23호
초록
Abstract
Adventure tale is one of the oldest literary genres in Korean Literature. There are some works, for example, shamanistic song <Ogupuli>, <Tale of the conquest of Great Enemy in Underworld>, and <Tale of Choi-chi-won>. Some works of this genre later are transformed into the narrative form of novel in Chosun-Dynasty. In these adventures tales, their heroes led their adventures to both the exploration of other world and the confrontation of the Great Enemy. The ending of the adventure tale describes the joy and consolation of the closed - and often happy resolution of every successful adventure. For Example, "Baridegi" turns to Shamanic God, "Mr.Park" to King of Underworld, "Mr.Han" to a hermit into the mountain, abandoning both the rich and the glory. "Kim-won" to Lord of Hyungju, marrying Princess and "daughter of Dragon," living happily and flying into heaven on his death. The different characteristics before and after the popularization of adventure narrative depends upon how the genre of adventure tale is capable of satisfying the reader's desire.
초록
Abstract
There are many Gaze to work for the various Subject in Manchurian travel narrative in the last of Japanese, which visits hear and there the boundary between colonizer and colonized. This one's Gaze sometimes appear sharply as differentiation and identification, with this, the traveler may reconstruct his identity. Therefore, this article was grasped a point of Post-colonial strategy and a method by considering one's Gaze to others and a method of identity configuration as a centering Manjurian travel narrative written by Lee hyo-seok, Lee tae-joon and Lee seok-hoon. In the case of Lee hyo-seok, he composed the Subject by disidentificaation with colonist in Manjurian travel narrative, and described Manjuria with an aesthetic autonomy point of view. He found Other-ness from various ethnic cultures that was mixed in Manjuria and considered universality and contingency of beauty an culture by sophisticated sense. However, to pursuit of the aesthetic life based on both diversity an contingency had a limit in the point of which was on the basis of post-historization. Lee tae-joon composed the Subject by counter-identification with colonizer, on the other hand, watched Manjuria with an enlightenment point of view. He identified Manjuria as Other-ness based on cultural essentialism, on the other hand, with resisting to the goal and policy of Japanese, composed the Subject of chosenjin or himself by a method that imitates the logic of the colonial Subject, namely a method of Counter-Identification. But, such method may be produced a situation where support the Subject that rather deny regardless of his intention. Lee seok-hoon described the policy of Manschoukuo in the conformity point of view, composed the Subject by identification with colonizer. He expressed a desire for constructing in Manjuria an enlarged territory of Chosun as 2nd grade of imitated colonizer, as devoting himself to one body-japan-chosun that is logic of colonizer. However, he had been realized belatedly to have a limit that the ideology of one body-japan-chosun couldn't be an ideology of colonizer logically.
초록
Abstract
Joen Hye-Lin wrote mainly essay based on the experience while studying in Germany and translated German literary works. But in spite of her career as a writer, she was excluded from the korean literary society, rather than her abnormal biography as intellectual woman has mythologized and gotten enjoyable public taste and popularity. In this article, with the support of performance dramaturgy, I examined how Joen Hye-Lin's experience of Germany was accepted to the korean public through her travel piece published in 60s and has gotten the public popularity with the concepts of persona and liminality. As a writing, travel piece can be written based on the writer's experience caused anything perceived. As a performer performs something fictive as realistic in the performance, the writer of travel piece presents her(or his) experience of unknown space in the text which is not a real space represented but a presented space. That is, simultaneously and circularly, the writer of travel piece is not an audience(seeing) but also a performer(seen) presented her(or his) experience of unknown space to the other space. From this point of view, I can analyze the Joen Hye-Lin's travel piece as the performance, which is consisted of a performative process.
초록
Abstract
In this paper, the researcher has analyzed the geographical imagination and imperial mode inherent in the sight of travelers with a focus on the book written by Isabella Bishop about her travels during the modern period of enlightenment, and based on the results therefrom, the research also had identified epistemological placement of imperialism by discussing the representation system. Joseon recreated through the otherness is the subject to be improved further and is described as a domain which should be taken into the imperial nation-state, and at the same time it is reproduced as the space for the dissociation of consciousness of imperialist. Her epic story of travels reveals the hidden side of rationalization of imperialist paradigm through symbols that encode description and development potential which accompany idyllic scene and fantasy. Also, redefining race, ethnic group, and sexual identity through differentiation, this reinforces imperial hegemony by means of inculcating the masculinity of imperial nation-state. Therefore, it can be said that this travel book written by Bishop takes the place of promoting imperial reasons while showing the process of the hierarchy which is the multi-layered of European-style colonial policy.
초록
군사독재, 긴급조치, 자기검열의 시대인 1970년대 유신체제하에서 추리소설의 토착화에 성공했다는 사실은 시대적 아이러니이다. 본 논문은 70-80년대의 대표적인 추리작가 김성종의 『제5열』(1978)을 중심으로 그러한 아이러니가 어떻게 가능했는지, 또 그것이 그 시대 대중의 어떤 측면을 반영하고 암시해주는지를 살펴보고자 한다. 이를 위해 먼저 70년대 한국에 추리소설이 뿌리내릴 수 있었던 사회문화적 배경을 살펴본 다음, 때로는 선행 작품인 『최후의 증인』(1974)과 배경을 비교하면서, 억압적 체제 속에서 어떻게 추리소설이 유희기능을 수행하는 대중장르가 될 수 있었는지 그 양상을 살펴본다. 그 다음, 유신말기에 쓰인 『제5열』에서 자기검열이 어떤 방식으로 이루어지는지, 그리고 서사전략에 내포된 균열이 어떤 독서효과를 생성하는지를 살펴본다. 이를 통해 70년대 말, 자기검열 속으로 위축되었던 대중은 새로운 개인의 주체적 발현을 꿈꾸고 있었음을 짐작할 수 있다.
Abstract
It is an irony of 1970s that a korean detective narrative formed under the Youshin regime, time of emergency measures, military dictatorship and self-censorship. This paper proposes to analyze internal crevices in the narrative of two novels written by KIM Seong-jong, representative mystery writer of 70s-80s : The last witness and particularly The fifth column to examine how such irony was possible. For this, I observe the sociocultural background which allowed the detective narrative to establish in Korea, as well as the evolution from intimidation in self-censorship to emergence of a new individual and to personal recreation. Then I examine how the self-censorship is represented in The fifth column and what effects the crevices included in its narrative strategy make during the reading. Finally this paper proposes to see in this text the emergence of an autonomous political subject and an unaware overture to a currant of political wishes showed by the 80s' mass.
초록
Abstract
The purpose of this study is to analyze the discourse strategy in movies about sports events. ‘Movies’ and ‘Sports’ are two different forms of popular culture, but share some similarities as well. The current study examines the significance and possibilities arising from the combination of these two cultural modes. Korean movies about sports began to be regularly produced starting in 2002, but it wasn't until 2008 that such movies achieved box office success. The movie that broke through was <Forever the Moment>, Uri saengae choego-ui sungan. This film was based on a true story like its other sports-themed predecessors, but its discourse strategy unfolded quite differently. The film focused on a non-mainstream sport and didn't focus on one protagonist-hero depicted biographically from their youth. Instead, there were a multitude of protagonists who added layers of depth to the story with their everyday personal issues. These discourse strategies are the hallmark of media such as the Internet, cable TV and other changing media environments which seek to satisfy the public's psychological curiosity about the personal lives of characters. This provides a sort of comfort for modern viewers who may feel anxiety about the everyday prospect of not being able to fit into the mainstream. After the success of <Forever the Moment>, subsequent sports-themed movies such as <Lifting King Kong> and <Jump> followed this formula to great effect, achieving box office success as well. Furthermore, unlike previous formulaic sports movies in which the protagonist invariably overcame personal challenges to rise in the world through the medium of sports, meaningful changes in discourse style expanded the role of sports movies so that they could engage viewers through conveying unalloyed athletic spirit.
초록
Abstract
A historical drama summons the past and projects the present. It is not a copy of historical events, but a creative outcome of the past. Creative representation of the past frequently works as a metaphor of the present. The main concern of the historical play lies in the present when the text is represented, not the text representing the past. The well-made television mini-series <Chuno>[推奴, Chasing Slave] shows well the heart of the historical drama with a high aesthetic accomplishment. <Chuno> is the story about slave chasers in 17th century Chosen. <Chuno> shows continuously dynamic tension because this historical drama is organized with chase/escape plot. Chasing takes a form of chain based on the complicated relationship of main characters. In <Chuno>, this chasing becomes a record of existential travel in that the chase of other's body is transformed into the pursuit of the self's desire. What is the most prominent attribute in <Chuno> is the project of anachronism which calls the past and projects the present. This anachronism project comes to be possible with elaborate placement of each drama formative composing the text. The close connection between the active chase and static discussion is the record of main character's culture and growth since it shows the process through which the inscribed mark on body is transformed into the spiritual awakening. Moreover, the ‘simultaneousness of the unsimultaneous’ between screen and sound, or between spoken language and written language is the synesthetic decorum in which the inharmoniousness between the sense of hearing and seeing produces very harmonious scene. With the intentional Time-Variation summoning the past, <Chuno> leads us to have a conversation with the present. Time-Variation in <Chuno>, the well designed anachronism, produces meaningful topics on both Us and our Now/Here lives.
초록
Abstract
This paper aims to research the narrative structure of Oral Life History Storytelling recorded by narrative interview. Narrative interview is a way of oral statement that dictator tells his life history in story form without interviewer’s intervention as much as possible. Whoever dictates by narrative interview can become a creative storyteller. Life history storytelling by narrative interview is to reconstitute the process of living. This looks very much like novelist’s creation work, but there is different to ignore between creation of dictator and novelist. Oral life history text is dictated according to the principle of narrative segmentation and resulted in small and big unit-text. And various types of segmental marks appear upon the segmental positions. Unit-texts have fundamentally independent qualification. But they are compounded themselves and make more dynamic story structure. Dictators set up various super experiences which are reverted to theme or material. An oral life history storytelling has several super experiences and super experiences possess horizontal or hierarchical construction. Compound aspect of unit-texts can be divided into four types; conforming to time sequence, raising a topic and solving, conforming to alteration of space, conforming to association. This compound aspect may be selected by dictator’s attitude to life, strategy and ability of storytelling etc.
초록
Abstract
This paper is about an exploratory study of how to make the model storytelling, when celebrities are appeared in TV Commercial. We shall first use generalized FCB Grid analysis from marketing field, drawing on the thought that selecting the suitable model is very important. The frame of this analysis distinguishes between ‘High Involvement/Thinking’ and ‘High Involvement/Feeling’ and ‘Low Involvement/Thinking’, and ‘Low Involvement/Feeling’, based on the relevance between product property and consumer behavior. According to this classification, it seems reasonable to say that a certain product for advertisement has a certain way of advertising. Advertisers should carefully choose a model within relevance of product properties, due to the fact that celebrities already have well-known stories to the publics, and also should strategically make storytelling for advertisements. Selection process of model could be practicing the ‘concept storytelling’. And after the selection of a model, working on making advertisement storytelling can be planned for ‘storytelling as a technique’. Therefore, this paper shall analyze in the view of storytelling focusing on Yuna Kim's advertisements. To pay attention to this issue, we shall choose her advertisements, ‘Hyundai Motor’ (High Involvement/Thinking), ‘Lacvert Cosmetics’(High Involvement/Feeling), ‘Saffron’(Low Involvement/Thinking), and ‘Mail milk’(Low Involvement/Feeling), which are representative of four filed for FCB Grid model among her commercials in 2009. Storytelling of these commercials are analyzed by message, conflict, and characters. And we considered with the thought that message is divided into ‘instillation-enlightenment/open-sympathy’, and conflict is divided into inner conflict/outer conflict', and characters are divided into ‘real character based on facts of the information/fictitious character based on fictional agreement’. As a result, we confirmed there has been phenomenon that Korean advertisement system excessively depends on so called ‘big Model’ rather than making a suitable storytelling. This paper is about exploratory study focusing on the schemes of storytelling for advertisement model. We expect that research for this filed takes form in various ways, in the aspect that there should be various studies in each process of making advertisement.
초록
대중음악을 포함해 대중예술 전반에 걸친 가치평가의 문제는 결국 좋은 예술이란 무엇인가에 대한 전통적인 미학적 논의의 연장선상에 있다. 특히 진정성 논의는 그 핵심적인 의미영역이다. 대중음악이 여타의 다른 음악 카테고리들과 경계를 설정하고 스스로를 하나의 독립적인 장으로서 구성하기 시작한 것은 사실이지만 그럼에도 불구하고 가치평가의 문제에서 전통적인 미학적 논의와 구별되는 별도의 미학을 구성할 필요는 없다. 그보다는 전통적인 미학적 논의의 지평을 넓혀 다양한 경계의 음악들이 저마다 자신의 고유한 성격을 훼손함이 없이 논의에 생산적으로 융합되어 공통의 미학적 개념들을 풍요롭게 할 수 있는 가능성이 중요하다. 이런 맥락에서 진정성은 대중예술과 고급예술을 아우르는 미학적으로 의미 있는 개념이다. 일반적으로 대중음악을 포함한 대중예술에서 진정성 개념은 미학적 차원에서 보다는 주도적인 매체화의 방식이 다른 것으로 전이될 때 등장하는 일종의 상징적 가치로서 작용하는 경향이 있다. 다시 말해 그 무게중심이 진정성의 유무에 관한 차이보다 매체화와 이를 통한 감각방식의 차이에 놓여진다. 이런 경향을 염두에 두고 이 논문은 진정성의 유무에 관한 논의의 핵심적인 측면들로서 일상적 자아/최선의 자아, 존재감, 자연스러움, 총체성에 접근하면서 전통적인 미학의 연장선상에서 대중예술에서 진정성의 미학을 향한 하나의 제안이다.
Abstract
The problem around what is a good work of popular art including popular music is after all in close connection with the consideration of the question whether a work of art is good or bad in the traditional aesthetic discourse. Especially the question of autheticity is the key area of meaning in the problem of value judgements. It is a fact that popular music has differentiated from other categories of music and constructed its own characteristic and function as a cultural sphere. However it does not mean that popular music should develop its own theory of aesthetic judgement completely different from other categories of music. What is worth emphasizing here is that we secure and enrich common aesthetics for both generic and specific area of experiences in the various categories of music by contriving as effective a system of vocabularies as possible within the proper adaptability. In this context the concept of authenticity is significant in its productivity as it embraces not only high brow art but the popular arts in general. There is a tendency that the concept of authenticity in the popular arts, especially in the pop-discourse operates as a kind of symbolic value in the process of change from the dominant way of medialization rather than on the aesthetic dimension. In other words, the main theoretical import of the concept is not the reference of the difference in real existence of authenticity but the difference in the way of medializations of the popular arts and in their sensual perception and appropriation. As a response from the aesthetic point of view to this tendency this paper is a proposal toward an aesthetics of the authentic in the popular arts by extending such traditional aesthetic discourses as ordinary self/the best self, self- manifestation of existence, naturalness, totality.