한국 근대초기 공연문화의 취미(趣味)담론 연구 = (The) discourse of chwimi(趣味) in the early modern performing arts of Korea
저자
발행사항
서울 : 경희대학교 대학원, 2008
학위논문사항
학위논문(박사) -- 경희대학교 대학원 , 국어국문학과 국문학 전공 , 2008. 2
발행연도
2008
작성언어
한국어
DDC
895.733 판사항(22)
발행국(도시)
서울
형태사항
223 p. ; 26 cm.
일반주기명
지도교수: 김종회, 최혜실
참고문헌 : p. 204-219
소장기관
Among the diverse processes of producing the modern 'individual,' this dissertation focuses on the new cultural phenomenon that formed the consciousness about cultural subject in the field of performing arts. This research is premised on the idea that 'theater' is both the real and symbolic space for Koreans in the early twentieth century, who were hailed as the modern man, to form their identity as an 'individual' through their cultural experiences. This was to reveal the process in which the value of 'Chwimi(趣味)' was recognized in the early modern Korea and the new cultural practice of taste developed into a form of modern popular culture. In doing so, this study first traces what characteristics are unveiled of performing arts in each period from the 1900s to the 1920s when they were combined with the discourse of 'Chwimi.'
In the second chapter, the origin and influence of the concept of 'Chwimi(趣味)' is explored. The 'Chwimi' in modern Korea was formed by the influence of the West/Japan and in the context of Korea's domestic background. The aesthetics of modern West and 'taste,' a concept that summarizes it influenced the Meiji Japan, hence, leading to the emergence of the translated term for taste, 'shumi (趣味 ,しゅみ).' In various kinds of modern mass media, such as journals, newspapers and magazines that were published in Korea from 1900s, the influence of Japan's 'taste' discourse could be found. The aesthetics and the culture of taste of the new intellectual class in the late eighteenth century are examined as a precursor that enabled the modern concept of 'Chwimi' to emerge. The concept of 'Chwimi' partly maintained its traditional usage until 1910s, but it began to expand, dislocate and transform itself, thus manifesting its vitality, with the influence of cultural perspective of the Modern Enlightenment Period and the terms translated from the West(Japan). 'Chwimi' was assured of its modern value as it combined with the discourse of civilization, education, industry or national salvation.
The third chapter explores the mode in which the newly emerged cultural practice of 'Chwimi(趣味)' began to be institutionalized. Since the opening of 'Hyeopryul-sa (協律社)' in 1902, the first modern indoor theater in Korea, drama had been one of the most popular cultural genre before the independence of Korea. However, the theatrical performance was put under a full-scale attack from both the enlightenment theorists and the public. Then, the private theaters, performances at Wongak-sa(圓覺社) and the Sinpa-geuk (新派劇) started putting forth the virtue of new theater after 1907 in a manner that bypassed the criticism of the discourse of theater reform and public morals. That virtue was the 'Chwimi.' Just as the 'taste' for various media in 1900s was emphasized on the level of being enlightened by modern knowledge and civilization, though more or less vague, the 'Chwimi' for drama was also brought forth as the sign of 'reform' and the value of 'new culture.' On one hand, it could be seen that the 'Chwimi(taste)' was used as a technique to control the colony. Japanese Empire, through its government bulletin printed in Korean, Sinmungye (the newspaper world) and the Japanese journals Joseon and Joseon geup Manju (Korea and Manchuria), threw colonial Korea into the world of 'taste,' in some sense, "taste-fied (趣味化)" Korea.
The fourth chapter deals with the ways which the modern performing arts that diverged and interacted while centering around theater and how they were integrated into a cultural practice called the 'taste.' The experience of watching the melodrama and forming an audience in 1910s became the basis for contemporary mass to emerge into the field of popular culture as the consuming subject. A variety of viewing culture and entertainment culture formed the collective sensibility and imagination, and crated a fantasy of so-called taste-community or cultural community. Sinpa-geuk that boomed in and dominated the culture scene between 1912 to 1914, started to flag after 1915, but still maintained its life in the popular drama world during the entire 1920s. The kino-drama(連鎖劇), which was the combination of melodrama and motion pictures, was prevalent, and the theme songs for the popular plays were very popular in Gyeongseong (Seoul). Katyusha and Carmen syndrome had become the foundation for 'popular music album' market. Watching plays and collecting records or photographs were a way for the public to enjoy the modern culture and this became an early form of fan culture.
School education played an important role for the taste, which was a rather personal or priviatized realm of 'sensibility' or 'individuality,' to become an institution that defined everyday life. Textbook for "Self-Cultivation" included 'taste' as a part of its education contents. 'Taste' of a student was included in the school register as an item that represented and defined an individual's character and personal history. As the taste was combined with education system, its value was officially secured. The taste that was educated and acquired through education provided the belief that it reflected the modern man's intellectual capacity and character.
Based on these discussions, it could be seen that 'taste' or 'hobby' in modern Korea had become an important representation that established 'the modern individual's' existence and identity. This dissertation, in one sense, explains the process in which modern individual, that is, modern subject was constructed. It unveils the context in which modern 'individual' was constructed in apolitical realm of everyday life by exploring the ways which cultural subject who cultured the modern 'taste' through the modern performing arts was imagined, enlightened and educated. Koreans in the early twentieth century who were interpellated as the audience in the theater formed their identity of the period as 'civilized man,' political identity as 'national subject' and cultural, aesthetical identity as '(individual) audience.' Revealing the position and influence of 'taste' as a modern 'institution' has not yet been attempted in the previous researches that studied the formation of Korea's modern performing arts and popular drama. Hence, this dissertation would mark an example that deals with the process in which modern performing arts and the modern institution of chwimi(taste and hobby) were formed, while crossing over the methodology of literary study and cultural study.
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