대중서사연구
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- P-ISSN1738-3188
- E-ISSN27139964
ISSN : 1738-3188
No.14
Abstract
In this paper, I aim to get a view of Oh Tae-seok newly in the aspect of 'history' rather than 'tradition'. Oh have been writing plays related historical fact or individuals since 1970s. There are three major streams in his historical plays as followings. First : the plays which treat directly his auto-biographic affairs including his experience of the Korean War in his childhood age. Second : the plays which overlap the private 'memories' and public 'history' by the background of dynasty era in the history. Third : the plays that describe the issues of the age of consisting modern nation by the historical individuals of enlightening age or right after liberation from Japan. The first and second stream types were written during 1970s to early 1990s and the third type is being written after late 1990s. In the mid 1990s, Oh's view point to the history has been changed to public 'history' dominated by enlightening and national discours from private experiences and memories. Oh's interests to history was began to trauma of the Korean War in his childhood age. In 1970s and 1980s of military regime and strong nationalism ideology era, Oh depict victims sacrificed by the unaimed madness and violence in the history. In his old age, since mid 1990s, he showed the enlightening position to the misleading history. But the problem was that another violence for revenge was justified by emphasizing victims's sufferings in history. It shows the irony of history that Oh, who himself was a victim of violence in the Korean War, admitted the assailant's position and the violence to the other weak persons.
Abstract
This thesis studies historical recode(historical reality), sexuality and sexuality in Lee Tae-Jun' {Whang Jin-ie} and Kim Tak-Whan' {I, Whang Jin-ie}. especially this thesis focus on sexuality and modernity, and selection and suture in the text. In Lee Tae-Jun' {Whang Jin-ie}, disruption between sexuality and modern subjectivity is sutured through self-decision in sex and cultural dignity. In Kim Tak-Whan' {I, Whang Jin-ie} eliminate sexuality and her mail sex traveling. Lee's is corresponded with 1930's cultural nationalism, and Kim's is corresponded with deconstruction of modernity and subjectivity.
Abstract
This thesis pursues to analyze the fantasy and political unconsciousness in digital games. For these purposes, this thesis tries to make clear the form of digital game's fantastic factor from the form of digital games. Digital games create virtual reality which is shown by screen. Digital games would be born between real and unreal like movies. And it exaggerate or reduce the representative object through the change of senses. Especially visual senses and auditory senses would like to be emphasized excessively in digital games. Fantastic conditions will be made by the change of senses. Digital games shows virtual reality by reason of developing digital technologies. The point of view of FPS(First Person Shooting) Genre is the second person description. The second person description has never embodied in another narrative art yet. It's narrative structure has similarity to dreams or somnambulism which infuse second person description to players. But Digital games shows not only the artistic factor that to make the real unfamiliar but also realistic factor. Interactive property of digital games will change the fantasy to the reality. On developing digital games, we cannot produce the tragedy because digital games don't have completed ending. Digital games can be replayed easily whenever the players would like to play. Therefore it can't be impossible to represent the tragedy. Digital games mass-produce the purpose oriented players who are the slave of political unconsciousness of digital games.
Abstract
This paper tried to chase how narrative forms are gendered while a conception of 'Modern Novel' is settled in early modern times based on 'new feminist narratology'. 'The omniscient point of view' seems to be objective however actually it is male-centered. 'The omniscient point of view' is men-gendered. In Mujong, on the viewpoint of gendered men who are deeply related to pro-japanese new intelletuals, his ideology is widespread naturally. Also, Mujong effectively fulfills desire of 'voyeurism' through various inner viewpoint. the way of seeing of voyeurism is basically made up of a view of men. One of the greatest characteristics of Mujong is 'interiority‘, it is made through streetwalking. In the streetwalking of Mujong, the world becomes invisible through the conversation of 'I and the other I'. The ideology of the past is exempted and the ideology of pro-japanese new intellectuals In, Mujong, Ri Hyongsik considers women as following two ways of seeing. One is a view of sexuality which is on the basis of sentient perception and the other is to think women as immature beings. Though the rearrangement of viewpoint on human, which thinks human as emotional beings, is made, it is owned only by men. The plot of Mujong is focused on self-consciousness and romance, however in case of women characters, those two plots do not exist or only one of them exist. Moreover, those two are not related in case of women. Ri Hyongsik fulfills his desire by protecting women and saving the people. Through his actions, the brand-new history which is male-centered is unfolded. The plot of Mujong is based on men's pleasure, and it is thoroughly masculate
Abstract
This study has the purpose of considering in depth the repeated cultural codes of freedom shown in Park Boem-Shin's popular novels of the 1970s. In his text, cultural codes of freedom include ambition towards success and the city, and also the desire against civilization and city as a reflection of the two ambitions mentioned. The characters of the text then do not take a direct path towards their ambition of success. They go through a mediator. Although his novels desire the disillusionment of city and success, they are contemporaneously bound to them. Thus his novels are captive to his readers by the dominance of the ruling ideology, but also follow the narrative strategy of popular novels in which such bounds are deconstructed internally to provide the cultural experience to desire true freedom metaphysically. Therefore readers might willingly become the standardized individual the country demands. They might also acknowledge the fact that they should restrain their liberty and political freedom, then to strengthen their self-discipline. On the other hand, the reader may interpret into overthrowing the ideology itself.
Abstract
The purpose of this paper is to examine meaning as novel of metamorphic detective novel. For this purpose, I have analyzed the point which classical detective novel and The last witness are different. The last witness by Kim Song Jong is evaluated with representative metamorphic detective novel. And to investigate the point that metamorphic detective novel and modern novel are overlapped, I have compared The last witness with A wall of rumor by Lee Chung Jun, which was known with representative inquiry novel. The last witness has not only characteristics of classical detective novel that searches the cause of crime focusing on the contemporary social reality, and but also takes elements of metamorphic detective novel which grafts a critical eye on the contradictory contemporary history of our society together, while the latter has an unique structure, pursuing the cause of crime. Consequently, on the one hand it has the tension which the detective novel keeps, on the other has an insight into the complicated aspect of human being life. In A wall of rumor as inquiry novel, it is divided into two narratives of a detective and a criminal. And it shares characteristics of detective novel in which the course of events is exposed only by a character as inquirer. In opposition to detective novel, inquiry novel is free from melodramatic structure in which good and evil is set up against each other. Also inquiry novel obstructs reader's sentimental fantasy about realization of justice, induces reader to calm insight into the realities. The meaning of metamorphic detective novel is to de-construct the formula of classical detective novel, to extend the range of detective novel. As a way of questing for the true nature of life, the narrative method of modern novel is derived from that of the detective novel such as 'quest and chase'. Therefore, considering detective novel's power of influence over modern novel, metamorphic detective novel has literary meaning in the point it contributes to broaden range of the novel.
Abstract
Poetry of Hwang Ji Woo have represented in the Modernism of Korean poetry since 1980s. Most of his early poem satire about those day by broking formality. These poetry of social criticism use element of mass culture. In some case, It quote newspaper to show the government vice, to expose something negative in diverse mass culture. poetry of Hwang Ji Woo tell about vice of mass culture, because mass culture has too negative to perceive something positive. These technique of the poet combine creation methodology searching art as poetry, reflect the society and estrangement effect insisted by Bertolt Brecht.
Abstract
This paper explores the representations of popular memories of traumatic national history in A City of Sadness (Hou Hsiao-hsien, Taiwan, 1989) and Peppermint Candy (Lee Chang-dong, South Korea, 2000). The two filmic narratives revolve around two different historical times and locations, but entail similar national traumas - the government killing its own citizens. By using melodramatic codes, the two films produce narratives of collective suffering to emphasize the pain of trauma, and in the end, these films create a homogeneous victimized community which erases critical differences between the popular memory and the national history. I hope to contribute to the discussion of A City of Sadness and Peppermint Candy by reading these films as melodramas, a method which effectively exposes the two films' gendered politics in their dramatization of popular memory. This paper also offers a critical reading of melodramatic memory in relations to gendered representations of suffering with the question, "What is Asian Cinema?" My critical reading of the two films' gendered politics is a theoretical practice that imagines "Asia as a critical method."