• Cross-Cultural Studies
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• v.48
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• pp.289-323
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• 2017

L'Espoir, a novel by Andre Malraux, contains traits of the genre of literacy reportage that depicts the full account of the Spanish Civil War as non-fiction based on his personal experience of participating in war; the novel has been dramatized into a semi-documentary film that corresponds to reportage literature. A semi-documentary film is the genre of film that pursues realistic illustration of social incidents or phenomenon. Despite difference in types of genre of the novel and the film L'Espoir, such creative activities deserve close relevance and considerable narrative connectivity. Therefore, $G{\acute{e}}rard$ Genette's narrative discourse of novel and film based on narrative theory carries value of research. Every kind of story, in a narrative message, has duplicate times in which story time and discourse time are different. This is because, in a narrative message, one event may occur before or later than another, told lengthily or concisely, and aroused once or repeatedly. Accordingly, analyzing differing timeliness of the actual event occurring and of recording that event is in terms of order, duration, and frequency. Since timeliness of order, duration, and frequency indicates dramatic pace that controls the passage of a story, it appears as an editorial notion in the novel and the film L'Espoir. It is an aesthetic discourse raising curiosity and shock, the correspondence of time in arranging, summarizing, deleting the story. In addition, Genette mentions notions of speech and voice to clearly distinguish position and focalization of a narrator or a speaker in text. The necessity to discriminate 'who speaks' and 'who sees' comes from difference in views of the narrator of text and the text. The matter of 'who speaks' is about who portrays narrator of the story. However, 'who sees' is related to from whose stance the story is being narrated. In the novel L'Espoir, change of focalization was ushered through zero focalization and internal focalization, and pertains to the multicamera in the film. Also, the frame story was commonly taken as metadiegetic type of voice in both film and novel of L'Espoir. In sum, narrative discourse in the novel and the film L'Espoir is the dimension of story communication among text, the narrator, and recipient.

• Journal of Multimedia Information System
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• v.8 no.4
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• pp.301-308
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• 2021

The purpose of this study is to analyze the oral records of sports development contributors to explore the direction of big data research on sports development contributors in the future. To this end, the audio file produced in the interview with Lee00, a sports development contributor, was converted into text. The major themes were extracted by analyzing these oral records. The sub-themes were extracted in chronological order. Keywords were extracted by analyzing sub-themes. And the extracted keywords are searched in Google search engine to find related topics and to use them. A Google search for the topic 'Mt. Inwang' extracted from the oral archives of Lee00, a contributor to the development of sports, finds newspaper articles about President Moon Jae-in's climbing Mt. Inwang and opening up Mt. Bukhan. In addition, articles about Mt. Inwang and mountain climbers that the narrator In-jeong Lee speaks are searched for. Through these articles, you can Deriving the theme of the museum exhibition, Collection of museum exhibits, Use as climbing education material.

• Cross-Cultural Studies
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• v.52
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• pp.277-312
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• 2018

First-order cybernetics during the 1940s and 1950s aimed for control of an observed system, while second-order cybernetics during the mid-1970s aspired to address the mechanism of an observing system. The former pursues an objective, subjectless, approach to a system, whereas the latter prefers a subjective, personal approach to a system. Second-order observation must be noted since a human observer is a living system that has its unique cognition. Maturana and Varela place the autopoiesis of this biological system at the core of second-order cybernetics. They contend that an autpoietic system maintains, transforms and produces itself. Technoscientific recreation of biological autopoiesis opens up to a new step in cybernetics: what I describe as third-order cybernetics. The formation of technoscientific autopoiesis overlaps with the Fourth Industrial Revolution or what Erik Brynjolfsson and Andrew McAfee call the Second Machine Age. It leads to a radical shift from human centrism to posthumanity whereby humanity is mechanized, and machinery is biologized. In two versions of the novel Demon Seed, American novelist Dean Koontz explores the significance of technoscientific autopoiesis. The 1973 version dramatizes two kinds of observers: the technophobic human observer and the technology-friendly machine observer Proteus. As the story concludes, the former dominates the latter with the result that an anthropocentric position still works. The 1997 version, however, reveals the victory of the techno-friendly narrator Proteus over the anthropocentric narrator. Losing his narrational position, the technophobic human narrator of the story disappears. In the 1997 version, Proteus becomes the subject of desire in luring divorcee Susan. He longs to flaunt his male egomaniac. His achievement of male identity is a sign of technological autopoiesis characteristic of third-order cybernetics. To display self-producing capabilities integral to the autonomy of machinery, Koontz's novel demonstrates that Proteus manipulates Susan's egg to produce a human-machine mixture. Koontz's demon child, problematically enough, implicates the future of eugenics in an era of technological autopoiesis. Proteus creates a crossbreed of humanity and machinery to engineer a perfect body and mind. He fixes incurable or intractable diseases through genetic modifications. Proteus transfers a vast amount of digital information to his offspring's brain, which enables the demon child to achieve state-of-the-art intelligence. His technological editing of human genes and consciousness leads to digital standardization through unanimous spread of the best qualities of humanity. He gathers distinguished human genes and mental status much like collecting luxury brands. Accordingly, Proteus's child-making project ultimately moves towards technologically-controlled eugenics. Pointedly, it disturbs the classical ideal of liberal humanism celebrating a human being as the master of his or her nature.

• Sijohaknonchong
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• v.26
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• pp.223-242
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• 2007

This thesis is to review 'Manhoengcheongnyu,' $\ulcorner$Cheongguyeongeon$\lrcorner$ in which sexual organs have appeared. The result of the review shows that a male narrator wants a large organ and a female narrator, a small one. Although there seems to be a difference between the male and the female with the framework of the size of the organs, they have the similar standpoint, Yeohapbujeol(如合符節), that they give and take the sexual feelings to satisfy their mates each other. As a consequence. $\ulcorner$eokgogeomgokuikeungurenarotgeugeotjochagilgoneopda$\sim$(#1993, *569)$\lrcorner$, refers to the other's satisfaction about the sizes of their own organs rather than the idea that the female sexual life is unilaterally oppressed by the male one. Sijo(時調) touches on organs which are 'bawdy and trifling,' and includes obscene comments. Eumdampaeseol(淫談悖說). Mentioning Eumdampaeseol(淫談悖說), the participants in a banquet of the singing space can be a part of its atmosphere, and by being protected by it, they can recite the sexual organs openly or they can grasp the inner meaning of the verse-joke in a refined and humorous fashion-which expresses organs indirectly. Thus, $\ulcorner$aheunahopgommeogeun老丈濁酒geolleo醉kemeokgo$\sim$(#1854, *534)$\lrcorner$, is not related with 'remorse about old age', but is merely a kind of Sijo(時調) about a sexual organ.

• 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.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.143-150
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• 2022

The folk language that lives and breathes in modern works does not just come from old stories, but it is a personal narrative which is based on the experiences of the narrator. Like many genres in oral literature, most of these personal narratives occur from the impulse of communicating and reinventing rather than from the impulse of creating. Compared to traditional folktales, stories about an individual's experiences, such as personal narratives are often performed by adding the individual tendencies of the narrator. In so doing, the phenomenon of "processing the experience by estimating it and reinterpreting the memories roughly" occurs, and this is a significant factor in making the oral literature. However, the question that arises here is: How can we deal with these significant elements that are inevitably captured when performed orally? Text linguistics, the main methodology of this paper, implies the possibility of expressing the impromptu elements of oral literature. Also, textual linguistic analysis of personal narratives provides the possibility of discussing oral characteristics from various angles which have been difficult to analyze, such as on-site atmosphere, speaker mistakes, contradictions in stories, and audience reactions. Hence, it is possible to effectively discuss oral-poetics in oral literature which are based on the one-off of 'words', the 'roughness' of the on-site atmosphere, and the stackability of the 'wisdom of crowds'. Furthermore, it is expected to contribute to the study of personal narrative storytelling that plays an important part in Veabal art in community culture.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.73-82
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• 2019

The satirical content of the absurd play, centered on Lee Keun-sam's play, represents the family image of a modern capitalist society where only duty is emphasized while the characters are lost in love with the family. They show humans becoming subordinate to economic logic as traditional relationships and family relationships change into material ones due to the rapid development of the economy. The narrator expresses the roles of the performer and the narrator together. It also presents the plot as a characteristic element of epic and absurd dramas, and directs actors as directors. It also foretells the events that will take place in the future, presents the inner consciousness of the characters in the play, and reduces and expands events and times. In terms of conflict, in order to fulfill the financial responsibility of their children, the professor translates them like a machine and the wife distributes the money they earn as they demand. The middle-aged professor and his wife are not willing to make a difference in the real world, so specific conflicts are not revealed. Therefore, no concrete conflict appears within this work. The plot of consisted of 22 epicentre compartments, consisting of a time frame from evening to the next morning. And no special events happen and show only one family's daily life. In addition, materials that show simple repetition of daily life such as newspapers, rice, birthdays, etc. are effectively showing the character of absurdity through repeated structure. The linguistic features of the absurd play focus on expressing anxiety, despair, fantasy and the sense of loss that the object's purpose has disappeared. The stage system avoids detailed portrayals of naturalist plays and creates a thoroughly simplified image that the theme of the play demands, which shows that the stage unit is also an important element that characterizes the absurdity of reflexes.

• Journal of Agricultural Extension & Community Development
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• v.18 no.1
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• pp.129-152
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• 2011

The study aims to investigate the meaning of the rurality in traditional three-verse Korean poem written by Sadaebu(사대부). We will discuss integration method for Rural and rurality. Rurality is not physical truth, but personal and subjective thing. The meaning of the rurality produce socially. So, the concept of the Rurality can be interpreted in many ways. Sadaebu in the Joseon period put emphasis on rural as a object of a self-discipline and govern. They compose a poem from rural life. There are various meaning related to rurality in traditional three-verse Korean poem. The rurality meaning of the Sijo written by Yakcheon and Jonjae can define union between the natural order and poetic narrator. poetic narrators accept theirselves to nature and work willingly. The host of the program must make visitors homesick and gives more energy by Sijo experience program. The most import thing is the identification of the visitor and rural. To accomplish these purpose, It needs visitors can sing a sijo by oneself.

• Journal of Korean Society of Rural Planning
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• v.18 no.1
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• pp.47-57
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• 2012

The following study has examined possible methodological approach and prospect of implementing storytelling in rural tourism field. It is aimed towards deducing principles of space composition behind securing placeness of rural tourism village through storytelling. The research had been conducted by archival research and case study on field of interest, and its findings are as follows: 1) Storytelling exhibits principles of narrative structure (exposition, complication, climax, and resolution) in various fields, and has shown tendency to structuralize a plot. 2) It can be said that storytelling is deeply related with people's associations of their inner mind. This can be a logical explanation of a certain sight or location, which is a physical environment itself being the actual narrator and distributor in storytelling. 3) In order to convey a story in a more convincing way, storytelling a naming strategy based on a rhetorical technique, which has been shown to positively influence creating unique placeness of a rural village. As indicated in our study, means of storytelling-"Continuity and tourist circulation of space composition with a narrative structure, spatial hierarchical order, concealment and revelation, cast, and naming based on rhetorical technique and facilities positioning"-is a viable solution that can bring recovery of the rural village's unique placeness, as well as spatial development for sustainable rural tourism.

• English Language & Literature Teaching
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• v.11 no.2
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• pp.171-194
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• 2005

The essay attempts at a critical reading of Thomas Hardy's The Mayor of Casterbridge (1886) in terms of character and socio-cultural change. Juxtaposing the story of Michael Henchard's career with the social and economic changes in the agricultural town, it attempts to elaborate on the complex ways in which Hardy relates the old modes of life and thinking to the material culture. Though the novel is centered on the story of Henchard, the Henchard-Farfrae clash represents the conflict of "old" and "new" modes of socio-economic organization and consciousness. The story of the rustic man of character struggling with his contradictory traits of strong will-power and emotional collapse suggests that Hardy's literary representation of the rural community and the rustic protagonist is deeply rooted in historical reality. However, while there is the interlocking of the changes in personal fate and social change, the representation is a "reinvented" literary construction with complex mediation. Despite the narrator's emphasis on Henchard's immutability, peculiarity, and resilience, his character is, in a complex, mediated way, shaped by the material conditions of English rural community in the late 19th century. The mediating role of Elizabeth-Jane as a narrative resolution embodies Hardy's ambivalent historical position concerning the period undergoing change and conflict.