이근삼 희곡에 나타난 남근주의적 젠더표상과 변주- <국물있사옵니다>를 중심으로

Abstract

The study examines the methods of expressions and dramatic effects used Yi Keun-sam's early epic drama, There is soup (Gungmul It Sa Ob ni Da) to consider the phallic represntation of gender. In particular, the narrative of the female characters who pragmatically confront change are seen through a dual perspective, both a pessimistic view of the political agenda and a pessimistic view of the world. The sexuality of the female characters simultaneously reinvigorates the compulsive melancholy of the male characters who are reborn as protagonists through oppression and in this way, represents the shortcomings and limitations of masculinity. Further, phallic characters that are used as dramatic tools throughout the performance can be seen as an aspect of transitory contemporary masculinity and part of the process of emasculation which ultimately finds a conclusion in the formation of a new model called Sangbeom. The playwright’s intention is not to criticize contemporary Mammonism, but to subvert the contemporary moral and ethical consciousness that criticizes modern Mammonism.