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목차

－여성주의 독법을 통해서
1. 들어가는 말
2. 미언의 시선과 타자화되는 여성들의 두 가지 다른 운명
3. 타자화된 여성들의 연극적 표현
4. 신방의 묘사를 통해서 본 性의 정치학
5. 김명정 플롯과 중매혼의 희극적 구조화
6. 가부장으로서의 미언
7. 나오는 말


*한글97

본문내용

s. Therefore, one should not reduce the mind set of the accepting traditional element to the expressions of the nationalist spirit. It is rather that more through researches are needed through comparative studies with the theories of the history of Oriental culture which puts importance on the localism based on the imperialistic logic. As a result, our reading is not far from the conclusion that a wish fulfillment of a mythical world represented in the form of Doraji Village, a form of the compensation for self-sacrifice and the politics of regarding the ruling class are just a mechanism of the colonial society to domesticate the governed people.
Third, even though there is a clear limitation in the world view of the text from the "elitist" point of view, such as critics of the theatre and literature, it gives lot of fun in the form of farce or musical which are less dependent upon the morality of the general public. (According to recording of director Lee Man Il in 1957, the popularity of the movie brought about the booming industry for the comedy movies.)
There is a clear difference between the watching the cinema and seeing the play, and there is likely to be a difference between the watching the Wedding Day and the experience of reading it. In other words, there is a big difference between the cinema which presents the objects visually and the reading experience which leaves a imaginative space to reader though tied to the logical causality. Without the critical perception, a musical form or a cinematic form of the Wedding Day gives attractions and fun with classical taste. This work is too good to discard as just a fad. The rapid change of scenes, the comical turnover which attract attentions from the audience, the depiction of the comic character of the little clown, comic scenes between gentleman Maeng and elderly Maeng, the melodramatic final based in the morality of the general public that the wishes of the greedy characters are shattered and honest Ippun finally gets fortune, all these show what the general public expect from the comedy movie or musical. Furthermore, it seems that from the beginning, this work requires the reading of the general public and their interest rather than elitist aestheticism or grammar. This is more so in the form of musical which provides more spectacles and traditional music.
The history of drama, as the collective evaluation of individual texts and writers and historial dimension, is not something that exists as an absolute entity. It is rather something that need reconstructing. In this context, the Wedding Banquet has to be reevaluated transcending the framework of "nationalism" and "the acceptance of traditional elements." The world of O Young Jin who started his career as a scenario writer is characterized as the interest in various forms of expression and the unique absorption of other elements and his failures and greatness have to be dealt with by means of new critical methods in the open space.

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