대중서사연구

초록

Abstract

his paper is to look into the works of Novelist Cheong, Bi-seok and their historical meanings, focusing on his full-length and romance novels. Full-length romance novels and those of manners published in the 1940s and 50s when Cheong was in his prime and was working relentlessly make up the core of his works. He wrote profusely during these periods, for example, releasing 28 separate volumes, most of them were serial stories in the newspapers. That is, his full-length romance novels and those of manners enjoyed enormous successes among newspaper readers in the 1950s and were estimated the most popular ones. They represented interests, world perception and attitudes of middle class middle aged men who lived in the cities during the 1950s as well as the world of the novelist's works. Cheong, Bi-seok's full-length novels could be divided into five periods and they reveal explicitly more and more libido and greed and the number of characters pursuing their desires blindly grows bigger as time goes by. These works assume that desires for money, power and sex are the most important human nature no matter what one's integrity is, and show plainly and subtlely that this world is a place where human beings who run for their desires fight and deal force with force. These novels clearly announce the arrival of the world which is being carried away by desires and moves rapidly and practically, getting rid of self-examination and thinking. Such unprecedented view on human beings and world perception catch precisely modern capitalistic society and human beings which is not achieved by any other novel or novelist. However, these works acknowledge personal freedom which is the basic premise of modernity and democracy but ignores equality and human rights completely. In this regard, his works lost their appeal and declined after the April 19th revolution in 1960 when the political awareness was hightened by the new generation.

초록

Abstract

Cheong, Bi-seok is remembered of Seongwangdang and Liberal Wife in the history of literature. He stands distinctive in the present literary world between Seongwangdang and Liberal Wife. Cheong, Bi-seok survived to the last in the literary collected works, in spite of popular literature writer. Cheong Bi-seok's work selected in the collected works was Seongwangdang. He survived to the last in the collected works only one work, Seongwangdang. How did Cheong, Bi-seok live through only one work in the collected works while his generations has disappeared. To consider the logic of canonization of the collected works centering on Cheong, Bi-seok, is interested in looking at the procedure of compilation of completed works from various angles.

초록

Abstract

This article examined the ethics of affection and the problem of the subject on the early short novels of Cheong, Bi-seok, which is the work written by him before liberation In 1930’ during the loss of one’s home was running, Cheong, Bi-seok wished to be balanced between affection and charm through the instinctive themes that desires to return to home. As the home world that he wrote is the immediate space where the instinctive desire is met like [Seonghwangdang-shrine to the village deity], the subject of this space is existed as the unconditional object of faith or as the anti-Modern subject that is even a part of natural noble order, On the other hand, the romantic subject that was born as a modern individual in the modern system and civilization desires to extend extremely Self rather than return to home like [affection]. The romantic subject that is the relationship between Self and the World desires sensuality and passionate love, but it is only existed secretly and carefully in the border with feudal ethic that is the tool for regulating the reality. In the Cheong, Bi-seok's novels for the end of Japanese colonization era of Korea, the feeling affection what the instinct subject and the romantic subject had is united organically with a nation as the great subject. While the home world tried to be unified with World of Self by dialectic with the great subject, a nation, as you see [Three-generation], the person directly involved with affection loves passionately, however it is realized by the way that he devotes himself to be a member of the great subject, a nation in accordance with the rationality of science and technology. The reason why he could devote himself to a nation is that it is based on beliefs which totality of the world can be changed the World by a confrontation of physical strength depending on Social Darwinism, keeping harmonization of beings and idealization of mutual relations. On the other hand, as it appears in [Han Wol], the person directly involved with affection can be unified with the great subject, a nation by controlling sensuality and restoring the oriental morality world that has respects ethnic and spirit of sacrifice. It has been winning the diversity of individuals to totality by highlighting the indigenous characteristics, oriental spirit and the traditional morality.

초록

Abstract

Cheong, Bi-seok had been famous for a serial story in a newspaper. In spite of his real fame, he was appraised by [seonwhangdang](short stort) in the history of Korean literature. Therefore, Cheong, Bi-seok literature could't be researched generally. Cheong, Bi-seok literature reached its peak in the 1950's, through the serial stories in the newspapers. It seems that the novels delt with the sexuality. As a result, the novels reflected the realities of society through the sexual culture. So many reders had the various opinion gathered in the newspapers. Consequently, the serial stories in the newspapers became the public sphere. Cheong, Bi-seok novel represented the social spirit and culture in the contemporary. And then, the social role of these novels could be evaluated as the democratic aspect. But it could'nt be said that these attributes had come from Cheong, Bi-seok. The newspapers in the 1950's were the antigovernment feature, and the readers gathered to investigate these news and opinions. Cheong, Bi-seok novels were sensitive at these aspect. Cheong, Bi-seok novels in the 1950's were result from the features of newspapers, the readers, and Jeong Bi-seok. As The features of newspapers in the 1960's changed, Cheong, Bi-seok novels in the newspaper didn't keep the public sphere. Consequently, the plural subject disappeared as the 'minority report'.

초록

정비석 문학의 본령의 하나라 할 역사문학에 관한 그간의 연구는 전무한 실정이다. 따라서 본 연구는 그의 역사문학 텍스트들의 서지사항과 판본 간 주요 특질과 같은 기초적인 사실관계를 밝히는 일을 연구의 제일 목적으로 삼았다. 그리고 그에 기반하여 그의 역사문학 글쓰기의 동인이 무엇이었던가에 대해 탐색하고자 했다. 정비석 역사문학의 중심적 위치를 차지하는 역사소설은 ‘재미’와 ‘교훈’ 사이의 길항이라는 근대 한국 역사소설 문학의 전통에서 크게 벗어나 있지 않다. 이처럼 정비석은 형식적인 측면에서 근대 한국 역사소설 문학의 전통을 추수하는 동시에 자신만의 독자적인 소설 미학을 정립해갔다. 특히 발로 쓴 역사소설이라 할 만큼 그의 역사소설 창작은 답사기로서의 성실성을 보여준다. 정비석 역사소설 창작에서 드러나는 이 같은 특징을 변별해냄으로써 개별 텍스트에 대한 이해를 높이고자 한 것이 본 연구의 최종적인 목표이다.

Abstract

A study on historical literature as the proper function of Cheong, Bi-Seok’s writing is total nonexistence. Therefore that is a reason why this study’ purpose is to research his historical texts’ bibliography and arrange different characteristics among them. It is urgent to divide those texts and distinguish them according to their properties. Standing the basis of such that works we can ask a question of a motive that made Cheong, Bi-Seok interest in historical writing. Cheong, Bi-Seok’s historical writing doesn't wander away from Korean historical literature’s tradition which had contended between amusement and didactic. This study intended to verify the fact centering around his reminiscences and epilogues. Not only had he followed Korean historical literature’s tradition, but also constructed his own novelistic form. To sum up such that individual style is one of the tasks of this study.

초록

이 글은 정비석 소설들 중에서 영화화된 작품들을 중심으로 매체전환의문제와 그 과정에서 드러나는 시대적 특이성을 살펴보고자 한다. 그의 소설은 총 16편이 영화화되었고 반복해서 만들어진 작품이 있기 때문에 정비석소설에 기반을 둔 작품은 총 22편이다. 정비석 소설이 영화화되는 특징은크게 두 가지로 분류될 수 있다. 첫째는 하나는 소설이 가진 시대성과 당시영화계의 신진인력이 만나 현대적 감각의 화제작을 만드는 경우이다. <자유부인>이 대표적인 예인데 그 외에도 <여성의 적>, <여성전선>, <유혹의 강> 등이 해당 작품들이다. 이 작품들은 거의 감독들의 데뷰작이거나초기작들이며 참신한 영상미학을 구축해서 현대 감각에 조응하는 멜로드라마의 서사를 만들었다. 두 번째는 당시 유행하던 장르 영화에 대한 편승으로 제작된 경우이다. 이 경우 소설의 다양한 시대배경은 제작되었던 시기와유사하게 조정되며 원작의 변용과정에서 당시에 유행하던 멜로드라마나 신파영화의 특징이 삽입된다. 1966년 <산유화>가 두 주인공의 자살로 결말짓는 것은 대표적인 변형사례이다.

Abstract

This article observes the nature of medium transition and the specificity of the time revealed in the process of the transition centering around the films based on Cheong,Bi-seok fiction works. 16 of his novels had been adapted to films and some of his works were remade several times. Thus the films based on his novels are 22 in total. The characteristics of the filmic adaptation of Chung’s novels can be classified into two. The first case is the controversial film in modern sense created by the trend of the period which his novels hold along with the new generation of the Korean motion picture field at that time. Madame Freedom is the prototype. The Enemy of Woman, A woman’s War, The River of Temptation and A Sad Pastorale would be included in this category. Most of these works were for a director’s debut or their early works. The second case is the film followed the popular genre movies in that period. This tends to be divided again into the details:the first was for producing a conventional melodrama, and the second was for the case chosen to make the work of the Sinpatrend. In these cases, the various backgrounds of the novels were adjusted into the similar period when the films were produced and characteristics of the popular melodramas and Sinpa films in those days were inserted. The ending with the suicide of the two main characters of 1966’s Wild Flower is the typical example of the variation. This article especially focuses on narrator's problem produced in the process of filmic adaption of novel and the relevance between gender issues and the changes of contemporary society and culture caused from the disputable works with modern sense. In the case of Madame Freedom, narrator’s presence prevalent in the novel was deleted. Therefore audiences would have more freely interpreted the work and had more generous attitude to the conduct, the desire and spending habits of a female antagonist, Oh Sun-young. In addition, the discussion on suggestive nature induced by films based on Chung’s novels raised generational conflicts on the tolerance for free love and sexual depictions that were very sensitive issues in those days.

초록

Abstract

Cheong, Bi-seok received spotlight in 1954 with his poplar work, ꡔFree Madam (自由夫人)ꡕ, published serially in ꡔThe Seoul Shinmunꡕ and was publicly called as a “popular novelist”. After this, he chose to be a full-time writer and popular writer. Up until now, discussion around Cheong, Bi-seok has been mostly focused on ꡔFree Madamꡕ. After the 1990’s, however, as the consciousness of popular culture extended to Korean literary circles as well, Cheong, Bi-seok several works of popular culture including ꡔFree Madamꡕ have been discussed from various aspects. This article has as its subject of analysis ꡔThe Bell of the Century (世紀의 鐘)ꡕ, a newspaper serial novel published in ꡔYongnam Ilboꡕ during the war period. In more detail, this paper will examine the periodic aspects of the war period with the reality that the female character of the work faces and also discuss the reality and gender consciousness of war widows with the conflicts of love triangle centering around the female main character. During the Korean War, there was great personnel and material loss. Particularly as the male war dead increased, families without a head increased rapidly. Because of this, war widows with no husband became a social issue. As the war widows’ hardships of life and physical solitude in youth became an issue, their tarnished ethics of sex was highlighted. Cheong, Bi-seok ꡔThe Bell of the Centuryꡕ reflects such periodic issues the war widows faced during that period. Young-sim Min, the female main character, becomes a war widow as her husband is kidnapped to North Korea and is missing during the Korean War. She suffers from the conflicts between her emotional and physical solitude as a war widow and her female consciousness subordinate to traditional patriarchic order. She cannot overcome her miserable emotion as a widow in reality and faces her tragic doom to choose suicide bearing her cross of resentment towards patriarchy. The female main character, Young-sim Min’s death implies the fact that she was the sacrifice of the male gender’s patriarchic consciousness that could not recognize the women’s reality during the war period ultimately and saw the war widows as objects of horror or fear.

초록

Abstract

Since the 1950's, Park, Whasung's Novels has undergone sevral changes than colonial period. First, their concerns had changed 'class' category into 'nation'. Second, the bases of the class had changed labor․peasant classes into upperclasses. Third, the bases of the generation had changed into new generation. Fourth, the contents of the construction was modernism based on scientific knowledges,and the ways of that was education. Fifth, they didn't hold in realism. They presented not 'negative ways but 'positive' ones. The negation of binary opposition of good/evil showed the asthetics pointing to post modern. The interest of the novel of 1950's had gendered and undergone into the private categories, including family category and sexuality ones.

초록

이 논문은 식민역사의 문제를 사유하는 공포 장르 특유의 상상력과 문제제기를 다룬다. 한국의 공포영화에서 식민의 문제가 두드러진 소재였다고 주장하기는 어렵지만 몇몇 작품들은 역사적 시기로서의 일제시대를 바라보는 현재적 관점을 뚜렷이 보여준다. 이런 관점은 식민시기가 특정한 방식으로 구성되었음을 의미하는 동시에 특별히 강조되거나 은폐되는 것이 내포되어 있음을 뜻한다. 식민시기의 재현을 고찰하는 것은 식민과거와 현재의 연결고리가 어떤 이해관계를 바탕으로 형성되었는지를 되묻는 작업이 될 수밖에 없는데 이 맥락에서 공포영화는 과거와 현재의 다층적인 관계와 의미망이 환상적 존재인 괴물 혹은 귀신의 존재를 빌어 노골적으로 형상화되어 있다는 점에서 각별하다. 이 논문은 선행연구들이 지적한 귀신의 모순적 시간성의 주제를 식민시기 재현의 문제와 결부시키려는 시도다. 1967년 작 <월하의 공동묘지>가 이 역사인식의 문제를 공식화하였고 2007년 작 <기담>에서 새로운 변주를 발견할 수 있는데, 역사의 잔여물로서의 귀신의 존재가 후-식민주체에게 어떤 의미를 체현하는지에 주목하고자 한다.

Abstract

This paper examines questions of colonialism in two South Korean horror films: <Public Cemetery under the Moon> (Kwon Chulhui, 1967) and <Epitaph> (The Chung Brothers, 2007). As for <Public Cemetery,> I interrogate the peculiar transformation of the character of prologue from hideous beast-man to dandy pyonsa narrator and its political implications. What is at stake here, I claim, is distinct historicist gambit, according to which the colonial legacy, defined in terms of popular culture, can be overcome and marginalized. Valorized as a new horror in Korean film scene, an omnibus horror film <Epitaph> features three related stories set in a modern hospital against the backdrop of the late colonial period. I focus on the episode of the male protagonist and illustrate how his episode addresses and articulates the larger themes of memory and amnesia, while showcasing his yearning for passive perversion. The inquiry includes notions of violence, suffering, and the “return,” all of which are often central to the spectral universe of horror genre. I approach the film as a key text that addresses and problematizes the thorny problems of colonialism through generic imagination of horror. In particular, I bring attention to the implications of the inter-ethnic romance and reconciliation, the two themes for which the film’s presentation of spectral terror is structured with significance.

초록

Abstract

This writing is focusing on analyzing two pieces of movie manufactured in liberation period. <Eve of Independence> and <Garden of Rose of Sharon> were manufactured by fitting to the time of founding of govern-ment of the Republic of Korea in 1948 as movie works which have not been studied on a full scale in the meantime. Through these two works, we can guess the form of Korea and the Republic of Korea that movie tried to reproduce after liberation. <Eve of Independence> treats the event to happen with a shedlike warehouse in Kyoungsung on the eve of founding of government of the Republic of Korea in 1948 for a background as silent movie and film drama. Here, social old evil to be represented as Mr. Min is settled as the subject to have to expose in the formation of new Republic of Korea to have to be composed of younger generations. Shedlike warehouse symbolizes the gloomy actuality of Korea. Then, social evil of bad profiteer and smuggler etc. to go in and out this ware-house frequnetly is managed imaginatively through the death of Mr. Min on the eve of founding of government of the Republic of Korea. And, movie is created, so that one may meet the bright morning of founding of new government, by putting up 4 righteous and clean and neat young-sters. In addition, <Garden of Rose of Sharon> shows new imagination in connection with the formation of the Republic of Korea as a movie which recorded the form of Hawaii Diaspora. Movie suggests which con-tents is filled as the new form of the Republic of Korea by getting out of wretched actuality of Korea of the day indirectly, by showing the modern-ized life and rich benefit of Hawaii immigrants documentarily. Two movies are idealizing the form of newly emerging Republic of Korea optimistically. Then, this shows suspicion to eliminate historical efforts groped for establishing new nation phase of the Republic of Korea in confusion and trouble for 3 years after liberation hastily and recognize history with severance. It can be said that this originated from trauma for historical mistake of Choi, In Kyoo and Ann, Cheol Young.

초록

Abstract

This paper focuses how literary films in the late 1960s were formed as a filmic genre. Literary film holds a very unique position in genre history of Korean film. Indeed, literary film as a genre in Korea does not meet singular dramatic pattern, or common cinematic style. Especially, this study puts emphasis on not generic characteristics of literary film as individual films, but on specific historical and cultural institution regarding literary film. What literary film becomes a genre is not because the internal attribute of individual films consisting of that genre. More important issues are the external sectors among film studios, audience, journalism and government. Firstly, the question of genre positioning between film studios and journalism was important. <The Seaside Village> that became a model of box office hit was called as literary film, thereby a generic terminology, 'literary film' was used broadly in film journalism. Secondly, film studios formed 'the boom of literary film'. As a result, literary film as generic terminology was circulated in a wholesale way. Accordingly, film audience could recognize literary film as a genre. In addition, the Korean government promoted institutionally literary film through labelling it as the "Best Film" chosen by the government. Thirdly, literary film existed an inseparable relationship to European art cinema tendency. Thereby, even <Full Autumn> with its original screenplay was treated as a literary film.

초록

Abstract

The influence of Television in popular music is attenuated relatively. However there is fresh phenomenon that some television programs for popular music attract attention ; “Superstar K” on Mnet since 2009, “I am Singer(Naneun Gasuda)” on MBC. And also “Infinite Challenge(Muhandojeon)” on MBC got great attention by borrowing the form of song festival. “Superstar K” shows people's social narratives entering hardcore society. “I am Singer” shows people's another social narratives who lives in a society already but compete consistently. The audience can enjoy these sort of programs, at the same time, be led to the perception for social reality also. “Infinite Challenge : Highway Song Festival” reveals the process of popular song making and communicating in detail. That drops a hint that the essential of the process lies in joyful labour and joyful produce. Nowadays music shows on TV does not fill itself with all music but make full use of popular interests and ardor strategically. Also we can not only enjoy the music in the music shows but also understand the narrative strategies of the shows using music.

초록

본고는 텍스트 분석을 중심으로 <천공의 성 라퓨타>의 스토리텔링 전략을 탐구하기 위한 것이다. 본고에서는 <천공의 성 라퓨타>의 스토리텔링 전략을 1) 모험활극과 포스트묵시록의 이율배반적인 결합의 양상과 이유를 파악하고, 2) 상호텍스트성의 동조(同調)와 이격(離隔), 3) 라퓨타의 다의성을 캐릭터와 중심 갈등 구조로 파악함으로써 그 의미 사이의 상관관계를 규명해 보았다. 이 작품이 가진 명랑한 포스트묵시록의 이율배반성은 모험활극적인 요소가 지배소로 활용되었고, 움직임 자체의 즐거움에 주목한 결과다. 하지만 모험활극적인 성격이 강화됨으로써 포스트묵시록과의 이율배반적인 위험한 공존을 시도한 것인데, 이것이 서사의 완성도 면에서 뚜렷한 결함을 드러냈음을 알 수 있었다. <천공의 성 라퓨타>는 포스트묵시록 3연작의 자장 안에서 주제적인 차원의 동조보다 제유적 구조의 동조에 비중을 둠으로써 투명한 액션을 중심으로 한 모험활극의 즐거움을 극대화할 수 있었다. 이 작품은 무스카를 중심으로 인간에 대한 환멸을 드러내고 파즈와 시타를 중심으로 생명에의 의지를 드러내고 있지만, 어느 것 하나에 중심을 둔다기 보다는 둘 사이에서 진동하고 있다고 보는 것이 타당하다. 이후 <모노노케 히메>에서 이러한 진동은 갈등으로 첨예화됨으로써 삶의 의지로 수렴되는 결과를 낳는다.

Abstract

This article aims at researching storytelling strategy of <Laputa: Castle in the Sky> with analyzing text. This article will contain followings. 1) understanding antinomic combination of adventurous fighting drama and postapocalypse, and its reason, 2) defining the strategy on same pattern and slip of intertextuality 3) understanding various meaning of Laputa with character and main conflict structure and defining the correlation between those meanings. Adventurous fighting drama was used as a dominant element for the antinomy of postapocalypse in <Laputa: Castle in the Sky>, and it results from enjoying movement itself. But postapocalypse is not weakened and it tries antinomy as dangerous coexistence, as the characteristic of adventurous fighting drama is reinforced. It makes clear defect in perfect narrative structure. The same pattern of synecdochic structure was given more weight, not the same pattern of theme, within postapocalypse triptych in <Laputa: Castle in the Sky>. Therefore it can maximize enjoyment of adventurous fighting drama focused on clear action. Though it shows disillusion about human with Muska, and will about life with Pazu and Sheeta, it's reasonable to see that it doesn't have only one center, but it's vibrating between two. This kind of vibration has grown acute as conflict in <Princess Mononoke>, and it results in converging into the will about life.

초록

Abstract

The Japanese film director, Yasujiro Ozu had directed 54 films since his first film The Sword of Penitence(1927). The Late Spring(1949) is generally considered as the first film of the latter part of his filmography. However, in terms of his film style, one could ask what makes distinct differences between the former and the latter part of the filmography. His early and late films have common denominators such as the ellipsis and jump of important moments in the film narrative development. This thesis is a study on the narrative characteristics of There was a Father(1942), one of early Ozu films. In other words, it could be said that the ellipsis and jump are not only the characteristic of late Ozu but one of early Ozu’s narrative. It is an attempt to divest Ozu’s films of a preconceived notion in which late Ozu is generally discussed rather than early Ozu. It is also the study of the relation between the narrative and the surplus shot. In the film There was a Father, one could see scenery and still-life shots when the important moments such as death and farewell are omitted. From this, the narrative gets stereoscopic vision rather than monotonous plot. The little and minor movement which is caused by the ellipsis and jump has an influence on the entire body of the narrative. It could be understood that Ozu’s narrative style is an effort to keep the distance from the conventional film style of the classical Hollywood. In other words, Ozu removes unnecessary elements from the film and tries to approach the nature of the cinema. Ozu’s modernity represents the stylistic experiment by innovative ways. The theme and story which can be regarded as triteness do not look old-fashioned in his films because of his creativity and originality for the film style.

초록

Abstract

What this study aims is to analyze that how the stories of Prince Hodong are represented in modern historical fictions. The stories have been reproduced in many forms such as TV dramas, films, fictions, plays. It can be depicted that the narratives are indeed national and popular. Interestingly, however, the description of Hodong has not been found in pre-modern documents or fictions. The story began to appear and became popular in 1935 by Yoon Baek Nam. It can be explained that the narratives are the one of the example of the invented tradition since it became visible in modern period. Yoon, Lee Tae Joon, and Yu Chi Jin have constructed the character of Hodong what we are familiar with. Yoon depicted Hodong as a romatic lover with the motif of a lovers suicide. Lee and Yu put a context of nationalism by explaining Nakrang as a Nakrangkun of Hansagun(the four colonies of China). These are pure invention of the writers which cannot be found in The History of Three Kingdoms(三國史記). These characters are closely related with the surrounding of their own society. Yoon shows how the past can be seen as a nostalgic object by modern aesthetic perspective. Lee illustrates the ambiguous thought of a colonial intellectual who (anti)internalizes the ideology of militarism. Yu tries to find the way to recover the muscularity of the nation by re-colouring the memory of the past. These, the representations created in various contexts, make our common knowledges of Prince Hodong nowadays.