• 만화애니메이션 연구
• /
• 통권36호
• /
• pp.1-17
• /
• 2014

이 연구는 형식적인 측면으로 쇼트에서의 아이러니적 반전과 내용적인 측면으로 내러티브 구조 안에서 복선으로 인한 아이러니를 살펴보고자 하였다. 미국의 주요 애니메이션 제작사인 PDI Dreamworks, Pixar에서 만들어진 최근 장편 애니메이션에서 아이러니가 어떻게 사용되었는지 고찰해보고자 하였다. 표현된 것과 숨겨진 실제 간의 괴리인 아이러니는 본 연구에서 살펴본 바와 같이 두 가지로 정리된다. 아이러니는 상황설정 후 예상과 암시의 과정을 거쳐 마지막 장면에서 극적으로 나타난다. 주로 극중에 등장하는 캐릭터의 성격묘사나 사건이 일어날 배경의 설정을 위해 사용되어 웃음을 전해준다. 두 번째로 아이러니와 관련하여 애니메이션 초반에 등장한 복선이 극의 중반 또는 후반에 인과관계를 가지고 반전으로 드러났다. 이 아이러니는 극적인 요소를 강화시키며 이야기를 풍성하게 만들어주기 위해 사용되었다. 미국의 주요 제작사에서 제작된 두 편의 장편 애니메이션에서 분석해본 결과, 연속되는 장면에서의 아이러니나 내러티브 안에서 연속되는 등의 다양한 아이러니적 표현의 사용을 찾아볼 수 있었다.

• 영어영문학
• /
• 제54권4호
• /
• pp.531-560
• /
• 2008

I hope to demonstrate in this paper the degree to which the works of Leonard and Virginia Woolf, mainly The Wise Virgins, The Village in the Jungle, and The Voyage Out, are contained within the politics of home. In doing so, I aim to challenge some mainstream criticism that affirms their resistance to British imperial desire. Although their statuses as outsiders in the British Empire, being a Jew and being a woman respectively, allowed Leonard and Virginia Woolf to criticize British imperialism and a male-dominated culture as well as racial and cultural hierarchies to a degree, their works inevitably unveil their prioritization of the British white-oriented space. In some ways their authorial positions in relation to their texts uphold the imperial center as an invisible regime of truth in their narratives, supporting the patriarchal and imperial binary oppositional structure and its hierarchical order imposed not only on the British subject but also on the foreign, colonial others. Leonard's and Virginia's inconsistencies and ambiguities betray their racial distantiation and notions of British white superiority, as disclosed in their racially stereotyped descriptions and the absence of real communication between the British characters and the colonial, foreign others. The work of self-repetition, the major mechanism in the politics of home, dies hard in Leonard's and Virginia's 'antiimperial' works. Leonard's and Virginia's struggle to stand against the imperial desire needs a genuine ethical position in order to embrace the Other, which would allow us to explore further and guard against the pitfall of postcolonial criticism's being easily degenerated into a neo-colonial criticism, another politics of home.

• 한국어교육
• /
• 제28권4호
• /
• pp.367-402
• /
• 2017

본 연구는 언어 학습이 실행공동체 (Communities of practice) 참여를 통한 사회적 학습과정이라는 전제 하에, Norton (2001)의 상상 공동체 (Imagined communities) 개념을 바탕으로 언어학습자들의 다면적 동기를 이해하기 위한 목적으로 수행되었다. 특별히 기존 제2언어습득 문헌에서 상대적으로 연구되지 않은 미국 내 소수민족언어 (less commonly taught languages) 중 하나인 한국어 학습자의 다면적 동기를 조명하고자 하였다. 이를 위해 미국 동부 소재 대학에서 한국어 강의를 수강하는 11명의 학생들을 대상으로 심층적 인터뷰를 실시하였다. 연구 분석결과 학습자 그룹 내에 관찰되는 상상공동체의 유형으로 K-pop 문화공동체, 직업 공동체, 한국 친인척 공동체, 민족 정체성 공동체의 네가지 유형이 관찰되었다. 그리고 학습자 개개인의 상상 공동체는 언어 배경, 학습 기간, 매체 사용 등의 다양한 경험을 통해 다양하게 발전, 변화하는 것으로 나타났다. 특히 계승어 학습자와 비계승어 학습자 간에 지향하는 상상 공동체의 유형을 비교해 보았을 때 명확한 차이가 나타났다. 또한 기존 문헌에서 계승어 관련 동기 (heritage motivation or motivation related to heritage)라 명명되는 개념 내에도 학습자의 경험에 따라 실제로는 상이한 공동체 유형이 존재함이 발견되었다.

• 고전문학과교육
• /
• 제37호
• /
• pp.217-252
• /
• 2018

조선 후기의 판소리계 소설인 <토끼전>은 "삼국사기(三國史記)"의 <구토지설(龜兎之說)>을 근원설화로 갖는데, 이 <구토지설>은 또한 인도 설화의 동점(東漸)으로 이루어졌다. 본고에서는 이러한 '인도설화 - <구토지설> - <토끼전>'의 서사적 변화에 대해 검토하여 짤막한 우화가 <토끼전>과 같이 풍요로운 이본을 가진 이야기로 나아간 과정을 살펴보고자 하였다. 쟈타카의 <악본생>, "판챠탄트라"의 <원숭이와 악어>, "생경"의 <불설별미후경>, "삼국사기"의 <구토지설>, <토끼전>의 세 가지 이본을 두루 살핀 결과, 다섯 종류의 이야기들은 모두 '물속 동물의 육지 동물에 대한 위협과 음모', '대리자의 육지 동물 유혹', '육지 동물의 꾀를 통한 탈출' 이라는 공통적인 서사의 전개를 가지고 있었고, '육지 동물', '대리자', '물속 동물'이라는 공통적인 기능을 수행하는 인물을 가지고 있었다. 그러나 원형적인 이야기에서 <토끼전>으로 올수록 등장 인물의 재조직이 일어나 행위의 설득력이 강화되고, 사건을 재편하는 것으로 갈등의 규모를 확장하고, 공간을 대비적으로 활용하는 것으로 서사 내 담지된 주제 의식이 다변화되는 변화들이 일어나는 것을 확인할 수 있었다. 이러한 논의를 통해 소위 매력적인 이야기, 좋은 이야기는 어느 특정 이야기에서 그 성과가 일궈진 것이 아닌, 많은 이야기와 그만큼의 많은 사람들이 모여서 이루어낸 크고 작은 서사적 도약들이 적층됨으로써 만들어지는 것이라는 논의의 의의를 이끌어 낼 수 있었다.

• 여성건강간호학회지
• /
• 제27권3호
• /
• pp.220-229
• /
• 2021

Purpose: The world saw a shift into a new society consequent to the coronavirus disease 2019 (COVID-19), which made home quarantine mandatory for a person in close contact with those who tested positive. For children, however, home quarantine was not limited only to themselves but parents, especially mothers were involved and required to quarantine. This qualitative study aims to explore and understand mothers' experience and their related psychosocial issues while caring for their school-aged children in Korea, who had to home quarantine after coming in close contact with COVID-19 positive individuals. Methods: Data were collected from October 2020 to January 2021 via in-depth, semi-structured interviews with nine mothers of children who had to home quarantine. Interviews were conducted face-to-face in an independent space near the participant's home or workplace (n=5) or via online platforms or telephone (n=4). The data were analyzed using thematic analysis through several iterative team meetings. Results: Thematic analysis revealed the following four themes: "Unable to be relieved due to uncertain situations surrounding me," "Blame and hurt toward me, others, and one another," "Pulling myself together for my children in my broken daily life," and "Changes in the meaning of life amid COVID-19." Conclusion: The narratives show that mothers experienced psychosocial difficulties while caring for their children during home quarantine. It is necessary to reduce the social stigma toward individuals in home quarantine and establish policies to ensure work-family compatibility for such mothers.

• 비교문화연구
• /
• 제33권
• /
• pp.407-459
• /
• 2013

The paper pragmatically analyzes ellipsis in Russian and Polish colloquial and informal texts. The famous Polish writer Sławomir $Mro{\dot{z}}ek^{\prime}s$ "Exit to the South", written in Polish and Russian is used as a material for the analysis. Russian and Polish ellipsis in colloquial and informal texts have in common that the givenness and subjecthood of the elliptical co-referent play a crucial role. However, the ellipsis in two languages also has differences in many ways. Above all, in the Polish texts of colloquial and informal style, a theme is likely to be elliptical and the coreferential relation reaches to an extra-sentential antecedent, while the ellipsis in analysed Russian texts in most cases requires coordinate, subordinate or relative clauses, and the elliptical co-referent tends to have an intra-sentential antecedent. The ellipsis of the theme-subject is unmarked in Polish, where every verbal form has an ending denoting person. Unlike formal style which often allows explicit noun subject, Polish text of colloquial and informal style prefer null form of the subject in most cases. If Polish sentences have explicit theme-subjects, they disambiguate intervening and main themes, and indicate the contrast, the focus, the introduction of new narratives or the change of speaker's point of view. Sometimes direct speeches and deictic pronouns also need explicit theme-subjects in Polish sentences. On the other hand, the ellipsis of the theme-subject is marked in Russian even in colloquial and informal texts. The theme-subject can be deleted in Russian colloquial and informal texts, if the subject is a form of the first or the second person, or if the aspect and the tense of the antecedent sentence's verb are the same as those of the given sentence's verb and both the antecedent and the coreferential word have the nominative case.

• 비교문화연구
• /
• 제19권
• /
• pp.181-204
• /
• 2010

This study analyzes the meaning of madness shown in the female narrative, focusing on two novels- "Before the Operation" by Mei Niang and "Madman's Diary" by Baek Shin-Ae. The novel "Before the Operation" reveals women's instinctive desires through an insane woman and brings up a problem of unfair suppression caused by patriarchism. On the other hand, the heroine of "Madman's Diary" shows madness when she is at a crisis to be 'the other' in the patriarchal system. Her madness is caused because she fails to find the meaning of her presence in the system. Interestingly, a woman who departs from moral standards of patriarchy (from "Before the Operation") becomes thefocus of public censure while a man (from "Madman's Diary") who also ignores those standards seems to be a victim. In "Madman's Diary", the man's wife is accused of being mad while he draws sympathy as a victim. This shows that those moral standards have duplicity. At this point, the heroines who continuously adjust themselves to the system express their madness. In other words, the madness implies a stern protest against the moral standards applied differently to men and women. It is unique that the two heroines of the novels become 'sane' when they encounter thematter of 'being a mother'. When it comes to "Madman's Diary", 'being a mother' of the insane woman who becomes 'the other' in the system foretells dismal future. Meanwhile, Mei Niang indicates the way- 'being a mother'- to overcome the dismal future through "Before the Operation". In this case, the mother is not a figure that reproduces the patriarchal power structure, but an independent figure who wants to change it. For that reason, 'being a mother' has the meaning of subversion and resistance.

• 비교문화연구
• /
• 제23권
• /
• pp.215-242
• /
• 2011

Yingchuang yicao(${\ll}$螢窗異草${\gg}$) is a collection of short stories in Classical Chinese, whose style was much affected by Liaozhai zhiyi(${\ll}$聊齋志異${\gg}$). It consists of 3 chapters, 12 juan, and 138 stories. This work was written by a scholar with the pen name of Hao gezi(浩歌子) in the reign period of Qianlong in the Qing dynasty, and has drawn relatively little attention among the scholars thus far; it was not until 1980's that scholars figured out that the author Hao gezi was Yin Qinglan, the sixth son of the renowned Qing scholar Yin Jishan. Yingchaung yicao had circulated as a manuscript for more than one hundred years until it was printed by Shenbao guan(申報館) in Shanghai in the reign period of Guangxu 2-3 (1876-1877). This edition is currently collected at The Kyujanggan(奎章閣) Institute of National Seoul University. At present, no known study of its introduction to and circulation in premodern Korea is available. However, given that the late $Chos{\ddot{o}}n$ period saw high interest in Chinese narratives, it is speculated that this work was imported to Korea soon after its first publication in China. Later, two publishing houses in Shanghai also published illustrated editions of the work. Given that the Shenbao guan version is the first printed edition of Yingchuang yicao, the copy collected at Kyujanggak Institute should be regarded highly for its academic values.

• 한국연극학
• /
• 제52호
• /
• pp.159-188
• /
• 2014

Under the influence of postmodernism, modern writing tends to refuse an immediate conveyance of messages achieved by linear, unified writing. Such writing does not attempt any social participation and has no leading ethics, offering diverse perspectives. It simply relies on material property ignoring the 'here and now'. This discussion depends on the sensuous immediacy of works that are pure and uninterpretable, causing the "death of author" phenomena. Although the time was late, since the 1990s, discussion and work on deconstructive theater has been executed in the Korean theater world. This deconstructive work was achieved when lineal narratives were shattered through the shocking insertion of fragmentary episodes and imagery. Moreover, such plays were shocking presentations of severance in conversation; lack of communication; loss of pride and love; and a world devastated by violence and madness. In the 2000s, such a movement helped form a new paradigm in the theater through reinterpretation and parody of traditional dramas, while drawing general attention to postmodern theater. However, as the problems of postmodern theater are perceived through study, the limit of plays with a postmodern tendency is pointed out: such plays merely display 'deconstruction'. This thesis will examine reflective thought on postmodern theater seeking "deconstruction without alternatives" and the aesthetic concept of "le politique" by Jacques Ranciere. It will also look through the overlap of images as interval-estrangement, "lettre morte", and simulacre representing mise-en-scene aesthetics weaving "political writing". This study is meaningful in that it tries to extend the new aesthetic horizon of Korean theater, examining in 2009 and by Koh Sun-Woong in 2011, directed by Park Chung-Hee in 2010 and directed by Park Keun-Hyung in 2009.

• 한국콘텐츠학회논문지
• /
• 제19권9호
• /
• pp.221-232
• /
• 2019

K-Pop 성공의 핵심적 영역인 '아이돌' 문화가 가지는 고유성은, 다양한 문화의 수용과 퍼포먼스 역량의 강화 만이 아니라, 새로운 기술적 환경을 효율적인 활용한 데서 찾을 수 있다. 이에 따라 일본 아이돌 시스템과 구별되는 한국의 아이돌 시스템이 정립된다. 그리고 이런 시스템은 새로운 기술적 환경과 함께 더욱 진화하고 있다. 본 논문은 기술적 환경에 대한 한국 아이돌 시스템의 진화 과정을, 아이돌 걸그룹 '아이즈원'의 사례를 통해 살펴보고자 한다. '아이즈원'은, SNS와 뉴 미디어를 적극적으로 활용하고, 상호작용적 서사를 생산해 냄으로써, 빠른 성공을 달성했을 뿐만 아니라, 상호작용적 의례를 통한 팬덤의 안정적인 확장과 내정 동질성을 구축하고 있다. 이런 시스템의 진화와 성취를 일본 아이돌 시스템과 비교함으로써, K-Pop 성공의 요인들을 더욱 분명하게 제시할 수 있을 것이다.