• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.439-440
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• 2016

본 연구는 김성한의 단편소설에 나타난 작가의식을 크게 세 가지 관점에서 고찰한 것이다. 논의 내용을 요약하면 다음과 같다. 첫째, 당대의 현실을 반영한 비속한 인물에는 냉소주의가 나타난다. 둘째, 피해자형 인물들에서는 작가의 의식을 반영한 허무주의가 그려진다. 셋째, 반항자형 인물에는 행동주의가 나타난다. 이러한 일련의 과정에서 알 수 있듯이 김성한은 부조리한 현실을 작가의식의 프리즘을 통해 다양하게 그려냈음을 알 수 있다.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.93-94
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• 2016

본 연구는 선우휘의 <불꽃>을 중심으로 그의 작가의식을 연구한 것이다. 논의 결과를 요약하면 다음과 같다. 첫째, 선우휘의 소설에는 현실도피와 역사의식의 부재가 있다. 둘째, 그는 반공주의에 깊게 영향을 받았다. 셋째, 역사적 각성이 제거된 행동만을 보여준다. 넷째, 냉전 이데올로기에 따른 국가주의에 순응한다. 이런 점에서 그는 반공 이데올로그로 볼 수 있다.

• The Journal of the Korea Contents Association
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• v.18 no.6
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• pp.545-553
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• 2018

This study analyzes the animal symbolism shown in the novella by Hyoseok Lee and seeks to shed light on the consciousness of the author expressed through such symbolism. Lee used animal symbolism since 1933 which was a literary turning point for him. Animal symbolism in his novels are more than an analogical theme but is used as a core meaning and image. This has a clear intention of the author underneath. Novella which is seen as the starting point of pure literature for Lee, uses the animal pig as a key symbol. The pig serves as a symbol of the capital for poor farmers, while also serving as an amplifier for the desires of the protagonist. The death of the pig that appears at the closing of the novella stands for the tragic reality of the farmers of the time who could not seek growth in their capital or realization of their desires. As such, has characteristics of pure literature but also represents the consciousness of the author who brings attention to the tragic reality of farmers. That is, is a work that realized the unique writing style of Lee and his animal symbolism to bring to life a middle way appraoch to realism and romanticism.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.126-135
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• 2012

This study is the subsequent full-scale research of a TV drama writer who has been out of scholarly pursuits as it explores Su-Hyeon Kim's underlying consciousness with focusing on her heroines, the and . The author Su-Hyeon Kim clearly distinguishes a TV melodrama from a TV home-drama by her own self-control, which is a rare case in TV drama genres, therefore, her consciousness lights up at her melodrama. This study applies Lacanian theory to the author's melodramas for examining the author's under-lying thought. For Lacan the subject is an 'alienated', 'privative', 'fractured' 'being' as an imperfect language, the symbolic order, forms the subject through its signification. The subject desires the other's desire, and wants to become an object for the other's desire. The desire constantly demands an integral world, a perfect love, the wholly harmonious imaginary order. And it lasts up as it refuses the symbolic order's imperfection while it works its unconscious fantasy. Lacan states that only the 'traversing the fantasy', 'separation' would give birth to the real, liberated subject. Despite a 20-years of rift within two works, the and have an identical conflict core, that is a subject's constitutive, fundamental privation and desire of a human being. Su-Hyeon Kim's underlying consciousness complies with her continued theses of an inquiry into the subject's real liberation and freedom when desire of the rings produces the subject's alienation, privation, and the pursuit of a impossible perfect love.

• Journal of Digital Convergence
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• v.11 no.12
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• pp.777-784
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• 2013

A novel is a conversation between self and the real world. They are not only sensitive act to the real world, but also a pattern of the real through the converse between self and the real world without making the real his own. This analysis on the works of Son and his essence shows that he tried to express his self-denial aesthetics and human-denial aesthetics as well as self-closing aesthetics.

• Sijohaknonchong
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• v.19 no.1
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• pp.207-234
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• 2003

The purpose of this research paper is to study the characteristics of Huang Yunseok's sijo and it's implications for his poetic intentions. Huang Yunseok's sijo is didactic in its presentation of facts and ethical lessons. The two main facts it presents are royal favors and his clan's pride. Royal favors concern. for example, encouragement of the king, the king's birthday and deathday, and securing a government position by the king's order. His clan's pride concerns, for example, the geographically wonderful place of Huang Yunseok's ancestor's tomb, his ancestor's great conduct, his clan's beautiful tradition, his birth place, and his birth dream. The main content of the ethical lessons concerns cultivation of the human mind and practicing Confucian ethics. Examples of the former describe the purpose of Confucian study, the ethical doctrine that human being's inborn nature is good, the character of the human mind, and the method of cultivating the human mind. Examples of the latter describe the moral rules to govern the Five Human Relations, separation between husband and wife, and discrimination between males and females. The poetic intention of Huang Yunseok's sip consists of political and economic self-promotion and theoretical devotion to Confucian ideology. Proud of his educated, high Confucian clan, he tries to get self-promotion politically and economically by vowing loyalty to the king. He implies devotion to the Confucian ideology through his description of the practice of the Confucian moral rules, the clinging to traditional Neo-Confucianism, and his insistence on the Neo-Confucian theory that all human beings and animals are the same in their original nature. In conclusion, the didactic character of Huang Yunseok's sip stems from his intention to promote himself politically and economically and his theoretical devotion to Confucian ideology. The way of indicative expression originates from the didactic character of Huang Yunseok's sijo.

• Cartoon and Animation Studies
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• s.50
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• pp.1-22
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• 2018

This study investigated realism sceneries shown in animation movies of auteurism. Although animation has properties of mechanical images arranged by short cuts, it essentially starts with the images dealing with space art based on the consciousness of an author. In this aspect, sceneries of animation movies can be the most proper subject for study from the viewpoint of image. Generally, sceneries of animation movies maintain the neutral position as a stage setting for story. However, as for auteurism animation, the sceneries have subjective meaning as major media to express the work or the vision and value of the author on the world. The representative animation movies that reflect the role and meaning of realism sceneries among auteurism animations are and . The former shows Korean sceneries and the latter presents local sceneries of Japan quite well. Reviewing the characteristics of sceneries shown in two movies, the sceneries of are the discovery of internal consciousness of the author that signifies pure innocence of childhood into the voice of nature through the style of the author. Meanwhile, sceneries of adopted nature landscape surrealistically based on the internal consciousness of the author and described the forest as the absolute utopia of the author. As such, the sceneries shown in two movies were utilized as the "framework of thought" of the authors that intensify the viewpoint of the movies on the world through empirical interpretation and detailed description of neutral landscape based on internal consciousness of the authors.

• Cross-Cultural Studies
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• v.41
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• pp.321-349
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• 2015

This paper is to make a comparative study between George Sand and Na Hye-sok through their lives and works. The research found that George Sand and Na Hye-sok had similar views about the institution and social system of their age. Both women were aware of importance and necessity of education and the arts but showed a clear distinction between their beliefs in education and the arts. George Sand found that education was an indispensable part of women's lives but found that educationforwomentotheageofSandwasuseless. For this reason she continued to assert a substantial reform concerning women's education. In addition, she argued that everyone should have been given the same opportunities regardless of gender or class. Na Hye-sok, meanwhile, looked at women's education in a more realistic perspective, that is to say to make money. The two women showed remarkable differences in the view of art. This is evident from the presence of a responsibility and a sense of purpose as an artist. George Sand was imbued with a sense of purpose and clarified her own belief at the beginning of her activities as a writer. She wanted to inform the suffering of the weak through her writing and to contribute to build a Utopia where everyone could be happy to live beyond the boundaries of gender. However, Na Hye-sok did not reveal her own clear sense of purpose to her art activities. Art is not just a job - it's a vocation. Na Hye-sok was enthusiastic but didn't have a sense of purpose. She should have had a vocation and a sense of purpose. Na Hye-sok was lacking of responsibilities and obligations as a pioneer of Western painting. If there were a distinct vocation and a sense of purpose to Na Hye-sok as an artist, she would have left a trail as valuable as that of George Sand.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.463-499
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• 2008

This paper aims at investigating the characterization and author's consciousness of Okhwangibong written in about 18th century in Korea. Okhwangibong deals with the historical event in the Later Han of ancient China, that is to say the Empress Gwak's banishment and the royal harem Eum's accession to the queen consort. The author of this work created the focal characters freshly. Particularly Gwak is characterized as the vivid woman who desires the Emperor Kwangmu's love, reproaches his negative attitude toward her wants, and feels pains by reason of his affection to Eum. The author intended to justify Eum's accession to the queen consort through emphasizing Providence and her virtue. But the author's intention could not be realized fully. Because what is called Providence was lost persuasive power, and Gwak was characterized very affirmatively. Therefore it can be said that this work represents Gwak's trials and pains caused by Kwangmu. And the discord of the author's intent and the real meaning of the work occurred the dispute about affection and faithfulness between man and wife in following novels. Consequently the historical meaning of Okhwangibong in Korean Novel can be founded in successful characterization and occurring the dispute in following novels.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.27-32
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• 2018

The study chose two people, KimSamuidang(1769~1823) and GangJeongildang(1772~1832), as concrete examples representing the common female writers in the late of the Joseon Dynasty. And study the recognition on reality and consciousness of orientation in the poetic literature. KimSamuidang is commit to the revival of his family to pass the test. And exchange with husband through active study literature and practice wife law. She left the largest number of works as a female writer during the Joseon Dynasty. GangJeongildang is a Confucian scholar and poet of the late Joseon Dynasty. She also spent her whole life sewing and suffering from disease, trying to create a dying family. Teaching her husband's education, she established self-recognition, encouraged and supported learning. They had a equality sense of marriage couple as academic friends, encouraging each other to study, and by passing the test, they tried to raise their families. Also, although poor in rural life, the mind was the Independent women who pursued comfortable life.