• 건강소식
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• v.36 no.4
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• pp.32-33
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• 2012

트라우마(trauma)는 외상 후 스트레스 장애다. 극단적인 트라우마의 기억은 그 당시에 경험했던 생생한 감정이나 신체 감각의 잔재가 뇌 안의 신경 회로에 그대로 남아 있다가 일상생활에서 사소한 자극에 의해 그대로 폭발 되어 나온다.

• Cross-Cultural Studies
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• v.41
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• pp.33-56
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• 2015

Trauma studies have provided useful models for dealing with the catastrophic and disastrous events that an individual and collective group experience. Most important of all, the perspective of post-structuralist trauma study, including Cathy Caruth, became a paradigmatic model and it has been applied to almost all contexts of life. The perspective of this study model, which is called an "event-based model of trauma," focuses on the literal registration of the traumatic event and the accurate and immediate recall of the past. The person directly involved in the event becomes the passive bearer transmitting the truth of a traumatic event. From this perspective, the traumatic subject only undergoes and endures the event and cannot play an active role in constructing trauma and dealing with it. Eventually, the truth of trauma has to be obtained at the cost of the traumatic subject's autonomy and the possibility of his/her agency. The problem here is that the truth, which is reencountered through the literal return of the past, obtained at the cost of the subject's autonomy, strikes a rather fatal blow to the person, than gives help for resolving many of matters surrounding traumatic experience and curing trauma. This suggests that the active way of dealing with trauma on the part of the traumatic subject, rather than the traumatic event itself, is demanded. Furthermore, because more recently, images of disastrous events were viewed "live" by audiences and an immediacy to the event is replicated in public discourse about them, the event becomes more immediately traumatic and there is a more strong presumption that people regard themselves as traumatic victims than before. This is the reason that we must explore an active way dealing with trauma on more human position at this time. This essay aims to examine the limits of the paradigmatic model of trauma study, an "event-based model of trauma," critically through a literary, theoretical text in which it reveals how the literal return of the traumatic past have a fatal effect on the victim; and hopes to suggest "the narrative memory" as a way to deal with trauma from a more humanistic perspective.

• The Journal of the Korea Contents Association
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• v.20 no.11
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• pp.368-377
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• 2020

In this paper, the transmission and the phases of the memories in the novels dealing with Vietnam War have been studied. As a research method, Aleida Assmann's memory theory which plays a role in culturoloy theory is utilized. This study shows firstly that the others' voices excluded from the official memories of Vietnam War have emerged. Vietnam War novels released after 1990s actively reflecting the others' voices transmitted fresh the cultural memories. As the stories of civilian massacre, defoliant victims, and children of mixed bloods, Lai Daihan excluded from the official memories have emerged as a main them in the Vietnam War novels, they have become resistant memories. Existence and Formality, a Vietnam War novel by Bang Hyeonsuk brings up how to remember Vietnam War. His another novel, Time to Eat Lobster shows that without the fundamental retrospect and introspection of Vietnam War, Korea can't help but have the identity of America. Secondly, this paper shows that the tragedy of Vietnam War remains as a trauma that human bodies remember. White War by Ahn Jeonghyo shows that the memory moves back to the past in the process of struggle. In the novel, Slow Bullet by Lee Daehwan the phases of demage from defoliants lead to the family's tragedy. The Red Ao Dai by O Hyeonmi shows how a Korean-Vietnamese overcomes negation of his father and win his identity. In A Sad Song in Saigon shows that a mixed blood, Sairang who suffered from the confusion of his identity and his story fell down to a romance novel because of the weakness of narrative.

• Korean journal of communication and information
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• v.80
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• pp.167-192
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• 2016

This study examined the social trauma experienced by direct victims of accidents and each member of the society affected by grand-scale disasters based on the concepts of collective unconsciousness, archetype, and individuation from Jung's analytical psychology, and their experience of therapy through media. For this purpose, the survivors of the disaster of Sewol that occurred on April 16, 2014, family of the deceased, psychological professionals, and general volunteers were selected as the subjects for one-on-one in-depth interviews and focus group interviews. The findings can be summarized as follows: first, the subjects are suffering from different forms of social trauma such as seclusion and anxiety due to primary/secondary incidents, but there is possibility for them to overcome the social trauma as a social community. Second, the archetypes of life and death, mourning and remembrance are showing in the subjects' everyday lives. In particular, it was found that various archetypes are appearing symbolically through the craft activities in which the survivors are participating most actively. Third, the media therapy program for the victims of the Sewol has limitations in various aspects. However, the fact that the craft activities that are not bound by time and space are highly effective manifests that anyone can take advantage of trauma therapy through digital media that are easily found around them. Finally, this study is significant as it verified the possible individuation of social trauma and identified the limitations of media therapy to suggest its development directions.

• The Korean Journal of Archival Studies
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• no.67
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• pp.267-318
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• 2021

The purpose of this study is to analyze how the "memory approach" has affected archival methodology and activities, and suggest the directions of archival activities in each field. Although there have been many discussions on the memories and collective memories in Archival Studies, it is necessary to analyze them more practically from the viewpoint of archival activism. In this study, the memory approaches in archival discourse are classified into four categories in terms of archival activism; i) the role of archives as social memory organizations, ii) the memory struggle for finding out the truth of the past, iii) archival activities of restorative justice for people who suffer from trauma memories after social disasters and human rights violations, and iv) the memory process of communities' archiving for strengthening community identities. The meaning and issues are analyzed for each category, and the practice based on archival expertise and political and social practices are examined together as necessary competencies for archival activism.

• Cross-Cultural Studies
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• v.46
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• pp.199-225
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• 2017

Death and the Maiden(1990), by the Chilean playwright Ariel Dorfman, directly addresses the issue of liquidating the past that the transient democratic government of Patricio Aylwin faced, the government established right after the end of the dictatorship of Augusto Pinochet. This article focuses on analyzing the aspects of conflicts and discords between memories of individuals as reflected in the conversations between characters of the play. For example. we look into the effects of traumatic memories of Paulina, tortured and raped by the past government, on her everyday life and examine the relationship between her personal memory and the collective memory. We also look into the discourse of the dominating memory through the confession of the rapist doctor Roberto, and observe how Gerardo, a lawyer appointed as a member of the investigation committee, exposes the truth of the case and mediates the conflict of the memories between the two characters. We uncover the problems inherent in the state memory as it tries to intervene in the strife in memories between assailants and victims and explore the possibility that the concept of memory deterritorialization would be an alternative to overcome these problems.

• Journal of the Korea Convergence Society
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• v.6 no.2
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• pp.13-18
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• 2015

The purpose of the study is to investigate the predisposing factors of posttraumatic stress disorder (PTSD) in fire fighters in Korea and to suggest the program development and solution to the critical incident stress management (CISM) in the future. PTSD is characterized by invasion, withdrawal, negative change of cognition and mood, and hypersensitivity. Trauma memory includes explicit memory and implicit memory. The explicit memory is conscious, cognitive, and descriptive and is controlled by hippocampus. The data of explicit memory have inhibitive and narrative language structure. The implicit memory is inconscious, emotional, and remembered by the body. The implicit memory is controlled by amygdala and has inexpressive language structure. The deletion of implicit memory is the key point to trauma treatment. Critical incident stress management (CISM) is the approach for the solution of PTSD. In conclusion, the essential goal of CISM is the psychological cessation of PTSD. This study tried to suggest the education program development of PTSD.

• The Journal of the Korea Contents Association
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• v.14 no.5
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• pp.117-131
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• 2014

This study aims to explore the reexperience of trauma caused by experience of discrimination and stigma from South Korean. For this purpose of this study, focus group interview methods are used. The participants are five women who escaped from North Korea and they were from 20s to 50s. From the outcomes of this study, I find out that they had experienced to put in prison, to let arrest to let human traffic, and sexual or physical assault. Now they have PTSD(Post Trauma Stress Symptom) of nightmare related with past trauma, avoidance of interpersonal relationships and similar situations, and retrospection and memorization of negative experiences. In that situation, they also have experienced discrimination caused by lack of understanding of their suffering in South Korea. And almost of them suffer from poor situation economically and physically. Participants regret their entry to South Korea and perceive that their hope has gone. And they have anger of Korean's discrimination and stigma and they feel suicide impulse after experiencing very difficult situation. These negative experiences affect their PTSD and make reemergence of trauma experience. In conclusion, the outcomes of this study are discussed and I proposed the practical suggestions which have affected decreasing the PTSD.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.87-122
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• 2020

This study explores the method of representation of traumatic history in 2D horror game Detention developed by Taiwan game production company Red Candle through an analysis of its method of storytelling. Unlike conventional public media, video/digital games are based on interactivity, in which game players engage in the narratives. Thus, the relationship between players and the history in the game world may also change. This research investigates how the players build their way of remembering and recognizing the past in a different relationship. Detention, which was well received, not only in Taiwan but also around the world upon its launch in 2017, is set in a middle school during the martial law era in Taiwan in the 1960s. In the game, the main character encounters her lost memories in the process of following clues and game rules, and finally realizes she is implicated in the 1960s' event. Detention was cinematized after the success of the game. The film achieved enormous popularity both in terms of box office success and criticism. In this paper, the strategy of the game's storytelling is introduced in comparison to the film's approach in the representation of historical events. In particular, the paper explores elements such as the interactivity of the game medium, narrative fragmentation, quests, hints and cues, and the horror genre, that asks users to understand history beyond the game world differently from the point of view of other media. Though this study, it can be considered that the digital game is a medium exploring history in a serious manner. In particular, Detention invokes the matter of game-mnemonics as well as cine-mnemonics. Compared to plentiful research in cine-mnemonics, game-mnemonics has not been extensively studied to date. Therefore, through the analysis of Detention, this paper explores the relationship between digital games, history and memory.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.393-425
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• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.