• Cross-Cultural Studies
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• v.44
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• pp.147-189
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• 2016

This study attempted to investigate the issue how stepmother's narrative was transferred to . For this agenda, the approach of this paper is described below to determine how Bbaengdeok's stepmother narrative was transferred episodically to . First, this paper started from the relation between stepmother narrative and affiliated with each root folk tale in Buddhist text. Among known as root folk tale until now, this paper investigated whether was the root folk tale affiliated to Buddhist literature. At that point, stepmother narrative showed relation with opening eyes motive. It has been reported that the text of opening eyes in Buddhist literature is originated from the south. This paper confirmed that 's stepmother narrative was related to Buddhist literature originated from south. Next, this paper investigated the background of opening eyes motive of stepmother types. After entering Gyeongpan , it formed Bbaengdeok narrative of Wanpan related to Literary geography of Jeollado enjoying space of Wanpan . There are two evidences for this. The first one is which was passed down around Jeollado. In the course of sudden Buddhist folklore's flow into the country, it is that combined stepmother narrative of sudden Buddhist literature with the characteristics of northern Buddhist literature which was reconstructed into son's filial behavior of northern Buddhist literature to make father's blinded eyes open. The other is the Buddhist trend of the late 18th Chosun when northern Buddhist literature and sudden Buddhist literature were combined. It appeared that stepmother narrative was formed in the Buddhist background of the late 18th Chosun when northern Buddhist literature and sudden Buddhist literature were combined.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.194-207
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• 2022

Amid growing social interest in child abuse, and announced the seriousness of child abuse crimes and aroused public interest in related issues. Based on true stories and characters, both films created unique narratives about child abuse cases, but drew on the traditional representation and discursive construction of child abuse news articles. By setting the stepmother as the perpetrator and the father as the neglecter, the gender role of women as primary caregiver was reconfirmed and the stereotypical image of the 'evil stepmother' in popular narratives was exploited. The cinematic reenactment of the evil stepmother not only highlighted the normative family discourse, but also reinforced the maternal myth by emphasizing the binary opposition between the evil stepmother and the lost birth mother.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.145-181
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• 2020

This study analyzes type variations of the 'stepmother' and 'sister' in the full-length novels of Park Kyong-Ni and attempted to point out their meanings. The pattern of "negative stepmother" that appeared in classical and new novels also appeared repeatedly in Park Kyong-Ni's full-length novels and this was because a change took place in later full-length novels. Novels analyzed with focus were Jaegwiyeol(1959), Eunha(1960), Kimyakgukeue Ddaldeul(1962), and Nabiwa Unggungkwi(1969). The stepmother that appears in Eunha is a type that appears often in the classic and new novels of Korea. While the stepmother newly gained the role and status of 'mother', she forms a competitive relationship with the daughter of the former wife while still refusing to be a member of the family and she puts the former wife's daughter in critical situations by committing misdeeds. However, the young stepmother in Nabiwa Unggungkwi actually becomes a victim to the malicious and morbid harassment of the former wife's daughter. This stepmother is a good-natured figure who shows a sense of guilt for failing to fulfill her responsibilities of upbringing and education and she eventually dies as a victim to a bomb during the war, leaving her young biological daughter behind. On one hand, the sisters in Jaegwiyeol and Kimyakgukeue Ddaldeul are not strongly bonded but when one is caught in a crisis, the other one claims to be of help. Unlike this, the sisters in Nabiwa Unggungkwi have a bond that cannot be broken. They are half-sisters that bind each other so severely that they hinder each other's growth and they eventually end up disintegrating. Through such analyses, it is shown that issues of human nature are dealt with more acutely by breaking the 'young stepmother' away from convention by placing her in the position of the victim to amplify the conflicting relationship between sisters, unlike in previous pieces. This study was significant in that it looked into how previously repetitive character type changes appeared in full-length novels in conditions that clearly display the writer's determination to leave behind a masterpiece.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.