대중서사연구
- P-ISSN1738-3188
- E-ISSN2713-9964
ISSN : 1738-3188
No.25
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
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.
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.