Earticle

이 논문은 아쿠타가와 류노스케의 「담배와 악마」라는 작품을 정독해 아쿠타가와가 어떻게 문명비평을 시작했는지 고찰했다. 아쿠타가와의 기리시탄물의 첫번째 작품인 「담배와 악마」는 선행연구에서 좋은 평가를 받지 못했다. 그러나 작품의 전거가 되는 이야기와 「담배와 악마」를 비교하면 아쿠타가와의 독특한 문명비평의 요체를 잘 이해할 수 있다. 「담배와 악마」에 등장하는 악마는 서양의 문물을 상징하는 존재이다. 이 악마는 명확한 목적을 지니고 <무언가를 하는> 존재로 동아시아의 전통적인 요괴와는 다른 성격을 지니고 있었다. 이렇듯 주체성이 강한 악마가 일본 토양과 충돌하게 된 이야기를 「담배와 악마」는 그리고 있다. 이는 작품의 전거가 되는 다카기 도시오의 『비교신화학』에는 나타나지 않는 독창적인 내용으로, 아쿠타가와는 수증기와 봄빛으로 일본 토양을 묘사하며 그 특징을 상징적으로 나타내고 있다. 이러한 일본 토양에 흡수될 것 같은 공포를 느끼며 악마는 더욱 강렬히 저항하게 된다. 아쿠타가와는 기후와 황소 등의 소재를 통해 악마와 일본이 얼마나 치열하게 갈등하는지 보여주고 있다. 그리고 그 어느 쪽도 완벽히 승리하지 못 했다는 말로 작품을 마치고 있다. 이러한 내용을 지닌 「담배와 악마」에는 동서양 문명에 대한 아쿠타가와의 생각을 함축적으로 보여주고 있어 그 시사하는 바가 크다.

Analyzing Akutagawa Ryunosuke’s　“Tobacco and the Devil,” this paper explores how Akutagawa criticized East and West civilization. Although known as the first work of Kirishitan series, “Tobacco and the Devil” was poorly received by the critics and researchers. However, “Tobacco and the Devil” shows the essence of Akutagawa’s unique thoughts on civilization if we carefully compare the work with its original story. Akutagawa depicted the devil of “Tobacco and the Devil” as the symbol representing Western civilization. This devil had a definite purpose and was very active, so the devil was very much different from the traditional Asian monsters. After all, the devil, which was extremely subjective, came into conflict with Japanese soil. This content is originally created by Akutagawa, so it does not appear in the original story of Takagi Toshio’s Comparative Mythology. Akutagawa tried to express the ambiguous character of the Japanese soil by describing Japanese steam and spring light. Gradually, the devil realized the fear of being absorbed into the Japanese soil, so the devil resisted to this atmosphere severely. Describing the climate and Japanese bull, Akutagawa showed how devastating conflicts between the devil and Japan took place. However, neither of them were ultimately victorious in Akutagawa’s work. In this way, “Tobacco and the Devil” represents Akutagawa’s thoughts on East and West.

It is familiar to blame not the U.S. but North Korea for the ongoing security crisis on Korean peninsula. Nonetheless, to raise the question of ‘who benefits at whose costs’ helps to cast doubts on such a conventional wisdom. The author attempts thus to identify the possible symbiotic relationship between foreign policy and the press by employing the method of ‘Critical Discourse Analysis.’ To be specific, while articulating geopolitical contexts which underwrite media’s discourses, it tries to identify discursive tactics by dissecting them into logos, pathos and ethos. Especially for this, total number of 407 articles collected from the New York Times, Washington Post and LA Times by differing time from 2001 to 2017 was analyzed. This study produces the following results. First of all, there were plenty of reasons for the U.S. presidents including George Bush II, Obama and Trump not to engage actively in peace talks. Such motivations as blocking Asian unity, enhancing military interests and reassuring the U.S. leadership were found. Secondly, the media’s positions materialized through frames, phrases and policy options fit nicely with those of the U.S. government. While neglecting to unveil contexts and truths, in the end, those media are persistent in portraying North Korea as a ‘Devil’ applied uncritically to other rogue states like Iran and Syria. The author suggests shedding fresh lights on the continuity of ‘propaganda war’ initiated primarily by the U.S. in the field of international communication.

This article examines the devil’s world and strategies for tempting human beings to sin as represented in Lewis’s The Screwtape Letters. Lewis uses a technique never used before in his time. This story is a series of letters from a senior devil(Screwtape) to his trainee (Wormwood). Thirty one letters give readers an interesting point of view into human behavior. Lewis enables readers to understand the concepts of how evil works while helping them recognize the existence of spiritual warfare and the dynamics of temptation. Through the devil’s strategies of tempting human beings, Lewis shows that the battle between good and evil happens in our hearts and behavior as well as the physical realm. No one escapes from the workings of devil, which is a humbling realization. Devil uses so many different worldly things and thoughts to deceive us. However, so many times we are not knowledgeable about it until we have been had. Lewis emphasizes the importance of prayer in spiritual warfare in that prayer plays a significant role in how Christians think of God as well as how they relate to their families and people around them. Prayer helps them keep their faith strong through trials as a result of bringing the resources of God into their lives.

본 논문은 아쿠타가와의 ‘기리시탄모노’의 초기 작품『담배와 악마』의 소재인 ‘담배’가 16세기 일본에 전해진 동아시아 해역문화의 수용과정을 살펴보고자 하는데 목적이 있다. 이 작품은 동아시아 해역을 통한 담배의 유입과정과 해역을 통한 문화 유입의 토착화 과정을 살펴보기 위해서 빼놓을 수 없는 작품이다. 아쿠타가와는 16세기 일본에 상륙한 기독교 전래와 함께 선교사 등에 의해 반입된 담배의 유입과정과 정착되어 가는 과정을 그려내고 있었다. 이와 관련하여 작품 분석을 통해, 당시 해역문화 유입과정을 증명하고자 했다. 16세기 유럽에서 해역을 통해 필리핀, 마카오 등 동아시아를 경유해, 일본에 도래한 서양의 문화는 기독교 도래와 유사한 경로를 갖고 있었다. 당시 일본 외래문화 유입의 특징으로 동아시아를 경유하는 일본 규슈지역과의 무역 루트가 기독교 전도를 목적으로 하는 가톨릭 선교사를 동반하고 있었기 때문이다. 『담배와 악마』도 같은 시기와 경로를 통해 도래한 ‘담배’가 서양인 ‘악마’와 일본인 ‘소장수’와의 내기로 벌어진 일화를 작품의 줄거리로 하고 있었다. 과거 선행연구가 제국주의적 기독교 선교에 대한 비판의식, 서양 문화와 일본의 대립과 충돌 등으로 해석하고 있었다. 하지만, 본 논문에서는 해역문화의 유입과정과 더불어 인간의 보편적인 문제, 인간 내면세계의 양면성에 중점을 두고 있었다고 생각한다. 작품의 말미에서 ‘이 전설에 보다 깊은 의미가 있는 것은 아닐까’라는 작가의 의도적인 부연 설명에 주목할 필요가 있다고 생각한다. 또 다른 작품의 특징으로는『담배와 악마』는 외래문화, 특히 서양문화의 토착화 과정이 비교적 약하게 드러났으며, 아쿠타가와 초기 작품군과 같은 인간의 내면세계를 주로 다루었다는 것에 차이가 있었다고 생각한다.

This paper aims to examine the acceptance process of sea culture in which "Tobacco" the subject of "Tobacco and the Devil" the early work of Akutagawa's "Girishitan Mono" was introduced to Japan. This work is also indispensable to examine the process of tobacco inflow through East Asian waters and the process of indigenousization of cultural inflow through the sea. Akutagawa tried to prove through the analysis of works and the process of introducing tobacco brought in by missionaries and others along with the introduction of Christianity in Japan in the 16th century. Western culture, which crossed the sea in the 16th century and arrived in Japan through East Asia such as the Philippines and Macau, had a similar route to the advent of Christianity. At that time, as a characteristic of the influx of foreign culture in Japan, the trade route with the Kyushu region of Japan via East Asia was accompanied by Catholic missionaries for the purpose of evangelizing Christianity. "Tobacco and the Devil" was also based on an anecdote in which "Tobacco" which arrived through the same route, took place in a bet with a Western "Devil" and a Japanese "Cow trader" Previous studies in the past interpreted it as critical of imperial Christian missionary work and confrontation and conflict between Western culture and Japan, but I think this paper focused on the process of introducing sea culture, universal human problems, and two sides of the human inner world. In addition, while introducing Marco Polo's travelogue, I was able to confirm the author's view of criticizing Western civilization's fantasy of East Asian civilization.

한반도 안보위기는 반복된다. 문제의 책임을 일방적으로 북한에서 찾는 것도 특징이다. 그러나 ‘누가 이익을 보고 손해를 보는가’라는 관점에서 보면 이러한 인식과 현재의 위기 해결 방법은 문제가 많다. 본 연구는 이에 국내의 분단 기득권이 협력하는 ‘북한 악마화’ 담론정치가 작용하고 있을 가능성을 제기하는 한편, 한･미 언론을 통해 관철되고 있는 이 담론의 실체를 분석하고 자 했다. 분석대상은 <조선일보>, <한국일보>, <한겨레>를 비롯해 미국의 <New York Times>, <LA Times>, <Washington Post>에 실린 사설, 칼럼과 분석기사다. 모두 대북정책에 관한 여론, 집단정서와 도덕적 평가에 상당한 영향력을 발휘하는 언론사다. 관련 기사를 수집한 기간은 2001년 1월부터 2017년 10월까지다. 정권의 교체기와 대외정책 방향성을 반영한 선택이다. 미국에서는 부시 2세, 오바마, 트럼프 정권이, 한국에서는 노무현, 이명박, 박 근혜, 문재인 대통령이 집권했다. 분석을 통해, 우선, 백악관이 제시한 ‘불량 국가’ 독트린이 언론의 지배적인 관점이 되어 있다는 사실이 드러났다. 둘째, 북한의 악마성을 논리적으로 설명하는 프레임으로는 국제사회와 이웃 국가 를 위협하는 ‘안보위협’ 및 대화를 통해서는 문제를 해결할 수 없는 ‘신뢰파탄’ 이 대표적이었다. 북한에 대한 집단정서를 형성하는 표현으로는, 셋째, ‘잔혹 함, 독재자, 병영국가’ 등이 두드러졌다. 각종 경제 봉쇄 정책과 정권교체와 같은 대외정책에 영향을 미치는 규범적 주장에는 ‘중국책임론, 위장전술 경 계, 지속적 압박정책’ 등이 포함되어 있다. 연구진은 이를 근거로 북한에 대 한 한국사회의 인식이 특정 담론의 개입에 따른 효과일 수 있다는 점, 미국의 대외정책과 밀접하게 관련되어 있다는 점, 미국에 대한 한국 언론의 사대주 의 경향이 현실에 대한 왜곡을 초래한다는 점 등을 지적한다. 분단을 극복하 고 보다 평화로운 한반도 신질서를 위해 기존 담론의 오류를 분석하고 대안 적인 담론을 생산해야 할 필요성에 대한 논의도 이 논문을 계기로 꽃을 피웠으면 한다.

Not only the repetitive security crisis on Korean peninsular but lack of diplomatic solutions has much to do with demonized North Korea. This paper thus attempts to discover media’s performance in way of contriving the devil of North Korea. While collecting samples from editorials from prestigious newspapers in US and South Korea, it analyzes such components as ‘logical statements, emotional expressions and normative obligations’ embodied in them. The study shows first of all that media’s adoption of frames expressed by logical arguments remain within the realm of ‘Rogue State’ doctrine. The practice of associating North Korea with negative images prevail as well. Lastly, US foreign policy has strong impact on media’s positions in finding primary faults with North Korea and China. Considering the importance of discourse in way of achieving political benefits, the authors hope to present alternative perspective toward the role of media especially in foreign policy.

John Webster’s major works have been regarded as tragedies, but they seem to be melodramas with their traits being quite different from what the traditional discourse of tragedy defines. There we cannot find the tragic conflict and agony the hero evokes due to his mistakes or moral sins. Rather his plays are full of some traits of sensationalism and decadence which are the main characteristics of melodrama. Although we cannot find the typical victory of the good in his works ending the conflict between good and evil, we can find a kind of melodramatic imagination that is found in the 19th century Victorian theaters. However, Webster's works don't represent the same moral lessons as the typical melodramas emphasize. The moral purpose presented in his works is connected to the author's political view about the ideological conflict and confrontation between the ruling class and the ruled, men and women, and masters and servants. Melodramas often designate the political, religious, racial, and sexual other as the force of evil, and establishes the stability and maintenance of the ruling order by destroying and containing the other's threat and revolt. But Webster's melodramas are out of this conservative ideology. His melodramatic techniques contribute to the criticism of the male-oriented ruling ideology. Therefore, it's not surprising to find that the male characters of high status turn out to be fully corrupted people, and the females and the malcontents become the main characters in Webster's plays. In The White Devil and The Duchess of Malfi, Webster takes advantage of melodramatic techniques as good means to criticize and overthrow the ruling ideology. In The White Devil, Vittoria and Flamineo, the woman and the malcontent, represent the new ideology of individual's freedom for success, while Brachiano, Francisco, and Cardinal the ruling ideology of social hierarchy. Although the two groups are all corrupted, Webster supports the former by making the inferiors more attractive and heroic. Also in The Duchess of Malfi, the Duchess and Bosola, the woman and the malcontent, represent the new ideology of woman's freedom to pursue her desire and the individual's chance for success. On the other hand, Duchess' brothers, Ferdinand and Cardinal, represent the male dominating hierarchical ideology. And Webster criticizes the latter by characterizing the brothers as hypocritical villains, while the Duchess as innocent victim.

This essay argues poisoning frequently staged in early modern England resonates anxiety as well as curiosity of the contemporaries toward still mysterious and ungraspable human body. Along with the Reformation, human body posits a battleground for discourses of sacredness and secularity, whereas the poisoning as a technologically skilled and highly intelligent crime boldly challenges human body, a sacred work created by God. Furthermore, the process to solve criminal cases of poisoning intrinsically involves Protestant humanistic urge to seek truth through visual proofs while debunking superstitious and deceptive images produced by Roman Catholic Church. Staging poisoning, thus, is to provide solid narratives largely identifying “invisible” effects of poison and unclear identity of the poisoner and ultimately to relieve the anxiety around the uncertainties poisoning arouses. This essay looks at The White Devil by John Webster, which contains varied representations of poisoning, and discusses visualizing poisoning on stage is basically grounded on anti-Catholic sentiments but also exposes Protestant dilemma on representation, the recurring skepticism of misrepresentation or impossibility to represent what is true.

본 연구는 <데블스플랜: 데스룸>의 사례를 중심으로 전략 서바이벌 게임쇼 장르에 형성된 수용자 기대지평을 살펴보고, 수용자의 저항적 해석이 발생하는 맥락 과 사유를 분석하고자 한다. 이를 위해 온라인 커뮤니티 게시판의 문서를 수집하고 토픽 모델링 방법론 중 LDA와 DTM을 병행하여 정적 주제와 동적인 주제의 변 화를 함께 분석했다. 도출한 9개의 토픽을 분석한 결과, 전략 서바이벌 게임쇼의 수용자들은 인물 간 관계의 서사를 핵심 향유 요소로 고려하고, 유사 작품 및 이전 시즌의 경험을 바탕으로 수용의 기준을 마련하며, 프로그램의 외부 텍스트를 통해 해석의 영역을 확장시키는 것을 확인했다. 이어 주차 별 토픽 변화를 분석하여 수용자의 저항적 해석이 발생한 맥락과 의미적 시사점을 다음과 같이 정리했다. 첫째, 전략 서바이벌 게임쇼의 시청자들은 공정한 경쟁에 대해 민감한 기준을 지니 고 있으며 이러한 기대가 배반당했을 때 프로그램의 지배적 의미에 저항한다. 둘째, 훼손된 공정성 담론은 서바이벌 게임쇼의 주최자이자 배후 세력으로 인식되는 제작진에 대한 비판으로 전이된다. 마지막으로 전략 서바이벌 게임쇼 수용자의 저항적 해석은 인물 간 진정성 있는 관계와 성실한 경쟁의 윤리라는 대안적 가치로 귀결된다. 본 연구는 수용자 피드백을 통해 전략 서바이벌 게임쇼 장르의 형식과 내용을 재조명할 뿐 아니라, 디지털 시대 대중문화 수용의 능동적 측면을 실증적 데이터를 기반으로 보여주는 데 의의가 있다.

This study examines the horizon of expectations formed by audiences toward the genre of strategic survival game shows, focusing on the case of The Devil’s Plan: Death Room. It also analyzes the contexts and reasoning through which resistant interpretations by viewers emerge. To this end, online community posts were collected, and two topic modeling methods—Latent Dirichlet Allocation (LDA) and Dynamic Topic Modeling (DTM)—were applied in parallel to capture both static thematic structures and their temporal changes. Analysis of the nine extracted topics revealed that audiences of strategic survival game shows consider interpersonal relationships as key element of enjoyment, establish interpretive standards based on experiences from similar works or previous seasons, and expand the scope of interpretation through external texts beyond the program itself. Furthermore, an examination of week-by-week topic variations identified the contexts and implications of resistant readings as follows. First, viewers of strategic survival game shows hold sensitive expectations regarding fair competition, and when these expectations are betrayed, they express resistance to the program’s dominant meaning. Second, the discourse of damaged fairness often shifts toward criticism of the producer, who are perceived as the behind-the-scenes “organizers” manipulating outcomes—a reflection of the genre’s conventional narrative schema of the “sinister host.” Finally, viewers’ resistant interpretations tend to culminate in alternative values emphasizing authentic human relationships and the ethics of sincere competition. By analyzing large-scale audience feedback data, this study not only re-examines the form and content of the strategic survival game show genre but also demonstrates, through empirical evidence, the active and interpretive agency of audiences in the digital era.

최근 한국에서는 관객 1000만을 돌파하는 영화들이 속출하고, 영화의 작품성에 있어서도 손색이 없다는 평가를 받고 있다. 이에 따라, 본 연구는 한국의 대표 영화로서 ‘왕의 남자’와 미국의 대표 영화로서 ‘악마는 프라다를 입는다’를 중심으로 한국과 미국 영화산업의 종합적인 경쟁력을 평가해 보았다. 종합적 경쟁력 비교를 위해서 Porter의 다이아몬드 모델을 발전시킨 일반화된 더블다이아몬드 모델을 활용하였으며, 분석결과를 토대로 한국 영화의 경쟁우위 강화를 위한 시사점도 제시하였다.

Recently, some Korean movies have succeeded in attracting more than a million movie-goers and have often been evaluated as possessing high level of artistic merit. This study attempts to evaluate the general competitiveness of Korean and American movie industry based on an in depth, comparative analysis, between the "King and the Clown" and "The Devil Wears Prada." In order to have a comprehensive competitive analysis, this study will use the "Generalized Double Diamond Model," which is enhanced version of Porter’s original "Diamond Model." In the final analysis, some policy recommendations in terms of enhancing the international competitiveness and expanding international outreach of Korean movies will be given.

The theme of FAUST play is the struggle between love from God and lust which is made by the devil, Satan. Faust fell due to desire but his satisfaction changed to suffering. Finally he came to his senses of true love. The motif that the devil changes to man and leads woman to temptation to covet her body is common in the literature in Korea and Japan. Japanese Kagai is an old play which celebrates fertility and breeding in the farming festival in the year. Man plays god who visits a virgin to marry with her one night. Woman waits for a visiting of god and accept it in the play of festival. They sing songs which are transmitted from the old times. They enjoy it all night and part in the morning. On the other hand, Song of Cho-jong is a song which has been sung in the spiritual event in Korea historically. The devil which has lust for the wife of Cho-jong visits her home when Cho-jong is not at home and he unites with her. At that time Cho-jong returns home. They are caught in the act in front of Cho-jong but Cho-jong leaves there without saying anything. His action is only singing a song and dancing. The Devil is much moved to generosity of Cho-jong and repents his deed immediately in front of him. The purpose of the devil which appeared in FAUST, Kagai, Song of Cho-jong are all same. Their aim was to have sexual relationship with women. And they did it borrowing the body of man. In the western world it is called the devil and in the east it is called god. But we can regard it as Satan because they tempt human to adultery. We can see that Satan makes woman fall to disrupt her love and peace.

The core of the narrative in Flannery O'Connor’s two short stories discussed in this essay is the encounter between the main characters and the devil-intruder. The encounter is violent and fatal: the devil walks away with the most valuable loot, shaking their “self-intoxicated identity” to its roots. The devil-intruder forcefully crosses the threshold of the self-enclosed and supposedly inviolate world of the intruded and destroys their smug views of superiority and shallow sense of ownership by depriving them of what they most value. In the process, the mysterious intruder administers demonically anarchic power, ripping apart the outward facade of the intruded and exposes the fallen and sinful self. O'Connor’s devil is not to be “simply taken this or that psychological tendency,” but to be clearly recognized as the devil for the sheer malignancy he displays in his double-dealing ways. Supposing “the devil teaches most of the lesson that leads to self-knowledge,” O'Connor bestows on the darkly disruptive figure the role of playing a spiritual catalyst by delivering a harsh lesson, which may lead the self-knowledge of the intruded. Mrs. Crater of “The Life” and Hulga Hopewell of “The Good Country People” are the surest candidates to fall victim to the fatal encounter with the devil-intruder travelling in many protean forms and names. Their revelatory moment of self-knowledge is hideous and final. All Mrs. Crater’s earthly possessions prove insubstantial; Hulga’s intellectual pride with her Ph. D. in Philosophy proves inane as well. Each, given the opportunity to recognize her self-deception through the fatal encounter with the devil, has the moment of truth, which may or may not effect her change of heart. As to the final condition of each of the two characters, O'Connor intends to leave it open to the reader’s choice. The one thing for sure is that the devil is again at large, “looking for someone to devour.” The modern landscape O'Connor presents is “a territory held largely by the devil” and the subject of her fiction is “the action of grace” in such a world.

This short story published in "Shin Si Cho" in November 1915, is one of the first Christian literature produced by Akutagawa . The “cigarette and devil” is a typical example of his writing which describes Christianity as a subject of “exoticism”. The writer suggests that “the advent of god consequently results in the advent of devils; therefore, it is reasonable to propose that importing the goodness from Western society at the same time, brings along the evil. This is the main theme of the story, demonstrating that there are two sides to all things. Such theme is emphasized and further depicted using the concept of “exoticism” and also by parodying cow seller’s faulty religious belief. This story, in addition to Akutagawa ’s early work, raises the fundamental problem of two sides existing in all matters.

本作品は大正五年十一月「新思潮」に発表された短篇で、芥川の所謂キリシタン物に属する作品である。この作品は芥川のキリシタン物の第一作としての意味づけをすることができる。なお、『煙草と悪魔』は基督教がエキゾチシズムの対象として扱われた典型的な作品である。作者は＜南蛮の神が渡来すると同時に、南蛮の悪魔が渡来すると云う事は―西洋の善が輸入されると同時に、西洋の悪が輸入されると云う事は、至極、當然な事だからである＞と述べている。これは物事には両面性があるという本作品のテ－マであるが、ここに悪魔と牛商人との賭事が絡んでいるのである。作者芥川は『煙草と悪魔』にエキゾチシズムを添えて、牛商人の歪んだ信仰観をパロデイ－化し、物事の両面性を描いている。本作品は芥川の初期作品『羅生門』、『鼻』、『芋粥』に貫かれている物事の両面性の問題を追究しているのである。

This study is to scrutinize the social structure which surrounds Vittoria, the female protagonist in The White Devil, and the process through which she is defined as a victim. The White Devil deals with the struggle of a woman who refuses to be unjustly defined as a "whore" or "devil" by the patriarchal society. Vittoria tries to keep her selfhood by revealing the fact that her social identity as a whore is not based on any truth but socially has been "constructed" by patriarchal authorities. Dramatic methods, such as the trial scene or arguments, clearly show us the way patriarchal authorities fortify the oppression of women by "constructing" female sexuality as socially destructive. On the other hand, because Vittoria defends herself with the same rhetorical strategy as her accusers, which hides truth under the cover of authorities, we cannot simply evaluate her as an admirable heroine who overcomes the oppression of a patriarchal society. Nonetheless, Vittoria's effort to keep her selfhood, or in other words, her powerful self-assertion, is a subversive energy which can pose a fundamental question about the basic structure of patriarchal society, revealing the hidden mechanism with which patriarchal authorities dominate womankind

Even though The White Devil has been considered as a tragedy, it lacks the central traits of traditional tragedies. We cannot find the profound tragic vision accompanying moral lesson and the recovery of order. However, the lack of tragic traits and of moral purpose does not derive from Webster’s lack of tragic vision but from his intentional violation of the tradition of tragedy. Webster’s vision is not just to present the negative and pessimistic view of the contemporary society through the morally corrupted characters, but to subvert the moral value that the traditional tragedy seeks for. It is certain that The White Devil is a kind of satire or accusation play rather than tragedy. That is why the play takes the characteristics of a combination of various genres. He represented a society where immoral women and typical villains are less hypocritical than cardinals, dukes, and even popes.

This story is presented as an oral narration by a self-declared traditional artist who also gives himself the grand titles “Gicaandi player” and “Prophet of Justice”. In his first Kikuyu novel, Ngugi creates a modern woman named Jaciinta Wariinga who is very different from his earlier novels’ traditional female characters. In various ways, Wariinga is symbolic of the enslaved. Ngugi reveals major problems of the society and analyzes the process of her reformation. The author wants Wariinga to speak for Kikuyu readers by claiming that women’s restoration promotes the social development and that workers and peasants must not be oppressed any longer. Ngugi’s representation of Wariinga is a fundamental plea that women in modern Africa have a right to respect and equality. Wariinga is a “resistance heroine” and she overcomes the challenges which confront her. Her experience at the Devil’s Feast changes her from a spectator to a player in the struggle. Wariinga’s passivity gives way to a conscious initiator and facilitator of change. So, two years after the Devil’s Feast at Ilmorog, we encounter the new, dynamic, and self-reliant Wariinga who has become a beautiful and fine looking woman. (Chonbuk National University)