Earticle

본 연구는 헨리 버그슨의 유머와 웃음의 이론을 대입하여 예이츠의 극을 분석한다. 콩갈은 영웅으로서 많은 업적을 쌓았는데도 불구하고 신성을 모독하고 왜가 리가 만든 신성한 가치를 불명예스럽게 만들면서 그의 인생에 있어서 가장 큰 실수를 저지른다. 예이츠는 웃음을 자아내기 위하여 특정 패턴을 사용하는데, 캐릭터 사이에서 의 독특한 상호작용을 배치하고 콩갈과 그의 용사들이 저지른 어트렉타에 대한 강간이 만들어낼 수 있는 어두운 분위기에서 관객의 관심을 돌리기 위하여 효과적인 극적·시 적 테크닉을 사용한다. 전략적인 희극 구성이 커다란 희극적 효과를 만들어낸다.

For this study, Yeats’s play is read with Henri Bergson’s theory of humor and laughter. Despite all his great accomplishments as a hero, the play’s protagonist Congal, violating the sacred and disgracing the values set up by the holy Herne, makes the greatest error in his life. Yeats uses certain patterns to provoke laughter, placing idiosyncratic interactions between characters and using effective dramatic and poetic technique to divert audience’s attention from the dark mood Congal and his men’s rape of Attracta could render. The strategic construction of his comedy produces a great comic effect.

본 논문은 손하기 작가의 웹툰 <에밀리의 저택>을 텍스트로 삼아 이질성을 기반으로 어떠한 서사적 구성을 통해 코미디가 창출되는지를 분석하고, 나아가 웹툰 이라는 매체에서 해당 작품의 서사 구성 방식이 어떠한 효과를 발휘하는지도 함께 고찰한다. 이질성은 서로 바탕이 다른 성질이나 특성을 의미한다. <에밀리의 저 택>에서는 공포와 코미디라는 상반된 장르의 혼합을 바탕으로 공포 클리셰를 재현한 뒤 이를 코미디로 전복하는 패러디 방식, 공포적 배경과 극단적으로 대비되는 주인공 캐릭터의 설정, 그리고 장르 전환과 서사 관습의 파괴를 통해 이질성을 형성하고 웃음을 창출한다. 또한 이러한 이질성 기반의 코미디가 웹툰의 주 1회 연재 구조 속에서 매 화 단편적 완결성을 유지하며 효과적으로 작동함을 확인하였다. 이질성이 만들어내는 낯선 감정은 독자에게 새로운 이야기 경험을 제공하며, 많은 콘텐츠가 생산되는 웹툰 생태계에서 관심을 끌 수 있는 요소로 작용할 수 있다. 이러한 점에서 이질성은 창작자들이 주목하고 탐구할 필요가 있는 중요한 개념이라 할 수 있다. 본 논문은 코미디 장르에 대한 이해를 높이고, 창작자들에게 도움이 되는 실질적인 참고 자료를 제공하는 것을 목적으로 한다.

This study examines how comedy is generated through heterogeneity in <Emily’s Mansion>, a webtoon by Son Hagi, and further explores how the narrative structure of the work functions effectively within the medium of webtoons. Heterogeneity refers to the coexistence of differing or contrasting qualities and characteristics. In <Emily’s Mansion>, heterogeneity is formed through several strategies: parody that reproduces horror clichés only to subvert them into comedy, the stark contrast between the horror-laden setting and the protagonist’s unconventional character, and the disruption of genre conventions through abrupt shifts in tone and narrative structure. These strategies collectively produce comedic effects. In addition, this study demonstrates that such heterogeneity-based comedy operates effectively within the webtoon format, maintaining episodic completeness under a weekly serialization system. The sense of unfamiliarity generated by heterogeneity offers readers a novel narrative experience and functions as a key element for attracting attention in the highly saturated webtoon ecosystem. In this regard, heterogeneity emerges as an important concept that warrants further attention and exploration by creators. Ultimately, this study aims to deepen the understanding of comedy as a genre and to provide practical insights that may serve as a useful reference for creators.

In Life Studies, Lowell describes his distinctive vision of the relationship between the painful world and the suffering self. He uses the actual details of his private life and explores the tabooed realm of feelings toward the family. This concern with memory and time is reinforced by Freudian psychology, which also influences the comic strategy Lowell adopts for Life Studies. The comic character of the work deserves commentary as an effective way of seeing Life Studies. So the comic vein of Life Studies is wry, not full of happy feeling. It is rhetorically well supported, on a theory of the comedy that owes much to Freud under life's pressures, desperation, and pain. Freud believes that a certain kind of laughter is the final proof of adulthood. Laughter of adulthood is an assertion of superiority and at the same time a healthy release of otherwise destructive pressure. There is an exact agreement between this plot and the basic Freudian theme and variation involving the individual's struggle to become a mature adult in the setting of Lowell's family and society. Lowell seeks out a new style suitable for the theme of quest for his lost identity. Lowell finds his identity by overcoming psychological difficulties, and gains a new possibility of life.

예이츠 희극 『고양이와 달』은 맹인 거지와 절름발이 거지가 불구를 치유 하기 위해 기적의 샘을 찾아가는 이야기를 극화한 작품이다. 이 극은 초기 희극 『고깃 국 냄비』를 연상시키지만, 예이츠는 이 극에 『비전』에 제시한 자신의 철학을 담은 사 실을 주석에서 밝힘으로써 복잡한 해석을 유발하고 있다. 독자와 관객은 극의 표면적 이야기를 그대로 받아들여 단순히 웃고 즐기는 대신에 극의 상징적 의미를 추구하게 된다. 이 글에서는 『고양이와 달』을 이해하는 한 가지 방법으로서 먼저 작품 자체를 분석하여 작가가 어떻게 자신의 철학을 극화시켰는지를 밝히고, 다음으로 극의 해석에 있어 외적 자료의 필요성을 검토하려고 한다.

This one-act comedy tells the story of two beggars, one blind, one lame, who visit a sacred well in order to be cured of their debilities. The play reminds us of the peasant comedy The Pot of Broth, but its humor is complicated by an interspersion of symbolism related to the philosophy of A Vision. Yeats put into this comic and grotesque play his own philosophy which can be found easily in his tragedies. Thus we cannot simply enjoy it laughing, but come to ponder seriously over the symbolic meaning of the play. This paper aims to examine how his philosophy is enacted in the play and to further study if the reader needs the playwright’s extensive commentary to fully understand the play.

본 논문은 베르그송의‘웃음 이론’을 바탕으로 미국 애니메이션 <심슨>을 텍스트로 삼아, 코미디 대사가 어떻게 창출되는지를 탐구한다. 베르그송은 웃음의 원 인을 ‘자동주의’와 ‘경직성’이라는 개념에서 찾는다. 이는 인간의 행동이나 언어가 생명체 고유의 유연성을 잃고 기계처럼 반복되거나 굳어 있을 때 드러나는 부자 연스러운 패턴을 가리킨다. 그는 이 두 가지 개념을 중심으로 희극성이 발생하는 양상을 ‘반복’, ‘간섭’, ‘역전’, ‘전환’의 네 가지 범주로 구분하여 설명한다. 본 연 구는 이러한 분류에 따라 <심슨>의 코미디 대사를 분석한다. 반복은 동일한 대사의 반복을, 간섭은 두 다른 의미가 충돌하면서도 여전히 일치하는 의미를 가지는 것을, 역전은 의미가 뒤바뀌거나 주객이 전도되는 상황을, 전환은 갑작스럽게 맥락이나 주제가 다른 방향으로 전개되는 것을 의미한다. 분석 결과, 베르그송의 웃 음 이론이 실제 코미디 창작의 구체적인 메커니즘을 설명하는 데 유효하며, <심슨>의 대사는 이 네 가지 범주를 통해 효과적인 코미디 대사를 구현하고 있음을 확 인할 수 있었다. 이 연구는 코미디 대사의 원리를 이해하고, 창작자들에게 실질적인 도움이 되기 위함에 있다.

This study explores how comedic dialogue is generated in the American animated series The Simpsons, using Henri Bergson’s theory of laughter as a framework. Bergson attributes the cause of laughter to the concepts of “automatism” and “rigidity,” which refer to unnatural patterns that emerge when human behavior or language loses its organic flexibility and becomes mechanical or fixed. Based on these ideas, Bergson identifies four categories through which comic effects manifest: repetition, interference, inversion, and shift. This paper analyzes the comedic dialogues in The Simpsons according to these categories. Repetition refers to the recurrence of the same lines; interference occurs when two meanings collide while still retaining a shared interpretation; inversion involves the reversal of meaning or role; and shift describes a sudden change in context or topic. The analysis confirms that Bergson’s theory effectively explains the mechanisms behind comedic creation, and that the dialogue in The Simpsons exemplifies these four categories in delivering effective humor. This study aims to contribute to a better understanding of comedic dialogue and to provide practical insights for creators.

본고는 1904년 희극 『뉴스 퍼뜨리기』 속 아이리시 멜랑콜리의 개념 분 석을 통해 레이디 그레고리의 첨예한 문제의식을 파헤쳐 보고자 한다. 우선, 매튜 아놀드와 윌리엄 버틀러 예이츠가 제안한 켈틱 멜랑콜리를 비교 분석의 대상으로 삼아 레이디 그레고리의 아이리시 멜랑콜리를 이론화한다. 궁극적으로 아이리시 멜랑콜리는 아일랜드 소작농이 갖는 전복적인 정치성과 창조적 가능성을 대표하는, 그러나 때로는 자기파괴적인 힘도 가진 정동으로 비춰진다. 더 깊은 이해를 위해 레이디 그레고리의 미출판된 에세이 『아일랜드의 웃음』 과 1906년 초연 희곡인 『감옥문』 역시 언급한다.

With her Ascendancy background and enormous contributions made to the Irish Literary Revival, which idealized the Irish peasantry, Lady Gregory’s political and cultural legacy has been described most often as contradictory. This paper contends that paying close attention to Lady Gregory’s concept of Irish melancholy in her writings, especially Spreading the News, allows us to envision a more nuanced picture of her conflicted mind. In her eyes, Irish melancholy is an affect representative of the Irish peasantry’s potential for political subversion and creative, imaginative prosperity. Yet, she also acknowledges its self-destructive capacity. The paper occasionally draws from Lady Gregory’s unpublished essay “Laughter in Ireland” and The Gaol Gate (1906).

Sarah Ruhl's Dead Man’s Cell Phone is a play about cell phones, meditation, death, love, and disconnection in the digital age. It is common to communicate the latest information through mobile phones in this modern era. In this work, the cell phone is a medium for communicating with the world of death as the most advanced communication device ever invented. It is also a reminder of connection that is absent in this world, and it is a medium that fuses reality and surrealism. Dead Man’s Cell Phone is a comedy, that is anti-Aristotelian in composition and Dionysian in spirit. In this work, reconciliation and healing between the worlds of life and death are driven by the confabulation of the main character Jean. The origin of confabulation, the act of creating a story in the mind, include ‘fables’. Therefore, confabulation has a certain universal truth regardless of whether or not the specifics are true. This play is a story about a dead man, Gordon, and Jean, who witnessed Gordon's last moment in the world. Jean’s confabulation shows that both the living and the dead can heal each other’s wounds and close the gap between the two, so that a person's life can be reconciled even after death.

This study aims to investigate keywords and key clusters in Shakespearean love plays focusing on a group of three love tragedies(Anthony and Cleopatra, Othello, and Romeo and Juliet) and a group of three love comedies(A Midsummer Night’s Dream, As You Like It, and The Two Gentlemen of Verona). The only one shared key keyword in love tragedies and love comedies is love. Some of the key keywords in love comedies have a positive tendency, such as love, lover, lovers, sweet, wit, and love’s. By contrast, some of the key keywords in love tragedies have a negative tendency, such as dead, poison, beguil’d, death, and soldier’s. The only one shared key key cluster in love tragedies and love comedies is go with me. These results tell us that all six plays belong to the category of love plays and the characteristics of keyword and key cluster dispersion plots can distinguish tragedy plays from comedy plays.

In The Merchant of Venice and The Tempest, which are categorized as comedies, it seems certain that the racial others such as Shylock and Caliban become the objects of mocking laughter. Of course, they are not only the objects of laughter but also the threatening and hostile resistants. It is in this aspect that they are different from Shakespeare’s others in other comedies, as they have the particularity as religious and racial others. They are called as devils or monsters, and portrayed as inhuman beings. So mocking and defeating them seems to be necessary for the happiness and safety of the final comic society. However, the mocking laughter that the aliens arouse doesn’t contribute to the comic reconciliation of the final society. playing the role of making the society happy and safe. The mocking laughter rather carries the satirical meaning of realistic social problems, in that Shylock and Caliban are the objects of exploitation. Venetian Christians get their profit and happiness by sacrificing Shylock. They are not so different from Shylock who gets profit through usury. Prospero is the same. He achieves his goal by means of sacrificing Caliban and Aerial. Caliban who wants to take his island back by taking revenge on Prospero and Miranda is not so different from Prospero who wants to take his dukedom back by taking revenge on Antonio and Alonso. The others in the two plays are the objects of laughter and reproach, but Shakespeare satirizes the fiscal and colonial desire of the contemporary society through the monstrous and foolish aliens.

본고는 근대시기 한국과 중국의 공연예술 장르 가운데 하나인 만담과 相聲에 드러난 특성과 웃음의 구현 방법에 대해 살핀 글이다. 그 결과, 초기 만담의 경우에서는 시사적이며 현실적인 문제들과 상황들을 그대로 구현해 청중에게 공감대를 얻는 방법으로 ‘재미’를 주고 있으며 교술적 성격에 근접하는 양상을 확인할 수 있었다. 또한 만담에서는 웃음을 유발시키는 소재로 세태를 풍자하는 해학적인 내용과 언어유희에 적잖이 의존하고 있는 모습도 볼 수 있었다. 만담은 소재적인 측면에서 웃음과 재미를 유발하고 있었던 점을 밝혔다. 반면, 相聲에서는 구조적인 측면인 이른바 ‘包袱’를 중심으로 웃음을 구현하고 있다고 했다. 相聲에 있어서 包袱는 웃음거리를 만들어 가는 일련의 수사적 과정이며 일종의 구조적 장치라는 점을 드러냈다. 공연예술로서 초기 만담이 형성되기까지의 미분화적인 양상에 대해 논의한 뒤, 만담의 형식을 크게 獨漫談, 對話漫談, 群漫談 그리고 민요만담 등으로 나눌 수 있다고 했다. 이 가운데 대중의 인기나 작품의 완성도로 볼 때 대화만담이 만담의 대표적인 형식인 것으로 보았다. 대화만담에서는 주연과 조연이라는 역할상의 구분 없이, 상식을 뛰어 넘는 ‘정상’과 그렇지 못한 ‘비정상’의 대립을 통해 ‘비정상’이 ‘정상’을 웃음으로 압도하는 패턴을 반복적으로 드러낸다고 했다. 相聲의 경우는 單口相聲이 형성되고, 이후 對口相聲과 群口相聲 등으로 발전되어 왔으며 化裝相聲, 相聲小品, 相聲劇 등의 새로운 형식을 창출해 냈다고 했다. 만담은 相聲과 형식적 측면에서 가장 근접해 있다는 사실을 발견할 수 있었다. 相聲 작품의 대부분을 차지하는 對口相聲은 주연과 조연으로 나뉘어 구연된다는 점에서 만담과 다르고, 웃음의 구현 방식에 있어서는 두 사람 간의 상호 모순이나 충돌을 통해 包袱를 만들어 웃음을 자아내는 구조를 취한다고 점도 알 수 있었다. 만담에 비해 相聲은 엄격한 사승 관계와 전문적인 학습을 통해 전승되고 있다는 사실도 본고를 통해 확인할 수 있었다.

This research is on the comparison between the different methods of bring out laughter and the characteristics of the laughter called out from mandam and Chinese xiangsheng. Focusing on this noteworthy difference, this study will try to find the reasons for why only mandam because of what reason lost their productivity and led to their dissipation. According to the results of the study, the story source aspect of mandam puts the main purpose on bringing out laughter and fun, whereas the plot structure of xiangsheng is based on ‘bao fu’ to bring out laughter. Also whoever holds the superiority in humor is the winner and the one who could not is the loser, who becomes a sidekick, and then a fool in the unreal world which is the world of humor and the world of mandam. Xiangsheng has dankou xiangsheng which is performed by one actor, duikou xiangshen which is performed by two actors, and qunkou xiangsheng which is performed by three or more actors. Mandam’s structures are sorted into dokmandam, daehwamandam, and gunmandan which depend on the number of actors. There are a total of four types, including the minyomandam that has folk songs in the mandam. Daehwamandam is the representative structure of mandam, out of the four types, according to popularity and degree of completion. Based on these truths mandam and xiangsheng are similar in the structural aspect. Compared to xiangsheng, mandam genre does not require a lot of time to hone the art. However, xiangsheng is considered a considerably professional performing art because of the fact that it is passed on from a master to the protégé through a training process.

본 연구는 급변하는 미디어환경에서 성공적인 TV 프로그램 제작과 수용자들에게 소구력 있는 콘텐츠를 제공하고자 해외에서 검증된 프로그램 원본을 그대로 수입하거나, 프로그램 포맷(형식)만을 가져와 현 지에 맞게 변용하여 제작하는 사례로 인해 나타나는 재매개 현상을 살펴보고자 함이다. 국내에 방영되고 있는 TV 코미디 프로그램에서도 프로그램 포맷 형식과 시리즈를 그대로 가져와 현지 에 맞게 포맷을 변용해 제작되는 모습을 볼 수 있다. 이전의 프로그램과 다른 형식과다양한 모습의 코미 디가 이루어지고 있는 것이다. 포맷 변용은 현지의 방송환경, 사회제도, 문화적 배경에 따라 다르게 나 타나는데, 코미디 프로그램은 정치적 소재를 풍자하여 웃음(해학)을전달하는 패러디 형식이 많다. 단순 히 웃음을 주는 것은 물론이고, 사회의 정치적 이슈를 재해석한 패러디 콘텐츠는 수용자들에게 재매개 되어 소통하게 된다. 이러한 포맷 프로그램의 장점은포맷의 핵심 구성요소는 그대로 유지하면서 현지의 사회･문화적 정서에 맞게 변용하여 재매개된다는 것이다. 본 연구에서는 포맷의 변용과 패러디의 차이를 분석하기 위해 그 경계의 지점에 있는 해외에서 제작 방 영된 원전 포맷 프로그램 중 국내 케이블방송 채널에서 방영된 tvN <푸른거탑>, ‘군기어’의 포맷의 재변 용과 <SNL 코리아>, ‘여의도 텔레토비 리턴즈’를 연구대상으로 선정하였다. 해외에서 제작된 원전 프로그램의 포맷 변용과 포맷 프로그램 속 정치 패러디는 어떻게 변용되어 재매 개 되었는지 그 사례와 차이를 살펴보고 분석하였다.

The purpose of this research is to examine remediation phenomenon by cases importing original program verified in other countries as it is or bringing only program format and transforming it for the local area so as to produce TV program successfully and provide contents with appealing power to accepters in rapidly changing media environment. For TV comedy programs broadcasted in Korea, program format and series are brought as they are and the format was transformed and produced for local area. Comedies become have forms and appearance which are different from previous programs. Format transformation is changed by broadcasting environment of local area, social institution, cultural background and for comedy programs,there are lots of parody forms satirizing political materials and delivering smile (humor). Parody contents which not only give simple smile but also reinterpret political issue of the society are remediated to accepters and communicated by them. Strengths of the format program are to maintain format's core components as they are and be transformed and remediated for local emotion of society and culture. To analyze format transformation and differences of parody, this research selected tvN <Blue Tower> broadcasted in domestic cable broadcasting channel,‘Military Gear’s format retransformation, <SNL Korea>, ‘Yeoido Teletobi Returns’ among the original format programs produced and broadcasted in other countries at the point of the boundary, as objects of research. For the format transformation of original programs produced in other countries and political parody in format program, cases and differences of the transformation and remediation were examined and analyzed.

Robert Lowell is one of the major poets in the modern American poetry world. Among the various poetic tendencies, Lowell is generally considered the leading confessional poet. Robert Lowell’s major work, Life Studies, is a representative of confessional poetry. It deals with the subject of the poet’s private life under the psychological pressure, using the poet- protagonist. In this poetry, Lowell describes his distinctive vision of the relationship of painful world and suffering self. Lowell adopts a comic strategy for Life Studies. The comic character of the work deserves commentary as an effective way of seeing Life Studies. Adopting the seriocomic vein, a comic tone and the rhetorical function is a considerable departure for Lowell. So the comic vein of Life Studies is wry, not full of happy feeling. It is rhetorically well supported, on a theory of the comedy that owes much to Fry and Bergson’s laughter under life’s pressures, desperation, and pain. Therefore, Lowell uses “the mixture of pity and wry humor” describing the figures as thoroughbred mental cases and conducting himself as one of them. Humor extends the private event to a public dimension.

The article examines Rob Shin’s The Art of Waiting (1991) in terms of how the play utilizes the form of stand-up comedy in generating sharp criticism and resentment toward racism and Asian American racial and cultural stereotypes. The generic convention of stand-up comedy enables Shin to resist and deconstruct oriental stereotypes and internalized racism in witticisms and comic renditions. The play succeeds in representing the destructive force of mutual stereotyping and racial discrimination among different races, especially between Asian American waiters, and African American and white customers in a Chinese restaurant. Shin overcomes the limitations of the often-vilified format of stand-up comedy beyond entertainment and laughter in the play. The form of stand-up comedy turns the comedy into an art work of self-reflection on racism and racist reality. The stand-up comedian and waiter, Rob, exposes the questionable aspects of reciprocity in racism and racial stereotypes. In addition to its pungent commentaries on racial reality, Shin’s play makes his alter ego, the protagonist, into an object of satire, parody and racially-charged humor. So the sense of “art” in the play's title points to the aesthetics of self that is being constantly laughed at, satirized, and negotiated. The play shows the possibility of the force of racism not simply from the structure of the society and its system, but from the sense of responsibility of individuals. Michel Foucault's aesthetics of the self is relevant to our discussion of individual responsibility featured in the play. The keen effort of one to free one’s self from racism can open up the potential for one to become an art work in the Foucaudian sense. When an individual is able to have control over his own self—which means he knows himself very well and thus is able to take care of himself—he or she turns one’s self into an art of self or an aesthetic self. Shin’s character recognizes his own share of responsibility in relation to persistent and pervasive racism. Waiting becomes an art not only of the waiter but also of the waited in the play. Waiting in restaurants as constant negotiation and cooperation becomes a kind of metonymy for what Shin’s play suggests as a way of overcoming racism in a multi-racial American society.

Pygmalion (1913) is widely regarded as George Bernard Shaw’s greatest comedy. A subversive work, it was conceived as an inversion of Ovid’s “Pygmalion and the Statue.” In Shaw’s version, his Pygmalion, phonetician Henry Higgins transforms his “statue,” flower seller Eliza Doolittle, by teaching her to speak like a duchess. Instead of marrying her overbearing “creator,” however, Eliza becomes an independent woman. The play culminates with her walking out on Higgins, vowing never to see him again. But interpreters of Pygmalion thought otherwise, and meddled with the ending to imply that the pair ultimately married. To counter this tampering, Shaw concocted a prose sequel that he appended to Pygmalion. The sequel, he declared, would explain what really happened to his characters after the play was over. Rather than preserving the integrity of his play through the sequel, however, this paper argues that Shaw’s postscript had the opposite effect: it removes all of the finely wrought ambiguity of Pygmalion’s ending by painstakingly detailing a mundane future for Eliza, robbing her of all her great promise in the play. Moreover, Eliza emerges in the sequel as a less talented individual than in the play, further disillusioning admirers of this character. Worse still, her behavior in the sequel contradicts her fierce commitment in the play to an independent life without the misogynistic Higgins, undermining both her and Shaw’s feminism, and the central theme of Pygmalion.

The issue of canonicity has been widely discussed, particularly since the spread of cultural influence from the European great powers to the peripheral areas. In the past, the classical canons suppressed differences in locality, gender and generation. What matters now is to recognize the changeability, rather than the constancy, of canonicity which this article intends to observe in the historical and cultural processes of the marginal alteration of a Western canon in modern Korea. Indeed, we need to imagine how a canon exists; it is premised on the dichotomy of center and periphery, yet with its blurring relationship, it repeatedly both negates and maintains itself so as to be highlighted through its literary value. This article takes Sin Ch’ae-ho’s novel Dream Sky as a good example with which to discern the minute crack of alteration in the configuration of the canon and to scrutinize how it is shown in the peripheral literature. As a novelist as well as a historian and a revolutionary seeking national independence, Sin Ch’ae-ho always thought about the importance and possibility of social practice through literature. His activity as a literary writer partly derived from his understanding of the Italian writer Dante Alighieri; he adored Dante as an enlightened intellectual and recognized his Divine Comedy as the record of his salvation, and in writing Dream Sky he took it as his own pointer for resisting Japanese imperialism. This article aims to reevaluate Dream Sky as an aesthetic reconstruction and thus to concentrate on textual analysis, whereby I expect to re-highlight its ability to practice marginal alteration and the work of the dialogical imagination.

본 연구자는 <해피 꽈배기> 희극의 미학적 특성을 제시하여 사회 문화적으로 중국의 청년층과 거리를 좁히는데 있어서 보편적 효용성을 통하여 도움을 주고자 했다. 연구 결과 선행논의 <해피 꽈배기> 극단은 중국 최초의 상업 코미디를 제안한 극단으로 20년 동안 중국 관객의 연극 관람을 활성화하였다. 본론의 주요 분석은 첫째, 중국 희극은 점차 상징적 특성을 나타내면서 사회적 정화 작용의 공기 역할로 작용했다. 그리고 중국 유링의 진(秦) 이전 시대 제사 의식이 거행될 때 유링은 노래, 춤, 농담을 사용하여 신들을 즐겁게 한다는 의미지만 본질은 사람들을 즐겁게 하는 것으로 분석됐다. 당시의 공연은 연극적 요소를 포함한 노래와 춤, 재치 있는 언어 구사와 우스꽝스러운 표현으로 보여주었다. 이는 이후의 연극 공연을 위한 토대로 축적되었으며 중국 희극의 독창적인 미학적 기초를 다졌다. 둘째, 중국 전통 연극 형식의 발전과정에 따른 희극의 미학적 특징은 두 가지 관점 즉 ‘공공 미학적 관점’과 ‘예술 미학적 관점’으로 나타났다. 2021 <해피 꽈배기>는 미국에서 기네스 세계 기록에 등재된 고전 연극 <크레이지 이발소>를 선보였다. 상업 코미디'라는 용어는 2003년 중국에서 해피 트위스트 극단에 의해 제안되었으며 드라마 내용과 공연 형식은 주로 언어의 유머와 상황 유머를 통해 코미디의 예술적 특성과 상업성으로 구성하여 관객들에게 오락적 기능과 예술적 감각을 불러일으키는 이중의 효용성을 제공했다. 셋째, 중국연극계의 시대변화에 부응하여 청년층의 공감을 불러일으킬 수 있는 문화 요소를 융합하는 것은 <해피 꽈배>기 희극의 중요한 내적 미적 특징으로 제시됐다. 이는 중국 청년층들의 감각에 부응하는 문화 요소를 지닌 대사와 줄거리를 사용하여 코미디의 미적 효과를 만들어냈다. 언어적 유머는 풍자적 내용의 유머러스한 언어 처리에서 나타났다. 이에 따른 상업적인 코미디의 연기 행동은 캐릭터를 형성하는 근본적인 목적에서 벗어날 수 없었고 관객의 미학적 수용성에 따라 미적 욕구를 충족시켰다.

By presenting the aesthetic characteristics of the comedy "Happy Twisted Bread" this researcher attempted to help through universal utility in narrowing the distance from the youth in China socially and culturally. As a result of the study, the preceding discussion "Happy Twisted Bread" theater company was a theater company that proposed China's first commercial comedy, and it activated Chinese audiences to watch plays for 20 years. In addition, by newly presenting the aesthetic joy of comedy plays to Chinese audiences, it showed a great driving force in the development of comedy. The performances at that time were shown with song and dance, witty language skills, and ridiculous expressions, including theatrical elements. This was accumulated as the basis for subsequent theater performances and laid the original aesthetic foundation of Chinese comedy. Second, the aesthetic characteristics of comedy according to the development process of traditional Chinese theater form were found to be two perspectives: a ‘public aesthetic perspective' and an ‘artistic aesthetic perspective'. 2021 <Happy Twisted Bread> presented the classic play <Crazy Barber Shop> registered in Guinness World Records in the United States. The term ‘commercial comedy' was proposed by Happy Twisted Theater in China in 2003, and the drama content and performance format were mainly composed of the artistic characteristics and commerciality of comedy through language humor and situational humor, providing the audience with dual utility that evokes entertainment functions and artistic senses. Third, the fusion of cultural elements that can arouse sympathy from young people in response to the changes of the times in the Chinese theater industry was presented as an important inner aesthetic feature of the comedy of <Happy Twisted Bread>. Verbal humor emerged from the humorous language processing of satirical content. Accordingly, the acting behavior of commercial comedy could not escape from the fundamental purpose of forming a character and satisfied aesthetic needs according to the aesthetic acceptance of the audience.