• The Journal of the Korea Contents Association
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• v.21 no.11
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• pp.268-280
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• 2021

This study analysed the narrative strategies in TV drama utilized in order to support the recent feminism movements. The analysis revealed that this TV drama breaks away from the clichéd patriarchal drama series. It portrays the main characters are not the sons but the two daughters-in-law, and represents the women challenging the order of the patriarchy, and resolving the issues. In this drama, men's power was removed and female agents were held up to ridicule. In addition, it eradicates the traditional female conflict structures and creates a strong bond between the females. With this storyline, TV series concludes with two achievements. One, the stepmother and the mother co-parent the child instead of the father, suggests that a non-blood related matriarchal family is possible. Two, the heir to the chaebol family, which is traditionally a patrilineal structure, is not the oldest son or the immoral son, but the lesbian daughter-in-law, overturning the idea of heteronormativity that is dominant in the patriarchal system.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.113-124
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• 2014

Ah! My Goddess has impressive narrative structure including a "narrative as a discourse," a "narrative as a story" and a "narrative by narrator": in a narrative as a discourse, North and South Korean soldiers make friendship; in a narrative by a narrator, main characters (including Sun-ho, Seok-gu, Ju-hwa, Chang-seop and Dong-hyeon) appear in the outer story and narrate the inner story of characters (including Dong-hyeon, Goddess and Seok-gu) within the frame of a play within a play; and in a narrative as a story, reality and fantasy intersect by the appearance of the "Goddess." This narrative structure contributes largely to 1) the character formation of space, 2) the strategic minimization of the stage, 3) the multiplicity of main characters, 4) the repetition of similar life story, and 5) the flexible change of a point of view. And the musical number serves as dramatic functions such as 1) pursuing the multiplicity of characters, 2) maximizing the effect of the expression of tragic feelings, 3) drawing audience's interest by irony and fantasy, 4) evoking the nostalgia for delicate feelings and pure wishes, and 5) ordinary female characters' playing the role of healing and salvation, thereby contributing to the reconstruction of reality and the style of fantasy.

• 한국노년학
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• v.36 no.4
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• pp.959-979
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• 2016

This study was performed to explore the life experience as a teacher was dissolved in life aimed at elementary school female teachers. The selection of the four-year teaching career more than 35 years, from January to November 2015 and retired teacher retirement not more than three years to 2015, five people in the study participants were conducting research. Research method was approached narrative interview method of qualitative research, Sch?tze of biographical research methods utilized in exploring how narratives. Results from this study showed the biographical curve through the 'biographical statement', 'experience the life of a female teacher','difficulties experienced in the reality of female teachers', 'reward as a teacher', divided into the categories' 'post-retirement life adaptation types'. These findings are in accordance with the retirement teacher pointed out the lack of social adaptation programs, such as training or preparation for life after retirement, With the increasing need for pre-retirement training is to prepare for life after retirement were suggestions that the government offers programs and information about the life after retirement is necessary.

• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.88-96
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• 2014

This study attempts, based on the premise that gender roles and identity is a social construct, to show how TV portrayal of the male has changed through the years with changes in time and society, from the traditional depiction of hegemonic masculinity and ideal manhood as supported by the patriarchal system. A narrative analysis was conducted on popular variety shows "Dad, Where Are We Going?" and "Superman Returns". The results showed that both TV shows created a new type of masculinity by centering the narrative on the traditionally female roles of child rearing and housekeeping, and recreating the traditional strict and authoritative father figure into a non-authoritative and emotionally expressive father. However, as 'child rearing' and 'housekeeping' is expressed as 'play', there are limitations in that the actual daily lives and hardship of women is excluded from the narrative.

• English & American cultural studies
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• v.9 no.1
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• pp.239-272
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• 2009

Our investigation of the intricate relationship among nationalism, humanism, and imperialism begins from reading Song of Ariran, the auto/biography of Kim San recorded by Nym Wales, together with Margaret Drabble's fictional adaptation of Lady Hong's autobiography, The Memoirs of Lady $Hyegy{\breve{o}}ng$, in her novel The Red Queen, in which the story of Barbara Halliwell, a modern female envoy of Lady Hong, is interweaved with Lady Hong's narrative. In spite of their being seemingly disparate texts, Song of Ariran and The Red Queen are comparable: they are written by Western female writers who deal with Koreans, along with the Korean history and culture. Accordingly, both works cut across the boundary of fiction and fact, imagination and history, and the East and the West. In the age of globalization, Western women writing (about) Korea and Koreans traversing the historical and cultural limits inevitably engage us in post-colonial discussions. Despite the temporal differences--If Song of Ariran handles with the historical turmoils of the 1930s Asia, mostly surrounding Kim San's activities as a nationalist, The Red Queen is written by a twenty-first century British woman writer whose international interest grapples with the eighteenth-century Korean Crown Princess' spirit in order to reinscribe a story of Korean woman's within the contemporary culture--, both works appeal to the humanistic perspective, advocating the universal human beings' values transcending the historical and national limitations. While this sort of humanistic approach can provide sympathy transcending time and space, this 'idealistic' process can be problematic because the Western writers's appropriation of Korean culture and its history can easily reduce its particularities to comprehensive generalization, without giving proper names to the Korean history and culture. Nonetheless, the Western female writers' attempt to find a place of 'contact' is valuable since it opens a possibility of having meaningful communications between minor culture and dominating culture. Yet, these female writers do not seem to absolutely cross the border of race, gender, and culture, which leaves us to realize how difficult it is to reach a genuine understanding with what is different from mine even in these 'universal' narratives.

• English & American cultural studies
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• v.17 no.1
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• pp.129-162
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• 2017

Ruth Ozeki(Japanese-American female novelist)?s recent novel, A Tale for the Time Being (2013) draws our attention because the fiction shows very interesting fictional experiments, especially in terms of post-humanism. Indeed, the novel is not a science fiction at all which has been, and still is, the typical fictional field employed in the discussion for the transhumanism and posthumanism. It also does not include any cybogs, robots, or aliens which provoke the posthumanism-related issues like mind/body, human/nonhuman, nature/culture relations. Indeed, it seems "merely" represent realistic day-to-day lives of ordinary people living in contemporary Japan and Canada, and in very minute and particular details at that. Indeed, the central action of the main characters of the novel seems very traditional, that is on the one hand writing a diary by a teenage girl who is counting the days and weeks before her suicide and on the other hand reading it by a female novelist who happens to find her diary several years later. Nevertheless, I would like to suggest that underneath this traditional narrative surface are simmering post-humanist and post-anthropocentric worldviews beyond liberal Humanism which takes human beings to be exceptional against human or non-human others. Not only in narrative contents and characterizations but also through narrative structure and strategies, the novel enacts post-humanist and post-anthropocentric worldviews which are interestingly drawn from both age-old Buddhist ideas and modern eco-philosophy and quantum physics. I would like to stress that what triggers the author's fictional experiments helping our rethinking and redefining "what human beings are" and "what the relation between humans and nonhumans" is not merely intellectual interests but her keen and passionate response to the heart-breaking pains and sufferings of human and nonhuman beings caused by the contemporary natural-artificial catastrophes and techno-scientific predicaments.

• 기호학연구
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• no.56
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• pp.109-136
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• 2018

The purpose of this study is to examine the narrative correlation of nonverbal signs found in Charade. Charade, by using nonverbal signs, provides information about the character's psychological change, his or her relationship with others, and the places where they stay. The study of Charade, then, has to be approached considering not only the transmission of messages through nonverbal signs but also its signification. This study has analyzed the narrative and formation process of the subject that triggers the subject's activity by taking narrative semiotics to the film Carol (2015). As the status of women is represented by the mise-en-$sc{\grave{e}}ne$ at this time, this study aims to examine such a fact through Charade, which belongs to the realm of mise-en-$sc{\grave{e}}ne$. In this study, nonverbal signs that are used in Charade are drawn based on the nonverbal communication theory. The result of analyzing the texts showed that the use of interior decoration was outstanding in the process of expressing the status of female subjects. The use of gaze was noticeable in the process of expressing the acquisition of female subjects' power. Besides, it should be noted that the use of nonverbal signs such as accessories, territoriality, or gesture, was worthy of attention. It was confirmed that such nonverbal signs play an important role in the formation of subjects and configuration of narrative transformation.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1281-1294
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• 2010

In Written on the Body, by creating the narrator's ungendered and unsexed identity, Winterson makes her text open to the reader's assumption of the narrator's sexual and gender identity. Thus, this novel has been read, on the one hand, as a lesbian text by those who assume that the narrator is a female and, on the other hand, as a suspicious text colluding with patriarchal and heterosexual values by those who define the narrator as a male. Those readings of the narrator as one of either sex/gender, however, demonstrate how (academic as well as general) readers have been accustomed to the gender-based reading habits in which textual meanings are dichotomously arranged along the lines of sex and gender of characters. Challenging those dualistic "gendered" readings, this paper reads Winterson's Written on the Body as a queer text which interrogates, troubles, and subverts the heterosexual concepts of narrative, desire, and body without reducing the narrator's identity to the essentialist sex and gender system. More specifically, this paper examines how the narrator's 'un-/over-' determined sexual and gender identity queers the narrative structure of author-character-reader; how the narrator's queer (fluid) desire is passing and traveling across categorical contours of (homo-/hetero-) sexual desires; how Winterson challenges the concept of a coherent body and queers the concept of body as a hermeneutic text with myriad textual grids which are not coherently mapped by power but randomly inscribed by nomadic desires.

• Korean Journal of Social Welfare
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• v.64 no.2
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• pp.325-354
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• 2012

The current research intends to analyse the construction process of gender in the biographies of migrant women. Ten autobiographical-narrative interviews with Korean female migrant workers in Germany were conducted and the following conclusions were ascertained through the analysis of Schutze's autobiographical-narrative interview: The genders in their biographies were constructed similar before their marriage, but different after their marriage according to the work-family balanced type and the family centered type. Before their migration the 'process of life' as female high school students and female workers showed that both types had partially deconstructed a sex-segregated gender. The process of life as female migrant workers after their migration showed that both types had partially constructed a sex-neutral gender. The process of life after their marriage exhibited that the former strengthened and strengthens a sex-neutral gender in a double position as female migrant workers and female marriage migrants, but the latter reconstructed a sex-segregated gender again and intensifies this in a process of time. Based on these results, some implications for the social work practice were addressed, which emerged from the understanding on the gender in the biographies of migrant women.

• American Studies
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• v.41 no.1
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• pp.179-202
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• 2018

This study approaches the novel from psychodynamic perspectives, where the narrative is woven into the strands of traumatic memories and past. Deriving from Julia Kristeva's discussion on melancholia, this paper discreetly examines Hata as a melancholic, who is unaware of what he has lost and even that he has lost. Racially abject but in defiance of his separation from 'the mother,' Hata introjects loss as his own subjectivity. The insoluble void causes him to wander through the bravado of belongingness, which he eventually transforms into Sublimation. This paper reads that Hata finally faces his own black sun, deviating from his earlier gesture life; thus, the novel becomes a successful case study of the melancholic. However, female bodies are at stake, subsumed under Hata's sexual perversion. The novel renders trauma behind the fragmented narrative of an Asian American man at the expense of consuming morbid 'feminine' bodies physically and psychologically.