• 대한상한금궤의학회지
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• 제6권1호
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• pp.1-25
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• 2014

Objective : The purpose of this study is exploring value of Shanghanlun six diagnostic system as Narrative Medicine by analyzing cases. Methods : In the article, we examined the theory of narrative medicine and current studies. And then key elements of narrative medicine was defined. On the basis of these, two medical cases were analyzed by reordering in accordance with time sequences and causality for confirming narrative factors. Results : The narrative approach to analyzing cases shows us that different diseases could be the result of same pathological patterns based on Shanghanlun. This tells us following four aspects. [1] Shanghanlun is the causes-oriented records and the text includes narrative factors. [2] Shanghanlun six diagnostic system is a process of constructing plot of medical case history through the clinical interpretation of contextual meaning of patient's life. [3] In the process of diagnosis, Schemata and script are engaged in assuming and confirming six patterns diseases. [4] The subjective factors of an individual can be applied universally through the provision of Shanghanlun. Conclusions : Narrative factors of Shanghanlun six diagnostic system suggest the possibility and value of Shanghan Medicine as Narrative Medicine in terms of Medical Humanities, essence of medical diagnosis and therapeutic action.

• 영어영문학
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• 제58권5호
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• pp.809-837
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• 2012

Philip Roth rejects the narrative unity and singularity of the traditional novel and creates instead a multi-levelled, fragmentary, and repetitive narrative. It is not easy to distinguish fact from fiction in The Plot Against America. As an entertaining and creative work of the postmodern historiographic metafiction, Philip Roth's The Plot Against America interrogates the existence of historically verifiable facts, the validity of authentic and official version of history, and reexamines the narrative conventions of history writing. The aim of this paper is to examine Roth's narrative experiment or 'thought experiment' and to explore the intention of creating alternative history in The Plot Against America. Roth does a 'thought experiment' in The Plot Against America. In this cautionary "what if" political fable, Roth hypothesizes that in 1940 aviation hero Charles Lindbergh, an ardent isolationist who was sympathetic to Hiltler, won the presidency. Jewish communities are stunned and terrified as America flirts with fascism and anti-semitism. Reimagining his children-with considerable fact mixed in with the fiction-Roth narrates an alternative history that has an unsettling plausibility. Roth has constructed a brilliantly telling and disturbing historical prism by which to refract the American psyche as it pertain to the discord of individual, race, history in The Plot Against America. Roth analyzes the life of individual in a historic space, the situation of anti-semitism in world of invisible order, racial conflict between black and white in world of visible order, and the darkest side of national power in this work. Roth's stories argue for the equality of various cultures grounded on the common notion of humanity, for an ethic of mutual respect, and for the peaceful resolution of conflicts.

• 사회복지연구
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• 제43권1호
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• pp.179-202
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• 2012

본 연구는 한국 화교노인에 대한 생애사 연구로 연구주체의 생애사 재구성 작업을 통해 한국사회와의 상호작용을 통해 형성된 화교노인의 정체성의 변화와 한국인에 대한 태도, 차별경험 등을 살펴보고자 했다. 연구는 Rosenthal(2008)에 의해 정교화 된 내러티브-생애사 분석방법으로 접근했다. 생애사 자료는 심층면담을 통해 수집했다. 자료는 Rosenthal(2008)의 분석방법에 근거하여 다음과 같은 3단계를 거쳤다. 첫 번째 단계에서는 연대기순 생애사를 구성했다. 두 번째 단계에서는 서사적 생애사를 재구성했고 세 번째 단계에서는 체험된 생애사를 구성했다. 연구결과 생애사 연구주체의 생애는 불시착한 한국 땅에서 생존하기 위해 한국인의 가면을 쓰고 살아온 삶이었지만 한편으로는 금의환향을 꿈꾸며 살아온 치열한 삶으로 분석되었다. 하지만 생애사 연구주체의 생애는 한국, 대만, 중국 어디에서도 환영받지 못하고 근거를 둘 수 없는 정체성 상실의 삶으로 나타났다.

• 한국연극학
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• 제48호
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• pp.51-84
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• 2012

In Korea, historical plays took an epoch-making turn from the previous historical plays in terms of approaches to topic and material and methods of rewriting history in the 1990s. Historical plays became dehistoricized with individual, everyday life, and faction emerging as major codes of historical plays according to mistrust in history and grand narrative as the original and disappearance of trust in the growth and totality of history. A new trend became dominant of presenting fictionality prominent instead of reproduction of history and freely playing with history outside the context. While modern historical plays were subject to the content of history, post-modern historical plays sought after new history writing to tell a new story on history within a framework of fiction. Focusing on some of the trends in post-modern historical plays since the 1990s, which include play with history, daily life-style history writing, and reproduction patterns of colonial modernity, this study examined the goals, representations, and text strategies of new history writing in three historical plays, Generation After Generation(2000) by Park Geunhyung, The Mercenaries(2000) by Park Sujin, and Chosun Detective Hong Yunshik(2007) by Sung Giwoong. In Generation After Generation, the author adopts a plot of starting with the present and tracing back to the past, breaking down the myth of racially homogeneous nation. At the same time, he discloses that the colonial history is not just by the oppressive force of Japan but also by the voluntary cooperation of Korean people. That is, we are also accountable for the colonial history of the nation. The Mercenaries contrasts the independence movement during the colonial period against the modern history developed after Liberation, thus highlighting the still continuing coloniality, namely post-colonial present. The past is presented as the "phantom of history" making its appearance according to the request of the present hoping for salvation. The author politicizes history and grants political wishes to history by summoning the history by personal memories such as fictional diaries and letters with Messiah-like images opposed to the present of collapse and catastrophe. In Chosun Detective Hong Yunshik, the author makes an attempt at the microscopic reproduction of daily life by approaching the 1930s as the modern period when capitalist daily life started to take root. The lists of signs comprising daily life in colonial Gyeongseong are divided between civilization and savagery and between modern and premodern. With the progress of narrative, however, they become mixed together and reversed in the representation system in which the latter overwhelms the former.

• 한국연극학
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• 제40호
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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.

• 한국노년학
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• 제38권3호
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• pp.607-625
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• 2018

본 연구는 우리나라의 근현대사를 관통하는 삶을 살아온 70대 중반의 여성도박자의 이야기이다. 구술을 바탕으로 해석한 자기이해의 삶의 이야기(life story)를 통해 그녀를 이해하고 도박에 대한 새로운 정의를 찾아보는 것이 본 연구의 목적이다. 이를 위해 '실존적 자기조절'이라는 개념을 제시하였으며 내러티브적 인터뷰 방식으로 자료를 수집하였다. 수집 된 자료는 맨델바움(Mandelbaum)이 제시한 삶의 영역, 전환, 적응이라는 분석틀에 따라 자료를 분석하였다. 연구 결과 참여자의 자기서사(self narrative)는 '정신적 결핍을 돈과 자녀교육으로 충족하고자 함', '정신적 결핍을 도박으로 해소하고자 함', '정신적 결핍에서 자유로워짐'으로 나타났다. 이 과정에서 도박이 가지는 의미는 실존적 공허를 달래주는 위안거리, 삶을 피폐하게 만드는 걱정거리, 일상의 무료함을 달래주는 소일거리로 변형되었다. '실존적 자기이해를 통해 도박충동을 조절하는 생애 사건은 두 번째와 세 번째 단계에서 나타났다. 연구 결과를 바탕으로 본 연구에서는 여성노인도박자를 위한 자서전 쓰기나 성찰 프로그램의 도입을 제시하였다.

• 문화기술의 융합
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• 제6권2호
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• pp.409-417
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• 2020

자신의 삶을 훌륭하게 구연하는 구술연행은 그것만으로도 하나의 훌륭한 언어예술이다. 시집살이담은 여성 생애담 중 결혼을 매개로 가족관계나 사회·문화적 문제로부터 벌어지는 일련의 일들을 구술한 서사체이다. 그러므로 시집살이담은 여성 생애담의 하위 장르이다. 시집살이담은 크게 두 가지 측면에서 살필 수 있다. 첫째는 며느리와 가족 구성원 사이의 관계로부터 비롯되는 '가족관계 층위'이다. 여기서 가장 일반적인 것은 물론 시어머니 시집살이이며, 그 밖에 시아버지 시집살이, 남편 시집살이, 자식 시집살이를 들 수 있다. 둘째는 인간관계에서 비롯된 것이 아닌 며느리로서 갈등을 겪게 되는 제반 사항들에 관련된 이야기들로 '사회·문화 층위'이다. 가장 일반적인 것은 가난과 역사적 사건에서 비롯된 시집살이이며, 며느리의 가문이나 용모, 태도 등 때문에 심한 시집살이를 한 경우도 있다. 실제의 시집살이는 이 두 가지 양상이 뚜렷하게 구별되기보다는 서로 혼합되어 나타난다. 가족관계에서 비롯된 시집살이는 항상 가난이나 사건과 관련될 수 있으며, 반대로 가난이나 사건은 가족관계로 확대되어 여성들을 괴롭혔던 것이다. 본 연구는 다양한 시집살이담에 나타난 관계와 고난의 양상을 종합적으로 검토하고자 하였다.

• 예술인문사회 융합 멀티미디어 논문지
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• 제7권9호
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• pp.509-518
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• 2017

본 연구는 국내 거주 중국동포 여성 단체장에 대한 생애사 연구로 연구주체의 생애사 재구성 작업을 통해 한국사회와의 긍정적인 상호작용인 인정투쟁의 경험을 살펴보고자 했다. 연구는 내러티브-생애사 분석 방법으로 진행되었다. 생애사 자료는 심층 인터뷰을 통해 수집했다. 연구결과 생애사 연구주체의 생애는 끊임없는 도전의 결과로 한국을 기회의 땅으로 생각하고 한국으로 자발적으로 이주를 하였다. 그는 한국에서 긍정적인 적응전략을 활용하여 인정을 획득하기 위한 치열한 삶으로 분석할 수 있다. 즉 인정투쟁이라는 긍정적인 상호작용을 통하여 주류사회와 협상하고, 긍정적인 경험들을 통하여 자신의 정체성을 확립해 나갔다. 또, 단체활동을 통하여 개인뿐 만 아니라 동포사회 전반의 권리수호와 이미지 향상을 도모하며 주류사회와 융합되기 위해 끊임없이 노력하였다. 이러한 생애사 재구성을 통하여 중국동포 단체장의 생활 실상에 대하여 이해할 수 있고, 그들이 한국사회에서 받고 싶은 인정의 모습들에 대하여 알 수 있다. 따라서 이러한 개별적인 생애사 재구성을 통하여 사회복지 실천에 함의하는 점도 제언하였다.

• 가정과삶의질연구
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• 제27권2호
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• pp.155-171
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• 2009

This study was designed to examine the use of housing in modern Korea, and to draw the interrelation of people and housing. In-depth interviews were conducted, and the qualitative research investigated various aspects of housing history among four individuals during the different phases of social and economic transitions. 4 narratives showed the unique characteristics of life history, and the findings indicated that the housing experiences were closely related to hometown, the relation to birth family at postmarriage, economic status, and the meaning of home. The main findings were as follows: the validity to select the interviewers was proved in that the selection was based on both housing structure type and ownership, and also the research indicated that economic status and housing structure type influenced the entire housing experience of each interviewee. The use of housing varied and the implications of housing lied in social and economic contexts. The use of housing, of which the term was contrived to alternatively described housing consumption modes, and chronology were affected by such individual factors as economic status, familiar relationships, residential location, the meaning and subjectivity of housing.

• 인문언어
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• 제1권2호
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• pp.91-104
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• 2001

Ford Madox Ford, the early twentieth-century writer most famous for his novel The Good Soldier, perceived his "business in life [as an] ... attempt to discover and to try to let you see where you stand." With this grand purpose in mind, Ford disregarded distinctions of genre in his prolific output of what we would consider novels, memoirs, literary criticism, travel writing, and history. Claiming that "the Novelist ... [is a] historian of his own time," Ford sought his own version of the "truth," a truth that was more faithful to his own subjective impressions than to verifiable "fact." Among these works that depict his age are a series of "memoirs" or "reminiscences," works published from the 1910s to the 1930s which carry out his Impressionistic purpose. What lies behind these memoirs is Ford′s view that his own individual history can be understood as his contemporary society′s collective history. This article explores Ford′s experimentation with boundaries of fact and fiction, and history and narrative, as he employs and expands the memoir form. In particular, 1 focus on two works, Memories and Impressions (1911) and It Was the Nightingale (1933), and Ford′s techniques in these memoirs, such as 1) the adoption of fictional personae from which to comment on his society at large and 2) the use of emblematic "parables" to encapsulate larger lessons of life within the minutiae of existence. Current theorists on the memoir form share interests in these questions of genre and of the social role of the memoir Nancy Miller, for instance, terms the memoir "the record of an experience in search of a community." This article engages these current discussions of the memoir genre by examining Ford′s early twentieth-century examples as innovative experiments that play with the boundaries between fiction and history, and personal impressions and collective truth.