• Cross-Cultural Studies
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• v.52
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• pp.31-52
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• 2018

The purpose of this thesis was to re-examine the utopian socialism of George Sand. In brief, her socialism is Christian socialism. She was heavily influenced by Leroux and Ramennais who insisted on Christian socialism at the time. This was socialism that differed from other utopian socialists of the time such as Saint Simon and Fourier. In addition, the socialism of Sand was similar to communism that was popular at the time. We can see in many writings portraying Sand as a Communist. Her novels were also written to spread her communicative ideas. However, the Communism of Sand is different from that of Marx. In this thesis, her novels, her letters, and her political pamphlets will be analyzed in comparison with Marxism in three ways. 1. If Marx's communism justified violence, her ideology is based on nonviolence. 2. Sand's Communism asserts equality for workers and capitalists. She says that if it is not the equality for all, we are not qualified to argue. 3. Finally, her Communism is based entirely on Christian values, love and solidarity.

• Cross-Cultural Studies
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• v.52
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• pp.253-275
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• 2018

The concept of 'utopia' in Korea was formed in the early 20th century. 'There isn't in this world but good world' could be found using science and it was an ideal place for science to realize in the 1900s of Korea. Utopia was emphasized as an ideal world of fantasy in the 1920s. It was an ideological world wherein socialism was realized by a purposeful science. Utopia, conversely, was the history of scientific socialism defined as past example of communism that could not be implemented but was fancied. There were works suggesting that it was a dark dystopia such as Society after 800,000 years written by H.G. Wells or Artificial Worker by Young-hee Pak, but there were implied at the will of utopia.

• Cross-Cultural Studies
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• v.53
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• pp.25-49
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• 2018

This study describes how Mishima Yukio applied various classical motifs in his novel, Spring Snow, to reproduce the world of "Miyabi" of the Heian era. First of all, the author's perception of Japanese culture, focusing on his various critiques and essays was studied. Based on Mishima's cultural theory, analysis revealed that Spring Snow was not based on specific works of the Heian era, but rather on the use of the story form from that era. The background of this novel was the early Taisho era. This period coincided with Japan's political transformation from military power to democracy, and miyabi, or elegance. Finally, the title of this work, "Spring Snow" is an expression found in Kinotsurayuki' Waka in Kokinshu. It represents not only the vanity possessed by the "Spring Snow" reflected in the novel, but also fascination with the beauty of Tsurayuki' Waka.

• Journal of English Language & Literature
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• v.54 no.1
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• pp.3-29
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• 2008

Ian Watt, author of The Rise of the Novel, maintained that the novel originated in modern England, came from prose discourses such as the news, political essays and journalistic writing which propagated the Enlightenment, and the novels represent formal realism. The main point of this paper is to examine Watt's theory of the rise of the novel on the basis of the criticism of antinomy of the Enlightenment and "the public sphere" in Habermas' terms. At first, I will criticize formal realism, which is not a new literary species, but a formally renovated realistic form that represented capitalism and protestantism. And, then, I will show that formal realism is a kind of antinomy because it turned away from the voices and reality of the low-class and women though the novel concentrated on common people, not the aristocrats. Secondly, I will inquire into the antinomy of the Enlightenment in the aspects of reason, freedom, individualism and women. In my view, as soon as the high-middle class acquired their political rights, these values were no more encouraged and the result revealed antinomy of the Enlightenment more explicitly. Thirdly, I'd argue that "the public sphere" had positive meanings to everyone when the bourgeosie were fighting against the Absolutism and the aristocracy. I'll also insist that the high-middle class and the intellectuals were in "the public sphere" in which Habermas argues that rationality and equality were thought to have been realized, while the low-middle class and most women were de-enlightened and disciplined by reading the novel privately. In conclusion, formal realism is not the rise of the novel, but the opening of the novel peculiar to bourgeosie parliamentarism from the middle-eighteenth century to the middle-twentieth century.

• The Journal of the Korea Contents Association
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• v.20 no.12
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• pp.582-592
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• 2020

The purpose of this research is to analyze the psychological dynamics of the characters in the novel 'vegetarian' of the Han Gang and the relationship patterns in the system by applying object relation theory. 'Vegetarianism' has already been analyzed and reinterpreted in various angles, but if you look at it from the object relationship theory and the systematic perspective, you can understand the inevitable history of the generation through psychological analysis and relation dynamics of the person. First, we will analyze the psychological dynamics of the characters by analyzing the meanings and exploring the meaning with the object relation theory and concept. The psychological analysis and the search process of the characters based on the theory are enough evidence for the counselor to reinterpret the life story of the client in the future clinical scene. In addition, in order to realize ethical but practical clinical education, the field of clinical practice will be extended when analyzing the characters using art. It is suggested that the meaning search through various character analysis needs to be accumulated culturally.

• The Journal of the Korea Contents Association
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• v.21 no.1
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• pp.333-342
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• 2021

In this study, we analyzed the vocabulary, lemmas, keywords, and n-grams in 『Treasure Island』 to identify certain linguistic features of this British-American children's adventure novel. The current study found that, contrary to the popular claim that frequently-used words are important and essential to a story, the set of frequently-used words in 『Treasure Island』 were mostly function words and proper nouns that were not directly related to the plot found in 『Treasure Island』. We also ascertained that a list of keywords using a statistical method making use of a corpus program was not good enough to surmise the story of 『Treasure Island』. However, we managed to extract 30 keywords through the first quantitative keyword analysis and then a second qualitative keyword analysis. We also carried out a series of n-gram analyses and were able to discover lexical bundles that were preferred and frequently used by the author of 『Treasure Island』. We hope that the results of this study will help spread this knowledge among British-American children's literature as well as to further put forward corpus stylistic theory.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.59-70
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• 2021

This research studies the specific cases of Ryusuke Hamaguchi's re-arrangement of the original novel Net emo Samite mo(2010) by Tomoka Shibasaki to his 2018 film Asako I&II. The study focuses on the difference that has been made between the original novel and the film, which occurred after Ryusuke adapted the novel's "Telling" to the film's "Showing." The presence of the passive protagonist and the repetitions are the elements that have been avoided from the traditional Screenwriting theory for a long. Instead of avoiding it, Ryusuke Hamaguchi inherits these traits of the original novel when re-arranging to his film. Despite the presence of a passive protagonist, Hamaguchi's method of adaption increases the attention of the audience by using the other tools of Hollywood's tradition: the use of goal and want of the protagonist. In addition, Hamaguchi's storytelling strategy captivates both the modern cinema audiences and the classical film audiences by creating a story, which both repetitive structure and normative narrative structure were applied.

• Journal of English Language & Literature
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• v.55 no.5
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• pp.793-820
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• 2009

The studies of correspondence between novel and nation-state, among which The Rise of the Novel by Ian Watt is supposed to be the first book, have flourished for more than twenty years, encouraged by Benedict Anderson's and Cathy Davidson's works. According to them, the novel should come simultaneously with, or after the foundation of the nation-state, and testify to its production or the emergence of its subject/citizen. This paper questions about these prepositions, trying to introduce a new paradigmatical approach, "between global and transnational historical approach," to first novels in transatlantic areas including England and atlantic coastal areas. In its complex relation to a variety of colonial, post-colonial, and transnational geopolitics, various cultural practices such as history, traveler's tales and epistolary novels can be included in the genre of the novel. The idea of the sexual contract by Carole Pateman is very useful because it helps more clearly understand the nature of relation between men and women in the capitalist reproduction, while the social contract tells about the relation between men as citizens. Unlike Freud in Totem and Taboo, Zilboorg argues that there were primordial and violent scenes such as rape before the first sexual contract. This paper will illuminate that "the rise of the novel" corresponded with the emergence of the sexual contract. In the so-called first novel Pamela, the heroine Pamela was threatened to be violated by Mr. B., and was really even confined in his cottage. Mary Rowlandson's The Captive Narrative shows that her body was confined as an English female captive, and troubled with imaginary rape by Indians which resulted in the unequal sexual contract between her and her puritan community in America. However, Leonora Sansay's Secret History in an alternative communality, which was not a nation-state, was different from both novels mentioned above, in that it shows the possibility of emancipation from their unequal marriage, the sexual contract. Therefore, it can be argued that "between global and transnational historical approach" has a possibility to provide a new vision of global sisterhood and solidarity to recognize globalized women's violence, and free themselves from the unequal sexual contract.

• Journal of English Language & Literature
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• v.57 no.5
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• pp.839-870
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• 2011

This study compares and contrasts Jane Austen's novels of sensibility with those of Rousseau and Goethe. In Julie, or The New Heloise and The Sorrows of Young Werther, the passionate but doomed love of the heroine and her lover is juxtaposed with her passionless marriage to the virtuous husband. In Sense and Sensibility and Pride and Prejudice, Austen revises Rousseau and Goethe's novels of sensibility to accommodate them to the puritanical English literary conventions. She parodies the basic plot of Menage a trois found in their novels of sensibility and transforms her novels into British Bildungsroman, focusing on the heroines' maturation. In Sense and Sensibility, Marianne stands up against the mercenary and snobbish high society. However, Austen represses Marianne's sensibility since the indulgence in sensibility can bring about sexual fall, as is evidenced by the cases of the two Elizas. Marianne's dangerous fever following Willoughby's betrayal emphasizes that female sexual desire should be punished for her continued existence in the high society. The taming of her sensibility and body through the fever is posited as a prerequisite for the happy marriage. In Pride and Prejudice, Elizabeth favors the deprived Wickham over the wealthy Darcy. As Wickham turns out to be a debauched lover, Darcy snatches sexual charms from him and is transfigured into one of the most virtuous and attractive husbands in Menage a trois of the novels of sensibility. Acknowledging sexuality as a vital element of a courtship, Austen embeds sexual desire in dances and glances. However, Elizabeth has to repress sensibility and desire and the complete gratification of desire is continuously deferred to some indefinite period in the future. Marriage is a synecdoche for the union of the bourgeois and the aristocracy in Austen's Bildungsroman and Marianne and Elizabeth are bestowed with happy marriage in return for repressing their sensibility and desire. Since their 'normality' and 'maturation' have been achieved at the expense of subversive sexual power of deviant sensibility, they look too impotent to gratify their desire when they finally secure comfortable but mediocre upper class life.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.83-89
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• 2019

Zhang yimou's film "the shadow" adopts a lot of modern literary symbolic content in the story structure. The novel has been greatly modified, abandoning the setting of the original work and making up the historical background of the story, thus completing the discourse practice of aerial literature rather than historical literature. The film expresses the historical story poetically and even writes the personal mind. In this way, the audience's sense of substitution is increased, and a large number of traditional Chinese cultural symbols are adopted visually. In terms of clothing, the most traditional is sought, which advocates loyalty to history, and adds cultural connotation and depth. The audience can feel the bold and unfettered artistic creation spirit of the main creator, as well as the novel and unique visual expression style, which makes his works have both traditional visual perception and modern story content. The combination of traditional vision and modern drama forms a new visual and cultural experience.