• (The)Study of the Eastern Classic
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• no.63
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• pp.83-113
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• 2016

This paper is focused on objective and meaning of its compilation through reviewing system, composition, method of description, and content of "Jwagyebudam". "Jwagyebudam" has all round form of a history and character book by recording via arranging figures from the end of 16th century to the middle of 18th century in a chronological order. Figure were not only assigned at close range by steretyping people into groups to a degree in it, but also recorded in a chronological order. In view of method of description, "Jwagyebudam" concentrated a theme by recording via separating different people associated from a figure and content of the same event by using the same method like 'Hogeonbeom(互見法)' shown in "Sagiyeoljeon(史記列傳)". In addition, it obtained effect to objectify evaluation of figures included. In a method of embodying figures, it has described concretely and in a three dimensions figures by recording anecdotes and poems associated with them via focusing on lifelong characteristic aspect of corresponding figures. In other words, "Jwagyebudam" can be called by biographies or character books, writings specialized in characters center among writings of method to weave freely experience. In a broad sense, it can be called a writing to cover a function of history book, poem and picture. This was located to a starting point of variation of inclusive and descriptive method. Namely, several kinds of writings in late Joseon dynasty can show aspect to fulfill specialized aspect gradually.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.9-44
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• 2020

This article aimed to looked back at the 1960s, which were assessed to be 'the age of essays', to survey denotations of essays, amplified by the discourse antagonism surrounding 'essays' and the writings of philosophers. Kim Hyeong Suk, Ahn Byeong Uk, and Kim Te Gil were philosophy professors of Yonsei University, Soongshil University, and Seoul National University and writers of numerous essay collections of the 1960s. However, there have been very few studies conducted on them. This is because of old prejudices within literary history that primarily undervalue essays and practices that try to limit them as 'Literariness'. Essays of the 1960s became the flavor of the times based on democratic demands that attempted to objectify individual experiences and grounds that passed through the war and the April 19 Revolution. The language of philosophers was expropriated through the various senses of first person writing to readers of the times, which lacked civil culture and national morality. Deficits in public spheres of the 1950s and 1960s were filled by Kim Hyeong Suk's narrations of comfort and conquest based on historic experiences, Ahn Byeong Uk's logic of self-discipline and knowledge based on democracy, and Kim Te Gil's humor and introspection that objectified the lives of the petit bourgeois. However, as the essays of philosophers failed to connect with the public discourse of the age, they were unable to go as far as sparking or serving as a medium for civil culture in the 1970s. Regardless, as essays rose historically in the 1960s, thought was given to the characteristics of the 'essay' genre and in connection, to the merits and demerits of cultural history that possesses the language of philosophers.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.87-122
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• 2019

This paper examines how the melancholia and death drive foregrounded in Kwak Ji-kyun's films have changed the affect and production trend of South Korean melodrama films of the late 1980s and thereafter. It particularly analyzes Kwak's The Home of Two Women (1987) as his exemplary melodrama film. Kwak is not only an auteur filmmaker of the 1980s and 1990s but was also a herald of South Korean New Sentimentalist films back then. The New Sentimentalist filmmakers have aspired to sophisticate the South Korean melodrama film not only by de-sentimentalizing it from the shimpa quality but also separating it from excessive emotion of shimpa that had long dominated the national cinema. This affective sophistication is directly linked to the sense of loss and melancholia/depression of the characters in the film caused by the death of one's beloved. This New Sentimentalist affect is best represented in Kwak's The Home of Two Women through its depiction of the internal conflicts of artists struggling to artistically sublimate the death drive and sense of loss. By textually analyzing The Home of Two Women, this paper not only reevaluates Kwak's film style but also reposition the topology of the New Sentimentalists in Korean film history.

• Journal of Popular Narrative
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• no.26
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• pp.413-433
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• 2011

What this study aims is to analyze that how the stories of Prince Hodong are represented in modern historical fictions. The stories have been reproduced in many forms such as TV dramas, films, fictions, plays. It can be depicted that the narratives are indeed national and popular. Interestingly, however, the description of Hodong has not been found in pre-modern documents or fictions. The story began to appear and became popular in 1935 by Yoon Baek Nam. It can be explained that the narratives are the one of the example of the invented tradition since it became visible in modern period. Yoon, Lee Tae Joon, and Yu Chi Jin have constructed the character of Hodong what we are familiar with. Yoon depicted Hodong as a romatic lover with the motif of a lovers suicide. Lee and Yu put a context of nationalism by explaining Nakrang as a Nakrangkun of Hansagun(the four colonies of China). These are pure invention of the writers which cannot be found in The History of Three Kingdoms(三國史記). These characters are closely related with the surrounding of their own society. Yoon shows how the past can be seen as a nostalgic object by modern aesthetic perspective. Lee illustrates the ambiguous thought of a colonial intellectual who (anti)internalizes the ideology of militarism. Yu tries to find the way to recover the muscularity of the nation by re-colouring the memory of the past. These, the representations created in various contexts, make our common knowledges of Prince Hodong nowadays.

• The Journal of the Convergence on Culture Technology
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• v.1 no.2
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• pp.1-19
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• 2015

The history of modernization of Korea is divided into two folds of the colonial era in the 20's and the economic development era in the 60's. Most of the spaces built in the process of modernization were public spaces developed by the drive of the government. These spaces of modernization are functionality-oriented public places of production and at the same time, and they are the spaces of national power to symbolize the identity of national authorities. Along with changes in the society, modern spaces were reduced down to monument buildings without functionality and this requires new definition to renew the identity of modern spaces. Small stations, power plants, mines, warehouses, abandoned factories, and etc... the study has paid attention to the process of changing thought, one of the main characteristics of modernization, the relations of modern concepts projected in the spaces, framework of modern society, and placeness in the process of framework building and relations of people in the spaces with video records on the process of rebuilding new identity of modern spaces and memories of the spaces. The relations of modern spaces and memory were explored in < Seoul Station > while the relations between modern spaces and records and place identity were explored in < Onyang Folk Museum > and < Okpo Shipyard > respectively. In the relations between space identity and memory in each space, the ironic relations of power in modern spaces (placeness) and personal narrative (memories) were explored with oral narrative and video footage.

• Korean Journal of Social Welfare
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• v.59 no.4
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• pp.217-244
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• 2007

The purpose of the research is to understand the life of persons with disabilities caused by an accident by reconstructing their post-accident experiences. As a research tool, Fritz $Sch{\ddot{u}}tze's$ narrative interview was used, and three cases were analyzed in terms of a 'process structure of life'. After the researcher reconstructed each case, she sorted the cases comprehensively both according to the common features as well as to the differences among them. In doing so, the researcher came up with three characteristics of persons with disabilities caused by an accident. First, rather than identifying with their present life, the interviewees identified themselves with their life before the accident happened. Such identification problem is connected with their problem of accepting their handicap. And the interviewees identified themselves with disability groups. It showed that they feel more comfortable and secure among other people with disabilities than with families or friends. This makes them stay in the group of the disabled, in which they can understand and respect each other, rather than staying in a group in which people discriminate the disabled from able bodied and do not accept the disabled as equal members. Second, in their narration the interviewees told stories emphasizing their life after the accident happened. This feature can be compared with the experiences of those persons who underwent a trauma. Finally, it was found that our country's welfare policy for persons with disabilities caused by an accident is designed without differentiating people according to gender or educational background. Through these findings, the researcher intends to reflect on our country's current social welfare services and to look for new methods in order to implement proper social welfare practices.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.217-247
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• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."

• Archives of Plastic Surgery
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• v.43 no.2
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• pp.145-152
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• 2016

Background Innovation has molded the current landscape of plastic surgery. However, documentation of this process only exists scattered throughout the literature as individual articles. The few attempts made to profile innovation in plastic surgery have been narrative, and therefore qualitative and inherently biased. Through the implementation of a novel innovation metric, this work aims to identify and characterise the most prevalent innovations in plastic surgery over the last 50 years. Methods Patents and publications related to plastic surgery (1960 to 2010) were retrieved from patent and MEDLINE databases, respectively. The most active patent codes were identified and grouped into technology areas, which were subsequently plotted graphically against publication data. Expert-derived technologies outside of the top performing patents areas were additionally explored. Results Between 1960 and 2010, 4,651 patents and 43,118 publications related to plastic surgery were identified. The most active patent codes were grouped under reconstructive prostheses, implants, instruments, non-invasive techniques, and tissue engineering. Of these areas and other expert-derived technologies, those currently undergoing growth include surgical instruments, implants, non-invasive practices, transplantation and breast surgery. Innovations related to microvascular surgery, liposuction, tissue engineering, lasers and prostheses have all plateaued. Conclusions The application of a novel metric for evaluating innovation quantitatively outlines the natural history of technologies fundamental to the evolution of plastic surgery. Analysis of current innovation trends provides some insight into which technology domains are the most active.

• Journal of Digital Contents Society
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• v.16 no.5
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• pp.699-706
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• 2015

Never Ending Story is an animation work about the stories of the Japanese Sex Slavery Victims who were taken by the Japanese military and forced to sexual slavery, which tormented them with painful memories all their lives. This animation work stimulates the critical perspectives of the audiences in order to ensure a history-based approach based on facts. And, unlike general character animation works which pursue immersion and empathy through illusion of life that are created by the characters, this work demands the audiences to contemplate on historical facts described in the work and make their own judgements. In order to serve these purposes, this work is characterized by its aesthetics properties and elements such as 'sympathy', 'typification', and 'alienation effect'. And, these elements effectively deliver the reality of historical facts that cannot be denied in a chronological narrative. Therefore, this study would sufficiently be of a value in reviewing the diversity in expression and the methodologies used in them, let alone the significance of the theme itself.