대중서사연구

초록

Abstract

Sense and body was understood as an important and necessary element for forming a subject at the Joseon literary world in the early 1920’s, which was denied by the enlightenment and reason. With this, they tried to find the freedom of the individual and give a high value to inner personality. Also No, Ja-young persuaded the way for self-affirmation, which is aware of personality, as romantic approaching to sense, emotion and passions at the novel in the 1920’. The sense of youth yearned dating which is an appreciator of personality and unknown, and had desire to have a family through romantic love. The public’s longing for dating of the day was a foundation which No, Ja-young generates literature, and an opportunity to spread it, so there are full of optimism of appropriateness at his novel in 1920’s, which realizes ‘complete self’ or ‘real-self’. This appropriateness can be met with romantic aesthetic sense as an optimistic prospect for future and dating or made with a tragic grudge following failure of realization of love and his idea. On the other hand, at No ja young’s novel in 1930’, he took the focus on various existences in the real world and their ‘self-crack’, while putting ‘complete self’ and ‘real-self’ in brackets. Therefore, while his novels was reproduced the achievement of self-development that a society personage of the colonized Joseon period obtained and appeared their personal deception or snobbery in the private field at the same time, which it had both such attitude like that. Like that, while No, Ja-young combined ideologically the enlightened declaration for romance of sense and personality into the novel of 20’s, at one of 30’, it was disclosing in naturalism that romantic aesthetic sense was failing completely in closeness and pitiableness of the daily life world. Such attitude in naturalism has a limitation that can’t change the violating mind which is mockery and overturned value, to the real power.

초록

이희철의 「읍혈조」는 1920년대 초반 『동아일보』에 「환희」와 「선도자」에 이어 세 번째로 연재된 창작 장편 소설이다. 이 소설은 유학생들의 근대적인 체험 및 연애를 다루고 있다는 점에서 1920년대 연애소설의 계보에 속하면서도 (표면적으로만 연애를 구사했을 뿐-삭제) 미달된 연애소설의 형태를 취(하고 있-삭제)한다. 등장인물들 대부분이 남녀 간에 연인 관계로 설정되지만 이들 사이에 애정 갈등이나 삼각관계와 같은 구도는 전혀 발생하지 않을뿐더러 연애를 통한 진정한 인간관계에 대한 이해나 성찰로도 가 닿지 못한다. 오히려 연애서사가 전면화 되면서 흥미롭게 설정된 시대 배경이나 다양하게 등장한 인물들이 후경화 되거나 혹은 실종되는 경향을 보인다. 이러한 현상은 소설예고와 연재 사이의 간극을 통해 극명하게 드러난다. 애초 예고대로 현대 조선 청년을 주인공으로 내세웠음에도 불구하고 시대를 그리고자 한 방향으로 나아가지 못하고 미달된 연애소설로 귀결된다.

Abstract

초록

이 글은 식민지 조선에서 영화비평의 첫 장면을 구성하고 있는 심훈의 영화비평을 통해 당대 영화비평의 특성과 그의 비평적 태도를 규명하는 것을 목표로 한다. 심훈의 영화비평은 그 자체로 영화비평이기도 하면서 영화비평에 대한 메타비평의 성격을 지니고 있어 흥미롭다. 심훈의 영화비평에서 눈여겨 볼만한 것은 ‘객관적 준거를 통한 전문화와 보편적 해석을 통한 대중 지향’의 성격이 두드러진다는 점이다. 영화비평을 통해 드러나는 그의 이러한 관점은 비록 낮은 수준이고 영화비평 초기의 작은 부분에 불과한 것으로 볼 수도 있다. 그러나 이러한 그의 일관된 태도는 영화비평의 시작을 주도했던 문인들의 행태에 대해 대타적으로 정립된 것이라 일종의 저항적 기표로 읽힐 가능성이 있다. 다른 예술에 대한 간섭이 절대적으로 자유로웠던 문인들의 자의적 비평에 맞서 심훈은 영화를 구성하는 객관적 준거를 통한 전문적 비평을 제안한다. 아물러 영화 <아리랑>의 흥행 성공으로 조선영화의 관객대중이 형성되는 시점과 연동하여 비평으로 하여금 조선영화와 관객을 매개하는 역할을 기대함으로써 궁극적으로 조선영화 발전의 토대를 구축할 것을 당부한다. 영화비평을 둘러싼 그의 이러한 태도는 문학과 영화, 영화와 현실 사이에 내재하는 간극에 대한 비교적 날카로운 인식으로부터 비롯된 것이며, 따라서 문단이라는 권위의식의 역학을 문제시하고 조선영화의 후진성을 극복하려는 노력과 연동된다는 점에서 의의를 찾을 수 있다.

Abstract

This study aims to examine what is at stake in Shim-Hoon’s film criticism that constitutes the first scene of “Film Criticism”. Shim’s “Film Criticism” is a film criticism in itself and serves as a meta-criticism on film criticism at the same time. What are striking about his film criticism are its specialty based on the objective evidences and its audience-oriented interpretation with universal validity. Indeed, Shim’s film criticism can be interpreted as a “resistant signifier” defying that of the contemporary literati who made a significant contribution to the inauguration of Chosun film criticism. Critiquing the arbitrary film criticism of the literati and their license to intervene in the other kinds of art than their own, Shim proposed a criticism specific to the objective constitutes of the medium of film. With the success of the film “Arirang” triggering the formation of the mass audience in Chosun film industry, the film criticism was supposed to mediate between the Chosun film and the audience, which is crucial to the development of the Chosun film. Through his criticism based on his acute awareness of the discrepancy between literature and film, film and the reality, Shim tried to problematize an assumed hierarchy between literature and film and redress the inferior status of the latter.

초록

이 논문에서는 1930년대 옌안에서 생산된 노먼 베쑨에 관한 서사-뉴스영화, 추도문, 잡지 기사를 대상으로, 중국 공산당이 ‘중화민족’을 분노, 우애, 숭고라는 정념적 코드로 재구성하는 과정을 고찰한다. 당시 공산당은 노먼 베쑨의 ‘외국인’이라는 타자적 위치를 이용해서 내부 구성원들 간의 유대를 강화해나갔다. 즉 중국인과 외국인이 ‘분노’를 공유하도록 이끌어 일본군이라는 ‘공공의 적’을 만들어냈으며, ‘우애’의 발명을 통해 ‘중화민족’을 전 세계 프롤레타리아트의 대표로 재정의했고, ‘숭고’의 정서를 개발함으로써 무수한 차이를 지닌 개인들을 사회주의 전사로 키워냈다. 정념은 본래 개인이 자신의 내부로부터 느끼는 흥취, 희로애락, 고통과 환희로서 존재한다. 하지만 노먼 베쑨 서사들에서 개별적 정념은 점차 집단적 규범으로 자리 잡기 시작했으며, 결국 도덕적 양식으로 고착되었다. 이 논문에서는 이러한 유동 과정을 추적함으로써 중국 공산당이 물질적으로 열악한 상황 속에서 최종적인 승리를 거둘 수 있었던 것은 근대 정치주체로서의 대중의 역량을 간파하고, 그들의 정념을 효과적으로 관리함으로써, 도덕적 명분을 구축했기 때문이라는 사실을 밝히고자 한다.

Abstract

On this study, I will consider processes of reconstitution of ‘zhonghuamizu(中华民族)’ through affections in Yanan(延安) of the 1930’s. At that time, the Chinese Communists aroused nationalist emotions of the public through movies, magazines, posters, and all sorts of cultural events and made them as power of the anti-Japanese movement and a socialist movement. Among them, based on descriptions- news, movies, memorial writings, and magazine articles of Norman Bethune, I will study how the Chinese Communists strengthened bonds between members with a position of ‘a foreigner’ of him. In other words, I will analyze processes of making ‘a public enemy’, the Japanese army, by producing ‘anger’, of recalling ‘zhonghuaminzu’ by invention of ‘fraternity’, of promoting class solidarity of the world, and of raising lots of individuals as socialist warriors, who resided in the continent, by developing ‘sublimity’. ‘Affection’ originally means excitement, joy, anger, sorrow, and pleasure, pain, and delight felt from the inner side of an individual. However, according to the descriptions of Norman Bethune, the individual affections started to become collective standards, and finally showed a tendency to set in as ethical patterns. On this study, following these processes of flowing, I will reveal that the reason why the Chinese Communists could achieve the last victory even in materially poor circumstances was that they built ethical justifications by penetrating capabilities of the public and managing affections.

초록

본고는 시사만평이 대중 저널리즘에 유입된 과정을 식민지 시기 민간언론의 형성과 대중화 기획과 관련하여 분석하고 있다. 이를 통해 조선에서 만화가 서서히 공적공간으로 자리 잡게 된 과정에 주목하고자 한다. 1910년대 저널리즘의 만화게재는 여전히 열악했지만, 다양한 주제를 폭넓게 다룸으로써 식민지 조선인들에게 만화의 스펙트럼을 확장할 수 있는 계기가 되었다. 『매일신보』에서 접한 만화에 대한 경험과 1919년 이후 일본의 통치정책의 전환이 맞물려 1920년대는 드디어 식민지 조선에서 만화가 본격적으로 형성되기 시작했다. 김동성을 기자로 임명하고 최초로 만평란을 저널리즘에 고정시킨 『동아일보』와, 사회 문제를 만화로 재현한 『동명』이 그것을 주도해 나갔다. 1909년 『대한민보』의 ‘삽화’ 이후에 새롭게 등장한 시사만평이 『동아일보』와 『동명』을 중심으로 전개되는 과정을 통해 당대 저널리즘을 이끈 지식인들의 식민지 정치에 대한 인식을 만화를 통해 살펴보고자 하며, 동시에 신문을 통해 여론을 형성해가는 과정에서 만화가 어떻게 정견을 형성해 나갔는지 고찰하고 있다.

Abstract

This article focuses on Cartoon that have flowed into the public Journalism, which the process is related to the analysis of the formation and popularization of planning. Cartoon become gradually through a Colonial-Chosun is to draw attention to the process. Cartoon was still poor in 1910's journalism. But widely on a variety of topics addressed, Colonial Chosun were an opportunity to expand the spectrum of Cartoon(Comics). Cartoon finally began to form in 1920's Colonial Chosun, because of it was expericece facing the Cartoon from 『Mailshinbo』 and ruled Japan's policy shift since 1919. Appointed as a journalist and journalism in the first "Caroon page" trackon in fixed in 1920 years, 『Dong-A Ilbo』. And it was that the 『DongMyoung』 reproduce and led to social problems with Cartoon. In this process, awareness of the colonial politics of intellectuals, led at the tind of Journalism, and how the regime formed in the process of forming public opinion through a newspaper and went to shows.

초록

이 글은 해방 이후부터 한국전쟁기(약칭 ‘해방한전기’)까지의 신문연재 역사소설의 전개 양상에 관한 논의이다. 이 시기 역사소설 문학에는 전대의 유산과 해당 시대의 굴곡에서 파생된 국면이 공존하거니와, 이를 실증하는 데 이 글의 일차적인 목적이 있다. 그 구체적인 방법으로 이 시기 발표작들의 현황과 연재 실태를 우선적으로 정리하고자 했다. 연재소설로서의 양식적 특성과 담화적 특질에 대한 분석 결과에 기초한 전대 문학과의 연속성 검증이 그와 같은 토대 위에서 가능할 수 있다고 판단했기 때문이다. 나아가 역사소설 전통의 변주 궤적을 효과적으로 추적하기 위해 역사소설에 관한 이론적 논의, 주요작들에서 확인할 수 있는 변화된 주제의식, 작가들의 역사관에 대한 고찰 등을 핵심 논점으로 상정했다. 그러나 이 글에는 연구 대상 선정과 시기 설정의 임의성이라는 치명적인 문제가 노정되어 있다. 해방한전기 신문연재 역사소설 문학의 전개 양상을 입체적으로 부감하기 위해 시기 설정과 매체를 편의적으로 한정한 것이다. 이러한 문제설정의 한계를 확인한 것이 역설적으로 이 글의 최대 연구 성과이며, 따라서 그 결과가 향후 연구의 시발점이자 과제라는 것을 알 수 있다.

Abstract

This paper is a study on unfolding phase of the serial historical novels in newspapers from the 1945 Liberation to Korean War. In the historical novels during this time advanced age's legacy and new phases derived from the age's political situation coexists. This paper's primary purpose is to prove such it's specific aspects. For this the facts and series' reality of released works will be researched bibliographically. I judge that the continuity between this time historical novels and advanced age's those can be verified on such a basis of the analysis about form traits and discourse characteristics as a serial novel. In addition to this the core issues are the assumption by the theoretical discussions concerning historical novel, changed new themes, and writers' historical consciousness in order to track the variation of historical novel's tradition.

초록

Abstract

The purpose of his paper is to consider the relation of a modern state and modern academy, especially Sasanggye and academism. To do this work, I tried to make it clear that Sasanggye designated litterae humaniores to achieve the goal of idea formulation at first, but gradually its focus moved to social science because of the response to the request of the times. And I investigated that Sasanggye had intensively refined academism to settle down the academic writing tradition as its subordinated subject. It means Sasanggye took the role of a learned journal. At that time, as South Korea was a newly emerging nation, intellectuals tried to have new knowledges for nation-building. And the academic community and knowledge production systems had not constructed yet, Sasanggye took the charge of that role. So learned journals which were published by the learned societies and Sasanggye were not distinguished easily in the 1950s. But Sasanggye had a exclusive possession in classifying knowledges with particular methods. In other words it adopted a particular branch of learning as a foothold and attempt to hierarchize the academy. And through the process of its arranging learning, economics and historical science were embossed as the important knowledges in Sasanggye. The reason why they took the important role was to have power to explain the actualities concretely. However, Sasanggye is also noticeable in the respect of training the scholars by presenting abundant paper samples. And in the primary stage of Sasanggye, this scholar training was none other than reader training, Until 1954 its readers were scholars mostly. But in 1955 Sasanggye changed the main reader with university students and thirties intellectuals. This was for popularization of the academic knowledge. For This purpose, Sasanggye invited the public to join in the prize contest for the papers on university students which they could participate in after learning how to write academic papers. And Sasanggye boldly devoted space to the papers written by university students if they were remarkable. But as Sasanggye extended the range of the reader, the characteristic of a popular culture magazine for the well-educated classes was strengthen gradually. Undoubtedly it had relations with the continuously demand by the reader.

초록

Abstract

In the 1970’s, Korean literary world and publication market were connected to each other. In the early 1970’s, because literary magazine was booming and as a popular literature, a series story in a newspaper had the power, literary world developed various response strategies such as the discussion of commercialism of popular literatures, forming the novella for setting up its cultural capital. The antagonism between existed literary world and members of literary coterie in new generation magazines and the conflict between populism of a series story in a newspaper and aesthetic serious caused subdivision of literature magazines and diversification of reading materials. In accordance with the single book system of publication market, this change in the field of literature caused expanding the market of popular literature. The revival of a series of novels in the 1970’s could be called as results from interests between Korean literary world and publication market. With giving values to the field of literature such as awarding the literary prize of Lee Sang, it could be proven by the fact a series of novels took the position as a best seller. In conclusion, because it broke a genre awareness as transition period of a full-length novel, it could have the limelight as a unique novel form. The process of this series of novels was caused by the ‘segment’ and the ‘chance’, features of a series of novels. When the method seeing the genre is understood, specific genre could be a specific speech on specific social reality. The meaning of a series of novels at that time is providing multiple views and interpretation on a social reality and expanding the prospect of the awareness. As understanding social problems at that time with multiple views, because it gave the chance adopting social problems at that time to the public, it is possible to find the fact a series of novels in the 1970’s had the meaning.

초록

Abstract

For field specialists or researchers working at cultural contents industries ‘storytelling’ is classed as the most important tactical term. Lately internal academia’s discourse map about storytelling is getting very subdivided. This study generally examines formation process of discourse about storytelling between Anglo-American researchers, and prospects related internal researcher’s results in relative contexts. Through these process the internal Storytelling Studies’ current address, developing into to Story Engineering, and remaining tasks are reviewed. Storytelling Studies has not a few tasks to acquire autonomy as one efficient Story Engineering. Efforts in various angles should be supported to make interdisciplinary research features, as Storytelling Studies is consilience study that treats technology amalgamative area.

초록

Abstract

The Scarlet Letter (2004) directed by Byeon Hyeok is said to be based on Kim Young-ha's short stories Photo Shop Murder and Meditation of the Mirror. The director created a new film narrative by blending these two novels. This article aims to figure out how queerness in the film depicts adultery, a narrative form considered disturbing in society, and how it is represented as a filmic narrative form. In his early stories, Kim Young-ha borrowed filmic images in his writing and expanded the imagination of desire. Rather than focusing on the borrowed filmic images in the stories, this article aims to examine another theme that is produced in the film as the film amalgamates the narratives of his novels. The film The Scarlet Letter is a representative queer movie with a storyline of homosexual relations between two heroines. On the surface, the story is about adultery: the main character takes her lover’s husband and is unfaithful to her lover. Looking into it more closely, it is revealed that the story is about revenge: the main character takes her lover's husband from her and marries him to pay back her lover for her betrayal. In Nathaniel Hawthorne's The Scarlet Letter, implication of the upper case “A” which Hester wears for adulterer is transformed into “angel” in the last part of the novel. As with this novel, the film shows similar transformation. The mark of adultery and homosexuality in the film is changed into a mark of punishment for the ruling class's narcissism. In the same way Hester resists oppression of conventional society by wearing the beautifully embroidered letter A, the film voices up resistance and freedom from social oppression in a multi-layered narrative form.

초록

대중음악 연행보다는 팬들과의 만남이 더 빈번하고, 그 인기를 예능프로그램이나 광고로 이어가야 하는 아이돌의 경우 표현규칙의 내면화 훈련을 통해 완벽한 감정노동을 연출하도록 요청 받는다. 아이돌의 훈련기간이 길어지는 이유가 단순히 춤, 노래 실력 양성에 따른 것만이 아님은 이미 널리 알려진 사실이다. 긴 기간 동안 자신의 감정이 소모되고, 감정의 표현 자유가 없음에 실망해 표현규칙을 어기는 일 조차 일어나지 않도록 기획사는 다양한 방식으로 아이돌을 단속한다. 서바이벌 오디션 프로그램인 <K 팝스타>는 기획사가 연습생에게 원하는 다양한 감정노동 훈련과정을 드러내고 있었다. 그 같은 트레이닝 시스템을 행하는 기획사는 감정노동 주체인 아이돌을 생산해 수익을 꾀하는 장치이기도 하지만 그를 지원하는 각종 사회적 담론들과 절합하면서 새로운 장치로 탄생하게 된다. 아이돌현상을 수용하는 수용주체 또한 감정노동을 자연스레 받아들이고 내면화할 수 있는 주체로 만드는 사회적 장치로까지 연장되고 있다. 연예기획사는 사업의 성공을 위한 기획으로 한정짓지만 이미 그가 국가 정책, 미디어 담론, 기업 담론, 글로벌경영 담론과 절합되면서 사업적 장치를 넘어선 -연성국가주의적- 장치의 지위를 누리게 된다. 감정노동하는 아이돌을 생산해 보여주는 장치에 그치지 않고, 감정노동을 지지하고 내면화할 수 있는 사회적 주체까지 만드는 사회적 장치로까지 이어지고 있는 것이다. 그 장치가 생산해내는 주체는 아이돌 현상을 자연스레 받아들이면서, 성과를 위해서라면 모든 것을 긍정해내며 스스로를 착취하는 주체일 가능성이 크다. 그런 점에서 문화구성체로서 아이돌은 단순한 대중문화적 사건임을 넘어선 신자유주의적 징후에 가깝다.

Abstract

Korean Idol stars, commonly known professional singers, are products of entertainment agencies (hereafter, EA). The EA are responsible for the whole process of the idol-centered phenomenon. A television show that most Korean viewers call audition program shows how much the EA have strong impact on the idol-boom. All judge of the competition program come from big EA, two are CEO, one a representative celebrity. While giving some comments on the contestants' performances, they emphasize the importance of controlling emotions. They suggest that idol stars should make themselves beings without ego, self-esteem throughout training. In fact, through discipling the pre-idols, the EA give emphasis on "emotional labor'. Most idols stars' revenue depend on their showing on talk show, advertisements, and fan-meeting. They are always to be ready for the occasions to give big smiles and to deliver sweet talks. Idol stars and EA in Korea articulate their endeavors with national success. They are busy to mention their success referring to dilligency and patience that are important virtue in Korea. They are trying to be a part of national pride and to relate themselves with recovery in national economy. They tend to play a role of social apparatus through which people are encouraged and again disciplined to be industrious beings. They try to take advantage of popularity of K-Pop around the world and to enhance it soft-nationalism.

초록

Abstract

Kangful’s webtoon is widely loved by the public. One of the most important reasons of his popularity is his touching and heartwarming story between people. But the reason why such a evident story can attract the public is the way this story is presented. In this thesis, we think that this way of presenting is using the traditional technique of detective novels, called the ‘Mystery Puzzle game’ technique. By showing gradually the mysteries and the solutions, it asks for the readers’ continuous inference, and through this, it makes the readers feel a pleasure as if they were playing a mystery game. This technique is a common point in Kangful’s works, but it is the most remarkably revealed in this piece, <The lighting store>, which we are talking about. The mytery puzzle in Kangful’s <The lighting store> is more detailedly organized than any other works. In order to prove this, we should first analyze the work’s characteristic in its structure of narration. With a general view, half of the 30 chapters are bringing up the mystery, and the others are the process of solution, when a twist happens in the 22 chapter. The complex composition of the space and time and the characters are also worth to analyze. They show how mysteries, hints or other indications are proposed and solved, and what are the roles of the unsolved mysteries. Finally, it as well indicates that this mystery puzzle technique uses the structure of narration of detective novels, and that it can in any degrees extend into various genres.

초록

본 논문은 이사도라 던컨의 무용미학이 근대 학문적 담론들과 만나는 지점에 대해 살펴보고자 한다. 특히 19세기 중반 이후 유럽의 예술계를 중심으로 대두된 미래 담론이 던컨의 무용예술과 공명하는 지점을 찾아봄으로써 던컨의 춤에 나타난 근대성에 대해 재고하고자 한다. 이를 위해 1903년에 독일어판으로 번역 출간된 던컨의 저서 『미래의 춤』을 주요 분석 대상으로 삼는다. 지금까지 던컨의 춤은 대개 여성 해방 운동이나 자유 무용 발생 등 근대 시기의 사회·문화적 특수성과 연결된 채 수용되어져왔다. 그러나 던컨의 춤에 대한 본 논문의 관점은 기존의 던컨 수용과는 차이를 보인다. 특히 그녀가 자신의 춤을 통해 제창하고자 했던 '자연적 인간'의 실제가 신체와 정신의 변증법적 종합으로 제시되었다는 점에 주목함으로써 던컨이 춤을 통해 체현하고자 했던 '인간의 자연성'이라는 시대적 담론이 당시의 자연과학적·인문학적 담론들, 특히 다윈과 헥켈의 진화론 및 고대 그리스 예술미학에 대한 바그너와 니체의 해석에서부터 선취되었음을 밝히고자 한다. 이와 관련해 주목해야할 것은 바로 신체와 정신의 종합으로 제시되는 동시에 고대 그리스 비극의 인물들에 그 기원을 두는 미래의 무용수 모델이 사실상 고도로 문명화된 고대 그리스인과 문명화되지 않은 야만인 사이의 구분을 전제하고 있다는 점이다. 고대 그리스인처럼 '문명화된 자연'을 체화하되, 자기 자신에 대해 의식할 줄 모르는 야만인과는 달리 자신이 체화하는 바로 그 자연성을 '의식'할 줄 알아야 한다는 무용인의 시대적 소명은 곧 지식인으로서의 자기 정립에 대한 당대 무용인들의 의식을 반증하는 것이었다.

Abstract

This thesis strives to analyze the relationship between the dance aesthetics of Isadora Duncan, who is still considered a representative for Western modern dance, and the scientific discourses of Modern Times. With regard to this thesis, it is especially required to analyze an deciding influence of 'discourse about the future', which was emerged from the industrial as well as the scientifically modernized western world, on Duncan's dance. For this analysis I mainly concentrate on Isadora Duncan's book, Der Tanz der Zukunft, which was translated and published in Germany in 1903. Until now Duncan's dance has been in most cases considered in conjunction with the social and cultural distinctiveness of Modern Era. The women's liberation movement and the appearance of free dance style is one example of this context. However Duncan's initiative for a new kind of movement based on a discourse about 'human nature' was actually very closely related to the modern zeitgeist, which emphasized the dialectical synthesis between Körper (Body) and Geist (Mind). Duncan strove to embody contemporary scientific discourses referring to 'naturality of the human being'. This was anticipated by the evolutionary theories of Darwin and Haeckel as well as the humanistic and aesthetic theories about Greek culture by Wagner and Nietzsche. However it is quite important to note that these modern discourses mostly postulated an explicit separation between the ancient Greeks, respected as ideal model for the human being, and the uncivilized barbarian. Such a distinctive modern perspective on human body and culture is also to be found in arguments of the Western modern dancers like Isadora Duncan, whose mission was to embody 'the civilized nature', so to speak, to be conscious of their own naturalness.