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(Im)Politeness's Cultural Meaning of Yangju Masked Dance Play

  • The Research of the Korean Classic
  • 2013, (27), pp.327-369
  • Publisher : The Research Of The Korean Classic
  • Research Area : Humanities > Korean Language and Literature > Korean Literature > Korean classic prose

Ju, Hyun Shik 1 Sanglan Lee 2

1동양대학교
2서강대학교

Accredited

ABSTRACT

In order to study distinctiveness of Yangju Masked Dance Play as performative genre, it is necessary to do as in-depth analysing of a situational meaning that performers and audiences make together at performance site. For example, a cultural perspective about linguistic forms or nonverbal channels like gesture and music provides Yangju Masked Dance Play's research with a new perspective. Bearing these points in mind, this paper will study cultural meaning of Yangju Masked Dance Play's oral performative grammars with (im)politeness as the center. In Yangju Masked Dance Play, politeness is sensuously made up a direct request's discourse, bound-unidirectional-particular gestures, and musics standing for a social identity. On the other hands, impoliteness is sensuously made up a playful discourse strategy like parallelism, free-bidirectional-global gestures, and musics standing for a physical plasticity. In both cases, audiences become participants, because of aesthetically elevated situations arising from uttering (im)politeness. Therefore, Yangju Masked Dance Play's oral performative grammars homonymously figure sociocultural conditions in the late of Chosun Dinasty. That is, sensitive factors as (im)politeness's constituent make up faces as a unit of cultural activity, i.e. 'cultureme', and faces authoritatively or deauthoritatively structure intelligible cultural activity like medical, commercial, food life system in the late of Chosun Dinasty. So, as a cultural meaning, (im)politeness of Yangju Masked Dance Play recontextualizes historical conditions of the late Chosun Dinasty which conservatism and progressive ideas continue the strained relations. As a result, this paper will have significances in that it attempts to variously understand sociocultural aspects of Korean Masked Dance Play's aesthetics. To linguistically, kinesically, ethnomusically, culturologically analyse oral performative grammars will provide us with useful research perspectives, because the earlier studies on Korean Masked Dance Plays have focused on ritual hypothesis of the origin of it or realism study about growth of the people in the late of Chosun Dinasty.

Citation status

* References for papers published after 2022 are currently being built.

This paper was written with support from the National Research Foundation of Korea.