• Korean journal of communication and information
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• v.76
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• pp.7-30
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• 2016

The purpose of this study is to review and criticize the articles that analyzed Frozen by using the semiotic method of Greimas. The study also aims to apply the semiotic method of Greimas correctly to find the deep structure of the narrative of Frozen. The results of the narrative analysis based on the actantial model and the semiotic square show that Frozen is not Elsa's heroic narrative but Anna's one. Because Elsa and Anna are the opposing elements in this narrative, the success of Anna is the failure of Elsa. Frozen does not convey the subversive message about the gender roles by representing an independent and active woman who resists the patriarchal discourse. Instead, Frozen reproduces the conformist ideology by saying that love is the most valuable thing and that everyone should accept the role given to him/her by the community.

• Cross-Cultural Studies
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• v.52
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• pp.53-78
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• 2018

In the moral culture of the West, love and justice are two commands with roots in ancient times. One is the heritage of Hebraism, and the other belongs to the tradition of Hebraism and Hellenism. The two concepts are the most important virtues required for preserving stability in society. These two commands are compatible, in an exclusive relationship to each other. To ultimately seek their reconciliation, the precise concept analysis and understanding of each of them should be premised on, due to the multi-layered meaning of implications of the two concepts. To this end, we first have started with a lexical meaning and have done a conceptual analysis of what these two concepts are expressing. We have looked at Paul $Ric{\oe}ur$ in his interpretation of the discourse of love and justice. Finally, we looked at how these two concepts are narrated in literature. Through the literary works of Stendal, Albert Camus, and Dostoevsky, we have seen examples of literary configurations that have been embodied in life. In this way, through conceptual analysis, discourse analysis, and narrative analysis of the two concepts, the following conclusions were drawn. Love and justice were not a matter of choice. We could see coldness and unrealism of a society lacking love or with a problem of unclean love, through Stendhal's and Albert Camus' novels and their actual debate. In addition, in unclean paternalism, risk of the power of love blocking certain a certain touch of justice was also confirmed. So, it was necessary for a healthy future society to explore the possibility of the coexistence of love and justice. We confirmed the possibility of compatibility in a 'considerate balance' wherein the 'moral judgment in situation' is required, as Paul $Ric{\oe}ur$ expressed. This ideal situation may be realized when forms of love involving solidarity, mutual care, and compassion with pain like Dostoevsky are combined with the principle of distributional justice. When Albert Camus pursued justice and eventually faced reality and mentioned the need for mercy, he could have made a moral judgment based on this situation. In the end, love protects justice, and justice contributes to the realization of love. Justice reduces super-ethical love to moral categories, and love plays a role in enabling justice to exert its full force.

• Cross-Cultural Studies
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• v.33
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• pp.77-94
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• 2013

This article aims at analyzing melodramas in films of Northeast Asia for seeking comparative studies of popular narrative which have been widely favored in Korea, China and Japan since the 1990s. It is explored of expectation and desire of public who have taken pleasure in watching the films in each countries of Northeast Asia as well. It is selected to Letter(1997) made in Korea, The Road Home(1999) in China and Love Letter(1995) in Japan for the research as above Melodrama of each countries has been searched at not only maintaining the traditional melodramatic convention but also corresponding to sociocultural environment of each countries for meeting tastes of public 'in the 1990s' when cultural interchanges have been more active along each countries of Northeast Asia. It will be concretely pursued to the interchanges and influence-reception relation of melodrama for follow-up research as it has been sprightly enjoying as well as transforming common cultural contents at each countries of Northeast Asia since the 1990s.

• 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.

• The Journal of the Korea Contents Association
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• v.12 no.11
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• pp.68-75
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• 2012

The terrestrial television broadcasting has increased the number of the specialized job drama in the programming in 2000's, for overcoming the limit of the materials and reflecting the new sociocultural phenomenon valuing the specialized job. This drama benefits from good audience and huge fans, while the low average rate of audience shows the limit of competitiveness of this new genre. The text analysis clarifies three traits of the specialized job drama. At first, this genre is characterized by the variety of materials and the attempt of realistic description. Then, its narrative structure is organized so as to develop a story based rather on the success of career than on the relation of love. Finally, its last trait lives in the character of the heroes which is a creation based on the narrative structure.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.181-209
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• 2019

The purpose of this article is to compare zombie narratives in relation to the Other. In previous research, the view of zombies as post-capitalist soulless consumers or workers has been frequently expressed. But in this article, I wanted to look at zombies as the main cause of the collapse of the world and a new future. First, zombies do not only mean the representation of the consumer in the late capitalist era. Rather, it is an awakening subject desiring the outside of the system. As you can see from the Uncanny's point of view, zombies are something that we should oppress as freaks and monsters that threatened the Other. To be a zombie in this way is to meet one's other self, the "Fundamentals of Humanity," and it is the moment when everything becomes the subject ex nihilo, the new beginning. Second, the concept of infection shows a new ethic. Zombie cannibalism is different from the selfish love of a vampire who sucks a worker's blood. Zombie cannibalism is an infection, which is a model of Christian love for one's neighbor. It is a moment of awakening and the beginning of solidarity. It is on the waiting for the solidarity that the zombie hangs in such a way, and the attack on the human being is an active illusion. Third, the situation of the end of a zombie narrative is another event for newness. The anger of a zombie serves not just to show monsters, but acts as a catalyst that accelerates the world's catastrophes. The anger of zombies is the messianic violence that stops the false world, and presents a new way. The emergence of zombies and the popular response to them embody a desire for the possibility of a new subject and world.

• Journal of Gifted/Talented Education
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• v.24 no.3
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• pp.399-420
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• 2014

The purpose of this narrative inquiry is to explore two gifted elementary students' 'happiness experience'. They narrated that they experienced strong happiness at the moment 'doing something they really like for themselves ', 'trying and achieving in self-directed way', and 'feeling trust, love, and support from their family'. Also happiness was the results of their effort. They made an effort to reduce their negative emotion against happiness by 'controling their feeling doing something their favorite activities' and 'working again and again until they succeed'. The results of the study show that social and emotional support as well as help in the cognitive aspects is important. Especially, parents variable was an essential condition for them to have happiness experiences. More specifically, the study show that overgovernment and excessive intervention from parents should be distinguished from 'good caring' of their child. Practical implication of the study was discussed in depth.

• The Korean Journal of Archival Studies
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• no.65
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• pp.253-319
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• 2020

Hongdong Herstory in an narrative-based archival activities. This Herstory Workshop designed by a facilitator who is using her love for language and storytelling to empower all voices. Herstory Workshop has been opened at winter every year for a month. The place where the workshop opened is located at farming area. Hongdong Herstory Workshop has been the field where the members of the community having a talk together. 20 women have been participated at the Herstory Workshop. Herstory projects have been published every year. This essay is an trial for rearchiving the herstory projects. This essay focused on the narrative function of archives.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.55-85
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• 2019

In this article, we examine the real meaning behind the stories in which the N-po Generation (Millennial Generation) is depicted, through the observation of entertainment programs, TV series, and movies. This could be an opportunity to investigate the aspects of emotional customs of our era, which have been described by television media as portraying the complex and multifaceted reality in the most mundane and popular manner while influencing the public. Problems with youth unemployment, the polarization of life, and instability are not only global issues but situations that specifically occur in South Korea. It is thus vital to pay attention to the inner side of the N-po Generation who enjoy Sohwakhaeng (small but certain happiness) by eating alone as the placebo effect of this tough reality. This is an agenda that should be viewed as a problem in the fundamental design of South Korean society. The consciousness of the problem shown in the TV series has been drawing attention. The TV series Because depicts a love narrative that concentrates on emotions in a relationship that started between housemates due to poverty and housing problems, leading to marriage. Thus, the TV series persuasively dramatized 'confluent love' in the N-po Generation. In the movie , Miso can be regarded as a symbol that represents the emergence of a new generation of cultural sensitivity. There is a suggestion in the sequence of that identifies the pursuit of taste with the discovery of identity. The TV series is a growth narrative that deals heavily with youth unemployment, temporary workers, fragmented families, and dating violence. The housemates in find emotional stability through interaction with each other, and courageously approach their individual problems. In the process, images of women, who are empathetic towards others and are willing to jointly solve their problems, are calmly depicted to reveal a story of growth revolving around a ground emotional community. The current problem that South Korean society should contemplate is how to be fully human beyond mere survival, and how to further seek the conditions of human existence. In that sense, what we should pursue is a notion of 'publicness', which can put several generations together. Because of the reality that confliction between generations must be triggered, in order to make a passage of sympathizing, mass media's sensitivity training becomes more important. This may be the duty of mass media.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.45-71
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• 2019

Through the expansion of platforms in the media era, this paper notes the phenomenon in which 'high-teen romance drama,' a genre which had been marginalized in the past, began to re-emerge. It analyzes the 'high-teen romance drama,' which is moving from TV to the Web and being produced in various ways, while successfully returning to the TV drama format. This study sums up the latest trends in TV and web-based high-teen romance dramas, and as a case study, this paper examines the characteristics of the 'high-teen romance drama' in relation to the platform's environment through the web drama A-Teen, TV drama 18 Moment. Due to the restriction of ratings, high-teen romance dramas have been one of the largely marginalized genres on television. But in the web space, high-teen romance dramas are no longer non-mainstream. The high-teen romance drama has been solidifying its position through the Web, with absolute support from young viewers. Web dramas are gradually expanding their influence on the genre and subject of TV dramas. The high-teen romance drama is one of the most prominent examples of this trend. The popular interest and success of the high-teen romance web drama has brought the forgotten high-teen romance drama back to TV. The web drama A-Teen is a high-teen romance drama about everyday life and love of high school students, and became one of the most popular and popular web dramas, leading to a Season 2. A-Teen actively utilizes teenage culture and expression, and a strategy that leads to empathy among teenage viewers. In A-Teen, love is recreated in a way that relieves the depth of overconsumption emotions. Instead of dealing in depth with the inner conflict over love, it takes an approach ofpresenting the emotional change of love in real time and forming a consensus with the acceptor. The TV drama 18 Moment is one of the programs that has helped refocus attention to TV-hitting romance dramas. 18 Moment underlines the growth of the characters, with the main characters reaching maturity through love as fresh and innocent teenagers. The TV drama 18 Moment is a high-teen romance drama that has been transformed into a way to apply the web-fadding high-times grammar while retaining the typicality of existing TV hagwons to suit the TV broadcasting environment. As the Internet becomes more ubiquitous, video content is changing based on the newly emerging platforms. Dramas no longer mean just traditional television media. While considering the limitations of TV, this paper analyzed the background of the rebirth of the high-teen romance drama, which had been marginalized, through the web platform. This is meaningful in that it identifies and considers the increasing popularity of this genre of drama.