대중서사연구
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- P-ISSN1738-3188
- E-ISSN27139964
ISSN : 1738-3188
No.27
Abstract
This paper aims at exploring the status of newspaper novels during the Independence Period by looking into the changes in the newspaper landscape as the public sphere of the time. The newspaper media during this period went to the front as an important political tool, strongly expressing their political point of views, but the continued control and regulation during the following period, from the United States Army Military Government in Korea to the Foundation of the Republic of Korea, realigned the newspaper media to become right-wing. Against this backdrop,newspaper novels were created and enjoyed by writers pursuing reputation mainly in the newly emerged newspapers. The aspiration for nation-building displayed in these newspaper novels of the time took different forms with conflicting ideologies in the midst of chaotic social situation and rapidly changing media landscape. Novels which described the reality of the time were equipped with timeliness and enlightenment, while different ideological narratives were playing a leading role in the public discourse. So much so that love narratives lost momentum. In addition,during this period, historical novels were stronger in numbers than ideological narrations thanks to keen interest in Korean and Korean History education and more flexible writing environment. Until the Republic of Korea was founded, however,these historical novels were published mainly in nascent newspapers. These historical novels tried to bring back national heroes in touching upon timely subjects to publicly deal with the strong aspirations of the people, which had been excluded from public sphere during the Independence Period. Therefore, newspaper novels during this period can be characterized by their strengthened publicness which allowed the public discourse on people's passion for nation-building through various forms and different ideologies.
Abstract
This study deals with a serial story in a newspaper which is a mainstay of the Korean literary world in the fifties, after the Korean War broke out on June 25th,1950. This study will deal with three in particular that generally foregrounds the Korean War: Kim Song's <Living for eternity>(<DaeguMaeil>1951.9.1~12.8 published),Park Young Jun's <Valley of Love>(<Daegu Maeil>1952.3.1~7.17 published), Hong Sung Yoo's <There is no tragedy>(<Hankook Ilbo>1957.5.7~12.2 published). Through these, the study will discuss the process of anti-communist ideology becoming the dominating ideology through the arguments of war, and how the connection to the author's consciousness converges into the national implication on the Korean War. The characteristics of newspaper industry that collude with government power cannot help but put newspaper fiction in a direct influential relationship. Considering the special circumstance called a war, and the distinct characteristic of a media called a newspaper, the regulation of the Korean War by the Lee Seung Man regime as a provocation by the North was then perceived as a public opinion, and through the newspaper, must have had a great influence on the development of arguments on war. In these literary works, protagonists with positions of teachers and professors strengthen anti-communist ideology through commentatory editorials and signification of anti-communist ideology. In the midst of calling attention to the public reader's experiences, they induce them to voluntarily come to an agreement. The characteristics as a war literature shown in these three newspaper fictions denounce the unreality and the violence of ideology through war, and share the universality of exposing a person's tragic life sacrificed because of war. The attitude towards war reproduces a dichotomous way of thinking that the North is no longer a part of the Korean race, or a brother of ours, but an enemy based on the responsibility that lays on the provocation of the North, and the puppet government of the North that savaged lives. The character's persuasive editorials and emotional reactions arouse the public reader's anti-communist ideology and make them spread it. The media's characteristic known as the newspaper fiction can be found through the securing of popular appeal and choosing complacent endings, or applying sexually suggestive content, timeliness, etc.
Abstract
This paper is to commemorate the 30th anniversary of Ha Kil-Jong's death. Much attention is paid to the correlation between the literature and movie looking through the poems, essays, critics and movies of his legacies. And it is to bring forward the critical mind that could set forth the new perspectives on artistic and popular values as well when it comes to the discussion of 4·19 generation's historic(al) experiences and surrealism. 4·19 revolution in 1960s and 5·16 military coup in 1961 were the events that configured the political subconsciousness. Ha Gil-Jong sought to get over the disillusionment by means of surrealism. Therefore the self-destructive images and the persona(alter-ego) imaginations are contemplated herein in order to read the definite surrealistic aspects of which Ha Gil-Jong cleaved to. It is also indicated that his film critics written in 1970s were chiefly engaged in the discussions on the revolutionary changes of visual media and Rimbaud's 'le voyant' poetics as well. And it is another revealed issue that the surrealism was chosen to take the function as a symbol of the revolutionary desire besides. In this paper, much is appealed on the meaning of the symbols of surrealism to Ha Gil-Jong who underwent 4·19 revolution. The political failure of which comprised the revolution of the repressed unconsciousness. And as for him, the symbol itself became a surrealism marking the spot where the revolution had slipped into the unconscious desire. This being so, the symbol having made him desire the desire for the revolution was to be a surrealism. As surrealism was the intermediary linking literatures with films and so the artistry equivalent of the political revolution.
Abstract
A thrillers film should have a tight plot line to keep the audience in suspense. Verisimilitude is required to keep the audience in suspense. But <Bedevilled>(2010)embodies the Fantasy thoroughly even if <Bedevilled> doesn't depend on the verisimilitude. The matter is important to us. This thesis is focused on space and character of <Bedevilled> to review the Fantasy. Male characters were attackers in most of thrillers. Bok-nam who is main character as female in <Bedevilled> changed the attacker from the victim by herself in an instant. Also, 'Modo' which is the space of <Bedevilled> is full of the Symbolic order. But the Symbolic order of the Modo was subverted by Bok-nam as female characters. It is important that Bok-nam completed a near-impossible assignment. It is 'Fantasy'that impossibility can become possibility. The Fantasy not only lets Bok-nam get upsides with attacker but also gives a lot of creative appeal to narrative structure. So the Fantasy brings the house down and makes audience feel catharsis. However 'Fantasy' degenerated into 'the uncanny' while Bok-nam goes into police station of land as the Symbolic order. <Bedevilled> has lost much of the glamor at this point. That is one of the drawbacks of 'the uncanny' and limits of <Bedevilled>.
Abstract
TV drama <Assi(아씨)>(1970-71) was towed to the popularization of television in South Korea, It has been recorded in the history of popular culture as well as broadcasting. <Assi> is 'Modern History drama' that repregented approximately 50years in the national history from Japan colonial times until the early 1970s, in the perspective of an ordinary woman. This drama has dramatized a woman's life, kept the family with endurance and sacrifice despite her husband's affair and abuse of Mother-in-law. This created the Korea tradition Women's Representation imitated deserve, 'Assi'. 'Assi' was recommended over the alternative women against the 'free wife(자유부인)' has been blamed since the 1950s. She was revered the best ideal woman, with 'Shin Saimdang (신사임당)‘ has been called out from the history at the same time. The point is that the ideal representation of women and gender ideology was spread public support and went is inventor receives as the television at that time a new medium. This experience through television was the first time in Korea society. Nevertheless the study of the drama was not done because there is no script and the image of <Assi> does not remain. This paper is the first study on the drama <Assi>. Narrative of the drama was impregnated modern signs, such as the discovery of the micro level of individual, free love, romantic love. Modern and premodern was crashed and was being mixed in the narratve. And then heroine 'Shunduct Assi' was going gradually slipped into a premodern. 'Assi' has obtained the identity of its own choices and that such a life by giving value to life. 'Assi', representation of women sacrificing for the family, was also asked for women in Korea society how the principal configuration, in the early 1970s accelerate the modernization. The paradox of modernization, by accepting the pre-modern values until you can be part of the modernization, was being proposed for women at that time. The text of TV drama <Assi> and the social signification process of discourse-related is the practical example of gendering aspects of the modernization process.
Abstract
Romance of Three Kingdoms has not yet been completed the text. In Korea as well as 'East Asia, the oriental saga is continued to accept as modern cultural contents: fiction, comics, film, and computer games etc. Acceptance and transfiguration of Romance of Three Kingdoms i n Modern K orea p roceed i n three directions: the first is at the level of literary texts as reading(hereafter Reading Romance of Three Kingdoms abbreviated in RR), the second is at the level of comics as watching(watching Romance of Three Kingdoms in WR), and the third is at the level of cyber text as gaming(Romance of Three Kingdoms as a Game in GR). The case of RR occurred within edition and renewal of the novel-text, surrounding controversies on the interpretation of main characters and political legitimacy of the new nation ShǔHàn(蜀漢) established by Yu-Bee(劉備) and his men. The WR reflected aspects of the graphic text like Yokoyama Mitsuteru's the comics based on the Romance of Three Kingdoms. It is the Adaptation that the methodology was mobilized when print-text is going to be converted into image or graphic text. Commonly adaptation divided into three types: the literal adaptation, the critical adaptation, and the free adaptation. Popular Cartoonist Go Woo-Yeong's could be said to define compound text depended on the critical adaptation that reinterpreted and overturned the original version. His comics gained popularity from white collar workers and college students. Because the creative artist tried to conjugate and to introduce recreation of figures, change of viewpoint, insertion of sexual elements based on sharp criticism and witty lines. As GR shows, there are so many changes same as expansion & modulation of the narrative, switching of viewpoint, transition of background, and the overthrow of the subject in computer games. Now, Readers have developed and changed from passive reading-people to interactive creating-author through participating in game as a user. It could be said Scripton generated text by readers' reading. The Koei Game is the representative strategic simulation game to be made story & narrative of new types depending on the participation of players. The other hand, collective sharing is done in the lately strategic simulation game <Palm Three Kingdoms> for smart phones unlike the last strategic simulation games, being added to the characteristics & elements of Massive Multi-player Online Role Playing Game. Like this the re-mediated & updated of Romance of Three Kingdoms may be presented acceptance and transfiguration of it,which can be defined the mainly aspects of that. Of course commercial interests, such as publishers and game companies and reader's demand are involved in them. Nevertheless, this may say that it is the important thing as looking at the phenomenon of the acceptance and transfiguration of Romance of Three Kingdoms in the contemporary popular culture.
Abstract
This article focuses on the cultural cross-dressing as the conventional device which culturally encodes “naesŏn ilch’e(內鮮一體)” in the late colonial Korea. Cultural cross-dressing was based on the physical similarities between Korean and Japanese,and it was used for visualizing their intimate relationships such as friendship,romance, and marriage. It examines the homosocial bond embedded in cultural cross-dressing, and analyzes the contact frames between the fantasy of intimacy and the colonial reality, to further consider the colonial anxiety over ethnic-passing and assimilation.
Abstract
This article will focus on hook songs to understand K-pop, which is at the center of what we call New Korean Wave. Hook songs can be understood as unique music performed mostly by girl groups and boy groups or the so-called idols, which are mass-produced by star systems. In practice, we regard hook songs as addictive commercial music, which emphasizes their choruses. In terms of music style, hook songs have a narrative structure that emphasizes the chorus extremely. In general,hook songs are criticized for their extremity and simplicity, but it is hard to find systematic analysis of hook songs. By trying to re-interpret hooks, which are the essence of hook songs,however, we can induce a new approach to hook songs. Hooks can be defined as some parts of music we remember from the moment we hear that music. We can approach hook songs holistically in all aspects inside and outside the music including the chorus referring to the definition of hooks as stated above. Hook songs cannot be simply considered as music that emphasizes choruses, and repetition and simplicity shown in hook songs cannot be seen negatively necessarily. For simplicity by repetition implies the possibility to open a new horizon in music by bringing up other elements of music. Hook songs reflect the desire of people, which goes beyond the limitation of existing music styles. This is also tied to social phenomena in this age. Destruction of forms and narratives, which is shown in hook songs, can also be understood in the same vein. It can be difficult to find narrative meaning in recent music, but such meaninglessness can be understood as forming unique rhythms and beats, which is meaningful in itself, not as meaning nothing. It can also be understood as delivering messages through musical elements other than lyrics, or seen as a way of hiding lyrics, that is, as another type of narrative. Therefore, hook songs can be recognized as a characteristic music style, going beyond analysis of melodies and harmony, which are the perspectives o f traditional mu sic analysis. Hook songs a re music that i s represented by hooks, their core, or they can be considered as music where hooks are embedded across various elements. Even though this music style can be criticized at this moment, we cannot deny that it is affecting significantly across popular music in Korea. Thus, hook songs need to be re-evaluated as a style that represents this age.