• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.255-293
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• 2020

This study examines the God, Jiutian Yingyuan Leisheng Puhua Tianzun (九天應元雷聲普化天尊, 'The Supreme God of the Ninth Heaven, Celestial Worthy of Universal Creation through His Thunderbolt, the Originator with Whom All Beings Resonate' in Daesoon Jinrihoe), in terms of narrative imagination, by investigating the narrative of Wen Zhong (聞仲) in Investiture of the Gods (Fengshenyanyi 封神演義) and the narrative of Kang Jeungsan (姜甑山) in The Canonical Scripture (Jeongyeong 典經). This examination occurs along three dimensions: Firstly, I look into the cultural contexts of the image of the Thunder God (雷神) in Gojoseon (古朝鮮) mythology and the Korean seondo (仙道) tradition both of which are reflected in the narrative of Wen Zhong. At the same time, I also argue that the cultural contexts examined above are able to be found in the narrative of Kang Jeungsan. Secondly, I consider the essential meaning of the concept of "deifying" (封神) in the narrative of Wen Zhong and its connection to "the resolution of grievances" (haewon 解冤) in the narrative of Kang Jeungsan. Thirdly, I consider the traits of embracing heterogeneous things (異類) in the religious group "Jiejiao" (截敎) that Wen Zhong belonged to in relation to the values of "mutual beneficence" (sangsaeng 相生) that Kang Jeungsan pursued. In this study's conclusion, I posit that the "mentalité" of Dong-yi (東夷) culture and tales including Yin (殷) is identifiable in narrative imagination applied to the God, Jiutian Yingyuan Leisheng Puhua Tianzun. This means that the nature of Jiutian Yingyuan Leisheng Puhua Tianzun is closely related to the tradition of Korean seondo and Korean Daoism.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1091-1103
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• 2010

Absalom, Absalom! is not only about family history but also about the nature of reconstructing history. Faulkner shows us what will happen if we give too much credit to the person having the authority; he first makes us listen to Rosa, so we just listen without doubt until we arrive at the question of the objectivity of her narration, when we get to know Sutpen's design. Meanings of "facts" change depending on who perceives the facts. The incremental repetition of the narrative in the novel resembles the process of our thinking mind and the process of history being constructed. Time is a significant element in determining the meaning of an event, not only because the event cannot be understood without its social, cultural context of the contemporary, but also because only the later events make it possible for the perceiver to categorize it in its proper place in history. Furthermore, through his narrative strategy, Faulkner suggests that imagination play a large part in recreating history. He blurs the distinction between facts and imagination, making us regard Shreve's and Quentin's conjectures as facts in several ways. The conversation between father and son, and the two brothers, which is an imagination constructed through the clues Mr Compson has offered, becomes a fact willingly accepted by the readers as well as Shreve and Quentin. The people in the past, present, and future may be very much unlikely to agree on the same event, because the gap in temporality will keep widening our perceptions. Faulkner demonstrates the nature of history in such a way that we can compare our understanding of the Sutpens' history in the earlier and later part of the novel through repetitions.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.132-142
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• 2022

The purpose of this study is to interpret the MCU's universal worldview from the perspective of geometry and to storytell narrative elements with mathematical imagination. For storytelling, data from the Phase 3 series aired from 2016 to 2019 was used. The Phase 3 series stimulates the imagination of the public with the sense of reality shown in the narrative and images based on geometrical theory and various predictions about future technology. Imagination is the driving force for diverse and original thinking about the unexperienced, and the ability to find order in chaos and create new perceptions of matter. The power of imagination is very necessary not only in artistic activities, but also in the scientific field where logic and rationality are important. Bachelard's imagination aims for art, the primitive realm of human beings, and contains sincerity and passion for the wonders of nature and all things. By exploring the MCU's worldview and superhero narrative through geometrical logic and imagination-driven imagery, you can understand the cosmic messages and laws in the film. From a convergence point of view of art and science, various and original techniques based on mathematics and scientific imagination used in MCU video production will help to improve the quality of video analysis.

• Cartoon and Animation Studies
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• s.43
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• pp.231-254
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• 2016

The graphic novel is seemed different from comics in two aspects, visual expression and narrative value. However, they are ambiguous standards, so it needs to research each works of graphic novel deeper. Then this paper studied both of visual expression and narrative in Craig Thompson's "Habibi" that has been recognized a fine graphic novel. As the research about how the modes of expression that an American author choose on purpose to represent an arab female are related with narrative, it will get the point of narrative strategy that graphic novel can have potentially. So It studied new modes of expression as focusing on imagination of arab letters and woman growth-narrative by using Gayle Rubin's 'traffic in women' theory, and how it was related with modes of expression in graphic novel. This paper will be helpful for broadening spectrum of expression in graphic novel as comics media having own narrative form and studying graphic narrative potential.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1163-1191
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• 2009

As many critics do, this article starts from the premise that Charles Waddell Chesnutt wrote The Conjure Woman with a distinct socio-ethical view to ameliorating white readers' racism. For this purpose of social activism, first, the author uses a racially submissive genre and narrator- antebellum plantation-dialect fiction and an old ex-slave Julius-in order to win the attention of white racists, who constituted the majority of the reading public of postbellum America. Chesnutt then allows this seemingly submissive ex-slave consecutively to wage narrative battles against a Northern white capitalist, John. This fiction's structure is thus based on interracial narrative conflict. Granted, the result of these narrative battles is Julius's defeat. Even though he sometimes has narrative success through his manipulation of either his white female auditor's sentimentalism or the white capitalist's racial prejudice, it does not lead to any fundamental change in the white audience members' awareness: John still regards Julius's tacitly reformoriented tales merely as nonsensical ghost stories invented by the absurd imagination of a subservient, entertaining, and exploitable black coachman. Admitting his defeat, Julius relinquishes his original goal of deterring John's capitalist exploitation of both racial Others and the natural environment of the South and finally decides to serve the economic power of white capitalism. This self-defeating conclusion, however, should not be identified with Chesnutt's failure as an author. Rather, it should be understood as an interim result of the black author's earnest experiment with literary media best suited to his reform project. In fact, this narrative failure reveals Chesnutt's accurate diagnosis of the postbellum literary world: a black voice is still feebly heard and even easily buried by the whites' capitalist ambition and consequently intensifying racism. Conclusively, Julius's narrative failure should be positively evaluated as Chesnutt's one step further in his gradual and lifelong progress to a narrative goopher effectively to engage whites' imagination and sympathy for a vision of equal interracial coexistence.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.45-77
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• 2021

The aftermath of the COVID-19 virus continues. There are two potential fears behind the various preventive and quarantine measures. : the fear that "I may be infected" and the fear that "someone may infect me". This subconscious is built on the 'imagination of infection'. This paper attempted to analyze science fiction(SF) narratives and zombie narratives that influenced our imagination of infection. And this paper attempts to examine how SF novels and movies understand and express "infection", and how zombie narratives reveal "infection" and its horror. Mary Shelley's novel "The Last Man" revealed the paradox that the fear of an infectious disease gave humanity an opportunity for reflection. The films and showed that fear and aversion to infectious diseases can lead to riots and conflict. Zombie narrative is a genre that most dramatically expresses the horror of infection. Director Yeon Sangho's zombie trilogy, including , reveals that people around you can turn into the most dangerous source of infection. Through SF and zombie narratives, we can realize that humanity must have a humble sense of solidarity, ethics, and empathy in the face of infectious diseases. Through this narrative texts, we can realize the importance of the imagination of infection. Imagination of infection is the basis for understanding the causes and consequences of the spread of infection, the process and future prospects.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.133-140
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• 2023

The origin of texts we refer to as literary or artistic may be imagination, but many are based on experiences. In fact, experiences can be the source of artistic imagination since imagination often builds upon experiences. Therefore, the act of verbalizing human experiences using them as raw material can become a great form of art. Transforming past experiences into stories and infusing them with vitality inevitably requires a creative process of reconstruction, which is essentially a literary process. As such, 'Personal Narrative' holds significance as a literary process that weaves facts into stories and shapes them into forms. Individual experiences are stored as personal memories, and these 'personal memories' continuously generate stories. Collections of individual stories are stored as multiple memories, which gradually form 'collective memories' with distinct social and cultural inclinations through the passage of time and invisible yet potent societal and cultural censorship. The problem lies in the fact that individuals may tend to align their own memories with the inclinations of collective memory rather than simply recalling what they personally experienced. In the context of actual history, personal memories and collective memories communicate with each other, producing non-fictional content close to reality and sometimes manifesting as fiction content enriched with imagination. 'Personal Narrative' holds a significant genre as one genre of non-fiction content within our culture.

• English Language & Literature Teaching
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• v.7 no.2
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• pp.115-127
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• 2002

This study aims to investigate John Fowles's The French Lieutenant's Woman. This important postmodern novel is arguably the most important fiction published in England during the 1960's. John Fowles, along with Muriel Spark, Irish Mudoch and Doris Lessing is one the most influential postmodern writers. This is a study on the narrative technique, multiful endings, parody and author intrusion. The French Lieutenant's Woman is metafiction - a novel about writing a novel. The author says "This story I am telling is all imagination" in chapter 13. That is to say that John Fowles subverts traditional and even modernist poetics. His own intentional attempt to depart from traditional narrative structure is itself one of the novel's central issues. Through The French Lieutenant's Woman John Fowles shows postmodernist writers' narrative strategy.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.123-161
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• 2019

The popularity of melodrama indicates that melodrama is composed in a historical context. This is the reason why it is necessary to analyze the imagination of melodrama within a sociocultural context rather than asking the essentialistic question of "What is melodrama?". (2016) and (2018) caused sensations while holding unchallenged top positions in terms of viewing rate and popularity. These dramas indicate the popular imagination and desire of Korean society in the 2010s during a period of upheaval. This paper analyzed imagination in melodrama with a focus on nation and emotions of individuals in and . In preexisting dramas, conflicts are often limited to individuals and families; on the contrary, in and , a nation appears as a motif that forms conflicts between individuals. In these intense situations of conflict, people make rational judgments at first; however, they soon dispose of such judgments and reveal value-oriented attitudes through emotions, which drive actions. Both dramas form poésie mainly through poetic rhyming and the mise-en-scène of objects. The dramas also amplify emotions. The main emotions of these dramas are sympathy and sadness. Such emotions are not consumed in itself; instead, they show moral aims through performativity. Consequently, sympathy becomes solidarity, and sadness becomes mourning. Unlike preexisting melodramas whose endings were simply pursuits of love and happiness within the realm of individuals, and demonstrate a moral imagination that simultaneously reminds us of the individual and community through solidarity and mourning.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.73-108
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• 2019

This paper is an attempt to discuss the history and the current state of 'SF theaters.' SF theater is still an unfamiliar genre to the public, and may surprise some, given that the stage is perceived as an insufficient space for stretching the scientific imagination. Since 2010 works that bring the scientific imagination into the theater have frequently been performed, and a recognition of SF theaters began to be established. Producers came to be absorbed in human psychology, and our isolation amidst the progress in technology, as well as in the absurdities of the world, while giving up the ideal of realistic descriptions. This became the foundation for SF theaters in South Korea today. Starting from the research history and the conceptual change in SF theaters, this study examined the status of SF dramas going back to the colonial period for SF theaters. Through inquiring into the history of SF theaters, we were able to derive the following implications and problems. Firstly, as they are based on future society or technical improvement without consideration of scientific probability or rationality, the scientific imagination is too absent for the work to be named 'SF theater.' Secondly, while being highly evaluated as an attempt to integrate science and stage in an era that emphasizes convergence, when we delve into the creativity of a material it is noticeable that the view of the world is still regressive. Thirdly, there are many cases in which scripts lean on SF classics or Japanese original works. Nevertheless, if young creators' diverse attempts in a genre can breathe with the contemporary audience desiring a new material, the foundation of a Korean-style SF theater may be expanded to include more significant work.