• The Journal of the Korea Contents Association
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• v.14 no.10
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• pp.315-329
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• 2014

The purpose of this study is to examine a direction for contents choice and transmission strategies of radio literature reading programs. For this, 129 picturebook contents used for EBS program of "children books for adults" in recent 6 months were collected and analyzed quantitatively and qualitatively based on Nicholajeva's societal and aesthetic approach. In terms of external literary elements, there were unequal distribution of published period, nation, company and genre. In terms of literary inner factors, they were excellently reflecting the stream and the tendency of modern children literature. Finally, in the process of turning visual texts into auditory texts, the program used diverse auditory transmission strategies. Based on these results, it is suggested that this program need to take into account reforming the contents selection practice to provide abundant literary experience for listeners and sophisticating the transmission effects adapted for a digital era.

• English & American cultural studies
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• v.13 no.1
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• pp.83-103
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• 2013

This paper focuses on the function of suicidal images in the history of art including literature. Death has been romanticized or repoliticized into an existential act of defiance and rebellion in literary works, so questions remain about the correlation between literary suicide and the essence of suicide. Although Jacques Ranciere insists that the order of art contrasts with the order of common people whose acts and gestures can express either their specific purposes nor the rationalities of their frustration, literary suicide reflects the outside life of readers. In fact, images of suicide produces the order of things about the real world. William Shakespeare's Hamlet handled two oppositional self-murder significantly. As Ron M. Brown pointed out, Hamlet, by choosing confrontation, seeks out an end which is voluntary, thus he avoids self-destruction and feels triumph of heroic fashion. Ophelia's self-chosen death stems from loss, frailty and the disintegration of reason, which demeans the act and diminishes her from the tragic to the pathetic(16). In the $19^{th}$ century, the resurrection of Ophelia acted as the context for later periods where life itself is fictionalized from the differing periods of network of signifier and texts. Finally, in Ophelia's case, fiction became life(Brown 285). Her suicidal image was fixed in the Victorian Culture whose visual discourse was strikingly similar to that of the men. Likewise, the ambiguities of the suicide became intertwined with the social, cultural issues of a certain period, and the paradigm of suicide was conformed to the changing needs of successive generations. However, if literary art understands that a European culture grappled with the almost impossible task and coming to terms with this strangest and most persistent of phenomena, it will be able to focus on of the multi-layered suicide by recognizing the inherent instability of the verbal sign which cannot reveal the design and grammar of truth.

• The Journal of the Convergence on Culture Technology
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• v.5 no.1
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• pp.37-43
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• 2019

Korean dramas since the 2000s are continuously experimenting with new narrative possibilities. Especially in the recent Korean drama, various modes of hybridization, mixing, and transformation are attempted. Therefore, this study aims to examine the consensus of literature and drama through popular drama in 2010. This study examines how literary texts are utilized in dramas through the use of Kim Eun-sook's lonely and glorious god-goblin and gentleman's dignity, and how these narrative and visual effects are gained. These two dramas are not only popular drama in Korea but also have important implications for interpreting literature and drama consciousness because they actively utilize literary texts in drama. This is the process of interpreting the main scene in which literature and the drama conspire, and grasping its significance. Through this study, we analyze the process of borrowing the part of the text of the text, drama, and taking the effect of storytelling by using 'book' as its materiality. This will confirm the way in which various genres are mixed and juxtaposed in one video text and its effects.

• Journal of English Language & Literature
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• v.55 no.5
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• pp.885-906
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• 2009

In terms of class, race, or gender, critical literacy takes seriously the problem of inequality and injustice embedded in texts. Texts are considered as tools that are used for maintaining the status quo by constructing and communicating our identities, particularly in relation to others. While reading texts and identifying our roles in society, some feel empowered, and others, marginalized. Thus we need to challenge the characterization and the message included in those texts by asking problem-posing questions. In this paper I have demonstrated how to read and teach four versions of "Snow White" from a critical literacy stance. By the use of problem-posing questions, students are led to discover that one of Grimms' fairy tales, the original version of "Snow White," was written from the perspective of men with power, thus marginalizing women in general, as well as the seven dwarfs. Through a critical analysis of Snow White's personality, the typical theme of fairy tales - good is rewarded while evil is punished - should be challenged. In the animation, Snow White and the Seven Dwarfs, power is given to the marginalized people in the original, the seven dwarfs and women in general. In "Snow Night,"a feminist short story, women in general are empowered while men, who should be judged by their looks, are powerless. "Snow-Drop"reminds us of the original, but challenges stereotypes, prejudices, and the theme inherent in the story. In those three stories many parts from the original are rewritten from the perspectives of the marginalized, but still some people are described prejudicially. So students should be guided to write another story from a new perspective. When those four works were taught with problem-posing questions in a university, this approach proved to be quite successful: most students acknowledged the effectiveness of critical literacy in teaching literary works.

• Lingua Humanitatis
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• v.7
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• pp.227-246
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• 2005

The difference between presentation of cities in the European modern drama and its counterpart the American modern drama denotes and comes from two very different images of cities. While the European modern drama presented cities that were desolate and fantastic to certain measure, the American modern drama presented the images of actual cities that can be identified by the spectators and readers. Although one cannot 'actually' identify any actual representation of cities in both the European and the American dramas, the images of cities can be discerned in the dialogues of the characters in the plays themselves. In this perspective the images of cities that are represented in any work of modern drama are actually represented through metaphors and connotations. The images in this instance rests and can only be identified within the boundaries of psychology. The dialogues are means through which the author communicates with the spectators. Because drama is above all categorized as being a work of text before representation, deciphering drama also falls in to same cadre as any other literary texts. Through the means of 'decontextualisation' the reader/spectator identifies with the associated images that the text proposes.

• Journal of English Language & Literature
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• v.60 no.2
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• pp.249-267
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• 2014

An outsider's perspective is often illuminating and enlightening, as he or she perceives the world differently from us, and sees things that insiders tend to miss. While an outsider's views are fresh and penetrating, an insider's vision is often banal and myopic. Although outsiders' perspectives may not be quite right at times, they always shed light and provide insight, allowing us to reevaluate the conventional interpretations of our literature and folktales. In order to prevent our own understanding and knowledge from growing stale and narrow-minded, we should endeavor to consider outsiders' opinions and view all things from multiple angles. When reading literary or cultural texts, therefore, we need to read through others' eyes because it provides alternative perspectives. And we should learn to co-exist with others and see things from others' eyes. In his celebrated novel, My Name Is Red, Orhan Pamuk, the Turkish Nobel Laureate, explores the themes of clashes between the East and the West, the young and the old, and conservatism and radicalism. The confrontation between the stubborn defenders of tradition and the self-righteous innovators ultimately results in bigotry, hatred and murder. As Pamuk aptly perceives in his novel, the inevitable outcome of such uncompromising conflict is degradation of humanity and annihilation of human civilization. That is precisely why we need to embrace others who are different from us and learn to look through others' eyes. Sometimes, we fear other voices and different perspectives. As the movie "The Others" suggests, however, there is no reason for us to be afraid of others.

• SUVANNABHUMI
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• v.14 no.1
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• pp.9-29
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• 2022

Postcolonial critics have criticized Comparative Literature for exclusively studying literatures from the non-Western world through Western lenses. In other words, postcolonial criticism asserts that theorists and practitioners of comparative literature have traced the "assistance" of the classic "comparison and contrast" approach to an imperialist discourse, which sustains the superiority of Western cultures and economies. As a countermeasure to reading through the comparative lens, literary theories have offered a "juxtapositional model of comparison" that connects texts across cultures, places, and times. This paper examines practices of Comparative Literature in Vietnam, revealing how the engagement with decolonizing processes leads to a knowledge production that is paradoxically colonial. The paper also analyses implementations of this model in reading select Vietnamese works and highlights how conventional comparisons, largely based on historical influences and reception, maintain the colonial mapping of World Literature, centralizing Western, and more particularly, English Literature and in the process marginalizing the others. Therefore, the practice of juxtaposing Vietnamese literary works with canonical works of the World Literature will provoke dialogues and raise awareness of hitherto marginalized works to an international readership. In this process, the paper considers the contemporary interest of Comparative Literature practice in trans- national, trans-regional, trans-historical, and trans-cultural perspectives.

• Journal of English Language & Literature
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• v.57 no.5
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• pp.871-887
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• 2011

In Lacanian terms, the real, which is a non-representative Ding an sich, is indirectly approachable only in and through language. This 'speaking of the real' is made possible through a restoration of the missing link between one signifier, S1 and another signifier, S₂, as is manifested in the Lacanian formula of metaphor. In Freudian terms of textual metaphor, the missing link is restored by substituting a new edition for an old edition of one's historical text of life. This is what this essay means by the metaphorical/dualistic structure of the analytic/literary text. And this is a way of talking about an intertextuality between literature and psychoanalysis in the sense of the 'text as psyche' and the 'psyche as text.' Applying the 'signifying substitution' to the Oedipus complex, the Oedipal child can find a meaning(s), "my erotic indulgement with my Mom is wrong" by metaphorically substituting S₂: the Name of the Father for S1: the Desire of the Mother. This meaning leads to the constitution of the human subject and the formation of the incest taboo, one of the most significant distinctive features of the human being as distinguished from the animals. We can see a similar metaphorical structure of S1-S2 taking place in the literary texts such as Macbeth and "Dover Beach": in the course of the stage of life being substituted for the primal scene in the former, and the plain of Tucydides for a bed scene in the latter, respectively.

• Sijohaknonchong
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• v.20
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• pp.113-139
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• 2004

This article intends to illuminate how the men. leading agents in Saseol-sijo - musical performers. writers of lyrics, patrons. composers. compilers of Sijo anthologies, audience. etc. - In the Late Choson period, viewed or recognized women and how their understanding of women was reflected in the texts. Working with texts with the theme of 'Love,' this article starts with categorizing two types of love: the first type, 'lovelorn heart' focusing on unilateral pining for a single lover who is absent now and the second type. 'physical love' concentrating on bilateral sexual intercourse. In addition to the types of love, the gender of poetic speakers, distinct from real poets is vital to characterize the discourse of love. According to these two factors. texts in question fall into four groups: texts that a female speaker displays her lovelorn heart('Type 1'), those where she speaks about her sexual experiences('Type 2'), those where a male speaker sings his lovelorn heart('Type 3'), and those where he describes his sexual experiences('Type 4'). Of these. 'Type 2' and 'Type 3' are key to understanding of the men's view of women. With respect to the configuration of the theme of 'Love,' it should be noted that in Korean literary history, the nim or a 'sweetheart' had signified the totality of value or a perfect entity which makes one's life meaningful and that 'Type 1,' the pattern that a female subject expresses her love toward male min, had constituted a traditional way to convey the theme of 'Love.' In terms of this connotation of min. a remarkable increase of 'Type 3' implying the increase of male speakers, reveals the extent to which women, the male speakers' min, accomplished their entry into a 'sacred area' -the position of mm-in which only men had occupied; females are focused and centralized. This article considers this phenomenon as an exhibition of the upgrade of women's significance and weight in the Late Choson society and as an index of 'modernity.' Meanwhile, given that most of the Saseol-sijo poets are men, the emergence of the 'Type 2' texts in which male poets have female speakers disclose their sexual experiences, demonstrates a representative example that women are degraded to be a means of men's pleasure; for this situation gives men more pleasure than when male speakers reveal their sexual experiences. Not only 'Type 2,' but texts group which basically belongs to 'Type I' and conveys the theme of 'Loyalty' through the female voice by substituting rulers-subjects relation for men-women relation, also falls under the same case. For men employ female voice as a poetic device in order to stress the theme of 'Loyalty' This article regards this phenomenon as an index of 'pre-modernity,' in the sense that in a pre-modem society, specifically in Early Choson, male-oriented value system dominates, thereby alienating women. As it is well known, the Late Choson is marked by a transitional period from a pre-modem society to a modem society. Therefore the ambivalence of the premodern and the modem can be found mixed in every segment of the society. The dual aspects of the masculine view of women in Saseol-sijo constitutes one example. The significance of the Saseol-sijo in Korean literary history can be found in this phenomenon.

• Journal of English Language & Literature
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• v.54 no.2
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• pp.189-215
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• 2008

This study proposes using children's literature as a means of teaching and learning English as a foreign language and suggests practical strategies on the basis of transactional theory of reading suggested by Rosenblatt (1994, 1995). This study suggests three novels written for children or young adults: On My Honor (1986) by Marion Dane Bauer, The Giver (1993) by Lois Lowry and Hatchet (1987) by Gary Paulsen. These texts were selected because of their diverse topics, easy and comprehensible language, engaging stories, and authentic and rich expressions, making them effective materials for foreign language learners. This paper is organized as follows: First, it reviews research on teaching literature in English education and response-oriented language teaching to provide theoretical background of literature-based language teaching and learning. Second, it provides the background of the texts selected for the study. Third, it develops diverse, practical strategies for instructors who intend to use children's literature in EFL teaching. We expect to guide EFL instructors in adopting children's literature in their English class by connecting theory and practice and by providing diverse methods and strategies, and sample responses by EFL university students.