• 한국민요학
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• v.56
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• pp.105-135
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• 2019

This paper investigates the meaning and methods of analysis in courtship & marriage narratives songs using the analysed data as the base work for establishing songs using the analysed data as the base work for establishing the digital archive of Korean narrative songs. Initially, this paper presents some samples of the archiving data : types, narrative paragraphs, theme words and outlines of narratives analyzed from 386 versions of courtship & marriage narrative songs in The Comprehensive Collection of Korean Folklore for the purpose of establishing the Korean narrative songs digital archive. Especially, these include specifications of theme words and sequences of narrative paragraphs to look into the syntagmatic and paradigmatic relationship aspects of narrative songs. This archiving method has the advantages of being able to suggest not only the general aspects of the narrative songs, but also the specific in theme words of narrative paragraphs, while the conventional archives are limited to type classification or title search. Therefore, this method overcomes disadvantages that the conventional archives cannot reveal the narrative characteristic or difference which each version has. Subsequently, this paper examines the gender differences, frequency of theme words and comparison of theme words in the related types and the meanings of the analysis examples to find the utility value of the digital archiving data of 'courtship & marriage' narrative songs. The results are as follows; The main recipients of 'courtship and marriage' narrative songs are women, they deal with unusual and shocking events such as 'affairs' or 'death'. Women express their real sufferings and consciousness in the process of courtship and marriage through singing 'courtship & marriage' narrative songs. On the contrary, men mostly focus on the inadequate relationship between unmarried couples and reveal their enjoyment. It will be necessary to expand the scope of this study to clarify the interacting aspects with other narrative genres beyond narrative songs. Therefore, more consistent research efforts are required for this clarification to be satisfactory obtained.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.135-136
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• 2018

본 연구는 컴퓨터 문헌 분석 방법을 활용하여 <적벽가> 이본의 계통을 분류하고 기존 이본 연구를 검토한 것이다. <적벽가> 이본의 공통 서사단위는 5개의 계층으로 파악되며, 146개의 개별단락을 산출해낼 수 있다. 이를 통해 군집 분석 방법과 계통의 분기 분석 방법을 적용할 수 있으며, 작품의 계통과 이본간의 거리를 시각적으로 파악할 수 있다.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.

• (The)Study of the Eastern Classic
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• no.66
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• pp.303-330
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• 2017

The purpose of this article is figuring out the modern understanding of SimChong Jeon's narrative and its storytelling strategy in the movie (2014). In the movie, there are three steps which are based on the temporal flow of narrative. shows the web-like structure of desire especially by focusing on the male character Sim Hakkyu. The relationship among characters in is gradually broken because of the desire. Moreover, the desire pushes Sim Chong who is Sim Hakkyu's daughter into the sacrifice. This part seems similar with the narrative of SimChong-Jeon which has been transmitted since 18~19 century in Choson dynasty. However, also tells a different story which describes the progress of Sim Hakkyu's seeking the real relationship filled with love. This difference is able to make people read with the 'stroytelling' point of view. All the lack or problem in is closely related to the desire of Sim Hakkyu. His narrative is something different from the typical story of SimChong-Jeon. A new narrative of Sim Hakkyu is not Sim Chong centered story but rather the anti of it. 'The other narrative' in seems social practice of storytelling in order to break down the preconception of SimChong-jeon called 'cannon'. This is the storytelling strategy of and it suggests the another way of creating new narrative which is based on the classical cannon.

• The Journal of the Korea Contents Association
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• v.19 no.6
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• pp.1-9
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• 2019

The purpose of this study is to examine the system of the Jeokbyeok-ga's version using the Computer analysis technique of bibliographies and to examine the achievements of the Jeokbyeok-ga's version studies. First, in order to provide basic data for analysis, a raw corpus was constructed for 46 species of Jeokbyeok-ga. Through this, the common narrative units of the Jeokbyeok-ga were identified as 5 layers, and thus 146 individual paragraphs could be extracted. Based on the encoded corpus, we tried to measure the similarity and the distance between the two. Next, we applied the Multidimensional scaling method, Hierarchical cluster analysis and Cladistic analysis method of the system to confirm the distribution of versions group and it was possible to visually grasp the distance between versions and the system of the work. As a result of analyzing Computer analysis technique of bibliographies, it was found that version's group of the Jeokbyeok-ga was divided into a Wanpan(完板) series and Changbon(唱本) series. Also, it was possible to examine the influence relationship between the Pansori's traditions and transmission.

• (The)Study of the Eastern Classic
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• no.70
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• pp.211-255
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• 2018

A classical lyrics novel 'Jeobuin-jeon' is basically old Korean novel in aspect of contents even though it has lyrics for a song formally. In other words, it shows classic poetry but also expends its genre to novel 'Jeobuin-jeon' which belongs to Jae-yeon Park's selection, presents 'Analects' at a book cover and writes its title inside. In addition, it rewrites the story of 'Jeobuin-jeon' at the beginning that means it is novel. It is considered there might be an unclear reason why it could not be marked as an novel outside. 'Jeobuin-jeon' of Jae-yeon Park's selection helps readers grasp the novel by adding Chinese characters for additional explanation based on Korean characters depending on cases. Used words in this novel is estimated being written from the late $19^{th}$ century to the beginning of the $20^{th}$ century. 'Jeobuin-jeon' is assumed being written by woman as it emphasizes that woman should learn letters and take care of the relationship among parents-in-law, husband, sibling, servant and daughter-law. Besides, this novel intends to punish bad characters through 'Jeobuin's good manners by including afterlife-story with 'Bulddong-Aemi'. 'Jeobuin-jeon''s narration is 7 steps and it reaches the peak when 'Bulddong-Aemi' and 'Jeobuin' changes their life each other. Afterward, 'Jeobuin' meets her parents-in-law and passes the crisis. The story ends through 'Bulddong-Aemi' is punished. It is very creative by developing the story with looking back the past would make a change in narration.