• Journal of Popular Narrative
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• v.25 no.1
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• pp.349-392
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• 2019

In the 1960s of Korea, the normalization of diplomatic relations between Korea and Japan led to a sense of a vigorous anxiety and fear that "Japan will once again come to the Korean peninsula". As a reaction to this, the discourse on the criticism of 'Japanese Style' strongly emerged. If the prior discourse of criticism was to express the national antipathy toward the colonial remnants that had not yet been disposed of, the critical discourse of the 1960s was the wariness of the newly created 'Japanese Style' in popular culture, and to grasp it as a symptomatic phenomenon that 'evil-minded Japan' was revealed. Thus, this new logic of criticism of the 'Japanese Style' had a qualitative difference from the existing ones. It was accompanied by a willingness to inspect and censor the 'masses' that grew up as consumers of transnational 'mass culture' that flowed and chained in the geopolitical order under the Cold War system. Therefore, the topology of 'popular things=Japanese things=consuming things' reveals the paradox of moral demands that existed within Korean society in the 1960s. This was to solidify the divisive circulation structure that caused them to avoid direct contact with the other called 'Japan', but at the same time, get as close to it as ever. It is a repetitive obsession that pushes the other to another side through the moral segregation that strictly draws a line of demarcation between oneself and the other, but on the other hand is attracted to the object and pulls it back to its side. This paper intends to listen to the different voices that have arisen in the repetitive obsession to understand the significance of the dissonance that has been repeated in the contemporary era. This will be an examination of the paradoxical object of Japan that has been repeatedly asked to build the internal control principle of Korean society, or to hide the oppressive and violent side of the power, and that can neither be accepted nor destroyed completely as part of oneself.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.393-425
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• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.73-116
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• 2019

In recent years, television dramas have adopted an emerging approach of imagining a just society via fantasy. This study set out to examine by stages the patterns of social justice in I Hear Your Voice, Pinocchio, and While You Were Sleeping written by Park Hye-ryeon, who has been leading this trend. I Hear Your Voice shows why social justice is needed, as it is set against the backdrop of a society in which legal justice has collapsed. In this drama, the collapse of the legal justice system indicates that democratic society is falling apart at the roots. As a result, pain and suffering is propagated among the petit bourgeois, with social justice being demanded as an alternative to this problematic reality. The supernatural power of reading the thoughts of others is used to remind viewers of the value of truth and trust and raises the possibility of the existence of a true heart as an alternative from a social justice perspective. Set in a society in which media justice is distorted, Pinocchio makes an attempt at changing ideas about social justice. In this drama, the corrupt media justice covers up truth and becomes a parasite to power, creating victims that are falsely accused. In this situation, the Pinocchio Syndrome, which makes people hiccup when telling a lie, shows paradoxically that truth can be distorted, and ultimately destroys absoluteness that is not truth. Finally, While You Were Sleeping inherits the world views of the two previous dramas and proposes a type of social justice called 'common good' as an alternative. A completely unfair society is created when legal justice collapses and media justice is distorted. In this situation, the ability to see the future is an ability to imagine a world of possibilities. Altruistic choices based on trust in others help us to realize a positive future. Social justice as common good to enable solidarity among subjects in a way that transcends the limitations of time and space is proposed as an alternative to overcome the problem of an unfair society. Given the recent reality of South Korean society, this common good and these ways of life might literally seem like a fantasy. When social justice is represented by efforts and reconstruction processes to overcome the current social issues and make a better future, common good based on the understanding and sympathy of others can be an alternative to improve a reality that is problematic at its root. Ultimately, Park's three works explore the feasibility of a just society that is yet to come from the aspect of the common good.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.211-266
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• 2019

Films of the 1960s in both Korea and Egypt share many common characteristics. These include the main trend of such films' in addition to some of the political situations. This trend mainly relates to the adaptation of novels into films. In the late 1940s, Andre Bazin wrote his ideas about a similar phenomenon in Europe and the United States. Based on Bazin's thoughts and other examples for films adapted from novels in the 1940-60s, I found that the trend in both Korea and Egypt can be explained as an international phenomenon, in which film developed to a further stage due to a dialectic between content and form after the increase in the development of film techniques. The trend in Korea is believed to have led to the so-called golden era of Korean movies, while in Egypt films adapted from literature were not able to earn high profits, even though in a 1996 list of the best 100 Egyptian films, 23 had been adapted from novels. To explain the reasons behind this phenomenon, I looked into the internal demand from filmmakers themselves to further develop the industry through the articles written at that time. In addition, I explored the different situations and policies that influenced film production in both countries in the 1960s. I found that political situations and policies could have helped in the continuity of such trend, but it is difficult to consider these as the main reason for its creation, in contrast to the internal demand, which I believe is the main reason for the creation of such direction.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.191-221
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• 2019

This study aims to analyze the post-humanistic imagination that has emerged as a major academic thesis in Korean literature, especially novels. In particular, this paper focuses on Cho Ha-hyung's two novels Chimera's Morning(2004) and A Prefabricated Bodhi Tree(2008), published in the early 2000s, for intensive analysis. Post-humanism can be seen as an extension of post-modernism that tried to overcome the limitations of modernity and seek to establish a new world view. In particular, this thought pays attention to the comprehensive understanding of how the rapid development of science and technology, which has developed since the 20th century, has changed the view of humanity and human-centered civilization itself. At the concrete level, it is developing in the direction of constructing a new subject idea by reflecting and dismantling Western-, reason-, and male-centered power mechanisms that are the core of modern civilization. Cho attempts to discover and re-illuminate the surrounding figures, non-humans, and objects that were not noticed in the classic works written in the past. This ideological flow reflects the fact that the concept of human beings, which had been dominated by the humanities in recent years, has been completely changed, and the natural science and technology perspective is applied to the discourse field in various ways. From the point of view of post-humanism, objects that have not been classified as humans and objects that were considered inferior to humans should be included in human or comparable levels. These questions generate interdisciplinary research tasks by involving the large categories of philosophy, such as ontology, epistemology and empirical fields, as well as calling for the participation of the entire literature, science and social sciences. Against the backdrop of a disaster-hit world, Chimera's Morning and A Prefabricated Bodhi Tree depict human beings as variants transformed by bio-technology, and creatures made out of the artificial intelligence built by computer simulations. Post-humanistic ideas in Cho's novels provide a reflective opportunity to comprehensively reconsider the world's shape and human identity reproduced in the text, and to re-explore boundary lines and hierarchy order that distinguish between human and non-human.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.247-275
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• 2019

We hope that more diverse interests will arise in the novels by Park Gye-hyeong By looking at writers and works in time, we identified the key element of Park Gye-hyeong's novels as 'romantic'. Romantic nature of this time is lyrical, sentimental, spiritual, unrealistic and idealistic. Based on a romantic understanding of the world, the core sanction of the novel is love, focusing on feelings of sadness, and on the aspects of joy, separation, and pain that arise from loving relationships rather than the aspects of joy. Based on the feelings of grief, the novels end with failure, death and betrayal, thus embodying tragic romanticism. Before her marriage, Park Gye-hyeong's novels were love stories that revealed her longing for beautiful love based on sensibility. The idyllic world and longing for nature reveal a romantic world-view. Ultimately, it is a fictional worldview that the author seeks to despair and long for, and to find the sincerity and morality of love in an environment that does not. Park Gye-hyeong, who became a housewife, expressed that she wanted to write a piece that can give readers a sense of nostalgia by embodying "romance at a high level," not "sentimental." In subsequent works, physical relationships are treated as failures of love and spiritual relationships as the fruit of love, revealing the lofty spirituality, idealistic longing and religious nature of love. Park Gye-hyeong confessed her shame about her previous work when she published a new one after more than two decades of writing. And after more than two decades of reflection, her new novel had a new theme of "recovering destroyed humanity." However, the search for "humanity" in the two novels released after the write-off tends to be somewhat hasty at the end of the novel. The question of human nature, sin and forgiveness, is the next best thing to save as a way of life, rather than as a result of the intense inner agony and behavior of the characters within the narrative, and this also shows a sudden shift in religiousness at the end of the novel. Therefore, the romantic meaning of the superficial is superficial.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.117-167
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• 2019

The aim of this article is to illuminate the Park Yeol(朴烈)·Kaneko Humiko(金子文子) Case from the perspective of performance, by analyzing newspapers published in Colonial Korea. The Park Yeol·Kaneko Humiko Case include the High Treason Incident(大逆事件) case and the mysterious photo(怪寫眞) case that occurred in Tokyo in Imperial Japan from 1923 to 1926. Even though Park Yeol·Kaneko Humiko were individually imprisoned during this period, they proceeded to act shrewdly and preposterously as performers. First, they made the trial itself into an astonishing case by donning traditional Korean clothes and insisting on using the Korean language in Japanese Imperial Court. Second, they caused the judge in charge to accidentally take the so-called 'mysterious photo,' which later led to the collapse of the Japanese cabinet. The newspapers published in Colonial Korea served as unique stage on which Park Yeol and Kaneko Humiko performed. The newspaper articles reported on the public trials as if it were a drama, describing their clothes, look, and dialogue in public court. The news about them was published not as it occurred but in a plotted sequence because of a press ban, consequentially building suspense among readers. Meanwhile, the Korean newspaper editorials pointed out the injustice of the High Treason Incident, breaking down the Japanese judge's opinion. The Park Yeol·Kaneko Humiko Case was a social drama that revealed the disharmony that led to the breakdown of Taisho Democracy and imprinting national resistance in Japan as well as in Korea.

• (The) Research of the performance art and culture
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• no.23
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• pp.63-103
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• 2011

This paper inquires closely into the background of pansori gosu(drummer) and his social position based on documents and oral materials and the performance features of gosu in the entire process of pansori performance, 'preparation', 'performance' and 'aftermath', focused on the relationship between the changja(singer)-gosu. In the past, some gosus were ex-tightrope performers. Their social position and working conditions were better than that of the ex-tightrope performers but were worse than that of the pansori singer. After 1910's, people formed some special sense about the gosu due to the change of the space for pansori performances and the technological advances on the media, and gosu's conditions improved. The theory of pansori drum gradually began to be established well. The function and the role of gosu in the whole process of pansori performance may be summarized as follows. To begin with, the training with various and a lot of singers is required in the 'preparation'. Rehearsals are divided into individual practices and joint practices, and the latter can be controlled by the level of the capacity of gosu and the degree of the experience between chanja-gosu. Next, bobiwi(flattering drumming) and chuimsae(encouraging remarks) are important in tbe 'process'. The gosu has to share the speed of one jangdan(rhythmic patterns) and the accent of the sori and adjust his enery. Besides, he has to acknowledge the naedeureum(beginning sign) and reply with changja's singing. In formal performances, working in harmony with changja and gosu and their joint experiences are necessary for the gosu; in pansori contests, giving chanja a stability; in contests for gosu, drumming skill, position, chuimsae; in small performances and new adaptation of pansori, cheap fees and positive response of the transformational play or ad-lib; in lecturer concerts, reacting quickly to rapidly changing situations. Chuimsae is way which gosus and audiences express their feeling together, however, its context and sound are different. Finally, 'aftermath' is a process the pair of chamgja and gosu mutually evaluates about performance or audiences estimate that.

• (The) Research of the performance art and culture
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• no.39
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• pp.325-355
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• 2019

On June 12, 1791, the old bachelor Kim Hee-jip and the old lady Shin Deok-bin's Daughter get married. The wedding ceremony is a state-led so-called 'virgin virgin bachelor's marriage project'. At that time, the king ordered the recorder to record the case, which is called . The private sector also made it into a work, which is the Chinese drama written by LeeOk(李鈺). was created with the purpose of praising the king, and it inserted entertainment elements into it, so it had a frame of plays, but it did not have a performance in mind from the beginning. LeeOk uses different styles in each of the four acts. He tried to soothe his boredom by setting tales and proverbs in Acts 1 and 2, Pansori in Act 3, and drama in Act 4. In 1918, BaekDooYong(白斗鏞) published DongSangGiChan[東床記纂], which is combines drama and Yadam . In previous studies, these two were perceived as different works, but the two rooms were closely linked: the link was 'someone recognize me[知 己]'. He understood the table of contents made by Lee as 'JaeHyun(才賢)', 'deokhye(德慧)', 'Kwontaek(眷澤)', 'Bokyeon(福 緣)' respectively, and recorded the version of the yadam that fits it in . From acts 1 to 4, Baek contained his desire in it by constructing 'someone recognizes me → I recognize someone → do good things[積善] → blessings[餘慶]'. This is why we can't comprehend and as completely different works.

• Issues in Feminism
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• v.18 no.2
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• pp.149-206
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• 2018

This essay is focused on finding women's voice in oral narratives of social memory of national violence and resistance. The books of oral narratives of women who had experienced the national violence and participated in the resistance through historic events such as 5.18, have been published recently. This study is based on the materials that have interviewed women experienced the historic event '5.18' in Gwangju. In this study, there are analyses of the materials of the memory of violence and resistance of '5.18', which have contained the texts written by intellectual males and the oral narratives of females directly involved. So far, the memory and experience of women have not been presented in its entirety in the field of social discourse of '5.18'. In the field women's words were translated in men's words, so the real words disappeared and in the end remained unspoken words. And besides, the existence of women are substituted with the limited images (for example women's body destroyed) presented by men's words in memorial materials. In narratives of '5.18', women are reduced to the images of bodies destroyed by national violence. The destroyed bodies are places for exhibition and disclosure of national violence. Women are not presented as the subjects of the social resistance in oral or written narratives of '5.18'. The images of females are only vehicles to urge the male subjects to resist against unjust violence. In this context, men are interpreted for the protectors of sisters, daughters, wives. Since 1980s, the symbol of '5.18 Gwangju' has represented the most ideal community in Korean society. But women have been on the borderline or outside of the community in fact. However, women intend to construct themselves as the subjects of resistance through the spoken words. They have tried to make the politic places for themselves in the social field by speaking and speaking constantly. The desire to speak out is becoming stronger for women, so these days more words are spoken by more women and more oral narratives made by women are revealed in social discoursive field. So the place for women's voice is expanding in social memorial field of '5.18'.