본 논문은 존 밀링턴 싱(John Millington Synge)의 『서쪽 나라의 멋쟁이』를 미하일 바흐친(Mikhail Bakhtin)의 비평적 개념을 통해 읽어보려는 시도다. 논문은 싱의 작품 전반에서 극단적 형태의 패러디 활용, 유머와 웃음에 대한 선호를 확인할 수 있다는 점에서 바흐친의 표현을 활용하여 그를 ‘라블레주의’(Rablaisian) 작가로 볼 수 있음을 제안한다. 논문은 싱의 극과 바흐친의 대화주의(dialogoism)와 카니발레스크에 관한 이론 사이에 연결고리가 존재함을 확인하고, 이를 통해 싱의 작품에서 작용하는 사회적, 언어적 역학 관계를 더 깊이 이해할 수 있음을 보여줄 것이다. 결론적으로 논문은 작품 속 웃음이 갖는 전복적 성격, 그리고 크리스티의 지위 변경 등이 서로 다른 세계들의 갈등과 대립을 묘사하고 있지만 실제로는 통합되는 과정으로 볼 수 있음을 주장한다.

The body is an important object of costume expression, and the reflection of the aesthetics of the body according to age, culture, individual or group determines the form of the costume. In particular, British artist Leigh Bowery provided many designers and celebrities with original design ideas. Leigh Bowery’s costumes are related to the carnival concept. Thus, this study analyzed Leigh Bowery’s life and works, and examined Michael Bakhtin’s grotesque carnivalesque theory. Based on Bakhtin’s carnival theory around 100 works by Leigh Bowery, in the form of YouTube videos and DVD clips were analyzed in this study. The results of the analysis Leigh Bowery’s body and costume research are as follows. First, this study can define fetishism as a characteristic of costumes such as body suits, harnesses, high-heeled boots, and stockings, that stress the body. Second, the character of the body is not expressed as that of an idealized body, but the fat and ugly aspect are revealed. Third, Leigh Bowery’s costumes are characterized by ambiguity. The costumes blur the boundaries between women and men. Fourth, common sense, combined with normal and bizarre, brings out a strong sense of carnival humor with ridiculousness arising from the gap between reality and reality. His performance has had a significant impact on victims of discrimination or unequal treatment in sexual, racial, and age-related situations. This study should inspire many designers through the study of Leigh Bowery’s body expression and dress, but it also introduces fashion icons that are not well known in Korea.