• Title/Summary/Keyword: 탈주

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Study on the Relationship between the Cultural Position of the Subject of Creation and Filmic Narrative - Focusing on A Quiet Dream by Zhang Lu - (창작 주체의 문화적 위치와 영화 서사와의 관계에 대한 일고찰 - 장뤼(張律)의 <춘몽>을 중심으로 -)

  • Jin, Sung-Hee
    • Cross-Cultural Studies
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    • v.50
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    • pp.173-196
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    • 2018
  • This study, which works to develop a method of focusing on A Quiet Dream by Zhang Lu, explored the structural differences of films and the changes in Zhang Lu's aim and perspective as noted in films, by a review to grasp his internal changes in texts and contextual factors. In A Quiet Dream, Zhang Lu made a filmic attempt that had never been made in the world of films prior to that date. He tried an aesthetic experiment on how films could reorganize the world, by using the effect of obscuring the boundary between reality and dream in films and generating a new narrative regarding filmic reality, actual reality, and the life and artistic truth of the Diaspora. Generally speaking, the changes in the narrative in A Quiet Dream seem to be his resistance against himself and the Diaspora. Thus, in the discussion about A Quiet Dream, relying on the external factors intervening in the relationship between the subject of creation and films is not a useful endeavor at this time. Consequently, it is noted that after settling down in Korea, Zhang Lu could directly approach the changes in the cultural position of films in multilayered ways, where films were the most dynamic part of his life. Due to the changes in the Diaspora, he could obscure the boundary for the first time in the world of films and experiment with how films could escape develop an interesting perspective that deviated from reality, and made a new goal to show new ideas regarding the individual's awareness of the world.

Park, Se-dang's understanding of Zhuxi (박세당의 주희 이해)

  • Huh, Jong-eun
    • The Journal of Korean Philosophical History
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    • no.43
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    • pp.55-80
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    • 2014
  • Park, Se-dang criticized or accepted Zhuxi's annotation with his own way of understanding Confucian classics. His way of understanding Zhuxi can explain through the motive of writing his book, sabyeonrok and his basic view of scripture interpretation in the book. He thought one can achieve learning from lower to upper level. That means it is good for one to study from text easy to reach and attain, grasp. But if one begin to study from text or contents hard to understand, that will make to lose the proper way or province to the value of learning. This is what Park, Se-dang's basic point of interpreting Confucian classics, called 'learning from lower to upper level.' Park, Se-dang gave high praise Cheng Hao and Cheng Yi and Zhuxi who recreated confucianism into world from darkness. He thought Cheng-Zhu school corrected confucian's ways of learning went wrong from Chinese Han. So we need to reconsider the assessment of his view as anti?post-Zhuxi. He also thought there were a lot of way to understand Confucian classics. He insisted Zhuxi's way of annotating Confucian classics was one of them, and so as his. He understood Zhuxi's thought in this way of thinking and his academic method of 'learning from lower to upper level.' Therefore to interpretate Confucian classics new way he criticised or accepted Zhuxi's way of annotating scripture though his own way of understanding Confucian classics and academic method of 'learning from lower to upper level.'

Oral Literature as a Symbolic System -A Discourse on Northeast Asian Oral Literature in Comparative Studies of Eastern and Western Symbolism (상징체계로서의 설화 -동서양 비교연구를 통해 본 동북아시아 설화의 상징성)

  • Lee, Yun-Jong
    • Journal of Popular Narrative
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    • v.25 no.3
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    • pp.267-302
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    • 2019
  • Oral literature can largely be categorized into myth, legend, and folktales, which are stories orally transmitted from the prehistoric times. The purpose of this study is to compare the discourse on the oral literature of the East and the West from a cultural studies viewpoint by focusing on its "symbolic systems," particularly "figures of speech," or "tropic traits", in order to utilize this oral literature as a resource in the study of Northeast Asian culture. Undergoing modernization, the symbolic meaning of oral literature has been demythologized both in the West and in Northeast Asia. Of course, oral literature, verbally transmitted over a long period of time, has naturally been changed over time and even "contaminated" in a sense by losing its original archaic archetype while it was textualized with letters during the early period of the modernization process. Nevertheless, the principle of "resemblance" and "similarity" between nature/universe and human/humanity, which has been stripped away in modernity, can still be found in oral literature with its mythic power. For this reason, the study of oral literature in the West has attempted to restore the lost magical power within it, particularly in myth. As such, this study delves into the symbolism of the mythic thought of Northeast Asian countries, namely Korea, China, and Japan, which has been lost in the course of their compressed modernization, in relation to the tropic figures of their oral literatures.

South Korean Society and Disciplined Travel Fantasy in the 1960s -Focusing on Kim Chan-Sam's 『世界一周無錢旅行記』(1962) (규율된 여행 판타지의 60년대적 구성 -김찬삼의 『세계일주무전여행기(世界一周無錢旅行記)』(1962)를 중심으로)

  • Lim, Tae-Hun
    • Journal of Popular Narrative
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    • v.25 no.4
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    • pp.289-319
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    • 2019
  • Kim Chan-sam's 『世界一周無錢旅行記』 was released in 1962. This was a time when the general public was strongly restricted from traveling abroad. Most of the people lived in 'domestic'. Low development and political upheaval continued. The readership wanted a fantasy, which came out of a desire to escape from the peninsula. So was to become more popular around the popular characters called 'Kim Chan-sam'. Kim Chan-sam had to be a pushover to the public. This figure had to be secular and de-politicized. Above all, ideological bias had to be removed. The book's imaginary geography is the "world as a non-communist state" with a high purity. The Cold War ideology was prevalent throughout South Korean society. Kim Chan-sam knew exactly what he could and could not tell the South Korean reader. He couldn't tell you the reality of my readers not being able to travel abroad. Not to mention a society locked up 'domestic' on the Korean reality. The study analyzes Kim Chan-sam's storytelling strategy. Looking at the meaning of the travel fantasy,agenre of the 1960s, I would like to ask why travel writing in our time is still bound by its past limitations.

The Techno-mediated Rebirth of Young Precariat's Working Conditions Today (동시대 청년 알바노동의 테크노미디어적 재구성)

  • Lee, Kwang-Suk
    • Korean journal of communication and information
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    • v.83
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    • pp.157-185
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    • 2017
  • The present study examines the dialectic tensions arising within the ICT-mediated labor culture between the dominant power of conglomerates and the precarious labor subjects in the labor practices, as smartphones and tablet PCs have grown in popularity. The present study explores how much young precarious workers named 'Cheongyeon Alba' (young precariat in S Korea) suffers from continually precarious job positions as temporary staff or contract workers, being trapped at the bottom of the pay scale, and also being electronically connected to the workplace in a seamless way. Concretely, this study investigates how the mobile phone becomes deeply entangled with the 'precarious' labor culture in the metropolitan city of Seoul. The mobile precariat has been in a disadvantaged position, in terms not only of the moral issue of exploitation in business but also of social injustice. Labor exploitation of young workers has been reinforced by the mobile labor culture, in which they are remotely monitored by live surveillance mobile apps, and mobile instant messaging from a boss can intrude incessantly into their private life. This study depicts the extension of the business's surveillant power by mobilizing the mobile phone in the working practices.

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A Study on the Second Frame in Film <The Power of The Dog> -Focusing on Iconology by Panofsky (영화 <파워 오브 도그>의 이차 프레임 연구 - 파노프스키 도상해석학을 중심으로)

  • Jia Xinyue
    • Smart Media Journal
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    • v.12 no.1
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    • pp.102-111
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    • 2023
  • As one of the image symbols, the second frame has rich symbolic metaphor. In previous studies, second frames are mostly presented in physical forms such as doors, windows, but in <The Power of the Dog>, there are various forms of second frames, providing more types for the study of second frames. Panofsky's Iconology has put forward a rigorous research method on how to interpret the meaning of image symbols in the picture. This study aims to use Panofsky's Iconology to analyze the second frame in <the Power of the dog>. The purpose is to expand the methodology of film image research and break through the problem that the Iconology analysis of film image stays in narrative analysis (iconographical analysis). It can be seen from the results of this study that the second frame has different visual presentation according to the requirements of narrative. In the narrative of the film, it symbolizes the depressed tone of the film and the stressful relationship between different characters. What director Campion wants to show through the second frame is that in the film industry where the problem of women is getting better, the motif of feminist film creation has changed from the expression of female appeals in binary opposition to the expression of the appeals of diverse groups in "decentralization."

A Study on the Reinforcement Effect of Low Flow Mortal Injection Method Using Field Test (현장시험을 이용한 저유동성 몰탈주입공법의 보강효과에 관한 연구)

  • Junyeong Jang;Gwangnam Lee;Daehyeon Kim
    • The Journal of Engineering Geology
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    • v.33 no.4
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    • pp.599-609
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    • 2023
  • In the seismic retrofitting of harbor breakwaters in Korea, the recovery rate is often uncertain due to site conditions and site conditions, and problems continue to arise. Therefore, in this study, we analyzed the recovery rate and compressive strength of the improved material through drilling survey by grouting confirmation method after applying low-fluidity mortar injection method, and furthermore, we checked the elastic modulus by downhole test and tomography to confirm the reinforcement effect of soft ground after ground improvement. The experimental results showed that the average shear wave velocity of the ground increased from 229 m/s to 288 m/s in BH-1 and BH-3 boreholes to a depth of 28.0 m, and the average shear wave velocity of the ground to a depth of 30.0 m tended to increase from 224 m/s to 282 m/s in the downhole test. This is believed to be a result of the increased stiffness of the ground after reinforcement. The results of the tomographic survey showed that the Vs of the soft ground of the sample at Site 1 increased from 113 m/s to 214 m/s, and the Vs of the sample at Site 2 increased from 120 m/s to 224 m/s. This shows that the stiffness of the ground after seismic reinforcement is reinforced with hard soil, as the Vs value satisfies 180 m/s to 360 m/s in the classification of rock quality according to shear wave velocity.

Escape from Binary Opposition -Analysis of Performative Method in - (이항대립(二項對立)으로부터의 탈주 -<오목어>에서의 매체 수행 방식 분석-)

  • Suh, Yong-Chu
    • Cartoon and Animation Studies
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    • s.41
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    • pp.511-531
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    • 2015
  • The underlying impetus of the birth of animated film is attraction about a moving image. And the animation image occurs from the process of performative relationship between an animator and apparatus. Therefore, analysing the method how the moving image is constructed will be the focal starting point to deal with an animated film as a text. In this context, that conveys the theme in more sensuous way will be examined in a dimension of the material, technique and image-making method. KIM Jin-man's is a Stop Motion Animated Film with Noodlescreen about a journey of a fish that wishes to go outside of the water. KIM created original and friendly images out of plain thin noodle which is a common ingredient in Korea, and dealt with the ontological introspection based of the concept of Nondualism. Nondualism based on the interconnected and cyclical eastern philosophy which is different from the western dualistic theory points to the idea that the universe and all its multiplicity are ultimately expressions or appearances of one essential reality. This paper focuses on KIM's recent work and sees how Nondualism is applied throughout the animated film by analysing the performative method of mediums, technique, and structure. First of all, the form of Noodlescreen will be reviewed in Chapter Two. Pinscreen Animation which was invented by Alexander Alexeieff and Claire Parker will be also compared with Noodlescreen in the aesthetic viewpoint here. In Chapter Three, it will be analysed how the description of the image of binary opposition itself provides expanded sense and rich metaphor. Lastly, the format of Mise-en-abyme going constantly towards outer space will be dealt how it exposes the cinematic illusion and spatiality in Chapter Four. Throughout the whole chapters, it will reviewed how the concept of Nondualism relates the images of and deactivate the boundary of binary opposition in terms of both the story development and the visualization method. By this methodology, it will be confirmed that image of animated film not only explains the narrative but also activates the perception about the theme and provides integrated sensory experiences in the independent and expanded dimension.

Nomad Thinking Implied in Duchamp's Readymades (뒤샹의 레디메이드에 함의된 노마드적 사유)

  • Song, Hayoung
    • The Journal of the Convergence on Culture Technology
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    • v.7 no.3
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    • pp.215-222
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    • 2021
  • Duchamp chose readymades mainly for his denial of retinal painting and his desire and fluid thinking for changes inside him. His thinking is well presented in his readymade works. One of his early readymades, Bicycle Wheel, expresses correlations between beings and capital. Its essence is capital and the desire of beings. It is connected to Desire or Desire-Machine proposed as a social reform and creation model by Gilles Deleuze and Félix Guattari. Bicycle Wheel does not simply end in desire relations between capital and beings, though. When the desire of beings is converted into positive desire, it can keep inventing and creating something that is repetitive, fluid, and new. Duchamp tried to convey this positive desire through his readymade Fountain. Duchamp created a ready-made article toilet into a work of art in Fountain, being driven by desire flowing inside him. This is connected to the attributes of nomads that refused to settle down and continue to flow in search of new landscapes. This way of his thinking is clearly reflected in his Box in a Valise. He was motivated to create this work by his fluid thinking. In this work, various situations can unfold often according to the directions of two elements, place and arrangement. Here, place guarantees fluidity, and arrangement variability or desire. According to Gilles Deleuze and Félix Guattari, fluidity represents nomads with the characteristics of flow and variation, and desire represents productivity or production or creation. Box in a Valise represents nomads themselves. The nomads defined by Gilles Deleuze and Félix Guattari keep flowing and create a new world. They are in line with the thinking of Duchamp that refused to settle down at one place and escape from the old order to create a new artistic world. This type of nomads can be called revolutionists or creators that acknowledge differences and create. Nomads also contain the concept of resistance to the old order. Deleuze and Guattari proposed a war machine as a model of this resistance. Duchamp and his readymades can thus be called war machines.

The Conceptual Intersection between the Old and the New and the Transformation of the Traditional Knowledge System (신구(新舊) 관념의 교차와 전통 지식 체계의 변용)

  • Lee, Haenghoon
    • The Journal of Korean Philosophical History
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    • no.32
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    • pp.215-249
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    • 2011
  • This essay reflects on the modernity of Korea by examining the transformation of the traditional knowledge system from a historico-semantic perspective with its focus on the opposition and collision of the old and the new conception occurred in the early period(1890~1910) of the acceptance of the Western modern civilization. With scientific success, trick of reason, Christianity and evolutionary view of history, the Western modernity regarded itself as a peak of civilization and forced the non-Western societies into the world system in which they came to be considered as 'barbarism(野蠻)' or 'half-enlightened(半開).' The East Asian civilization, which had its own history for several centuries, became degraded as kind of delusion and old-fashioned customs from which it ought to free itself. The Western civilization presented itself as exemplary future which East Asian people should achieve, while East Asian past traditions came to be conceived as just unnecessary vestiges which it was better to wipe out. It can be said that East Asian modernization was established through the propagation and acceptance of the modern products of the Western civilization rather than through the preservation of its past experience and pursuit of the new at the same time. Accordingly, it is difficult to apply directly to East Asian societies Koselleck's hypothesis; while mapping out his Basic Concept of History, he assumed that, in the so-called 'age of saddle,' semantic struggle over concepts becomes active between the past experience and the horizon of expectation on the future, and concepts undergoes 'temporalization', 'democratization', 'ideologization', 'politicization.'The struggle over the old and new conceptions in Korea was most noticeable in the opposition of the Neo-Confucian scholars of Hwangseongsinmun and the theorists of civilization of Doknipsinmun. The opposition and struggle demanded the change of understanding in every field, but there was difference of opinion over the conception of the past traditional knowledge system. For the theorists of civilization, 'the old(舊)' was not just 'past' and 'old-fashioned' things, but rather an obstacle to the building of new civilization. On the other hand, it contained the possibility of regeneration(新) for the Neo-Confucian scholars; that is, they suggested finding a guide into tomorrow by taking lessons from the past. The traditional knowledge system lost their holy status of learning(聖學) in the process of its change into a 'new learning(新學),' and religion and religious tradition also weakened. The traditional knowledge system could change itself into modern learning by accepting scientific methodology which pursues objectivity and rationality. This transformation of the traditional knowledge system and 'the formation of the new learning from the old learning' was accompanied by the intersection between the old and new conceptions. It is necessary to pay attention to the role played by the concept of Sil(hak)(實學) or Practical Learning in the intersection of the old and new conceptions. Various modern media published before and after the 20th century show clearly the multi-layered development of the old and new conceptions, and it is noticeable that 'Sil(hak)' as conceptual frame of reference contributed to the transformation of the traditional knowledge system into the new learning. Although Silhak often designated, or was even considered equivalent to, the Western learning, Neo-Confucian scholars reinterpreted the concept of 'Silhak' which the theorists of civilization had monopolized until then, and opened the way to change the traditional knowledge system into the new learning. They re-appropriated the concept of Silhak, and enabled it to be invested with values, which were losing their own status due to the overwhelming scientific technology. With Japanese occupation of Korea by force, the attempt to transform the traditional knowledge system independently was obliged to reach its own limit, but its theory of 'making new learning from old one' can be considered to get over both the contradiction of Dondoseogi(東道西器: principle of preserving Eastern philosophy while accepting Western technology) and the de-subjectivity of the theory of civilization. While developing its own logic, the theory of Dongdoseogi was compelled to bring in the contradiction of considering the indivisible(道and 器) as divisible, though it tried to cope with the reality where the principle of morality and that of competition were opposed each other and the ideologies of 'evolution' and 'progress' prevailed. On the other hand, the theory of civilization was not free from the criticism that it brought about a crack in subjectivity due to its internalization of the West, cutting itself off from the traditional knowledge system.