편견과 편견의 수정 : 20세기초 독일 오락극에 나타난 중국과 일본의 이미지

다국어 초록 (Multilingual Abstract)

The reception of one cultural value in an another culture is - like other activities of thinking and perception - under the influence of selection, exclusion and elimination. Through these influences the structure of consciousness of the receptive country is projected. The reception is contingent on the cognitive structure and trends of the respective time and society.
The reception of a culture goes through different phases in varied degrees. In the early phase, where there was no command of the respective language, the arts based on sensual perception, were more eagerly accepted than that art which required a knowledge of the language like literature or philosophy. In this case the sense of the recipient, the cognitive structure of the recipient played a more important role than the receptive content itself.
Especially in the genre of trivial literature and boulevard theatre, it was characteristic that the cultural values of one country underwent a deformation : the stereotype images and the prejudices of the audience were the starting point as well as the destination of the adaption process.
Around the turn of the 20th century the German reception of Asians presented a diffused character by presenting Asian stereotypes and prejudices. Japanese and Chinese figures appeared decorated with those objects like pagodas, paravants, fans and cherry blossoms in the operettas. These figures had then through their popularity and plurality, reinforced these Japanese and Chinese stereotyped images. The image of a geisha as a girl who could be bought was easily established not only in French and English society but also in the proud Wilhelmine society with their morality of double-standards. Another favorite picture of the Chinese in detective or sensational plays was as a cruel and cunning figure. This negative image of Asia represented the "yellow race" or Japan which was emerged as a colonial power.
The receptive individual who is hindered in his development is not capable in recognizing the courses of his frustration. He tries instead to compensate for the frustration by escaping from reality into a fantasy world, fleeing to an exotic milieu or to other adventures.
The turning point of these stereotypes into a positive image came sometime before or after World War I. This change of image was characterized by two points. One of then was the infatuation of the younger generation with oriental culture, philosophy and art. its society and life. This infatuation ran parallel to the expressionistic movement with its criticism of the civilisation which had caused the alienation of the human beings. The Another one was the result of the desire to escape from the unresolved conflicts of the past. They tried to find an alternative way of life in Taoism instead of the Western civilization, which had ended in war.
qui sont destine´s a` la de´faite et a` l'exil, a` travers les images des trois baobabs, arbres pyroge`nes avec leurs racines volcaniques qui perforent leur plane`te elle-me^me et la font e´clater, images des illusions du bonheur du Portugal peu sense´, inconscient et vulne´rable en face de la menace imminente europe´enne sur sa culture la plus racissante, sur la de´fense nationale et sur la foi religieuse des hommes en pe´ril main sans secours, et images du feu, e´clatantes et cataclysmiques, qui bru^lent et ne´antisent les Lisbonnins et les re´fugie´s qui ont conflue´ a` cette capitale et a` Estoril. Ces hommes prive´s de la fonction d'habiter, ils sont bourreaux-de-soime^me comme ces trois baobabs. Ils sont l'image mise´rable de l'homme baobab.
Troisie`mement, nous avons essaye´ de relever les caricatures des six faux-habitants qui se trouvent seuls et enferme´s dans la solitude et que le petit prince a rencontre´s au cours de son voyage interplane´taire. Ces solitaires sont tous bizarresm extraordinaires et excentriques. Ils jouent chacum d'une sorte de psychopathe : monomanie ou schizophre´nie. Ils ne connaissent pas de communaute´. Ils sont priconniers-de-soi-me^me. Il sont, dans la substance, hommes-volcans qui fument de suie, perturbent et font fuir de leurs domaines les visiteurs miraculeux, graines d'une communaute´ possible et pre´cieuse, a` cause de leurs obstinations pathologiques, vices et abus, parce que c'est non pas la fume´e mais la chaleur et la douceru du feu qui lie les hommes et les choses. La fume´e volcanique inte´rieure des insense´s envahira eux-me^mes to^t ou tard.
Ils regardent les e^tres et les choses a` la verticale comme leurs subordonne´w, de me^me que la fume´e montante, et les font disperser au lieu de les nouer. Ils sont caricatured : caricaturaux sont le roi et l'allumeur de re´verbe`res a` l'e´gard de la Liberte´, l'un, par sa foi absolue de l'order royal et l'autre, par son obe´dience aveugle a` la consigne absurde. Le sont le businessman et le ge´ographe a` l'e´gard de l'Egalite´ par le de´sir infini d'une possession accumulatrice en soi, l'un, de la matie`re inutilise´e et l'autre, du savoir fragmentaire et inorganique, non pas de la connaissance re´elle et vivide. Le sont aussi le vaniteux et le buveus a`

목차 (Table of Contents)

• I.서론
• II.이국적인 배경의 모색-호기심의 충족
• III.여행소설과 「나비부인」전통
• IV.범죄극에 나타난 중국과 일본 이미지
• V.화려한 무대장식
• VI.상투적 이미지의 수정
• VII.결론