24호
초록
1930년대 초반의 대중소설은 1920년대 청춘의 삶을 바탕으로 진취적 주의자와 여학생 예술가를 등장시키며 전개되었다. 이념과 예술로서 식민지 청춘의 현실을 벗어나 동시대적 세계의 보편에 동참하려 했던 그들의 의지는 국경을 넘나들며 전개되었다. 그들이 국경을 넘었던 것은 자신의 의지와 정념을 자율적으로 결정할 권리가 식민지 청년에게 주어지지 않은 현실적 조건 때문이었다. 1930년대 전반기 대중소설에서 사회주의와 고급예술은 유토피아 서사의 주된 요소였다. 특히 연설과 성악은 목소리를 통해 의지와 파토스를 열정적으로 전달했다. 소설을 통해 목소리의 육체성은 1930년대를 경과하면서 점차 세속화되고 오염되게 되는 양상이 나타난다. 일제의 검열로 중단된 심훈의 장편소설 『동방의 애인』과 『불사조』는 식민지 현실에 순응하지 않는 청춘들의 활약상을 보여주려 기획되었다. 비록 그 결말을 알 수는 없지만, 이 소설들이 상해와 모스크바로 상징되는 북쪽의 불온함을 혁명의 동력으로 삼은 청춘들의 진취성에서 미래를 읽어내려 했음을 짐작할 수 있다. 이 기획은 한설야의 『청춘기』로 이어진다. 한편 대중소설의 거대한 방향은 한설야가 기획했던 이념의 방향보다는 방인근과 이효석, 유진오의 장편소설이 보이는 추상적이고도 무시간적인 감각적 낙관성 쪽으로 정향되었다. 이들은 조선을 후경화하고 해외를 전경화하면서 국제 무대를 누비는 인물들의 유랑담을 서사화했다. 『방랑의 가인』, 『벽공무한』, 『화상보』에서 지식인 청년은 사라지고 능력 있는 삼십대의 남성이 등장한다. 1930년대 전반기에서 후반기로의 대중소설의 이행을 살펴보면 식민지 조선의 청춘들이 실현시킬 근대적 보편주의로서의 이념적 좌표를 상실하고, 예술적 가치를 점차 상상적인 것으로 변모시키고 있음을 살필 수 있다. 분명하게 드러나는 것은 (주의자) 청년과 (예술가) 여학생의 점진적 퇴조이다. 청년은 해외로 망명하거나, 속물적 혹은 비관적 지식인으로 세속화된다. 여학생은 성적으로 타락하여 단죄 받거나, 결국 여학생 첩, 유행가 가수, 여배우, 모던마담․유한마담으로 변질된다. 이들은 고국으로 돌아오지 못한 채 해외에서 살해당하거나, 해외로 도피하면서 그곳에 방치된다. 청년과 여학생의 희생을 매개로 하여 중년이 된 남성 주인공은 사회적 성공을 보장받고, 예술은 훼손되기 쉬운 육체성에서 벗어나 상상적인 것으로 전이(轉移)되거나 ‘국민 통화’를 위한 조화의 기제로 동원(動員)된다.
Abstract
This paper intends to consider the aspects of youth and features of narratives in 1930s popular long length novels. The predominant characters of early 1930s popular novels came from models of 1920s youth, especially male socialists and female students majored vocal music. Speech and vocal solo revealed immediate pathos and touched other youth's sympathy. The voice of them was pure, transparent and noble. During 1930s, the voice of youth has been degraded and secularized. Speech of male socialists has been deteriorated into pessimistic behind stories. Female vocalists have become popular singer for recording, actress, concubine of sponsor and leisured woman so-called ‘modern madam’. In late 1930s popular novels, only a main male character achieves his success and abilities. Dejected socialistic intellectual and female students become ‘vanishing mediator’ for the success of hero. These novels have some geopolitical directions. Crossing border makes beginning or ending of the narratives. In early 1930s, the narrative is oriented toward ‘north’. At the north there was China and Soviet Russia. Some cities of China served as foreign base for resistance movement against imperial Japan. Russia meaned ideological utopia for young socialists. Besides some cosmopolitan cities such as Shanghai, Harbin are envisioned as hotbeds of high concept art and revolutionary passion. Young people crossed the border for their freedom for ideology, autonomy and emancipation of sexual repression. Some late 1930s popular novels have the theme like ‘returning of successful male modernist’. On the other hand other young modernists have to fail, soil their bodies and get the moral punishment. In the late 1930s, the ending of some novels is oriented toward ‘south’, that is, imperial Japan. Only the successful male modernist could return to colonial Chosun. He is no more young. He already becomes middle-aged imperial subject obtained authority from Japan.
초록
이 논문은 일제말기 전시 통치하에서의 조선인 청년의 삶의 상태에 대한 질문을 담고 있다. 구체적인 분석은 총력전 병영제국의 생명 통치 장치와 더불어 생겨난 식민지 청년의 정체성 가운데 하나인 ‘학병’에 초점을 맞추었다. 더불어, 이들의 이야기가 해방 이후 어떻게 기록되고 대중적으로 소비되었는지를 규명하였다. 식민자가 벌이는 전쟁에 강제로 끌려나가야 했던 학병은 1938년 이후에 등장한 중하층 출신 지원병 집단과는 다른 사회적 계층에 속했다. 고등교육 수혜자였던 학병이 전쟁, 민족, 국가에 대한 기록을 남기면서 민족 수난과 국민국가 건설의 지평 한가운데에 자기를 위치지을 수 있었던 것은 이들이 고도의 리터러시를 소유하고 있었기 때문이다. 이와 같은 사회적, 문화적 맥락에서 학병은 민족의 우울과 환희를 압축하고 있는 푸른 상징이 되었다. 대중적인 학병 로망의 상상력 역시 이 틀을 공유하면서 후식민 집합기억과 대중적 감수성의 형성에 영향을 미쳤다. 김내성의 『청춘극장』과 한운사의 『아로운』 3부작은 대중적인 학병 로망을 대표하는 작품이다. 이들을 통해 식민지 엘리트 청년의 존재론은 후식민 문화상품의 주요한 컨텐츠로 자리매김되었고 대규모로 소비되었다. 두 텍스트는 모두 학병 탈출 모티프를 중요한 서사적 줄기로 삼고 있다. 탈출이란 제국의 전시 법질서와 치안을 흐트러뜨리는 범법 행위이다. 이 논문에서는 두 작품에 나타난 법과 범법의 문화정치적 의미를 분석함으써 제국의 통치성, 식민지의 도주하는 에이전시의 역사적, 상징적 의미를 탐색하였다.
Abstract
This paper explores the state of lives of Chosun's youth under Japanese imperialistic rule during the Second World War. The specific analysis focuses on student soldiers, which are identities appeared in conjunction with biopolitics of military empire. Additionally, I intended a close examination of how their stories were recorded and consumed after the liberation. The student soldiers who were forcibly taken to a war waged by the colonizers belonged to different social stratum than that of the volunteer soldiers of mid-low-class backgrounds who appeared after 1938. The reason these student soldiers, the beneficiaries of higher education, were able to locate their positions within the horizon of national suffering and the building of a nation-state, while leaving records regarding the war and nation, is attributed to their high level of literacy. In this social and cultural context, student soldiers became a symbol of the nation's depression and delight. The imagination of popular student soldier roman shared the same framework, influencing the post-colonial collective memory and the formation of popular sensitivity. Kim Nae-Seong’s Youth Theatre and Han Woon-Sa’s Trilogy of Ah Ro-woon are representative of popular roman portraying student soldiers. Through these works, the ontology of the young colonial elite is located as a major content of post colonial cultural products and was consumed on a large scale. Both texts employ the motif of 'desertion' as the main narrative plot. Desertion is a violation of the law which break the law-order and police system of the empire during a time of war. Analyzing the cultural and political significance of the law and violations of the law that appear in these two works, this following thesis seeks to examine the historical and symbolic meaning of an empire’s governance and the agency who is trying to escape from the power of an empire.
초록
Abstract
The purpose of this paper is to explain the reason of increasingly ppopular choice for 『Homeland of Stars』. Narrator of this text had a sensitive communication power. Regardless of the manly fantasy for the heroine, Gyeong-a, the communicative narrator caught the reality of the 1970s, aroused sympathy. Especially this text was connected with the Korean Youth-Cultue in the 1970s. The writer selected the 'Love Affairs'. Narrator analyzed the situation of love an the youth culture, comparatively. The sound social norm as the 1960s' tradition was engendered friction with the youth in the 1970s. Heroine and heroes didn't have love affairs because of the love culture genderd difference. Narrator examined these process and reason as a cultural anthropologist. Therefore, this paper tried to explain that the popular choice for 『homland of Star』 was to accept to the insight of narrator.
초록
Abstract
The culture of young people, mainly in the universities, gradually started to decline in the 1990s unlike 1980's. It's not a matter of choice but inevitable flow. The changes should be accompanied to some extent by other changes of economic and political situation. Youth cultural activists tried hard to find new ways for overcoming the declining tendency. New generation issue entered the stage just at that time. Through the new generation phenomena, youth had changed their identity from the subject of production and protest to the symbol of consumption. In the song of youth culture, progression of these flows was the same. Young people would serve to maintain and expand the social responsibilities through the song. They have created a new song and accepted a new taste of music in the changing times. Furthermore they embraced the consumption of a particular music as the protestant behaviors and a part of cultural construction. In the process, the young people and their songs being on the outside of the university culture in the 1980's have grown up to be the new symbol of youth culture. These new tastes and styles were connected to 1970's.
초록
Abstract
This paper examined the mechanism of exclusion/absorption of the nation-state which are inherent in the Asian imagination in the process of establishment of decolonized nation state and the free nation by investigating articles and narratives related to Chinese the refugees produced in Korea before and after the foundation of the People's Republic of China in 1949. In South Korea in 1948 appear the Chinese refugees who moved south escaping from the war of China. South Korea who accepted them from the perspective of the international morality, however deported all of the refugees who entered the country illegally or came to consider the refugees left in South Korea as (potential) criminals of spies․smugglers as the People's Republic of China was established in October, 1949. In these situations Lee Gwang Soo's Seoul is problematic, which presented the Chinese refugees with the background of Seoul at the same period of time in January, 1950. Seoul presented the Chinese refugees, and domestically, stressed public order and security setting up them as spies, and externally, tried to found the status of a liberalistic nation Korea emphasizing an affinity between China and Korea. And the project to raise the Korea's national identity to the center of not only Asia but also the world moved forward to stress the eternity of the national identity of Koreans setting up Chinese refugees and spies of Chinese Reds as 'the Chinese Koreans'. As a result, eventually Seoul was read in terms of communist aspects at that time and it was stopped to be published serially. However, on the contrary, this paradoxically indicates that the decolonized nation-state and the free nation were constructed through excluding other nation's refugees and communists from the category of ‘people’=‘nation.’
초록
Abstract
This study has analyzed the text-structure and the aspect of meta -detective novel in General's Beard, and tried to investigate the meaningof meta-mystery novel for emerging of South Korea early detective novel in 1960's and the problems consciousness about the metaphysical issues in the form. During the process, there were represented that the violent of internalized experience of war and the dominant-subordinate ideology infect a psychological and political impact to citizens. General's Beard made the question how to deal Cheolhun's death with the event of crime and presented new vision about general structure of the detective novels. It had the structure of two plot as detective Bark' investigation and novelist 'Na''s investigation. Their investigation were the pocus on statements rather than evidence. In that process, there were the question whether the death of depressed patient is suicide or homicide. General's Beard has the story in the story. That fact was presented as complex structure of narrative progress, and showed that Cheolhun's death had meta-means and that this novel had the means of meta-fiction and the means of political ideology.
초록
Abstract
Namaste is the work that treats the industrial training system, employment permit system, legal matter for the marriage between migrant worker and Korean lady and the nationality act in the realism. This study has clarified the conflict aspect between legal narration and literary narration and looked into the possibility raised by the literary imagination beyond the law The continuous deaths of the migrant works, who are under the illegal stay restriction and the compulsory deportation and the situation of violation of the human rights before the employment permit system is executed, show that the human rights in the national state belongs to the citizens of specific nation. Meanwhile, the nationality act, which the gender is discriminated in the patriarchy that the marriage between foreign male and Korean female is exclusive and based on the pure-blood principle, is not being from the one lining the territory of the national state. Namely, the migrant workers, who exist being bared lives, all the rights being deprived, disclose the fiction of the modern sovereign right to establish the legal order as the place asking back the continuity between human and citizen, and between birth and nationality. Namaste, in order to overcome the legal limit of such law, lets the readers form the imaged sympathy through the identification effect for the reliable friend. It creates the sensitivity for the human rights by stirring the hostility against the injustice and the feeling of solidarity. Furthermore, the writer stresses the importance of communication to form the sympathy. It makes the grade of rank for the linguistic resources void and attracts the batter into the communication place by letting us hear various Nepali languages including the Tibetan myth and the terms related to the religion through the ignition of Camil. The literary imagination of Namaste, which describes such languages of communication, can enter in the legal order, which based on the jus sanguinis and the nationalism and give the effect to improvement of the legal system. Namaste is the work that treats the industrial training system, employment permit system, legal matter for the marriage between migrant worker and Korean lady and the nationality act in the realism. This study has clarified the conflict aspect between legal narration and literary narration and looked into the possibility raised by the literary imagination beyond the law The continuous deaths of the migrant works, who are under the illegal stay restriction and the compulsory deportation and the situation of violation of the human rights before the employment permit system is executed, show that the human rights in the national state belongs to the citizens of specific nation. Meanwhile, the nationality act, which the gender is discriminated in the patriarchy that the marriage between foreign male and Korean female is exclusive and based on the pure-blood principle, is not being from the one lining the territory of the national state. Namely, the migrant workers, who exist being bared lives, all the rights being deprived, disclose the fiction of the modern sovereign right to establish the legal order as the place asking back the continuity between human and citizen, and between birth and nationality. Namaste, in order to overcome the legal limit of such law, lets the readers form the imaged sympathy through the identification effect for the reliable friend. It creates the sensitivity for the human rights by stirring the hostility against the injustice and the feeling of solidarity. Furthermore, the writer stresses the importance of communication to form the sympathy. It makes the grade of rank for the linguistic resources void and attracts the batter into the communication place by letting us hear various Nepali languages including the Tibetan myth and the terms related to the religion through the ignition of Camil. The literary imagination of Namaste, which describes such languages of communication, can enter in the legal order, which based on the jus sanguinis and the nationalism and give the effect to improvement of the legal system.
초록
Abstract
Love letter of rebellion is the faction and epistolary novel, that uses the private feeling of letter and the character of faction as a mystery story evenly. The letter is a subsistence and barometer which draws time of desire and fear. 1. Love letter of rebellion keeps strength of faction, sets plural secret documents and has a command of trick, the accidental development of event/happening by misunderstanding. The secret document makes suspense through contriving equilibrium of power between confrontational groups and trick using misunderstanding leads dramatic change of event. 2. Love letter of rebellion tied up historical material at a conspiracy theory and emphasize antagonist‘s frenzied desire for power. Also, it takes strategies that secure universality of history interpretations by presenting neutral interpreter.
초록
근대 역사문학은 여러 상이한 담화적 특질을 지닌 글쓰기들 간의 경합과 상호 간섭을 자산 삼아 생산성을 높여간 영역이었음에도 불구하고 그간의 연구는 크게 작품론과 주제론적 접근에 치우쳐 있다. 본고는 이러한 문제의식에서 역사문학을 실질적으로 대표하는 역사소설과 역사극 간의 교섭 양상에 주목하였다. 그럼으로써 두 글쓰기 간의 교섭에서 나타나는 몇 가지 주요한 경향을 확인할 수 있었다. 상당수의 역사극이 역사소설에 대한 메타적 글쓰기로서 창작 또는 각색되었고, 다시 역사극을 참조하여 역사소설이 창작되거나 앞서 창작된 역사극을 전범 삼은 역사극 창작이 이루어지는 등 활발한 상호텍스트성의 여러 국면이 그것이다. 이는 역사극이 역사소설로부터 그 서사적 자원을 끌어온 일종의 각색극에 지나지 않는 것이라는 그간의 통념과는 사뭇 다른 사실관계를 말해준다. 두 글쓰기가 국민문학의 장 안에서 유사한 행보를 보였다는 점 역시 특기할 만한 사실이다. 과거 조선의 역사, 특히 그 가운데서도 ‘멸망사’를 제국의 서사로 전유하는 한편, 대중성 획득을 겨냥한 통속서사로서의 일면을 놓치지 않는 양면성을 지니고 있다는 점에서 역사소설과 역사극은 일치점을 보인다. 본고는 역사에 관한 문학적 글쓰기라는 차원에서 역사소설과 역사극이 펼친 위와 같은 교섭의 구체적인 양상을 고찰하는 데 목적을 둔 글이다. 장르적 경계를 넘어 텍스트 생산 과정에서 형성된 두 글쓰기 간의 관계망을 파악해 보려는 것이다. 아울러 그와 같은 문학적 복제를 가능케 한 사회문화적인 배경을 동시에 고려하고자 했다. 단순히 소재적 공통점만으로 설명할 수 없는 문학 외적 요인들에 대한 논의가 이와 관련하여 첨부될 필요가 있다고 판단했기 때문이다.
Abstract
Korean modern historical literature had been developed through the competitions and mutual interferences among different writings which have multifarious discourse properties, but the studies on it have focused on discussions about authors and works by and large. For this reason this study took notice of the negotiation phases between historical novel and drama which represent Korean modern historical literature substantially. As a result some major trends were witnessed. First, a lot of historical play texts were created and dramatized as a metafiction. Second, historical novel texts were created by referring to those play texts. Third, new historical play texts which based on those created works appeared. As it were intertextuality were actively produced. Which shows the fact that historical play texts simply were not dramatized in historical novel texts. The fact that two writings shows similar walking in a place for ‘Kookminmoonhak (nationalism literature)’ also deserves special mention. These writing agreed with the double-sidedness, imperialism and popularity narrative. This study's purpose is to analyze these two different genres' concrete connection through the midium of historical material. Additionally the cultural background from a viewpoint of sociology will be considered in this analysis process.
초록
1950년대 후반에서부터 60년대에 걸쳐 아시아 공간을 서사의 영역으로 끌어들인 작품들이 한국영화계에 대거 등장하였다. 이 글이 던지고자 하는 질문은 이런 것이다. 왜 아시아였고, ‘아시아’라는 기호가 갖는 함의는 무엇이었는가. 아시아 상상은 어떤 방식으로 어떻게 출현하였는가. 이러한 질문은 일차적으로는 당시의 국가적 상황과 한국영화의 존재양식의 관계에 관한 어떤 문제의식을 암시한다. 영화적 상상력이 일국적 영역을 넘어서 아시아 전체로 그 범위를 넓혀가던 일련의 현상들에서 의미있는 지점은 우리가 아시아 속에서 작은 거울들을 발견하기 시작했다는 사실이다. 우리에게 있어 아시아의 신생 국가들은 장차 따라야 할 대안적인 새로운 근대를 어디에서 찾을 것인가, 와 같은 고민을 공유하고 있는 나라들임과 동시에 나의 모습을 확인시켜주는 거울과 같은 존재였다. 당시의 일군의 영화들은 피식민지인들 간의 사적 친밀성이라는 코드를 통해 신생 독립국들 간의 유대감을 고양하고, 아시아의 고전으로 영화적 상상력을 확장시키고, 세계 속에 보여질 한국영화의 모습을 두고 고민하였다. 이러한 현상들은 궁극적으로는 이제 막 새로운 자신감을 얻은 신생 독립국의 자기정체성에 대한 고민을 환기시킨다. 이러한 영화들이 부상했던 시기는 자신의 정신의 근거를 지나치게 서구적 모더니티에 기대어 찾았던 50년대의 코스모폴리타니즘을 반성하고, 서구에 맞서면서도 보편적일 수 있는 자기 정체성 찾기가 비교적 자발적으로 시도되던 때였다. 코스모폴리타니즘의 영향이 아직은 남아 있으되 민족주의적인 문제의식에 눈을 뜨기 시작하던 때, 말하자면 코스모폴리타니즘과 민족주의의 사이에 놓여 있던 시기라 할 수 있다. 그러나 보편성에의 의지와 특수성에의 의지는 동시적인 현상이다. 이 시기 한국영화에 출현한 바 있는 중국과 동남아시아, 그리고 인도를 잇는 아시아 표상은 서구적인 것에 맞서는 또 다른 보편성을 찾으려던 한국인이 선택할 수 있는 상상력의 최대치였다고 할 수 있다.
Abstract
From the late 1950s through the 60s, film productions emerged en masse in the Korean film industry, drawing the Asian space into a narrative realm. I will examine various aspects of Korean films depicting Asia and elucidate the implications of being termed ‘Asian’ and investigate the process of cultivating imagination in Asia. These questions primarily allude to the relation of the representation aspects of Korean films and the state of the nation in that time. The significant point to take away from the series of movies depicting Asia is the breakthrough of self-reflection in Asia. While at the start, the newly independent states in Asia sought to model after all things Western, by communicating and sharing the concerns of seeking out new and alternative modern thoughts, these states were able to corroborate their own image. Moreover, by enhancing the bond between newly independent states through personal intimacies of the colonized in Asia and expanding public imagination through Asian classicism, Korea as the newly independent state has ultimately acquired a newfound sense of confidence. Likewise, the concerns of how Korean cinema will be revealed on the global stage arouse their concerns regarding the newly independent states’ national identities. And while the influence of cosmopolitanism which strongly dominated the rise of these movies in the 1950s still remains, this period is shared by another onset of nationalistic problem-awareness. This period was a time to reflect on the heavy dependence on Western modernism manifested in the ideology of cosmopolitanism in the 1950s, and a time where while being pitted against the West, people were comparatively willing to extend efforts to discover a universal identity as a alternative to American modernism. However pursuing universality and pursuing particularity occur simultaneously. The representation of China, Southeast Asia and India in Korean films during this period could be viewed in the light of maximized university which Korean made effort to stand against the West.
초록
Abstract
This article has been written with a purpose to examines a method of representation of the memories of the korean War in the literary film of the late 1960s, especially works adapted from comtemporary novels. Especially, this article pays attention to the films adapted from contemporary social-critic novels, <Mist>, <The General's Mustache>, <Her's Way Back>, <Starting Point>. These films make an attempt of new aesthetic when they recall the past to the present through flashback or illusion. In <Mist> and <Starting Point>, The memory of the past encounters with the present. In <The General's Mustache>, the truth of death of a protagonist is exposed through a testimony of people around him. The heroin's husband has been tortured by the memory of the Korean War in <Her's Way Back>. The memory of the past encountering with the present construct sub-plot through a unique visual styles, and this sub-plot constructs multi-layered plots that do not come up to the surface as a main-plot. And, by this style, the memory of the War is able to encounter with the present and be simultaneous. These experiment of style investigate the complex and ambivalent mind of the characters.
초록
본 글은 국가 기획으로 제작된 문화영화의 역사성(historicity)을 밝히기 위하여 한국전쟁이후 1960년대의 문화영화 제작 및 상영 그리고 관람 경험을 분석하고 있다. 1950년대 반공 이데올로기에 기반을 둔 국가 정체성 및 국민 통합은 대한민국을 대내외적으로 승인받고자 하는 문화영화의 제작으로 나타났다. 전후 문화영화에 재현된 남한 각 지역에 대한 시각화는 반공 이념과 냉전의식에 기반을 두고 있으며, 각 지역 고유의 역사성과 장소성을 삭제한 방식으로 진행되었다. 그것은 미국을 정점에 둔 냉전 오리엔탈리즘의 이중적 시선의 내면화이자 지역의 지방화 과정이었다. 문화영화를 통한 균질적인 역사 기록과 기억의 재구성은 전쟁이후 근대질서 수립과 정권의 안정을 목적으로 했다. 그것은 1960년대 산업화와 결부된 향토 담론의 소환과 함께 근대 이전 문화를 국가권력 아래로 재배치시키는 결과 역시 초래했다. 문화영화 제작과 상영은 지역 엘리트를 성공적으로 동원시켰으며, 지역 엘리트 역시 문화원을 통한 순회 영사 활동에 적극적으로 참여하였다. 하지만 일상생활 경험 주체인 대중은 지역민이자 관객의 위치에서 다양한 문화적 실천을 벌여갔다. 지역민 대중은 계몽과 교화를 위한 영화 상영장을 오락과 통속의 장(場)으로 전유하면서 국가의 문화 기획을 비껴가는 모습을 보여주었다. 그럼에도 불구하고, 근대화와 도시화 표상으로서 영화 관람에 대한 지역민의 욕망은 지역 엘리트의 발전 담론과 영화산업 논리와 결합되면서 상설극장 건립으로 봉합되는 역설적 상황을 연출했다.
Abstract
This work examines the historicity of cultural film from the post-Korean War to the 1960s designed by Korean government in order to construct the cultural identity for both Korean people and international propaganda. To problematize the representation of each region in South Korea in the film during the period is to explore the contention and struggle regarding the discourse on culture between nation power and ordinary people, and interweave them into history. By the 1950s after the Korean War the visual images of regions and its theme in cultural film displayed in the rhetorics of inclusion and exclusion of anti-communism based on Cold War Orientalism. Also, cultural film produced until the mid 1960s intended to mold the discourse on the 'one's native place' in order to support the discourse on modernization and industrialization in South Korea. Under the circumstance, most of the local elites were mobilized to the logics of the construction of ‘Korean-ness’ and modernization, which were designed by cultural film. Ordinary people in the local areas, as distinct from the local elites, responded the propaganda film and appropriated the place of film exhibition from the place of the ‘enlightenment’ to the place of ‘the vernacular’. The appropriation of the film exhibition place, however, resulted in the desire of the building of movie theaters in their regions, which was the paradox of film reception in their owns.
초록
Abstract
Until now, Kim, Ki-duk’s films have attracted international attentions to their sensational and violent aspects as well as to their pictorial images. Nonetheless, those pictorial images have been hardly analyzed with synthetic and systematic approaches. I tried to enlighten that so-called "the Kim, Ki-duk system" has been constructed based on a delicate and discreet semanticmapping of iconic images, by applying the methodology of Erwin Panofsky’s iconographical analysis. Even though the iconographical images in Kim, Ki-duk’s films seem randomly intertwined in a complex and incidental way, they can be categorized into three groups: colors, natural materials and animals. The three groups have their own subcategories which appear in many of his films repetitively: blue, red, white and black; soil, metal, water and air tortoise, snake, fish, bird, butterfly and human. What these icons signify is based on the contexts where they are located, in short, in a dialectic way. For example, the image of water, which has been indicated as the most important image in Kim’s films, can be contained in a fish tank or can flow freely to a river or an ocean the image of metal can become a handcuff or a birdcage or can become a mobile means of transportation like a motorbike or an airplane. In addition, it is necessary to note the way Kim’s films privilege human heads and hands as the representations of human beings and the relationship between them. Thanks to the iconographical analysis, the notorious ambiguity of Kim’s films can be cleared and spectators can realize how determined the will-to-be liberated in Kim, Ki-duk system is.
초록
Abstract
This paper is to examine how TV and Radio drama audiences in the 1970s appreciated law, crime and criminal investigation, by looking into popular dramas of that period <Chief Detective> and ≪Bup-chang-ya-hwa≫ in the history of Korean TV and Radio detective series. And to conclude, it seems a new drama <Chief Detective>, which enjoyed a great popularity in the 1970s, shows a change in public perception and attitude toward law among its audiences who were exposed to a new media and a new period of the 1970s and ≪Bup-chang-ya-hwa≫ does the same. In the early and mid 20th century, popular narratives treated law frequently but were felt exaggerated and contrived and it was to do with their nature of Shin-pa. The person who sees the world through the Shin-pa is hard on and feels guilty to oneself as he does not live the way he wants to and does not live the way he thinks right. Therefore, he tends to see himself as a victim to law and feel pity toward himself who is wrongly accused and humiliated in the court of law. However, the hit TV series <Chief Detective> saw the cases through the eyes of detectives, not criminals, therefore, Shin-pa attitude toward law was a lot weakened, compared to previous popular narratives. This is to do with the fact that the 1970s saw the fall of the nature of Shin-pa thanks to the growth of young audiences of popular arts and TV was the newest media of that period. Meanwhile, ≪Bup-chan-ya-hwa≫ which was aired on radio, a relatively old media, was liberal, compared to the old Shin-pa's popular narratives but was conservative, compared to the new trend of <Chief Detective> in its attitude toward law. However, even <Chief Detective> did not have a characteristic of detective series which emphasize fun of reasoning. At least, the nature of Shin-pa was weakened in the 1970s as <Chief Detective> and ≪Bup-chan-ya-hwa≫ were based on legal episodes from real life, thus, maintaining certain level of legal formalism and reality. To see detective series equipped with strengthened reasoning, we had to wait till the 2000s.
초록
Abstract
This paper is for experimentally conceiving the ground frame of storytelling ability education that reflects and leads the changes brought by the development of electronic media. I examine the basic concepts related to storytelling putting stress on story, and provide the establishment of the initial situation of story as a method of teaching fictional narrative writing. The concept of ‘narrative’ needs to be redefined in a broad sense leaving behind the narrow meaning in the context of literary narrative. Story which is the kernel of narrativity exists standing aloof from media and branch, thus the categories of narratives also transcend them. Story exists in an abstract dimension in-between abstract meanings suggested by concrete features depicted in its text. Storytelling is ‘making a narrative’ which produces texts by describing a story in certain forms and media, that is, acts to form, express, and experience things. In a digital environment using various media in a compound way, storytelling comprises the wribi narrating activities. Therefore, storytelling education also becomes a writing education in a broad sense beyond the traditional category of creative writing. Both the fictional and n defictional are the objects of it and it unites things that a eduutotelic and commercial-utility-oriented. It is desirable to teach in an activity-centered way comprising both writing and making and to divide contents and steps based on the classification of story and narrating levels. For this education to be done effectively, it is necessary to reorganize the curriculum and system of universities of Korea. What matters in the education on story level is setting a central event. Especially in the beginning stage of education, the establishment of the initial situation containing conflicts is the major effective material to be educated. I suggested a way to develop concretely and in a unified way the process of evolving conflicts and the eventual situation by putting the opponents on the subject matter.
초록
Abstract
Koryo sokyo ‘Gasiri’ Song of the Koryo Dynasty, but also similar in the present, as in many times a song is made up of similar sentiments. ‘Gasiri’ folk in the first place was called by the people himself, to transcend time and generations, many of these were among the consensus. ‘Gasiri’ gained the sympathy of the public called the universal emotions of love and breakup dealing with an honest attitude of the speaker revealed the familiar and easy to use, because the expression. Sokyo considered basically intact the properties of ordinary sub-culture supernatant with Ginny but marginal by their creation, have been transmitted. Time was enjoyed by people of the characteristics of folk musical attributes, combined with the court as evil, more complex and sophisticated forms will be changed. Folk songs, people’s lives and is closely related. The people were singing folk songs of the tough life they reflect the sentiments of the populace with a focus on culture, when you view the property, folk and pop songs that are sufficiently paramount relevance. This is their roots in folk and popular songs sokyo consideration will have a close relationship. If there are differences in sokyo royal courtesan and the king, was enjoyed by passport and they spread through the private sector, but the performances from popular music, and broadcast by the public via the media will be more widely enjoyed. Another sokyo through the remaining portion of yin and titillating the taste of the songs express the emotions alive and the acquisition of the literature, but popular music is creative, focusing on the commercial. Koryo sokyo ‘Gasiri’ the separation of the people who lived in the era of love and reflects the feelings and emotions. Was a folk ballad that was originally due by the original. But the popular songs ‘Gasiri’ sokyo considered differently 'by the people’ rather than work under the song, ‘public order’ work under the song. For this reason, ‘gasiri’ aspects of the transformation, while maintaining a flow of colorful patterns. Since the 1970s, many songs released so far, ‘Gasiri’ for each song that were released at that time reflected the flow of popular music. Most popular song ‘Gasiri’ the emotion of the original song intact, revealing the creative period of the most popular symbols that were added. Such acceptance and transformation over the course of popular music ‘Gasiri’ close to the original story also appeared in the form, and was far from the original script. In the future, ‘Gasiri’ Is the public to call to hear a favorite for many people will be reborn again and again to provide emotional cleansing will give you the power to live. In this sense, considering sokyo ‘Gasiri’ Staying in the past, but now the song of songs, and even the future will be known as the song.