송영 희곡에 나타난 ‘조선적 표상’ 연구 - 「김삿갓」과 「신사임당」을 중심으로 -

Abstract

This study analyzed the procedures of acceptance of the ‘Joseon-style’ symbols within Song Yeong’s plays,「Sinsaimdang」and「Gimsatgat」. Song Yeong introduced ‘Sinsaimdang’ and ‘Gimsatgat’, which are symbols of national figures, while joining a national play during the latter period of Japanese rule by acting as a KAPF author. In general, the national and historical symbol is signified equivalently transcending history, and the formal significance, namely ‘the wise mother and good wife’ and the ‘bohemian poet’ representing both plays, is formalized to reorganize the ‘inner world’ of characters while being appropriated as they are. Concerning ‘Sinsaimdang’, Song Yeong dislocates a national ideality with a nationalistic ideality by unveiling a higher mentality and an inner world, which is inverted to ‘a law’ based on a principle which enabled the appearance of the wise mother and good wife. With regard to ‘Gimsatgat’, he reduces the inner world of Gimsatgat to the subjective inside by assuming ‘the inner space’ to be severed from the outside world. As a result, ‘Sinsaimdang’ extends the nationalistic value of the times by internalizing the concept of ‘loyalty’, whereas ‘Gimsatgat’ is alienated from a realistic context as it focuses on derailing the context from historic facts and romanticizing the context.