• 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.20 no.4
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• pp.553-563
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• 2022

In the multimedia era and contemporary art, the expression of narrative is expanding in various ways based on formal theory. And the expression form is maximized according to the use of each medium. In terms of understanding artworks, an approach that combines various expressions and media using these narratives is also possible. Therefore, this study analyzed the works of the artists by selecting three artists, Sadic Guissi Alfrazi, Lindsay Sears, and Kara Walker, who fused the media using narrative structures. Through this, it was intended to present the artistic value and significance of the work and the possibility of expanding the narrative expression of contemporary art in the future. As a result of the analysis of previous artists' works, it was shown that the phase of convergence can be derived by using the medium of narrative concepts beyond the dichotomy of content and form, confirming that digital technology and media development are changing the form of art. In addition, it was confirmed that the use of narrative structure facilitates media conversion. It is expected that discussions on the new paradigm of contemporary art will progress in the future.

• Journal of Korea Game Society
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• v.11 no.1
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• pp.3-14
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• 2011

Nowadays, it becomes a widespread and frequent practice that one content as a source is converted into diverse media formats. However, it is hard to answer the question whether the converted content might become successful again. That is mainly because one needs to have clear understanding about the characteristics of the target media format. This explains the phenomenon that there are very few successful movies which have been adapted from successful digital games. Thus, it is essential to conduct thorough and sufficient researches on the success factors of the adapted movies. The objective of this research is to investigate and analyze common factors of successful movies from digital games in terms of their visuals and narratives. We have found that successfully adapted movies from digital games shares three commonalities in the work of adaptation for effective cinematic impacts. Firstly, the adaptors of the successful movies have composed scripts with riveting storytelling through simplification, compression and removal of the original story. Secondly, they have satisfactorily re-implemented the original game avatars in the process of adaptation. Finally, they have effectively discovered inherent attractiveness of the original games and incorporated into the target movies with faithful following of cinematic grammar. We expect that our work contribute to reduce failure rate of the prospective movies converted from games by the proposed analysis of success factors shared among successfully adapted movies through the proposed case studies.

• Cross-Cultural Studies
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• v.41
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• pp.85-112
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• 2015

This article studies The Complete Story of JinTai(金臺全傳), a Korean and Chinese xylographic book, and wishes to makes a case for the value of this work. The Complete Story of JinTai, is an anonymous Xia-Yi (俠義) novel from the late Qing Dynasty. The oldest edition is at Nanjing Rare Book Library. This work was published in 1881 when Emperor Guangxu (光緖) ruled China. Currently, a copy of this book is at the Kookmin University Rare Book Library, however, it is somewhat different in form from that in the Nanjing Library. But it is almost the same story. The Complete Story of JinTai narratives the life story of the hero, Jintai (金臺). Jintai's appearance, alliance, ordeal, contribution, and return proceed sequentially, thus, the story gradually explicates Jintai's heroic aspects. Jintai is a young hero. Exceptionally, he married an official dancing girl. He values honor, hangs out with friends, slays a wicked villain, to the defense of the country, and eventually becomes a king. The hero of more than 500 is categorized as conductor, strategist, activist, intuitive type. They are from Geumsan Mountain, took a pledge of brotherhood, and try to resolve a national crisis. The remarkable Jintai fights wicked enemies and does battle with the villains in many conflicts.

• (The)Study of the Eastern Classic
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• no.67
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• pp.69-104
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• 2017

This paper examines the aspect of the novel which appeared in the union of the male and female relationship of "OkSuki", one of the novels of the 19th century. "Oksuki" is a work focusing on the relationship between men and women. It takes a narrative structure based on the relationship. It shows various aspects of the relationship through the structure in which the pluralities of plural persons are repeated. Other events and illustrations, except for the talk, are both an occasion of the alliance and an auxiliary role. At the beginning of the work, the main character's parents are described in detail.By arranging the prophecies related to the relationship between the protagonist and the brothers, it suggests that subsequent narratives will flow into the center of the relationship. The male characters that make up the alliance are characteristically trained and have a good taste, and the Caines are colorfully colored. It is believed that the marriage pattern faithfully follows the medieval status order. The reason why the figure of the person who becomes his wife and the person of the concubine are set differently is because the image of the wife and the concubine are different from each other ideally. The characters who are going to be hungry are emphasized on the clause, efficacy, knowledge, and inner peace, and are actively involved in. On the other hand, conciliatory characters emphasize talent and craftsmanship, and their role is reduced after marriage. The wife is a person who has both Confucian culture and knowledge and is able to care for her husband and family well. Concultation is shaped as a person who can enjoy joyful life and emphasize more affection in relation with his wife.

• Cartoon and Animation Studies
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• s.50
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• pp.75-99
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• 2018

Makoto Shinkai, an animated film maker in Japan, has been featured as a one-person production system and as a 'writer of light', but his 2016 release of "Your Name" was a departure from the elements that characterize his existing works. At the same time, by the combination of the traditional musubi(むすび) story, ending these, it was a big hit due to its rich narratives and attraction of open interpretation possibility. As it can be guessed from the title of this work, this work shows the encounter between the Japanese ancient language and the modern language in relation to the 'name', and presents the image that the role of the name(language) is repeatedly emphasized with various variations in events for the perfect 'encounter'. In this work, the interpretations of $Signifi\acute{e}$ for characters and objects are extended and reserved as a metaphorical role of the similarity, depending on the meaning of the subject which they touch. The relationship between words and objects analyzed through the structure of Signifiant and $Signifi\acute{e}$ is an epoch-making ideological discovery of modern times revealed through F. Saussure. Focusing on "the difference" between being this and that from the notion of Saussure, Derrida dismissed logocentrism, rationalism that fully obeyed the order of Logos. Likewise, dismissing the center, or dismissing the owner had emerged after the exclusive and closed principle of metaphysics in the west was dismissed. Derrida's definition of 'deconstruction' is a philosophical strategy that starts with the insight on the nature of language. 'Dissemination,' a metaphor that he used as a methodological concept to read texts acts as interpretation and practice (or play), but does not pursue an ultimate interpretation. His 'undecidability' does not start with infinity, but ends with infinity. The researcher testifies himself and identifies that we can't be an interpreter of the world because we, as a human are not the subject of language but a user. Derrida also interpreted the world of things composed of Signifiant and $Signifi\acute{e}$ as open texts. In this respect, this study aimed to read Makoto's works telling about the meeting of a thing and a thing with name as a guide, based on Derrida's frame of 'deconstruction' and 'dissemination.' This study intends to re-consider which relationship the Signifiant and $Signifi\acute{e}$ have with human beings who live in modern times, examine the relationship between words and objects presented in this work through Jacques Derrida's destruction and dissemination concepts, and recognize that we are merely a part of Signifiant and $Signifi\acute{e}$. Just as Taki and Mitsuha confirm the existence by asking each other, we are in the world of things, expecting musubi that a world of names calls me.

• Korean Journal of Social Welfare
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• v.54
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• pp.99-121
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• 2003

The purpose of this study is to explore the process that youths get involved in delinquent behavior after runaway. The experiences of runaway youths are studied interpretively, so that interactive features between situations and the youths are revealed. In this way, it is expected that directions in social services to prevent and intervene with delinquent behaviors of runaway youths can be suggested. Eleven youths who have experienced running-away participated in the in-depth interviews. Their narratives are interpreted through the procedures of interpretive interactionism by Denzin(1989). Five phases of the delinquency process have been discovered: Using personal resources, getting help from new relationships, exploring alternatives to survive, learning delinquent way of living, and living independently through delinquency. Interpreted contextually, it has been founded that delinquency is a behavior to survive and a developmental process on the street, taking place in a situation of blocked communication, nevertheless within people's networks. Thus, it is suggested that the problem of runaways are not to be treated narrowly as responsibilities of the youths themselves or their families, but to be approached from the viewpoint of providing social service systems that work as a safety network and offer alternatives for the youths to survive, to resolve their troubles, and to keep healthy lives.

• Journal of Hospice and Palliative Care
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• v.20 no.1
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• pp.1-7
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• 2017

The paper describes The Narrative Communication Model of Hope Seeking Intervention developed by the authors as an approach to help clients to have individually specific hope experiences. The Model is founded upon the existential conceptualization of hope that views hope as subjective, unique experiences of meaning and processes. The Model has been developed based on the findings both in the literature and the authors' work on the nature of hope and hope experiences and integrating the concept of hope as subjective meanings and experiences, the processes of story-telling and the concept of narrative configuration as a way to engage in person-specific experiences, and person-centered communication. The results of the experiences with the application of the model in a study are used to clarify the model further. The Model incorporating story-telling and narrative construction through person-centered communication is identified in three components-the story-telling, the narrative intervention, and the communication components. These components are processed as an intervention to culminate into person-specific hope experiences in which active participation of clients as the story-teller and of interventionist as the communicative facilitator is required to produce narratives of hope with individual specific thematic plots that become the basis for hope experiences. The application of the Model has shown positive outcomes in clients with successful seeking of own hope experiences. The success of the Model application seems to depend upon interventionists' understanding of the model and the competency with the application of person-centered communication strategies.

• Journal of Society of Preventive Korean Medicine
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• v.21 no.3
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• pp.11-18
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• 2017

Objectives : In an effort to suggest a developmental plan of Traditional Korean Medicine health promotion project(TKM-HPP), this study was conducted to identify the problems experienced by public health Traditional Korean Medicine(PH-TKM) doctors in duty and to analyze successful cases of the health promotion project. Methods : Two PH-TKM doctors in duty at the Public Health Centre branch and Public Health Centre respectively, and one TKM doctor in charge of Public Health Centre participated in the in-depth interview. The research procedure was as follows; 1) inform study objectives and interview questions to participants, 2) in-depth interview with semi-structured questions, and 3) post-confirmation and verification. The interview was recorded and transcripted. In-depth interview was composed of 6 subsections: 1) Introducing participants and share purpose of interview, 2) Confirmation of the job status and difficulty of public health centre, 3) Reflecting and sharing experiences of public health clinic job performance cases, 4) Current status and improvement needs of TKM-HPP, 5) Discussions on improvement of TKM-HPP in public health center, 6) Sharing and reconfirmation of interview results. Thematic analysis was conducted from the narratives. Results : The study showed that; 1) the support from the local government was critical for the successful TKM-HPP and participation of the PH-TKMs; 2) the major problems experienced by PH-TKMs were lack of training for TKM-HPP in the field and lack of knowledge at local government level; 3) the suggestions to provide PH-TKMs with manual to educate residents effectively and redefine roles of PH-TKMs in the project. It also suggests that TKM-HPP model should be developed by the district in a way of reflecting regional characteristics. Conclusions : Firstly, more efforts should be made on the projects rather than medical treatment in public health centers, except for areas where medical institutions are scarce. Secondly, in order to facilitate participation of PH-TKM doctors, each local office should reduce medical care and increase efforts related with projects. Thirdly, the institution has to develop feasible TKM-HPP plans that can be carried out by PH-TKMs by the manual. Lastly, pre-training should be provided to PH-TKMs to understand contents of TKM-HPP related to public health centre work before the placement.

• Trans-
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• v.3
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• pp.29-53
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• 2017

The film scholar Vincent Amiel divides into three types of montage through his book The Aesthetics of Montage ; Montage narratif, Montage discursif, and Montage decorrespondances. These three categories are the concept that encompasses the aesthetic class to which most movies belong. Early films pursued the essential and basic functions of editing, which tend to be modified in the direction of enhancing the director's goals over time. In this way, "Expressive Montage" is one of most important concepts of montage, not as a 'methodology' that combines narrative but as a 'purpose'. In the montage stage, the expressive montage work is done through three steps of decision. The process of 'combining' to combine the selected films in a certain order, after the process of 'selection' which selects only necessary parts of the rush film, and 'connection' to determine the scene connection considering the duration of the shot. The connection is the final stage of the montage. There are exceptions, of course. When fiction films of classical narratives use close-ups, or when using models or objects of neutered animals, the film induces the tendency of a "montage decorrespondances" rather than a "montage narratif" or "montage discursif". This study attempts to analyze the tendency of montage of works with 'uncertain connection' through 'collage' used by close-ups and montage decorrespondances as 'fragmentation tendency of modern films'. The fragmentation of the montage in contemporary film breaks the continuous and structural nature of the film, and confuses the narration structure that is visible on the surface of the film. The tendency of the fragmentation of the montage, which started from this close-up, seems to give an answer to the extensibility of the modern image.