『구운몽 』과 『인생은 꿈』의 세속적 욕망과 문화적 표상 (Secular Desires and Cultural Representation of The Cloud Dream of the Nine and Life is a Dream)

서지정보

· 발행기관 : 한국동서비교문학학회
· 수록지 정보 : 동서비교문학저널 / 54호 / 145 ~ 165페이지
· 저자명 : 나송주

초록

These two stories in The Cloud Dream of the Nine and Life is a Dream are based on different backgrounds, but reveal the worldly desires of the people of those days through a contrasting device called reality and dream. To reveal this, both works use different layouts that cross between reality and dreams, reality and fantasy. Also, the actions they have revealed in their dreams are the moments when secular desires are projected beyond the problems of ethics, and the desires hidden inside humans are freely vented.
Their cultural representations are expressed differently. In The Cloud Dream of the Nine, the ethical consciousness of the ruling class is reflected and the ruling ideology of the those days. Similarly, in Life is a Dream the plot is a reproduction of the cultural representations of the Baroque period, which was believed to be a dream but felt confused between reality and dream.
In the end, Yang So-yu and Segismundo’s outpouring of desire is only a possible desire in a dream, but it is expressed in two forms, namely, the embodiment of rising in the world and gaining fame and the dismantling of boundary between reality and dreams. In The Cloud Dream of the Nine, Yang So-yu imagine the reality without conflict or frustration, and in Life is a Dream, muddle up reality with dreams and create a cultural reenactment called ‘Baroque’ of disillusionment and instability. In order to talk about cultural representations of those days, they freely reveal their desires beyond the existing ethics, but their desires in the dream are also revealed in a different way in the face of the principles of reality. After all, secular desires are also relative to each culture, and its personality is also a cultural code that is edited.

영어초록

These two stories in The Cloud Dream of the Nine and Life is a Dream are based on different backgrounds, but reveal the worldly desires of the people of those days through a contrasting device called reality and dream. To reveal this, both works use different layouts that cross between reality and dreams, reality and fantasy. Also, the actions they have revealed in their dreams are the moments when secular desires are projected beyond the problems of ethics, and the desires hidden inside humans are freely vented.
Their cultural representations are expressed differently. In The Cloud Dream of the Nine, the ethical consciousness of the ruling class is reflected and the ruling ideology of the those days. Similarly, in Life is a Dream the plot is a reproduction of the cultural representations of the Baroque period, which was believed to be a dream but felt confused between reality and dream.
In the end, Yang So-yu and Segismundo’s outpouring of desire is only a possible desire in a dream, but it is expressed in two forms, namely, the embodiment of rising in the world and gaining fame and the dismantling of boundary between reality and dreams. In The Cloud Dream of the Nine, Yang So-yu imagine the reality without conflict or frustration, and in Life is a Dream, muddle up reality with dreams and create a cultural reenactment called ‘Baroque’ of disillusionment and instability. In order to talk about cultural representations of those days, they freely reveal their desires beyond the existing ethics, but their desires in the dream are also revealed in a different way in the face of the principles of reality. After all, secular desires are also relative to each culture, and its personality is also a cultural code that is edited.

참고자료

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