This paper aims to identify the key features of the novel writing of Korean American immigrants and their meaning as one aspect of movement and contact occuring in the early modern period. The late return of the novels written by Nakcheong THUN in the 1930s is significant in that it restored ideas on the diversity of early modern mobility and confronted the history and culture of immigrants who were excluded from records and memories. Not only are these novels a product of the phenomenon of immigration, but they have also created a crack in the dichotomous perceptions of domination and subordination, center and periphery by envisioning it as a space that creates new history, culture, institutions and values. These novels treat the free love of intellectual, emotional, and ethical figures as a central event, demystifying Western free love, and at the same time, a society divided by various identities including class, race, and gender. The novels by Nakchung THUN visualize the active exchange between the immigrant and the indigenous community through the character of Jack, and imagines the heterotopia as a place where not for the immigrants' utopia, but for everyone's coexists. These novels have declared a kind of memory war on the subordinate and marginalized contact zones. The contact zones of the immigration area had been a place for experiencing extreme conflicts and discords, and at the same time, it has served as a place where various groups and communities are connected. The contact zones were common areas of solidarity and creation before being subject to division and occupation. The contact zones are far from the border or borderlands, so it is not a fixed and immutable deadlock. As a world free from central domination the contact zones have been a space that preoccupied history and culture through various encounters, and have been a community.
The Journal of the Convergence on Culture Technology
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v.9
no.1
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pp.457-462
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2023
Director Yoon Jong-bin's new series <The Accidental Narco, Narco-Saints> was streamed through Netflix in 2022 and ranked first in the series rankings. <The Accidental Narco, Narco-Saints> continues the genealogy of male narratives in Korean society that director Yoon Jong-bin has pursued for a long time. In <The Accidental Narco, Narco-Saints>, the main characters choose the path of the diaspora to escape Korean society and seek survival in a foreign country. The two male protagonists of <The Accidental Narco, Narco-Saints> are set up in a hostile relationship, but they have one thing in common: they basically pursue money to "survive". They chose the diaspora to avoid the tyranny of public power in Korean society in the 1980s and 1990s, but Republic of Suriname was the worst place where private violence and public power were completely callused. In there, one becomes a drug lord and the other chooses to act for his duty to Korea. These two different choices can be said to be examples of the light and shade of the diaspora. In <The Accidental Narco, Narco-Saints>, director Yoon Jong-bin inherited the themes of 'family' and 'violence' from previous works, while expanding the geographical area of Korean male narratives he had been exploring.
The aim of this study is to examine how heroic characters with supernatural powers are portrayed, and what shortcomings and desires are present in the societies they are born into, with reference to television series with superheroes such as , , and out of many motifs of Korean television fantasy series. The common feature of the superheroes represented in these three dramas is that they are viewed as monsters symbolizing vigilance and alienation instead of being regarded as typical heroes that are the object of praise and admiration. All three dramas criticize the corruption and limitations of bureaucratic powers such as the judiciary, prosecution, and police. The protagonists showcase their heroics by correcting such problems and helping the weak and the victimized by using their supernatural powers. At the same time, they broach uncomfortable topics, highlight truths that some may wish to hide, and also argue the concept of 'normality' and the 'world of naturalness'. For this reason, they are treated as monsters and alienated. Despite being called upon to solve the problems in reality, the deficiencies and contradictions of our society are also revealed by them. The idea of expressing the repressed desires in reality, is similar to the attributes of fantasy in that it criticizes and overthrows reality in order to meet the desires. This study verified not only the subversive characters of fantasy, but also the limitations when such attributes were combined with the characteristics of the medium of television shows. The significance of this study is to give attention to a genre that had previously been neglected by Korean productions but is now gaining traction, and also to suggest many tasks for researching more subdivided and diversified fantasy dramas in the future.
From oral literature to the online game, the narrative has been extended to be comprehensive of various temporal and meaningful facets. Antagonism between the desire and the obstacle propels the narrative story of the game and film. Essential to the concept of antagonism is the role of an antagonist with power to endanger the protagonist; the strength of that force grabs the spectator's interest. An antagonist becomes the obstacle that guards the distance between a protagonist's desire and ability to attain ti. Although an antagonist is the obstacle to overcome in a story, for ordinary people, the intense rivalry between the pro and antagonist offers an unlimited framework for the discussion of game with film narrative which create an interplay of desire and identification. In this paper, I am going to analyze the diverse aspects of the antagonist in the spectator's fantasy of the visual story such as film and multimedia.
This study presents an investigation into the Sahyang process and activities of the individuals whose Sahyang(receiving Gwanhyang from the king) was confirmed in the Shilrok documents of early Chosun among naturalized citizens(Hyanghwains). In early Chosun, there were four Chinese(Oh Jin, Lee Min-do, Dang Seong, and Mae Woo) in the Sahyang cases with more of those cases found among Hoigol-in(Seol Jang-soo, an Uighur) and Oioa-guk nationality(Lee Hyeon) from the countries bordering on Western China and two Japanese(Pyeong Sun and Pi Sang-ui). They were naturalized from the reign of King Chungryeol of Goryeo to the first year of King Jeongjong's reign of Chosun. They were diverse to include the great grandfather, grandfather, and father of the individual that received Gwanhyang and himself. There were one case of Sahyang during the reign of King Taejo, four during the reign of King Taejong, one during the reign of King Sejong, and three during the reign of King Sejo. The Gwanhyang they received was wide spread across the nation including Gyerim, Imju, Haeju, Sangju, Milyang, Chungju, Changwon, Dongrae, and Taean. It's very likely that the place of Sahyang was Cheohyang. Many of those who received Gwanhyang were translators and achieved great feats in Chosun's diplomacy with Ming Dynasty and Japan. There were also those who worked in medicine, art of divination, and articles of a criminal code. Seol Jang-su, who passed the state exam of Chosun, was in charge of Jigonggeo, and Lee Min-do and Dang Seong made a contribution to the establishment of Chosun and became big or small meritorious retainers at the founding of Chosun. It's all thanks to those performances that they had the honor of Sahyang of receiving Gwanhyang. Although they were the Gwanhyang with the honor of Sahyang, there is no confirmation of the descendents of the Lee family of Imju, the Pyeong family of Changwon, and the Pi family of Dongrae. While the descendents of the naturalized Chinese still remain in the nation, those of naturalized Japanese ceased to exist, which must be closely related to Chosun's perceptions of other nations those days.
Journal of Korea Entertainment Industry Association
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v.14
no.3
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pp.285-294
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2020
"The Man Standing Next" was a 'anger-character movie' that shows a fierce psychological game between the characters. Inspired by this point, it was analyzed the narrative structure of this film based on scene unit applying the 'Five-stage Anger Model' formulated by Lakoff and Kövecses and others. The results showed that the causality and feasibility of the protagonist's anger behavior were highly reflected above the model. In particular, among the five steps, the film-maker spent the longest time on 'anger control' justifying the hero's motivation for punishment or retaliation, while giving the shortest time to 'loss of control' to maximize the urgentness of the punitive actions. The detonator causing his anger at each stage was disposed two to six times each stage with neglect, contempt, arrogance, ostentation, mockery, unauthorized intervention, etc. Sneering of "Chief Security Officer" and insulting of "The President" make the protagonist feel the scorn of a terrible friend-murderer each functioned as a "rage trigger." In conclusion, the film follows the above sophisticated model in its narrative structure. Though it was a political drama that sets up a lot of anger scheme caused from public reasons, it reflects ordinary people's routine anger, which corresponds to 24 percent of the list of Nobaco's Provocation Inventory (PI). The producers elaborately reflected the anger procedure theory and balanced the public and private drivers of rage. It was considered to be derived from the intention to enhance communication with the audience increasing their understanding and aspiration for political movie that are usually heavy and unfamiliar.
This paper examines the persuasive style(論說類) proses of Myeonggog(明谷) Choi, seokjeong(崔錫鼎, 1646~1715). He is a disciple of Namguman(南九萬) and Parksechae(朴世采), and is a man who played an active part by political soron(少論) leader in the middle of the Joseon Dynasty. It is also a central figure that links the genealogy of the late Joseon Dynasty, which leads to Namguman(南九萬)-Choiseokjeong(崔錫鼎)-Chotaeeok(趙泰億). He wrote total 14 persuasive style prose. The time of creation is from around 1671 until the end of life. In this paper, the preoses to be analyzed are Sunukron(荀彧論), Bujadaegaron(夫子待賈論) and Muneongyebyeon(文言系辭辨). The reverse idea that reverses the existing discussion is outstanding, and the work which is unique in composition is Sunukron(荀彧論). Bujadaegaron(夫子待賈論) is a work that uses the ryubi(類比) to increase persuasiveness and converts the existing perspective. Muneongyebyeon(文言系辭辨) is a work that attempted to harmonize in the formality of vocabulary, sentence and composition while showing the logical perfection to dismiss the counter-argument's prerequisite. For example, Muneongyebyeon(文言系辭辨) consists of a total of five paragraphs in aspect of composition, each paragraph arranged in good order. In addition, this work presented sequential arguments, used the incremental method which emphasizes the importance of arguments as it moves backward.
In the past, 'Samcheong-Dong'(三淸洞) was the most beautiful place in Seoul. So this place appealed to everyone. Regardless of their position, people of all age and both sexes wanted to go Samcheong-Dong. And in Samcheong-Dong, the temple of Taoism(道敎) that named Sokeokseou(昭格署) hold ritual to Heaven. Many poets wrote poem about this temple. As a result, Samcheong-Dong has the aura of the sacred mood. Because of the breathtaking landscapes, many people meet in Samcheong-Dong, and hold the poetry club. Not only the upper ten, but also the middle class people composed poems and published many books of poem. The image of Samcheng-Dong that our contemporaries must remember is the next three distinctive qualities. In the first, the Korean unique temple of Taoism was located in Samcheong-Dong. Secondly, the house of royal family and the upper ten was adjacent to Samcheong-Dong, so this place has the aura of high culture. Thirdly, many poem was created in Samcheong-Dong, so this place leave a masterpiece of middle class that will go down in literary history.
Recently, 『Gyeongja(庚子)/Daetongryeok(大統曆)』(1600), a memorandum record of Yu Seong-ryong during the reign of King Seonjo(宣祖) of the Joseon Dynasty, was returned to Korea from Japan, and about 4,000 letters in cursive characters have been interpreted by Ro Seung-suk. The contents for 203 days written in the margin of 『Gyeongja(庚子)/Daetongryeok(大統曆)』 are mostly new, and are meaningful in understanding Yu's life and social association circumstances. There are daily routines of each day, contemporary figures, diseases and oriental medicine prescriptions. In particular, the combat record of Admiral Yi Sun-shin in 83 letters on the cover is very important to understand the situation in those days. It seems that the reason for writing the combat situations a year and a few months after Admiral Yi died in war was to honor his distinguished military service for a long time by King Seonjo's order according to the public opinion of the royal court. The record can be classified into two categories. First, Admiral Yi sighed when he heard about Yu's dismissal from the office in Gogeumdo, and was always alert with clear water on the boat after the Battle of Waekyo Castle. Second, he was killed by bullets shot by the enemy while directly encouraging battle, not listening to his men who tried to dissuade him from leading the naval battle at Noryang. This only contained contents of devoting his life desperately, which is an important proof of the theory of his death in war. It also contains nine methods for making liquor and another method that wasn't known to the public, and seems to include popular alcohol brewing methods or newly devised ones. In addition, there is a detail that Heo Jun, the author of 『Donguibogam』, introduced medicine to Yu, along with being unable to attend ancestral rites and relieving the poor written in red. There are also stories about Kang Hang(姜沆) returning to Korea after being captured by Japan and Lee Deok-hong(李德弘)'s son, who introduced Gugapseondo(龜甲船圖, the first picture of the Turtle Ship in Korea) to King Seonjo. In the light of the above, 『Gyeongja(庚子)/Daetongryeok(大統曆)』is an important historical record to empirically research not only figures related to Yu but also the circumstances of those days since it contains new facts that are not in the existing literature. In particular, the big accomplishment of this study is to correct the mistakenly known theory of Admiral Yi's suicide and to find out the new fact that Heo Jun provided medical information. In this respect, this book is expected to serve as a testament to the future study of the history and characters related to Yu in the mid-Joseon period.
This study focuses on Korea films of historical communication. Narrative analysis was conducted on the films in 2000s including , and <26 Years> that mainly have dealt with the 'Gwangju Democratization Movement'. As a result of the syntagmatic analysis, these films try to stabilize 'social imbalances' in the aspect of individuals and conceals issues of social structure. In addition, the result of paradigmatic analysis reveals that textual factors of 'active involvement of female characters', 'continuity of history through the survivors' demonstrate its strategies to publicize the historical truth. Consequently these films show its limitations that weakens historical meaning by placing unsolved problems of social structure as well as the love story. But rather than describing it as a history of the past, these films act as a catalyst to bring thins specific historical issue to our present lives and publicize it as a current issue. Therefore, the historical film not only allows current generation to remind to history but also to provide an opportunity to publicize the important issues of social structure in the present society.
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