현대미술에 있어서 패러디 유형에 따른 작품분석 = Work Analysis on Parody Types in Contemporary Art

다국어 초록 (Multilingual Abstract)

As contemporary art has been changed to formalism out of traditional expression, it has brought to change of arty concept. In consequence, a fundamental question has been brought on; indeed, what is art?
Parody, despite it has appeared as a technique of contemporary art, it is not new phenomenon. In all field of arts including literature, interesting on parody has come to the fore, and started from question of its self-reference characteristic and legitimacy.
Parody has explained of outcomes on critic standpoint for modernist's reason, and it, as one of important forms for self-reflection in modern times, has brought to new type on curriculum of art.
The reason that parody theory has become important in our time is that it has a certain distance from criticism of work that is the subject of imitation. The distance clears up the creativity of parody artist and the intention of work for those days.
In contemporary art, concept of real creation has been changing because imitation, or contrast concept of creation, spread far and wide. We can say that an aspect of various imitation is a parodic technique. In this study, I have classified into three aspects for parody, and through the comparisons and analyses for works and artists, I have explored the role or the worth of parody in contemporary art.
At first, my questions maintain that : 1) What is parody?, 2) What works are used for parody?, 3)What influence do the works which are inverted to parodic inclination have on us?
I have introduced parody used in all genre of arts. I have grasped the definition and the concept of parody used far and wide from art-historical standpoint. And I have analyzed Picasso' s parodied works with the same title as original works had and the parodied paintings with the same title. I have appreciated Picasso's works created to reproduce works of Delacroix and Manet and so on. Picasso produced a series of works through a sketch or a painting; ex, De'jeuner sur I'herbe. I'Olympia of Manet was subjected to severe criticism in those days. But Rivers was in great reaction against that criticism, and produced I like black I'Olympia.
Also, through the comparisons and the analyses for works of Warhol, Duchamp, and Magritte with the most used works for parody, Monna Lisa, Last judgement, as a focus, we are able to knou that they produced works to parody or deny meaning of original works. And lastly, they re-made or described original works as materials. We can see that new works have new meaning different from original works.
In conclusion, an appreciator has become a spontaneous co-creator of parody. Therefore, parody can become the sign of knowledge to both person who makes symbol and person who interprets it. There is no need to receive negatively the fact that parody has elitism.
We can know there are many parodied works in contemporary art. Similarly, in early 20th century contemporary art, there was much imitational parody to gain impression from classics. It has had the ordinary symbol or the model of text in form, and succeeded to the authority of classics in contents. Consequently, we can say that parodied works, whichever form is imitated, acquire art originality by new creative concept.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 패러디의 정의와 개념
• 1. 패러디 정의
• 2. 패러디 개념
• Ⅲ. '동일한 작품명(名)'의 패러디
• 1. 피카소
• 2. 모방된 작품 사례
• Ⅳ. '작품 모방'에 대한 패러디
• 1. [모나리자]
• 2. [최후의 만찬]
• Ⅴ. 양식에 따른 패러디
• 1. '오브제'사용
• 2. '묘사'에 의한 변형
• Ⅵ. 결론
• 참고문헌
• 그림목록