18/19세기 서양 희가극에 나타난 ‘희극성’에 대한 연구
The comicality represented in the 18th & 19th centuries Western Comic Opera
0
조회
0
다운로드
3
인용
0
참고문헌
초록
The comicality is represented in the 18th & 19th centuries Western Comic Opera. The 18th century comic opera functions as an expression of the shared sensibility of people class and is characterized by criticism between unequal parts of society. The themes of Mozart's comic opera are composed not only of social criticism of the ancient feudal system, but also of the contradictions of the rational enlightenment that was a part of the new civil society. The comicality of the 18th century comic opera continues in the new social paradigm of the 19th century. The meaning of laughter in comic opera lies in its ability to recognize the limit of conventionality and thus is remarkable as an artistic expression. The significance of music language, as such, lies in that it enhances the function of recognition in laughter by tapping into emotions beyond the reach of verbal language.
Abstract
The comicality is represented in the 18th & 19th centuries Western Comic Opera. The 18th century comic opera functions as an expression of the shared sensibility of people class and is characterized by criticism between unequal parts of society. The themes of Mozart's comic opera are composed not only of social criticism of the ancient feudal system, but also of the contradictions of the rational enlightenment that was a part of the new civil society. The comicality of the 18th century comic opera continues in the new social paradigm of the 19th century. The meaning of laughter in comic opera lies in its ability to recognize the limit of conventionality and thus is remarkable as an artistic expression. The significance of music language, as such, lies in that it enhances the function of recognition in laughter by tapping into emotions beyond the reach of verbal language.
참고문헌 (16)
- 권송택, "모차르트 오페라의 관습적 이디엄", 서양음악학, 12(1), pp.41~78 (2009), 한국서양음악학회
- 김미량, "정치 사회 풍자로서 죤 게이의 『거지 오페라』연구", 신영어영문학, (25), pp.25~44 (2003), 신영어영문학회
- 김미영, "웃음과 희극적인 것, 그리고 음악적 희극성 : 18-19세기 음악에서의 의미변화를 중심으로", 음악이론연구, 13, pp.9~30 (2008), 서양음악연구소
- 김미영, "모차르트의 오페라 부파《피가로의 결혼》에 나타난 희극성: 그 사회비판적인 내용을 중심으로", 서양음악학, 12(2), pp.57~84 (2009), 한국서양음악학회
- 김영귀, "문학적 카니발로서의 E. T. A. 호프만의 브람빌라 공주", 박사, pp.2002
- 류종영, "웃음의 미학" (2007), 유로서적
- 이가영, "파스토랄(Pastoral)로 읽는 <코지 판 투테>", 음악과 문화, (20), pp.103~129 (2009), 세계음악학회
- 이가영, "파이지엘로(Giovanni Paisiello), 솔러(Vicente Martin y Soler), 치마로사(Domenico Cimarosa) 그리고 모차르트의 오페라 부파 들여다보기", 서양음악학, 12(2), pp.29~56 (2009), 한국서양음악학회
- 이영석, "베르그송의 <웃음, 희극성의 의미작용에 대한 시론>에 나타난 웃음과 희극성 분석", 프랑스문화예술연구, 17, pp.241~262 (2006), 프랑스문화예술학회
- Daschner, Ubert, "Humor in der Musik" (1986), Breitkopf&Härtel
- Lister, Laurie-Jeanne, "Humor as a cancept in music" (1994), Peter Lang
- Marquard, Odo, "Exile der Heiterkeit, In Das Komisch. Herausgegeben von Wolfgang Preisendanz und Rainer Warning", pp.133~151 (1976), München
- Stollberg, Arne, "...wenn die Würde und Konvention plötzlich durch das Naturgesetz gebrochen wird-Zur musikalischen Darstellung des Komischen in Wagners Musiktheater, In Wagnerspectrum", pp.35~58 (2007), Würzburg
- Werner, Klaus-Günter, "Spiele der Kunst" (1988), Peter Lang
- Wiora, Walter, "Zu Kierkegaards Ideen über Mozarts Don Giovanni, In Beiträge zur Musilgeschichte Nordeuropas", pp.1978, Wolfenbüttel
- Wolff, Hellmuth Christian, "Geschichte der komischen Oper" (2007), Florian Noetzel
