• The Southeast Asian review
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• v.28 no.3
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• pp.75-110
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• 2018

This study is to figure out the Filipino cultural identity by analyzing the image of the Philippine comfort woman statue, which was created as a representation of memories of the Filipino comfort women during the World War II. As a new approach to the field of area study, this study introduced the concept of 'intertextuality', which is a method of understanding texts in the field of literature. Since the comfort woman statue represents the grieved memories of the comfort women during the international war time, the analysis of the image was focused on 'femininity' and 'nationalism'. As for comparison, the Korean comfort woman statue, the Statue of Peace, was taken into the analysis. Upon analyzing, it can be seen that Filipino perception of femininity emphasizes 'beauty' rather than 'purity' that expressed in the Statue of Peace. And the Philippine nationalism expressed through the comfort woman statue can find 'elitist and inclusive' characteristics, unlike the 'popular and resisting' characteristics of Korean.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.13-51
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• 2021

The aim of this essay is to illustrate Sunjung Manhwa in the 1970s which has been alienated in comics studies. This essay analyses the articles and the serial comics in Schoolgirl, the magazine in the 1970s, and examines the ideal representations of the girls at that time. Sunjung Manhwa is really different between the 1960s and 1970s. It cannot be explained on this gap just by analyzing Sunjung Manhwa in book form alone. Even though the censorship on comics was the element that has hampered the development of comics as a whole, the slumps of Sunjung Manhwa in the 1970s were very excessive compared to other comics genres. This article can gain the answers to the reason of the changes of Sunjung Manhwa by studying the magazines which was the main mass media aimed at girls with Sunjung Manhwa. While the articles in magazines show the editing direction and its characteristics, they reflect the values and ideologies at that time. The same is true for the comics in the magazines. Especially, the comics in the magazines was relatively free from the censorship. This essay examined how the articles and the comics in the girls' magazine in the 1970s represented the images of girls at the time by focusing on feature articles and comics in the magazine, Schoolgirl. This article explored Um, Hee-Ja's Blue Zone and Bang, Young-Jin's Mini March among a full-length serial comics in the magazine, Schoolgirl. Both Blue Zone and Mini March reveal the images of an ideal girl that has been emphasized by the articles in Schoolgirl. Blue Zone draws the appearances of an earnest and obedient daughter, and Mini March represents the figures of a cheerful and bright girl. Through this study, it can be recognized that the magazines in the 1970s highly appraised girls who are obedient to a given society and serve to a harmonious family as ideal ones, and it might be guessed that the ideal images of girls that was characterized ceaselessly by the magazines were the standard of the censorship on comics and its creativity and had also a huge impact on the contents and the expressions of a great deal of works. The 1970s was the times when its importance has been lost in the history of the comics studies by the censorship on the comics and the monopoly of "Hapdong(합동) publisher." The limits of expression in terms of censorship were awfully distinct, so its result was few of good works in quality, and there are still many blanks in the study on 1970s' comics. This study has a meaning which fills up a blank in the comics studies.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.201-238
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• 2018

As a way of enhancing the intercultural ability needed for diverse cultural eras, this study focuses on the "narration" of the Italian education scholar Maddalena De Carlo in order to determine the "diverse values" created by the "symbolic representation" based on the folktales narrated by immigrants living in Korea. Through this, it specifically presents educational elements and contents that can raise relative sensitivity. The authors of this paper have connected, empathized, and communicated with people of various cultures in order to go beyond Carlo's discussion. The paper discusses the expansion of cultural sensitivity as an element of education through narrative topics using the folktales of immigrant narrators in Korea. It also recognizes the limitations of a desire for a homogeneous union within an intercultural society and thus formulates educational contents for creating a relationship with heterogeneous ideas through the elimination of communication barriers through heterogeneity and a consideration of the surface and the back. This is systemized in six steps. Step 1: Listening to oral folktales of immigrants, Step 2: Finding heterogeneous motifs imprinted in the immigrants' memories, Step 3: Understanding the meaning of the opposing qualities symbolized by heterogeneous motifs, Step 4: Creating narrative topics containing the key motifs, Step 5: Generating the value of symbolic representation as a narrative topic, and Step 6: Expanding the value of life into a cultural symbol. In Chapter 3, this study focuses on educational contents using immigrants' folktales by applying these six steps. The class contents include the recognition of the limitations of desire for a homogeneous union within an intercultural society and the consideration of how to create a relationship with heterogeneous ideas through the elimination of communication barriers through heterogeneity and consideration of the surface and the back. This paper then compares the Indonesian folktale, The Inverted Ship Mountain and the Mom's Mountain, with the world-famous Oedipus myth, to determine what the symbolic representation of these heterogeneous motifs is. In Step 6, when the symbolic system is culturally extended, the incestuous desire that appears in the "inverted ship" is interpreted as a fixation that was created when the character sought to unite with homogenous idea. The Cambodian folktale, The Girl and the Tiger, is a story that is reminiscent of the Korean folktale, The Old Man with a Lump. Through the motif in "Tiger," this paper generates a narrative topic that will enhance the students' intercultural abilities by culturally expanding their skills in how to relate with a heterogeneous being that is usually represented as an animal. The Vietnamese folktale, The Coconut Bowl, similar to the Korean folktale, GureongDeongDeong SinSeonBi, is a story that draws a variety of considerations about the surface and theback, and it shows readers how to build a relationship with a heterogeneous idea and how to develop and grow with such a relationship. Thus, if a narrative topic is generated and readers are able to empathize using an opposing feature formed by the core motif of the folktale, it becomes possible, through immigrant folklore, to construct a possibility of a new life through the formation of a relationship with an unfamiliar and heterogeneous culture.

• Cartoon and Animation Studies
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• s.32
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• pp.245-261
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• 2013

This paper analyzes films by director Tarsem Singh in relation to the theory of the sublime. The medium of film works in dimensions of both spectacle and narrative. Tarsem's strength mainly comes from spectacle. The visual style of Tarsem is unique and undeniably beautiful, but in a strange and magnificent way, rather than sweet and pleasant. If you accept the premises of Kant and Lyotard that the beautiful is a positive pleasure and the sublime is a negative pain, Tarsem's spectacle is certainly closer to the sublime than the beautiful. The Fall proves the director's ability in both spectacle and narrative. The spectacle of this film is so overwhelmingly huge, and vivid, it easily surpasses spectators' maximum capacity of imagination, which leaves the spectators in awe. Spectacle tends to hinder thinking thus obstruct the flow of narrative, but at the same time it blocks rational suspicion about the narrative. The spectacle of the Fall works as the power to immerse the spectators into the internal logic of the film. Since the spectators are deeply moved by the spectacle, they willingly follow the narrative of the film, the tragic adventure of the heroes which again gives the audience deep catharsis.