25호
초록
Abstract
This is the paper about the representation patterns of 'Daldongne [shantytowns]' in the TV drama and its representation by focusing on the changes, the urban poor in Korea in the industrialization process of the life. Especially it reveals how their lives changed gone, in the process of urban redevelopment projects as the core to the development of Gangnam, Seoul, '70s And '80s, While the reappearance of such historical experiences as a medium to illuminate the role of television drama writing. Since the early 1980s, 'Daldongne [shantytowns]', the urban poor housing space, was emerged in the Korea TV Drama as the main stage of the soap opera. Previously, it was was difficult to explore a television soap opera emerged of the urban poor more than middle-class. Therefore, the highlands in the outskirts of Seoul, the lower class housing, the breakthrough of 'Daldongne [shantytowns]' as a main stage in a daily soap opera was the advent of. TV drama <Daldongne> was enthusiastic response to be obtained as 'a drama give comport to ordinary people, and soothe the sorrow of them. <Daldongne> had been preaching the hope constantly "Live hard, would be better soon". It was met successfully a common desire of Korea and a number of community members in the early 1980s. Their desire was rising hierarchy from Outskirts' shantytowns of the urban underclass to the middle class. However by the end of the '80s, 'Daldongne [shantytowns]' had not anymore be presented as a space for hope. In the urban redevelopment process as the core of Gangnam development, residents were alienated from the shantytowns, and they were driven further impoverished and their lives has become exhausted. The hope "We can live well in the drama like them" will be tightly integrated picture has more than a mirage. TV drama <The Moon of Seoul>, 1994, was representation to the structure of desire to reproduce and changed perception of the residents of these shantytowns. <The Moon of Seoul>(1994) is similar to <Daldongne>(1980) in the sense that made the narrative desire of rising hierarchy and setting in urban slums at the highlands, but it seems significantly different patterns to achieve their desire to choose a way of life. Their own perception for 'Daldongne [shantytowns]' in a community space was changed. Members of the shantytowns in the <The Moon of Seoul> lied to deceive each other and chasing pitched fights before being chased. 'Daldongne [shantytowns]' was not any more like a cozy home. In conclusion, 'Daldongne [shantytowns]' in <Daldongne>(1980) was the space of fantasy which were provided the myth of the rosy hopes for the future, but in <The Moon of Seoul>(1994) it had been changed as the resistance space that cause cracks Fantasy of the industrialization and modernizationin. The changes of representations of 'Daldongne [shantytowns]' in TV drama, tell us ultimately, South Korea's capitalist industrialization has made a lot poverty out and has been isolated them, destroying their lives.
초록
Abstract
The modernization in Korea has been proceeded in conjunction with the reorganization of the space in the capitalist way as much as in the western modernization. In this process, the space was considered to be empty and neutral, and also something to be objectively manipulated in terms of economic efficiency or by characteristics of planners. As a result, the dwelling spaces in Korea appeared to be a dwelling machine where the capitalist ideology merged with the patriarchy is encapsulated. Individuals have experienced the sentiment of placelessness while being affected by this process as well as actively participating in it. Here, the sentiment of placelessness means the feelings of loss for deeper connection with the meaningful places. However, the placelessness does not only have the negative side. When imaging the possibilities of social change based on the possibilities of open space, the placlesslessness means the emancipation of the everyday life which seems to be depoliticized. At the same time it also means the possibility of the community beyond the rigid boundaries of individuals. As such possibility, the placelessness is rather a chance for new attachment to the place and new relationship with it than deprivation and abandonment of the place. We need to take it to consideration, however, that both sides of placelessness are based on the materialistic condition which is deprivation of housing rights. Speculating on these issues around the house, this essay takes closer look into the recent Korean films which dramatize the 'homeless-hikikomori couple narrative' and tries to imagine the alternative way to resolve the oppressions around the dwelling space in Korea.
초록
Abstract
This paper tries to look deep into the relations between space and subject and power by analyzing the representations of residential space in the Famine of City and the Staggering Afternoon. Park Wan-Suh emphasized a residential space and highlighted the 'Yang-ok(wester-style house)' as a key representation of residential space. 'Yang-ok' stands for Korean social desire and contradiction in 1970's industrialization era. The disciplines of 'Yang-ok' which were composed with the collusion between patriarchal system and capitalistic ideology preserve oppressive order through discourse. Here comes the cynical subjects who know their reality but follow the self-conservative desires. Especially the woman character can try the spacial shift by otherness. And suicide in the Staggering Afternoon and homecoming in the Famine of City respectively show the extreme deconstruction of residence and the romantic restructure. They are very important in that they mean the denial of 'Yang-ok'. It can not give characters a true feeling of place. This means the ‘placelessness’ of the narrative and the Park Wan-Suh's understanding of 1970s. (Key words:Park Wan-Suh, novels in 1970s, modernity, space, power, subject, urban life, residential space, representations of ‘Yang-ok
초록
Abstract
This research was made to discover how supply of modern Urban Housing was started in Seoul, which was modernized without Industrial Revolution under the Japanese colonial rule, and its social-architectural meaning. The Collective Housing as a modern housing type was developed for production worker in Europe. However in Korea, collective housing was constructed for colonial officials in the first. And in 1930s, Tosi-Hanok and Moonwha-Jutaek was set up for typical housing type of white-collar worker, not for blue-collar worker in Seoul. At the same time, after Manchurian Incident in 1931,Sino-Japanese War in 1937 and Pacific War in 1941 by the colonizer Japan, the colonized Korea was started to be industrialized for the support of war policy. And in 1941,blue-collar worker's housing was constructed to support military logistics industry. These show that the emergence of urban housing and its change in Seoul, unlike the West, rather than changes in the economic system has been subject to political changes. This is important characteristics of Korean urban housing established before World War II. And this characteristics was lasted until after the liberation. Accordingly, if further studies based on this view point continues to collective housing in the main housing types in Korea,it would be very useful to understand the characteristics of Korean Society.
초록
고전문학은 수용자층의 감소로 인해 더욱 설 곳을 잃어가고 있다. 이런 상황에서수용자층의 인식변화에 대응할 수 있는 변화가 필요하다. 새로운 예술장르로 인정받고 있으며, 문화산업 발전에 일익을 담당하고 있는 ‘만화’라는 장르와의 결합을 통해 고전문학이 새롭게 재탄생될 수 있는 여지가 있을 것으로 생각한다. <신암행어사>라는 작품은 한일 공동 출간 및 애니메이션 제작이라는 실적을 거둔 작품으로작품 속에는 우리에게 친숙한 ‘암행어사’와 춘향전 이라는 고전문학을 적절하게이용해서 작품 전반에 한국의 문학과 문화를 드러내고 있다. 이 작품은 만화라는 장르가 지닌 상품성과 대중성을 의식한 탓에 일본만화의 영향을 받은 부분과 우리 고전문학의 요소를 왜곡하는 등의 한계를 보이고는 있지만 우리 고전문학을 이용해다른 나라에서 상업적으로 성공했다는 점만으로도 상당한 의의가 있다고 본다. 물론내용상으로도 고전문학을 만화라는 장르에 결합시켜 새로운 변화를 모색하고, 장르간 결합으로 인해 새로운 장르로의 파생을 통한 콘텐츠 창출이라는 점에서도 의의가 있겠다. 이러한 <신암행어사>를 면밀히 살펴봄으로써 앞으로 고전문학이 나아가야 할 방안을 모색할 수 있으며, 이를 통해 고전문학이 현대 수용자들에게 쉽고,흥미로운 대상으로 나아갈 수 있는 길을 제시하고 있다고 본다.
Abstract
Classic literature crisis. Awareness of audience should be able to adapt to changes. Comics in the culture industry has affected. The cartoons and a new genre by combining classical literature can be born. New Amhaeng Osa published in Japan, also it was created by animation. For this work we use classical literature to introduce a foreign literature and culture we are. And it is worth in terms of content creation. Through New Amhaeng Osa to suggest the way about Classic literature.
초록
Abstract
In certain literary sites, ‘old story’ is often used as a kind of genre vocabulary. First of all, it looks as if an old story is a familiar expression that rendered tales (folk tale oriented tales) of folklore or oral literature in everyday language or an expression that rephrased old-days story in a simple and clear language. There are views that logically separate an old story from old-days story. According to this view, an old story denotes a story in which ‘the story itself is old’, unlike old-days story that denote a ‘story on the old days’. The one that is more appropriate for a genre vocabulary is the former or old story. There are also suggestions that we should take an old story as a literary genre vocabulary to mean ‘tales for the children'. But objections are raised on the ground that tales contain no separate entity that could mean children. Clearly, folk tale is an oral literature that is enjoyed and transmitted by everyone regardless of generational difference. Old story needs to expand its concept into a genre that can encompass pre-modern oral folk tales and modern literary fairy tales, not just as stories that are old themselves. At the same time, it should be an open genre for adults as well, not to preclude a possibility of securing a broad-based audience voluntarily. Old story involves much more than what can be dictated for preservation. It is the original form and genre of myriad stories that can be written, re-written, revised, and newly written after listening to the voice that is mingled with world awareness and wishes of the people of the bygone age and reminding us to write on them, or it is individual works that are still being written. For this reason, I would like to propose ‘old story’ as a genre vocabulary for a concept that can indicate oral folk tale and all the narrative literature that inherited their properties and values modernistically, both within Korea and abroad, either as individually or in its entirety depending on particular circumstances of literary sites.
초록
Abstract
The objective of this study was to analyze the viewpoint and formative mechanism of novel reproducing the issue of residents ousted from redevelopment districts based on Yoon Heung‐gil’s A Man Left as Nine Pairs of Shoes. As known well, this novel deals with the incident of Gwangju new town recorded as the first urban poor struggle. First, in this novel, residents ousted from redevelopment districts are reproduced as weird and loathing figures. As suggested by the title, the sign of excess ‘nine pairs of shoes’ itself is used as a heterogeneous and bizarre rhetoric, and this view is primarily triggered by the order and interference of ‘policemen’ who appear from the early part of the story, and secondarily it is combined with the fear of petty bourgeois who are not free from statist interference. From the narrator’s reflective view, however, the image of native (criminals)is transformed from loathing figures to the objects of compassion. By transcribing the confessions of residents ousted from redevelopment districts into the novel, the author reveals the real situation and personal truth of the demonstration. As a result, this cracks the novel’s structural coherence of first‐person‐observer point of view, but it also reveals the ironical aspect that residents ousted from redevelopment districts become criminals for their right to existence. By reproducing the issue of residents ousted from redevelopment districts, this novel graphically describes the dilemmatic situation of petty-bourgeois/residents ousted from redevelopment districts who desire ‘the right to existence/sovereignty’ in the fear of statism.
초록
Abstract
This paper examined the possibility of narrative as popular culture contents by considering ‘SuperStar K2’ and ‘The Great Birth'. This programs unfolded in a survival pattern. The survival pattern had various supplementary events. This supplementary events created features of programs. The ‘SuperStar K2' emphasized supplementary events of singing ability and individual life of applicants. Therefore this audition program showed the views the charge of the only singing ability and offered humanism of applicants. Meanwhile, ‘The Great Birth'instituted a supplementary event called mentor-school. The mentors were Famous singers or songwriters. They evaluated and educated applicants. Therefore, in this audition program, the narrative of mentors more important than the narrative of applicants. This mentor school are efficient at applicants becoming a singer. The ‘SuperStar K2' presented a rags to riches story and ‘The Great Birth' showed the process audition. The basic form of survival narrative is simple. But Survival programs can vary by supplementary events in the main story. Therefore planning supplementary events raised application possibility of narratives as popular culture contents.
초록
1920년에 거행된 조선의 왕세자 이은과 일본의 황족 나시모토미야 마사코의 결혼은 이씨 왕조의 종말을 고하려는 의도였을 뿐 아니라 조선이 일본의 피식민국이라는 사실을 명시화하기 위한 책략이었다. 그럼에도 이 결혼은 매일신보 를 통해대중들에게 낭만적인 사랑과 결혼의 서사로 포장되었다. 이를 위해 매일신보 는이들의 혼약 발표, 혼사장애요소, 시련의 극복, 운명론적 미화, 화려한 결혼식의 준비, 행복한 가정에 대한 전망 등의 내용을 순차적으로 제시함으로써 대중적 서사의문법을 충실하고 치밀하게 따랐다. 특히 화려한 결혼식과 선남선녀의 애틋한 결혼전 교류의 모습 등은 이들을 ‘스타’로 만들었고, 대중들로 하여금 이들의 아름다운모습을 보며 정치적 현실의식보다 감상적 동경의 감정이 앞서도록 조장했다. 그리고대중들에게 이 ‘선전’이 어떠한 효과를 낳았는지 축하품 모집, 축하시 공모 등으로확인하려는 작업도 이어졌다. 그러나 이들의 낭만적 결혼의 서사는 1919년 1월의 고종의 승하와 3.1운동을 거치면서 ‘허구’임이 판명되었다. 뿐만 아니라 1920년 창간된 민족지들에 의해서는 주인공을 이은과 마사코로 하는 ‘해피엔딩’의 낭만적 사랑-결혼의 서사가 아니라, 민갑완과 이은을 주인공으로 하는 ‘비극적 서사’가 새롭게조명되기도 하였다.
Abstract
This thesis tries to investigate the mechanism of representing the marriage of Lee-Eun (李垠) and Nashimotomiya-Masako(梨本宮方子) . Their mixed-blood marriage was prosecuted in order to show the fall of Choseon(朝鮮) royal family to Korean by the political purpose of Japanese Empire. Nevertheless, Choseon Government-General(Japanese Empire) weaved their marriage into a romantic love story. Choseon Government-General advertised to the public through the press of 'Mae-il sinbo(每日申報)'. 'Mae-il sinbo(每日申報)' reported all process of their marriage, that is, the announce of engagement, hardship of their marriage, making plans for the wedding, and the blueprint for their future. Especially their fancy wedding plan and beautiful-looking couple's romantic date made the public accept this political tragedy as a happy event. However, this narrative of their romantic love and marraige was proved to 'false' through the March First Independence Movement.
초록
본 논문은 70년대 북한 공연예술계의 전개를 가극혁명, 연극혁명 등 그 당시 북한의 공연예술분야에서 일어난 ‘문학예술혁명’을 중심으로 하여 살펴본다. 특히 공연예술분야의 ‘문학예술혁명’과 이 시기의 북한 공연예술의 변혁을 북한 자체의 사회정치적 맥락 속에서 총체적으로 고찰하고자 한다. 이러한 고찰에서 우리는 70년대가 가극, 연극, 음악 등을 위시한 북한 공연문화 전반의 결정적인 변화가 초래된 시기이며, 오늘날까지 북한의 공연문화 지형을 규정하고 있는 이정표적인 작품들이 창조된 매우 중요한 시기임을 확인할 수 있다. 혁명가극 ‘피바다’의 창작에서 시작된북한의 가극혁명은 1971년 혁명가극 ‘당의 참된 딸’, 1972년 혁명가극 ‘밀림아 이야기하라’, 혁명가극 ‘꽃파는 처녀’ 등의 공연으로 이어졌다. 한편 이어서 70년대 후반에는 연극분야 전체에서의 변혁작업 소위 ‘연극혁명’이 일어났으며 그 대표작이 혁명연극 ‘성황당’이다. 소위 ‘성황당식 혁명연극’은 종래 북한의 연극적 형태와 관습을 해체하고 내용과 형식에서 기존의 연극과는 상이한 새로운 유형의 연극이다. 이러한 성황당식 혁명연극을 창조하기 위한 소위 ‘연극혁명’ 속에서 현재까지 북한연극의 기본양상을 주조한 창작체계와 창작방법 전반에 있어서의 변혁이 이루어진다.
Abstract
Dieser Aufsatz betrachtete die Entwicklung der Theaterkultur Nordkoreas in den 70er Jahren. Dabei wurde es auf alle wichtigen Bereiche der Theaterkunst eingegangen, Im Mittelpunkt dieser Betrachtung standen ‘die Literatur- und Kunstrevolution’ und die Rolle von Kim Jeong-il. Auch wurde ‘die Filmkunsttheorie’, die als ideelle und theoretische Grundlage für die Literatur- und Kunstrevolutin anzusehen war, mit dem Schwerpunkt der Theatertheorie betrachtet. Vor allem wurde es versucht, die Entwicklung der Theaterkkultur Nordkoreas in diesen Zeiten im Hintergrund der gesellschaftlichen und politischen Konflikte vor und nach der 15. Gesamtversammlung in der 4. Periode des Zentralausschusses der Partei als Ganzes zu erklären.
초록
이 글은 1961년에서 1968년 사이, 서로 얽히고 저항했던 세 개의 사운드스케이프에 대한 고찰이다. 우선 앰프村 건설사업과 프로파간다 그리고 ‘통금’을 통해 읽는국가의 사운드스케이프, 그리고 국가의 사운드스케이프의 균열을 따라 와동하는 ‘붉은 소음’, 마지막으로 국가와 근대의 ‘소리’에 불화하는 이들의 음향전(音響戰, sonic warfare)에 대해 분석한다. 이 연구는 구체적으로 다음의 질문을 위한 탐구이기도 하다. 최인훈의 소설 「주석의 소리」(1969), 「총독의 소리」(1967~1968) 연작에서, 각각환상의 상해임시정부와 조선총독부 지하부의 해적방송을 듣는 청취자는 왜 '시인'으로 설정되어 있을까? 김수영은 이북방송을 또렷한 입체음으로 듣는 순간을 「라디오界」(1967)에 적었다. 반공주의가 기세등등한 박정희 정권의 남한 사회에서 ‘붉은 전파’의 월경(越境)이 시인에게 불러일으킨 상상력은 무엇이었을까? 그리고 신동엽은왜 라디오 DJ가 되어 자신의 목소리를 전파에 싣고 싶어 했던 걸까? 이 질문의 답을찾아가는 과정을 통해 1960년대 소리의 문화사 연구를 위한 첫 번째 작업을 시작하고자 한다.
Abstract
The era between 1961 and 1968 in Korea was not only a period of political turbulence with The May Coup, the twists and turns on the Korean-Japanese Conference, and two sessions of Presidential Elections, but also was a period of unique role for change of media environment. In this period, radio broadcasts were provided nationwide for nationals beyond the limit of Seoul local influence formed during Japanese rule, and unlike in other countries, the establishment of radio broadcast scope exceeded the supply of radio devices nationwide. Such was an outcome of the amplifiers installing project executed as one of top priority projects of press policy immediately after the May Coup, and of course a plan for active utilization of radio broadcast as tool for propaganda. The government facilitated so that even the aged in remote villages can frequently hear how 'well' the regime is doing anything now. This project came to a standstill after 1968 when the initiative of media environment is passed on to television. By this period, radio was stabilized as a holistic media for nationals that any household in the nation kept at least one unit of it, but after all came to be left behind in prevalence due to the typical limitation of frequencies. The radio broadcast got on it track back to the experience of private sound from group hearing. In the meantime, even until mid-1970s, the broadcasting capacity of South Korea fell behind that of the North counterpart, and thus radio transgression was a usual occasion not surprising at all. The days when the North Korean broadcasts toward the South which was so-called the 'Red Noise' could be heard in quite clear quality was the 1960s. Listening to the 'Red Noise' was an act in violation of the Anticommunist Law. However, such North Korean broadcast was a covert media that enabled the people secluded in the part of the Korean peninsula ruled by the Park Chung-Hee to imagine the other side of the Republic of Korea. The 'Red Noise' could be better heard during the night of curfew and was ever elevated to an experience that cannot be confessed rashly. The nights of the 1960s were just ironical. The nights were under curfew rather outspokenly by the soundscape of the government that instructed the nationals under the excuse of synchronization of physical rhythm. In the midst of all that, the 'Red Noise' that outreaches the truce line without getting any restriction across the atmosphere of silence raised vortices in the time by stirring up rebellious ideas to those who felt suffocating about the 'government' of Park Chung-Hee. This paper will examine the three soundscapes that resisted the time(1961-1968): the soundscape of the government which is reflected through amplifiers village construction project, propaganda and 'curfew'; the 'Red Noise' that stirs up cracks of the soundscape of the government; and lastly the sonic warfare of those that do not harmonize with the 'sound' of the government and modernity. The group of people surrounded by the three soundscapes were placed and raised in the seat of natinoals, but also they were set apart among themselves. This is specifically a query for the following questions: In Choi In-Hun's novels 「The Sound of President」(1969) and「The Sound of Governor-General」(1967~1968), why the listener of the pirate broadcast of the underground department of the Japanese Government General of Korea and the provisional government of Korea in Shanghai was set as 'poet' among others? Kim Su-Young put down the moments that he listened to the clear stereo sound of the North Korean broadcast toward the South in 「Radio Worl d」(1967). What imagination was it that the poet get from the transgressing 'Red Radio'in the South Korean society which was under the regime of Park Chung-Hee that maintained high anti-communism? And why was Shin Dong-Yeop so desirous of loading his own voice in the radio by becoming a disc jockey? This study intends to begin the first work for the study of the literature history of the 1960s sound through the process of searching for the answer to these questions.
초록
Abstract
This paper's aim is to analyse how a television drama <Sign>'s narrative interacts with viewers, paying attention to its three formal beginning strategies, that is, the first episode's beginning, each episode's beginning, and the sequel's beginning. In other words, focusing on beginning's narrative function, this paper's theme is to define the various interactions between <Sign>'s fictional world as narrative performance and viewers. First of all, <Sign>'s formal beginning strategies are divided into three discourse's beginnings, namely, the first episode's beginning as the first discourse's beginning, each episode's beginning as the second discourse's beginning, and the sequel's beginning as the third discourse's beginning. If the first discourse starts biological bodies' dissection with forensic gaze, the second discourse starts social bodies' dissection with panopticon's gaze by expanding clinical gaze into society. Through these gazes' cultural - political effects,viewers can penetrate biological bodies and social bodies. Therefore, they accept gazes'controlling power voyeuristically and absorb 'forensic drama' genre's features. But viewers don't only make efforts to identify with <Sign>'s fictional world, because it has a dramatic tension which forensic gaze and panopticon's gaze can not regulate. That is, dead body,crime, and criminal, which are an object of forensic gaze and panopticon's gaze, are also an object of abjection's gaze. This abjection's gaze disturbs a social accepted truth, symbolic values' meaning associated with conventional morality. The third discourse's beginning foregrounds this abjection's gaze strongly than the other beginning, for it leads viewers from real world to fictional world. Accordingly, the third discourse's beginning strategy induces viewers to enter into <Sign>'s dramatic world with a binocular ambivalent perspective between forensic - panopticon's gaze and abjection's gaze. Speaking figuratively,this dissects viewer's gaze. To sum up, from the first discourse's beginning to the third course's beginning, the various <Sign>'s beginning strategies show multilayered performative aspects in relation to interactive cooperation, competition between a drama text and viewers.