대중서사연구

초록

Abstract

This paper is to review Novelist Kim, Rae-sung's career, focussing on his full-length novels. Making a literary debut in the late 1930s, he was considered as one of the most popular Korean novelists in the 1950s and penned a wide spectrum of works, publishing such distinct genres as detective stories and romances. Some of them remained on the Korean bestseller list for decades. Looking closely into his works which spans two decades- mainly 18 full-length novels including adaptations, one can divide his career into three periods: the first when the country was under the Japanese rule and when Kim focussed on detective stories, the second when he progressed from detective stories to romances with YOUTHFUL WORLD(청춘극장) and finally the third when he concentrated on romances. His detective stories published during the Japanese rule were loved thanks to their protagonist Yoo, Bul-ran and had no rivals. However, they stood out in the colonized Cho-sun which didn't have a faith in dry locality and fair law and order, thus Kim changed his direction from detective stories to romances after the country's independence. By mixing the history of final days of Japanese rule with familiar romantic narratives, YOUTHFUL WORLD became a model of popular arts dealing the sensitive period of late Japanese rule. His romances of the 1950s are THE COVER OF LIFE and SWAN SONG which emphasized morals and sincerity and later came LOVER and THE STAR OF LOST PARADISE which studied true love by examining the relation of morals and desires. Kim was a popular novelist who was good at both detective and romantic narratives. He formed scientific and logical thinking by designing logical and complex time and space and can be characterized by his firm belief in morals. His characteristics which are epitomized by 'science' and 'morals' corresponded to the ruling ideology of the late colonized period but Kim showed an achievement by Korean literature in modernity by accepting 'science' and 'morals' with devotion and reaching out to the heart of modern thinking.

초록

Abstract

This paper intends to contradict to recent discussion to categorize Main into the irregular detective novels or the ghost(mystery) story. The classification results from comparing the short irregular detective novels with the long regular style Main. The short irregular detective novels and the long regular Main had been created into complete different style. Kim Lae-sung made reference to "there is no part to reason logically in the irregular detective novels". Therefore, to argue the strengthening or weakening of the logical reasoning in comparison Main with his short detective novels. Main is the work to have been formated after experiencing troubles and complications between the regular style and the irregular style. Kim Lae-sung's works was created to consider to his theory. His detective novels has to be analyzed with his detective novel theory.

초록

Abstract

Kim, Nea-Sung interestingly created the character, Yu, Bul-Ran(劉不亂) in his detective novels. Private detective Yu, Bul-Ran whose name was rooted in the name of famous French detective novel's writer "Maurice Leblanc", represents multi identities in many orthodox detective novels of Kim, Nea-Sung. At that time, there was not a private detective in Joseon and this fact made Kim, Nea-Sung not only consider the transcendental detective models depicted in the West detective novels for creating Yu, Bul-Ran, but also regard on the image of a detective being active on the basis of the political condition of that time. Yu, Bul-Ran, therefore, was destined to be born as a hybrid detective from the birth. At first, it seems that Yu, Bul-Ran is similar to Lupin created by Maurice Leblanc, who has the taste of disguise and is fond of loving. Although this identity covered with the image of Lupin would be seen as the most enchanted personality of Yu, Bul-Ran, he is shown as a representative of Japanese Imperialism when he starts to connect the real life of that time. The actual identities on this concept are as follows; Yu, Bul-Ran as a transcendental father for enlightening as well as educating the children of Joseon as a "Good Japanese", and as a subject of pseudo-imperialism who hunts up various spies for embodying the Greater East Asia Co-Prosperity Sphere. Thus, the political reality of Japanese Imperialism Yu, Bul-Ran has, can be proposed as a fundamental cause which pulls his death. As Kim, Nea-Sung breaking with the detective novels after the Independence, Yu, Bul-Ran disappeared from his stories.

초록

Abstract

Kim Rae-sung has also written many stories for Boys from 1937 to being died, even though well-known as a pioneer of mystery stories in Korea under Japanese Colonialism. This article explored the writer's problematic consciousness with analyzing representation of "Sea" main space of several detective stories for boys. It is with adventure for politic-social purpose that White Mast[Baik- Gamyeon] let readers perceive Yellow Sea as the closed sea for stable nation situation under messy international power game in East Asia, published in magazine Boy[Sonyun] at 1937. Gold in Cave[Hwangeum-Gul] actualized desire of imperialism with orphans character to go the open sea to India that described to glory civilized country and barbarous region with view of the Greater East Asia Co-Prosperity Sphere, serialized in newspaper Donga-ilbo at 1937. Golden Bat[Hwangeum-Pakjui] has been transformed to "Sea" into legendary space for materializing economic desire in the 1950s, negotiating demands between boy readers and adults.

초록

김내성의 <청춘극장>과 1960~70년대 액션영화는 식민지의 시공간을 민족주의적 투쟁을 중심으로 그린다는 점에서 공통적이다. 그 속에서 식민지의 시공간은 고통스러운 민족적 상실을 의미함으로써 민족의 의지를 담금질하게 만드는 재료이지만, 한편으로는 자랑스러운 민족국가의 창세기를 구성하기도 한다. 그러나 이러한 표면의 논리와 모순되는 심층의 논리의 징후가 균열을 통해 드러난다. 그 심층의 논리의 핵심은 탈-민족 국가적 욕망이다. 이를 따랐을 때, <청춘극장>과 액션영화가 재현하는 식민지의 시공간은 민족국가의 해체 혹은 궁극적 지향으로서의 제국의 과거/미래를 의미하거나, 이 모든 것으로부터의 탈주를 지향하는 개인적인 욕망의 시공간이다. <청춘극장>과 액션영화는 식민지 시대를 남성적인 민족적 투쟁을 중심으로 구축하는 대중적 재현의 대표적 사례들에 속한다. 전자가 기원이라면, 후자는 다양한 양상의 반복들이다. 이들이 생산해내는 강력한 민족주의적 상상력들은 항상 그것을 위협하는 논리들을 수반했다. 비평은 지배 이데올로기뿐만 아니라, 대중적 재현이 그것을 경유해서 담고 있는 모순적인 저항과 성찰 또한 읽어내야 할 것이다.

Abstract

The novel, Cheongchoonkeukjang(Youth Theatre) of Kim Nea-Sung and Korean Action Film in 1960~70s is common in description of colonial time and space. They regard the colony as the time and space of national struggle. But, another desires undermine the logic of the textual surface. It can be summarized as a nostalgia for colonial situation, because the era of colony means de-national situation. In brief, they are not only fired up with the nationalist passion but also aspire to be free from the nation.

초록

Abstract

1950s was intensity period with inharmoniousness of social ethics and desire, because of anxiety of existence, overflowing of enjoyment egoism result of rapid inflow of American culture and etc even except physical unfavorable conditions due to the war period. Lover which created in this period by Kim, Nae-Sung treats young intellectual peoples’ desire for love seriously from sight of view of social ethics and free will of individual. In other words, this work realize love or sexual desire as main factor to compose family as reappearance of present through ‘sein’(to be) characters such as myoungdong's style person, philosopher of sexual passion, and sincere moralist and etc, but also have negative distance with irrationalism of social ethics or systems surrounding family through ‘sollen’(ought to be) characters. Especially the closing structure with creation of sisterhood and martyrdom of romantic love is arranged with control discussion which planned division of sexual ranking and region inside of family. Through this kind of ending structure that this work reflects the present which females relate on sisterhood to correspond to such only accept sexual passion of love or keeping mistress, the conflict of the social ethics of patriarch is exposed. In the other sight of view, it means that the life of intellectual people in that period was relied on world recognition which was suspicious and critical through showing confusion & division of modern value. This work also expresses paradoxically that rule of monogamy couldn’t be legal protection inside of family system through a pair of reasonable lovers who has sexual desire and emotion of love chose death at the end due to the restriction of family system. In short, Lover accept mass prologues, but deny absolute things at the same time and consider phenomenon which fragmented and mattered as important provision to realize world, and show intention to esthetic modernity. Specially, differently from other mass literacy in same period, this work represented much through that the desire of individual character is not reverted in the frame of the dominant discourse of patriarch, that the characters is encapsulated in depth that they tend to live that period sincerely and have meaningful goals.

초록

Abstract

This study started from a question on the view that Lee Hae‐jo’s Ssangokjeok is the beginning of Korean tales of ratiocination and tales of ratiocination during the enlightenment period are merely the results of one sided import from the West. Furthermore, taking note of the fact that tales of ratiocination in the enlightenment period are divided into two styles (lawsuit novel style rooted into lawsuit novels in the Chosun Dynasty and detective novel style influenced by Western mysteries), this study made a comparative analysis of their narrative characteristic and existential pattern in connection to the social semantic network that caused the appearance of tales of ratiocination during the enlightenment period. While detective‐novel‐style tales of ratiocination deal with modern crimes seeking others’ property or life, lawsuit‐novel‐style ones describe immoral crimes involving conflicts and grudges within a community such as family and town. Furthermore, different from Western ones, Korean tales of ratiocination during the enlightenment period do not have a professional detective. Detectives in detective‐novel‐style tales of ratiocination are public figures such as policeman, royal emissary, and governor, but in lawsuit‐novel‐style tales of ratiocination one of characters in the mystery plays the role of a detective temporarily and solves the crime. In addition, both detective novel‐style and lawsuit‐novel‐style tales of ratiocination use inversion, which inverts the order of the cause and the result, as a narration strategy stimulating the reader’s curiosity. In detective‐novel‐style tales of ratiocination, in which the narration of search is dominant, the motive and cause of crimes are uncovered through abduction as the detective collects fragmented pieces of information like a puzzle game. Accordingly, the reader is induced to read the narration to the end with strong curiosity about the detective’s investigation that digs up the whole story of a crime. On the contrary, lawsuit‐novel‐style tales of ratiocination, which are close to crime stories, take the narrative structure that inverts the causal relation of a criminal case. As a result, the characteristic of information stimulating the reader’s curiosity varies among novels, and narrative tension is also relatively low.

초록

Abstract

This dissertation intends to examine the multicultural situation in Korea with the theater of Park Gun-Hyung from 1989 to 2009. Park Gun-Hyung is worth noticing as the most outstanding play writer and theater director. Though many critics have been judged his works as rediscovery of everyday life, I intend to notice them as the family narrative. Family is the basic factor in everyday life, which is revealed through the family relations ; that is, everyday life consist of family relations. This is the reason why I regard his works as the family narrative. Family narrative is the strategy to come out individual identification in society. This is the point I will notice in his work. To examine the multicultural situation in the korean society, we must his ten-year-work which have been questioned family identification in the korean society. For about ten years, Park Gun-Hyung has built strange parafamily in the stage to inquiry what is the meaning of family in our times and the construction process of strange parafamily is performed as the Familien Bühne in the stage. Deconstruction of the traditional family -ideology and construction of new family identification is the important process in the Familien Bühne. Analysing his Familien Bühne in the theater text, I can consider family identification problem and multicultural situation in korean society.

초록

Abstract

Computer game is narrative form that is suitable for digital technology. The narrative of computer game mostly have transformed fantasy novel among printed literature. 「The Lord of the Rings」 by J. R. R. Tolkien, especially, had become the origin of diverse computer game narratives, and many fantasy novels are becoming the original of computer games in these days as well. Fantasy novel fictionally presuppose "the second world" which is completed by itself. The second world constructed is a "probable world" which generalizes unreal event and has its dramatic narrative structure. However, it is not the case that the narrative of fantasy novel can be directly applied to computer game. It is due to that one-way novel and interactive game is substantially different media. The three elements of setting, event, and character reflect the convention of new media as the type of the narrative of fantasy novel. In the case of console game, the sequential arrangement of space where the event happens is presupposed as plot. Plot includes mater plot and satellite plot. Master plot brings from the narrative of the original novel. In online game, the events of fantasy novel is transformed as quest with episodic structure, like an epic. However, the progression of quests is arbitrary, and how they progress matches the feature of the game genre. Characters in computer game are transformed to as main character who the user can select and play. The fact that the setting in computer game allows users to search through space shows the unique nature of computer game. We will analyze an appearance that fantasy novel's narrative has been transformed around 「The Lord of the Rings」. Analyzing the aspects of such transformation is meaningful because it allows us to understand the alteration of narrative within digital media environment.

초록

대중음악이 여타의 다른 음악카테고리들과 경계를 설정하고 스스로를 하나의 독립적인 장 (sphere)으로써 구성하기 시작하면서 주도적으로 떠오른 문제는, 대중음악에 관한 가치평가에 관한 것이었다. 다양한 요인들에 의해 다층적이면서도 분산적으로 작동되는 대중음악에 대해, 어떤 통일적인 미적판단기준이 적용될 수 있는가라는 질문은 아직도 대중음악연구에서 미완의 과제로 남겨져 있지만, 그럼에도 불구하고 단편적 시각에 의거해 양적/질적으로 대중음악을 정의하거나 판단하는 기존의 방식들에 대한 비판적 검증이 필요한 것도 사실이다. 이러한 맥락 하에 이 글에서 중심적으로 다루어질 내용은 대중음악 내에서의 ‘진정성 개념’이다. 진정성 개념은 이론적, 일상적 범주에서 흔히 대중음악에 관한 일종의 질적/미적 가치 판단 기준으로 작동하는 것처럼 보이지만, 이를 자세히 고찰했을 때, 대중음악에서의 진정성 개념은 예술음악이나 민속음악에서처럼 “진정하고 정통한 ’근원‘ ’원전‘ ’작가‘ ’연주가‘”를 보증하는 방식과 다르게 움직이고 있다. 이에 대한 역사적 형성 방식을 관찰함으로써, 이 글은 결론적으로, 대중음악 내에서 진정성개념이란, “주도적인 매체화의 방식이 다른 것으로 전이될 때 등장하는 일종의 상징적 가치에 관한 것”임을 밝히고자 한다. 이고, 이 개념 역시 복합적인 역사적 과정을 통해 구성된 형성체이며, 이 개념의 상징적 가치들을 둘러싼 대립을 통해 실제로 작용되고 있는 것은, ‘진정성의 유무에 관한 차이’가 아니라 ‘대중음악의 매체화와 이를 통한 감각방식의 차이’임을 밝히고자 한다.

Abstract

One of the main discussions in popular music, which constructs as a cultural sphere its own characteristic and function, is the problem of value judgement since popular music has differentiated from artificial or folklore music categories. The consideration of the question whether a united canon of aesthetic could be applicable to complex and diverse popmusical practice remains incomplete. However it is also necessary that the fragmentary approach and definition to popular music should be critically examined, such as quantitative or qualitative approximations to popular music. Based on this context this paper searches for the term "authenticity" in pop-discourse. The concept of authenticity usually used be in the theoretical and colloquial field, as if that were a 'qualitative and aesthetical criterion', but on closer inspection it operates differently from the "origin" "essence" "nature" of musical "author, player, work" in the use of artificial and folk musical ideas. This paper proves through the reflect on its historical configuration that the notion of authenticity in the popmusical discourse occurs from the change from the dominant way of medialization as some symbolic value, it is also constructed through a historical process. Conclusively it makes clear that the conflicts around the term of authenticity in the pop-discourse are not reference of the difference in real existence of authenticity but the difference in the way of medializations of popular music, and in its sensual perception and appropriation.