• Journal of Korean Philosophical Society
• /
• v.117
• /
• pp.327-354
• /
• 2011

This study has a key assumption that 'characteristics of discouse can be found in not its inside, but its outside'. The prism through which we can see those characteristics was provided by Foucault and Bakhtin who were introduced in the study. As an effort co probe the outside of discourse, the study is briefed 'the three attributes of discourse' that were suggested by Foucault First, discourse has the principle of selection and exclusion, which is based on power relations. Second, discourse is not transparent at all since it is always offensive towards other discourses and defensive against selected ones Third, discourse which is naturally accepted because of its dailiness had a deep structure secretly hidden in it. Based on the above attributes, Foucault and Bakhtin paid their attention to the outside of discourse. Specifically, they considered discourse fundamentally and went beyond it, and reflected the procedures of discourse. This study focused on 'Socrates', something common in the two scholars' works with discourse. In dealing with discourse, Bakhtin started with 'Socratic dialogue' that is based on the dialogic nature of human thoughts which purse the truth. For Foucault, it was Socrates who had the 'courage to cell the truth' and practiced 'self-consideration'. According to Foucault, the ethics of self-practice originated from the philosopher. The ethics is neither the precise representation of individual life that is withdrawn towards the inner self, nor the skills of happiness. It is just relational and cross-sectional. For a better understanding, this study pointed out that Kafka created a variety of 'dialogic voices' focusing on the outside of discourse. Dialogues found in his writings are 'interminable dialogues' that truly 'communicate with different times and different spaces'. For example, his novel, 'Der Prozess' opens the possibility of discussing in various ways the court which is look beyond conventions and extraordinary. Kafka's novels have a structure that their starting point found at the introduction reappears at the termination, presenting multi-vocal dialogues.

• Journal of the Korean Society of Fashion and Beauty
• /
• v.5 no.1 s.12
• /
• pp.97-111
• /
• 2007

This study was motivated not only by the curiosity of clown as a comedian, but also by the clown's special makeup coordination. To analyze the clown makeup coordination Carnivalism, the researcher inquired 1) clown's meaning, sorts, periodic roles and stages, 2) Mikhail Bakhtin's Carnival theory, and 3) makeup coordination of clowns (Harlequin, Pierrot, Auguste and White Face Clown) as the theoretical background. The clown makeup coordination carnival characteristics were shown in masquerade, amusement and ambiguity. The masquerade was expressed on the mask for Harlequin and white makeup for Pierrot, Auguste and White Face Clown. The amusement was revealed on the fall and the inharmony of the grotesque makeup and childish costumes. And also the ambiguity was expressed on the sexless and the infant of clown's real nature and costumes.

• The Journal of the Korea Contents Association
• /
• v.12 no.7
• /
• pp.29-39
• /
• 2012

This paper focused on the difference between an adaptation of novel and movie and the common process of making spy novel into an action-packed movie. The polyphony what Mikhail Bakhtin said turned out to be the way of description for double spy, a major motif of narrative in this novel and movie. There is a new possibility of adaptation that has a dialogical narrative, character description by multiple narrators and repetition of the same place. It was suggested the possibility of polyphonic adaptation by the consideration for a narrative aspect in the process of making the novel into the movie. This study will be expected to be help for studies of an adaptation between the novel and movie.

• Journal of Korea Game Society
• /
• v.14 no.2
• /
• pp.85-96
• /
• 2014

The purpose of this paper is to analyze storytelling in on-line personal game broadcasting in order to find out unique characteristics of on-line personal game broadcasting. This study selects Youtube channel and as classic cases of on-line personal game broadcasting, and analyzes the cases with Bakhtin's theory of carnival. The on-line personal game broadcasting modifies the broadcasting format of mass media externally. Also, the on-line personal game broadcasting internally moves between interior and exterior of the game text in order to create new narrative events. In this process, the polyphonic utterances of the broadcasting host appeared. The reversal of the tragedy and the comedy leads the audience to catharsis.

• Journal of English Language & Literature
• /
• v.58 no.1
• /
• pp.69-91
• /
• 2012

Marina Carr's By the Bog of Cats.... (1998) is the last play of the trilogy of "the midlands plays" which can be regarded as her re-writing of both Euripides' Medea and J. M. Synge's The Playboy of the Western World by resetting the two plays in the midlands of contemporary Ireland. Carr intends to courageously explore into the dangerous liminal space, i.e., the middle between the past and the present, the high Greek and the Irish folk culture, dealing with the ghosts of the dead writers for her own Irish feminist theatre. Thus, in the middle Carr can build a new Irish theatre by minorating and abjecting the Greek tragedy and subverting and expanding Synge's theatre of grotesque realism. This paper attempts to read By the Bog of Cats... as Carr's final project of exploration into the midland of Ireland to establish a new Irish feminist theatre and at the same time a new Irish folk theatre. By focusing on her strategies of minoration and subversion through grotesque imagery and carnival rituals it argues that Carr put Hester's becoming-ghost in the middle, the bog of the cats as both grave and womb, waiting for the birth of a new Irish people. And it emphasizes that the ghost of Hester, merging with the ghosts of her mother and daughter by the bog of cats will haunt the official society as a threatening abjection, challenging the restoration of the social order.

• Journal of English Language & Literature
• /
• v.56 no.6
• /
• pp.1067-1090
• /
• 2010

The epistolary novel, as developed and refined by Samuel Richardson (1689-1761), is concerned with distinctly private experience and the morality of individuals-Richardson's heroine writers. In contrast to nineteenth-century novels, which explore their subjects through the overview of a narrator with a singular moral outlook, the epistolary narrative allows Richardson to examine the various different ways in which individuals/heroines interpret, mold, and respond to their experiences in writing. In this paper, I argue that the authorial voice of Richardson does not control the narrative but rather is present in the prefaces, character sketches, notes and occasional interjections between letters. Although there is little doubt as to whether Richardson intended to make a particular moral point or attempted to control the effect of his novels on his readers, the heroines and their letters dominate the novels so that they put the authorial suggestions in a different light, reducing the author's to one voice among several. Thus, Pamela's letters are exemplary for the vigor and intelligence with which they appear to be written, rather than for the imposed morality of their ghost writer-Richardson. Although Clarissa is of a different social class from Pamela, both heroines are united in their oppression as victims of a patriarchal society. In Clarissa's letters, the heroine's situation and experience are seen through her own writing in dialogue with that of her confidante Anna Howe, and in contrast to the writing of her oppressors. Clarissa, then, becomes a struggle between different discourses in which their genesis and effect, and the societies and individuals from which they come are implicitly suggested in Richardson's text. While Richardson may or may not be guilty of taking the writing of women and using it for his own ends, his epistolary novels represent a deliberate and bold attempt to shape the novel in a way conducive to his heroines and to women writers.

• Journal of English Language & Literature
• /
• v.56 no.2
• /
• pp.219-236
• /
• 2010

As a poet, a reviewer of books, and an editor of a major literary journal, Marianne Moore participated in aesthetic revolution which invented the American poetry of the twentieth century. Of all the modernists, she was one of the few truly technical originals, and became an endearing mascot of poetry. Innately attentive to detail, Moore wrote a myriad of poems about animal and plant subjects, and set out to develope and secure her own particular paradigm for modernist poetic and the poetry of objective and scientific description. Foregrounding a mind scientifically trained, Moore used her verse to demonstrate a means by which to see the reality beyond the obvious. Ironically enough, however, a central difficulty with understanding Moore's poetry lies with her concern for such scientific or surface description and precision. In order to understand Moore's poetry fully, it is of special necessity to appreciate relativity among the seemingly disparate entities such as science and literature, as Moore herself did. This paper explores the way in which the poetic techniques of Moore substantiate her sense of morality that underlies the creation of her poetry. Rather than merely addressing her artistic genius or craftsmanship as a modernist poet, Moore's methods engage the power of imagination, magic, lifting the human spirit and eschewing anthropocentric perspectives. For Moore, the poet's magic comes by diligence. In so doing, as I would argue here, Moore draws on the nature of language, especially what Bakhtin insisted with his notions of polyphony and carnival. By introducing openness to various perspectives and meanings in her verse, Moore succeeds in maintaining her own sense of creativity while continuing to acknowledge morality. In a similar skein, her use of active verbs in animal poems and the kaleidoscopic descriptions demonstrate how Moore accommodates imagination and reality, and form and content.

• Cross-Cultural Studies
• /
• v.53
• /
• pp.193-218
• /
• 2018

In this essay, I examine the interactions of chronotopes in the narrative of Gangnam Blues, a film written and directed by Yu Ha and released in 2015. Bakhtin's chronotope, the connectedness of temporal and spatial relationships in literary narratives, provides the background for the representability of events and becomes the organizing center for the events. Each chronotope offers a different way of acting, interacting and understanding experience, and chronotopes can interact with each other in a single text or between the reader and the represented world. Gangnam Blues is a gangster movie, first of all, showing an individual's illusion of an unlimited possibility for achieving wealth and power. At the same time, the film describes the government's project to transform Gangam, a rural area in the south of the Han, into a new downtown and residential area for Seoul. As the world in the narrative and the world of the author or the reader are all chronotopic, we can see the interactions of chronotopes between the narrative of an individual and the historical narrative, as well as between the narrative about the beginning of Gangnam and the audience's perception of the present Gangnam. In this film, the main character's ambition is shown as part of the social desire for rapid economic achievements in the 1970s, along with high social mobility. The social desire can be explained as envy, as it is fueled by social comparisons and competitions. The main character's pursuit of money and power through the possession of Gangnam land overlaps with the envious desire for the present Gangnam shared by many. The individual's exceptional ambition and violence are not fully examined in this text. Moreover, the film's dependence on the feelings of envy to represent the individual's choice and violence can be a symptom of the lack of critical distance from social desire and envy.

• Cartoon and Animation Studies
• /
• s.47
• /
• pp.81-101
• /
• 2017

The present study argues that film director Lee Ae-rim animation works depict the world of the grotesque and not only are important sociocultural phenomena but also hold the significance of humor and subversion. The grotesque exhibits the intriguing characteristics of expressing a perspective critical of the existing society through the sensibilities of minorities and is used broadly as a term not only in the aesthetic sense but also designating sociocultural phenomena. Although discussed separately in terms of Mikhail Bakhtin's carnival grotesque and Mary Russo's uncanny grotesque, the grotesque fundamentally rejects existing order and conventions and is externalized through unique expressions, thus opening up a rich possibility for rejection, humor, satire, transformation, and deconstruction of and regarding the authority of the mainstream. Although they constitute a fictional medium, animation films are social products as well so that they are affected by society, culture, and history and stand as important texts that must be interpreted in terms of the relationships between humans' instinctive desires and society and between the overall culture and artistic media. However, the rarity of grotesque portrayals in South Korean animation films also proves that it is a society where even problems that are in themselves sensitive must be manifested ingeniously on a conventional level. South Korean society has a unique history of colonialism and national division and is simultaneously in the unique situation of a society that has undergone growth at a nearly unprecedented rate. Consequently, the society exhibits closed yet dynamic particularity where everyday tension and rigidity, wariness of others and extreme competition are intertwined in a complex manner. Intensively analyzed in the present discussions, director Lee's animation films and are characterized mainly by grotesque images, nonlinear narratives, and vivid depictions. In such a context, these works not only are artistic products of South Korean society but also rejections of a rigid society and share the significance of the aesthetics of the carnival grotesque, which consists of subversive expressions directed at a new world.