• The Korean Journal of Archival Studies
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• no.67
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• pp.237-266
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• 2021

In archival science studies, personal archives is a relatively unexplored field. In particular, it is difficult to find a way for ordinary individuals to organize an archive for themselves. This study suggests how individuals organize archives for themselves and suggests life memory composition as a way to utilize them. For the structure and metadata design of life-time narratives archives, this study refers to Narratologie studies and memory studies of psychology, which are combined with the concept of hierarchy and collectivity of archives. In addition, the plot concept of the narrative was proposed to form a life narrative, which was used as a tool to construct one's own life narrative. Research into the composition and utilization of these life-time narrative archives may be helpful when individuals want to create archives for themselves in the future.

• 한국노년학
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• v.36 no.4
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• pp.959-979
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• 2016

This study was performed to explore the life experience as a teacher was dissolved in life aimed at elementary school female teachers. The selection of the four-year teaching career more than 35 years, from January to November 2015 and retired teacher retirement not more than three years to 2015, five people in the study participants were conducting research. Research method was approached narrative interview method of qualitative research, Sch?tze of biographical research methods utilized in exploring how narratives. Results from this study showed the biographical curve through the 'biographical statement', 'experience the life of a female teacher','difficulties experienced in the reality of female teachers', 'reward as a teacher', divided into the categories' 'post-retirement life adaptation types'. These findings are in accordance with the retirement teacher pointed out the lack of social adaptation programs, such as training or preparation for life after retirement, With the increasing need for pre-retirement training is to prepare for life after retirement were suggestions that the government offers programs and information about the life after retirement is necessary.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.433-451
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• 2018

In Jesmyn Ward's 2017 novel, Sing, Unburied, Sing, Ward places herself within the modern African American literary tradition and lays out the unending "historical traumas" of blacks and cultural haunting in her narrative. She brings to the fore the story of a young black boy and demonstrates the difficulty of living while a black man in the American rural South. Living or dead, black males remain spectral as their frustrated black bodies are endlessly rejected and disembodied. It's through Ward's close attention to the notions of black masculinity and retrieval of (black) humanity that the black South is remembered, recuperated, and historicized. Shrewdly enough, Ward expands it further into the tradition of American literature. Instead of singularizing African American identity and its historical traumas, she renders them the part of American history and universalizing the single black story as the story of the American South. Filling in the gaps that Faulkner and other white writers have left in their novels, Ward writes stories about the unspeakable, the invisible, the excluded to deconstruct white narratives and rebuild the American history; and reasserts African roots and history, spirituality, black raciality and locality within the American tradition. I examine the symbolic significance of Jojo's claim of black masculinity within the socio-political contexts of contemporary America. I also look closely at Ward's portrayal of Jojo's black family genealogy on account of its traumatic experiences of incarceration in notorious Parchman Farm. Locating Jojo as the inspiration of linking the past and the present, the unburied and the living, I contend that Ward creates "home" for blacks in an atemporal oceanic space where the past and the present are able to meet simultaneously. I argue that the oceanic space is an alternative space of affect that functions against the space of white rationality.

• English & American cultural studies
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• v.14 no.2
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• pp.251-285
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• 2014

Monsters cannot speak. They have been objectified and represented through a particular concept 'monstrosity' that renders the presence of monsters effectively simplified and nullified. In contemporary monster narratives, however, the site of monsters reveals that they could be the complex construction of society, culture, language and ideology. As going into the structure that concept is based on, therefore, meanings of monsters would be seen to be highly unstable. When symbolic language strives to match monsters with a unified concept, their meanings become only further deferred rather than valorized. This shows the language of monsters should disclose the self-contradiction inherent in 'monstrosity,' which has made others—namely beings we define as 'different' from ourselves in culture or physical appearance—embodied as abject and horrifying monsters. Unable to be understood, accepted, or called humans. I analyse Frankenstein and Dracula that firmly converge monstrous bodies into a symbolic meaning, demonstrating how this fusion causes problems in the multicultural society. I especially emphasize the undeniable affirmation of expurgated others we need to have empathetic relations with, because their difference, unfamiliarity, and slight divergences are likely to be defined as abnormalities. In the multicultural society, thus, we must learn to embrace diversity, while also having to recognize there are many others that have been thought of as monsters; ironically enabling us to think about an undeniable imperative of being responsive to other people. In this respect, the monstrous inhuman goes to the heart of the ethical undercurrent of multiculturalism, its resolute attempt to recognize and respect someone else's difference from me. A focus on empathetic relations with others, thus, can strengthen the process of creating social mechanisms that do justice to the competing claims of different cultural groups and individuals.

• English & American cultural studies
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• v.9 no.1
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• pp.239-272
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• 2009

Our investigation of the intricate relationship among nationalism, humanism, and imperialism begins from reading Song of Ariran, the auto/biography of Kim San recorded by Nym Wales, together with Margaret Drabble's fictional adaptation of Lady Hong's autobiography, The Memoirs of Lady $Hyegy{\breve{o}}ng$, in her novel The Red Queen, in which the story of Barbara Halliwell, a modern female envoy of Lady Hong, is interweaved with Lady Hong's narrative. In spite of their being seemingly disparate texts, Song of Ariran and The Red Queen are comparable: they are written by Western female writers who deal with Koreans, along with the Korean history and culture. Accordingly, both works cut across the boundary of fiction and fact, imagination and history, and the East and the West. In the age of globalization, Western women writing (about) Korea and Koreans traversing the historical and cultural limits inevitably engage us in post-colonial discussions. Despite the temporal differences--If Song of Ariran handles with the historical turmoils of the 1930s Asia, mostly surrounding Kim San's activities as a nationalist, The Red Queen is written by a twenty-first century British woman writer whose international interest grapples with the eighteenth-century Korean Crown Princess' spirit in order to reinscribe a story of Korean woman's within the contemporary culture--, both works appeal to the humanistic perspective, advocating the universal human beings' values transcending the historical and national limitations. While this sort of humanistic approach can provide sympathy transcending time and space, this 'idealistic' process can be problematic because the Western writers's appropriation of Korean culture and its history can easily reduce its particularities to comprehensive generalization, without giving proper names to the Korean history and culture. Nonetheless, the Western female writers' attempt to find a place of 'contact' is valuable since it opens a possibility of having meaningful communications between minor culture and dominating culture. Yet, these female writers do not seem to absolutely cross the border of race, gender, and culture, which leaves us to realize how difficult it is to reach a genuine understanding with what is different from mine even in these 'universal' narratives.

• Journal of English Language & Literature
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• v.55 no.2
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• pp.337-357
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• 2009

Ned Kelly, the bushranger, is a legendary figure of special significance to the Australians of today. The Aussies' affection for this "horse thief" derives from the fact that the latter has become a national ideal of the "battler" who does not give up in the face of hardships. Peter Carey's is considered to be one of the "national narratives" that not only heroize but also give voice to the Irish rebels who fought for "fair go" in the colonial Australia. However, this paper asserts that there are more to the novel than merely paying a tribute to the national icon, especially when the novel is examined in the context of the "republic controversy." In 1999, the preceding year of the novel's publication, Australia had a national referendum on the issue of whether or not to secede from the Commonwealth. Due to the procedural manipulation of the royalist ruling party, republicanism was voted down. At the time when the majority of Australians were irate with the result of the referendum, Carey's retelling of the supposedly anti-British rebel failed to promote the lost cause. This paper investigates how the narrativization of the legendary figure, whose anti-British and anti-authoritarian attitude can be easily translated into the cause of republicanism, came to appeal to the general reading public. In so doing, this paper compares Carey's novel with the historical Kelly's two epistles: Jerilderie and Cameron Letter. This comparison brings to light what is left out in the process of Carey's narrativization of the rebel's life: the subversive militant voice of an Irish nationalist. The conclusion of this paper is that the possibility for Kelly's life to surface again in the 21st century as a sort of counter-memory is contained by Carey through its inclusion in a highly personalized domestic narrative.

• Journal of English Language & Literature
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• v.57 no.1
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• pp.107-127
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• 2011

Don DeLillo has shown considerable interest in terror, frequently depicting extreme dread of something terrible to happen, in his literary texts. Since more than three thousand innocent people in New York were killed by the 9-11 terrorist attack in 2001, the anticipation about what kind of fiction he would write as a New Yorker was high. DeLillo's novel Falling Man (2007) in fragmentary detail represents the scene of the terrorism from the perspective of Keith Neudecker, a lawyer who escapes the collapsing world trader center. Neudecker's post-traumatic stress disorder in the first chapter is followed by the free-associative portrayal of various impacts of the 9-11 terror on Neudecker's wife Lienne in the second chapter. The random mixture of the first person narratives from such diverse view-point characters as Neudecker's son Justin, relatives and friends, with dialogues and recollections yields a very close picture of the consequences of terrorism. Reading DeLillo's Falling Man in juxtaposition with a Japanese Canadian novel Obasan by Joy Kogawa, reminiscences of the maltreatment of Japanese Canadians during and after the second world war, surfaces the authorial intention of the two novels. They as trauma literature emerge to aim at curing the readers and proposing post-traumatic ethics. Laurie Vickroy's theory of trauma narrative and cure, E. Ann Kaplan's theory of trauma witness narrative and responsibility, and Emmanuel Levinas's theory of trauma memory and ethics offer theoretical grounds for the convincing analysis of the two texts.

• English & American cultural studies
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• v.10 no.2
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• pp.231-266
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• 2010

This paper explores hybridity and hybridized relations that see mixings and crossings as the first moment of multicultural society. References to hybridity often assume that the definition and orientation of the term are located within biology; that is, hybridity constitutes a mixing of two formally discrete objects. In this regard, there seems to be a dialectical preoccupation with purity that goes hand in hand with discussions of hybridity. This dialectical reference to hybridity privileges whole, complete entities as the original instance before mixing, and in this way purity becomes reified. My analysis of hybridity foregrounds mixings that occur at the level of the social, not exclusively at the level of the biological. Hybridity contexts the myth of monoculturalism in the United States and foregrounds multiculturalism as the initial context around which difference has begun to be conceived. In destabilizing the myth of racial origins, this paper attempts to establish a retroactive construction of purity, which is historically, ideologically, and ethnically examined in Gloria Anzaldua's Borderlands/ La Frontera: The New Mestiza. Through this work composed of disparate narratives discourses, Anzaldua employs physical differences to ward off the colonial desire that has defined others as objects which are to be controlled. In this regard, this paper pursues the way that physical differences could be repositioned in terms of 'hybridity' that has been related to the cultural, historical, economical significations of borderlands. The space of borderlands is also a place marked psychologically; it will turn differences mobilized in the borderland into an acute consciousness that makes us recognize 'otherness' within ourselves. In sum, this paper attempts to elaborate the productive and creative interactions among disparate languages, classes, genders, and ideas, which will draw attention to their own interlocking nature.

• Journal of Digital Convergence
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• v.19 no.3
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• pp.273-278
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• 2021

The purpose of this study is to help self-healing by identifying self-description by utilizing the self-description diagnosis of literary therapy and the resonance of the work narrative. Therefore, the research was conducted through the methodology of literature therapy, which uses the self-introduction team of literary therapy and basic photography team to understand their own narrative and to heal themselves through resonance with the work narrative. Through this study, we understood that it is possible to understand and identify and understand one's psychological problems through self-description and self-culture techniques. This case study revealed that it can be used as a new technique for understanding self-description by applying the methodology of literary therapy and for healing self-exploration through resonance with the work narrative.

• The Journal of the Korea Contents Association
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• v.21 no.4
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• pp.603-614
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• 2021

The purpose of this study is to explore whether reading picturebooks portraying children's play assists adult readers to recall their childhood play memories according to the narrative model of human development. In this study, adult readers recalled their play memories before and after reading a picturebook depicting children's play. Adult readers' responses to the picturebooks were also collected. The types of play from their memories were categorized and the responses were qualitatively analyzed through open coding. The results indicated that first, before reading picturebooks portraying children's play, the type of play that adult readers mostly recalled was games with rules which happened outdoor. Second, after reading a picturebook, adult readers recalled new play memories which contained more detailed elements of narratives. Third, most adult readers responded to picturebooks either emotionally or aesthetically. This study suggests the perspective on picturebooks as a literature and art genre for readers from birth to death. In addition, as an evocative object, a picturebooks could assist adult readers to recall and rediscover their childhood.