• Journal of Popular Narrative
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• v.25 no.1
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• pp.9-54
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• 2019

Since the birth of melodrama in the early Enlightenment era, it has flowed through various cultures and media. In order to grasp the principle of differentiation of melodrama and the direction of its change, a developmental approach to the formation process of melodrama is necessary. In this regard, this paper examines the formation process of modern melodrama and its aesthetic features around the time of the French Revolution. The modern melodrama was formed in the period between the end of the 18th century and the start of the 19th century. It was born at the intersectional point of the contradictions of the modern imagination and the political paradox of the French Revolution, which demanded an autonomous citizenship but did not recognize a woman as a citizen. The aesthetic of women's sacrifice and tears reproduced in the modern melodrama is a political aspiration to restore a corrupt society by glamorizing a woman as a moral icon. This was an icon to save a society under divide and crisis and a coordination of emotions to conceal sexist violence in the politics of the exclusion of women. The aesthetic of women's sacrifice and tears reproduced in modern melodrama has consistently been considered under negative evaluation such as a play of moral hypocrisy and vulgar drama. However, the academic interest in melodrama in the 1970s has been amplified due to the "Sirk-melo" which is a transition to the new aesthetic of women's sacrifice and tears, encompassing not only women, but also races and classes. In modern society, entering the era of uncertainty, where various social problems, national disasters, and global disasters have become commonplace, 'the aesthetic of women's sacrifice and tears' are shifting from gender differences to various victim narratives. Reviewing new theoretical trends and changes of recent melodrama as well as analyzing specific works are left as follow-up tasks.Since the birth of the melodrama in the early Enlightenment era, it has flowed through various cultures and media. In order to grasp the principle of differentiation of melodrama and the direction of its change, a developmental approach to the formation process of melodrama is basically necessary. In this regard, this paper examines the formation process of modern melodrama and its aesthetic features around the time of the French Revolution.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.263-267
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• 2020

In the Japanese colonial period of Korean history, appropriate conclusion often overwhelmed the historical imagination, and also pointed out that it shows a similar pattern in spite of the history detective novel genre that emerged with pointing out the limitations of modern history. Historical facts showing in , the legitimacy of independence based on nationalism, and modern civilization are well known in the historical and cultural contents of the Japanese colonial period. It is the reason why applied in historical and cultural contents, as the history as is for current desire of the public to the imaginary community(nation), and as the history which current social conflicts are reflected. History, historical facts and fiction are intermingled in the contents of history, and it is creating a new 'historical imagination'. As a matter of fact, there is only one fact of the past, but the historical imagination of historical and cultural contents is diverse as there is not one historical fact made by historians. History has not yet gone to the imagination for the future, but writing history through historical and cultural contents will create a 'history of possibilities'.

• The Journal of the Korea Contents Association
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• v.17 no.11
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• pp.501-514
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• 2017

The 1920s 'cinema-novel' is composed of various media effects based on cinematic imagination, and it is designed to constantly evoke the image of the film during the reading process. This article focuses on 'cinema-novel' as an example of an unprecedented genre experiment. It is because the process of formation and development of this unique genre is filled with contemporary characteristics of the 1920s art that strived to create a content suitable for the modern art medium.

• Cartoon and Animation Studies
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• s.49
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• pp.267-297
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• 2017

This paper attempts a close-reading of Michel Ocelot's short animation film, (1979), and proposes it as an available text in art appreciation class for young students. stimulates the students' attention and intellectual curiosity thanks to the exotic and fantastic atmosphere, beautiful mise en scene, and intriguing plot. Ocelot's technique of decoupage used in this film rejuvenates both the traditional folk art and Lotte Reiniger's early experiments in the history of animation film. Ocelot subverts the ideal of modern male adult subject as unique possessor of scientific knowledge and technology, by adopting a female figure and a young child, who is also female, as main characters. The imaginative and subversive power of animation contributes to creating posthuman beings beyond the homocentric figure of Vitruvian Man. The posthuman condition supposes that human beings have the equal relationship of continuum with not only other humans but also non-human beings like all living things and inanimate matters. In order to teach and learn the posthuman condition, it is necessary to conceive an interdisciplinary and integrated curriculum including art, science, philosophy, history, and social sciences. Animation film serves excellently as educational text for the integrated curriculum of the posthuman.

• Cross-Cultural Studies
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• v.50
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• pp.77-101
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• 2018

Even in our modern era, the projection of monsters in the recent literature contains the critical imagination of human existence for the posthuman age. The meaning of the monster-abject, especially as from the perspective of feministic criticism, contains criticism of the violent and oppressive patriarch as observed in the modern times. This article focuses on the gendered imagination of the discussions of the "abject" discussed by Julia Kristeva, and the "monstrous femine" discussed by Barbara Creed. Kim Eon-Hee's poems and Han Kang's novels, which have been examined extensively for analysis, show that the practical strategy of abject that goes beyond hate and sublime, wonder and joy through the imagination and concepts of monsters. The monster-abject strategy of Kim Eon-Hee's poem can be summarized by the narrative method of mirroring and the imagination of the truncated body. Mirroring falsification, which mimics the male speaker, is a method that some feminists strategically utilize in relation to the problem of female aversion in recent years as noted in the literature. In Kim Eon-Hee's poem, "becoming a man" and "imitating a man," through the method of mirroring appear as an image of cutting to dismantle the body. In that way, the narrative strategy of the abject that draws out abominations and bizarre effects which contains a strong critique of the patriarchal dominant ideology. The monster-abject strategy of Han-Kang's novel is embodied through the being of plants and the process of vegetarian-anorexia process. The world of the adject which was oppressed in the Han-Kang's novel, returns to the senses of the body through the symbol of the body. It is noted that the fictional characters who realize the repressed desire through the pathological symptom expressed by the female, go on to body perform active transformation. The sense of a body in a novel is not only a rejection of the world of animalman-civilization, but also a radically questioning of the noted and recognized boundaries between human beings and non-human being entities. The two writer's works show that the imagination of the monster-adject is not limited to rejecting the existing gender categories, but also goes in the direction of exploring the possibilities of various associated gender actions.

• The Journal of Engineering Research
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• v.2 no.1
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• pp.183-193
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• 1997

The pupose of thesis is to analyze the architectural characteristics of Mies's Barcelona Pavilion. I analyzed the site, space, form, structure, aesthetic elements, compared it with two other buildings by him, and studied the evaluation and interpretation about the building. I cocluded that all of the modern architectural elements were fused in the crucible of Mies's imagination to produce an original work of art.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.103-141
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• 2019

The purpose of this paper is to examine the logic of choice, transformation, and exclusion in The Song of sword, comparing it with the historical records. This paper explains how a novel is 'produced'. Through this, it searches for the aspects in which The Song of sword changed into 'a narrative revealing the disillusionment of the novel's subject with the world'. In the logic of choice, it explores which time and space were chosen in the novel, and which character was chosen to prepare the content and formal framework of the novel. In the logic of transformation, it is confirmed that the meaning of 'individual' is highlighted in the novel, unlike the historical records, by transforming both the character of the enemy and the meaning of war. In the logic of exclusion, it studies the characteristics of the modern (novel's) subject in the novel by excluding the characteristics of the historical subject that existed in a particular time and space. This paper differs from previous studies in that it examines the way in which a novel is produced by comparing and analyzing The Song of sword based on the historical records. Through these analyses, we can see the unity of various heterogeneous elements, such as the historical reality, the writer's ideology and imagination, and the desire of the contemporary in the form of a novel. Also, by examining the elements of text that can not be sutured into a complete form, we can see the meaning of the novel's text as an unstable system.

• (The)Study of the Eastern Classic
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• no.56
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• pp.267-295
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• 2014

The purpose of this paper was to introduce the material status of women's epistolary literature published in modern study materials for writing letters in Chinese in 1920~30s and analyze gender consciousness shown in them. To this end, five kinds of representative modern study materials for writing letters in Chinese in 1920~30s were selected and 55 women's letters published in them were summarized. Through this, it was pointed out that the subjects of women's epistolary literature are mainly 'males' of families and the form of 'reply.' This implies that the authors of modern study materials for writing letters in Chinese recognized women's Chinese letters as a secondary means to prepare for inevitable communication with men rather than the leading medium of communication. The first aspect of gender consciousness shown in women's epistolary in modern study materials for writing letters in Chinese is to reaffirm the traditional gender order by calling and resetting women as the position and role in the family. The second aspect of gender consciousness is that female education materials which seemed to reflect the modern gender order are actually mentioned under the very skeptical view. The third characteristic aspect of gender consciousness is that the motif of 'discipline about economic activity' is only noticeable in women's epistolary published in modern study materials for writing letters. This setting was regarded as a means that the authors of modern study materials for writing letters in Chinese transferred the responsibilities of maintaining livelihood and managing household to women. Women's epistolary in modern study materials for writing letters in Chinese is the material which is noticeable in terms of showing the possibility of female Chinese Writing in modern times but according to the analysis of this paper, it is the text showing female form and women's writing judged within thoroughly male-centered imagination. That is, women's epistle text has a significance that allows us to read conservative reentry of modern study materials for writing letters in Chinese more clearly.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.33-69
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• 2019

This thesis aims to reveal the meanings of SF as a genre in Korea. Most of the studies on the characteristics of SF novels in Korea have revealed the meanings of characteristic elements of SF, or peripherally reviewed the characteristics of works. However, these methodologies have a limitation, such as analysis through the existing methodologies, while overlooking the identity of SF texts with the characteristics as a genre. To clearly define the value of texts in the SF genre, an understanding of the customs and codes of the genre is first needed. Thus, this thesis aims to generally handle matters like the historical context in which Korean SF was accepted by Korean society, and the meanings and characteristics when they were created and built up relationships with readers. In addition to fully investigating SF as a popular narrative & genre narrative that has not been fully handled by academic discourses, this thesis aims to practically reconsider the present/future possibilities of SF, which is currently being reconsidered given that the scientific imagination is regarded as important in the 21^st century. This thesis considers the basic signification of Korean SF texts in academic discourses. Through this work, numerous Korean SF that have not been fully handled in the area of literature and cultural phenomena will be evaluated for their significance within the academic discourses, and also reviewed through diverse research afterwards. As a result, this work will be helpful for the development of discourse and the expansion of the Korean narrative area that has been diversely changed since the 21^st century.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.191-219
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• 2020

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.