• Women's Studies Review
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• v.29 no.2
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• pp.3-35
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• 2012

This paper attempts to examine complicated relations which the nineteenth-century English novel of female development has with the Bildungsroman genre, and to discuss that the story of female development effectively realizes the potential dynamics of the genre. It looks into the history of discussions on the Bildungsroman which began at the end of the nineteenth-century in Germany and developed among twentieth-century Anglo-American critics, and those on the female development which didn't start until feminist criticism ventured out at the end of 1970s, and have developed into various perspectives ever since in accordance to the progress of feminist criticism. In general, Bildungsroman criticism considers that it portrays the process how the protagonist develops self and achieves an accommodation with society. However, this paper points out that the Bildungsroman is the narrative form which represents conflicts between self and society caused by idealizing the infinitive possibility of self-determination while simultaneously presenting the limited goal of social integration. It argues that the subversive dynamics of the genre can give full play to its potential when it reveals contradictions and tensions between individual subjectivity and integration into society and connects them with criticism of political and social structures. It is the stories of female Bildungshelds depicted by nineteenth-century female writers that exquisitely embody the subversive potential of the Bildungsroman. They acutely experience alienation from society where independency or autonomy is fundamentally impossible because the ideology of separate spheres does not allow them to live a meaningful life economically and sociologically outside the marriage. An example of a female Bildungsheld whose conflicts between development of self and integration with society are doubled by gender is Jane Eyre. Jane Eyre is a representative Bildungsroman with subversive dynamics, which tells the story of female development but splits itself through various techniques inserting contradictory and opposite meanings, thus resignifying female development and questioning social and political structures.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.23 no.2
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• pp.45-68
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• 2012

Archives have directly and indirectly served for memory. What is collected in archives, how it is presented to users, and how users understand and use the documents affects how a given society remembers its past. Some archival scholars see that how users interpret documents from their perspectives and by social interests may play a central role in constructing social memory because memories are often triggered by individual and social concerns of the present time. Therefore, knowing what causes users to seek for a certain materials, how they use those materials and why can offer a clue to learn how archives serve for social memory. In the Web space, the interaction between users and archives/archival materials can be easily observed. Beyond making access simple for users and promoting archival documents using Web technology, archives can serve the broader purpose of memory by skillfully exploiting the characteristics of Web 2.0 and digital cultures in a way to observe how users engage in and contribute to archival contents available on the Web. This study examines the discourses on memory in the archival context, and in particular, how archives can serve as platforms for memory within the new environment of Web 2.0 technologies. It surveys discussions on memory in relation to archives, history, and evidence, focusing on the user and use context as it is represented in the archival literature. This paper discusses how that technology provides features that allow us to see collective memory being constructed in the archives, and presents examples of how the Web 2.0 technology can structure the way users share their memories in building a larger narrative around the archive.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.167-202
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• 2014

When video composes mise-en-scene during the performance, it reflects the aspect of contemporary image culture, where the individual as creator joins in the image culture through the device of cell phone and computer remediating the former video technology. It also closely related with the contemporary theatre culture in which 1960's and 1970's video art was weaved into the contemporary performance theatre. With these cultural background, theatre practitioners regarded media-friendly mise-en-scene as an alternative facing the cultural landscape the linear representational narrative did not correspond to the present culture. Nonetheless, it can not be ignored that video in the performance theatre is remediating its historical function: to criticize the social reality. to enrich the aesthetic or emotional reality. I focused video in the performance theatre could feature the object with the image by realizing the realtime relay, emphasizing the situation within the frame, and strengthening the reality by alluding the object as a gesutre. So I explored its two historical manuel. First, video recorded the spot, communicated the information, and arose the audience's recognition of the object to its critical function. Second, video in performance theatre could redistribute perceptual way according to the editing method like as close up, slow motion, multiple perspective, montage and collage, and transformation of the image to the aesthetic function. Reminding the historical function of video in contemporary performance theatre, I analyzed two shows, Schaubuhne's Hamlet and Lenea de Sombra's Amarillo which were introduced to Korean audiences during the 2010 Seoul Theatre Olympics. It is known to us that Ostermeir found real social reality as a text and made the play the context. In this, he used video as a vehicle to penetrate the social reality through the hero's perspective. It is also noteworthy that Ostermeir understood Hamlet's dilemma as these days' young generation's propensity. They delayed action while being involved in image culture. Besides his use of video in the piece revitalized the aesthetic function of video by hypermedial perceptual method. Amarillo combined documentary theatre method with installation, physical theatre, and video relay on the spot, and activated aesthetic function with the intermediality, its interacting co-relationship between the media. In this performance theatre, video has recorded and pursued the absent presence of the real people who died or lost in the desert. At the same time it fantasized the emotional aspect of the people at the moment of their death, which would be opaque or non prominent otherwise. As a conclusion, I found the video in contemporary performance theatre visualized the rupture between the media and perform their intermediality. It attempted to disturb the transparent immediacy to invoke the spectator's perception to the theatrical situation, to open its emotional and spiritual aspect, and to remind the realities as with Schaubuhne's Hamlet and Lenea de Sombra's Amarillo.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.102-112
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• 2011

The purpose of the study was to analyze narrative structure and spoken contents of two TV documentaries televised in KBS 1TV 'Current Topics Ssam' to examine how child sexual abuse was represented on TV. As a result, the study could see that child sexual abuse attackers were stressed by a system to monitor and punish them and TV documentary took a neutral attitude between their human rights and pain of the victims. And it emphasizes 'abnormal' sides such as attackers' drinking or history of mental illness, and men's social authority individualizes a woman's damage into private pain by imposing a light punishment on child sexual abuse attackers and letting them not punished. Child sexual abuse victims treated to be a sexual object as a 'small, easy and weak' woman are represented as a lethargic human who is afraid of revenge and lives in pain. The representation of child sexual abuse through 'Current Topics Ssam' has its limit in the fact that it neglected understanding social context of child sexual abuse by forming an event-centered immediate and fragmentary narration and didn't play a right role in making an efficient and long-term plan considering actual conditions of Korean society and leading the people's participation.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.223-226
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• 2006

It can formulate a basic concept to the study on styles of drawing on animation which is influenced by styles of drawing on comic. Especially the transferability of comic and eel animation have high possibility because they have common part as drawing, continuity of imagery and narrative, in spit of the differentiation with comic for spatial and animation for temporal. So the study on comic drawing styles are inevitable check point for investigating it's animation. To analyse of the style of animation drawing, can be employed the styles of comic drawing. For a case study, comic authors and their works is utilized for establishing basic concept of transferring comic to animation with the influence of drawing styles to animation and than it will apply to classify and analyse animation by them. The consequence of this study, it can be sorted in the three areas that are the cheerful comic, the drama, the boy-meets-girl comic. and can be proved that the close relationship of comic and animation. Among three aspects, a boy-meets-girl comic can not be detected in any selected animations. The presumption of this result that can be apply to the general idea which is a rare case to use in animation. Also to use partly cheerful comic to drama style as different drawing styles is for elucidating the effect of intending isolation with the play theory of Bertolt Brecht and empathizing dramatical situation through the disparity of emotion. This study is to investigate on the influence of the drawing style of comics in animation, and can provide the basic ideas of inter-relation of media through drawing styles study with the concept of hybrid.

• Cross-Cultural Studies
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• v.44
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• pp.315-342
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• 2016

There exists a general misunderstanding of the Musical as being both a dramatic genre and a musical genre. This misunderstanding lies in the fact that music fills the role of the drama. In other words, there exist a series of narrative episodes that help the development of the drama and music generates the ambience that corresponds to each episode. In this case, music is subordinated to the drama and thus becomes secondary. However, this paper seeks to show that in the Musical, musical composition is so strongly linked to the development of the drama that it is through the musical development that the drama unfolds. This paper seeks to explore this view through one of the most successful musicals of our time, Les $Mis{\acute{e}}rables$. A musical adapted from a novel is not the retrenchment of a series of episodes from the original novel. The process of dramatizing the novel compels the musical creators to observe what to draw out as a dramatic action. The interesting points of a musical consist of how the musical creator has reflected his understanding of the fiction through the composition of the music. This is why this paper has created a table analyzing the forty musical compositions in Les $Mis{\acute{e}}rables$. This table is meant to visualize the musical motifs employed in this play in order to explain the relationship between the musical composition and the development of the drama. The theme of Les $Mis{\acute{e}}rables$ lies in the transformation of Jean Valjean. His change includes the process of transformation from a thief to finding Jesus and his denial of being a sinner to his confessions of sinning. This paper explores the transformation of the dramatic action of Jean Valjean, which is symbolized by such themes as Misery, Love and Name established in musical form. The dramatic conflict between Jean Valjean and Javert as well as between Jean Valjean and $Th{\acute{e}}nardier$ is also explored through the composition of music. The success of Les $Mis{\acute{e}}rables$ lies in its successful constitution of music that embodies the in depth interpretation of the original play.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.189-228
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• 2014

The purpose of this research was to summarize Korea and China's researches on Noh and to examine main domain in this field, by investigating the academic books and articles published in two countries. In 1960s, since Nohgaku has been introduced to China, academic articles on Zeami's theories and aesthetics have emphasized on aesthetic characteristics of Chinese plays and Japanese Nohgaku through the similarities of oriental plays. The number of researches on Kabuki is almost twice as that of researches on Noh in China. While most researches on Kabuki were compared with the styles and music of Pecking Opera and the theatrical theories of liyu[李漁], those on Noh has been highlighted the comparative studies on $Y{\bar{o}}kyoku$[謠曲], Chinese Noh plays. The main difference among the researches on $Y{\bar{o}}kyoku$ in Korea and China was the material regarding characters of Noh. Because song yuanzaju[宋 元雜劇]and Nohgaku in Chinese-Japanese plays were the mature form of the classic plays and those were representative of traditional nation plays, this researches tried to ascertain the cultural origins of two countries regarding the aesthetic characteristics by referencing lyrical and narrative features[曲詞] of yuanzaju[元雜劇]and the classic waka of Nohgaku. While the comparative studies on Noh and song yuanzaju and kunqu[昆劇] in China were prevalent, national researches have emphasized on the inner world of the main character and dramaturgy through the verbal description of Noh. Especially, this research tried to investigate the inner world of the main character and the intention of the writers through the verbal description of Noh authorized in the history of the works. Also, the researches on Buddhism in the Middle Ages and religious background were examined significantly. In addition, the $Y{\bar{o}}kyoku$ has influenced on European modern playwrights and the comparative studies between the materials of $Y{\bar{o}}kyoku$ and Western modern plays were concerned. In Korea, the comparative studies on Noh between Korea abd Japan has been most focused on the origin theory of Noh. The fact that appearance theory of Noh had originated from Sangaku was common opinion among Korean, Chinese, and Japanese scholars. However, they are agree with the opinion that according to the formation of the different genres, Noh's mainstream was different among three countries despite of the same origin. Yuan drama and Noh play have the same origin, but different branch. In relation to the Noh's origin theory, there are literature comparative studies in religious background, the studies presumed the origin of instrumental music related to those in mask plays, and the comparative studies between Korean mask plays and $ky{\bar{o}}gen$ of Nohgaku. Kyogen is the Comedy inserted among the stories in Nohgaku performed in just one day. Therefore, $ky{\bar{o}}gen$ must be discussed separately from the relations of 'shite[任手]'s inner action veiled with masks. This research figured out that the lacking points of the two countries' researches were the acting methods of Noh. Academic articles written by foreign scholars studying Korean and Chinese theatres should be included when this issue will be dealt with. In Korea and China, translation studies and writings regarding Nohgaku have studied by those who are major in Japanese literature or oriental literature. This case is the same in Korea in that scholars whose speciality is not theatre, but Japanese literature has studied. Therefore, this present study can give a good grasp of whole tendency on Nohgaku's research in theatre fields.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.15 no.1
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• pp.61-74
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• 2004

Objectives：This study was performed to introduce a psychoeducational family therapy model for the families of schizophrenic patient and to investigate the effect of this model on the changes in coping style and depressive symptoms of the family members, and in perception of emotional support by families and depressive symptoms of patients. Methods：Nine preschool children, 3-5 years old, experiencing physical injuries caused by attack from a psychotic patient at kindergarten, were evaluated for psychological assessments；Intelligence test, MSSB(MacArthur Story-Stem Battery), H-T-P test(House-Tree-Person test). And their parents completed rating scale, KPI-C(Korean Personality Inventory for Children about children’s psychological conditions). Results：With respects to the contents and emotional reactions of MSSB, 9 preschool children showed generally high levels of anxiety, depression, avoidance, aggression, probably related to the traumatic experiences. Even though children couldn't verbally report directly about their traumatic experiences, in both MSSB, structured play narrative assessment tool, and HPT, free drawing and association test, they demonstrated psychiatric problems through reenactment plays, regardless of clinical diagnoses. Conclusion：Present study allowed us the chance to see beyond the outer pathological behaviors of PTSD in preschool children, through deeper evaluations of their mental representation. These preliminary data suggest deep understanding of internal representation would be of help for thorough evaluations and treatment plan for preschool children, experiencing severe trauma.

• Journal of Science Education
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• v.38 no.3
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• pp.641-656
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• 2014

This study aimed at analyzing visual materials included in school science textbooks, specifically the textbooks for first semester courses of 3rd to 6th graders. The purpose was to provide directions for future textbooks by understanding the functions of the images in both pedagogical and social perspectives as well. The study was conducted by investigating the types, roles and socio-semiotic features of the images in science textbooks. The results were as follows. Firstly, the most used types of images in 2007 curriculum textbooks were photographs and drawn pictures. Uses of other visual aids than above were extremely rare. It was also found that as the educational level rises, the use of images for decorative functions drastically declined. The majority of the images were used in providing supplementary explanations or examples. This implies that the images effectively play the role of helping science education. In addition, more use of worksheets images was found, indicating that as educational level increases, students participate more actively in research sessions or data analysis. In socio-semiotic perspective, visual images showed high accessibility to students in 'Type of visual image', 'Function of visual image', 'Distance of shot', 'Horizontal angle of shot', 'Color moduation'. It was implied that there will a close correlation between the type, role and the socio-semiotic characteristics of visual images in textbooks. For example, photograph-type visuals were mostly used as supplementary references. And when applying the socio-semiotic analysis to photograph-type visuals, they showed 'real type', 'narrative-metaphor type', and 'shadow effect' among socio-semiotic features. Such correlations implied that knowing the type of the visual image may help determining the role of the image in the textbook to some extent, and also corresponding socio-semiotic characteristics. As a result, it was possible to infer how accessible certain visual images are to students. The above results have implications for the effective use of visual images in future textbooks.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.