대중서사연구
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- P-ISSN1738-3188
- E-ISSN27139964
ISSN : 1738-3188
No.24
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.
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.
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.
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.
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.’
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.