• (The) Research of the performance art and culture
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• no.41
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• pp.321-352
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• 2020

Donghaean Byeolsingut itself reflects the ideals and dreams of seaside life. Imagination and interest in water are fully reflected in Donghaean Byeolsingut as a living in a seaside town. For the beach people, water is the foundation of life and the object of fear. It is the water of life and the water of death. It projects the whole process of life into the imagination created by the world encompassed by the sea. The beach's imagination is an existential insight into the whole process of life and a reflection of existential agony. At Poongeoje, the villagers hope for a specific blessing from God. People are free only when God's retribution comes down. The villagers feel free because of the virtue of the shaman's blessing. Individual trauma is experienced to a certain extent by gaining mental freedom. It can be said that the state of aesthetic pleasure experienced by creating an art work by itself and the nature of aesthetic pleasure experienced through Pungeoje and Byeolsingut are not different. The prototype of Poongeoje is a free spirit, and a religious aesthetic to strengthen the free spirit is the core of the aesthetic.

• Cartoon and Animation Studies
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• s.49
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• pp.299-323
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• 2017

Interests to cultural prototype as a material of cultural contents are getting more increasing nowadays. One of them is myth. The important thing when you are dealing with the myth as the material that how to convert prototype narratives. Today, digital culture is becoming one of the essential elements of mankind, that is a new sociocultural phenomenon and distinguishing differentiation from the past analogue era. In this regard, the combination of mythology and digital culture is effective strategies for transforming storytelling that can resonate with people who are not familiar with myths. puts the view both of this world and underworld, mythical characters, and various elements of the Grim Reaper into the story. And combines them with digital elements. sets the world that the transcendental soul exists as physically transferred data form. and reinterprets the traditional mythology world into the digitally operated world. Soul-Phone from this anime reflects the digital culture such as storage and transmission, and helps enjoying audiences accept the unfamiliar world of myth. And also It symbolically shows dystopian viewpoints through side effects can caused by digital technology development, such as the instrumentalization of human being, the risk of communication through digital media, and ego-loss caused by duplication, etc. In conclusion, forms a consensus with the audience through the transformation strategy of storytelling that converts the world of myth into the digital world. And it reflects the dystopian view and shows a differentiated world view from the narrative of myth.

• The Journal of the Korea Contents Association
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• v.14 no.12
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• pp.639-654
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• 2014

What is noticeable in Changgeuk Madame Ong is that for "narrativization," a main character is replaced with Madame Ong and her mother and a reinvented story as a result thereof is the female liberation from oppression. The director sought for the completeness of the narrative with a plot line created (i) by daringly deleting the latter half (episode relating to Gangsoe's death), which was a persistent problem unsolved both in the original and its derivative contents, (ii) by diluting Gangsoe's patriarchal authority and thereby creating the ending of endless love and the fruition of love, and (iii) by severing the link between Madame Ong's doomed fate of widowhood and Gangsoe's doomed fate of death by the violation of a taboo (the key factors of the original story) and at the same time, thereby inserting the doomed fate of death by Jowang (god of fire), declaring a war against jangseung (Korean traditional totem pole), the aesthetic structure representing "fictionization," and enabling a female character to gain love, fame and life through free will and spirit of resistance. The director achieved a remarkable success in terms of composition by (i) taping into a variety of genres of music, (ii) by maximizing the effect of Madame Ong's solo, (iii) by strengthening the "uniqueness of each part" through chorus, (iv) by creating a dramatic atmosphere for the change of scene, (v) by applying a dual variation of tension (resistance theme) and relaxation (freedom theme), etc.

• Journal of Digital Convergence
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• v.10 no.2
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• pp.279-286
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• 2012

Game contents are the driving force of the digital media era. As the gaming industry grows bigger, contents technologies are also rapidly developing in both their quality and quantity, while the story sources of the contents are depleting. Accordingly, digging out new stories that can support development of the cultural contents industry is emerging as an urgent issue. Since games took roots as a form of contents in our society, negative images have outweighed positive aspects. This study aims at finding cures for the side effects from storytelling. Important factors here are how to converge the technical nature of engineering imagination and the epic nature of humanities imagination. Recently, The excavations of the story is very important. This article demonstrates cases where the oral literature, an archetypical cultural genre, provides the sources of game storytelling.

• Review of Culture and Economy
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• v.20 no.1
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• pp.21-50
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• 2017

The rise of Hallyu (Korean Wave) has generated a treasury of historiographic and cultural inquiries into the phenomenal success of South Korea's media entertainment industry. Whereas the majority of such studies focus on TV dramas and popular music, there is a medium, or rather a hybrid sub-genre within the medium category of short films, that must be reexamined and thus appreciated as the archetypal predecessor of popular Hallyu contents: music videos. The rapidly changing social, political, and economic climate in the mid- to late 1990s called for content that would grasp the attention of a younger, increasingly mobile population with diversified interests and routines that no longer guaranteed fixed-time viewership. Meanwhile, the advent of cable TV channels and high-speed internet service ensured greater temporal and infrastructural accessibility. The media entertainment industry's response to the new opportunities and challenges arising from these sudden growths in the scale, range, connectivity, and mobility of consumer demographics was synergetic cross-sector collaboration in the form of dramatized blockbuster music videos, which combined two popular and lucrative genres: trendy dramas and ballad music. In this essay, by relocating Hallyu's archetypal medium/genre, I claim that increasing upward and sideways mobility across sectors not only inspired new production but also reconfigured the very concept, form, and impact of media-driven cultural imaginary in South Korea.

• Journal of The Geomorphological Association of Korea
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• v.17 no.1
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• pp.59-72
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• 2010

This study is based on the observation on the patterned ground found in the northern part of the Baekdusan during two fieldtrips of 2008 summer. The patterned grounds are found in two areas-Dalmun and Socheonji. The patterned ground found around Dalmun are well-sorted, having fine materials in the center and coarse (boulder size) materials in the rim, and stretching in the form of stairs. Meanwhile, the types of patterned ground found around Socheonji are various, including polygon, stripe, and circular patterns. The particle size analysis and morphological analysis of comprising materials are carried out only for the patterned ground of Socheonji. The mean short and long axis of the patterned grounds are 91cm and 163cm, respectively. The distribution pattern of material size from the most samples increase toward the rim, indicating the patterned grounds are well-sorted. The comprising materials are dominated by silt, which is very susceptible for freeze-thaw cycle. The lower ratio of clay (low less than 10%), suggests that physical weathering is more dominant rather than chemical weathering. The involution structure found in the vertical section of the patterned grounds is likely to have formed by active cryoturbation which is one of the dominant geomorphic processes in the periglacial environments like the study area.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.267-302
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• 2019

Oral literature can largely be categorized into myth, legend, and folktales, which are stories orally transmitted from the prehistoric times. The purpose of this study is to compare the discourse on the oral literature of the East and the West from a cultural studies viewpoint by focusing on its "symbolic systems," particularly "figures of speech," or "tropic traits", in order to utilize this oral literature as a resource in the study of Northeast Asian culture. Undergoing modernization, the symbolic meaning of oral literature has been demythologized both in the West and in Northeast Asia. Of course, oral literature, verbally transmitted over a long period of time, has naturally been changed over time and even "contaminated" in a sense by losing its original archaic archetype while it was textualized with letters during the early period of the modernization process. Nevertheless, the principle of "resemblance" and "similarity" between nature/universe and human/humanity, which has been stripped away in modernity, can still be found in oral literature with its mythic power. For this reason, the study of oral literature in the West has attempted to restore the lost magical power within it, particularly in myth. As such, this study delves into the symbolism of the mythic thought of Northeast Asian countries, namely Korea, China, and Japan, which has been lost in the course of their compressed modernization, in relation to the tropic figures of their oral literatures.

• Sim-seong Yeon-gu
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• v.29 no.1
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• pp.46-81
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• 2014

The 'Woencheongang-Bonpuri' is one of the shamanistic myths in Cheju Island. That is a history of ancestor God of the 'Woencheongang'. This myth contains a shaman's initiation. And we can find important archetypal images in it. There are a child, old wise woman, book, water, tree, snake, Yakwangju which is a gem that emits light in the dark, dragon, hierogamy, goddess, time, etc. I've tried to interpret these images through the method of amplification from the perspective of analytical psychology. A heroine of this shamanistic myth is 'Ohnuri' that means 'today'. When she came out from the earth, she was a 'abandoned child' which is a 'hero-motif' in the fairytale and also a theme of individuation process in the analytical psychology. In the mean time, she grew up with helps of the nature, crane, and 'Yakwangju'. One day, she was found in the field by the people. They gave her a name of 'Ohnuri' and one day, an old wise woman told her how to go to her parents. On her way to the 'Woencheongang' where her parents regulate four seasons, she had met many characters which were in stuck. They told willingly Ohnuri a way to go to the 'Woencheongang'. Instead, they wanted to get solutions of their difficult problems. Finally, she met her parents in the 'Woencheongang' with joy and they taught her how to solve problems. Therefore, all characters in this myth could go on their own individuation process fortunately with help of the Whoencheongang's wisdom. In the meanwhile, Ohnuri got Lotus and Yakwangju and then she transformed to the goddess of the highest of the heavenly gods. Then she had helped people who get in trouble. In this way, the 'Woencheon-Bonpuri' was psychologically interpreted from aspect of analytical psychology.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.393-398
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• 2022

Yorgos Lanthimos' The Killing of a Sacred Deer (2017) uses Iphigeneia in Aulis written by Euripides, one of the three great Greek tragedies writers, as the archetypal narrative. Thus, Lanthimos introduces a mythical world stained with 'blood violence by a divine being' within the cinematic diegesis of a modern American metropolis. And the mythical motifs of curses and scapegoats are varied. This thesis tried to read the scapegoat mechanism, the oldest mechanism of escape from the crisis of collective sacrifice, and the imitative and mutual characteristics of desire and violence through René Girard through the mythical world built in the modern time and space of the film. Martin places a cursed oracle on Steven when his desire to place him in his father's place is thwarted. The 'good' reciprocity between two people is rapidly transformed into a 'bad' reciprocity. The Killing of Sacred Deer is an excellent portrayal of how the scapegoat mechanism works through Steven's family. The selection of the scapegoat by lot gives the sacrificial lamb a sacred character thanks to its divine nature, and the scapegoat becomes a sacred being, and the family order is re-established.

• Korean journal of communication and information
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• v.50
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• pp.94-120
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• 2010

This Studies interpret Kim Ki-duk's film in terms of shamanistic world views. In this studies, the ritual properties of Kim Ki-duk's film were trying to reveal. To do this, Kim Ki-duk's entire 14 works were analysed. Specifically, shamanistic characters, their actions, themes, ways of storytelling, mis-en-scenes, and visual settings were focused on. The results show, fantastic and ritual properties were represented directly and the very archetypes of Korean cultural shamanistic symbols were embedded in his films. Shamanistic symbols and narratives in Kim Ki-duk's films were related to the main themes of harmony between suppressing men and suffered women. This symbols and narratives could be interpreted through the sacrifices of characters, exorcistic behaviors, expressions of death etc. In the long run, as visionary or anti-realistic author, Kim Ki-duk has been performing shamanistic ceremonies(in Korean "Gut") with his whole works. With these findings, processes from preparations to completions of Gut-Pan (Shamanistic ceremony) in Kim Ki-Duk's works were tried to reconstruct.