21권 3호
초록
Abstract
This paper brought forward from the question, why were too so many novels that made issues of the bad woman, against the novels on race, class, labor, ability were not in the novels of 1950s. Why the novels of 1950s, in particular way, was connected with narrative justice as ‘bad’ to the category of ‘gender’? Upon investigation, ‘bad woman frame’ was implicated in narrative justice as ‘bad’, and also the problemes of justification of inequality. Made an additional remark, this paper examined ‘bad woman frame’ was connected with the perpetuating state of exception and global Cold War system. The typical objects, pointed out ‘bad woman’ in the novels of 1950s, were madame freedom, foreigners’ whore, female agent, femme fatale. They had something in common, appropriated as gender among several categories about justification of inequalities. In these processes, the issues as the categories of freedom, labor, nation-state, salvation were eliminated. The ways of the Cold War-aesthetics were the easiest one which South Korean Novels selected. They proved some distinct characteristics of South Korean ways as ‘Cold War capitalism’ and ‘patriarchal society’ in 1950s.
초록
Abstract
This paper presents an investigation into the theatrical planning strategies of TV entertainment programs. It examined what kind of narrative strategy TV entertainment programs were using to commune with the viewers and achieve their intended goals and effects with three entertainment programs representing the three terrestrial broadcasting stations, Infinite Challenges, One Night, Two Days, and Running Men. The characters of TV entertainment programs are built based on the accumulated communication among the production staff, cast, and viewers. The old characters are strengthened or new ones are created as dramatic events are placed to fit each character and induce responses from the viewers. That is, characters are organic beings that go through a cycle of creation, change, and extinction through the communication among the many different subjects. The viewers accept a dramatic situation as if they were experiencing it right now through familiar characters. They get to feel that the fictional worlds of entertainment programs are the stories told by all the people of contemporary times instead of something separate from them. That feel of companionship creates a third effect when the viewers return back to their realities from the fictional worlds. Like in the cases of reflection on the problematic reality in Infinite Challenges, provide culture information in One Night, Two Days, and development of tourist products in Running Men, they accept an entertainment program as their own thing and get the driving force to change the reality. Those findings indicate that TV entertainment programs are a form of dramatic art to offer fun and laughs, communicate with the viewers, and speak to the reality by utilizing the theatrical attribute of ultimately stimulating their internal changes through communion as a narrative strategy.
초록
Abstract
This study was conceived by a question about the interactions between the strict censorship system and the mass production of movies that stirred a obscenity controversy from the latter half of the 1960s to the early 1980s. Trying to answer this question, the present study paid attention to the dynamics between the texts called censorship documents and the representation structure of movies. Censorship documents themselves found and revealed the areas that were tabooed in the name of control and were on the premise of voyeuristic imaginations about the concerned scenes. In other words, requests to cut out the scenes of body exposure or intercourse seem to have been made bureaucratically mechanically on the surface, but the imagination, which reorganized only the concerned scenes in the context of “obscenity” regardless of the meaning structures of the entire movies, worked behind the requests. They were a pattern of fetishism, which overestimates certain body parts or scenes and gets obsessed with them, and followed the same line as the operational method of pornography in a voyeuristic fashion to look into them only. Such an operational method is usually put into practice in the process of communicating with the movies that make a request for censorship, which means that the viewpoints and dynamics are reflected in the film texts. Reflecting them, the movies are aware of the viewpoints and dynamics and make responses accordingly. What the censorship authority and film production companies put forward on the surface was always “ethics” and “art,” though. A third viewpoint that perceives according to such a cause also gets involved in interactions between representation in movies and censorship. Those three factors made up the dynamics of censorship and representation of sexuality and created a mechanism of coexistence between strict control and pornographic imagination. It was Lady Ae—Ma in the early 1980s that displayed such an imagination in the form of representation intensively. While promoting a conservative theme on the surface, the movie reveals a fetishistic pattern through pornographic representations filled with voyeurism and fetishism. Such representations became a classic in the “Lady—” series and worked as a convention in Korean sex movies for many years. In short, the convention of Korean sex movies called “eroticism movies” since the 1980s was the pattern of perversion and division stemmed from the political power’s retrogressive suppression of sex movies and discourses that emerged in the latter half of the 1960s.
초록
이 논문은 순정만화의 형성 배경을 고찰하고 있다. 순정만화는 일본의 쇼죠망가(少女漫画)로부터 영향을 받은 것으로 알려져 있다. 영향관계를 무시할 수는 없지만 순정만화라는 큰 스펙트럼을 이 영향관계로 하여금 지나치게 압축시켜버림으로써 순정만화를 온전히 이해하지 못하는 결과를 낳고 있다. 이에 본고는 순정만화의 탄생을 다각적인 면을 통해 살펴보는 것을 목표로 한다. 이를 위해 ‘순정’이라는 단어의 의미 변화를 추적해 ‘순정’이 어떻게 만화와 교착되었는지 분석했다. 식민지기에 이미 사용되고 있었던 ‘순정’은 문학 안으로 유입되면 ‘순수함’이 더욱 표백된 의미로 변하였다. 또한 감성/감정어인 ‘순정’은 소녀가 호명되면서 여성성을 부여받게 된다. 만화잡지사들은 만화독자로 소녀를 상정하면서 소녀 취향을 주조해 나가야 했는데, 이때 매체적 전략으로 ‘순정’의 서사를 가져오게 된다. 그러나 아이들을 위한 만화인 만큼 ‘순정’의 서사에서 사랑은 탈각되고, ‘순수’와 ‘감성성’만이 남게된다. 이때 ‘감성성’은 주로 신파적 감성이며, 주인공인 소녀는 수동적인 여성성을 내재한다. 이러한 초창기 순정만화의 서사구조와 인물의 특성은 식민지 시기의 소녀소설에서부터 원류를 발견할 수 있다. 가련하며, 순응적이고 감상적이며 의존적인 내면을 지닌 소녀는 1960년대 엄희자의 등장 이후로도 한동안 서사적 관습을 유지하게 된다. 본고는 이러한 초창기 순정만화의 특성이 일본 쇼죠망가와의 영향관계로 단순화할 수 없는 중층적인 과정 속에서 형성된 것임을 밝히고 있다.
Abstract
This study purposed to examine formation of ‘Sunjung’ and “Sunjung Manhwa”. As is commonly said, Sunjung Manhwa is affected Shojo manga of Japan. It might not be totally ungrounded, but it established fact what was an overly schematized. It caused which did not understand about Sunjung and Sunjung Manhwa. Therefore this study purposed to consider from complex birth of the genre what “Sunjung Manhwa”. In the first, this study searched look up the usage of the word on ‘Sunjung’. ‘Sunjung’ also used word which innocence is emphasized in the colonial period. Emotion word on ‘Sunjung’ is authorized to femininity for gender as girl was discovered . Manhwa magazine’s publisher think the girl as reader is expected. They bring over Sunjung as media-strategy. Sunjung and Manhwa get complicated as one genre. At this time, it get rid of love in narration of Sunjung, remain only ‘purity’ and ‘sensibility’. ‘Sensibility’ is Shin-pa in popular arts in the 1950s and girl as heroine is immanet passive femininity in gender. This is can discovered the originate in girl novels in colonical korea in 1920-30’s. These girl who appeared in girl novels were character which a poor condition, a disciplined, a dependent. This is keep a while since Um Hee-ja’s appearance in 1960’s. Therefore we have to know that layered in the course are formed to simply can’t compare as shojo manga in japan.
초록
Abstract
This paper examines the modern soundscape of theater and gramophone to prove that ‘vividness’ was recognized originally by the experience of gramophone, not by live performance in theater. by 1900 in Seoul, performance on the street and in the market was banned. When the first theater opened in the middle of Seoul, people regarded the sound of theater as ‘noise.’ They complained about the noise which continued over midnight in the theater. Every evening, the loud sound of the instruments like jing(gong), kkwaenggwari (small gong), Taeppungso (bugle) resounded in the city. When the sound of theater was got used to, another sound began enchanting the citizen. The gramophone gave an amazing spectacle at first. People thought and felt the sound were vivid, despite its sound were bad actually. And according to the development of sound reproduction technology, people regarded the reproduced sound as the original sound. Also, the sound of gramophone was thought and felt as the immortal. The faith in the immortality and perfectness of the gramophone was the faith in the modern technology virtually. And it was towards the distant future, which the modern technology would bring in someday.
초록
Abstract
The film <Snowpiercer> deals with the general issues like the class discrimination or national system rather than the social issues of Korea. In the last part of the movie, the director suggests a mythological future in contrast with the reality. This is where <Snowpiercer> is different from his previous works. Therefore, the film is worth further detailed analysis on the mythological imagination and an ideal world system. The three mythological elements represented in <Snowpiercer> are, 1) Cycle and Repetition, 2) Death and Rebirth 3) Co-existence of humans and animals. Cycle and Repetition are portrayed in the image of circular track of train set against the start and the end of ice age. The circular track of the train is similar to the motif of ring in Northern European mythology. Death and Rebirth can be explained in Ragnarok. The whole world is doomed as scheduled but not completely. Yonah and Timmy are the symbols of the new beginning. The Co-existence of humans and animals are the characteristic of primitive myth. The film aims at the equal co-existence of a human being and a bear. All these elements are interrelated in Moebius strip. So far, the films by director, Junho Bong, have been discussed focusing on his view of social issues and political value, and how his films have reflected such reality. It is necessary to put his film <Snowpiercer> in a new perspective with a new interpretation which is based on mythological analysis. Further studies on his films <Mother> or <Monster> may lead to a general understanding of the director’s mythological imagination and his view of the world.
초록
동시대의 음악에서 각종 악기들의 혼종은 음악의 생산과 수용의 양식을 재구성하고 있다. 본 논문은 행위자 네트워크 이론을 바탕으로 아날로그 신디사이저의 행위능력과 라디오헤드 <Kid A> 앨범의 생산과 수용의 관계를 밝히고자 한다. 본 논문의 구성은 다음과 같다. 2장에서 라디오헤드가 사용한 아날로그 신디사이저(옹드 마르트노, 모듈러 시스템)의 작동 원리와 인터페이스를 분석하여 악기의 고유한 물질적 특성을 연구한다. 3장에서는 이 물질적 특성을 행위능력으로 상정하여, 이 행위능력이 <Kid A> 앨범의 연주, 작곡, 녹음, 공연, 수용을 어떻게 재배치하는지 분석한다. 이를 통해 아날로그 신디사이저의 도입이 새로운 연주행위와 작곡법, 분리된 녹음 공간, 탈관습화된 공연을 출현시키고 수용의 방식까지 변화시켰음을 증명한다. 악기를 비롯한 각종 비인간 행위자들의 고유한 행위능력이 동시대의 음악의 새로운 실천과 체험에 밀접한 연관이 있음을 밝힌다.
Abstract
The hybridity of various instruments in the contemporary music reconstructs music production and reception. The paper aims to investigate the relationship between the agency of Analogue Synthesizer, and the production and reception of Kid A by Radiohead based on actor-network theory. The structure of the paper is as follows. In the second chapter, it analyzes the operating principle and the interface of analogue synthesizers-Ondes Martenot, Modular System-used by Radiohead and explains materiality of the instruments. In the third chapter, the paper analyzes how the agency reassembles performing, composing, recording, and concerts of Kid A by regarding the materiality of analogue synthesizer as the agency. Through the investigations, the paper shows that the introduction of analogue synthesizer brings about new method of playing and composing, the division of recording space, the post-conventional performance and even the mode of reception. The paper reveals that the proper agency of various non-human agents are closely related to the new practice and experience of contemporary music.
초록
Abstract
This paper studied the magazine Hackwon which had been anything to read in the 1960’s. The magazine Hackwon furnished long genre novels, such as brightness novels, detective novels, science fictions through series-novels. And the magazine Hackwon published series-novels to the selective masterpiece collections. That strategy of the magazine Hackwon made the reading-wind to rise, and helped genre-writer’s birth. Hackwon published science fiction and detective fiction abroad differently from Arirang and Myeung-rang. Especially, the hard-boiled detective novels and pulp-magazine works of the same age in America flowed in. There were not a Leblanc’s detective novel which was classic of the detective novels and translated the most in the colonial period. Together with the national strategy which stresses on science-education, science fiction was read by the mess of vivid science-news and scientific knowledge and scientific common sense in Hackwon. The detective novels and science fictions divided by the conspiracy-degree country with an ideology in Hacwan. One is that the enemy is a personal, the other is that the enemy is a country. Therefore, science fictions are related with the ideology, the security, and the educational strategy of a nation. Genre novels in Hackwon for adolescent were not diffused to the adult genre because of enlightenment through the ideology and the educational strategy of a nation. But Hackwon helped the division of genre such as detective novels and science fictions, with providing long novels to read in the 1960’s.
초록
Abstract
Nakagawa Hiromi’s work The Transformation of “Girl” Image Seeing through Girl‘s Magazine: How the Comics Represented “Girl” is a discourse on a concept, “girl” which was formed since modern times. An image of “girl” has been transformed by several media of Japan. Furthermore, this image of “girl” symbolizes part of Japanese culture. Until now various studies of “girl” have been progressed and that is what a discourse of “girl” image is an important reason. A history of “girl” started from “female student” which was derived from an operation of public education. In addition, “girl” has a very special image which was created by “girl’s magazine.” Nakagawa Hiromi analyzes and criticizes synthetically discourses on “girl” which was explained by several scholars after a study of Honda Masuko. By extension, she made an attempt to analyse “girl” in the shojo manga. The “girl” in the comics has been excluded from studies on “girl” by this time although that is very important. Therefore, Nakagawa’s study has a great significance in that it led the “girl” in the comics out into the field of serious “girl” discourse. This book review points out a few of problems of Nakagawa Hiromi’s analysis on “girl” and presents new discourse on “girl.”