드라마 <연인> 만주어 대사의 극적 기능과 의의

Abstract

Author Hwang Jin-young’s <Dearest> goes beyond romance and is a story that is a comprehensive collection of the themes of the people and immigrants going through war, the royal family and noblemen, people on the border, the status of women at the time, and the bowing forced by Confucianism. By fully introducing the existence of barbarians, the main characters, Gil-chae and Janghyeon, each face Khan, and the theme of ‘It was good to be alive’ and the problem of survival, even while being caught up in war and politics, arerevealed on theframework of philosophical storytelling. The drama secured historical realism by developing the story from 1636, when the Manchu War actually occurred, to 1959, the 10th year of King Hyojong’s reign, and implemented a strategy to give meaning to the war, events, and region by reproducing that period. At the same time, it is different from existing content in that it deals with the era of King Injo, looks at the era from the perspective of the people and prisoners who were buried behind history, and develops a narrative centered on Gilchae. The story of <Dearest> is based on historical sources, and elements of the period that serve as the historical background of the play, such as language, costumes, art, and props, are appropriately placed to increase plausibility. In particular, in <Dearest>, a considerable portion of the characters, so-called barbarians, acted in Manchurian, embodying the feeling of a heterogeneous nation. The drama is said to besignificant in showing what kind of clothing and language the Manchurian people used during the Qing Dynasty in the drama, and in informing viewers that the language spoken by the barbarians was Manchurian, not Chinese. In <Dearest>, the function of Manchurian dialogue can be classified into a strategic function that utilizes the friendly function of language through the use of Manchurian language, first, the function of strengthening narrative conflict using asymmetry of language skills, second, highlighting the heroic aspect of the protagonist using superior foreign language skills, and third, the function of using Manchurian language. In this paper, I introduced the consultation process of the Manchurian lines as a participant in the production of the drama, and looked at the scenes in <Dearest> where the Manchurian dialoguefunctioned in the conflict and resolution of the characters. I hope that the interest of researchers and viewers will increase in publications, movies, and dramas depicting the history of the Korean people and the northern peoples, and we hope that various works will have various discussions on the historical research and use of foreign languages