• 기호학연구
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• no.57
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• pp.121-153
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• 2018

In terms of the story told, we see that Oh! Soojung(Virgin Stripped Bare by Her Bachelors) is a film of the ideololgy of masculinity. However, from the point of view of the manner of presenting story, Oh! Soojung is a film that aims to devalue this ideology. How will it be possible? This is the principle of the irony that the speaker, by saying P, wants to make Q listen that devalues and contradicts P. Our study is tempted to explain the process of interpreting the irony in the film. The ideology of the film occurs when the presupposed contents have become the subject. For example Cendrion who tells a story of a girl married to a prince presupposes that the girl, Cendrion, is obedient. The subject of this story is that the presupposition: /the girls who want to be happy must be obedient/, which represents the ideology of masculinity. Presupposed content thus imposes on the public a collective and conservative value, as its enunciator belongs to the collective voice. Since ironisation occurs when the utterance itself is annulled, one must also deny or cancel the story told of Oh! Soojng: /Jeahun who is rich and Soojung who is obedient and virgin have become lovers/. Since there is no semantic mark within the utterance, irony is a voice that comes from without; this is how we understand irony in a purely pragmatic way. The outer voices are two things: the way to build the story: question of focusing, ocularization and auricularization, and the way to present the story: question the order, the frequency or the plot. Our study is focused on the question of frequency at Oh! Soojung which has a repetition structure in which the memory of Jeahun and that of Soojung are represented one after the other. Since the memories of two characters are not identical, the repetition is accompanied by differences. The differences at first allow the public to build their own story from the di?g?se of the film and then make the audience fall into confusion where we can not be certain of what we see and know in the di?g?se of the film, and finally make their knowledge questionable. About repetition, so that it can have validity in terms of the informativeness of the utterance, it must deny the existence of the previous repetition. This is how repetition cancels itself and consequently the utterance. We see that the irony of Oh! Soojung occurs by repetition with differences that cancels the story of the film.

• Journal of the Korea Furniture Society
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• v.19 no.1
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• pp.11-21
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• 2008

For ages, Furniture, it has been improved for human aesthetic needs as well as human life as a tool. In the 1960s, it's the age of an ideological conflict. And its war made the hippie-culture come out. And, it was economically bountiful. The epoch-making development of the scientific technology made the result of space development, conquering the moon in the first of the mankind. Made the appearance of the Anti-design against the modern design which was the also, it traditional values and the mainstream. The plastic has merits, low-priced, light, being perfectly able to do mass production of the all kind of shapes' furniture with all-desired colors. It was the wonderful material for the expression of the short-life character, the irony, the kitsch, and an intentional decoration to being chased by anti-design. And the result, the plastic furniture in the people's daily-life has well represented with reflecting the mind of the people in that age.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.20-31
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• 2011

Decentralization is an effort to liberalize people from its character of neutralizing or restraining people while indwelling in the previous thought system. Decentralization in fashion is one of the phenomenon of post-modernism fashion, and it is closely related to de-culturalism, crossover, abolition of rank, and etc, and it is in line with Asian look which includes orientalism fashion. The study intends to consider the Phenomenon of Decentralization of Asian Look and its Method depicted in the western fashion. The study focuses on documentary data, and the it is held with the basis of Asian look shown in western fashion. If ideology which influenced the formation of folk costume of Asia, Asian look is the dissolution of such ideology, and post-modern amusement is substituting it. The most conspicuous characteristic of decentralization phenomena of Asian look is pastiche which is a combination and reallocation of external style of many cultural zones and many folk costumes, and it shows mutual irrelevance, and it is a neutral imitation which has internal meaning and humor disappeared. Also, Asian look shows characteristics of parody and irony, which are reversal characteristics of aesthetic value which is expressed through methods of addition, modification, distortion, exaggeration, inversion, dissolution, and etc. Parody which is expressed through imitation regarding previous style shows effect of humor or satire, but its characteristics show that it expresses respect or admiration regarding the original The method of irony is showing sarcasm with ironical method regarding the peculiar style of Asian folk costume, and it pursues unexpected shock and joy, and it is closely related to orientalism fashion. Expansion and constancy of Asian look reflects the interest regarding folk of Asia and Asia, and it is a movement which intends new attempt by abolishing stereotype, and furthermore, it is expressing liberty of humans.

• Sijohaknonchong
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• v.42
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• pp.117-150
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• 2015

English sijo is the sijo poems written in English. This paper considered English sijo especially in association with its wit. In English-speaking countries, wit has been often emphasized as one of the main characteristics of the sijo genre, and it is often found in many English sijo poems. As a critical term, wit indicates a kind of "concord of discord", which consists of dissimilar images, paradox, irony, etc. This paper investigated how English sijo embodied this kind of critical wit and created three kinds of delight; those are intelligent, sarcastic, and humorous one. First, I examined old Korean sijo poems and the wit embedded in them, and then I compared them to the case of English sijo. Sijo was received in English-speaking countries in the context of the literary genre tradition such as the epigram and the sonnet, and of the literary concepts such as irony and wit. In this context, sijo, which has a three-divided semantic structure and a twist in the last part, often containing irony and wit, could be received and composed without much difficulty in Englih-speaking countries. Many English sijo poems contain wit, and they make abundant delight, which is intelligent, sarcastic, or humorous. Wit is found in Korean old sijo too, but the wit that catches humorous moments variously in everyday lives, rather than show acid sarcasm or exaggerated comic scene, is a remarkable characteristic of the English sijo. English sijo presents the possibility of the sijo genre as the poetry of everyday life, which presents various aspects of daily lives in a warm and delightful perspective.

• English & American cultural studies
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• v.9 no.1
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• pp.273-295
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• 2009

As Oedipa Mass, the heroine of Thomas Pynchon's The Crying of Lot 49, is apparently associated with Oedipus, the hero in Sophocles' tragedy, this paper aims to show some of their similarities in quest theme and plot development as well as in the use of dramatic irony. Oedipus the King opens with a priest's pleas to relieve the Theban people from a plague and the king's promise to rid its cause by avenging the murder of the former king, as told by the oracle. Lot 49 begins as a Los Angeles law firm informs Oedipa that she is named as the executrix in her former lover Inverarity's will to sort out the mogul's estate. Ironically, however, Oedipus' investigation reveals himself to be the very cause of the national disaster, the murderer for whom he searched. Likewise, Oedipa starts her inquiry dedicating herself to make sense out of what Inverarity had left behind, only to find that the legacy was America. Sophocles and Pynchon both employ dramatic irony to provide a controlling principle for plot development in their works. In Oedipus the King, Sophocles creates mounting tension as well as distance between the reader's knowledge and the protagonist's ignorance, compressing the play's action into the moment that Oedipus discovers his real identity. For dramatic irony, however, Pynchon tends to work through authorial comments and utilize allegorical meanings of the characters' names, directing his novel at illuminating Oedipa's discovery of Inverarity's legacy as well as the meaning of Tristero, an underground postal service system. Unlike Oedipus the King that proceeds on a single line of action, Lot 49 develops in esoteric, multi-layered allusions and intricately-interrelated double strains involving Oedipa's roles as executrix and quester. At the end of Sophocles' tragedy, Oedipus stabs his eyes and decides to live in exile, realizing that, blinded, he begot his children through his mother; Oedipa comes to a painful realization that she allowed her former lover to create death-orienting America without her diversity and moral system in old times. As Oedipa now discovers herself through her search for Tristero, her tragic spirit lies in her determination to confront her binary choices between two Americas: transcendence or entropy, the Tristero possibility or Inverarity's America. Ultimately, Oedipa tries to find who will be the bidder for the Tristero forged stamps designated as lot 49, awaiting the auctioneer's cry and the "crying" of a new-born America.

• Journal of Korea Game Society
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• v.15 no.1
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• pp.45-54
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• 2015

This study analyzes the change of MMORPG in terms of conversion of narrative mode and discusses user identity according to the narrative mode, focused on and . These two games represent the conversion of narrative mode from Romance which has ideal story for it's main plot, to Irony, which has no background story. This change leads players to have performative persona composed by player's personal motive, compared to the persona composed by narrative motive.

• Journal of the Korean Society of Costume
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• v.25
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• pp.249-268
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• 1995

Parody has recently prevailed as one of the important techniques of creation in art. The purposes of this study are to reaffirm the pos-ition of fashion as an art by clarifying parody depicted in fashion and to make an opportunity to reconsider the meaning of creation in fashion design through the significance of par-ody. For these purposes, documentary studies about parody in literature and art which had been discussed more often were preceded as a framework of this research. framework of this research. Basedd upon that, parody phenomena in fashion as well as art were analyzed. The synthetic results are as follows ; 1. Parody is a kind or critical technique and can be conceived as a process of creation. The established primary style (material) which is well-known and familiar is imitated and then is recreated in new manner through the three types of parodization, that is, the change of its external form, the change of its internal mean-ing and the shift from its place (i.e. displace-ment). 2. Parody in fashion is also analyzed based upon the three types of parodization which designer's will and expression is necessarily required. First, the parody through the change of external form is to have its effect of novelty, unexpectedness, playfulness, wit, mackery, satire, irony, paradox by changing the form of the original through imitation with similarity, transformation, exaggeration, em-phasis. Second, the parody through the change of internal meaning is to bring about paradox, irony, contempt, satire, unex-pectedness by applying the original to inappro-priate subject through its substitution, inver-sion. Third, the parody through displacement is to pursue a jarring incongruity that results from shifting the original to other context. Its effect consists of paradox, unexpectedness, playfulness, ridicule, mockery, satire, irony. In general, the parody technique in fashion can be used to have an intention of expressing seriousness, playfulness, satire, grotesque. The representative designers using the parody technique are Lagerfeld, Ricci, YSL, Yama-moto, Castelbajac, Gaultier, Mugler, West-sood, Steiner and so on. 3. Parody is the technique which imitates and then recreates the preceding style ; is at the same time the method which challenges the existing concept of originality-singleness and uniqueness. It reflects the more flexible concept of modern creation in art as well as fashion. The imitation as the creation, the characteristic of parody is recognized as an creative expressiveness, publicity, intention. Thus it differenciates from copy which is uncritical mimicry.

• Journal of Korean Philosophical Society
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• v.142
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• pp.295-321
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• 2017

This paper discusses Hegel's concept of Art criticism, focusing on the article "${\ddot{U}}ber$ die Bekehrten" in 16. Vol. of Hegel's Gesammelte Werke. Hegel is a theorist of the system of art, but also an art critic who actively participated in popular art practice. Until now, Hegel has been interpreted mainly as a theorist who usually constitutes the system of art. According to many interpretations, Hegel has been criticized for his theories frame interpretation of the Artwork compulsorily. But in this article we see another aspect of Hegel as an art critic. First, in this article Hegel shows as an art critic how romanticists distort the work with an emphasis on the theory. Hegel argues in his article written in early 1826 that romantic ironic theory does not help at all in understanding the "die Bekehrten" of Laupach. Whereas ironic theory emphasizes the contradiction between character and its action as the essential value of the work, Hegel interprets that the comic is at the center of the work, which lets the unessential sides of the unified character disappear, so that the unity of the character expresses itself. Hegel also interprets that the theory of irony represents the work of art for the scholars, which harms the objectivity of artwork and defends the artwork for the public. Second, Hegel began to apply the achievement of his criticism to his aesthetic lectures. Since 1826 Hegel has focused intensively on discussing two concepts, romantic irony and 'artwork for the public' in his aesthetics lectures. Thus, this article provides a basis for Hegel 's criticism of ironic theory after 1826 and the concept of artwork for the public. In this respect, we can confirm that Hegel has reinforced and extended his theories through his practice of criticism of concrete works of art rather than imposing systematic theories upon art criticism

• English & American cultural studies
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• v.14 no.1
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• pp.95-116
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• 2014

Paul Auster's The Locked Room, the third novel of The New York Trilogy, has been examined by many critics in terms of anti-detective fiction or postmodernism. However, this paper focuses upon how the author adopts and utilizes some key elements of the traditional detective novel and its literary tradition. Mystery storytelling is one of Auster's literary strategies and the theme of the double is another. For his novel Auster explores the theme of the double as in Poe's "William Wilson." In The Locked Room, the narrator "I" is described as a shadow of his childhood friend Fanshawe. After Fanshawe's disappearance "I" becomes a literary agent for his friend, and becomes a husband of his friend's wife and a father of his friend's child. Searching for information to write a biography of his friend, he realizes that his friend has always been living inside his skull condemned to a mystical solitude. When Fanshawe appears in the narrator's mind as an image of the door of a locked room, the locked room is also a metaphor for the closed consciousness of the narrator. In his strategy of mystery storytelling, Auster employs the quest of detective fiction as well as the irony of Oedipus the King, where the criminal pursued by the king turns out to be himself. The Locked Room starts with the mystery of Fanshawe's disappearance, and as the novel develops, the narrator pursues numerous clues about his biographical subject like a private eye. Ironically, however, he finds that the ghost of Fanshawe has always been with him and that this is inevitable. As the narrator resolves to quit his life as a double, he contrives to name a strange man Fanshawe as if he tries to turn his biographical subject into a fictional character in the same way Fanshawe has controlled the narrator like a character in Fanshawe's novel. Beaten by the fictional Fanshawe and recovering from a near-death experience, the narrator prepares for his final showdown with Fanshawe. The transcendence of his existence as a double is epitomized by his act to tear off the red notebook handed to him by Fanshawe, which confusingly delivers a message that a life is doomed to be a failure. The narrator's act to cut off Fanshawe's influence bespeaks his breaking out of his locked consciousness and a new start for his life with his own identity.

• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.162-170
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• 2011

Through this thesis, I intended to analyze Hollywood animation through that achieved in box office by directing viewpoint. of Chris Sanders and Dean Deblois not only shows standard narrative structure of adventure, comedy, fantasy, but also express message of story and thorough visual. Analysis of directing classify contents and form. In contents, constitution of narrative and set up of character, irony of plot, characterization and popularity are embossed. In form, lighting and special effect, design and layout, 3D technology and stereoscopic camera technique based on the capital strength are outstanding. The high evaluation for film is possessed of box offic, remained within value and popularity, and delivered metaphysical theme without repulsion. The director's direction make success even if the pre-production manage by huge system approach.