『한 여름 밤의 꿈』(A Midsummer Night’s Dream): 바흐친의 카니발 이론을 중심으로 (A Midsummer Night’s Dream In Terms of Bakhtin’s Carnivalesque Elements and Effect)

서지정보

· 발행기관 : 한국셰익스피어학회
· 수록지 정보 : Shakespeare Review / 53권 / 4호 / 575 ~ 597페이지
· 저자명 : 이동춘

초록

The themes of Shakespeare’s comedies may be said to derive from the mysteries or the moralities, but from a fourth dramatic tradition of folk ritual represented by the St. George play, the mummer’s plays, the feasts of the Ass and so on. In particular, the instances of festivity or carnivalesque elements are wider spread in his works like A Midsummer Night’s Dream and Twelfth Night. In these works, a disappearance of the dividing line between humor and great literature can be observed and the lower genres begin to penetrate the highest level of literature. It is this “carnivalization” that carries a truly subversive dialogue between high and low, spirit and flesh, sacred and profane, authority and levelling into Shakespeare’s works and inserts into these structures an indeterminacy and a semantic openendedness.
In A Midsummer Night’s Dream, Bakhtinian carnivalesque elements and effect are quite distinct. A carnivalesque state of affairs develops in the wood near Athens represented by parental and patriarchal oppression: topsy-turviness reigns, the lower social strata become privileged, and bodily parts and biological processes, conceived as the source of regenerative energy, are revalued. Finally, all the confusions and conflicts are resolved and even curbed to a rigid social hierarchy of aristocratic and patriarchal privilege once again. In addition, the individual sense of belonging to a larger, cohesive and harmonious social group is confirmed and strengthened. And it is through the carnivalesque effects of reconciliation and regeneration that a “new” society/order emerges that acquires or regains an organic and healthy cohesion among the social participants.

영어초록

The themes of Shakespeare’s comedies may be said to derive from the mysteries or the moralities, but from a fourth dramatic tradition of folk ritual represented by the St. George play, the mummer’s plays, the feasts of the Ass and so on. In particular, the instances of festivity or carnivalesque elements are wider spread in his works like A Midsummer Night’s Dream and Twelfth Night. In these works, a disappearance of the dividing line between humor and great literature can be observed and the lower genres begin to penetrate the highest level of literature. It is this “carnivalization” that carries a truly subversive dialogue between high and low, spirit and flesh, sacred and profane, authority and levelling into Shakespeare’s works and inserts into these structures an indeterminacy and a semantic openendedness.
In A Midsummer Night’s Dream, Bakhtinian carnivalesque elements and effect are quite distinct. A carnivalesque state of affairs develops in the wood near Athens represented by parental and patriarchal oppression: topsy-turviness reigns, the lower social strata become privileged, and bodily parts and biological processes, conceived as the source of regenerative energy, are revalued. Finally, all the confusions and conflicts are resolved and even curbed to a rigid social hierarchy of aristocratic and patriarchal privilege once again. In addition, the individual sense of belonging to a larger, cohesive and harmonious social group is confirmed and strengthened. And it is through the carnivalesque effects of reconciliation and regeneration that a “new” society/order emerges that acquires or regains an organic and healthy cohesion among the social participants.

참고자료

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