• 제목/요약/키워드: 신극

검색결과 25건 처리시간 0.029초

신극단주의 관점에서 바라본 브루노 뒤몽의 영화세계 - <릴 퀸퀸>을 중심으로 (Bruno Dumont's Cinematic World Seen from the Perspective of the New Extremism: Focusing on P'tit Quinquin)

  • 최수임
    • 비교문화연구
    • /
    • 제40권
    • /
    • pp.185-212
    • /
    • 2015

  • 브루노 뒤몽의 2014년도 작품 <릴 퀸퀸 P'tit Quinquin>은 잔혹하여 보기 힘든 것들로 가득한 신극단주의 경향의 200분짜리 긴 영화이다. 잔혹함과 불가해함으로 가득한 이 영화가 현실에의 어떤 시선을 가능케 한다면, 그것은 무엇 때문일까? <릴 퀸퀸>은 기묘한 현실의 내막을 집요하게 보아내려 한다. 그러나 끝내 아무리 보려고 해도 현실의 실체는 보이지 않는다. 볼 수 없는 현실의 '볼 수 없음'이야말로 이 영화가 그토록 집요하게 보려 하고, 우리에게 보여주려 하는 것은 아닐까? 그렇다면, 영화 매체에서 '볼 수 없음'의 의의란 무엇일까? 이 논문은 사실적인 것을 태생적으로 보여줄 수밖에 없는 매체인 영화가 '볼 수 없음'을 탐지하는 것이 <릴 퀸퀸>이 만들어내는 영화적 새로움이라는 생각을 전개한다. 보이는 모든 것을 보아도 볼 수 없는 것이 영화가 보여줄 수 있는 현실의 내면이라면, 어떻게 영화는 '볼 수 없음'을 통해 새로운 영화적 세계관을 나타내는지 이 글은 탐색한다.

피부괴사로 노출된 심장 Pacemaker에 대한 처치 : 증례 보고 (A technique for treating exposed cardiac Pacemaker)

  • 신극선;유재덕;홍승록
    • Journal of Chest Surgery
    • /
    • 제17권1호
    • /
    • pp.125-128
    • /
    • 1984

  • The management of the exposed cardiac pacemaker or its lead is a new challenge to the plastic surgeon. This complication is not rare. Coburn et al. [1972] reported less than 5 percent, but Sowton et al. [1974] showed that over a period of 19 years, in a series of 372 patients, the pacing system had to be removed because of local wound breakdown or infection in 10 percent of the cases. The methods used to treat exposure may vary from removal and re-introduction at anterior site to the rotation of local flaps to cover the exposed pacemaker. Recently we have experienced 6 times of migration and recurrent skin ulcerations without pyogenic infection overlying the pacemaker in one patient. We developed a new technique, anchoring the pacemaker to the clavicle by a wire through the hole of clavicle and by creating a pocket under the pectoralis major muscle. Then we would like to emphasize this operating method could be choice of treatment to prevent the migration of pacemaker and the ulceration of skin when complication of implantation of pacemaker is occurred.

  • PDF

축지소극장의 근대성 문제에 대한 연구 -가부키(歌舞伎), 신파(新派), 신극(新劇)의 연관성- (A study on the controversy of the modernity of the Tsukiji Little Theater -With a focus on Kabuki, Shinpa, and Shingeki-)

  • 김현철
    • 한국연극학
    • /
    • 제48호
    • /
    • pp.421-446
    • /
    • 2012

  • The purpose of this paper is to shed light onto the historical significance and limitations of the Tsukiji Little Theater's modern performances. The Tsukiji Little Theater holds a position of great importance to the history of both Japanese and Korean modern theater. Some, however, are under the completely opposite impression. There are also mixed opinions about whether the Tsukiji Little Theater is a "model example" of the modern theatrical movement or a "bad example". Based on this controversy, we look into the definitive characteristics of the Tsukiji Little Theater based mostly on "the controversy over translated foreign plays", "the controversy of foreign plays versus original plays", "the value of kabuki" and "Shinpa as a rival". This paper looked into the differences in controversy over translated foreign plays in the Tsukiji Little Theater and the controversy in existing translated foreign plays. It mostly looks at the "casuistry of foreign plays" and the "cultural engineering theory of foreign plays"to get a grasp on the controversy surrounding existing translated foreign plays. Meanwhile, the "internally critical meaning" towards the original plays of renowned writers was strong in the controversy of foreign plays in the Tsukiji Little Theater. Kaoru Osanai defined the 1920s as a dark period, and persisted that because of the activity of the Shingeki movement, foreign plays were needed instead of low-level original plays. This study examines the characteristics of original plays and foreign plays publicly performed at the Tsukiji Little Theater to analyze the "controversy of translated foreign plays versus original plays". The Tsukiji Little Theater mostly put on shows with a strong sense of resistance or that defied the old times. This caused there to be a lot of emphasis put on the rebellious mindset towards old conventions and ideologies for most of the plays, both foreign and original, and the problem arises that little mind was paid to the integrity or beauty of the works. In looking at the "value of kabuki", this paper looked into Kaoru Osanai, who was deeply involved in kabuki actors. He evaluated traditional Japanese arts highly not because of the literary value of their scripts, but because he recognized the value of how they were performed. In order to create a new spectacle, music, dance and mime was taken in from countries around the world, and kabuki was regarded highly as a means of expression on stage. Finally, we also examine the recognized reasons for treating Shinpa as a rival. There is a relationship between these reasons and a complex about the audiences they drew. The Shinpa performances always had many spectators and were successful, but those at the Tsukiji Little Theater were so unpopular with the public that it was hard for them to financially run their theater group. The empty seats in their theater constantly made the modern intellectuals in the Shingeki movement feel inferior.