선원부인작품 당선작 10 : 신부일기 외 1 편

유선옥 한국해사문제연구소 1977 (月刊)海洋韓國 Vol.51 No.-

라모가 읽은 이성적 사랑과 감성적 사랑: 음악비극 ≪이폴리트와 아리시≫의 아리시와 페드르를 중심으로

유선옥 한양대학교 음악연구소 2020 音樂論壇 Vol.44 No.-

As in Sense and Sensibility(1811), the most famous novel written by Jane Austen(1775-1817), two contrasting female characters are depicted in Rameau’s first tragédie en musique, Hippolyte et Aricie(1733, Paris). The two female characters, Aricie and Phèdre, are both i n love with Hippolyte. However, the way the two show their love towards Hippolyte is completely different. Aricie shows a rational approach to love, carefully contemplating her emotion towards Hippolyte and following the order and law of the Gods. Phèdre, on the other hand, is extremely emotional and unable to control her inappropriate love towards her stepson. The way Rameau regarded the two different attitudes towards love is reflected in the key signatures and the tonalities used in Hippolyte et Aricie. In his first treatise Traité de l’harmonie réduite à ses principes naturels(1722), Rameau defines the difference between a major tonality and a minor tonality, and the different characters of each tonalities. In Observations sur notre instinct pour la musique(1754), he attempts to define the characters of each key signature based on scientific evidence. According to Rameau’s theory established in these treatises, major tonalities and natural(♮) and sharp(♯) key sign atures a re n atural, whereas minor tonalities and flat(♭) key signatures are unnatural. Thus Rameau considered the major tonalities and natural and sharp key signatures to be stronger and more positive than the artificially generated minor tonalities and flat key signatures. In Hippolyte et Aricie, the music of Aricie is written in a major key(D Major) with a sharp key signature and the music of Phèdre in a minor key(d, g m in or) with a flat key signature. It is clear that Rameau deliberately distinguished the two characters by composing their music in different keys, and the key sign atures u sed in their music indicate that the composer regarded sensible love as positive and sensitive love as negative. 1733년 파리에서 초연된 라모의 첫 번째 음악비극 ≪이폴리트와 아리시≫에는 제인 오스틴의 첫 번째 장편 소설 『이성과 감성』에서처럼 두 명의 대비되는 여성 인물인 아리시와 페드르가 등장한다. 두 사람은 동일하게 이폴리트를 사랑한다. 그러나 그들이 보여주는 사랑 방식은 전혀 다르다. 먼저 아리시는 이폴리트를 향한 사랑의 감정을 사려 깊게 숙고하며 신의 질서와 법에 따라 통제하는 ‘이성적 사랑’을 보여준다. 한편 페드르는 의붓아들인 이폴리트를 향한 부정한 사랑을 결코 제어하지 못하는 ‘감성적 사랑’을 보여준다. 그리고 이러한 그들의 서로 다른 사랑의 방식은 라모에 의해 조표와 조성으로 반영되어 나타난다. 저명한 이론가이기도 했던 라모는 1722년에 발간한 첫 번째 이론서 『화성론』에서 장⋅단조와 각 조성의 성격을 특징지었고, 1754년에 출간한 『음악에 대한 본능과 그것의 원리에 대한 관찰』에서 조표의 특성을 과학적으로 설명하고자 했다. 그에 의하면 장조와 ♮과 ♯의 조표는 자연적으로 생성되는 반면, 단조와 ♭의 조표는 인위적으로 만들어진다. 이에 따라, 라모는 자연적인 장조와 ♮과 ♯의 조표가 그렇지 않은 단조와 ♭의 조표보다 더 강하고 긍정적인 특징을 지닌다고 여겼다. 따라서 라모는 ‘이성적 사랑’의 아리시를 ♯조표의 D장조를 중심 조성으로 작곡함으로써, ♭조표의 d단조와 g단조로 작곡된 ‘감성적 사랑’의 페드르보다 더 긍정했음을 고찰하여 볼 수 있다.

흑인 여성의 모성

유선옥 대한영어영문학회 2020 영어영문학연구 Vol.46 No.1

Yoo, Sunock. “The Motherhood of the black women.” Studies in English Language & Literature 46.1 (2020): 67-86. This paper examines the black women’s motherhood revealed in the circumstances from the colonial suppression and exploitation and their resistance to survive through Suzan-Lori Parks’ The Red Letter Plays. Because the Hesters in Fucking A and In the Blood cannot read and write but are only controlled and exploited by social ideologies, they do not have any solution to escape from their problems. These kinds of various suppression and exploitation from racism, poverty, lack of education and professional opportunity have taken black women’s innate motherhood away. Hester Smith in Fucking A is made or branded not to have any notion of motherhood. Her motherhood has been controled, learned and practiced to be absent. Parks draws the black woman's motherhood by making Hester kill her own son to save him in Fucking A. And she examines that the resistance to colonial power are continuing now. And this is to rewrite whole American black women's history and maybe the future story of black women who survive through the oppression as well. (Hallym Polytechnic University)

윌슨의 『울타리』에 표현된 흑인 문화의 남성

유선옥 현대영미어문학회 2009 현대영미어문학 Vol.27 No.2

This study examines the African-American masculinity in Wilson's Fences. Wilson attempts to provide solutions in order to help reconstruct a sense of masculinity for his characters. Particularly in his depiction of men struggling in the social world, he demonstrates the need for calling upon one's cultural heritage. In fact, for African-American men, Wilson posits his plays almost as a model for depictions of their struggle to survive in the social world. The sons cannot hide from the shade of their fathers' masculinity, moreover, that masculinity has been reiterated or handed over to them. In this paper, it is interesting to note that the African-American masculinity, including the Troys', will be a sort of assignment for us to solve in our modern society.

『세일즈맨의 죽음』에 나타난 왜곡된 여성상

유선옥 현대영미어문학회 2017 현대영미어문학 Vol.35 No.1

This paper explores femininity in Arthur Miller’s representative play, Death of a Salesman. Researchers have criticized Miller as an anti-feminist playwright because the female characters, compared with men, are shown to be abnormally passive. They have passed critical judgment on the female character, Linda, who has been blamed for destroying Willy. Linda has been simultaneously idealized, yet has been distorted as well. Moreover, she is responsible for Willy’s death in the patriarchal culture where Miller grew up. However, their arguments come from the same point of view of the patriarchal standard prevalent in America in the 1940s. Their perspective on femininity is influenced by society’s ideals. This study explains how the researchers have missed Linda’s attempts to help Willy. Willy’s demise is due to Willy himself and the society that Miller belonged to. The re-reading of Miller’s female character aims to bring a new understanding to this play. .

흑인 여성의 육체에 내재한 식민주의적 억압과 착취: 수잔 로리 팍스의 『비너스』

유선옥 대한영어영문학회 2019 영어영문학연구 Vol.45 No.1

This study examines the colonial suppression and exploitation of a black woman’s body in Suzan-Lori Parks’s Venus. Venus’s body is an object for the amused white spectators’ gaze, anatomical dissection, and medical research. Through the public exhibition and exploitation of her body, she is colonized and grows accustomed to the power. She did not have any right to own her body, which belonged to Mother-Showman and later Doctor Baron, who intended to examine her body after her death. Her race and distinctive feature with big buttock made people consider her a kind of animal or inferior species. And the report from Baron’s anatomy gives the audience the proof for it. She was not free in life or in death, being exhibited naked in Europe without her consent. She was ceaselessly otherized and colonized by the white male. Her body is represented as a symbol of sacrifice from nineteenth-century colonial power. Parks highlighted these colonial traces in the past and rewrote the hidden history for the black women.

유진 오닐의『느릅나무 밑의 욕망』과 심리학 연구

유선옥 신영어영문학회 2014 신영어영문학 Vol.58 No.-

The purpose of this study is to explore the relationship between Eugene O’Neill’s Desire under the Elms and the analytic psychology. In Desire under the Elms, O’Neill describes various Jungian unconscious archetypes with the mother archetype, shadow, anima, animus and persona as well. He also employs these archetypes for his own self-actualization as well as for his psychoanalysis of his own family members. Although all the characters seem to fail superficially, they achieve their own individuation from the viewpoint of analytical psychology. Through this play, O’Neill searches for man’s inner world by archetypal images buried in the vast landscape of unconscious thought of human beings. He portrays the way that most of the characters perpetrate a crime consciously or unconsciously and consequently feel regret, seeking each other’s pardon after realizing their guilt. From the Jungian point of view, this play shows us Eugene O’Neill’s conviction that human beings are able to gain self-actualization when they are aware of their unconscious self, such as shadow, anima or animus.

라모의 음악비극 ≪이폴리트와 아리시≫에 나오는 ‘덕’: 테제와 이폴리트를 중심으로

유선옥 ( Ryu Sun-Ok ) 서울대학교 서양음악연구소 2021 음악이론연구 Vol.36 No.-

본 논문은 라모의 음악비극 ≪이폴리트와 아리시≫에 나타나는 ‘덕’에 대한 논의를 살펴보고, 라모가 이를 어떻게 음악으로 읽어냈는지 분석하여 보고자 한 것이다. 음악비극은 목가적인 남녀 간의 사랑 이야기가 핵심 주제로, 이 작품 역시 이폴리트와 아리시의 사랑이야기로 되어 있다. 하지만 이 작품에서는 중요한 역할을 담당하는 두 명의 남성 등장인물들에 의해 빈번히 ‘덕’이 논의되는데, 그들은 바로 부자지간인 테제와 이폴리트이다. 테제는 친구를 구하기 위해 죽음까지 무릅쓰는 우정의 덕과 더불어, 혈육임에도 불구하고 죄를 지은 아들에게 정당한 벌을 내리는 공명정대함의 덕을 보여주었다. 그러나 그가 보인 덕은 모두 진정한 덕이 아니었다. 테제는 죄를 함께 도모함으로써 친구와의 우정을 쌓았고, 무고한 아들을 성급한 판단으로 죽음으로 몰아갔다. 그리고 이는 라모에 의해 주로 플랫 조표와 불협화성으로 표현되었다. 한편, 이폴리트는 아리시와의 순결한 사랑 뿐 아니라 신을 온전히 경외할 줄 알며, 자신과의 적대적인 관계를 가진 사람들에게 먼저 손을 내미는 관용의 모습을 보여주었다. 더 나아가 그는 신과 아버지, 그리고 백성들을 위해 희생할 줄 아는 덕망 높은 인물이었다. 그리고 이러한 그의 모습은 주로 내추럴과 샾조표, 그리고 안정적인 화성 안에서 나타났다. 이를 통해 이론가이기도 했던 라모가 진정한 덕과 그렇지 않은 덕을 음악으로 반영하고자 했음을 살펴 볼 수 있었다. 결국 테제는 덕을 행하지 못한 대가로 가장 친한 친구와 사랑하는 아내의 죽음을 목격했을 뿐 아니라, 신으로부터 아들인 이폴리트를 평생 보지 못하는 벌을 받게 된다. 반면 진정한 덕을 행한 이폴리트는 새로운 장소인 아리시의 숲의 지배자가 되어 모든 사람들을 ‘행복’하게 다스린다. 이처럼 ≪이폴리트와 아리시≫는 이폴리트와 아리시 간의 사랑이야기가 표면적으로 나타나지만, 그 이면에는 덕에 대한 논의가 끊임없이 펼쳐진다. 여흥의 장르이기도 한 음악비극은 륄리에 의해 절대 권력을 음악으로 표징함으로써 프랑스의 정체성을 무대 위에서 보여주고자 했다. 그리고 라모는 절대 권력이 약화되었을 뿐 아니라 새로운 계몽주의 사상이 도래되고 있던 18세기 초, 덕망 높은 지도자에 의해 행복하게 다스려지는 프랑스의 새 시대를 이 작품 속에서 예시하고자 했을지도 모른다. The purpose of this paper is to look into Hippolyte et Aricie in terms of its underlying discussion of virtue and the way Rameau expresses his interpretation on the matter in his music. Hippolyte et Aricie delivers a typical tragédie en musique style pastoral love story between two main characters, Hippolyte and Aricie. However, there is an underlying discussion of virtue, which is carried out through the characterization of Hippolyte and his father Thésée. Thésée shows his friendship by risking his life to save his friend and his fairness by justly punishing his son who has committed a crime. However, they are all false virtues, for the friendship was formed by committing a crime together and Thésée’s hasty judgment caused his son to die. Rameau musically depicts this false virtue by using a flat key signatures and dissonant chords. On the contrary, Hippolyte loves Aricie with a pure heart, truly reveres the gods, and shows generosity by reaching out to his antagonists. Furthermore, he is a virtuous person who is willing to sacrifice himself for the gods, his father, and his subjects. Music for Hippolyte is written in a natural/sharp key signatures using stable chord progressions. It is clear that Rameau, who was also a music theorist, attempted to reflect the difference between true virtue and false virtue in the music of Hippolyte et Aricie. Thésée eventually pays the price for practicing false virtues by witnessing the deaths of his best friend and his wife, and Destin punishes him by forever separating him from his son Hippolyte. Hippolyte, who practiced true virtues, becomes the ruler of Aricie’s forest and happily rules the people of the forest. On the surface, Hippolyte et Aricie is a love story between the two main characters. However, underlying it is a continuous discussion over true and false virtue. Although its primary function was to entertain the audience, tragédie en musique was also used by Lully as a means to represent through music the great power of the absolute monarchy. Similarly, as the power of the absolute monarchy was waning and the new idea of the Enlightenment was emerging in the early eighteenth century, Rameau may have attempted to represent the future of France, that is, the new era of France in which the nation is governed by a virtuous ruler.

『세일즈맨의 죽음』에 나타난 남성성의 위기

유선옥 ( Yoo Sun-ock ) 대한영어영문학회 2008 영어영문학연구 Vol.34 No.2

This study investigates the influence of masculine ideology on fathers and sons in the modern American play, Death of a Salesman by Arthur Miller. The image of masculinity is in an increasingly unstable position between traditional conditioning and modern demands and desires. This study also explores the portrayals of men and the masculine image in cultural, social, and sexual contexts. Arthur Miller challenges critical ideas by disclosing them as unstable, cultural constructions rather than monolithic or biological ones. Although Miller’s play cannot represent all cases in American Drama, it can be used as a model to identify the construct of masculinity and its challenges within American society. (Seoul National University of Technology)

초기 계몽주의 시대의 이성과 감성: 라모의 음악비극 ≪이폴리트와 아리시≫의 프롤로그에 나오는 디안과 라무르를 중심으로

유선옥 ( Sunok Ryu ) 한국서양음악이론학회(연세대학교 음악연구소) 2020 음악이론포럼 Vol.27 No.2

본 논문은 초기 계몽주의 이론가이자 작곡가였던 라모가 자신의 첫 음악비극 ≪이폴리트와 아리시≫의 프롤로그에서 이성과 감성으로 치환할 수 있는 디안과 라무르를 어떻게 음악적으로 처리하였는지 살펴보고자 한 것이다. 라모는 질서를 세우는 디안을 장조성(D, G, A)으로, 그리고 낭송적이고 화성적으로 작곡한 반면, 질서를 깨트리는 라무르를 단조성(b, f#)으로, 그리고 장식적이고 모방적으로 작곡하였다. 이러한 음악적 대비를 통해, 라모가 디안과 라무르를 음악적으로 대립시켰을 뿐 아니라, 더 나아가 라모의 이론을 통해 장조성의 디안을 단조성의 라무르보다 더 우월하게 여겼음을 추측하여 볼 수 있다. 그러나 라모는 디안(D)과 라무르(b)를 조성적으로 가깝게 설정함으로써, 두 신을 극렬하게 대비시키기보다는 조화롭게 바라보았다. 그리고 이는 계몽주의 시대의 이성과 감성을 바라본 시각이기도 했다. This paper discusses how Rameau, as a composer and one of the early Enlightenment theorists, deals with the music of Diane and L’Amour in the P rologue of his first tragédie en musique, Hippolyte et Aricie. The music of Diane, who represents reason and establishes order, is written in major keys (D, G, and A) and characterized by recitational phrases and homophonic writing. On the contrary, the music of L’Amour, who represents sense and destroys order, is written in minor keys (b and f#) and characterized by frequent use of embellishments and polyphonic writing. By composing the music of Diane and L’Amour in two contrasting musical styles, Rameau musically emphasizes the difference between the two characters. In his theoretical writings, Rameau describes the major tonalities as natural and positive and minor tonalities as unnatural and negative, therefore, it is clear that Rameau regarded Diane to be superior to L’Amour. However, Rameau composed the music of Diane (D Major) and L’Amour (b minor) in closely related keys so that they are described as two deities existing in harmony rather than sharply contrasting them as two clashing characters. Rameau’s way of describing Diane and L’Amour as contrasting but harmoniously co-existing characters reflects how reason and sense were perceived in the early Enlightenment period.