• Iberoamérica
• /
• v.21 no.2
• /
• pp.53-81
• /
• 2019

Generally, the image of Colombia is constituted as a dangerous country in war against guerrillas and with greater cocaine production. The massacre of Bojayá, taken to the theater work Kilele by Felipe Vergara which forms the object of analysis of this paper, was an event that has most affected the sensitivity of Colombia in the first decade of the 21st century due to the absurdity of its occurrence and the magnitude. The work Kilele not only represents the social drama of Bojayá as a bitter and nightmare past, but breaks the veil of death and communicate with the souls that, according to their beliefs, still hang in limbo. The main goal of this act is to go to reintegration of fractured society, celebrating a funeral rite worthy of the deads that wander various spaces of limbo. This article analyzes the epic structure in Kilele, rituals related to the African spirituality, and the fragmentary structure of the work. Finally this paper intends to reveal how it helped to recover from the trauma of the massacre.

• Cartoon and Animation Studies
• /
• s.24
• /
• pp.25-48
• /
• 2011

The fantastic has had various semantic layers between 'the Marvelous' and 'the Uncanny', these has been assorted by historical and synchronic aspects. The Marvelous has been harmonious and abundant world of fantasy which includes metaphysical system and all tradition of magical fence. The Uncanny has been a subversive fantasy world which shows absurdity and negative truths of this very world by modern consciousness. In comics, because of the media features, it is more useful the fantastic than the realistic. However, the relationship about comic and fantasy has rarely discussed in detail. So we has wanted to understand the specificities of affiliation with the Marvelous and with the Uncanny. Then it has been necessary to check the works of You, Sijin the comic book writer, for we ought to know how the affiliations with fantasy could influence each works' styles, and themes. You, Sijin started her works with sensibility of uncanny, but she tried to develop the theme "uptight" and devoted to establish "the Secondary World" stably. However, at Shin Meoung Ki(神明記) fantasy world overwhelmed the theme. After that, in The Closer and On, she crashed down the uptight feeing and made new self-consciousness by mixed fantasy style. The Closer and On has been the turning point of writer You, Sijin. Since than her works has showed a propensity for the Uncanny.

• Cartoon and Animation Studies
• /
• s.38
• /
• pp.115-132
• /
• 2015

An animation is a tool to represent the consciousness of an author. It is a medium that converts his/her consciousness to time by the means of spaces. Image is the most inherent element among the elements of an animation. Character is the element that has the very core function among the elements of an image because a character is a shape that can deliver a story through various actions and facial expressions. In this context, is a representative satire animation that describes a ranked and unequal human society and selfishness and absurdity of human beings existed in the human society, based on the original work of George Orwell. Therefore, this study aims to study what the work tries to satirize through the meanings and symbols that the characters, animals, and spaces in the work. As a result of the study, it was found that the characters appeared in the work are metaphoric symbols that imply the meanings of each character, not just simple characters or spaces. In the work, the farm is a symbolic space that symbolizes a human world. John, a human being, is described as a dictator in an absolute Russian monarchy who suppresses people. Old Major, a pig, is described as an old pioneer that preaches the appropriation of a revolution while Snow Ball, a pig that follows the Major is described as a naive leader that dreams to establish a real socialist state where everybody lives equal, through successful revolution. Another pig, Napoleon is described as the more greedy dictator than human being. He killed Snow Ball for his private ambition and suppresses and exploits the same race, animals. That is, setting man and various animals in the relation of dominant class and subordinated class, the author generates conflicts among characters. Although the characters pursue an ideal society through revolution, it requires another revolution in the process, which expresses repetitive contradiction of human history in a symbolic and strong way.

• Journal of Popular Narrative
• /
• v.25 no.4
• /
• pp.73-108
• /
• 2019

This paper is an attempt to discuss the history and the current state of 'SF theaters.' SF theater is still an unfamiliar genre to the public, and may surprise some, given that the stage is perceived as an insufficient space for stretching the scientific imagination. Since 2010 works that bring the scientific imagination into the theater have frequently been performed, and a recognition of SF theaters began to be established. Producers came to be absorbed in human psychology, and our isolation amidst the progress in technology, as well as in the absurdities of the world, while giving up the ideal of realistic descriptions. This became the foundation for SF theaters in South Korea today. Starting from the research history and the conceptual change in SF theaters, this study examined the status of SF dramas going back to the colonial period for SF theaters. Through inquiring into the history of SF theaters, we were able to derive the following implications and problems. Firstly, as they are based on future society or technical improvement without consideration of scientific probability or rationality, the scientific imagination is too absent for the work to be named 'SF theater.' Secondly, while being highly evaluated as an attempt to integrate science and stage in an era that emphasizes convergence, when we delve into the creativity of a material it is noticeable that the view of the world is still regressive. Thirdly, there are many cases in which scripts lean on SF classics or Japanese original works. Nevertheless, if young creators' diverse attempts in a genre can breathe with the contemporary audience desiring a new material, the foundation of a Korean-style SF theater may be expanded to include more significant work.

• Korean journal of communication and information
• /
• v.78
• /
• pp.206-242
• /
• 2016

This study dealt with the U.S. government's book translation project as a part of its public diplomacy to gain the Korean people's 'minds and thoughts' in the midst of cultural Cold War from the end of World War II to the late 1950s. It was found that the U.S. book translation project was begun during the U.S. military occupation of South Korea, though with minimum efforts, and reached its peak in the late 1950s, In general, the purposes of the U.S. book translation project in South Korea was as follows: to emphasize the supremacy of American political and economic systems; to criticize the irrationality of communism and conflicts in the communist societies; to increase the Korean people's understanding of the U.S. foreign policies; to publicize the achievement of the U.S. people in the areas of arts, literature, and sciences. In the selection of books for translation, any ones were excluded which might contradict to U.S. foreign policy or impair U.S. images abroad. It must be noted that publications of a few Korean writers' books were supported by the project, if they were thought to be in service for its purposes. Even some Japanese books, which were produced by the U.S. book translation project in Japan, were utilized for the best effects of the project in South Korea. It may be conceded that the U.S. book translation project contributed a little bit to the compensation for the dearth of knowledge and information in South Korea at that time. However, the project may have distorted the Korean people's perspectives toward the U.S. and world, owing to the book selection in accordance with the U.S. government's policy guidance.

• Journal of Korean Philosophical Society
• /
• v.123
• /
• pp.309-346
• /
• 2012

The trust toward the researchers and their study activities in society has faltered, in the wake of the paper fabrication event of researcher, Hwang Woo-Suk's doctor research team. After the event, researcher community and scientific community have experienced many changes through the self-reflection or the process of insight meditation. Until now, we have experienced that when researcher community leads the way to try to show their efforts to eliminate the raised doubts throughly, the public support toward researcher community and the trust in its study activity have not faltered. Nevertheless, the path for the researchers to go is still far and rough because the opposite cases coping with research misconducts passively are much more. Therefore It's urgent that misconducts in the research and learning should be avoided from unnecessary overinterpretation. To practice it, above all it's important how well researcher or learner should be equipped with a system where decision is made autonomously and reasonably, regardless of the interests from all fields including politic, economic and social etc. It's also required that their systems should be meticulous enough to prevent such irrationality in advance before the misconduct instances are depreciated. In this context, I will investigate the reason why research and development on norms in research ethics and learning ethics is meaningful, not in a posteriori but a priori dimension, as the way to have researcher and learner prepare autonomous self-purification systems. It's essential that for the progress of an obvious argument, first, what research ethics and learning ethics are should be established and defined distinctly(2). Then in the process, it is also examined why research ethics and learning ethics need norms(3). Subsequently I will conclude the paper, arguing the reason why research ethics and learning ethics should be justified(4), if the norms in research ethics and learning ethics can be formulated(5).

• Cross-Cultural Studies
• /
• v.50
• /
• pp.53-75
• /
• 2018

It is commonly emphasized that the metaphor of the monster is a rhetoric universally used to identify the "main enemy" of a society, for its effective function is seen as useful for the uniting of citizens to bend together to survive or succeed before the external threat. The problem of this metaphor is that it homogenizes and dehumanizes the heterogeneous individual members of the subsequently identified enemy group. This study emphasizes the importance of some traits of the posthuman subject, such as the flexibility and the multiplicity of consciousness, to overcome the otherizing binary perspective which is commonly held regarding the concepts of good and evil. To observe specific dimensions of the posthuman consciousness, we analyze three films based on Spanish history and reality: The Spirit of the Beehive, The Day of the Beast and Pan's Labyrinth. All of these films progress around the figure of the enemy-monster(s), showing how to transgress the dichotomous structure of consciousness that defines the self/good dividing it from the other/evil. The heroes in the films seek to overcome the fear about the monster, and approach him to discover new ethical horizons, that can emerge only when an individual's consciousness chooses to stay on the border between the established beliefs and the unfamiliar voice of the dangerous stranger(s).

• Journal of Popular Narrative
• /
• v.25 no.1
• /
• pp.315-347
• /
• 2019

(1986) and (1987) represent the society of 1980s in which the professional baseball game was initiated to cover the irrational military culture. The love and marriage of sports players were the headlines of the media, and the yearly salary of the players was the hottest issue of conversation. The military culture is represented in the scenes where the coaches train the failures and inapt players in extreme drills. The films pinpoint the absurdity of military culture and win-at-all-costs mentality. The collapse of the dictatorial leadership at the end of the films is a metaphor for the collapse of the fifth Republic of Korea. The episodes where the players talk about contract money, and the trade of players and sports business were a new phenomenon of the 1980's. The fact that Oh Hyesung of chooses love instead of victory deals a big blow to the secular ambition for money, victory and dictatorial leadership. His option provides catharsis for an audience oppressed under military leadership and success driven ideology. On the other hand, Oh Hyesung of dies right at the moment of winning the world champion. He achieves neither love nor success. While Oh Hyesung of is a symbol of pure love and gives spiritual comfort to the audience, Oh Hyesung of gives a sense of hopelessness to the audience. Both of the two sports films reflect the representation of the 1980's but received opposing reviews from audiences.

• The Journal of Korean Philosophical History
• /
• no.23
• /
• pp.155-180
• /
• 2008

Suam(遂庵) Kwon Sang-Ha(權尙夏) was a very important character in the late Chosoen Dynasty. He was a representative of the academic circles(school of Uam) and political circles(Nolon; 老論) after Uam(尤庵) Song Si-Yeol(宋時烈, 1607-1689). He represented learning and thought and undertaking of his academic circles and political circles, and handed down to his pupils. He thought his mission was "lighting the laws of heaven and aligning the human mind," "stopping the heretical study and repulsing uncivilization", to reform good virtues of humanity and justice. Kwon Sang-Ha was a successor of Song Si-Yeol, He succeeded learning and thought of his teacher and practiced "Upright"(直) and the Thought of ChunChu(春秋). He emphasized "Upright" as a fundamental principle, like his teacher. He thought ChuHsi(朱熹, 1130-1200) was the master who had inherited the spirit of Confucianism and Chosoen was the only country to successfully inherit this spirit of Confucianism. He declared any study counter to the study of ChuHsi as a rebellious pursuit. Therefore he rejected all other studies. He tried to "stop the heretical 'ism' and repulse uncivilization" and present this ideology as 'the Right way of Human Society(世道)'. He made efforts to reorganize books of ChuHsi to make perfect Book of righteousness with Song Si-Yeol. And he established Hwayang shrine, MandongMyo(萬東廟), Deabodan(大報壇) etc, in memory of fidelity and large rightness. Kwon Sang-Ha did these undertaking to establish 'Public morals and the Right way of Human Society(世道)' with self-confidence. In Dispute on the nature of man and animal(人物性同異論), he gives his approval to Han Won-Jin's opinion. Han Won-Jin's opinion was "the nature of man and animal is Different"(人物性異論). Whenever serious political accidents occurred, he took the lead to protect his teacher, Song Si-Yeol. The reason he did this was not because of his personal feelings for his teacher, but because of promoting 'Public morals(世道)' and 'Confucianism.' Kwon Sang-Ha regarded Mind control Law of "Upright" and the thought of ChunChu as his moralities, and was concerned about real politics and opposed social irregularities. Kwon Sang-Ha succeeded Song Si-Yeol's thought of "Upright" and volition of making an inroad on the Chung(淸), and gave to his political circles(Nolon; 老論) as a law of mind and mission.

• (The)Study of the Eastern Classic
• /
• no.69
• /
• pp.179-204
• /
• 2017

Hojil(虎叱) and Yangbanjeon(兩班傳) reveal the characteristic styles of Park Jiwon(朴趾源)'s writing, which is combining styles of unofficial history/biography(外傳) and allegory(寓言), and full of the senses of satire and humour which form another characteristc of his writing style or tone. This paper reexamines narrative styles, meaning structures and themes of these two works which combine the styles of unofficial history/biography and allegory, and researches methods and techniques of allegory and satire which presents the subversive and critical themes and thoughts of the author. In Hojil, combining of the two styles, the author constructs the narrative world and plot, manipulates allegoric figures to symbolize and present multilayered meaning, and criticize the decadence of confucian aristocracy [Sadaebu: 士大夫] and it's abuses. In Yangbanjeon by combining of two styles, the author weave a biography of Yangban(兩班) in general, which presents the attributes and historical position of the Yangban class. And by the nonsensical fictional event which caricatures crisis of the Yangban class, and tedious description of the manners and behaviors of the Yangban, the author and satires the snobbery of the Yangban and the absurdity of their classical privileges. As he did in Hojil, the author urges the self-examination of the reader raising a question about the position and the function or duty of the Yangban class in the changing world. And the various skills of satire together with the irony, paradox, parody and pun were used dexterously in above two works.