대중서사연구
- P-ISSN1738-3188
- E-ISSN2713-9964
ISSN : 1738-3188
Vol.22 No.2
Abstract
The purpose of this thesis is to reflect the comprehensive meaning of a TV drama, <Reasonable Love> through the metonymic and metaphorical reading about the drama. This dram is composed of 4 main epics: the epic about Il-li and Hui-tae, the epic about Il-li and Kim Jun, the epic about Il-li, Hui-tae and Kim Jun, and the epic about Il-li and her husband's family members. These main epics are consumed by TV viewers as a metonymy about unfaithfulness and one's husband's home. As the main epics focused on such negative meanings and were also consumed so, then the characters' love or growth story in the drama were hard to be sympathized and understood by TV viewers. However, such epics were also a great chain metaphor about the 'Fertility'. Seen from the metaphorical viewpoint, Kim Jun is Il-li and Hui-tae's child. In other words, due to the existence of Kim Jun, Il-li and Hui-tae eventually found their positions as wife and husband, respectively, and formed the second triangle to be delivered. In that there was not any birth in the drama, its metaphor about the 'Fertility' was a reflection on Korean society's phenomenon avoiding from giving a birth. Seen through a complex reading of metonymic and metaphorical expressions, this drama was a meaningful text figuratively showing that giving a birth in modern society is being replaced with adjacent other things like a unfaithfulness or one's husband's home. So this dram delivers the message that a love without men is impossible and only when a couple admit each other and become a true two, then giving a birth will be possible to us. This thesis expects that the above discussion may become a small clue for changing and advancing people's ways appreciating dramas.
Abstract
This study examined the epic of individual relationships emerged in the second half of the 1950s, as shown in the Reader Socialization Section of the pop magazine Myeongrang. The 1950s saw individual readers forming personal relationships with each other through the pop magazines. This study, targeting the period of the launching of Myeongrang in 1956 to April 19 Revolution in 1960, examined the Reader Socialization Section and relevant news articles. Myeongrang's Reader Socialization Section was presented in diverse names such as Readers' Correspondence, Myeongrang Correspondence and Myeongrang Favorite Reader Salon. The major readership covered late teens to early 20s. In particular, Reader Socialization Section featured the desire for establishing a family. This is understood to try to restore the collapsed family relationship in the wake of Korean War, as well as to secure an alternative family if such family restoration is impossible. A member family, emerging the most frequently, was Nuna ("sister"). The so frequently emerged name of sister in the Reader Socialization Section suggests the following. The atmosphere of the time of 1950s showed the ambivalent attitudes about love. Love was emphasized as individuals' voluntary desire, and as part of the national project for the reconstruction of the destroyed country. Thus, spiritual love took the helm of the times, and the Reader Socialization Section of Myeongrang objectified love through the name of sister. Thus, the socialization section, which ran the love affairs of males and females, could allow them to freely express and share their desires, and yet to maintain their secret area within the limit of governing ideology. As a safety mechanism, the calling of sister projected the readers' desires, reproduced those desires, and allowed the writing of those desires on the public publication, and of such socializing activities.
Abstract
The purpose of this study is to analyze the narrative characteristics and fantasy represented in Kim Lae-sung’s collateral detective story. In that it describes the story of crime, Kim Lae-sung’s collateral detective story are distinguished from classical detective story. Those properties was derived from artistic recognition. Kim Lae-sung wanted to show the romantic sensibility and grotesque in his detective novels. To achieve such goals, he was accomplished by a variety of narrative methods such as foregroundding ‘story of crime’ and narrative trick. Through the narrative strategy that is different from the classical detective story, Kim Lae-sung was to provide an aesthetic experience of grotesque fantasy to the reader. The grotesque fantasy is the literary orientation that distinguishes Kim Lae-sung’s collateral detective story and the classic detective stories. Also, it is a mark showing the limitations contained within the genre of detective story. Thus, it was born at the point of collision from mission as an artist to fate as a detective story writer. Kim Lae-sung’s collateral detective story was born between popularity as a detective story and artistic as a literary and artistic, grotesque fantasy was born between the reality that people living and the illusion that people dreaming. Therefore, the narrative characteristics and fantasy represented in Kim Lae-sung’s collateral detective story is not a product of ignorance of the genre, but is the product of artistic recognition that overcome the genre conventions of classical detective story.
Abstract
This writing is an attempt to identify the desire of Japanese society of the time in the storytelling of Super Dimension Fortress Macross, a Japanese TV animation series first aired in 1982. It can be said that Super Dimension Fortress Macross has not achieved proper attention in academic research despite its commercial success. However, Super Dimension Fortress Macross is highly valuable even from its external aspects. First, as the Dankai generation who had been an important part of the previous SF Japanimation fandom participated in the manufacturing process, the series shows its distinct characteristic as an object of mania ― actually made by the huge fans themselves. Also, from the perspective of the generation theory, the series can be called a transitional work with a message heading to the echo-boom generation. From the aspects of pacifism, sentimentality, and culturalism, the most important keywords in the storytelling of Super Dimension Fortress Macross, we can sense the uncomfortable unconsciousness borne by the members of Japanese society of the time. It means that some problematic urge to narrate is still detected in the work even though the series has a rather diluted characteristic of national animation compared with the existing SF Japanimation. This writing is going to summarize those points into "impossible pacifism," "perversive sentimentality," and "culturalism as a tool of a jump in logic," and then explain the inside story.
Abstract
This paper is based upon Director Park, Jong ho <Hagsajujeom> (1964) and Director Jung, Jin Woo <Chou(Early Rain)> (1966). Director Park and Jung’s work illustrates youth from lower-class who carves social recognition and wants to uphold their life to upper middle class. Their dream was to get away from the poverty which was expressed during the 60’s literary works. Those youths from lower-class wandered around even after they graduate from community college. Moreover, these youths are not from a wealthy family, upper class, nor they do not have a decent bachelor degree from a well-known university. Lower-class youths usually do not have a unique characteristic where they can shine their ability. However, those youths would often move and live in the city to have a better life for their future, but in reality, they were not able to get away from the poverty on their own. The urban poor would often have thought that they would actually live prosperous life through the middle or upper-class women by marrying them and thought that they could be seen as a successful person and be recognized by the others Moreover, as the traditional order and class identity debacle, the government preached that individual has to try their best to succeed in their lives in order to have equal opportunities. The public also tried and sought to achieve accordingly. Four films were causing a crack in the contradictory character of contemporary society point each in a different way. In of <Hagsajujeom> and <Chou(Early Rain)> clearly showed the failure of those youth especially protagonist who wanted to get married to a rich woman by joining the ranks of the people, but eventually failed. When their plan failed erroneously, that protagonist either committed suicide or turned into violent and abusive to show the society that they are also one’s citizen. These resembled as either 'the poor' or 'straggler' that Korean society did not accept them as a citizen. As a result, they expressed themselves through extreme enmity and anger towards Korean society. In <Hagsajujeom> and <Early Rain(Chou)> showed the other side of youths achieving goals and success towards the wrongful emotional expression. These structure of feelings in 1960 showed pathological signs(carves social recognition ) which were problematic that presented in the films.
Abstract
The purpose of this study is to make it clear that the film version of Our Twisted Hero has politically interpreted the novel Our Twisted Hero, the original copy for the same titled film. There are several articles which have studied the relationship between the novel and the film, and they have failed to catch the meaning of political dimension that the film extracts from the novel. The novel portraits Um Sukdae, who maniplates the fifth grade classroom, as the our twisted hero and the hero for Han Bungtae. But the film puts Han Bungtae as the our twisted hero for BungPal who is missing in the orignal copy. Both the novel and film document how Han Bungtae stood against the power of Um Suktae and how Han Bungtae kneeled to Um Sukdae, as well as the collapse of the kingdom of Um Sukae. But both have different stories about Han Bungtae and the six grade teacher who collapsed the kingdom of Um Suktae’s fifth grade classroom. Novel simply depicts Han Bungtae as the fifth grade city boy who was transferred to country with a democratic society experience, but film depicts that the city school classmate gave him a mission to free the classroom. In addition, the novel depicts that the sixth grade teacher peacefully and democratically liberates the classroom from the hands of Um Suktae, but the film depicts that the sixth grade teacher liberating the classroom by the force, and his violence terrified the students and the whole classroom. So, the question is; why did the film change the main characters’ personalities? What caused the film come to term with the mission for liberating the classroom, if it needs to done by force? The film needed to include the following explanation in order to clear the ambiguity of the novel in terms of the hero. Han Bungtae had to be the hero to liberate classroom from Um Suktae. Han Bungtae should have liberated the classroom. But he could not. The film documents that Han Bungtae has failed in his mission and became a twisted hero. Several research have failed to notice that Han Bungtae was a twisted hero in the film. So, in this paper I delve into the film and show who the hero is and why he became a twist hero.
Abstract
The implementation of the reserved seating system in the mid-1950s was a significant event that restructured the theater space in Korea. Considering the fact that the tense power dynamics cannot but be internalized in all spaces, the theater space in the 1950s was reorganized as various powers and discourses surrounding the reserved seating system came into conflict with each other. By studying various discourses on the reserved seating system, this study aims to examine the power dynamics in the theater space and the aspects of the reorganization of space which resulted from such power dynamics. In November 1955, the Korean government issued an enforcement order to implement a reserved seating system in theaters under the pretext of keeping theaters sanitary and orderly. As this system was abruptly enforced without sufficient agreement within the society, the new policy came under fire at the onset of implementation. The theater industry first voiced concerns about the reserved seating system, which they believed was premature considering the level of profits and the operation of theaters. As part of this argument, the issue of free admissions rose to the surface. An established custom at theaters, free admissions, particularly for disabled veterans, became the topic of a raging controversy. Disabled veterans were socially denied and excluded because of their unhealthy and unproductive bodies, and as a result they were not considered positive existences in terms of the “economy” and “visualness” of theaters. However, when the authorities began to impose restrictions on free admissions at theaters, the concerns of the theater owners and oppositions gradually died down. There were positive reactions to the reserved seating system as well, mainly from the performers and the audience, who acknowledged that the new policy would reorganize theaters into diegetic space of auditory and visual senses while confining unwanted noise to non-diegetic space. In this context, the reserved seating system of the mid 1950s in theaters have transformed and reorganized the theater space. The reserved seating system resolved the issue of free admissions, which were criticized as the root cause of disorderliness and filthiness at theaters, and also eliminated noise and bustle from theaters, thereby serving as a momentum to bring stability to the unstable theater space during the time of turbulence and for Koreans to overcome cultural inferiority.
Abstract
The film <The Host> directed by Junho Bong features the structure of 'Rite of Passage' which follows the process of 'Separation-Transition-Incorporation.' The film shows the process of 'Rite of Passage' experienced by the two naive characters, Kangdoo and Hyunseo. In the beginning, Kangdoo and Hyunseo are separated, transitted to the other side of the world in the midst of the film, and finally reunited to be reborn. The separation is represented in the scenes of abduction, confinement; transition in the scenes of swoon, hunger, torture, falling prey to the monster, and return to the womb; incorporation in the scenes of escape and revival. Kangdoo is reborn as a new character through 'Rite of Passage.' Hyunseo as a new character of Sejoo in another type of family through her sacrifice. The adventure of the two main characters signifies the destruction of time, renewal and recreation. The monster in the film <The Host> represents the god of stranger, enemy and death and works as mediator to draw the existential transformation of the characters. The monster symbolizes the unjust and corrupted social system of government, mass media and police as well as a grotesque creature. The enemies Kangdoo is faced with are not only the monster but also monstrous social system. The general idea of 'Rite of Passage' in <The Host> can be traced back to that of Babylonian annual rituals and Akitoo festival. Kangdoo and Hyunseo can be compared to the hero Marduk or the babylonians who took the role of Marduk in the festival. The concept of 'Rite of Passage' is a universal theme.
Abstract
TV drama <Royal Family> arouses the viewer’s interest with the familiar material of conglomerate/revenge. when we see the hidden side, it resists the customs that we believe as a universal value and gives us a chance to reconsider the dominating ideology which works only by the neoliberalism order. <Royal Family> is a story on the basis of the revenge of a daughter-in-law on her mother-in-law, who owns a large company, for 18 years of suppression. Unlike other family dramas, women characters such as competent daughters and daughter-in-laws play important roles. They represent the women characters who actively participate in the competitions and become the subject of desire. Junggawon, the background of the drama, can be interpreted as a projection of the neoloberalism society rather than family space. And this space produces the image of the men who feel humiliated. The conflict based on the ruling order which was considered as a common fact broadens conflict of an individual to the public sphere and calls the matters of society. At first, the revenge of Kim In-sook is on the fast track, but eventually it ends with the event of ‘the missing(absence) of the heroine.’An open text like this gets rid of the utopian fantasy which most of the viewers want from TV dramas. It suggests the new chance through the character ‘Cho Hyun-jin’, who grows up throughout the drama. Although <Royal Family> directly calls the matter of the ‘dignity of man’using nonperson, the heroine represents the way of the capitalism order in an attempt to succeed in her revenge. The ‘proof of man’ that Kim In-sook wanted to achieve might succeed externally, but could fail in terms of the proof of the dignity of man. Nontheless, The revenge is meaningful because it suggest the fact that ‘the dignity of man cannot be destroyed’ even in the deep-seated neoliberalism.
Abstract
Until today, the term 'Sunjeong Manhwa' is used broadly. However, the definition of the term is not so clear, and studies on the characteristics of it are not so common. The researcher premise one of the major reason is the standard from 1950s has not changed until now, for more than sixty years. In other words, researches before roughly bound different genres together as in the term ‘Sunjeong Manhwa’, so that it was difficult to figure characteristics out and define what the Sunjeong Manhwa is. Thus, divide all of the historical products we called as Sunjeong Manhwa by their features and redefine one of them as romance comics. The researcher believe by following this and review the history, the properness of genre separation can be understood. The researcher categorized Sunjeong manhwa in three different genres. They are Family-Sunjeong manhwa(1957-1962), Girlish manhwa(1963-1976) and Sentimental manhwa(1977-present), and the first category shows closest to the Sunjeong Manhwa in dictionary definition. That makes it can be called Sunjeong manhwa, but the range of it was families in general, so it can also be called as Family manhwa, or Family-Sunjeong manhwa. Second one is Girlish manhwa and it is influenced by Japanese Shojo Manga in 1960s. Third one is the very genre that we normally think the typical Sunejong Manhwa. The researcher categorized the last genre as Sentimental manhwa instead of Sunjeong manhwa. The researcher apprehends intrinsic features of this text are sensitive story, flowing fanciness and purposeful theatricality and discarded diverse factors that other studies are insisting (such as sex of both readers and main characters). These characteristics are, unless there are no obstacles from environmental factors, helps to build an ‘Sentimental Scene’, a three dimensions mental model. Sentimental scene is a process that readers drawing a three-dimensional image in their mind while reading or after reading the text. It is absolutely personal and abstract image. This model forms more vivid and lasts longer in image description, Sentimental description than textual and thesis. The Sentimentality, fanciness and theatricality are essential factors for constructing the Sentimental scene. The textual feature of Sentimental manhwa is important, but the readers who can properly make the image and the environment can have an influence on construction of Sentimental scene. This study arranges some confusion on existing studies about Sunjeong manhwa defines textual features of the genre and has a way to give explanation for contrasting appraisal for the genre. There is a limit in generalization and universalization since bring readers and reading into study.
Abstract
The “ethical turn” in literary criticism is the significant stream which try to restore the relation of literature and reality(society) and to reflect newly on that relation after post-structuralism or deconstructuralism. This paper aims at the examinaton on the form of “ethical turn” in literary criticism centered on Zhenzhao Nie’s An Introduction to Ethical Literary Criticism(文学伦理学批评导论, 2014), and the discussion of the form of relation of literature and society or the way of intervention of ethics in literary criticism. To deal with the problem of the lack of ethics in Chinese literature, Nie explains the definition of the man as the ethical being, the ethical redefition of literature, and the ethical structure of literary text. Firstly, on the basis of Darwin’s theory of evolution he defines the man as the being which made by ethical choice. The ability to distinguish good and bad(ethical consciousness) is the standard to distinguish the man and animals. In this, the nature of Sphinx as the combination of the human-brain and animal-body is named as “Sphinx factor”, and the hybridity of ‘human factor’ and ‘animal factor’ is considered as the essense of the man. Secondly, on the basis of the definition of the man as the ethical being he tries to do the ethical redefinition of the notion of literature. To do this redefinition, he explains the various forms of that two factors, and traces the ethical origin of literature anthropologically. And finally he explains the ethical structure of literary text. The ethical structure consists of ethical lines and ethical knots, and the ethical knots make the ethical delemma, ethical paradox, ethical confusion, ethical identity, etc. Nie’s ethical literary criticism has two problems. The one is the oscillation between historicist approach and trans-historicist approach, the another is the ambiguity of the social function of literature (the notion of ‘moral teaching’). But, ethical literary criticim is meaningful to study on korean narratives and literary criticism. Because nowaday the ethics of literature or the social responsibility of literature is the significant issue. And ethical literary criticism seek to do “cooperation” with another theories to avoid its simplification.