• Journal of Korean Theatre Studies Association
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• no.40
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• pp.61-96
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• 2010

This research established that the two characteristics of Femail Gugguek were explored on the character as genre and the nationalism discourse. This research also included how to encounter the characteristic of Female Gugguek as a popular entertainment with the social context at the time and how to re-produce the social ideology. The 'historical nationalism narrative' piercing Female Gugguek had the close relation with the nation/state discourse of the time. The history reproduced by Female Gugguek was not real. It was the imagined past, the history as image. The Female Gugguek was a genre which typically showed how to intermediate fantasy, ideology and narrative. The happy-endings with the victory of male hero, the narrative pattern on overcoming national crisis, the narrative emphasizing the glorious past and the unification of nation, all these were projected the discourse on nationalistic ideology and nation/state-making in 1950's. The Utopian desire of Female Guggeuk imagining the glorious past and strong nation was the fantasy which concealed the contradiction in real life and the national identity damaged by colonial experience, division of territory, governance by U.S. Military Government and the Korean War. The Female Guggeuk was doing well, because it had amusement. Futhermore, imagination of glorious past and strong state/nation of Female Guggeuk satisfied the public's desire of escapism and wish to establish their position and identity in the rapid social-economic changes. However, Female Guggeuk repeatedly produced the never-changing characters, narrative pattern and conservative world-view. Thus, it became regarded as immature and obsolete thing in late 1950's. Female Guggeuk, which kept re-producing the retrogressive image of the past without modern viewpoint and interpretation, was not sensitive about change of time and trend of the people. Consequently, it was pushed out of people's major interest.

• (The)Study of the Eastern Classic
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• no.67
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• pp.35-67
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• 2017

This paper is a study on popularise aspects and consciousness of times about Seol-In-Gui's narrative in the Joseon Dynasty. Seol-In-Gui is general of Dang(唐) and he entered the war between Goguryeo(高句麗)and Dang. The war between Goguryeo and Dang is ended victory of Goguryeo. And Joseon peoples was long for power of Goguryeo and recognized again history of Goguryeo. So discourse of regaining native land was formed in the Joseon Dynasty. Besides was very popular in the Joseon Dynasty. Seol-In-Gui's narrative and are quite similar. And Dang-Tae-Jong, Ul-Ji-Gyeong-Deg's old story was prevalence. Dang-Tae-Jong and Ul-Ji-Gyeong-Deg entered war between Goguryo and Dang. Therefore Seol-In-Gui's narrative was popular in the Joseon Dynasty. Popularise aspects of Seol-In-Gui's narrative as follows. First, Seol-In-Gui's conquest of Yodong(遼東) narrative and heroism was gradually emerged in Seoul block printed of 40, 30 sheets version and printed book of . Second, Dang-Tae-Jong, Ul-Ji-Gyeong-Deg, Hab-So-Mun's individual narrative was formed. Third, Seol-In-Gui's narrative was expended to female hero's conquest of West-Beon(西蕃) narrative. Because are adaptations of . And is succession of Seol-In-Gui's narrative. Seol-In-Gui is people, Ben-Li-Hwa is female, Ben-Li-Hwa and Ul-Ji-Gyeong-Deg are ethnic. It is revealed that people, female, ethnic are real ability of Chinese nation. Furthermore it is revealed that people and female must are appointed and ethnic must is combined. Besides it is revealed that it is necessary built up national strength of Joseon Dynasty like Goguryeo and Goryeo. After the Manchu Invasion of Korea in 1636 national strength of Joseon Dynasty was weaken. So the Joseon Dynasty People long to be intensifed national strength keep in check China.

• Journal of The Korean Association For Science Education
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• v.35 no.4
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• pp.735-750
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• 2015

The purpose of this study is to draw an educational implication by analyzing the context of narrative texts, students' narrative thinking, and their academic achievement. We investigated text types in students' geological field trip reports, the reason why students favors narrative texts, the relationship between narrative texts and their scientific knowledge recall, and the relationship between narrative thought and academic achievement. All students used expository texts, 82% of them expressed argumentative texts, and 36% of them used narrative texts. It is likely that students use more narrative texts because students were in the context of outdoor activity and so, their emotional feelings were more activated than when they are doing lab activities. The academic characteristics of earth science seemed to contribute more narrative texts in students' reports. The post-test revealed that students with narrative texts recalled better than the others. On the other hand, there were no statistically meaningful differences in academic achievement between the two groups. However, we have noted that female students whose reports contain narrative texts achieved significantly higher scores than female students whose reports are without narrative texts. From in-depth interviews, we found that students who properly used both paradigmatic and narrative mode of thought were in a more advantageous position than those who used narrative thought only. It was also found that some narratively thinking students tended to feel uncomfortable with the way of learning or evaluating questions about science. In the future, a complementary approach of narrative and paradigmatic mode of thoughts would be encouraged by understanding students' tendency of thinking.

• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.395-402
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• 2022

The film House of Hummingbird intersects Korean modern history and personal history through the eyes of a teenage girl, and closely explores how patriarchy and Korean capitalism leave traces and internal impressions on the growing up of the female subject. This film is a meaningful text in terms of showing what changes can occur when the subject is transformed from a boy to a girl in the narrative of growth and when a feminist point of view is entered. House of Hummingbird reveals the weakness of the patriarchal symbolic order through the gaze of a teenage girl in the episodic narrative composition, and also discovers the possibility of close relationships and bonds between women in the gaps. In particular, Yeong-ji, the main character girl Eun-hee's Chinese language school lecturer, is a new female character that has never been seen in Korean teenage films. As a result, in House of Hummingbird, we meet a new female subject who negotiates the pain of growth in a 'good enough' condition.

• 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 Digital Convergence
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• v.18 no.6
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• pp.435-441
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• 2020

This study attempts to analyze by the gender political point of view of the recent film, 'A Special Lady', focusing on the case of setting up women as the main characters in the 2000s Korean film noir genre. Concretely, this study conducted a narrative analysis focusing on the three elements of genre film, the identity of the characters and their family relationships, and the Oedipal trajectory. The film, 'A Special Lady', has the narrative about the maternal love assigned to female protagonist, and that emphasizes male pure love. And the film shows the flashbacks concerning to motherhood that prove the biological identity of the female protagonist, and signs that weaken the castration fear resulting from male voyeurism. Further, the film depicts the fragmentation of identity and the cracking of family relationships, revealing the confusion of gender identity and the narrative degeneration into family melodrama. Meanwhile, the film fails to complete the feminine Oedipal trajectory by reducing the female character's motherhood to a biological one instead of expanding it into an alternative quality embracing the other. These findings suggest that the korean gangster is closely related to gender politics and is not completely out of gender bias.

• 한국노년학
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• v.38 no.3
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• pp.607-625
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• 2018

This study is on mid-seventies female gamblers who went through Korean modern history. The purpose is to analyze interviews on their life of understanding what their true self is, and to redefine gambling. The concept of 'existential self-regulation' was proposed and the materials were acquired through narrative interviews. The materials were then investigated according to Mandelbaum's framework for analysis of which suggests dimension, turning, and adaptation. The self-narrative revealed that the process of being addicted to gambling is as in the following: compensating her emotional deficiency via money and child's education, getting rid of the emotional deficiency via gambling, becoming free from emotional deficiency. The meaning of gambling has shifted to a comfort to existential vacuum, a source of anxiety ruining life, pastime for boring everyday life. Life events that control the impulse to gamble through 'existential self-knowledge' occurred in the second and the third stage. Based on the results, the study suggests mid-seventies female gamblers to write her autobiography, and proposed the necessity of self-examining programs.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.9-37
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• 2020

The present study examines the transnational "Hallyu" (the Korean wave) phenomenon after the 1990s in the context of a solidarity movement of East Asian women. It also focuses on the passion for the world stage given the cultural industry was supported by the government as a "chimney-less factory" during the IMF financial crisis. Over the past twenty years and through Hallyu 1.0, Hallyu 2.0, and Hallyu 3.0, "K-entertainment" has been advocated, as a concept that encompasses K-drama, K-pop, etc. in the cultural industry. Furthermore, everything Korean, through K-culture, is being put at the forefront. However, there is insufficient discussion regarding the actions of the women who led the Korean wave. This paper examines the female fans and girl groups who played leading roles in the rise of popular culture and its transnational prominence within the context of the female agency and female labor involved. The lack of acknowledgment of their roles is linked to the current erasure of the discussion on the female youth. Discussion on "woman" is still limited to the domain of reproduction in the generational discussion that has replaced the existing nation-state or class led discussions in the current era of neoliberalism. However, since The reboot or the popularity of feminism in recent years, the interest in the female narrative, in works such as 'Kim Ji-young, Born 1982' has been expanding beyond East Asia to the rest of the world. Just as Hallyu was created by women in the beginning, there is a new trend in which women across national borders are joining in solidarity. As such, the present study attempts to prove that the female fan, girl group, and female youths must be one meta-narrative through a feminist reading, rather than individuals with separate identities.

• Cross-Cultural Studies
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• v.44
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• pp.191-209
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• 2016

This article aims to analyze the perception of Korean-Chinese in South Korea to understand the mentality of South Korean people in a multicultural society through exploring Korean films in which Korean-Chinese characters have been represented since 2000. For this purpose, Korean-Chinese characters represented in Korean Films are divided into male and female. It could be said that South Koreans are biased against Korean-Chinese, who are considered 'others' under the economic and cultural hierarchy. Female characters are presented as 'pure' and 'frail' in the migration narrative while male characters are 'indecent' and 'brutal' individuals in crime narrative films. Meanwhile, Haemoo [Sea fog] is a story about economically weak Koreans and Korean-Chinese who were in economical conflict with each other, but were victims of the economical restructuring systems under neo-liberalism.