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        • KCI등재

          <황석영 소설의 텍스트 확정을 위한 고찰> -초기 소설을 중심으로

          임기현 한국문학이론과비평학회 2008 한국문학이론과 비평 Vol.41 No.-

          It is required to actively excavate his lost works first, in order to confirm the texts of Hwang Seok-yeong’s novels. I found that many of Hwang Seok-yeong’s novels were frequently rewritten. Most of the adapted works were conducted when publishing a collective book of works, binding his drafts. The creative motto of Hwang Seok-yeong’s novels in 1970s was not to give up literary characteristics(purposeful aspects) in order to make the novels easy and interesting but not to flatter the public. It is indicated that his literary characteristics were based on ’Objective Realism’. Definitely it is a vexatious thing for researchers to confirm the texts as Hwang Seok-yeong left several variants. It is considered that most of his rewriting novels was desirable in order to effectively communicate the readers and to improve the level of Korean novels. Therefore, I believe that Hwang Seok-yeong is a workmanship author in these aspects. It is required to actively excavate his lost works first, in order to confirm the texts of Hwang Seok-yeong’s novels. I found that many of Hwang Seok-yeong’s novels were frequently rewritten. Most of the adapted works were conducted when publishing a collective book of works, binding his drafts. The creative motto of Hwang Seok-yeong’s novels in 1970s was not to give up literary characteristics(purposeful aspects) in order to make the novels easy and interesting but not to flatter the public. It is indicated that his literary characteristics were based on ’Objective Realism’. Definitely it is a vexatious thing for researchers to confirm the texts as Hwang Seok-yeong left several variants. It is considered that most of his rewriting novels was desirable in order to effectively communicate the readers and to improve the level of Korean novels. Therefore, I believe that Hwang Seok-yeong is a workmanship author in these aspects.

        • KCI등재

          『한씨연대기』의 연극화 과정 연구 - 각색 과정을 중심으로 -

          임기현 한국공연문화학회 2015 공연문화연구 Vol.0 No.30

          Drama based on the novel of that Hwang Seok-yeong, "HanChronicles" has received a lot of attention to the special work dealswith overcoming the division after the show in 1985. But there wasno study noted that the novel is successful theater productionsthrough any process. There is a full-fledged lack of interest can besaid because we proceed with the complex adaptation process. Iwould like to start from the original work of fiction, "HanChronicles" to scrutinize the process to be successful as a theaterproductions. Under these conditions, the novelist Hwang Seok-yeong hasadapted his novel "Han Chronicles" primary. Follows the plot of thenovel. In addition, the move to reduce the incidents drama form,and it may also create a new character. ‘Han Yeongdeok’ In theprocess, is emerging as a more obvious protagonist. Theconsciousness of the hostile North Korea reduced. Based on this, the second adaptation is guided by ‘Yeon-u stage’. Secondary adaptation, we switched to a more open, reflecting theepic drama dramatic elements. Reduce the screenplay adaptation ofthe first appearance of the characters and events. And insert a newchapter documentary instead. This allows to explore the causes ofdivision. In particular, the United States has focused on the role ofwar in Korea. This work is also being tried this method and use of a variety of epic playful elements. Through this play, "HanChronicles" were able to actively communicate with the audience. Play ‘Han Chronicles’ 황석영의 원작소설에 바탕을 두고 있는 ..한씨연대기..는 1985년 연극으로 공연된 이후 분단극복을 다룬 작품으로 주목을 받아왔다. 하지만 원작의 중편소설이 어떠한 과정을 거쳐 연극으로 성공했는지 주목한 연구는 없었다. 본격적인관심이 부족했던 데는 이 작품이 복잡한 각색과정을 거쳤기 때문이라고 할 수있다. 이에 필자는 ..한씨연대기..의 원작소설에서 출발하여 연극으로 성공을 거두기까지의 과정을 면밀히 살피고자 한다. 황석영은 자신의 소설을 극 장르로 1차 각색한다. 1차 각색은 소설에 충실한사실주의극 양식을 따르고 있다. 2차 각색은 황석영의 1차 각색본을 바탕으로연우무대에 의해 공동창작의 성격을 띠고 진행된다. 주인공 한영덕의 삶과 직접적으로 관련되는 부분은 그대로 살려두되 곁가지 사건들은 과감히 삭제했다. 대신, 분단을 둘러싼 대외적 사건을 서사극의 이름을 빌려 수용한다. 2차 각색본은서사극을 활용하여 분단의 원인에 대한 고찰, 미국의 역할 등을 문제 삼음으로써 분단에 대해 새롭게 조명할 수 있는 길을 터놓았다. 또한 극장주의의 놀이적장치를 수용하여 역동적인 희곡을 만듦으로써 관객의 주목을 받도록 했다. 우리는 각색의 면밀한 추적을 통해 원작소설에서 관객의 반응을 수용하는 연극 장르로의 성공적인 정착과정을 확인할 수 있으며, 우리 희곡사에서 분단 서사극으로서 크게 성공을 거둔 ..한씨 한씨연대기..의 문학사 기술을 위한 토대를 마련할수 있을 것이다.

        • KCI등재

          『한씨연대기』에 드러난 한국전쟁기 월남민의 남북한 체험

          임기현 한국문학이론과비평학회 2012 한국문학이론과 비평 Vol.57 No.-

          “The Chronicles of Han” academic progress has not been actively discussed. Easy to read in silence of narrators This is because the text. We follow the work from the perspective of the narrator revealed about the nature of war in Korea noted. First, in order to understand the histories that reflect the artist’s family history novels examined. By doing so, we the characters ‘Han yeong-deok’ were better able to understand. North Korea before the war through the ideological rigidity of the batter has proceeded apace. South Korea also because of the war ideology of the extreme anti-communism ruled. And just because wartime vulgar capitalism was rampant. ‘Han Yeongdeok’ eventually exposed as defenseless in this situation is reduced to wreck. That remain in our daily conflict and discord caused by the war and ideology does not overcome the ethnic homogeneity, but also a true unification is impossible. First, we are subject to the wounded during the war, you will need to look closely. “The Chronicles of Han,” the ‘Han Yeong-deok’figures of the war wounds by carefully recorded and presented to the unification of the literature, we demonstrated a new starting point. 황석영의 『한씨연대기』는 회자된 것에 비해 학계 관심은 부족했다고 할 수 있다. 이에는 서술자의 침묵으로 텍스트의 독해가 만만찮은 데도 그 이유가 있었다고 할 수 있다. 이에 필자는 서술자가 침묵한 빈자리를 채워 가면서, 황석영 분단소설의 주요기제가 되고 있는 ‘한국전쟁’을 작품에 어떻게 반영하고 있는지, 특히남북한을 동시 체험한 ‘월남민’을 등장시키고 있다는 사실에 주목하여 서술자가 남북한공간을 어떻게 인식하고 있는가를 살펴보았다. 이를 토대로 황석영 초기분단소설로서의 의의와 한계까지 살펴보고자 했다. 황석영의 『한씨연대기』는 1970년대라는 시대적 제약에서도 한국전쟁 시기 무고한 주체들이 직면해야 했던 폭력적 상황을 남북한 공간을 아우르며 구체적으로형상화하고 있다. 특히 작가는 혼란기를 틈타 사이비 자본주의가 횡행하는 타락한남한현실에 주목하여, 남한사회가 결코 월남민의 ‘원망공간’이 될 수 없음을 강조하고 있다. 분단극복과 우리 내부의 냉전체제 종식을 위해서는 분단(의식)의 결정적인 계기가 된 한국전쟁으로부터 상처 입은 주체의 트라우마를 치료하는 일이 선행되어야 한다고 할 때, 이 작품의 의미는 크다고 할 수 있다. 하지만, 이 작품은작가의 월남민 가족사가 깊게 투영됨으로써 남북한 공간인식에서 양비론적인 시각을 벗어나지 못함으로써 민족동질성 회복이나 분단극복의 전망을 제시하는 데까지는 이르지 못했다고 할 수 있다.

        • KCI등재

          이무영 국책소설의 성격-『靑瓦の家』와 『鄕歌』를 중심으로-

          임기현 한국언어문학회 2012 한국언어문학 Vol.83 No.-

          Text difficult to access by those entities that were not apparent on the basis of positivism works read. In conclusion, these two works aggressive ‘national literature' was confirmed in the corresponding. Underway in this area Lee-Mu young of ro-Japanese,' a debate about the implications will be. Unfortunately no, his peasant farmers in the rural literature was based, they say that it was to live to shine by driving. But, He performed on national nurtured their local language to deny, and distort the locals were. After liberation, rather than the humble self-reflection by editing the text once again sucking up to the locals, it is possible that. Writer's authority and discretion to adapt the work to the harm caused to turn two, the text was too large. Thus, 『Hyang-Ga』 never in his masterpiece can not be included in the collections. In addition, his birthplace is recorded as signs and decorations in the annals 『Blue Tile House』 Award of the shipbuilding example, must also speak of should be deleted. Text difficult to access by those entities that were not apparent on the basis of positivism works read. In conclusion, these two works aggressive ‘national literature' was confirmed in the corresponding. Underway in this area Lee-Mu young of ro-Japanese,' a debate about the implications will be. Unfortunately no, his peasant farmers in the rural literature was based, they say that it was to live to shine by driving. But, He performed on national nurtured their local language to deny, and distort the locals were. After liberation, rather than the humble self-reflection by editing the text once again sucking up to the locals, it is possible that. Writer's authority and discretion to adapt the work to the harm caused to turn two, the text was too large. Thus, 『Hyang-Ga』 never in his masterpiece can not be included in the collections. In addition, his birthplace is recorded as signs and decorations in the annals 『Blue Tile House』 Award of the shipbuilding example, must also speak of should be deleted.

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