• Journal of English Language & Literature
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• v.55 no.4
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• pp.567-596
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• 2009

A staple of feminist literary anthologies which was instrumental in reevaluating the writer Susan Glaspell, Trifles(1916) has received numerous comments from feminist scholars so far. Most of them tend to concentrate on the themes of female solidarity and justice challenging the androcentric system of law and order. Lacking in the plethora of thematic approaches to the play's feminist subject, however, are formal analyses considering the way in which the play's generic form assists in communicating such thematic concerns of feminism. An alternative to the typical scenario at the courtroom whose mistreatment of women must have loomed large to the young Glaspell as she revisited the old trial of a midwestern murderess which she had covered as a journalist for a local newspaper in Iowa, Trifles serves as a corrective to the courtroom dynamics offering a 'dramatic justice' as opposed to a strictly legal procedure. What this article discovers at the heart of this dramatic justice is the celebration of the unsayable, or what Wolfgang Iser termed negativity, of women's experience which has no room for reflection in the legal discourse at the courtroom tyrannized by the sayable and the evident. Examining how the dramatic form of Trifles gives a voice to the unsayable of woman's experience, which can not be properly represented at the courtroom governed by the straightforward and definitive male rhetoric, the article argues that the play is a better form than its fictional adaptation "A Jury of Her Peers"(1917) in that it syntactically suppresses the monopolizing operation of the verbal by giving precedence to the scenic and non-verbal which is constituted of setting, props, gesture and eye contacts. As a theoretical frame of reference with which to examine the modes of the unsayable in the play the article brings the concept of 'negativity,' defined by Iser as textual effects or modes of the unspeakable and unsaid, into the discussion of the taciturnity of the absent heroine and the non-verbal representation of drama.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.29-61
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• 2016

A joke (才談, 재담) is "the most interesting and witty language unit" in our speech. However, the search of a joke is still starting. Although joke are related to the witty and interesting talks, stories, songs and plays, the actual object of a joke is only the witty and interesting talk. A joke is witty talk that is interesting or laughter-inducing. Many Jokes can be found in the traditional Korean funny performing arts (演戱, 연희). This is because these art forms are performed in open yards, which necessitated amusing the audience, amusement, in its turn, required jokes. Jokes in the traditional funny performing arts can generally be classified as follows: 1) Jokes related to a situation: These include right words at a given situation, exaggerating words, diminishing words, deviancy words, and cause-effect words. 2) Jokes related to discourse: These include enumerating words, amplificatory words, contrasting words, fluently lying words, undeniable words, purposely unknowing words, and deliberately incorrect words. 3) Jokes related to vocabulary: These include synonym, similar words, changed word-ordering words, and incorrect words. 4) Jokes related to pronunciation: These include homonyms, and anti-homonyms. Although there may be other jokes, those presented above are typical ones. A joke is "the result that human being can achieve when he/she has overcome natural and social difficulties and is left with only a free and creative spirit." Jokes are necessary in all ages and everywhere. Today, more varied and high-level jokes can be created by developing the diversity of jokes in traditional funny performing arts. Also, I expect new sorts of jokes, because a joke always demands a creative spirit.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 1999.03a
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• pp.201-201
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• 1999

감성(sensitibility)은 반사적이며 직관적으로 발생하고, 인위적인 조정이 불가능하며 명확한 표현이 어렵고 모호하다고 한다. 또 감정(emotion)이 주어진 대상에 따라 동일한 반응을 보이는 공통성을 갖지만, 감성은 동일한 대상에도 개인에 따라 다양한 반응을 보이며, 시간과 환경에 따라 변한다고 본다. 이는 반응 형성의 두 가지 요소인 외부의 자극이나 대상과 반응하는 주체의 양자에서, 감정이 감성에 비해 외부의 자극이나 대상의 영향을 더 받고, 감성은 상대적으로 외부 상황보다는 반응 주체의 다양한 내부 상황에 따라 결정된다는 것을 의미할 수 있다. 이러한 감성의 특징들은 Freud가 말한 무의식의 특징과 비슷한 점이 많다. 따라서 무의식의 작용양상을 살펴보는 것이 감성의 연구에 도움이 될 수 있다고 생각한다. 무의식이란 우리의 마음에 항상 작용하고 있지만, 일상적인 상태에서는 분명하게 알아 볼수가 없고 확실하게 드러나지도 않는 어떤 힘을 말한다. 이는 개인의 다양한 과거 경험이 포함되어 있어서 사람에 따라 각기 다르게 나타나게 된다. 우리가 항상 경험하고 있는 의식은 확실하게 서로 구분되는 대상과 확인율(the principle of identity), 구분논리(bivalent logic), 모순율(the principle of formal contradiction), 상반율(the principle of incompatibility), 가감율(the operation of substraction)을 수용하여 작용한다. 무의식은 의식활동의 이러한 명료함과 정연함을 벗어나 활동한다. 대상간의 구분이 모호해지고 정연한 논리가 흐트러진다. 일상에서는 꿈의 내용과 어린이의 생각, 감정에 치우칠 때 무의식의 특징이 나타난다. Freud는 꿈을 관찰하여 무의식의 작용양상을 다음과 같이 설명하였다. 서로 상반되는 것들이 다음과 같이 설명하였다. 서로 상반되는 것들이 부딛힘이 없이 공존하고 일상의 논리가 무시된다. 부정, 의심이 없고 확실한 것이 없다. 한 대상에 가졌던 생각이 다른 대상에 옮겨간다(displacement). 한 대상이 여러 대상이 갖고 있는 의미를 함축하고 있다(condensation). 시각적인 순서가 무시된다. 마음속의 생각과 외부의 실제적인 일을 구분하지 못한다. 시간 상의 순서가 있다가 없다가 한다. 차례로 일어나야 할 일이 동시에 한꺼번에 일어난다. 대상들이 서로 비슷해지고 동시에 있을 수 없는 대상들이 함께 나타난다. 사고의 정상적인 구조가 와해된다. Matte-Blance는 무의식에서는 여러 독립된 대상들간의 구분을 없애며, 주체와 객체를 하나로 보려는 대칭화(symmetrization)의 경향이 있기 때문에 이런 변화가 생긴다고 하였다. 또 대칭화가 진행되면 무한대의 느낌을 갖게 되어, 전지(moniscience), 전능(omnipotence), 무력감(impotence), 이상화(idealization)가 나타난다. 그러나 무의식에 대칭화만 있는 것은 아니며, 의식의 사고양식인 비대칭도 어느 정도 나타나며, 대칭화의 정도에 따라, 대상들이 잘 구분되어 있는 단계, 의식수준의 감정단계, 집단 내에서의 대칭화 단계, 집단간에서의 대칭화 단계, 구분이 없어지는 단계로 구분하였다.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.123-133
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• 2019

Director Lee Chang-dong saying that the most important thing is to let the audience experience, find its meaning, interpret, and feel the pure sensation (whether it's image, sound or music) that the film has instead of narrative giving you the answers, through the film presenting the pure natural landscape as it is, but all the familiar things that can be taken as a riddle are conveyed in images, and all the elements that make up the film share its presence with each other and let us experience a mysterious weight of reality that cannot be defined through its strange symbolism and metaphors, and it reflects various human emotions, reflecting curiosity of reality, the words that are hardly spoken, meanings of life that we were not being aware of. Rather than having one definitive figure, through the character's personality expressing an imperfect character with a complex ambiguous behavior asks about the things that can't be explained logically and the fact of life that can't be divided into truth or lie. Also, the acting approaches emotionally and primitively rather than using artificial expressions, showing the invisible elements of emotions that are latent inside humans through temperate acting style, leads the audience to distant themselves and reflect more deeply into life. This study analyzed the characters and acting of the film based on director Lee Chang-dong's directing style.

• The Science & Technology
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• v.10 no.6 s.97
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• pp.42-46
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• 1977

이 기사는 미국과학지흥협회(AAAS)가 멕시코시에서 개최한 「기술이관과 국민경제개발」을 주제로 한 학술대회에서 발표된 내용의 일부를 옮긴 것이다. 과학의 발달과 사회의 요청으로 기술이 부단히 변천하게 되며 이러한 기술변천은 여러가지 면으로 사회에 영향을 미치게 된다. 기술변천이 사회에 미치는 영향을 알기 위해서 변천이랑 어떠한 것인가, 이러한 변천은 무엇에 또는 누구에 영향을 미치는가와 같은 기술변천의 성격을 알아야 한다. 그러므로 이 강연에서는 먼저 변천의 종류와 그리고 이 변천이 어떻게 그리고 얼마나 광범위한 영향을 가져오는가를 검토하고 그후에 이러한 변천이 좋은지 나쁜지에 대해서 그리고 이에 대하여 어떻게 할 수 있는가 하는 점을 살펴보겠다. 먼저 요점을 기술하면 기술변천의 영향은 변천이 이루어지고 있을 때 우리가 이해하거나 고려한 것보다 더 광범위하고 더 깊고 더 다양하다는 사실과 그리고 모든 변천이 다 좋은 것은 아니며 바쁜 결과를 미치는 경우도 있으나 이러한 것 모두를 방지 제어 교정할 수 없는 것이 현실이다. 그러므로 사회는 기술변천의 과정이나 기술변천이 내포하고 있는 의미를 철저히 연구조사하여 사회에 악영향을 미치는 것을 억제하고 좋은 결과를 가져오는 것을 촉진시킬 수 있는 제도나 절차를 개발 채택하여야 한다. 이 강연은 구체적인 실례나 도표같은 것이 생략되어 좀 이론적이며 추상적으로 되어있음을 미리 양해하기 바란다. 기술변천에서 어떤 일이 발생하고 있는가 하는 점은 우리들 대부분이 이미 잘 알고 있는 사실이므로 이를 피하고 왜 이러한 것들이 발생하는가에 대해서 주로 말하고자 한다.

• Journal of Korean Medical classics
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• v.17 no.4
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• pp.64-68
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• 2004

당(唐)나라 고종시대(高宗時代)(7세기후반기(世紀後半期))에 유행(流行)했던 양상선(楊上善)이 선주(選注)한 "황제내경태소(黃帝內経太素)"가 일본(日本)에 전(傳)해진 것은 현종시대(玄宗時代)(8세기전반기(世紀前半期))였을 것으로 추측된다. 그 후 "태소(太素)"는 중국(中國) 송대(宋代)에는 이미 거의 모두 유실(流失)되었다. 일본(日本)에서도 점차 확실하게 전승(傳承)되지 못했지만 강호시대말기(江戶時代末期)에 이르러 경도(京都)의 인화사(仁和寺) 서고(書庫)에서 재발견(再發見)되었다. 따라서 지금 볼 수 있는 "태소(太素)"에 수록된 내용들은 모두 인화사(仁和寺)에 저장된 고권자초본(古卷子抄本)(이하(以下)에서 인화사본(仁和寺本)이라고 약칭(略稱))으로부터 유래(由來)해온 것이다. 이 초본(抄本)은 1165~1168년(年)에 단파뢰기(丹波頼基)가 직접(直接) 쓴 것이다. 그가 기초로 삼았던 원본은 일세대전(一世代前)의 단파헌기(丹波憲基)가 쓴 것이다. 이에 대하여 살펴본 결과, 인화사본(仁和寺本) "태소(太素)"의 정리(整理)에서 최초에 초사(抄寫)할 때 착오(錯誤)가 있었다는 것을 고려(考慮)할 필요성(必要性)이 일반고의적이상(一般古医籍以上)으로 크다고 말할 수 있으며, "소문(素問), "영추(靈樞)"와의 이동점(異同點)에 대해서도 교기(校記)할 필요(必要)가 없는 것을 응당 지적(指摘)해내야 한다. 그중 상당한 부분(部分)은 옮겨쓴 사람이 일본인이기 때문에 발생한 것이라 할 수 있다. 이런 것들은 일본인(日本人)에 의하여 교정(校正)하는 것이 더 편리(便利)하다고 생각된다. 단지 대륙(大陸)의 문화(文化)가 고대일본(古代日本)에 전입(轉入)되는 과정에서 고대한국인(古代韓國人)의 작용이 컸을 것으로 생각된다. 따라서 "태소(太素)"초본(抄本)에도 "일본적(日本的)인 착오(錯誤)"외에 "고대한국적(古代韓國的)인 착오(錯誤)"가 있을 가능성도 있다. 금후(今後) 이에 대한 많은 연구가 진행되기를 바란다.

• The Korean Journal of Archival Studies
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• no.68
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• pp.107-150
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• 2021

Representation of an entity starts with recognition of its existence, and recording is mutually circular in that it acts as a means to enable the recognition of the existence. No record is left on an unrecognized entity, record is distorted if any, and the distorted reproduction represents the entity, reinforcing its invisibility. Spivak describes those who cannot speak on their own and cannot be represented as subaltern. This paper examines public record, the media and research records of female restaurant workers, identifies the subaltern characteristics and limitations of their records, and suggests the points to be considered and specific roles required for recording the subalterns. If it is possible to increase the possibility of representation by completely recording a person as an entity that contains the times and society, the accountability of the record to provide an account will extend beyond institutions to the times and society, and individuals and community will be established as political subjects.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.165-172
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• 2019

Signs of the street and scenes of the nature(tree) popping up like a still screen in a monotonously repeated routine, as if waiting for something by chance, characters appearing and disappearing without special meaning, advise you to get away from cliché meetings and breakups while repeating it. The images of people returning to their places without presenting any conclusions highlights the coincidences and unexpectedness of everyday life, but are so familiar that it is easy to be overlooked, it brings us to experience the potential of everyday unfamiliarity in such moments. The actor's performance, which deviates from the practice of well-organized characters, is improvised (unplanned and uncoordinated) emphasized on the scene and expresses the everyday nature of his differentiated character freely like the reality as if he were locked up in a film structure but not confined to it, and as if he got used to the everyday life. Also the repeated words and actions of characters, and unpredictable changes of emotions, centered by the encounters and conversations of this film of Hong Sang-soo, everything that is presented in the background of everyday life in its form, let's us pay attention to the meaning and what to be found in the film. In addition, director Hong Sang-soo, who creates a story after selecting actors to reproduce this daily process in a realistic manner, sets new relationships between the characters and the actors, presenting a new method of realistic expression, through the actor who repeatedly appears in the film. This study analyzes the everyday characters and acting of the film based on director Hong Sang-soo's directing style.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.325-334
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• 2019

Director Lee Chang Dong said that it is the most important point for revealing the invisible beauty so that the audience could feel the unseen beauty through the . Discussing about how to find beauty that is not only visible but also invisible through the main character Mi-ja from the film, who makes a decision and reactions on her daily life by her perception that are difficult for others to take same. The film tells that how Mi-ja's ideal of a beauty can be taken the role for writing a poetry at the moment of the dead poet society, making a movie in the age of dying emotion and also when it lost fundamental values and about movie media. This study analyzed the performances of the main character Mi-ja in the film, and actress Yoon Jung Hee based on Director Lee Chang Dong's directed performance. The audience will be self-questioning and reflecting their life through the Mi-ja's an unidentifiable characteristic which something that someone cannot say, something that someone cannot express, something that tells something through Mi-ja's poem and actress herself finds the character's feelings.

• Sijohaknonchong
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• v.42
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• pp.7-28
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• 2015

This article defines sijo's musicality in two ways and verifies how musicality is shown in modern sijo with some examples. First, the first metre of a song's fourth part, that is, the sijo's jongjang, should include a reverse of its poetic image. A song consists of five parts. Each part is sung as a part of the song, that is, the sijo's dimetre, trimetre, or tetrametre, but its fourth part is sung as the monometre which is the first metre of its jongjang. This is because the first metre of a sijo's jongjang forms the axis of the reverse in its poetic image, and when this works properly, it can maintain musicality as a sijo. Second, a sijo's tetrametre and sijo-chang's gak should correspond as the same value along with the completion of its meaning. If a sijo does not keep the metre, each part's completion of meaning and also the sijo-chang's gak become problematic, so it is impossible to perform sijo-chang. Only when each part's completion of meaning and the gak of the metre correspond to each other as the same value, the sijo can maintain its musicality. Next, the study verifies how musicality is shown in modern sijo. This was examined through the examples of gyeol-metre and yangjang-sijo in dan-sijo that cannot form any tongsa madi, arrangement of syllable units beyond metres, or the examples of loose reverse of meaning in a transitional phrase. The two kinds of musicality presented by this author have already been proved with old sijo. However, modern sijo has been created mainly centering around its image, so such musicality has been ignored and sijo's identity has been damaged seriously. In sijo, musicality gives life. If modern sijo is created mainly around its image, it can never be called as sijo unless it has musicality. Although modern sijo is not performed as music, it should be equipped with the form to be performed as a chang. This is how sijo can maintain its musicality. It is thought that now is the time to recognize modern sijo as the matter of communication between sijo-chang and sijo literature, not just as the combination of sijo-chang and sijo literature.