• English & American cultural studies
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• v.9 no.1
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• pp.185-219
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• 2009

This article aims to illuminate the comic characters and their humor in Dickens's novel David Copperfield in Bakhtinian point, and to clarify what the humorous characteristics are, and how they contribute to his reinforcement of socially critical messages in this novel. So far this novel has been called the only one of Dickens's comic novels, even though it includes lots of social critical meanings. But it is true that Dickensian critics couldn't make sure of the clear reasons why it is both very interesting and critical. Furthermore, it is also true that this novel has been criticized as a clumsy one in the realistic, psycho-analytic, dramatic angle. This approach to Dickensian comic characters through Bakhtinian fool, clown, and rogue concepts here could make up for or correct such criticisms, and reevaluate Dickens's humor and social criticisms in the context of general public culture. Bakhtin believes oppression by social ideologies prevent us from having good mutual relationships and divides our society. He thinks laughter liberates us from such oppression and restores our good relationships. As he applied his concepts based on the laughter of Middle Ages to Rabelais's novels, and examined what the authentically liberating power in Rabelais's laughter is, this article could clarify the liberating power of laughter by Dickens's comic characters, such as Mr and Mrs Micawber, Dick, Miss Betsey Trotwood and Miss Mowcher. In this novel, they often lead comic happenings, and such happenings are very similar to carnival-amusements including burning the dummy of the czar who has oppressed his or her citizenry. Especially, Dickens's comic characters's social criticisms, in the case of this novel, contain many complaints of social marginers, even though he has been labelled as being conservative politically. They always criticize the ideological absurdities in their society through the humorous words and behaviors in their comic happenings, like those of a carnival fool or clown in his or her amusements. This shows Dickens achieves both laughter and social criticism in David Copperfield by using Rabelaisian characterization-devices based on his general public culture. Like Bakhtin and Rabelais, Dickens seems to have believed that when we all truly liberate ourselves from the oppression of social ideologies, we can have desirable relationships between ourselves, and also solve social problems positively.

• (The) Research of the performance art and culture
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• no.42
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• pp.291-319
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• 2021

In this paper, I looked for the parts where laughter appeared in the Mundoong, Yangban, Yeongno, and Grandfather and Grandmother of Tongyeong Ogwangdae and Dongrae Yaryu, and investigated the meaning of those parts. Laughter in mask play has made him more tolerant of human injustice and foolishness. I softened the critical content and naturally revealed what I thought should be hidden. Through a short and noisy plot, the opposing forces, the inner conflict of the Mundoong, Yangban, Yeongno, and Grandfather and Grandmother were shown in a realistic and realistic way. The worldview that creates the structure of realism is typically skeptical and ironic, and the worldview that creates the comical structure related to laughter aims for the ultimate emergence of a new order based on unity and harmony. Masking is thought to be a work in the stage of moving from the latter to the former. Therefore, it is judged that laughter in mask play served as an important medium for Korean art thought to have a realist view of the world. This is because various expression methods that induce laughter are working to reveal negativity, reveal the illusion of contemporary values, and naturally expose restraint and taboo suppression. In laughter, there is a path that transforms perception by fusing several elements. There was realism at the end of the pathway to new perception.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.75-89
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• 2021

In this paper, the results of analyzing the meaning of laughter in comedy movies of the late 1960s, focusing on comedians, Hee-Gap Kim, Bong-Seo Koo and Young-Chun Seo, are as follows. First, the narrative laughter of the comedians represents the generational conflict between the lower class and the upper class, the gender conflict between men and women, and the frustration of reality. Second the mechanism of creating laughter of the comedians shows ridicule of the conservative older generation, revelation of the immoral upper class, and caricature of the frustrated lower class. Third, the practical aspect of the comedians' laughter reveals cracks in tradition and modern, gaps in economic inequality, and expression of prohibited desires. Therefore, comedians Hee-Gap Kim, Bong-Seo Koo and Young-Chun Seo in comedy movies of the late 1960s show the semantic effect of laughter of internal/external boundaries and optimistic world views through the closed opening of informal culture and the conflict of characters/performers.

• Research in Community and Public Health Nursing
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• v.27 no.1
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• pp.72-80
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• 2016

Purpose: The purpose of this study was to identify the effect of subjective xerostomia and salivary pH in salivary glands stimulated by laughter therapy in frail elderly women. Methods: The research used a one-group pretest-posttest design. Data were collected from July 2, 2015 to September 30, 2015. A sample of 41 frail female elderly patients was recruited at A Nursing Home in K City, Korea. We measured xerostomia and salivary pH using a questionnaire and BCP test paper (pH 5.6~7.2). Laughter therapy was given once a week for four weeks (3 items). Data were analyzed through descriptive statistics, independent t-test, ANOVA, paired t-test and Cronbach's using the SPSS 18.0 program. Results: There were significant differences in salivary pH according to oral health (t=-2.06, p<.05). There were significant differences in xerostomia (t=4.41, p<.001) and salivary pH (t=-7.94, p<.001) after salivary glands stimulated by laughter therapy. Conclusion: Salivary glands stimulated by laughter therapy improved xerostomia and salivary pH of the frail elderly. Therefore, salivary glands stimulated by laughter therapy may be useful in promoting and maintaining oral health among the frail elderly in the rapidly increasing population of old people.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.1-10
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• 2021

This study was intended to prepare a basis to apply one time laughter therapy in clinical circumstances as an intervention for reducing job stress and improve job involvement of geriatric hospital workers by identifying the effect of one time laughter therapy on their physiological stress responses, job stress, and job involvement. This study was a Non-Equivalent control group pre-post design to validate the effect of one time laughter therapy. The participants of this study included 80 staffs of 2 geriatric hospitals located in I city, including 40 persons in each experimental and control group. Consent was obtained from the participants, after explaining sufficiently study purpose, blood pressure and pulse rate measurement, serum cortisol level measurement, and a questionnaire on job stress and job involvement and data collection was performed 2 times each, before and after the experimental procedure. For the collected data, frequency, percentage, average and standard deviation, χ2 test, Fisher's exact test and t-test were conducted using SPSS Win 19.0. The results of this study were as follows. The systolic blood pressure and the serum cortisol level were reduced significantly. It was found that although there was no significant difference between the experimental group and the control group in job stress and job involvement. Therefore, it was identified that the one time laughter therapy was an effective nursing intervention to reduce physiological stress response of geriatric hospital workers.

• Cartoon and Animation Studies
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• s.46
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• pp.151-179
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• 2017

The purpose of this study is to analyse the characteristics of the 1920s and 1930s to analyze the emotions of laughter in the popular culture, This period, such as the style of comic books, tools, and textures, has been influenced by the influence of the eodi, and it is in its way to establish the aesthetic aesthetics of the colonial Joseon Dynasty. In the pop culture of the 1920-30s, laughter was a new feeling in the gloomy atmosphere of colonial rule. It was the comic media that showed the sensation to the public, owned it, and injured it. Also, the comic book was an important period in which comic books were produced to produce quantitative and qualitative growth. The study explored how the comics interacted with other media in the 1920s and 30s. And the study analyzed what was selected in there. This can quickly explain how the comics gained, or how they obtained them. This shows how the comics gained, in a way, how they obtained laughter.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.243-249
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• 2021

In the postmodern world, it is widely believed that being a fool or looking foolish can be more profound and unique than being smart and serious. Comic characters, or fool characters in comedy, have been used as basic tools to make people laugh in various cultures around the world. As such, this study will summarize the types of fool characters that have been depicted in plays and organize how they can be categorized in a culture of laughter as well as revealing their characteristics in performing arts. The ridiculous actions and words of fool characters fall outside the common dichotomy of wisdom and foolishness. This is significant and it is because the ways in which they act overturn the values that we consider to be truthful in the world of experience and contain wit and ridicule beyond the general knowledge. Also, it's worth pointing out that many comic characters that appear on TV shows are not all the same. To put it simply, each and every funny character has unique traits and these characters predictably change according to the times. In performing arts, a fool character's personality is displayed through his or her interactions with the audience. That is, on one hand, the character may or may not recognize himself as a fool, while on the other hand, the audience may regard the character as a fool or otherwise. Based on this background, the comic characters that appear in performing arts are categorized into four types and their features are discussed.

• Korean journal of communication and information
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• v.15
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• pp.75-115
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• 2000

In Korea, since the mid 1990s, the subtitles are largely employed on television programs especially on diverting programs like talk shows and game shows. The functions of these subtitles are different from those of the traditional subtitles. The traditional subtitles are used to give credits, explain an action, or represent dialogue, to be brief they are used to give informations. But the new type of subtitles are used to amuse the public. Not only the new subtitles represent words of the guests but also they present opinions or judgements of the program producer. They show also what to give attention to, what the guest feels and finally what to laugh at. These subtitles are very well received by the public. So they are employed more and more frequently by lots of programs. These subtitles will be ratted comic subtitles because their principal function Is to raise a laughter and to make fun. The purpose of this study is to attempt to find some particularities concerning the uses of the comic subtitles on Korean television. The study suggests that the comic subtitles call for the very known social codes because they should be understood clearly by the public. The forms and styles of the codes employed in the comic subtitles are very similar to those used in the comics. Some graphic codes especially developed in the comics are employed with success in the comic subtitles. The comic subtitles are aiming to amuse and provoke a laughter by written text and visual codes usually employed in the comics. But why does the program producer use the comic titles for make the public laugh? Laugh is not a emotional reaction but a act caused by the intellectual judgement. Written text and visual codes employed in the comic subtitles permit to judge the situation intellectually because they give to the public a moment for think about what they treat. They permit the public to see more clearly the situational relations which can provoke a laughter. The comic subtitles constitute now one of the main elements on Korean television. It means that the insertion of writing in the audiovisual media is popular in Korea. The study suggests that there is something in Korean culture which can favours this insertion : in Korea, writing has never been separated from painting. It seems that in Korea, there has been no clear separation between written culture and visual culture. But this point must be approached more carefully and needs profound researches.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.14-28
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• 2013

This study aims to identify the elements of black culture and use it to analyze the formative characteristics of casual fashion items as well as the symbolic meanings presented in the graphic designs of the items. First of all, in order to distinguish the identity of black culture, this study made a division into racial, social, and artistic aspects based on cultural specificities of Stuart Hall, a culture theorist. This was for a theoretical review and based on this review, a theoretical framework was developed to analyze the characteristics of American casual fashion design of black people. The case study selected 1719 fashion images of 137 male brands and 33 female brands from websites of companies manufacturing casual wear of black people in America. The following is a summary of the study results. The conceptual characteristics based on specificities of black culture can be categorized into ten attributes: playfulness in order to digest human grief and emotion positively, satire of the mainstream society, spontaneity through emotional expression from the heart, abstractness of various emotions elating suffering, humor trying to express negative aspects as the meaning of light and innocent laughter, dependence with passive attitudes toward discrimination and master-slave relationships in history, resistance against discrimination and disadvantages, African orientation and primitiveness pursuing natural conditions, aggressiveness against violence and unfair treatment, and confidence and defiance against social deprivation and corruption. Based on the results of an analysis through formative classification system founded on racial, social, and artistic aspects of black people, specificities of black culture are of formative characteristics of their casual fashion design. These elements are presented on graphic t-shirts through strong colors, loose silhouette, and details with many pockets. These characteristics were reflected in symbolic meanings presented in the graphic.

• Journal of the Korean Society of Costume
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• v.58 no.9
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• pp.81-98
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• 2008

This research aims to analyze humorous images expressed in 2D graphics fashion illustrations and to propose application of 2D graphics in humorous images for fashion illustrations to suggest a more creative and relevant fashion illustration for contemporary culture. The result of this research were as follows: First, theories on reaction of humor can be classified into Incongruity theory, Superiority theory and Arousal and Relief theory. Humor in visual arts are classified in Visual Parody, Visual Pun, Visual Paradox and Visual Satire. Second, Visual Pun, Visual Parody, and Visual Satire are used for visualizing fashion illustration, and the foundations for many humor images were simple-colored, imaginative, and unreal settings. And it was also found out that the physical proportion of the models generally was 1(head):7(entire body), 1:8, 1:15 and the models were usually laughing and smiling. Tone was usually pastel and vivid, and posture was usually standing-position or sitting-position. Third, based on such results, fashion illustration works of humor image using 2D graphics were created. To concretize the humor image, 'gift' as a concept was chosen. Humor alleviates the tension and stress. It also brings laughter and pleasure to people's lives. Therefore humor image will be an effective way of expanding creativity in modern fashion illustration.