수용관계를 살핀다. 특히 1970년대 연극계의 주요 담론이었던 ‘반사실주의적 실험극’과 ‘전통연희의 현대화’가 상호 간에 어떠한 관계를 맺으며 비평계와 연극계의 주요 담론으로 형성, 진행되었는지를 실증적 자료를 중심으로 살핀다. 1970년대는 한국연극사에서 전문비평시대를 열었던 시기로 『연극평론』은 이 시기의 대표적 연극지다. 『연극평론』의 비평가들은 한국연극을 질적으로 전환시키고자 하는 강한 욕구와 의지를 가지고 있었다. 이를 위하여 그들은 서구의 아방가르드 연극을 소개하며 한국연극계에 자극을 주었고, 민속학이 아닌 현대연극학의 관점에서 전통연희의 현대적 가능성을 강조하였다. 특히 전통연희가 갖는 원시성, 제의성이 현대 실험극에 시사하는 바에 주목하였고 이를 우리의 연극 현장에서 실천하고자 하였다. 그런데 이들의 전통연희에 대한 관심은 우리 문화에 대한 주체적 성찰로부터 나온 것만은 아니었다. 1960~70년대 서구문화권에서 폭넓게 전개되던 연극인류학과 아시아 연극에 대한 관심, 총체극과 퍼포먼스 이론에 대한 서구 비평계와 학계의 관심이 우리에게 미친 영향이 크다. 특히 『연극평론』과 『TDR: The Drama Review』(전신은 『The Tulane Drama Review』)의 관계는 생각보다 밀접하여 저널의 에디토리얼, 번역 소개된 작품 및 기사의 원천, 특집 구성 방식, 비평적 관점 등에서 실질적 관련성을 보인다. 본 연구는 이러한 문제제기 하에 『연극평론』의 기사들을 실증적으로 검토하여 연극비평관의 형성과 담론 생산에 영향을 미친 해외연극론의 영향관계를 밝히고자 한다.

벤 존슨의 「축혼가」에 나타난 정치성

이진아 한국고전중세르네상스영문학회 2010 중세근세영문학 Vol.20 No.2

This article aims to illuminate the political implications in Ben Jonson's “Epithalamion, or a Song Celebrating the Nuptials of that Noble gentleman, Mr. Jerome Weston, Son and Heir of the Lord Weston,Lord High Treasurer of England, with the Lady Frances Stuwart,Daughter of Esme, Duke of Lenox, deceased, and Sister of the surviving Duke of the same name.”Though this poem apparently congratulates the marriage of Jerome Weston and Frances Stuwart, its central focus is on King Charles 1and the politico-cultual situations in his court. The wedding song is a medium through which Jonson pays tribute to the ideal love and marriage of Charles 1 and Henrietta-Maria. The poet and the sun,symbol of the king, both witness and direct the procession of the nuptial ceremony. In his efforts to communicate with the sun with intimacy and authority, the poet reveals his desire to recover the royal patronage and the poet laureateship that he enjoyed under the reign of James 1. In his praise of the royal marriage as the ideal of all marriages with a strong emphasis on the authority of the king, Jonson seem to slightly disparage the Platonic love fashion which Henrietta Maria carried over to the English court. In addition, her insignificant presence in this poem reflects Jonson's awareness of the political conflicts between the queen and his patron, Richard Weston. Jonson's last Epithalamion becomes an encoding of the political and cultural situations in the Caroline court where Jonson strives to position himself as an influential poet laureate.

성인 은둔형 외톨이 자녀를 둔 어머니의 삶에 대한 내러티브 탐구

이진아,서미아 한국가족치료학회 2022 가족과 가족치료 Vol.30 No.4

Objectives: This study was conducted in-depth explorations based on the narrative research tradition to inquire into the life experiences and meanings of mothers of adult hikikomori children. The participants were three mothers in their 50s and 60s with adult children who have been socially isolated, who have been out for a short time, or work but rarely have interpersonal relationships, for more than nine years. Methods: The data collection period was from February to April 2021, with six to seven in-depth interviews per participant. For the analysis of the data, the narrative inquiry approach suggested by Clandinin & Connelly(2000) was applied. Results: The meaning of life expressed in the narratives of the par ticipants was found to be defined as ‘trapped on a secret island’, ‘tangled threads’, ‘wandering in unfamiliar places’, ‘life swayed by a child’, and “on a painful pilgrimage path”. Conclusions: This study will facilitate the creation of a specialized support system for mothers and families with adult hikikomori children. It will also support the development of educational programs and effective family therapy.

무대 위 ‘보통이 아닌 몸’, 그 미적 정치적 질문에 대하여* -연극 <인정투쟁; 예술가 편>을 중심으로-

이진아 한국드라마학회 2022 드라마연구 Vol.- No.66

Recognition Struggle; Artists’ Part was performed at Doosan Art Center Space 111 in 2019 and was composed with the themes, “What acceptance as an artist is”, “What the art is”, and “What an artist is” in the so-called “art world.” Seven disability actors/actresses appeared in the work and played one abstract character of “an artist”. As disability arts have recently attracted attention as a central discourse in the art world in addition to the themes covered by the script, the meanings given to disability artists by the outside, agony on the relationship between identity of disability art and mainstream art, and problems of body representation and objectification of disability on stage etc. were directly or indirectly performed in the play. The stage is a place of customs and rules. One of the best tools is the body of an actor on the stage. The actor’s art to be shown with adjusted expression of a human body reproduces our ideal of the body such as the body portions, well-controlled mobility, and accurate diction to be felt the most beautiful by the people. For these reasons, the body that can stand on the stage has historically always been restricted. However, the work of asking aesthetic and political questions about this idealized body began to appear in the Korean theatrical world since 2000s. We faced on existence of a body stage showing a body cut out due to an accident or disease, a body that moves and reacts in an unfamiliar way due to a brain lesion disorder, a face that shows the characteristics of Down syndrome, and a short actor with hypochondria, etc. which had been deemed as visualization of abnormal and bizarre lesions in the viewpoint of so-called nondisability- centrism. This study reviews these issues focusing on Recognition Struggle; Artists’ Part. By critically examining the contradictoriness of the normativity of the body on stage, the normativity of the profession as an actor, and furthermore, the contradictoriness of our idealistic conception of the body, the meaning of deconstructing nondisability-centrism in art was reviewed. 2019년 두산아트센터 스페이스111에서 공연된 <인정투쟁; 예술가 편>은 소위 ‘예술계’에서 ‘예술가’로 승인받는다는 것이 무엇인가, ‘예술’은 무엇이며 ‘예술가’ 는 또 무엇인가를 질문하는 작품이다. 이 작품에는 총 7명의 장애를 지닌 배우들이 등장하여 ‘예술가’라는 1인의 추상적 인물을 함께 나누어 연기한다. 연극은 대본이 다루는 주제 외에도, 장애 예술이 최근 예술계 중심 담론으로 주목받으며 장애 예 술가들에게 외부로부터 부과된 의미들, 장애 예술 정체성과 주류 예술과의 관계, 무대 위 장애의 몸 재현과 대상화의 문제를 직간접적으로 다룬다. 무대는 관습과 규율의 장소다. 그것을 가장 잘 보여주는 것 중 하나가 무대 위 배 우의 몸이다. 사람들이 아름답다고 느끼는 비율의 신체, 잘 통제된 운동성, 정확한 발음과 표준어 사용 등, 인간 신체의 표현 가능성의 강약을 조절하며 구현되는 배 우 예술은 몸에 대한 우리의 이상을 재현한다. 그런 까닭에 무대에 설 수 있는 몸은 역사적으로 늘 제약이 따랐다. 그런데 이러한 이상화된 몸에 대하여 미적, 정치적 질문을 던지는 작업이 2000년대 이후 한국연극계에도 등장하기 시작하였다. 사고 나 병으로 도려내지고 절단된 신체, 뇌병변장애로 인하여 낯선 방식으로 운동하고 반응하는 신체, 다운증후군의 특징을 드러내는 얼굴, 연골형성저하증으로 키가 작 은 배우 등, 비장애중심주의에서 소위 정상이 아닌, 기괴한, 병변을 가시화한다고 여겨져 왔던 몸의 무대 현존을 마주 대하게 되었다. 본 연구는 <인정투쟁; 예술가 편>을 중심으로 이 문제를 고찰한다. 무대 위 몸의 규범성, 배우라는 직업의 규범 성, 나아가 우리가 몸에 대하여 가지고 있는 이상적 관념의 모순성을 비판적으로 검토하면서, 예술에서 비장애중심주의를 해체한다는 것의 의미를 살핀다.

아밀리아 러니에의 『유대인의 왕 하느님 만세』 에 나타난 여성적 영성

이진아 한국문학과종교학회 2001 문학과종교 Vol.6 No.1

The purpose of this article is to study Aemilia Lanyei s spirituality and its relationship to the culturally constructed femininity in the early modern period. In $quot;Salve Deus Rex Judaeorum.$quot; Lanyer's religious experiences are very feminine, in terms that they frequently are represented through such female activities as preparing food, birth, lactation, and mirror watching. This means that her spirituality was constructed by the ideas of femininity which were formed by a male-centered culture and supported by religious(Judeo-Christian) ideologies. Lanyei s female spirituality inherits the legacies of religious women in late medieval Europe. whose devotions emphasized the meditation on the passion of Jesus, and the incarnation and the humanity of Christ. Food themes were also located at the heart of their religious practice. To them as well as to Lanyer, the tortured body of Jesus is the bread of life and his blood the drink of life. When crucified Jesus becomes food, he becomes female, because woman's body is often referred to as food. Jesus also became female, when he was clothed in fleshly humanness only from Mary. Incarnate Word. Jesus disturbs the dichotomy of western thought that the man is spirituality and woman is flesh. This dichotomy is again disrupted and man becomes flesh, no better than woman, when Lanyer's passion story as a $quot;mirror$quot; reflects that ignorant. frail and weak men are responsible for Jesus' death. This subversively means that woman, the image of man, not of God, becomes God-like through Jesus, and thus equal to man. The mystery of incarnation also demolishes the boundaries between classes. since Jesus, the heavenly king, humbled himself to be born as one among the low, the weak and the oppressed. Lanyer as a woman from the low class who prepares spiritual food for her patronesses, has stronger affinities with Jesus than her noble readers. Lanyer fully accepts and internalizes the femininity constructed by society and religion, and fashions her female spirituality through that femininity. At the same time she finds in the incarnation and passion of Jesus the subversive powers to go beyond the cultural boundary of femininity and to proclaim the equality between man and woman, and the high born and low born.

연극비평 : 볼가 강의 노래 -그루지아 트빌리시 마리오네트 극단(Tbilisi Marionette Theatre)의 ≪스탈린그라드 전투≫

이진아 한국연극평론가협회 2004 연극평론 Vol.35 No.-

사회초년생의 금융적 특성 분석 및 개인재무관리를 위한 정책적 제언

이진아,강형구,김석환 한국FP학회 2022 Financial Planning Review Vol.15 No.3

This study examined the importance of customized financial systems in improving financial capability of young employees in Korea. One thousand young employees in the age range of 18 to 34 years, whose monthly incomes are at least one million won, were surveyed. The main implications of this study are as follows. First, it is necessary to develop financial products and services tailor-made for the degree of risk aversion and financial conditions of young employees. Second, quality financial education programs are also crucial for these young employees. Lastly, rapid growth of big-tech companies in the financial sector provide young employees with a broad range of opportunities to access capital. 본 연구는 사회초년생의 금융 관련 특성을 파악하고 개인재무관리를 위한 금융서비스 제공 방안 등 정책적 제언을 하는 데 목적이 있다. 이를 위해 최근 6개월간 월 평균 개인(본인)소득 100만 원 이상이며 모든 사업장의 비정규직 근로자 또는 중소기업 2년 이하 근로자인 만 18~34세 남녀를 대상으로 설문조사를 실시하였다. 본 연구의 주요 시사점은 다음과 같다. 첫째, 사회초년생의 금융니즈와 성향을 제대로 파악하여 그들의 위험기피성향과 투자 특성 등에 맞는 금융 상품 개발과 금융서비스 제공이 필요하다. 둘째, 다른 세대 및 집단과의 차이점을 고려하여 사회초년생 집단에 적합한 재무 설계 교육이 필요하다. 마지막으로, 빅테크 기업의 비시장전략을 기반으로 한 금융권 진출은 금융서비스를 받기 힘들었던 사회초년생과 장기적으로 지속가능한 동반성장(win-win)을 이룰 수 있으며 사회적 책임을 수행한다는 측면에서 일면 정당화될 여지가 있다. 본 연구를 통하여 사회초년생 집단의 합리적인 재무설계 필요성을 되짚어 보고 핀테크 및 빅테크 기업은 비시장전략을 구사하고 경쟁우위를 달성하는 데 도움이 되길 기대한다.

연극비평 : 아름다움이 세계를 구원할 것인가? -안드레이 졸닥이 바라보는 ≪백치≫

이진아 한국연극평론가협회 2005 연극평론 Vol.38 No.-

『페어리 여왕』5권의 이시스:브리토마트의 신화적 변용의 정치성

이진아 한국중세근세영문학회 2008 중세르네상스 영문학 Vol.16 No.2

Britomart's repeal of the female rule in Radigund's amazonian kingdom, probably one of the most controversial episodes in Book 5 of The Faerie Queene, happens right after her transformation into Isis in her dream vision of marriage in the Temple of Isis. Her action seems to be quite contradictory to her images as a queen regnant-to-be. From a contextual point of view, the figure of Isis seems to be crucial to the understanding of the allegorical inscrutability of Britomart's action. This paper explores the political implications of the myth of Isis and their relations with Britomart's repealing of female rule. It also aims to illuminate how Spenser's concerns with the issue of Elizabeth 1's marriage are engaged in Britomart's transfiguration into Isis and her vision of marriage. The two queens regnants, Mary and Elizabeth 1 in early modern England respectively posed urgent political problems: the problem of the authority of a married queen regnant to her husband, her social and political superior, in the case of Mary whose husband tried to gain control over the internal and diplomatic affairs of the realm, and the problem of the dynasty without an heir in the case of the virgin queen Elizabeth. Spenser seemed to find a role model of female ruler in the figure of Isis in his attempts to solve the problems of female rule. Isis was established in the Egyptian and the Greco-Roman myths as the loving and faithful consort and the dynastic mother. She resuscitated the dead Osiris who was killed by his brother Setth in their power struggles, helped her son Horus to regain the kingship from his uncle, and so was worshipped as the dynastic mother of all the pharaohs in Egypt. She also ruled Egypt on behalf of her husband, when Osiris was away from his country. In Spenser's representation of Isis, she shares the power of justice with Osiris and suppresses the violent aspects of his power. However, she reveals herself more prominently as the loving and all-embracing mother and the faithful spouse than female ruler. Britomart's identification with Isis as wife and mother has the effect of reducing her role of a queen regnant, suggesting that her regal power could be considerably transferred to her consort Artegall after their marriage. Her repeal of female rule and her making all the Radigund's magistrates subject to Artegall strongly imply her future uxorial subjection to Artegall, and anticipate her share of the regal power with her husband, which Elizabeth 1 would never have had hoped. Britomart's roles as the ancestral mother of the Tudor dynasty and more a queen consort like Isis than a queen regnant seem to be the ones that Spenser expected the queen should have chosen for the future of England. Britomart's repeal of the female rule in Radigund's amazonian kingdom, probably one of the most controversial episodes in Book 5 of The Faerie Queene, happens right after her transformation into Isis in her dream vision of marriage in the Temple of Isis. Her action seems to be quite contradictory to her images as a queen regnant-to-be. From a contextual point of view, the figure of Isis seems to be crucial to the understanding of the allegorical inscrutability of Britomart's action. This paper explores the political implications of the myth of Isis and their relations with Britomart's repealing of female rule. It also aims to illuminate how Spenser's concerns with the issue of Elizabeth 1's marriage are engaged in Britomart's transfiguration into Isis and her vision of marriage. The two queens regnants, Mary and Elizabeth 1 in early modern England respectively posed urgent political problems: the problem of the authority of a married queen regnant to her husband, her social and political superior, in the case of Mary whose husband tried to gain control over the internal and diplomatic affairs of the realm, and the problem of the dynasty without an heir in the case of the virgin queen Elizabeth. Spenser seemed to find a role model of female ruler in the figure of Isis in his attempts to solve the problems of female rule. Isis was established in the Egyptian and the Greco-Roman myths as the loving and faithful consort and the dynastic mother. She resuscitated the dead Osiris who was killed by his brother Setth in their power struggles, helped her son Horus to regain the kingship from his uncle, and so was worshipped as the dynastic mother of all the pharaohs in Egypt. She also ruled Egypt on behalf of her husband, when Osiris was away from his country. In Spenser's representation of Isis, she shares the power of justice with Osiris and suppresses the violent aspects of his power. However, she reveals herself more prominently as the loving and all-embracing mother and the faithful spouse than female ruler. Britomart's identification with Isis as wife and mother has the effect of reducing her role of a queen regnant, suggesting that her regal power could be considerably transferred to her consort Artegall after their marriage. Her repeal of female rule and her making all the Radigund's magistrates subject to Artegall strongly imply her future uxorial subjection to Artegall, and anticipate her share of the regal power with her husband, which Elizabeth 1 would never have had hoped. Britomart's roles as the ancestral mother of the Tudor dynasty and more a queen consort like Isis than a queen regnant seem to be the ones that Spenser expected the queen should have chosen for the future of England.