• Journal of Korean Classical Literature and Education
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• no.16
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• pp.181-206
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• 2008

This paper focuses on the re-creation method of historically valuable literatured tale, "Samguk Yusa" to fairy tale as well as the problems and way of improvement shown in its recreation process using five publication samples. In case of the fairy tale based on the tale having original text, the understanding and judgement about that text as well as the focusing and causality of the story are needed to the fairy tale author. Moreover, it needs clear title for the comparison and relationship with original text and also it requires the fitting arrangement of history and fiction to evoke the imagination of child. In addition, to rise more interest of child, the various literary expression showing beauty of language, selection and understanding of original tale, acquirement of formal beauty as a literature and binding of books should be considered effectively. Through the effort of problem solving and new writing approaches for tale re-creation, we will get more interesting and instructive fairy tale, "Samguk Yusa".

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1087-1101
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• 2009

The ongoing attempt to classify and categorize Jonathan Swift's literary work, A Tale of a Tub, as either satire or parody has not only opened issues concerning authorial intent and a present voice but also surfaced questions as to whether Swift identifies with what he is criticizing, thereby becoming the subject he schemes to destroy in his own literary work. In addressing these critical problems, my paper questions the boundaries of genre and analyzes the Tale, not within the conventional terms of literary genre, but by applying Bakhtin's theory of the carnivalistic impulse to Swift's Tale. Rather than focus on finding the author or identifying a voice within the text, Bakhtin's literary vision of carnivalization allows a means of subverting all rules yet holding the work together to present a shocking experience for the reader. Within the Tale, carnivalistic participation includes the reader who at one point is given the detached position of subjective spectator yet eventually decrowns the reader as both a carnivalistic participant and object of the same ridicule and derision once used to judge others. In conclusion, the Tale is revealed as a mocking commentary on the efforts of human beings/participants/writers to ignore the carnival aspects of existence and attempt to elevate themselves to the privileged role of spectator/reader.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.3
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• pp.1404-1413
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• 2014

The purpose of this study is to figure out the effects of multimedia fairy tale and narrative fairy tale lectures on children's language expression ability and drawing representation ability. To achieve this, this study was conducted from March to April, 2011 with 50 five-year-old children(25 children in the experimental group and 25 children in the comparative group) in K and S kindergartens at D metropolitan city. The results were as follows. First, the score of children's language expression ability was higher in the multimedia fairy tale lecture group than in the narrative fairy-tale lecture group. Second, the score of children's drawing representation ability was higher in the multimedia fairy tale lecture group than in the narrative fairy-tale lecture group. As for findings stated above, educational activities with multimedia were important in early childhood education. Consequently, children can better understand stories through multimedia fairy tales and various language activities, and improve their language expression ability and drawing representation ability through the process of exploring and drawing heroes in fairy tales. However, they have more need of educational activities, which are complementary to the merit of narrative fairy tale, than educational activities for only multimedia fairy tale lecture.

• (The) Research of the performance art and culture
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• no.36
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• pp.103-135
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• 2018

The objective of this study is to re-examine the theory of Pansori (Korean musical storytelling genre) originating in Chinese tale-song literature. The said theory, first presented by Kim Hak-ju, succeeded in confirming the common points and association between Pansori and the Chinese tale-song literature, but failed to present the supporting ground for proving that Pansori originated in the said Chinese genre by comparing the contents of works and their performance type. In actuality, it was confirmed that the common factors of Pansori and the said Chinese genre naturally resulted from the performance situation where both genres should involve one singer chanting epics and simultaneously performing various roles and functions. In addition, it was confirmed that such identity of performance environment made the Pansori clown theory and the Gosagye tale-song(鼓詞系講唱) theory very similar. In addition, it was confirmed that, for one singer to present the wide spectrum of epic to the audience, the realistic description was the main part of literary style of both tale-song literature and Pansori, and furthermore it was revealed that, in the literary style of both tale-song literature and Pansori, the mixed use of time and temporal penetration were free. If a long performance of musical storytelling can be conceptualized in terms of 'tale-song' or 'oral epic', the Chinese tale-song literature and Pansori had similarity in the bigger frame of 'tale-song' or 'oral epic' and yet developed to have their own features.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.655-663
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• 2015

The purpose of this study is to inquiry 'instructive fairy tale story making' teaching model developed in Russia to cultivate creativity and character and to present implementation idea in Korea. Fairy tale story is one of first tasks to spread his and her creativity and latent ability, and good genre to identify and express his and her feeling and to accomplish through these experience for children. In process of this teaching model, they are able to recognize and compare good literary works, to know 'instructive fairy tale story making' algorithm and to do 'instructive fairy tale story making' personally. As a result, students' imagination, creativity and linguistic performance would be developed more through 'instructive fairy tale story making', at the same time they will examine closely and apply moral and ethical contents in daily life and internalize.

• The Journal of the Korea Contents Association
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• v.8 no.8
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• pp.119-127
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• 2008

The object of this study is to find ways of a creation and an usage of cultural contents, based on the survey of the culture archetype facts, the culture elements and the narrative structure of 'Geotagi folk tale'. This story takes its place as our cultural archetype, because of its perfect narrative structure and the myth-like features in the story line. Additionally, various cultural elements implied in the text have the world wide universality as well as the unique traditional characters of Korea. Thus, for above reason, 'Geotagi folk tale' can be helpful in creating the new cultural contents. In creating and using the cultural contents of 'Geotagi folk tale', the first way is to build up the Digital contents including the data base of the original text and others, and the creation of graphics. The second way is to create the story bank utilizing hypertext. The third way is to make flash animations or games concerning the folk tale. and the fourth way is to to develop the symbols of the folk tale as animation characters.

• Lingua Humanitatis
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• v.2 no.2
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• pp.109-128
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• 2002

The six fabliaux of the Canterbury Tales are a notable artistic achievement. Of all of them, however, the Merchant's Tale is the most notable to show Chaucer's development of the scope of this genre. We will look briefly at the characters of the fabliau narrators who are crucial to Chaucer's drama of relationships in the course of the Canterbury pilgrimage framework. To distinguish the accomplishment of the Merchant's Tale, we will consider the relative merits of each of the other five fabliaux in the Canterbury Tales. The least flawed of the fabliau narrators, the Merchant will tell a powerful tale about an old man's lust turned into a hasty marriage gone wrong that aims its satire at the noble ruling class of the land, not the usual targets of Chaucer's or most other writers' fabliaux. Further, unlike the light-hearted and dismissable endings of the other Chaucerian fabliaux, the Merchant's Tale has what we will call an Act 6 of continued deception at all corners of the love triangle represented by the senex amans January, his young wife May, perhaps now pregnant after her tryst with Damyan in the pear tree, and the still present young lover Damyan. This triangle of mutual deception will continue into the unknown future under the male and female forces at odds as personified in the king and queen of fairies, Pluto and Proserpina.

• The Journal of the Korea Contents Association
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• v.7 no.12
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• pp.13-19
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• 2007

The purpose of this research is to compare and , analyze the structure of an original fairy tale and a parody, and find out the features of a parody. , the original fairy tale, published in Woongjinthinkbig and , the parody, issued in Borim are chosen as research materials. After analysing the structure of the original fairy tale and the parody, they have many differences such as plot, theme lesson, characters, a point of view style and setting. The features of the parody is to break literacy custom, come to open ending and help readers to sympathize with characters.

• Cross-Cultural Studies
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• v.27
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• pp.255-289
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• 2012

In the course of completing a National Research Foundation project, I recently found that a handwritten Korean manuscript of The Tale of Mei Fei is kept in the Adan Collection, which is a significant scholarly discovery given that no relevant research is available. The editions of the Tale of Mei Fei available in Korea include ${\ll}$藝苑?華${\gg}$ edition, ${\ll}$說?${\gg}$ edition, and the handwritten manuscript in Korean collected in the Adan Collection. Being the only handwritten Korean translation of the work, the Tale of Mei Fei in the Adan Collection was appended by the translations of ${\ll}$한셩뎨됴비연합덕젼${\gg}$ and ${\ll}$당고종무후뎐${\gg}$. As for the practice of translation of the work, literal "word to word" translation was done for the most part of the text; some sentences were occasionally translated liberally. Also, as for the poems in the text, pronunciation of each Chinese character was provided along with the translated text.

• The Research Journal of the Costume Culture
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• v.1 no.2
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• pp.199-219
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• 1993

This paper analyzes how a social status is symbolized by clothing in Charles Dickens' novel 「The Tale of Two Cities」. The result shows that clothing symbols of he upper class people are splendid, perfect, good material, beautiful, younger looking, and fashionable. Meanwhile, those on the middle class people are neat, unpretentious, simple, practical, following fashion, and graceful. Finally, those on the lower class people are unfitted, disordered, careless, worn and shabby, unclean, disharmonious, coarse, and uniform.