대중서사연구
- P-ISSN1738-3188
- E-ISSN2713-9964
ISSN : 1738-3188
No.17
Abstract
It is meaningful to explore commercial trends of newspapers, writers' responses, and connection with movies when studying the 1950's novels serialized in newspapers. In the 1950s, newspapers had an enormous social influence, and their commercialism became conspicuous. In order to increase sale figures, newspaper companies adopted strategies of attracting brand-name authors, taking advantage of advertorials, and eliminating unpopular novels. Writers sensitively responded to readers' responses while compromising with the commercialism. Most of them showed efforts to persue artistry and popularity simultaneously, but some authors openly promoted newspapers where their novels were serialized, or brought into relief vulgar factors such as sensuality, sentimentality, and brutality. In addition, Attention should be paid to the fact that newspaper novels played a leading role in having connection with films. In the 1950s, the heyday of Korean movies, melodramas were often the source of newspaper novels. This is the evidence to prove the novels' contribution to helping Korean movies securing a popular base. Like this, the 1950's novels serialized in newspapers were quite a splash with the commercialism, and had quite an influence on popular arts. Moreover, it is safe to say that the 1950's newspaper novels has a solid status in the history of Korean literature or art in that they are social novels that reflects then social conditions.
Abstract
The heydays of Ak-gǔk(樂劇) covered in a state of disorder from the late colonial period to the Korean war. Performers of Ak-gǔk entertained troops and refugees with songs and dances even in wartime. Ak-gǔk was transformed from theatrical shows to the ones on the street during those times. Troupes took the road for the provincial audiences rather than in the city Seoul which had become a big cultural hollow because of the Korean war. The activities of entertainers in wartime tell us the relationship between the war and entertainment. The shows could go on, even though the war violently interrupted the peaceful daily life. However they didn't create new ones, just repeatedly reproduced the prewar ones since the future had remained uncertain in an emergency situation. Many musical troupes, including 'Baek-jo gagǔkdan', gained the popularity through the vulgar melodramas with songs and dances in wartime. After the war, however, they had to give ways to the cinemas, the Korean female classical operas, and the variety shows. Ak-gǔk became old-fashioned spectacles. The trials of some troupes, which attempted to adapt themselves to the new showbiz, resulted in failures. As lots of talented entertainers moved their fields to the cinema and the variety show, and audience turned their eyes to new rising entertainment, Ak-gǔk was lost in the mists of time. It has been remembered as only 'nostalgia'.
Abstract
Study about Korean popular song in the 1950s is not so many presently. Existing study that observe in style of work give importance to reproduction and new entrance of two styles, Trot and Easylistening. But, popular song is a work and is a goods too, so it is necessary that observe the structure of production and circulation together. Structure of production and circulation is divided into three sides, human composition, manufacture system and medium, circulation structure and market. And there are double personality, continuance and change. In side of human composition, popular song in the 1950s changed considerably. Poets, composers trained in school, singers who have a background in player or Giseng, almost of them disappeared in the 1950s. So identity of the men who produce popular song was built up. In side of manufacture system and medium, the record company system during the Japanese occupation continued externally in the 1950s. But influence of record company went into a decline because of dismantlement of exclusively belonging system. In the late 1950s, LP appeared as new medium. In side of circulation structure and market, show stage became stronger because of decline of record company, and double personality in circulation structure get settled. double personality in circulation was joined together divergence of market in later. Experiences of Korean popular song in the 1950s had an effect on it's historical reconstruction, and provided a backdrop for producing historical omnibus edition for popular song.
Abstract
Multiple narration has need of over two narrators. Each narrator views the object of narration and narrates it in his standpoint. Multiple Narration is classified into two categories; multilayer multiple Narration and multilateral multiple narration. Multilayer multiple narration divides superior narrator and subordinate narrators. The former relay and regulate the latter's narration. Multilateral multiple narration’s narrators describe same object of narration all over, describe to take a part of same object respectively. Multiple narration's narrators distrust possibility of recognition and representation. It is like the position postmodernists are in. Its narrator intends to make small narrative and recognize the other’s narrative. And the narrators are internal-narrative narrators in connection with the object of narration. Soul narrator is dead one that thrown off the raveled equipments of narrative. It is interesting that soul narrator take a view of this side of life from that side. Soul narrator is given in film, TV drama, and novel etc. widely. Soul narrator is not restricted by specified factors of space and time. He can stand on external focalization as well as internal focalization. And soul narrator that attached concrete life describes small and fragmentary story.
Abstract
Il is an irony that the epic discourse in realm of western fantasy literature shows dualistic mode of epistemology of the western thought. The supernatural beings in the fantasy fiction are non but "the others" rejected by the occidental way of perception which comprises the representation of evil. And much of the popular visual art still continues to follow exclusive grammar of narratology. In Bram Stoker's Draculaand most of motion pictures based on his work, the representation modality of Dracula makes us ponder again over the mainstream of the occidental epistemology. According to such dualistic rationalism, good and evil, instinct and artifact center and circumference, reason and insanity are absolutely at the antipodes against each other. Our reserch, through the analyse of images and symbols, examines how the different "otherness" of B. Stoker and Coppolas' Draculas are figured out and what Coppola's cinema work acheved. Coppola identifies the conventional otherness of Dracula with the human and thus, finds in him love et suffering. That makes him acheve a romantic dream -a salvation of evil or a salvation of human soul- and arrive at a certain new understanding of the "otherness".
Abstract
This purpose of this thesis is to study the aspect which novel's narrative is transformed into comics. It was focused to examine the effects according to the transformation of genres. Readers can experience the various effects when the novel expressed as letters is represented into the visual image of comics. However the comics that can express the visual image without damaging the imagination of letters have the advantages that absorb the advantage of the novels and perform the larger and wider expressions, as the effects become much more intensive when one medium is placed as the “contents" of another medium. Because comics have the perfect communication system that combines easily whatever medium and genres and are located on the intersecting point of the various art expressive methods such as visual art, movie art and literature. The popularity of comics, the third genre, as compounding of letters and pictures operates as the effective attracting method that deliver the literature to readers efficiently. On the other hand, comics can take the sources of infinite and various materials from novels as movies could. The classic division of genres is collapsed and that frequents the borders is prominent nowadays, thus the study of literature needs the project enlarging views to other fields, not adhering its own field.
Abstract
Comics is representative popular culture, which makes communication of every social stratum possible. In addition, comics performs an important role as original creation source that can be adopted as diverse forms of creation in culture content industry application. As emergence of digital age, comics becomes to be published in the Web, which is called 'Web comics'. TheGreat Catsby is the first of this kind. Web comics becomes very popular due to its different features in formation and storytelling, and the explosive support of populace. In this paper, I derived the three characteristics of theGreat Catsby, which makes theGreat Catsby popular and successful. The first is the acquiring of lyricism by using features of Web media, the second is the organic layers of narrative and the third is the storytelling of internal growth of dramatics personae. The Great Catsby makes continuous reading possible by utilizing the scroll feature of Web media and generates the sensitive through spatial vacancy by deleting compartment. In addition, the Great Catsby maximizes visuality by drawing with color. The Great Catsbymakes the story more lively by entangling three sub-plots to the monotonic melodrama of main plot. Here, organic coupling of 'realistic layer', 'hypocritical layer', 'dreamlike layer; and 'exchange layer' increases the dramatic suspense of the Great Catsby. In addition, the Great Catsbyincludes the process of internal growth of dramatics personae in development of relationship with others.
Abstract
Korean historical drama of the 1960s focus primarily on the fallen victims of history. Contrary to serious and critical discourse of history, the history that the genre offers is often fatalistic and melodramatic in character. In particular, these films attempts to convey different mode of historicization through melodramatic pattern of identification. Visual opulence and tragic story then create a peculiarly jarring effect on viewers, promoting ambivalent view on history; the films simultaneously glorify and denounce the past. The thematic preoccupation with the failure and demise then enables one to interrogate the genre's central theme: burden of history and question of agency. King Yonsan and Yonsan, the terrible are exemplar texts that illustrate the negative dynamics in Chosun court to the extreme. The protagonist endeavors to exonerate his late deposed mother queen, only to find insurmountable resistance from the court officials. In an effort to cope with the burden of history, he then plunges into self-destructive behavior. This in turn unveils the repressed family history, which leaves irrecoverable trauma in his psyche. The films' excessive style then offers textual signs for perception of history which is different from the dominant discourse of history which is based on realistic aesthetics.