기요 마르샹의 『죽음의 무도』 연구 = 텍스트와 이미지의 관계를 중심으로

다국어 초록 (Multilingual Abstract)

In the late Middle Ages, the theme of Danse macabre, or the Dance of Death, was prevalent throughout Europe. Under the powerful emblem of memento mori, Danse macabre spread rapidly through European art, literature, drama and visual examples. But the Dance of Death resembling ‘gaudy carnival’, in which all social ranks in descending order dances all together, did not stay to repeat ceaselessly one simple ontological distillation: the inevitable fate of mankind, or death conquers all.
In the crossroads of various areas, the theme of Danse macabre continued to enjoy greatpopularity, in particular using the myriad of visual and literary forms. But the Danse macabre reduces and expands its repertoire of characters and contents and makes a significant transition to other topics, for instance the reflection of sin, repentance, corruption, gender, fortune, divine providence and salvation, leaving possibility to be multi-dimensional interpretation and the implications of a new angle. The aims of our study is to introduce in detail, for the first time in Korea, the structure and content of Danse macabre of Men, published by Guyot Marchant in 1486 and to examine the relationship between text and woodcut images in this edition. By analyzing the opposition between the living and dead, the ambiguity between the bodily postures and dialogues, the conflict between the didactic voice and the theatrical body language, we can understand the implications of the two conflicting modes of view, moving in satire from didactics and vice versa in the 1486 edition of Guyot Marchant. Through a follow-up study on the Danse macabre of women, we can make another opportunity for understanding about the ‘continuity’ and ‘alterity’ of the Middle Ages.

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