• The Korean Publising Journal, Monthly
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• s.351
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• pp.52-53
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• 2005

• Cross-Cultural Studies
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• v.34
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• pp.115-146
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• 2014

Cyclical stories on Caucasus and Sebastopol Sketches, including War and Peace, have generally been said as masterpieces dealing with the theme of war in Leo Tolstoy's literature. Among them, it is no doubt that War and Peace is absolutely the best one describing the grand panorama of people's lives and war itself. The plot of this novel consists of the so-called Napoleonic War of 1812 and of diverse lives both from the upper class and lower class, more essentially it dramatically presents how these pictures made all literary participants experienced their destiny and lives. Throughout these texts, war, including of its cause and effects and participants, re-considers and re-evaluates all of each features. The most important themes in War and Peace is war itself as the novel's title says. Rather than a just backdrop to the novel, the war plays a significant role in providing the reader with various realistic, philosophic, moral and existentialist perspectives. Moreover, War and Peace for the writer shows contradictory two views about war; he severally criticizes the Napoleonic war of 1812 in the sense that it violets people's reason and nature. At the same time, however, Tolstoy considers that the war as liberation is justified and necessary for guarding people's nation, otechestvo in Russian. What the writer attempts to show from this novel, however, goes beyond the simple descriptions which were done above. Leo Tolstoy successfully offers and what he tries to show in the long run is that how people go through all kinds of sufferings and hardship and their spiritual resurrection, thereby leading to the vital force making history. For the writer, the essential force that makes history and people's lives is not heroic military leader like Napoleon, but those common people. And the novel serves a wonderful prelude expecting the Decembrist revolt in 1825, because all of the vital and active streams that Tolstoy emphasizes turn out true in Russian history.

• Cross-Cultural Studies
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• v.21
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• pp.7-29
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• 2010

Young Tolstoy, when he was an already well-known writer, accomplished his first overseas travel in 1857, which gave him imaginable opportunities to compare his country's social strata with others such as serfdom, monarchical Russia and industrial and capital Europe. The present story is, indeed, the work which is influenced by those experiences by young Tolstoy during his first journey into Europe. Written in the form of booklet-like-small-piece, rather than an artistic work, the text presents the writer's severe criticism on the world of nature and civilization. Close to the nature itself, narod are those common people for Tolstoy, and they represent love, while the nature creates a necessity to love, hope and bottomless happiness of life. On the contrary, the civilized or civilization itself is considered artificial, willy, reasonal, and erotic congruity among people. For the writer, the most unsafe and ugly, seamy side of the westernized society is a lack of necessity to unify people to people. Though in its early embryonic stage, young Tolstoy's worldview is reflected in this work, especially his sharp tongue on the western people and their society is also detected when the write imposes his message under the mask of a gypsy singer. In addition, the narrator who seems an obvious Tolstoy's mouthpiece delivers his own ideas and impression on the western world, history, art, and literature. For this very reason, the present work contains numerous signs from which the reader is able to interpret, understand, and figure out what young Tolstoy imposes for his work.

• Russian Language and Literature
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• no.60
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• pp.135-160
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• 2018

This paper is focused on the sympathy in Dostoevsky's and Tolstoy's poetics. For Dostoevsky, sympathy is based on the social dimension, which is connected with his experience. Though the writer may have thought of the many prisoners he met in Siberian as his own and others, he saw in them the 'Marey' that he had met in his childhood, and the spirituality that lies within Marey is no different from his faith. In other words, Dostoevsky discovered that they also have faith in common and that it is the main code of understanding them and a link that can be one with them. It differs from the intellectuals of the time in which the writer lived, in order to approach the people, in the sense of reason, logic, or any justification. For Tolstoy, on the other hand, sympathy can be considered in terms of morality and practice. Tolstoy's sympathy extends from the individual to the social level, whereas Dostoevsky's sympathy moves from the social dimension to the individual dimension. Through his personal experience and enlightenment, he emphasizes sympathy in the process of practicing what he realizes in society. In other words, after sympathy, he tried to practice his sympathy and realization. It was not for the Russian people or the Slavs, but for the whole human race. In this sense, Tolstoy tried to overcome the partiality of empathy and tried to obtain universality of sympathy. In particular, Tolstoy emphasizes that patriotism is an example of bias in empathy and should be guarded.

• Russian Language and Literature
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• no.65
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• pp.109-128
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• 2019

The purpose of this paper is to compare the empathy of Dostoevsky 's novel 『Idiot』 and Tolstoy' s novel 『Resurrection』. The empathy can be seen not only in the emotional dimension, but also in the cognitive and the will dimension. Myshkin was emotional, lacking reflection and moral standards. He sympathized with almost all characters, but his empathy could not stop heroine's death. On the other hand, the empathy of Nekhliudov and Katiusha is not limited to the relationship of two people and it is gradually expanded by sympathy with others. His empathy develops with compassion and love for others through reflection on oneself. Thus, while the empathy of Myshkin is a passive level of empathy, Nekhliudov's empathy is an active level of empathy

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.167-180
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• 2019

The purpose of this study is to find out the results of synesthesia speech training using similar language for shaping audiobook text. The audiobook text for training uses Tolstoy's work, and uses similar language of tone, tone, pose, speed, intonation, accent, and expression of emotions. The participants who ten visually impaired trainee in H library were selected for qualitative research. Based on the research questions raised in this study, the results are as follows. First, synesthesia training, in which more than two senses of the five senses work simultaneously in voice training for audio book text shaping, produced the result by visualizing the original purpose, meaning, and background of the text. Second, the use of similar language was helpful in the whole process of expressing the meaning of sentence and dialogue for audiobook text shaping. In addition, although there were some differences among the study subjects, they found commonalities that considered tone, pose, and intonation important. Third, the visually impaired have advanced sensory aspects and memory, which resulted in rapid acquisition of metabolism and acceptance of transmission during training. In addition, the teacher's friendly behavior was a very important key mediator in the training process.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.