• Cartoon and Animation Studies
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• s.36
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• pp.417-436
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• 2014

Stories have existed with the history of mankind along with drawings. Any genre of art that discusses the flow of time, such as literature, film, and play, cannot be free from narratives. The comics are not an exception. The comics tell the narratives with drawings from the cartoons in single blocks to the full-length series in tens of volumes. Nevertheless, there are not many studies that discuss the narratives in the comics. They may have been overlooked because they have been studied in the field of literature. However, I am envious of the field of film, which unravels the narratives with the same visual images, profoundly explores its own narratives and experimentally modifies and expands them into various levels. Therefore, I would like to make a narrative approach to the comics in this study. This study will discuss the non-narratives. It may sound ironic that the study of narratives will discuss the non-narratives, but the narratives cannot exist without the non-narratives. The non-narratives in the narratives compose the narratives in various ways. Therefore, Chapter II will discuss how the theory of narratives in literature classifies the narratives and the non-narratives as a theoretical background. Then, Chapter III will analyze the forms of non-narratives in Han Jo Kim's "The Texture of Memory" to discuss how the non-narratives of comics are composed, while Chapter IV will summarize the preceding studies. Finally, the narratives should be actively studied as it is an essential component of comics. I hope that this study can lay the foundation for more in-depth discussions of the narratives in the comics.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.290-307
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• 2000

This thesis is written to point out the fact that story-teller has to be also appointed to intangible cultural treasure. For this, I compared the birth tales of king keum-wha and al-yeung with ghene-gid-dang dangshin(house-ghost) Bonpuri in Che-ju Island and the place name yeun-gi tale in Yong-ghe-won, Whan-ju gun, Cholla-buk-do. And, I examined that the latter oral narratives are very useful to interpret the meaning of the former documents. Besides, using the In-ju tale(人柱傳說), I clarified that Oral narratives reflect the Korean people's consciousness structure. Through all these, I elucidate oral narratives have the value as cultural treasure. Consequently, I maintain the professional story-tellers have to be appointed to intangible cultural treasure.

• Journal of Ethics
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• no.84
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• pp.243-274
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• 2012

The purpose of this study is to study the community narrative ethics of China·Taiwan film. in the context of globalization and locality. I especially wish to look this part through narrative·hermenutical approach and communitarian ethics against contemporary liberalism and individualism. In particular, this article focuses on the works of Hou Hsiao-Hsien, Zhang Yimou, Lee Ang, Tsai Ming-Liang, Chang Tso-chi and Chen Kaige. China and Taiwan's main directors show family and country's community narratives through the self understanding and identification that we call narrative conception of the self. The idea of local community and identity is related with inheritances, history and tradition from the past of my family, my city, my tribe, my nation. Main directors make and have the story of those communities which I derive my identity. And community narratives from the life histories that define us form local community's solidarity should have the openness to other communities. Community narratives shouldn't be separated from the aspect of globalization and locality. After all, I examined whether the local community narratives reveals meaningfully from the standpoint of globalization and locality through China·Taiwan film.

• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.131-140
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• 2008

It has been a major agenda in criticism that there have been a dominant tendency of male-centered narratives in Korean mainstream films after . These kinds of narratives could be accept as a result of searching process in virtual realm for understanding the social changes. I suggest $H.Lef\acute{e}bvre's$ very familiar concept 'quotidienne', which influences the conditions to constitute male-identity as a fundamental base of male-centered narratives, to analyze and . It seems meaningful these texts tried to reconstitute male-identity through distinguish potential energy of 'quotidienne' from repressive everyday-life. The result of analysis has lied two ambivalent dimensions, nevertheless, it would be required further studies to argue on male-centered narratives and discourses of male-identity as which results could represent interactions between various social contradictions.

• Architectural research
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• v.17 no.3
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• pp.101-108
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• 2015

So far, the Japanese exhibitions in the colonized Korea, especially the Joseon Industrial Exhibition of 1915, haven't been studied sufficiently; they have been understood mainly as political propaganda to legitimize the Japanese colonization of the Korean peninsula; many scholars have agreed that Japan highlighted material developments in Korea under the benevolent guidance of Japan by displaying strong visual contrasts between the modern and the traditional. So, they only acknowledge colonial modernity; this perspective regards Western forms as the sole expression of architectural modernity, not only in the exhibition but also in the colonial space and time. However, to be on a par with the West, Japan started to develop a series of historical narratives in searching for its historical origins in Asia, and it also carried out archaeological investigations in the Korean peninsula around the early 1900s. I argue that the developed historical narratives with traditional Korean artworks and architecture (i.e. the shared historical origins between Japan and Korea) influence the architectural conditions of the 1915 exhibition. And, the status of traditional Korean architecture in the Japanese exhibition expresses architectural modernity in terms of showing historical progress.

• Cross-Cultural Studies
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• v.20
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• pp.225-240
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• 2010

Soon after joining the Canadian Confederation in 1867, the province of Quebec adopted the phrase Je me souviens ("As I recall") as its 'national' motto, although many Qu?b?cois do not remember today what they were supposed to memorize, as collective subject, when their government voted this motion. My thesis is that contrary to other countries which have a strong sense of history based on a secular tradition, this process was more complicated in Quebec - as if a collective memory loss lied at the heart of it's history. Through a rereading of Hubert Aquin's cult novel, Trou de m?moire (in its English translation Blackout), first published in 1968, I try to illustrate this paradox and to emphasize the heuristic functions of memory blanks, gaps and lapses in certain postmodern narratives, after the historical breakdown of "the great narratives" (Lyotard). In this perspective, the example of Quebec, through the voice of one of its more gifted yet controversial novelist, can be seen as emblematic of what happens when the mnemonic impossibility of rewriting history opens up new possibilities for writing fiction.

• English & American cultural studies
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• v.10 no.2
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• pp.1-27
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• 2010

By taking the form of a fictional autobiography, a Japanese American woman writer Lydia Minatoya tries to solve the inexpressible confliction which Japanese Americans experience in their living in America. In her first published fiction, Talking to High Monks in the Snow, the writer faithfully tries to follow the Japanese I-story tradition where meandering of personal petit histories and frequent self-pities are constructed without solid action, characters and plot. Here appear many accidental others whom function as significant yet fleeting subalterns. In contrast, in the second fiction, The Strangeness of Beauty published seven years later, the I-narratives undergoes some drastic transformations by authorial intrusion, dramatic and haiku styles, and appearances of actorial agents. Just working as an invisible yet important stagehand (kuroko in Japanese) behind the stage of life, the author now handles her own self-inquiry through more controllable distance and maturity as directors or photographers often do. However, despite achieving dramatic actions and artistic elegance mainly thanks to her adoption of western masterpieces's grand narratives, Minatoya seems to stop in the midway in her tallying work of fiction with fact by delaying the larger imaginable conflict through which the temporarily gained autonomy can be turned into a disaster anytime. Nonetheless, the reader feels relieved and encouraged after recognizing the fragile Asian female self's transformation as a new, flexible and autonomous self by her unwavering contact with two contrasting cultures and providing silent minority female characters with gradually stronger and uncannier voices.

• Cross-Cultural Studies
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• v.43
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• pp.377-404
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• 2016

In this paper, I intend to focus on the 1991 racial tension and violence portrayed in Anna Devear Smith's book Fires in the Mirror, which was published in book form in 1993. I make use of a series of interviews with many of those involved in the conflicts, which were based on the Jewish Holocaust and the history of African American enslavement. In Crown Heights, the black community and the Jewish community have each suffered terrible losses, but individuals and communities become rhetorically attached to foundational historical traumas that lie at the center of each group's cultural identity rather than try to understand each other's pain. Smith lets this rhetoric dominate Fires in the Mirror by putting contradictory monologues side by side in order to show how discourses on 'slavery' and 'the Holocaust' still have control over specific ethnic communities. My intention is not to delve into the conflict between the Jewish and black communities exclusively. Rather, I attempt to form an understanding of the problems of the critical/theoretical tenets proposed by 'the rhetoric of holocaust,' including the Jewish Holocaust and the black experience of enslavement. Such an understanding will help us see the failure in the theories, illuminating the ways that such rhetoric should have recognized its own violence and helped to forge a new relationship between racism and anti-Semitism. Fires in the Mirror mirrors back to us the ways that 'the Holocaust' betrays the possibility of error to indicate its own susceptibility to blindness. The cracks brought forth by conflicting narratives enable readers to observe wounds being healed and the possibility of new narrative looming up.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.45-77
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• 2021

The aftermath of the COVID-19 virus continues. There are two potential fears behind the various preventive and quarantine measures. : the fear that "I may be infected" and the fear that "someone may infect me". This subconscious is built on the 'imagination of infection'. This paper attempted to analyze science fiction(SF) narratives and zombie narratives that influenced our imagination of infection. And this paper attempts to examine how SF novels and movies understand and express "infection", and how zombie narratives reveal "infection" and its horror. Mary Shelley's novel "The Last Man" revealed the paradox that the fear of an infectious disease gave humanity an opportunity for reflection. The films and showed that fear and aversion to infectious diseases can lead to riots and conflict. Zombie narrative is a genre that most dramatically expresses the horror of infection. Director Yeon Sangho's zombie trilogy, including , reveals that people around you can turn into the most dangerous source of infection. Through SF and zombie narratives, we can realize that humanity must have a humble sense of solidarity, ethics, and empathy in the face of infectious diseases. Through this narrative texts, we can realize the importance of the imagination of infection. Imagination of infection is the basis for understanding the causes and consequences of the spread of infection, the process and future prospects.

• Journal of the Korean School Mathematics Society
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• v.19 no.1
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• pp.21-41
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• 2016

Ministry of Education has proposed storytelling in context of the actual or fantasy for the sake of fun and easy mathematics education. However most of school mathematics is not associated with the real life. In that case it could be one method for cultivating positive affects about mathematics that we make up and apply mathematics narrative with which we can reveal what makes mathematics interesting. In this study, among every problem in every examination in four regular examination that targeted the first-year of one ordinary high school in Seoul, I elected a total of four problems, and wrote a total 4 of mathematics narratives. I analysed a case on a few students with which I had conversations after teaching those 4 number of mathematics narratives, and studied mathematics narrative's influences on affects about mathematics of ordinary high school students. As a result, from one of a few students we could observe that his mathematical emotional mind had varied positively. From the student and the other students who had been engaged I discussed some implications and some points to be improved about making up and applying mathematics narrative for cultivating positive affects about mathematics.