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키치(Kitsch)유형 분류에 따른 서태지 작사 작품 분석 (학위논문)
by 관리자
조회 1217 (2019.02.26)  
발행일 2019-02-26 
시기 9집 
저자 권용재 
학위논문사항 석사학위논문 
지도교수 지도교수: 홍성규 
출판년도 2019.2 
발행처 학위논문(석사)-- 경희대학교 일반대학원 : 포스트모던음악학과 보컬 2019. 2 
학술지명  
통권  
내용구분  
분량 전체 
link http://www.riss.kr/link?id=T15064208 
CCL 저작자표시-변경금지(BY-ND) 
키치(Kitsch)유형 분류에 따른 서태지 작사 작품 분석
http://www.riss.kr/link?id=T15064208  

저자 권용재 
형태사항 83 ; 26 cm 일반주기 
지도교수: 홍성규 학위논문사항 학위논문(석사)-- 경희대학교 일반대학원 : 포스트모던음악학과 보컬 2019. 2 
발행국 서울 
출판년 2019 
주제어 #키치 #키치유형 #서태지 #작사
소장기관 경희대학교 중앙도서관  소장기관정보
UCI식별코드 I804:11006-200000173706
----------------------------------------------

[국문초록]
키치(Kitsch)유형 분류에 따른 서태지 작사 작품 분석              / 지도교수 : 홍 성 규

포스트모던음악학과 /권 용 재

키치(Kitsch)는 19세기 말 상위 계층에 대한 하위 계층의 동경심에게서 나타났다.
하위 계층들은 다가가기 어려운 고급 문화보다 이해하기 쉽고, 값싼 키치를
선택하였고 급격한 산업화와 도시화로 대중문화가 등장함에 따라 본격적으로
키치적 산물이 생산되기 시작하였다. 인간이라면 누구나 내제 되어있는 본능적
욕구를 쉽게 자극하는 키치는 포스트모더니즘이 등장하는 배경에 결정적인
영향력을 끼쳤고, 저급 문화와 고급 문화의 경계가 모호해짐에 따라 대중문화 그
자체를 향유하는 요소로써 자리매김하게 되었다. 최근에는 키치로 정의할 수 있는
대상이 사물 뿐만 아니라 그 사물을 받아들이는 소비자의 심리나 태도를 지칭하는
용어로 그 범위가 확장되었다. 즉 키치는 명사적 용어만이 아닌 동사와 형용사의
용어로써 쓰일 수 있음을 나타낸다. 키치가 발생된 배경을 살펴보았을 때 키치는
‘상대적 가치’가 존재함에 있어서 나타난다. 이는 우리가 현대 소비 사회를
살아가는 한 우리 삶 곳곳에 키치가 새로운 형태로 나타날 수 있음을 암시한다고
볼 수 있다.
대중음악사에 한 획을 그었던 뮤지션으로 평가 받는 서태지는 음악적인 측면
뿐만 아니라 그의 음악에 담긴 메시지로 사회적인 관심과 논란을 불러일으켰다.
그의 메시지는 신세대들의 적극적인 공감을 불러일으켰고 그 감수성은 거대한
팬덤으로 형성되는 결과를 낳았다. 서태지의 작사 작품에서 나타난 그의 표현은
당시 한국 사회의 고루한 지배적 이데올로기를 거부한다는 특징이 있었으며, 이는
키치의 대표적 성질 중 하나 인 ‘본래의 것을 거부한다’와 공통점이 성립되었다.
따라서 본 연구자는 키치적 표현의 특성을 ‘과장성’, ‘저항성’, ‘부적합성’, ‘향수성’,
‘유희성’ ,‘상징성’으로 분류해 서태지의 작사 작품에 적용 시키며 그가 제시했던
메시지와 각각의 키치 유형이 어떠한 상호작용이 이루어졌는지 분석해보고자 하고,
더 나아가 가사에서 나타난 키치적인 표현들이 대중들에게 어떠한 영향력을 줄 수
있는지 알아보고자 한다.


I. 서론···························································································1
1. 연구의 배경 및 목적 ······································································1
2. 연구의 방법 및 범위 ······································································2
3. 선행연구의 검토 ············································································4
Ⅱ. 키치의 개념과 유형····································································5
1. 키치의 개념과 어원········································································5
2. 키치의 원리와 유형········································································7
1) 키치의 원리···············································································7
2) 키치의 유형···············································································9
3) 키치의 수용태도적 유형·······························································12
3. 키치가 사용된 대표적 사례·····························································15
1) 미술에서의 키치·········································································15
2) 패션에서의 키치·········································································16
3) 광고에서의 키치·········································································18
Ⅲ. 서태지와 아이들 작품의 내용과 표현상의 특징····························19
1. 서태지와 아이들 작품의 내용 ··························································19
1) 서태지와 아이들 활동 내용 ···························································19
2) 서태지와 아이들 가사의 주제 및 소재··············································30
2. 서태지식 표현법의 특징과 사회적 영향력············································40
Ⅳ. 키치 유형 분류에 따른 서태지 작사 작품 분석····························43
1. 과장성······················································································43
- i -
1) 〈환상속의 그대〉······································································43
2) 〈죽음의 늪〉···········································································44
3) 〈발해를 꿈꾸며〉······································································45
4) 〈컴백홈〉···············································································46
5) 〈필승〉··················································································47
6) 〈1996 그들이 지구를 지배했을 때〉···············································47
7) 〈테이크 원〉···········································································48
8) 〈테이크 쓰리〉·········································································49
9) 〈인터넷 전쟁〉·········································································50
2. 저항성······················································································51
1) 〈교실 이데아〉·········································································51
2) 〈내 맘이야〉···········································································52
3) 〈시대유감〉·············································································53
4) 〈테이크 투〉···········································································54
5) 〈오렌지〉···············································································55
6) 〈대경성〉···············································································56
7) 〈라이브 와이어〉······································································56
8) 〈프리즌 브레이크〉·····································································57
3. 부적합성/부조화성········································································58
1) 〈헤피 엔드〉···········································································59
2) 〈낫띵〉··················································································60
3) 〈빅팀〉··················································································60
4) 〈에프엠 비지니스〉···································································61
5) 〈와치 아웃〉···········································································62
6) 〈버뮤다〉···············································································62
7) 〈휴먼 드림〉···········································································63
8) 〈크리스말로윈〉·······································································63
9) 〈비록〉···················································································64
4. 향수성 ·····················································································65
1) 〈아이들의 눈으로〉···································································65
- ii -
2) 〈영원〉··················································································66
3) 〈널 지우려 해〉·······································································66
4) 〈10월 4일〉·············································································67
5) 〈줄리엣〉···············································································68
6) 〈소격동〉·················································································69
7) 〈나인티스 아이콘〉···································································69
5) 유희성······················································································70
1) 〈락엔롤 댄스〉·········································································71
2) 〈내 맘이야〉·············································································71
3) 〈울트라맨이야〉·······································································72
4) 〈숲속의 파이터〉······································································73
6) 상징성······················································································74
1) 〈로보트〉···············································································74
2) 〈모아이〉···············································································75
3) 〈버뮤다〉···············································································75
Ⅴ. 결론························································································77
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