• The Journal of the Korea Contents Association
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• v.18 no.2
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• pp.652-660
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• 2018

The common point between and is that the immersion was high at the point where all the place movements occurred in the narrative before the full-blown incident occurred. The immersion level showed the maximum at the turning point that passed to the place. Seven key events occur, and the audience's immersion is peaking at the time of each incident. The core event and the immersion are highly correlated. It is at a point where the background, such as movement from the third act, where the most central event is solved, or return to the original place, is changing. The immersion degree of the audience is closely related to the narrative from the first film to the third film of the narrative.

• Journal of Science and Technology Studies
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• v.17 no.2
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• pp.113-171
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• 2017

Science and engineering college students, so-called engineering students, account for nearly half of Korean university students. Existing research on younger generations poses a question of young generation after the financial crisis as a 'genuine' survivalist who carries out 'passionate labor' to pursue 'ordinary life' and 'banal stability'. They are diagnosed as failing to "locate the course of their lives in relation to a larger being that transcends self". But is there a value that can replace the survival value in front of us today, which is possible to be practiced and narrated by the young generation of Korea, especially the engineering students? What value (if any) is not captured by survival value, and what mechanisms and processes can and can easily be used by engineering students? Our research uses interviews conducted at one research-centered science and engineering university in a local metropolitan city, Korea. In conclusion, we emphasize that a transformed version of developmental nationalism, in which individual scientists/engineers pursue their 'authentic' passion and unintentionally contribute to the development of the nation through byproducts of their research, exerts strong influence upon the formation of young engineering students' narratives linking their selfhood and the good.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.45-77
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• 2021

The aftermath of the COVID-19 virus continues. There are two potential fears behind the various preventive and quarantine measures. : the fear that "I may be infected" and the fear that "someone may infect me". This subconscious is built on the 'imagination of infection'. This paper attempted to analyze science fiction(SF) narratives and zombie narratives that influenced our imagination of infection. And this paper attempts to examine how SF novels and movies understand and express "infection", and how zombie narratives reveal "infection" and its horror. Mary Shelley's novel "The Last Man" revealed the paradox that the fear of an infectious disease gave humanity an opportunity for reflection. The films and showed that fear and aversion to infectious diseases can lead to riots and conflict. Zombie narrative is a genre that most dramatically expresses the horror of infection. Director Yeon Sangho's zombie trilogy, including , reveals that people around you can turn into the most dangerous source of infection. Through SF and zombie narratives, we can realize that humanity must have a humble sense of solidarity, ethics, and empathy in the face of infectious diseases. Through this narrative texts, we can realize the importance of the imagination of infection. Imagination of infection is the basis for understanding the causes and consequences of the spread of infection, the process and future prospects.

• Journal of the Korean Society of Floral Art and Design
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• no.43
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• pp.39-56
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• 2020

This study is on the creation of floral art works based on the intuitive insight acquired by methodological process of ruminating the experienced meaningful events of the artists utilizing sensible perception. The researcher used the narration and visualization techniques. The narration process adopted the writing technique of subjective impression, emotion, stream of consciousness to capture sensations of subconscious state, which were applied in three steps of 'the exploration of experiences', 'the concretion of experiences', and 'the creation of meaning out of experiences'. The visualization process adopted collection, selection, classification, and interpretation of related images, which were applied in three methods of 'the creation of images', 'the utilization of intuition', and 'the perception through remembering'. Finally 5 art works of 'Hammock is Good', 'At the Rooftop with Warm Sunshine', 'Standing at the Waterside Alone', 'Dizziness at Hot Sand Field', and 'Having Good Time at a Botanical Garden'were created through the combination of these two methods mentioned above and complementary research and writing. The meaningfulness of this research lies in presenting methodological approaches of utilizing narration and visualization of experiences in art creation process.

• Cartoon and Animation Studies
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• s.16
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• pp.101-112
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• 2009

The purpose of this study is to analyze trilogy by means of semiotics. trilogy constructs a story as a whole while each piece delivers a concluded ending. This study used 'modele actantiel' and 'carre semiotique' of Greimas in order to clarify not only the meaning structure but also the course of narrative of . is a compelling story which reverses the fairy tale of a beautiful princess and a heroic prince. Each piece of the trilogy unfolds as following; (1)ls the love of a princess and an ogre possible? (2)Can the marriage of the couple get confirmed? (3)Can Shrek be free again? The repeated meaning structure of trilogy is the binary opposition of nature versus culture, and the narrative course forms the meaning square on the basis of the opposition. Human culture represented by the lord Farquaad and Duloc castle signifies cleanness, order, complex, anxiety, paranoia, authoritarian, and violent. On the contrary, Nature represented by Shrek and the swamp signifies barbarity, freedom, confident, maturity, unstrained, and humar. The meaning of Shrek series is generated by the structure of the basic discrimination of culture versus nature. However, as story twists the bias and fixed idea, the meaning structure of Shrek shows a unique relationship of culture and nature. Although Shrek, an ogre, lives alone in a swamp because of the bias of human world, he is depicted as self-sufficient, comfort, and broad-minded. On the basis of this meaning structure, Shrek is not a story that an ogre(nature) strives to enter the human culture, nor a story that nature wins a victory at the confrontation between culture and nature, but a story that human(culture) and ogre(nature) overcome their fixed ideas through the transition from culture to nature and vice versa.

• Sijohaknonchong
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• v.44
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• pp.165-195
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• 2016

This paper is compare to the enjoyment of way on Si-jo and Ga-sa in Lyric poetry. Si-jo and Ga-sa were created in Joseon Dynasty. Si-jo and Ga-sa is the Lyric poetry in traditional genre, representing Korea. These forms include the lyric genre but have a difference between the fixed verse and the long-poem in Joseon Dynasty. However, the two genres are the two genres had opened the possibility of communication from the very beginning in terms of gentry layer is the main writers. Joseon Dynasty those who enjoy the fixed verse and the long-poem, the literature of singing songs and reciting literature, in terms of the principle of metaphor and metonymy rhetoric will reflect the era of awareness and enjoyment of contemporary perception of reality characters. It can be said that performing Si-jo and Ga-sa of enjoyment fashion and work to compare with realistic about the versification principles but check ahead a lot of data, and add to the task of finding a logic that can explain clearly remain. This paper will have to complement the many points made in an attempt to unravel the complex issues in an integrated and comprehensive on-pronged approach and enjoyment of the fixed verse and long-poem Si-jo and Ga-sa and similar expressions are writing and testing the various parties of the enjoyment of culture in today's era of change in the 21st century can be the compass to navigate a new world culture.

• (The)Study of the Eastern Classic
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• no.34
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• pp.387-414
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• 2009

This paper seeks to provide an overview on the newly-discovered manuscript in gasa style. It is significant in that the entire in gasa style has not been seen before, although occasionally scripts incorporate sijo or gasa as inserted songs. The author of this manuscript is believed to be Bae Hyung (裵珩: ?-?), who lived in Daegachon, Yongdu-Myun, Sunchon-Gun in Jeonra-Namdo Province. It is estimated that the manuscript was written in April of King Gojong 37 years (year 1900). This , so-called the Yang Jee-Uk Collection Script, applies Samdan Pyunun Daewoo Method (三段片言對偶法), using Jongbae style (縱排法) to over 27 pagesof the book. The author seems to have collected the main scenes of and changed them into gasa style. It is also possible to postulate that the author might have simply divided the lines to make it resemble the existing gasa style, as the original was already in the form of lyrics. There are a few mistakes found in the manuscript. They seem to have been made while the author was recording the sung P'ansori, rather than while copying from a different manuscript.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.265-291
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• 2021

This paper explores the academic topography of the discourses on the anthropocene to delve into how the humanities can insightfully respond to the ecological crisis of the Earth through the lens of environmental humanities proposed in a 2020 book, The Anthropocene and the Humanities: From Climate Changes to a New Age of Sustainability by a scientific philosopher, Carolyn Merchant. By publishing her latest book, The Anthropocene and the Humanities, Merchant, a pioneering scholar of ecofeminism, has recently started into inquiring into the discourses on the anthropocene, meaning a geological age led by anthropos/humans. In one of her most distinguished works of 1980, The Death of Nature: Women, Ecology, and the Scientific Revolution, Merchant has revealed that the modern Western perception of nature, often identified with women, have been figuratively killing nature as well as women. Arguing in The Anthropocene and the Humanities that the anthropocene has been enacting a "second death of nature," which has been practically and technially killing nature, Merchant calls for the insight of the environmental humanities that help us to build a "sustainable livelihood" based on the "partnership" between human and nonhuman nature. This paper contemplates on what humanities can do in the era of anthropocenic planetarian crisis with the environmental humanistic alternatives in ecofeminist perspective to overcome the anthropocenic crisis aggravated by the covid-19 occurred at the point when the climate change was viscerally felt by the humans in the twenty first century.

• (The)Study of the Eastern Classic
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• no.59
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• pp.93-120
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• 2015

The purpose of this study is to explore the source of appealing which Gusadang Kim Nakhaeng's writing for ancestral rites is equipped with. Gusadang was one of the Confucianists in Yeongnam during the 18th century and was praised for his scholarly virtue of jihaenghapil and silcheongunghaeng. Although Gusadang's writing for ancestral rites and his teacher Milam Lee Jaeui's letters were even specially named as 'gujemilchal', there has been almost no research on Gusadang's writing for ancestral rites yet. Therefore, this study selects three pieces of Gusadang's writing for ancestral rites which are especially rich in emotional expression for discussion. Chapter 2 titled as 'the Reconstruction of Memory in a Microscopic Perspective' presents the reason why Gusadang's writing for ancestral rites is recognized even as a piece of work equipped with appealing. Writing for ancestral rites begins from the point that there exists memory that can be shared by both the living and the dead. In reconstructing the anecdote with the dead on the stage of ritual writing in detail, the writer's memory plays an important role. Chapter 3 titled as 'the Rhetorical Reconstruction of Elevated Sensitivity' examines rhetorical devices needed for writing for ancestral rites. Proper rhetoric is needed to upgrade the dignity of the ritual writing and arouse sympathy from the readers. Although writing for ancestral rites is supposed to express sadness in terms of its formal characteristics, it should not end up being a mere outlet of emotion. Chapter 4 looks into 'the Descriptive Reconstruction of Lamenting Sentiment'. There should be a clear focus of description to make the gesture of the living towards the being not existing in the world any longer an appealing story. While maintaining a distinct way of description, Gusadang organizes the noble character of the dead, pitiable death, the precious bond in the past, and the longing of those left for the dead systematically. Writing for ancestral rites is a field to mourn over the death and reproduce the sadness of the living through writing. To make the text written in that way get to work as ritual writing properly, it should be appealing necessarily. This study has found the fact that such appealing that gives life to ritual writing is grounded on authenticity.