MARC

 008040518s2003        ulka                    000      kor
■020    ▼a89-7878-606-5
■0801  ▼a82-94
■082    ▼a811▼b홍73ㅎ▼223
■090    ▼a811▼b홍73ㅎ
■1000  ▼a홍재범
■24510▼a한국대중  비극과  근대성의  체험▼d홍재범  저.
■260    ▼a서울▼b박이정▼c2003
■300    ▼a377p.▼b삽도▼c22.5cm
■505    ▼a1.  서론▼c13▼a1.1  문제  제기  및  연구사  검토▼c13▼a1.2  연구의  고나점  및  연구의  범위▼c29▼a2.  1930년대  한국  대중비극의  개념과  공연실상▼c50▼a2.1  대중  및  대중비극의  개념▼c50▼a2.1.1  대중의  범위와  1930년대  관객의  사회  계층적  성격▼c50▼a2.1.2.  대중비극의  개념▼c60▼a2.2  1930년대  대중극의  공연방식과  공연의  실상▼c82▼a2.2.1  공연방식과  공연광고의  다섯  가지  유형▼c82▼a2.2.2  공연의  실상▼c9700▼a3.  1930년대  한국  대중비극의  특성과  구성원리▼c10511▼a3.1  공연  레퍼터리의  양상▼c10522▼a3.1  공연  레퍼터리의  양상▼c10533▼a3.1.1  새로운  시대의  물결과  사랑에  대한  욕망▼c10744▼a3.1.2.  유교적  이데올로기에  대한  양가적  반응▼c11455▼a3.1.3  고통의  눈물과  눈물  뒤의  행복  :  삶에  대한  의지▼c12166▼a3.2  양식적  특성  :  과잉의  두  방향▼c13077▼a3.2.1  감정적  과잉의  보편화▼c13088▼a3.2.2  도덕적  비학의  세  가지  유형▼c14699▼a3.3  구성  원리▼c16100▼a3.3.1  에피소드적  구성에  나타난  분열  구조▼c16111▼a3.3.2  '잘  만들어진  극'을  통한  안정  구조▼c17522▼a4.  1930년대  관객의  대중비극  수용  양상▼c18933▼a4.1  1930년대  관객의  능동성과  형식체험▼c18944▼a4.2  정서적  현실감에  의한  감정이입의  즐거움▼c19655▼a4.3  저항적  즐거움의  가능성▼c21466▼a5.  결  론  :  요약  및  남은  과제▼c23577▼a1.  근대성의  표상으로서  돈과  인간성의  상실▼c24588▼a1.1  근대성의  표상으로서의  '돈'▼c24599▼a1.2  '돈'의  양극화  :  향락의  수단과  불행의  근원▼c24900▼a1.3  계약의  합법성에  의한  여성의  상품화▼c26011▼a1.4  맺음말▼c27022▼a2.  낭만적  사랑과  근대적  주체  형성▼c27333▼a2.1  머리말▼c27344▼a2.2  낭만적  사랑의  전제조건  :  여성의  육체적  순결▼c27655▼a2.3  자유연애를  통한  사랑의  성취와  근대적  주체형성▼c28466▼a2.4  맺음말▼c29277▼a3.  자유연애결혼과  사회적  갈등▼c29588▼a3.1  가족  :  사회적  갈등의  새로운  공간▼c29599▼a3.2  신구충돌  :  근대성과  유교적  이데올로기의  착종▼c29900▼a3.3  '자유연애결혼'으로  인한  세대  갈등의  첨예화▼c30911▼a3.4  화해의  한  방식  :  인정과  관용▼c32122▼a참고문헌▼c32633
■9500  ▼b￦15000

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