• Journal of Popular Narrative
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• v.27 no.2
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• pp.215-262
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• 2021

This thesis focuses on Wandeuki and Elegant Lies - novels written by Kim Ryeo-reong and adapted into the film by Director Lee Han; this thesis analyzes the process of storytelling being transformed as the media is converted. Also, this thesis discusses cultural-political implications of transmedia storytelling where different narrative responses coexist concerning post-IMF family disorganization and "individualization." First of all, this thesis critically reviews existing discourses on the concept of transmedia storytelling and refers to 'transfictionality' the narratological concept of Marie-Laure Ryan in order to look into media conversion storytelling that starts from original novels. The novels Wandeuki and Elegant Lies show two aspects of "individualization" that adopts existential conditions of family disorganization. Wandeuki deviates from patriarchal family romance through self-discovery and exhibits loose family bond, which is something similar to companionship of close individuals. Elegant Lies shows individualization of pain by portraying a teenager who found herself completely isolated, while showing that it is impossible for the people left behind to mourn. On the other hand, director Lee Han's films and show stories in which family members, who are confronting family dissolution, rediscover and restore their families against family dissolution. The film promotes the expansion of family community through multicultural identity, and the film completes condolence of the people left behind by having the remaining families survive as survivors of suicide. The storyworld of the novels puts emphasis on 'self-discovery' of individual adolescents, while the storyworld of the movies puts emphasis on 'rediscovery of family'. Through transformation of storytelling - especially the redesigning of narrative structures called "modification" - transmedia storytelling shows that the relationship between media-converted texts is far from "faithful representation," but rather, shows conflicting themes and perspectives. With a reference point of 'the emergence of character' transmedia storytelling, which is predicated on the original work but aims to free itself from the original work by transforming storytelling through media conversion, opens up polyphonic storyworld by creating heterogeneous voices. In the post IMF-era, where uncertainty mounts over family dissolution and individualization, polyphonic storyworld created by transmedia storytelling provides an opportunity to experience disparate desires over individual freedom/risk and complacency toward community. We can call this the cultural-political implication of transmedia storytelling based on transferring, transcednding, and transforming.

• The Mathematical Education
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• v.61 no.3
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• pp.477-497
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• 2022

The rapidly changing world calls for reform in mathematics education from lifelong learning perspectives. This study examines adults' perception of mathematics by reflecting on their experiences of mathematics in and out of school in order to understand what the current needs of adults are. With the two questions: "what experiences do participants have during their learning of mathematics in schools?" and "how do they perceive mathematics in their current life?", we analyzed the semi-structured interviews with 10 adults who have different sociocultural backgrounds using narrative inquiry methodology. As a result, participants tended to accept school mathematics as simply a technique for solving computational problems, and when they had not known the usefulness of mathematical knowledge, they experienced frustration with mathematics in the process of learning mathematics. After formal education, participants recognized mathematics as the basic computation skill inherent in everyday life, the furniture of their mind, and the ability to efficiently express, think, and judge various situations and solve problems. Results show that adults internalized school education to clearly understand the role of mathematics in their lives, and they were using mathematics efficiently in their lives. Accordingly, there was a need to see school education and adult education on a continuum, and the need to conceptualize the mathematical abilities required for adults as mathematical literacy.

• 한국노년학
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• v.29 no.3
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• pp.1001-1024
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• 2009

This study investigates what older adults have image of older adult with relation to their self-identity. Fourteen participants are interviewed in this study. The main findings are as follows. Their response to image of older adult is divided in the form of 'denial' and 'accommodation' about social images of older adults. 'Denial' has 'total denial' and 'selective denial' while 'accommodation' includes 'acceptive accommodation', 'selective accommodation' and 'unwilling accommodation'. 'Total denial' indicates that the participants describe older adults very negatively, and they regard themselves as a person who is totally different from the older person they describe. 'Selective denial' represents that the participants have two types of older adults: negative and positive. They describe that they are close to the positive type of older adults themselves although they do not admit that they are older adults. 'Acceptive accommodating' does not describe older adults negatively, and they identify themselves as older adults. 'Selective accommodating' are very similar to 'selective denial' although the former differs from the latter in that they accept that they are older adults. 'Selective accommodating' also includes negative and positive types of older adults, and this type of participants admit that they are older adults, and believe that they belong to the positive type. In contrast to 'acceptive accommodating', 'unwilling accommodating' describes older adults very negatively. However, the participants belonging to 'unwilling accommodating' comes to accept that they are older adults due to irresistible realities.

• Cartoon and Animation Studies
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• s.18
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• pp.37-56
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• 2010

This paper focalizes on the 'evolution' of monster animation and . Actually, Many characters' 'Evolution' is a very powerful convention of Japanese genre animation. Lots of young people feel a huge pleasure about character's evolution. It is a fantastic spectacle to boys and girls. The first characteristic point of characters' evolution is growing-up body to an adult. For example, magical girls genre shows a woman's sexy body. This scene gives a sexual fantasy to young girl spectators, a voyeuristic visual pleasure to young boy spectators. The second point is that a transforming-body gains some super power or magical power. The third point is that a great many characters is in one text. In , characters' numbers go on increasing through 6 ways-hybrid type, mutant-reiteration type, metamorphosis type, simple-grownup type, narrative type, multiple evolution type. The evolution of has to pay attention to only one transforming way. Most Digimon characters are becoming to a human-weapons cyborg. In my opinion, this is very dangerous phenomenon with a political ideology.