• (The)Study of the Eastern Classic
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• no.66
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• pp.303-330
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• 2017

The purpose of this article is figuring out the modern understanding of SimChong Jeon's narrative and its storytelling strategy in the movie (2014). In the movie, there are three steps which are based on the temporal flow of narrative. shows the web-like structure of desire especially by focusing on the male character Sim Hakkyu. The relationship among characters in is gradually broken because of the desire. Moreover, the desire pushes Sim Chong who is Sim Hakkyu's daughter into the sacrifice. This part seems similar with the narrative of SimChong-Jeon which has been transmitted since 18~19 century in Choson dynasty. However, also tells a different story which describes the progress of Sim Hakkyu's seeking the real relationship filled with love. This difference is able to make people read with the 'stroytelling' point of view. All the lack or problem in is closely related to the desire of Sim Hakkyu. His narrative is something different from the typical story of SimChong-Jeon. A new narrative of Sim Hakkyu is not Sim Chong centered story but rather the anti of it. 'The other narrative' in seems social practice of storytelling in order to break down the preconception of SimChong-jeon called 'cannon'. This is the storytelling strategy of and it suggests the another way of creating new narrative which is based on the classical cannon.

• Cartoon and Animation Studies
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• s.16
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• pp.101-112
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• 2009

The purpose of this study is to analyze trilogy by means of semiotics. trilogy constructs a story as a whole while each piece delivers a concluded ending. This study used 'modele actantiel' and 'carre semiotique' of Greimas in order to clarify not only the meaning structure but also the course of narrative of . is a compelling story which reverses the fairy tale of a beautiful princess and a heroic prince. Each piece of the trilogy unfolds as following; (1)ls the love of a princess and an ogre possible? (2)Can the marriage of the couple get confirmed? (3)Can Shrek be free again? The repeated meaning structure of trilogy is the binary opposition of nature versus culture, and the narrative course forms the meaning square on the basis of the opposition. Human culture represented by the lord Farquaad and Duloc castle signifies cleanness, order, complex, anxiety, paranoia, authoritarian, and violent. On the contrary, Nature represented by Shrek and the swamp signifies barbarity, freedom, confident, maturity, unstrained, and humar. The meaning of Shrek series is generated by the structure of the basic discrimination of culture versus nature. However, as story twists the bias and fixed idea, the meaning structure of Shrek shows a unique relationship of culture and nature. Although Shrek, an ogre, lives alone in a swamp because of the bias of human world, he is depicted as self-sufficient, comfort, and broad-minded. On the basis of this meaning structure, Shrek is not a story that an ogre(nature) strives to enter the human culture, nor a story that nature wins a victory at the confrontation between culture and nature, but a story that human(culture) and ogre(nature) overcome their fixed ideas through the transition from culture to nature and vice versa.

• Korean journal of communication and information
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• v.51
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• pp.156-173
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• 2010

This study analysed the narrative of and , two history documentary broadcasted on KBS, in terms of story-telling and discourse. And it also examined whether TV as mass media could provide an alternative interpretation against the dominant historical awareness. As a result, both programmes showed limitations on representing subversive point of view to the dominant ideology. At the story-telling level, firstly, they represented in a way of male-hero narrative though they were describing the history of woman, and while representing woman as a public figure they eliminated her feminity and individuality. Secondly, before evaluating woman as a historic figure they previously appreciated her appearance in a male-point of view. Thirdly, although they were telling the story of woman in a political view, they focused on love triangle, therefore failed to make her as a public figure. The discourses of both programmes were anchoring the existing historical interpretation instead of offering an alternative historical imagination. The narrator who were telling history at the studio in a omniscient viewpoint took a role as a meaning definer, placed at the highest rank in the hierarchy of discourse structure. Especially in , the dramatized images to cover lack of visual data helped anchor the patriarchal narrative and reduced the possibility of subversive interpretation on historic figure.

• Cartoon and Animation Studies
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• s.32
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• pp.23-42
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• 2013

The music videos of and were made based on the music of Pink Floyd and Beatles. This study aims to compare the characteristics of the two songs in terms of music and storytelling method. Previous studies investigated the narrative structure and concept of the storytelling, which are the basis of the images. This study, a comparative study of the two songs, firstly analyzed the narrative structure focusing on the roles and relationships among characters in each song. Secondly, it investigated the method of composition structure and the characteristics of the two pieces of music of which genre is different from each other. Thirdly, it classified the images into intro part, development part, and conclusion part and analyzed by comparison how the song or images inserted in the music interacts with each other. As a result, it was found that described strong progressive rock from the subjective viewpoint through the material storytelling structure by space and it represents the alienation of the hero through simile and metaphor, spatial changes crossing the past and the present, and the actual and non-actual crossover directing. On the other hand, developed a narrative storytelling structure in which progressive fantasy images developed from the psychedelic viewpoint through the confrontation of the good and the bad to deliver the messages of love and peace.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.117-144
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• 2020

The film Burning (Lee Chang-dong, 2018) is one of the most noted Korean films in recent years as a work that unfolds an elaborate narrative in a delicate visualization. This film is a multi-vocal text in which different types of characters appear and scattered objective facts and ambiguous subjective desires are intertwined, so it is a text that has room for diverse interpretations. This article attempts to read Burning as an ethical discourse centered on the protagonist Jong-su, noting that the film raises universal and significant ethical issues that transcend the specific social and historical conditions of a contemporary Korean youth. I would like to examine the situation in which Jong-su is facing and his reaction to it, above all, from the perspective of Jong-su's ethical awakening and leap forward. Jong-su, a young South Korean non-regular man living in the present, encounters and connects with Hae-mi and Ben and attempts to understand the mysteries of the world. His trajectory, which the film shows closely, inevitably intersects the social and historical dimension of confusion and frustration of a young man graduated from the Department of Creative Writing, the reality of family dissolution and the individual psychological dimension of the sudden disappearance of his lover Hae-mi. Burning is a magistrate film that depicts Jong-su as an ethical subject oriented toward 'communal togetherness' while confronting the world and exploring its mysteries despite all his unfavorable conditions, such as his social position of the precariat youth and the epistemological uncertainty of reality perception. It is read as a story of his painful growth, in which Jong-su is becoming a 'writer', who once was a helpless non-regular delivery worker.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.159-163
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• 2018

This study describes Brownian motion of human narrative in physiological perspective. The purpose of this study is to investigate how these functions appear in literary works and to apply them to the practice of literary therapy in the future. Hwang Jin-yi's sijo is the first to cut off the longing. Then, It fold that longing and keep it. Finally, It is to unfold those longing. In this folded and unfolded movement, this Sijo is vibrated. This is the Brownian motion of Sijo. In this, the Sijo completes endless love. Using the Brownian motion of these literary feelings, it seems that literary therapy can form conditions of human physiological healing.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.

• (The)Study of the Eastern Classic
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• no.66
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• pp.331-362
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• 2017

The paintings of the Eight Drunken Immortals refer to the paintings based on an influential poem called "The Song of the Eight Drunken Immortals" by Du Fu, a Chinese poet from the Tang Dynasty. This poem is about the eccentricity of the Eight Immortals known for their love of drinking. The Eight Drunken Immortals have been widely appreciated among East Asian intellectuals, and their stories have also been translated into paintings. Greatly influenced by Li Gonglin's Painting of the Eight Drunken Immortals, people in China have the tendency to create similar scroll paintings, using contour drawing tools. Meanwhile, in Korea, the paintings of the Eight Drunken Immortals have been widely appreciated both as a type of visual art embodying the Drunken Immortals' taste for the arts and as a meaningful object conveying the people's wish for longevity and eternal friendship. According to historical records, the paintings of the Eight Drunken Immortals from the Ming Dynasty were drawn on eight-fold folding screens using a sophisticated ink wash painting technique. In the meantime, the Painting of the Eight Drunken Immortals appreciated by King Jeongjo from the Joseon Dynasty was a colored landscape painting with small human figures on an eight-fold folding screen. Since the recent discovery of Yi Han-cheol's Painting of the Eight Drunken Immortals on an eight-fold folding screen, it has now become possible to imagine how renowned artists such as Kim Hong-do and Kim Yang-gi would have made the narrative figure paintings. In particular, the story of Li Bai, one of the Eight Immortals, was the most famous one often told in the paintings. After the 19th century, there was even an entire panel of narrative folding screen made about Li Bai. As painting manuals and outline drawings were pervasively used, the narrative paintings on Li Bai were mass-produced among commoners. As you can see from this, the Eight Drunken Immortals have been visually represented as thirsty souls who are not disconnected from the world, as honest men of refined taste for the arts, and as protagonists of an object that conveys the people's wish for longevity and eternal friendship. In other words, the paintings of the Eight Drunken Immortals embody multiple undertones: as paintings based on Du Fu's poems and as narrative paintings on the Eight Immortals.

• Korean journal of communication and information
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• v.49
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• pp.122-143
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• 2010

This study is designed to figure out what kind of female images TV dramas have represented from 2000 to 2007 and what kind of relationship these images and the actual roles the female characters perform have in the drama. The total number of dramas analyzed is 27, and 152 female characters are analyzed. The result finds that 45% among 152 characters is in her 20's, and most of them play the main roles. Only 4 dramas use 3,40's female characters as main figures. Most 4,50 female characters play mother or grand mother roles of main characters, and they usually interrupt main character's love relationships or don't play any meaningful roles for the narrative. The old female characters over her 60's tend to play foolish and ridiculous roles and don't show any physical charms. The female main characters are beautiful and young, and the more they play good roles, they have better natural beauty comparing the bad characters. The youth and beauty of main characters helps the owner to earn the love of main male characters. It's obvious that the dramas show that female's body as physical capital to achieve higher class and power.

• Journal of Digital Convergence
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• v.20 no.4
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• pp.725-735
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• 2022

This study analyzed how the literary works embodying nurses accommodate various discourses about nurses and reproduce them in literature. The subject of analysis is a Korean modern novel featuring a nurse, and 29 works were selected from 1927 to 2016. The analysis method is the content analysis of the novel among the qualitative research methods. The unit of analysis adopts a narrative or dialogue that deals with the image of a nurse in a novel as a unit of analysis, The image determining factors of previous studies were integrated and categorized into 4 types and considered. As a result of analyzing the image of a nurse in the novel, First, traditional image types include Lee Kwang-soo 『Love』, Kim Eui-jung 『Doctor Han』, Jo Jung-rae 『Han River』, Gong Ji-young's 「Field of Stars」, Baek Min-seok 「Poor Little Hans」 Second, social image types include Kang Kyung-ae 「Dark」, Kim Kyung-wook 「Heaven's Gate」, Choi Jeong-hee 「Cheonmaek」 Third, professional image types include Lee Cheong-jun 「Mr. Jo Man-deuk」, 「Discharge」, Choi In-hoon 『The Square』, Kim Yeon-soo 「The Night in the Tunnel Where I Listened to Jusaeng Tudipini」, Jeong Se-lang 『Public health teacher Ahn Eun-young』and Fourth, personal image types include Choi In-ho 「Apprentice Patient」, Kim Jeong-han 「The Third Ward」, Eun Hee-kyung 『Minor League』, Hoon Kim 「Hwajang」, Ha Seong-ran 「The Joy of Eating」, Kim Ji-yeon 「Hippocrates Love Song」, Park Kyung-ri 「Era of Distrust」, Jeong Mi-kyung 「The Lady of Arsenal」 typed as. Through the image of the nurse in the novel, the implications of the novel for human care were discussed.