• Title/Summary/Keyword: Imaginary Reality

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South Korean Society and Disciplined Travel Fantasy in the 1960s -Focusing on Kim Chan-Sam's 『世界一周無錢旅行記』(1962) (규율된 여행 판타지의 60년대적 구성 -김찬삼의 『세계일주무전여행기(世界一周無錢旅行記)』(1962)를 중심으로)

  • Lim, Tae-Hun
    • Journal of Popular Narrative
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    • v.25 no.4
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    • pp.289-319
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    • 2019
  • Kim Chan-sam's 『世界一周無錢旅行記』 was released in 1962. This was a time when the general public was strongly restricted from traveling abroad. Most of the people lived in 'domestic'. Low development and political upheaval continued. The readership wanted a fantasy, which came out of a desire to escape from the peninsula. So was to become more popular around the popular characters called 'Kim Chan-sam'. Kim Chan-sam had to be a pushover to the public. This figure had to be secular and de-politicized. Above all, ideological bias had to be removed. The book's imaginary geography is the "world as a non-communist state" with a high purity. The Cold War ideology was prevalent throughout South Korean society. Kim Chan-sam knew exactly what he could and could not tell the South Korean reader. He couldn't tell you the reality of my readers not being able to travel abroad. Not to mention a society locked up 'domestic' on the Korean reality. The study analyzes Kim Chan-sam's storytelling strategy. Looking at the meaning of the travel fantasy,agenre of the 1960s, I would like to ask why travel writing in our time is still bound by its past limitations.

A Study on "Reason and Madness" in Hegel's 『Phenomenology of Spirit』 - An Interpretation searching for the possibility of the dialogue between Hegel and Lacan - (헤겔 『정신현상학』에서의 '이성과 광기'의 문제 - 헤겔의 라캉과의 대화 가능성에서 본 하나의 해석 -)

  • Lee, Jong-chul
    • Journal of Korean Philosophical Society
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    • v.115
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    • pp.249-279
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    • 2010
  • The Law of the Heart, which appears in the chapter "B. The Actualization of Rational Self-consciousness Through its own Activity" in Hegel's Phenomenology of Spirit represents that the self-certainty of the reason may be the another face of the Madness. The Reason's indubitable certainty is the testimony of the truth for Descartes, and it also plays a role as the moral maxim of the conscience for Kant. But this subjective certainty unavoidably leads to the Madness of self-conceit, which unifies the consciousness and the reality ignoring the difference between them. The typical attitude appearing in the reformer like Don Quixote and also romantic idealists reveals the fact that modern reason and the psychosis can be both faces of one and the same coin. The Mirror Stage, the Imaginary, and the Formula of the Desire in Lacan's Theory shows that the Image of completeness is the result of Mis-understanding. Even if the Mirror stage is necessary for the Formation of the subject, at the same time it should also lead to the next stage, i.e., the Symbolic Order. It is considered as the realm of the Otherness, which refers to the realm of language or that of law. If the Ego can't go through the symbolic castration acted on by the Name of the Father, he will be remained in the prison of the Imaginary. The Madness also shows the similar process. For Hegel the Discipline of the Labor or the Death as absolute Otherness that inevitably delays the Desire plays the same role as the name of Father. It may be the experience of Separation or that of Sublation of the individual towards the universal, which is equivalent to the experience of Symbolic castration in Lacan. Furthermore there may be the difference between Hegel and Lacan as the following; while in Hegel the experience of Separation is founded on the spontaneity of the Spirit, for Lacan it is to be compelled and structured by the absolute Other.

Study on Storytelling of VR Cartoons (VR 카툰의 스토리텔링 연구)

  • Yoo, Taekyung
    • Journal of Broadcast Engineering
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    • v.23 no.1
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    • pp.45-52
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    • 2018
  • The virtual reality (VR) cartoon is a format of VR contents that leverage the characteristics of webtoons that provides the simple story line and graphical storytelling tools to strategically surmount limitations of VR contents design. The VR cartoon enables people to experience the imaginary three-dimensional space in the webtoon as a real space by the transformation of webtoon contents through VR prototyping. The VR cartoon successfully presents focused environment where people can readily pay attention to the contents without notable motion sickness. People have been familiar with the storytelling strategy in the context of published cartoons and webtoons, likely we've understood the narrative of a movie through the continuous scenes projected in the screen. Indeed, it has been recognized as a popular toolset of communication, where visual images are sequentially delivered by replacing multiple planar spaces to tell a story narrative. While there are discrete panels with the time and space resolution in the graphical cartoons, people can distill a commit closure based on their past experiences. This is a typical "grammar" of the cartoon, which can be extrapolated to the VR cartoon that provides a seminal storytelling strategy. In this article, we review how the storytelling strategy in webtoons has been transformed into that in VR cartoons, and analyze the key components of VR cartoons. We envision that our research can potentially create keystones to produce variety of new VR contents by reflecting various narrative media including cartoon as a 'sequential art'.

The Application of the Scratch2.0 and the Sensor Board to the Programming Education of Elementary School (초등학교 프로그래밍 교육을 위한 스크래치2.0과 센서보드 활용)

  • Moon, Waeshik
    • Journal of The Korean Association of Information Education
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    • v.19 no.1
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    • pp.149-158
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    • 2015
  • Programming education plays a very effective role in comprehensively learning problem analysis ability, logical thinking ability, procedural problem solving method, and imaginary problem solving method. Until recently, however, it is not applied to the elementary and the middle school in Korea, which is very different from the other IT centerd countries such as the U.S., etc., where coding class is actively implemented. Fortunately, Korean government recognized this reality and decided to implement programming education as a regular subject in the elementary school from 2017. In this situation, many researchers' programming education model research is urgently required for the students to learn in the elementary and the middle school. This research developed and suggested 17 sessions of programing education model connected with scratch language and sensor board, which is hardware, to be applied to the class of the 5th and 6th graders. As the result of implementing the joint class of 5th and 6th graders during the after-school class based on programming education process suggested to verify the suitability for elementary school programing education, satisfactory achievement was attained by the assessed students. The researcher plans to develop an optimum model proper for the elementary school students' intellectual capacity by more improving programming education model.

A Critical Approach to Thriller Films as Male-centric Narratives : Focusing on & (스릴러 영화의 남성 중심적 서사에 대한 비평적 접근 : <아저씨>와 <악마를 보았다>를 중심으로)

  • Hwang, Hye-Jin
    • Cartoon and Animation Studies
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    • s.22
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    • pp.65-80
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    • 2011
  • The purpose of this study is to analyze & through the hypothesis which thriller films based their narratives on the specific characteristics of Koeran society have became mainstream genre in recent Korean film industry. In the viewpoint that popular films and discourses provide the imaginary form of solving problems which threatens the maintenance of status quo in real world. & intend to disclose the identities of antagonist who condense the contradiction of Korean Society and then represent protagonist's practices to integrate disruptions from that contradictions through being a revenger. In the process of reading texts, the fact that there are some crisis in Korean Society not only public realm but also private realm and male-subjects as protagonists struggle for protecting private realm has revealed. But each film appeals to the public using two different narrative strategies. has got popularity by making a fantasy which male-subject success to rebuild the family and punish antagonist severely. In the meantime the protagonist of cannot believe his victory, this kinds of anxiety might come from the traces of antagonist as reflects so many contradictions of Korean Society. At this point, we can expect there will be something new which retrospect our own history and gaze reality itself without ideologically given complex in Korean films in the near future.

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Between Dystopia and Utopia A Comparative Study on Cormac MacCarthy's The Road and J.M. Coetzee's The Childhood of Jesus (디스토피아와 유토피아 사이 - 코멕 매카시의 『더 로드』와 존 쿳시의 『예수의 어린시절』 비교연구)

  • Jeon, So-Young
    • Cross-Cultural Studies
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    • v.40
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    • pp.91-110
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    • 2015
  • Both Plato and More imagined alternative ways of organizing society. What is common to both authors, then, is the fact that they resorted to fiction to discuss other options. They differed, however, in the way they presented that fiction. The concept of utopia is no doubt an attribute of modern thought, and one of its most visible consequences. But one of the main features of utopia as a literary genre is its relationship with reality. Utopists depart from the observation of the society they live in, note down the aspects that need to be changed and imagine a place where those problems have been solved. After the two World Wars, the twentieth century was predominantly characterized by man's disappointment at the perception of his own nature. In this context, utopian ideals seemed absurd and the floor was inevitably left to dystopian discourse. Both The Road by Cormac MacCarthy and The Childhood of Jesus by J. M. Coetzee can be called critical dystopia and critical utopia as they represent the imaginary place and time that author intended a contemporaneous reader to view as better or worse than contemporary society but with difficult problems that the described society may or may not be able to solve. As a changed adventure narrative, they have something in common like open ending, father and son relationship and religious allegory. But the most important thing is that they express the utopian impulse that is still energetic and transforming in the post-modern society.

A Study on the Development of the Culture of Mental Stroll about Nature and the Building of the Traditional Landscape Architecture Space in Choseon Dynasty (조선시대 와유문화의 전개와 전통조경공간의 조성)

  • Kim, Su-Ah;Choi, Key-Soo
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.29 no.2
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    • pp.39-51
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    • 2011
  • This study is explored the relationship of cultural history between the culture of mental stroll about nature and the traditional landscape architecture spaces, which showed various aspects of developments, based on the records as to landscape architecture spaces. The philosophical view on nature was turned into the esthetic view with the mellow ripeness of multifarious cultures in Choseon period, since the life of literati had to be a comprise between the Confucius' life and the Taoist life. Around the seventeenth century, as the culture of enjoying a secluded life in city had been descended, the aspiration to appreciate nature in daily life with the changed view on nature. Those desires made the Wa-yu culture, which has a meaning of mental stroll about nature, and drew the attention and various kinds of the Wa-yu culture had bloomed. In the field of Korean literature, the record of strolling in nature had flourished, while the realistic landscape painting had emerged in the field of art. In the field of landscape architecture, the building of places where the vivid experience of nature was realized in the aspect of impressions was performed to express their utopia. Indeed, the space of traditional landscape architecture in the reality meant more than the actual nature.

The Characteristics of Neuro-image in Post-cinema through Morphing Technique in (2013) (<블랙 스완>(2013)의 몰핑 기술을 통해 본 포스트 시네마의 신경-이미지적 특징)

  • Jang, Mi-Hwa;Moon, Jae-Cheol
    • Journal of Korea Entertainment Industry Association
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    • v.15 no.5
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    • pp.45-53
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    • 2021
  • Digital morph expresses the imaginary beyond the representation of reality by expressing the narrative effect characteristically. In particular, the effect of affect can be considered to be a characteristic of digital cinema as a post-cinema. In (2013), Morphing image prominently shows the characteristics of post-cinema. By actively utilizing software technology, this film gives a shocking effect by expressing the magical image. Paying attention to the post-cinematic characteristics of morphing different from classical film, this article treated the characteristics of digital morphing. The digital morphing presents the flow of affect visualizing uncanny phenomenon of body transformation. This evokes concept of neuro-image which Patricia Pisters distinguished the neuropsychiatric pathology that appears actively on the contemporary digital screen. The Neuro-image goes beyond the temporality of Deleuze's time-image presenting future. Allegedly, the morphing of presents the neuro-images when Nina's body changed to hybrid body with black swan. Digital Morphing technique provides a shocking effect, showing delirium when the body bizarrely deformed while dancing ballet. This is different from the attraction of the morphing in film, it expresses the emotion of the neoliberal era beyond representation. In conclusion, the digital morphing presents the neuro-image system modulating the shock. This shows the characteristics of digital film which interacting and controling the shock effect as post-cinema.


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