• The Korean Publising Journal, Monthly
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• s.195
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• pp.20-21
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• 1996

• 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.

• Journal of Sasang Constitutional Medicine
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• v.11 no.2
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• pp.39-50
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• 1999

The Chinese poems written by Je-Ma Yi may be categorized into two different facets: one is about a broad spectrum of a man's feelings covering from delight to sorrow; and the other is about self-caution. He has been known to be a warrior having strong self-respect and a man of tough personality reluctant to compromise with others. As a result of analyzing his poems, however, it was confirmed that he was an ordinary person who got along with his neighborhood, took a pleasure in appreciating natural beauty and wandered around in agonies of pain. The literary features reflected in his self-caution poems are compatible with his own philosophical thought. Through these poems, he revealed his autonomous perception of life, and its ultimate goal was placed on the fulfillment of moral obligation, the highest value that a man should achieve as an individual. Je-Ma Yi's Chinese poems are in full harmony with the general tendency shown in the area of poetic literature during the late Yi dynasty. As pointed out above, particular qualities are represented in his poems, and thereby, from comparative perspectives with his unique literariness, future research activities should be directed to a well-defined study on other contemporary writers.

• Journal of the Speleological Society of Korea
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• no.79
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• pp.17-30
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• 2007

Gossi-cave, which is Natural monument No. 219, originally was called Norigok-cave, but happened Imjin-Japanese war, aborigine and Gossi family took refuse to Norigok-cave. Japanese soldiers set fire to this cave, in result lots of people had been died. And then, this cave was called Gossi-cave because Gossi family only survived during the war. Stalactite, Stone pillar that was created from four hundred million ago Harmonized with the others. The length is 6.3km in 1969.6.4. this cave was appointed natural monument as a result of investigating Korean Speleological Society. Kim SaKat a Master Poet(1807-1863) : A Genius with wit and eccentric conduct, a poet who wrote a refined poems with his own dramatic path of life destructed the format of Chines poem and created a new folk literature. He is Kim SaKat - a wizard of poet Kim Sakat - a poet wearing conical bamboo hat. Kim Sakat was born in 1807, in the latter part of Chosun period, his antonym was Kim Byung-Yun. He passed the state examination in the first place when he was 20. Two years later, he set out his life as a wanderer when he realized his winning composition was a criticism on his grandfather.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.