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한국문학이론과 비평 , 2018년, pp.109 - 131   http://dx.doi.org/10.20461/KLTC.2018.9.80.109
본 등재정보는 저널의 등재정보를 참고하여 보여주는 베타서비스로 정확한 논문의 등재여부는 등재기관에 확인하시기 바랍니다.

1960년대 희곡의 사월혁명 대응 양상
The Response Aspects of the 1960s Dramas to the April Revolution

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    The purpose of this paper is to study how to accept and respond to the April Revolution in 1960s dramas. There are not many works dealing with the April Revolution in 1960s Korean dramas. The way the 1960s dramas responded to the April revolution was fragile. However, the spiritual value of the April Revolution continued to penetrate into dramas even after the 1960s not only as a material but beyond. The discourse of the April Revolution was reproduced after the military coup of 5·16, and became the basis of the opposition to the military dictatorship. 「The Great refused to die」(Lee Keun-sam, 1960), 「Without the pain of peeling」(Cha Bumseok, 1960), and 「The final destination」(Ha Yoo-sang, 1961), 「An aftertaste」(Park Dong-hwa, 1962) are based on the April Revolution. These works set the stage for the long term dominance of the Rhee regime and the corruption of the dictatorship. These works portray resistance or anger against the politics that is constantly changing according to the power, or stage the chaos of our society shortly after the April Revolution through the lower classes' joys and sorrows. However, these works have resulted in weakening the criticism of the corrupt and absurd political reality by locking up the historical event, April Revolution, in generation discourse or dealing it ideologically. 「18th Republic」(Lee Keun-sam, 1966), 「The Tourist Zone」(Park Jo-youl, 1969), and 「An executioner」(Yoon Dae-sung, 1969) dramatized the mental value of the April Revolution under the military dictatorship. These works reproduced the value of the April Revolution spirit with various discourses such as the desire of democracy, satire about the current political reality, resistance to the ruling class, and the issue of unification. Nonetheless, these works have a sense of being a 'compromised play'. Considering that these works were created in the middle and late 1960s, it would not have been easy to show the mental value of the April Revolution on stage in the reality of the dictatorship regime.


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