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학술논문

각설이와 하르레킨

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영문명
발행기관
한국외국어대학교 외국문학연구소
저자명
김형식(Kim, Hyeong-shik)
간행물 정보
『외국문학연구』외국문학연구 제17호, 145~174쪽, 전체 30쪽
주제분류
어문학 > 문학
파일형태
PDF
발행일자
2004.08.01
6,400

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1:1 문의
논문 표지

국문 초록

영문 초록

This work will illuminate the comic characters and the dramatic significance of the situation that characters are faced with by comparing the character types in Korean and European comedy. Kaksori, the narrative figure in Chinogy-Gut by Kim Ji Ha and Hanswurst, the representative form of Harlekin are the main objects of this comparative study. An European clown is a plat character with stereotyped appearance and costumes. It stands for a specific professional and personal tribe of human beings. In contrast to this, Kaksori is not a static figure whose character trait and impression can be squeezed into certain categories. Its characteristic is flexible due to the social factors. Kaksori does not remind the spectators of human folly and weakness and make them a feel superior. Neither does he cause laughter with parody as it is typical for the comic characters. Its comic behavior consists greed and betrayal. Whereas its conduct and costume are abnormal and thus funny, the content of his "Taryeong" goes ahead of the peoples' knowledge and consciousness. Kaksori's specific comic corresponds with the characteristic of Maltuggi in traditional mask dance. In the latter a learned nobleman still does not reach Kaksoris level of consciousness. Malduggis comic behaviour, similar to Kaksoris, is mostly typified. His eloquence discloses the intimate life of the nobleman and in this, most of the irony is established. Kaksori's spectacular flood of words expresses strong scepticism against society, politic body, religion and public opinion. However, this dialogue produces less comic effects by means of comparisons and metaphors. It depends more on invectives as well as direct, sensual, and situational expressions. The noble man does not understand Malduggis rhetoric and is fooled from one side. Between him and Malduggi there is no peppy conversation that reminds us of two adversaries in a fencing fight. This shortcoming is only remedied by typified comic gestures. Yet in a situation, where the typified gestures cannot be handed down to upcoming generations, the comic of Korean mask dances inevitably hit on their limits.

목차

Ⅰ. 서언
Ⅱ. 논의의 초점
Ⅲ. 각설이 유형
Ⅳ. 하르레킨 Harlekin 유형
Ⅳ. 결언
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APA

김형식(Kim, Hyeong-shik). (2004).각설이와 하르레킨. 외국문학연구, (17), 145-174

MLA

김형식(Kim, Hyeong-shik). "각설이와 하르레킨." 외국문학연구, .17(2004): 145-174

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