• Cross-Cultural Studies
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• v.41
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• pp.299-320
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• 2015

Lewis Carroll's Alice's Adventures in Wonderland expands scope of Children's Literature genre by introducing the discourse of pleasure as opposed to that of didactic discipline. Carroll's narrative is important, not only for children's literature, but also as a forerunner of post/modernism of James Joyce with its language play and linguistic invention. Its treatment of Alice's body change follows the motif of body transformation in myth and literature. Comparing "stasis" of Susan Sontag's character Alice (James) in her play Alice in Bed and "movement" of Carroll's Alice, this study explores the issues of woman's alienation and the dichotomy of mobility/immobility in reality and in their literary representations. Focusing on a female child's double alienation as woman and child, I argue Alice's Adventures in Wonderland is a counter-narrative of alternative bildungsroman. Alice gains her subjectivity through her adventure by power of language and story-telling. Through representation of the dream/adventure of two desiring sisters, Carroll's narrative exhibits subversion of social order and emergence of new order of "chaosmos" out of chaos. As a method of study, this study traces genealogy of "curiosity" in myth and literature as a motivating force that triggers adventure and argues "creative curiosity" is a dynamic energy propelling Alice's adventure.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.117-144
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• 2020

The film Burning (Lee Chang-dong, 2018) is one of the most noted Korean films in recent years as a work that unfolds an elaborate narrative in a delicate visualization. This film is a multi-vocal text in which different types of characters appear and scattered objective facts and ambiguous subjective desires are intertwined, so it is a text that has room for diverse interpretations. This article attempts to read Burning as an ethical discourse centered on the protagonist Jong-su, noting that the film raises universal and significant ethical issues that transcend the specific social and historical conditions of a contemporary Korean youth. I would like to examine the situation in which Jong-su is facing and his reaction to it, above all, from the perspective of Jong-su's ethical awakening and leap forward. Jong-su, a young South Korean non-regular man living in the present, encounters and connects with Hae-mi and Ben and attempts to understand the mysteries of the world. His trajectory, which the film shows closely, inevitably intersects the social and historical dimension of confusion and frustration of a young man graduated from the Department of Creative Writing, the reality of family dissolution and the individual psychological dimension of the sudden disappearance of his lover Hae-mi. Burning is a magistrate film that depicts Jong-su as an ethical subject oriented toward 'communal togetherness' while confronting the world and exploring its mysteries despite all his unfavorable conditions, such as his social position of the precariat youth and the epistemological uncertainty of reality perception. It is read as a story of his painful growth, in which Jong-su is becoming a 'writer', who once was a helpless non-regular delivery worker.

• Proceedings of the Korean Society for Cognitive Science Conference
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• 2006.06a
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• pp.125-130
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• 2006

원활한 의사소통을 위해서는 문장들을 연결하여 흐름을 조직하고 말로 산출하고 전체적인 의미를 파악할 수 있어야 한다. 이야기는 이러한 문장들이 연결되어있는 것으로, 종속적이거나 나열적인 이야기 특성은 의사소통장애인의 이야기 이해와 산출의 수행에 영향을 미칠 수 있다. 본 연구에서는 이야기 특성에 따른 유창성 실어증환자의 이야기 이해 및 산출의 능력을 알아보고, 이해과제 수행이 산출과제에 미치는 영향을 분석해보았다. 이야기 종류로는 시간적 나열 이야기와 인과적 관계 이야기, 유머가 있는 이야기를 사용하였으며, 사실적 정보, 텍스트 추론, 빠진 정보추론 등 세 가지의 이해과제를 통하여 이해 능력을 측정하였다. 산출능력은 이해과제 전과 후에 CIU 비율로 질적인 측면을 측정하고, 분당어절 수를 이용하여 양적인 측면을 분석하였다. 그 결과 이해측면은 세 가지 이야기 모두 사실적 정보에 대한 이해 능력이 상대적으로 좋았으며, 오류의 형태는 추론오류가 가장 많이 나타났다. 산출에서는 인과적 관계이야기에서의 CIU 비율이 가장 높았고, 이해과제 전, 후의 차이를 비교한 결과, CIU 비율은 변화하지 않았으나, 분당 어절수에서는 증가하고 있음을 보여주었다. 이야기의 종류에 따라서 유창성 실어증화자의 산출과제의 수행수준은 다르게 나타났다. 그리고 이해과제의 수행이 산출과제에서 양적인 증가는 가져왔으나 질적인 수준에는 아무런 영향을 미치지 않았다.

• The Mathematical Education
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• v.46 no.2 s.117
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• pp.173-192
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• 2007

We define mathematical learning as a process of overcoming framing difference of teachers and students, two main subjects in a mathematics class. We have reached this definition to the effect that we can grasp a mathematical classroom per so and understand students' mathematical learning in the context. We could clearly understand the process in which the framing differences are overcome by analyzing mutual negotiation of informants in specific cultural models, both in its form as well as in its meaning. We review both of the direct and indirect forms of negotiation while keeping track of 'evolution of subject' in terms of content of negotiation. More specifically, we discuss direct negotiation briefly and review indirect negotiation from three distinct themes of (1) argument structure, (2) revoicing, and (3) development patterns and narrative structure of proof. In addition, we describe the content of negotiation under the title of 'Evolution of Subject.' We found that major modes of mutual negotiation are inter-reference and appropriation while the product of continued negotiation is inter-resemblance.

• Journal of Digital Convergence
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• v.7 no.3
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• pp.137-146
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• 2009

This paper aims to propose a framework of content creating group with creativity under new convergence environments. The framework is built based on content concept hierarchy(deep/surface) relating with the creativity of group members. The diversity of group members(potential creativity) decrease and change into creative abilities in one unified view at each content concept hierarchy in time. To do this, three methods of building a creative group(interaction-base, direction-base, hybrid) are proposed. Cooperating processes and operators are designed to promote creative abilities in the content producing group. These cooperations are considering new media convergence industry's job road map(IPTV) and fundamental content attributes(semantic, narrative, discourse). In the framework, creative content is produced with the help of member's cultural openness, media richness and synchronicity, hierachical adaptability on dissimilarity. Deep level creativity of cognitive semiotics on moving image content is composed of psychological, transformational, situational creating abilities in the structure of group members. Designing analogy, metaphor, symbol operators help members to traverse deep structure of content concept hierarchy. Our framework has strong points to relate fundamental content deep structure with structure of content producing group and to induce creativity on cognitive structure of human being.

• Journal of English Language & Literature
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• v.53 no.2
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• pp.335-357
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• 2007

This study aims to investigate the pragmatic features of Korean EFL learners' interlanguage in the communicative act of complaining. Since a complaint, by its nature, is likely to cause offence, thereby threatening the social relationship between the speaker and the hearer, making a complaint in a polite manner is of crucial importance in maintaining harmonious social relationships. However, very little research has been carried out on the complaint speech act performances of Korean EFL learners. In particular, studies which attempt to examine the effect of social status on the choice of complaint speech act strategies are rare. The present study compared the complaint speech act performances of Korean EFL learners and those of native speakers of English with respect to social status. 24 Korean EFL learners and 28 native speakers of English participated and the data were collected via a Discourse Completion Test. The findings revealed that Korean EFL learners differed from native English speakers in the use of complaint strategies. These results indicate that Korean EFL learners lack certain important skills necessary to make complaints appropriately, suggesting the need for the foreign language learners to develop a more extensive pragmatic knowledge of complaint strategies.

• SUVANNABHUMI
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• v.9 no.1
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• pp.109-132
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• 2017

This article is about the emergence of Islamic modernism among Cham Muslim communities in Cambodia and Cochinchina during the early 20th century. Based on a combined critical reading of existing scholarship, historicized first-hand anthropological accounts, as well as archival sources from the National Archives of Cambodia and the Vietnam National Archives II, it argues accounts of modernists in these sources were either (1) cast through a French colonial reading of a Buddhist state lens and (2) cast through a Malay lens, based upon the Kaum Muda/Kaum Tua divide. First, it proceeds with a historical explanation of the emergence of Islam and the discourse used to describe Muslim communities in Vietnamese, French, and Cham language sources. Then, it turns the narrative toward an examination of the emergence of the "Kaum Muda" or "New Group" of reformist-minded modernist Muslims in early 20th century Cambodia. Delineating the networks of these intellectuals as they stretched across the border through Cochinchina, also highlights a pre-existing transnational element to the community, one that well predates current discussions of twenty-first-century transnationalism. Through a combination of the study of multiple language sources and historical methods, the article highlights the importance of polylingualism in the study of the history of Muslims in Southeast Asia.

• Cartoon and Animation Studies
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• s.29
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• pp.209-241
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• 2012

Is a failed blockbuster film? Is there no room for reconsideration of the value of the film in terms of its contents and forms? The purpose of this study is to answer these questions. In 2007, SHIM Hyung-rae's was in the limelight due to the nationalist discourse around the film rather than evaluation of the film itself. In terms of its narrative and formal properties, the film showed the difference from the Korean nationalist blockbuster films. It led to the disaccord and hard-to-understand results of having somewhat disappointed box-office success of 8,500,000 audiences in comparison to the input, of receiving well by a generous part of the audiences absorbed by nationalism, and of getting the critics' cynic criticism of the film's cinematic value. Eventually only provided the cultural battlefield of nationalism, was left as an unnoticed film in the realm of industry and criticism. However, it was interesting that there was a common ground between the film's supporters and the cynic critics. Both sides were being acknowledged that the spectacle of was way out of proportion to the degree that the spectacle was unbalanced with the story unfolding, achieved more than expected. Its spectacle overwhelming the narrative enfever a few audiences, and at the same time, it provided some reasons making critics face away from the film. In this context, the purpose of this study is to examine 's aesthetics that 'the spectacle dominating narrative' or 'the narrative as a pretext for showing spectacle,' leading to discussion of artistic/theoretical/critical value and to find out cinematic value of the film being regarded as a failure. In addition, this study is significant in that it suggests that is a new kind of moving image that it cannot be analyzed with existed critical methods of narrative film criticism; as a result, this study provides the chance to be evaluated through a new conceptual frame of the film. In order to grasp the narratological aesthetics, this study focuses on the concept of trickality that Andre Gaudreault suggests, and Tom Gunning's 'the cinema of attractions,' referring to the spectacle-oriented narrativity or the mode of production displaying the spectacle more than the narrative.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.189-219
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• 2020

This study is an analysis of Handol Heung-Gun Lee's Tarae, which is a coinage combining the Korean words for "playing an instrument" and "song", in terms of narrative and aesthetics. The components for analysis are the phenomena and nature of binary oppositions between nature and human beings, between alienation and interest, between division and unification, and between diaspora and people of the national community. Tarae in the period from the late 1970s to the early 1990s described the experience of pain and loss from non-resistance and disobedience in protest against social problems that emerged during the era of miliary dictatorship, such as industrialization, urbanization, reckless development, Westernization, university-oriented education, the gap between rich and poor, human alienation, and the conflicts arising from the division of the nation. After Handol overcame the lack of creative motivation with self-reflection and effort, Tarae took the form of a diaspora epic meta-narratives integrating the "sound of nature and his true nature" and "the awareness of diaspora and the spirit of the Korean people". The epics of the homeland, the national soil and the people, which began with "Teo", became more intense in terms of a sense of diaspora as they shifted their focus from an origin to a path with "Hanmoejulghi" as the turning point. Handol seeks inspiration in the source of narrative rather than in music. His Tarae focuses on "adding rhythm for lyrics". For this reason, the semiotic features of Tarae have a limitation in that its extrinsic phonology is simple even if its intrinsic meaning (i.e., emotion of sadness) is profound and subtle. In order to elicit sympathy from the audience and impress them, it is necessary to strike a balance between the implicit (semantic) part and the explicit (phonological) part. To share the emotion of sadness with more people, it is necessary to strengthen phonological elements. Sympathy for sadness and deep impression on the audience are more often induced by the mood of similar sentiments than by the stories of the same experience. The aesthetics of sadness in Tarae began with the narratives of past experience which were expressed in the contexts of loss, loneliness, and poverty that Handol had experienced since childhood. However, the aesthetics of sadness, deepened over the period of a long hiatus in Handol's career as a composer, formed the narratives of ultimate salvation, embodying even the diaspora experience of others (e.g., displaced people, overseas adoptees, ethnic Koreans in Russia, victims of Japanese military sexual slavery, etc.). This gave Tarae the potential to go beyond the limits of the ethnic group of Korea. Tarae, as a "dispersed sound", can benefit from the appeal of deep sadness at the point of contact with other forms of world music. It may form a global diaspora discourse because Tarae is oriented towards interculturalism rather than anti-multiculturalism. The future challenge and goal of Handol's Tarae would be to continue to find areas of sympathy and broaden the horizon of awareness as diaspora music.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.349-392
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• 2019

In the 1960s of Korea, the normalization of diplomatic relations between Korea and Japan led to a sense of a vigorous anxiety and fear that "Japan will once again come to the Korean peninsula". As a reaction to this, the discourse on the criticism of 'Japanese Style' strongly emerged. If the prior discourse of criticism was to express the national antipathy toward the colonial remnants that had not yet been disposed of, the critical discourse of the 1960s was the wariness of the newly created 'Japanese Style' in popular culture, and to grasp it as a symptomatic phenomenon that 'evil-minded Japan' was revealed. Thus, this new logic of criticism of the 'Japanese Style' had a qualitative difference from the existing ones. It was accompanied by a willingness to inspect and censor the 'masses' that grew up as consumers of transnational 'mass culture' that flowed and chained in the geopolitical order under the Cold War system. Therefore, the topology of 'popular things=Japanese things=consuming things' reveals the paradox of moral demands that existed within Korean society in the 1960s. This was to solidify the divisive circulation structure that caused them to avoid direct contact with the other called 'Japan', but at the same time, get as close to it as ever. It is a repetitive obsession that pushes the other to another side through the moral segregation that strictly draws a line of demarcation between oneself and the other, but on the other hand is attracted to the object and pulls it back to its side. This paper intends to listen to the different voices that have arisen in the repetitive obsession to understand the significance of the dissonance that has been repeated in the contemporary era. This will be an examination of the paradoxical object of Japan that has been repeatedly asked to build the internal control principle of Korean society, or to hide the oppressive and violent side of the power, and that can neither be accepted nor destroyed completely as part of oneself.