$\require{mediawiki-texvc}$
  • 검색어에 아래의 연산자를 사용하시면 더 정확한 검색결과를 얻을 수 있습니다.
  • 검색연산자
검색연산자 기능 검색시 예
() 우선순위가 가장 높은 연산자 예1) (나노 (기계 | machine))
공백 두 개의 검색어(식)을 모두 포함하고 있는 문서 검색 예1) (나노 기계)
예2) 나노 장영실
| 두 개의 검색어(식) 중 하나 이상 포함하고 있는 문서 검색 예1) (줄기세포 | 면역)
예2) 줄기세포 | 장영실
! NOT 이후에 있는 검색어가 포함된 문서는 제외 예1) (황금 !백금)
예2) !image
* 검색어의 *란에 0개 이상의 임의의 문자가 포함된 문서 검색 예) semi*
"" 따옴표 내의 구문과 완전히 일치하는 문서만 검색 예) "Transform and Quantization"
쳇봇 이모티콘
안녕하세요!
ScienceON 챗봇입니다.
궁금한 것은 저에게 물어봐주세요.

논문 상세정보

조선극장의 스캔들과 극장의 정치경제학

The Scandal of Joseon-gŭkjang and the Political Economy to Theatre

대동문화연구 no.72 , 2010년, pp.115 - 156   http://dx.doi.org/10.18219/ddmh..72.201012.115
이승희
초록

It is interesting that we look the history of Joseon-gŭkjang[朝鮮劇場]. This is because the time of 1922~1936 lay between the vitality of Joseon society since 3․1 Movement and the pressure of war mobilization basis, the spatial location was colony capital 'kyunsung[京城]' showing "the contradictory dynamics of empire and colony". But it is more important than anything else that Joseon-gŭkjang's scandal revealed the trace that colonial power's domination strategy sutured. That trace shows the ontological situation in Joseon theatre. In other words, the dispute surrounding the right of performance, the distribution of rebellious leaflet, and the existence of gangsters suggest a correlation among theatre and state power and market. First, ensuring the right of performance was the institutional terms of forming Joseon theatre. This conformed with market rule. But strictly speaking this was the permitted result by colonial power. Of course, this ethnic space mostly was the serene place of amusement, theatre audiences were multitude. Yet, there was concealed political tensible force between colonial power and colonial native. The leaflet distribution at Joseon- gŭkjang, as it were, was the political boomerang that colonial native returned for colonial power guaranteeing of that ethnic identity. The problem is that this identity changed since the mid-1930s. This means that a kind of rule that is Joseon person managing on Joseon theatre changed, namely ensuring the right of performance no more became safe. The theatrical ownership and right of performance shifted from separation to coincidence. This was the collection of performing right by capital. This historical development is closely connected with process that the ethnic identity of Joseon theatre have been weaken generally. That the gangsters in Buk-chon[北村] Joseon theatre district began to flourish may be an inevitable consequence. Buk-chon theatre district has share with an all-around small Joseon economy, it was natural for violence to converge in this poor ghetto. But these bad lumpenproletariat-class had no social power as a yakuza[やくざ]. Here is the reason that the relation between the gangsters and theatre revealed 'gido[きど] culture'. In the colonial era both sides more closely related. The entertainment world have faced the system of 'Nation' performing support and control, simultaneously have experience the control of the gangsters entering into a subordinate relationship. At the end of the day, through this process the identity of hŭng-hang culture was building up. The entertainment world's dependency on state power and economical weakness have indicated the chronic problem, frankly speaking these problems were colonial effect.

참고문헌 (0)

  1. 이 논문의 참고문헌 없음

이 논문을 인용한 문헌 (0)

  1. 이 논문을 인용한 문헌 없음

원문보기

원문 PDF 다운로드

  • KCI :

원문 URL 링크

  • 원문 URL 링크 정보가 존재하지 않습니다.
상세조회 0건 원문조회 0건

DOI 인용 스타일