• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.143-150
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• 2022

The folk language that lives and breathes in modern works does not just come from old stories, but it is a personal narrative which is based on the experiences of the narrator. Like many genres in oral literature, most of these personal narratives occur from the impulse of communicating and reinventing rather than from the impulse of creating. Compared to traditional folktales, stories about an individual's experiences, such as personal narratives are often performed by adding the individual tendencies of the narrator. In so doing, the phenomenon of "processing the experience by estimating it and reinterpreting the memories roughly" occurs, and this is a significant factor in making the oral literature. However, the question that arises here is: How can we deal with these significant elements that are inevitably captured when performed orally? Text linguistics, the main methodology of this paper, implies the possibility of expressing the impromptu elements of oral literature. Also, textual linguistic analysis of personal narratives provides the possibility of discussing oral characteristics from various angles which have been difficult to analyze, such as on-site atmosphere, speaker mistakes, contradictions in stories, and audience reactions. Hence, it is possible to effectively discuss oral-poetics in oral literature which are based on the one-off of 'words', the 'roughness' of the on-site atmosphere, and the stackability of the 'wisdom of crowds'. Furthermore, it is expected to contribute to the study of personal narrative storytelling that plays an important part in Veabal art in community culture.

• Cross-Cultural Studies
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• v.46
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• pp.281-296
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• 2017

Andrei Amalrik's plays are a unique phenomenon in the 70 years' history of Soviet drama. Half a century after the Soviet theater had intentionally forgotten its own achievements of avant-garde dramaturgy in the early 20th century, his bizarre plays suddenly emerged in the Soviet theater environment, completely separated from contemporary Western practices of the experimental theater. Surprisingly even now, Amalrik's plays have almost been forgotten not only in Russia but also by foreign Russian literary scholars. Amalrik's autobiographical essay is his only book published in Russia after the collapse of the Soviet regime. There is no collection of his works, and reevaluation of his work is not found even in Russia. However, Amalrik is a writer who should get a proper evaluation. The purpose behind studying his plays is to restore the tradition of Russian grotesque-absurd dramaturgy, which has been inherited from Gogol, Khlevnikov, Mayakovsky, and Oberiu. In this paper, we will analyze the mechanism of composition in Amalrik's plays.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.215-220
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• 2023

Network technology used as a physical interface to retrieve, store, and exchange data is leading the era of data capitalism in the 21st century. The capacity of network technology dominates almost all communication in everyday life, and makes social understanding and experiences in the physical world visible in cyberspace. The movements of human bodies and objects in cyberspace are placed in a social context. This paper paid attention to these phenomena and examined the cases of activism that raised real problems through cyberspace. In particular, the focus of the study is the digital activism of the Electronic Disturbance Theater, which combines critical art and thinking for democracy with the realm of information and demonstrates aesthetic imagination. The first chapter of the main body briefly outlines the meaning activism as a social movement in cyberspace. The second chapter looks back on the alternatives of <FloodNet>, which represents the early activism performance of EDT. And then in the last chapter, the poetic significance of the <Transborder Immigrant Tool> is analyzed. Through this process, this paper demonstrates that the activism performance of the EDT is a critical aesthetics that encourages imagination for alternatives. It also argues that Electronic Disturbance Theater has contemporary value as an avant-garde art that actively utilizes the medium of network technology and integrates performance art and politics.