함세덕과 아이들 - 함세덕 희곡의 소년형 인물이 갖는 의미

Abstract

The principal characters of Ham Seduck’s plays are mostly children (boys or girls). Teenagers from mid teens to late teens play the main roles in his many plays. The principal characters of his another plays are early twenties, but they may be classified as children in a broader sense. This paper is concerned with the shape of children characters which is one of the main features in Ham Seduck’s plays. Regarding this issue, there have been several studies thus far. The two major differences from previous studies are the following: First, this paper examines the consistency of Ham Seduck’s plays from the perspective of children discourse. So far, a dominant approach to Ham Seduck’s plays has been focused on the inconsistency of his plays. Some scholars and critics even called him to a chameleon in the world of plays. His plays have been divided into three periods : Lyric realism plays in the first period, pro-Japanese plays in the second period, and leftist plays in the third period. In a sense, this classification seems valid, but what has been missing is to find out the consistency extend in go over those three periods of his plays. In this light, children discourse provides a wider significance for the consistency passing through Ham Seduck’s plays. Second, this paper analyzes the conflict between a father and his offspring in Ham Seduck’s plays via the concept of family romance. According to Freud, Children who are deserted by their fathers regard themselves as foster/step children and tend to look for the unreal biological father. This is called family romance. Ham Seduck’s plays involve a lot of conflict between fathers and their offspring. This paper analyzes the structure of family conflict in terms of family romance. In particular, this paper investigates the conflict between father and his offspring from the point of family romance, which appears in his several plays as like Dongseung(A little monk), Nakhwaam(The cliff of falling flower), The chief Isabella.