• Journal of Popular Narrative
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• v.25 no.3
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• pp.67-99
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• 2019

This paper analyzed romance novels imported into Korea in the 1980s and examined the traits of Korean girls' culture at that time. To this end, This paper chose as subjects the series of 'high-teen romance' published by Samjungdang, 'princess bestseller' by Seoul Publishing and the 'silhouette romance' by Joongang Ilbo in the 1980s. Through the aspects of the paperback romances, the traits of the artist, the content of the work, and the response of the reader, this paper analyzed the position and affection of romance as a genre in Korean culture in the 1980s. In the 1980s, most of the paperback romances available in Korea were translations of the modern and progressive present lines of Harlequin Enterprise's category romance. There were also many writers who were mostly introduced with progressive characters like Charlotte Lamb. The Harlequin romance depicts a story of sensual love. These translated 1980s paperback romance novels allowed girls in Korea to freely imagine the problems of sex and love. In particular, it showed a new perspective on women's sexuality. In Korean love novels, the sexuality of women was treated as an object for the gaze of men. The novels of female writers as college student who criticized this dealt with women's sexuality, but focused on criticism and resistance to the ideology of chastity. The paperback romance made it possible for women to freely enjoy their sexuality by escaping the ethical standards of reality. In addition, the paperback romance was an escape from the frustration of love. Romantic love in Korean love novels did not lead to the unification of mind and body, and always ended in tragedy. On the contrary, the paperback romance started with the fear of the girl who felt love for the first time, showed the process of winning over anxiety, confirming love and reaching a happy marriage. Through this, girls understood general love that was not subordinated to the ideology of chastity, and accepted love positively. The process of establishing romance as a genre in Korean culture and the traits of its readers have not yet been sufficiently clarified yet. This paper compared the romance genre with the other love novels of the day, explaining the position and meaning of the romance genre in Korean culture in the 1980s. Through this, we were able to chart the historical development of the Korean romance genre.

• (The)Study of the Eastern Classic
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• no.71
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• pp.9-39
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• 2018

We considered the historical significance and the individual aspects of heroes that are reflected in the historical differences between men and women expressed in the old tales. To achieve this purpose, the paper selects , , , , and as text. Their characters were then catalogued into cultural heroes-Choi ChI-won, popular heroes-Jeon Woo-chI, family heroes-Chung So-jeo, pro-Japanese enlightenment hero-Ilneyomhong and Lee Hyung-kyung. He also tried to achieve his goal by describing the historical significance of the hero's type. China and Joseon were at odds with each other, so their relationship was uncomfortable. It is at the forefront of that concerns this issue. As he was a great writer of Silla, he was able to play a leading role with Chinese writers. We needed Choi ChI-won, a cultural hero, to express our pride that Joseon has a superior culture than China. Joseon was a Confucian society with a strong anti-semitic system. Accordingly, the people were persecuted by the aristocrats for all their centers, and this required a folk hero. He is the leader of the war. Jeon Woo-chI is a real folk hero who solves the people's grudge and wishes through doctoring. As women go back to the late Joseon Dynasty, they change the way women treat men after experiencing war. For this reason, there are novels about female heroes such as <江都夢遊錄>, <朴氏傳>, and <李學士傳>. I think the writer given hope to women who are upset by incompetent men even in their work at the time. Jeongsojeo is a leading hero in the family who is more active than the female lead who is faithful to old wives, but is responsible for helping her husband. Joseon goes through the 淸日 and 露日 wars and is at the center of Japan's prosperity. Japan is the Japan-Korea Treaty of 1905 after the Japanese Resident-General of Korea after heavy emphasis put on with the politics. At this time, he published pro-Japanese newspapers and published pro-Japanese novels to highlight pro-Japanese collaborators. It is Ilneyomhong and Yeoyongwoong.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.1-37
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• 2020

In this paper, we investigated the principle of appropriation by which mythology and literature were accepted in the unique religious context of The Canonical Scripture (Jeongyeong 典經). First, we knew that almost all of the gods that appeared in the discourse of Kang Jeungsan (姜甑山) were related to Eastern Yi (東夷) mythology and deeply rooted in folklore. This is because the cultural tendency and historic consciousness of Kang Jeungsan was influenced by Danhakpa (the Danhak School 丹學派). Secondly, when we investigated the acceptance of literature into The Canonical Scripture, we discovered that Tang Poetry (唐詩), Romance of the Three Kingdoms (Sanguoyanyi 三國演義), and Journey to the West (Xiyouji 西遊記) were widely accepted in Kang Jeungsan's discourse. These works were used in diverse ways such as predictions, healing, and meditation. We knew that popular classical work like these were religiously appropriated in the context of The Canonical Scripture. Lastly, we investigated the mechanisms by which mythical and literary imagination was transformed into the Jeungsanist religious movements. Those mechanisms included the magical power of letter and images, sense-cognition of poetry, and the representational ability of mimesis. In conclusion, mythical and literary imagination helped Jeungsanist religious movements gain popularity and spread Kang Jeungsan's soteriology. This is especially true of how it transformed into unique religious techniques which functioned as key elements of the Reordering Works (公事).

• Journal of Popular Narrative
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• v.25 no.4
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• pp.397-428
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• 2019

Fantasy emerges from the cracks and crevices of rational reality. Italo Calvino says, "Fantasy is possible when the reader stays at a certain distance without falling into the text." Fantasy does not form farthest from reality. It comes from the confusion between reality and fiction. In short, fantasy does not exist on the contrary of reality, but on the boundary of reality. Reality and fantasy are also structurally intertwined. We can't distinguish the reality from fantasy clearly. In fact, in this case, the reader or audience is confused about whether what I see is real or not. Todorov calls this case "hesitation." Hesitation is a key element of fantasy. Two texts that expressed "hesitation" are Kim Young-ha's short novel Vampire (1997) and Wes Anderson's film The Grand Budapest Hotel (2014). On the surface, these two texts seem to have nothing to do with narrative structural similarities. And both also arouse readers' and audiences' interest by letting confuse reality to fantasy. In Kim Young-ha's Vampire, we can look at the process of confusion of reality called "narrative infection" when a text is read to the reader. In the movie The Grand Budapest Hotel, we can find a strategy to make an unreal story feel like a fact in history. And we can also find a process in which the success stories of alienated characters become reality through 'solidarity' in the film. This paper is a study of how fantasy creates "reality", makes readers feel fantasy, and how it spreads through these two texts.

• Journal of the Korean Society of Costume
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• v.38
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• pp.123-142
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• 1998

본 논문에서 패션 디자인(fashion design)을 평가하는데 있어서 새로운 방법론적 접근 방식을 제시해 보려하였다. 즉 패션 디자이너의 디자인에 대한 철학을 이해함으로서 패션에 대한 근복적인 면에 대해 보다 나은 이해를 갖도록 하는 접근 방식을 모색하려는 것이다. 본 논문의 분석대상은 디자이너 루디 건라이(Rudi Gernreich : 1922-1985)와 그의 작품들인데, 그의 작품들에 나타나는 급진적인 성향 뒤에 숨어 있는 그의 디자인 철학을 집중적으로 분석함으로써 작품과 철학의 상관관계를 조명하려는 것이 그 주된 목적이다. 기존의 그에 대한 평가는‘파격적 패션’,‘소설 스테이트먼트(Social Statement)’,또는‘시각적 창출’등의 표현으로 극히 피상적인 것이었다. 반면에 그가 어떠한 경로로 이러한 디자인을 구상하게 되었는지 또는 그가 현대의상에 얼마만큼의 영향을 미쳤는지에 대한 연구는 극히 소수에 불과하였다. 본 논문의 초점은 건라이의 패션 디자인을 그가 중요한 가치로 믿고 있었던‘개인적 자유에 대한 추구’의 반영으로써 재 평가해 보려는 것이다. 이것의 입증을 위해서 그의 디자인들을 역사적, 사회적 그리고 미학적인 관점에서 분석하였다. 먼저 그의 디자인 철학을 도출하기 위해 그의 개인적 배경에 대한 상세한 검토를 하였고, 그의 디자인과 관련된 자료와, 현존하는 작품들과 그에 따른 참고문헌들에 대한 분석 조사 작업을 하였다. 이 작업을 통해 필자는 건라이의 작품들을 세 개의 주된 주제들, 즉,‘부분적 누디즘(Partial Nudism)’,‘유니섹스 모드(Unisexs Mode)’, 그리고‘옵 아트 패션(Op-art Fashion)’으로 구분하였다.‘부분적 누디즘(Partial Nudism)’과‘유니섹스 모드(Unisex Mode)’는 60년대 중반에서 70ssu대 초반에 출현한 유스 컬츄어(Youth Culture)에 부합하는 그이 디자인의 반영으로써 성의 혁명, 여성 인권운동과 동성애자 인권 운동과 같은 사회이슈들과 그의 디자인이 갖는 상관관계를 보여주는 것이다.‘옵-아트 패션(Op-art fashion)’은 건라이 디자인의 미학적 요소에 초점을 맞추고 있다. 그의 작품에 나타나는 인체와 옵-아트 원리의 관계를 조명해 보고, 건라이가 옵-아트와의 연계하에 그의 디자인을 어느만큼 예술적으로 승화시켰는지를 보여주고 있다. 각 주체들은 건라이 작품들의 개별적인 분석을 통해 논하였다. 본 논문은 보다 넓은 관점에서의 건라이의 디자인에 대한 재 평가로 결론을 지었다. 이러한 재평가 작업을 통해 패션 디자인계에 미친 그의 공헌의 역사적 중요성을 강조하고 현대 패션에 그의 영향이 계속 미치고 있는 이유를 설명하려 하였다.

• Cross-Cultural Studies
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• v.26
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• pp.445-463
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• 2012

Beltenebros is Antonio Mu?oz Molina's third novel. Its plot originates in a criminal act. Darman, the main character, arrives in Madrid to kill a traitor of the undercover organization to which he himself belongs. Treason is paid with death and Darman is in charge of the executions. The intricate story of espionage and intrigue is absorbing. Unlike other novels of the genre, in Beltenebros we can witness a unique psychological development of the main character. In his fiftieth anniversary, Darman becomes conscious of the painful and devastating effects of his criminal acts on the lives of the people he has crossed paths with. Then, for the first time, he acts like a Romanesque heroe by killing Valdivia-Ugarte, a deceitful mole who has been manipulating the strings of the plot to his own benefit. The story unfolds along an almost uniform progression of chronological time, only interrupted by random memories of a past that twenty years ago destroyed Walter's life, and in which Darman and the rest of the characters are all implicated. Few references to the Spanish Civil War inserted in the discourse are, however, of paramount importance as the depiction of a historical trauma, as a triggering force for the episodes of the novel, or as justification to Darman'scrimes as well as those of the clandestine Comunist Party. Indeed they were the victims of the conflict and the winners inflicted upon them hatred, repression, treason and disloyalty. As in other Mu?oz Molina's novels, the literary space, in this case Madrid, propels the development of the plot, and plays a protagonist role only equal to that of the main characters. It is in Madrid where Darman lives until he becomes prisoner of the enemy army, or where the symmetrical deaths of Walter and Andrade take place. Other spaces inhabit Madrid: the Universal Cinema, symbolic territory of the secret and hidden, where the story, as well as the relationships of the characters start and end the warehouse; or the Bo?te Tab? the nightclub that frequents Valdivia-Ugarte through secret passages connected with the Universal Cinema.

• (The)Study of the Eastern Classic
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• no.43
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• pp.33-64
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• 2011

The historical drama played on TV in 2003, Daejanggeum is originally based on the short historical record of lady doctor of the palace from the [Jungjong record] of Josun. The drama mixed fiction and historic record well together draw enormous interest and became a novel, musical and animation for children. Also the location of shooting drama became a theme park to attract travelers and the name 'Daejanggeum' was used for products to create great additional value. Most of all, the drama then was exported to overseas and became the representing drama of Korea. Therefore, drama is the representing piece that proved the success of historic data with its application as various modern cultural contents. The analysis of success reason of showed the creation of new modern woman character, fresh selection of the item that suits well in the time of desiring wellbeing, the strong drama scenario with different story development compared to previous historic drama. Also, it used 'one source multi use' method prior to the broadcasting and prepared production of various cultural contents. This success of Daejanggeum means a lot from the point of 'modern acceptance of tradition' to tradition researchers.

• Journal of architectural history
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• v.31 no.3
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• pp.41-52
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• 2022

This study explains the han-ok. in Gae-sung, which was antique and traditional city. In view of the fact that these were located in Gae-sung in North Korea hence direct investigate is not possible. Since there was no comprehensive study of Gaeseong han-ok, we have no choice but to rely on fragmentary records and memory of Gaeseong people. In accordance from the Japanese colonial era's surveys and sketches as well as how they were illustrated in the novel. Hark back to the peoples' thought of the han-ok years when they ran the survey in 1920s, the results were as follows: First, there are many houses so various classes in Mi-Mang. Jeon Cheo-man's house was a representative example of a rich family in Gae-sung, Jeon Je-seong(Jeon's 2^nd son)'s house was located in Si-jeon(government licensed-markets) near by the South gate. In particular, Jeon Yi-seong(Jeon's 3rd son)'s house was in rural areas. He managed on immense ginseng field and worker's houses. Hae-ju's house was a small house off the track. Second, the outer house is low and the main house is high and neat. Lastly, it was confirmed that it corresponded to sketches recorded by architects, such as neat housekeeping, long stones used for various purposes, invisible flat gates, the appearance of old and old houses and the composition of each room.

• Cartoon and Animation Studies
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• s.11
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• pp.1-10
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• 2007

The trend of making film from the comic source, which is a prototype of so-called media mix, is indeed a different phenomenon from the traditional ones from novel or play sources. Historically comics are recently adapted to film although they have narratives and continuity of images. It is due to the lack of social conception of comics genre and extension of imagination that is a characteristics of the comics. However, it is conspicuous that comics has been a source of film along with the development of technology of visual image reproduction and the trend of enlarging reproduction of popular media image. Since comics can provide narratives and he visual sense for film making, these trend will be continued and more vivid.

• Journal of Information Technology Services
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• v.15 no.1
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• pp.245-253
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• 2016

Background in a novel is most important elements with characters and events, and means time, place and situation that characters appeared. Among the background, spatial background can help conveys topic of a novel. So, it may be helpful for choosing a novel that readers want to read. In this paper, we are targeting Korean historical novels. In case of English text, It can be recognize spatial background easily because it use upper and lower case and words used with the spatial information such as Bank, University and City. But, in case Korean text, it is difficult to recognize that spatial background because there is few information about usage of letter. In the previous studies, they use machine learning or dictionaries and rules to recognize about spatial information in text such as news and text messages. In this paper, we build a nation dictionaries that refer to information such as 'Korean history' and 'Google maps.' We Also propose a method for recognizing spatial background based on patterns of postposition in Korean sentences comparing to previous works. We are grasp using of postposition with spatial background because Korean characteristics. And we propose a method based on result of morpheme analyze and frequency in a novel text for raising accuracy about recognizing spatial background. The recognized spatial background can help readers to grasp the atmosphere of a novel and to understand the events and atmosphere through recognition of the spatial background of the scene that characters appeared.