• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.10 no.1
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• pp.21-33
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• 1999

The clinical assessment for preschool children who are known to have problems in selfreporting tends to be dependent on outsiders' reporting. Thus, the direct assessment of children's inner experience, thoughts and feelings is difficult. MacArthur Story-Stem Battery(MSSB) developed to learn more about preschool children's mental representation in play is used in this study to help assess clinical preschool children through developmental study of normal children's mental representation. Fifty five children(32boys and 23girls) who performed MSSB, IQ Test, Peabody Picture Vocabulary Test-Revised(PPVT) were videotaped and were analyzed. The results of this study were as follows：1) Children frequently displayed negative mental representation such as atypical negative response, reparation/guilt, punishment, personal injury and so on during emotionally laden play situation. 2) Mental representation of parent appeared positive, disciplinary, and negative in respective. 3) As a result of factor analysis of MSSB content themes, aggressive, prosocial, and oppositional content theme composites were generated. Aggressive content included atypical negative response, aggression, personal injury, and exclusion. Prosocial content included affection, affiliation, and reparation/guilt. Oppositional content included punishment and non-compliance. 4) Mental representation of parent and content themes showed significant correlation. Positive, negative, and disciplinary representation were significantly correlated for prosocial(r=0.40), aggressive (r=0.52), and oppositional(r=0.75) content theme respectively. 5) Among the correlations between parental mental representations and emotional responses, positive parental representation and anxiety showed significant negative correlation(r=-0.43). 6) Among the correlations between content themes and emotional responses, there were significant positive correlations between aggressive(r=0.28) and oppositional content themes(r=0.29) and distress, and were significant negative correlations between prosocial content theme and concern(r=-0.29) and anxiety(r=-0.43). According to the above results, preschool children frequently displayed negative mental representation in emotionally conflictual play situation. Children with more prosocial themes in their stories exhibit more positive parental mental representation. Also, children with more aggressive themes tend to display more negative parental representation and negative emotional responses.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.1
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• pp.55-60
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• 2014

The purpose of this paper aim to figure in contemporary human documentary as a cultural aspect of daily life in the era of 1920s in Korea. The significant of documentary exams the record and social-oriented representation methods of important essay of works. The result of an analysis of Norbert Weber's with historical figure of modern Korea society given the appearance of a human observer ever put out a human form of the documentary format in accordance with the configuration of visual narrative and the structure of the recipient to implement the symbolic value of belief. And, the result of the technical expression of the various frame works with the configuration of the reality of importance of human values and describe the experiences of being analyzed.

• The Journal of the Korea Contents Association
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• v.13 no.2
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• pp.100-107
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• 2013

Agn$\grave{e}$s Varda is a French representative female film director. In particular, the method combining subjectivity and objectivity is the most outstanding characteristics. However, it can be said that the method to support this is not only theme of the film but also creation of structure including the exploration for the filmic form different from classical film form. Such an approach accords with No$\ddot{e}$l Burch's refined analysis of filmic form. Therefore, This study aims to aesthetical analysis of the form of producing the structure in modern movies through which is one of the representative work by Agn$\grave{e}$sVarda and won the Golden Lion award in 1985 Venice Film Festival. The theme of the film, the recovery of relationships among people and contacts through the tragic death of drifting life, created a new filmic structure by formative experiment of the film. The formative experiment is the fragmented and repetitive construction with the introductory voice-over, and consists of movement and editing of camera and specific use of flashback and sound through the representation of figures and situations, mixture of narrative and non-narrative style.

• Korean Institute of Interior Design Journal
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• v.26 no.6
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• pp.81-96
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• 2017

This study aims at establishing a basic theory for the combination of architecture and movies by comparing the long-take technique of movies and the continuity of space, one of space composition principles, which is important in digital architecture based on Jacques Lacan's visual-art theory and finding common features and differences of them. The following is a summary of the conclusions. First, analyzing the long-take technique on the basis of Lacan's visual-art theory found that the subject of representation is scenes of movies and that staring shows features of narrative. Second, the long-take technique can be thought as a cinematic technique which tries to realize the real order beyond the symbolic order in real life through the process of continuous replication of replication of replication of a scene in one shot. Third, in contemporary architecture, which is compared to the long-take technique in the past, the inclined space of opened gaze is similar to the method which tries to realize architectural space of the reality which belongs to the symbolic order close to the real order which belong to significant in human unconsciousness. Fourth, the freeform continuous space of closed gaze, which can be compared to contemporary long take combined with computer graphic technology, has more difficulty in realizing the real order than the long-take technique in the past and inclined, continuous space as the feature which belongs to $signifi{\acute{e}}$ in human consciousness has been strengthened through the circulation which repeats and expands along an observer's movement. Fifth, when the contemporary long-take technique and freeform continuous space expand gaze which opens from the inside to the outside, it is considered that the space which is closer to the real order than the classic long-take technique and inclined continuous space can be created.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.211-240
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• 2020

This essay examines the questions that existing high-teen related studies are missing: "What is high-teen?". It is a foreign language originated from Japanese, spoken only in Japan and Korea among the post-war pan East Asian pop culture scenes. High-teen is based on the 'teenager' formed in the United States. It should be understood not just as a subcategory of popular culture but as an important ideological allegory of post-war Japanese politics. To learn this concept, this essay archeologically researches the origin of high-teen's meaning and analyses the political meaning of the early high-teen contents of Ueda Hirao which related to postwar politics and ideology in Japan. Existing research regarding high-teen tends to be limited to the peripheral and fragmentary areas. On the other hand, this paper will be the beginning of a discussion on high-teen in a more expanding perspective as an East Asian postwar history.

• Journal of English Language & Literature
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• v.53 no.2
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• pp.243-260
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• 2007

This article explores how Richard Powers' The Gold Bug Variations, an interdisciplinary novel through the new concepts of biocriticism and bioliterature is connected with literature/art and science/technology. Powers uses Edgar Allen Poe's "The Gold Bug" and Johann Sebastian Bach's "The Goldberg Variations" for decoding DNA in order to analogize a genomic metaphor. He imagines literature as "the book of life" genome, written by DNA code due to the complexity and multiplicity of the genome. His novel, as 'genomic narrative,' shows the articulation of the genomic reading, and expression in the life language through the discourses of the information technology and the rhetorical tropes in biology. New biological ideas are continually required to articulate these processes. In the present tendency of the Human Genome Project, such advanced devices as biocybernetics offer the potential to open up new possibilities to researching the complexity of the genome. This can only happen if the following two ideas are followed: One is to comply with advanced technologies for processing the rapidly increasing data of the genome sequence; The other is to admit the necessary paradigm shift in biology. As shown above, the complexity and multiplicity of the genomic reality is not so simple. We must go beyond determinism, even if representation of a biological reality reveals the possibility of expressing its constituent elements by the advanced biotechnology. Consequently, in the unstoppable advances of the art of decoding the genome, The Gold Bug Variations interrelates to the interdisciplinary approaches through the rhetorical tropes that unfold the complex discursive world of the genome. Powers shows that the complex mechanisms of the genome in the microworld of every cell as the plot of "the book of life" can be designed and written using DNA language. At the same time, his genomic reading and writing demonstrate the historical processes of the shifting center of new genomic development and polysemous interpretation.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.157-169
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• 2015

This study focuses on Korea films of historical communication. Narrative analysis was conducted on the films in 2000s including , and <26 Years> that mainly have dealt with the 'Gwangju Democratization Movement'. As a result of the syntagmatic analysis, these films try to stabilize 'social imbalances' in the aspect of individuals and conceals issues of social structure. In addition, the result of paradigmatic analysis reveals that textual factors of 'active involvement of female characters', 'continuity of history through the survivors' demonstrate its strategies to publicize the historical truth. Consequently these films show its limitations that weakens historical meaning by placing unsolved problems of social structure as well as the love story. But rather than describing it as a history of the past, these films act as a catalyst to bring thins specific historical issue to our present lives and publicize it as a current issue. Therefore, the historical film not only allows current generation to remind to history but also to provide an opportunity to publicize the important issues of social structure in the present society.

• Cartoon and Animation Studies
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• s.39
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• pp.111-132
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• 2015

Although Rotoscoping technique has been used for a long time to mimic the natural and smooth motion since the early 20th century, its artistic value was devalued as tricks because it traces the already recorded images. But the fact that the rotoscoping images can cross the boundaries between animation and live action in an infinite integral freedom in the digital era became rather expansive new aesthetic possibilities of representation of the reality. In addition, Jonas Odell's animations such as (2010), (2008), (2006) are good example to prove that the rotoscoping images also can serve as means to enhance its narrative. This study is to analyze how rotoscoping images act as a unique role in relation with the narrative based on the said person's real stories and realistic images. I argue that his animated films constantly contain these three characteristics -Images to mediate Auditory sensitivity as a record of inner metaphysical reality, anonymous images to represent a specific existential character, and images that act as physical representation that holds the physical space/time and related memory. This reveals that rotoscoping images in this digital era went beyond reproduction for natural movements or special type of style. It rather suggests new layers of experience, and acquires new value in animation. I hope that this study could serve as a foundation to rediscover and re-position the value of rotoscoping images as well as good opportunity to introduce very talented swedish animation artist who already received global attention with his unique philosophical and aesthetic style.

• Women's Studies Review
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• v.28 no.1
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• pp.79-120
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• 2011

The purpose of this paper is to illuminate the implication of feminist oral history from a postcolonial feminist perspective as critically reexamining the relationship between hearer and speaker, representer and narrator, the said and the unsaid, and secrecy and silence. Based upon oral (life) history of a U.S. military prostitute (yanggongju), I tried to show the experiences of a historically-excluded and marginalized 'Other,' and then critically reevaluate the meaning of encountering 'Other', not just through the research process but also in the post/colonial society in Korea. The narrative of an old woman in the "kijichon" (a formal prostitute in U.S. military base) shows how woman has navigated the boundaries between inevitability/coincidence, the enforced/the voluntary, prostitution/intimacy, and military prostitute/military bride while continually negotiating as well as having conflict with various myths and ideologies of the 'normative woman,' 'nationhood,' and 'normal family.' In addition, her narrative which causes the rupture of our own stereotypical images of a military prostitute not only proves the possibility of reconstructing the self-identity of a subaltern woman, but also redirects the research focus from the research object to the research subject (ourselves). Consequently, the implication in feminist oral history is that feminist researchers who whish to represent the experiences of other should first inquire 'what/how we can hear,' 'why we want to know others,' and 'who we are,' while simultaneously asking if subaltern woman can speak.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.315-347
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• 2019

(1986) and (1987) represent the society of 1980s in which the professional baseball game was initiated to cover the irrational military culture. The love and marriage of sports players were the headlines of the media, and the yearly salary of the players was the hottest issue of conversation. The military culture is represented in the scenes where the coaches train the failures and inapt players in extreme drills. The films pinpoint the absurdity of military culture and win-at-all-costs mentality. The collapse of the dictatorial leadership at the end of the films is a metaphor for the collapse of the fifth Republic of Korea. The episodes where the players talk about contract money, and the trade of players and sports business were a new phenomenon of the 1980's. The fact that Oh Hyesung of chooses love instead of victory deals a big blow to the secular ambition for money, victory and dictatorial leadership. His option provides catharsis for an audience oppressed under military leadership and success driven ideology. On the other hand, Oh Hyesung of dies right at the moment of winning the world champion. He achieves neither love nor success. While Oh Hyesung of is a symbol of pure love and gives spiritual comfort to the audience, Oh Hyesung of gives a sense of hopelessness to the audience. Both of the two sports films reflect the representation of the 1980's but received opposing reviews from audiences.