• 영미문화
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• 제18권3호
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• pp.65-92
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• 2018

According to Wenying Xu, Asian American literature abounds in culinary metaphors and references (8); subsequently, a growing number of critics have begun to recognize that food "feeds into the literary rendering of Asian American subjectivity [and] provides a language through which to imagine Asian alterity in the American imagination" (Mannur 13). Ann Mah's Kitchen Chinese: A Novel about Food, Family, and Finding Yourself (2010) is yet another text within which to investigate how food "operates as one of the key cultural signs that structure people's identities" (Xu 2). Even as Kitchen Chinese insists on underscoring that Chinese food, as much as the voyage to her "motherland" China, is critical to protagonist Isabelle's quest to gain a better understanding of herself, we are able to observe how Isabelle exploits Chinese culture and its foodways as "food pornography" in order to align herself with mainstream America. Needless to say, the novels' relegation of Chinese food as "food porn" is problematic in that it encourages readers to participate in the exoticization of Asia and its culture, and the reduction of its people as the other. Ultimately, this essay aims to consider how the consumption and rejection of food becomes a critical means by which the Asian American subject fashions her identity.

• 영어영문학
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• 제58권6호
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• pp.1103-1117
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• 2012

This paper focuses on eighteenth-century English pastor, poet, and hymnist, Isaac Watts (1674-1748), a significant yet neglected nonconformist dissenter, who defines a public religion and transforms poetry as a new literary political genre. During England's post-Revolutionary religio-political turmoil, Watts's poem, "The Hurry of the Spirits, in a Fever and Nervous Disorders" (1734), deliberately engages in a methodical refusal to settle upon a single system of images or terms for describing or referring to the speaker's identity or situation. Watts's, literal and metaphoric, refusal to identify with one religio-political approach to nonconformist dissent has been the very point of criticism that not only undermines the poet's monumental work on hymns but also the lasting impact that the poet had upon England's national consciousness. This study, therefore, questions why the poet refuses to choose one ideal path in his pursuit for religious freedom and, further, analyzes how the hymn writer defends his demotic aesthetics. This paper investigates Watts's comprehensive and detailed formulation of what a secularized "social religion" should entail and, further, explores its beneficial role in the pursuit for society's peace. In contrast to Milton's apocalyptic vengeance, Watts's nonconformist goal seeks to balance and locate authority in the individual with the ancient ideal of a "sacred order" that is represented in "The Hurry of the Spirits" through the means of poetic imagination.

• 문화기술의 융합
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• 제3권3호
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• pp.7-19
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• 2017

한국의 정형시는 정격시조다. 이 정격시조는 고시조의 24수에서 그 흔적을 찾아볼 수 있다. 그러면 한국의 정형시가 왜 정격시조이어야 하는가. 이것은 정격시조만이 정형의 틀을 갖추고 있기 때문이다. 엄격한 틀에 의해 자연스럽게 맞춰진 정격시조는 한국인의 고유한 숨결과 절제미를 가장 잘 나타내고 있다. 또한 정격시조의 인체에 대한 문학치료적 효용이 일반적인 시조나 시보다 뛰어나다. 하이쿠가 음수율의 정격으로 서술의 끝을 생략하고 각각의 독자에게 서로 다른 상상력을 불러일으킨다면 정격시조는 음수율의 정격으로 서술의 완결미를 구축함으로써 인체의 정격 신호의 방향에 일정한 틀을 제시한다. 그래서 정격시조는 일정한 방향으로 협력된 독자의 서로 다른 상상력을 유도함으로써 인류의 화합과 소통의 길을 제시하고 있는 것이다. 그래서 한국의 정형시인 정격시조는 인류의 소통과 삶의 질 향상에 이바지할 수 있는 문학의 틀로써 우리의 미래상을 제시하고 있는 것이다. 그래서 정격시조의 가치를 잘 보존하고 발전시켜 나가기 위해 정격시조에 대한 연구가 이젠 시작되어야 하고 계속되어야 할 것으로 판단된다.

• 비교문화연구
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• 제25권
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• pp.453-482
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• 2011

Until now and in the studying of fantastic literature, there has been likely to regard the character as secondary element, compared to their actions. However, it has to be recognized that the characters is a barometer to divide the boundary among the marvellous literature, or fantasy, magic realism, etc., in particular it is an important narrative element to understand an epistemological vision of fantastic literature. This thesis analyzes the characters, focusing on two dimensions divided such as between protagonist/antagonist and protagonist narrator/editor narrator. The characters in fantastic literature are usually set-up as people like ourselves, because it is necessary for the readers to consider the supernatural phenomenon as real world situation. The reason why many characters in fantastic literature usually meet a tragic end is that the structure of fantastic literature embedded unresolved supernatural confusion into ordinary order in the end, while antagonists are viewed as holders of extraordinariness and they are far from vero-similarity. Together with usual characters who represent the world of logic and reason, antagonists who seek to understand more about the universe totally and thus regarded as symbols of intuition and imagination and ultimately are the elements of fantastic literature. On the other hand, the "first person narrator" is divided between "protagonist narrator" who narrates the supernatural things through his/her own experience to readers and "editor narrator" who narrates the other's experiences. Particularly in the case of "editor narrator", he/she may narrates the stories with different explication and angle, which lead to hesitation and confusion for readers to identify between reality and unreality or natural logic and supernatural one. Even though there are various categories in fantastic literature, this thesis exclude 'neo fantastic', 'metaphysical fantastic' ones, characterized as a possibility of convergence with the secondary interpretation and symbolic implication. Beyond these materials, the literatures which involved with this thesis and analysis are normally related with traditional fantastic literary works which supernatural events intervene in real world and bring out collision between real and unreal, or natural and supernatural logics. Based on this criteria, this thesis chooses literary works such as "De los Reyes Futuros", "El Perjurio de la Nieve" written by Adolfo Bioy Casares who is a representative author in Latin American fantastic literature.

• 한국콘텐츠학회논문지
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• 제15권7호
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• pp.655-663
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• 2015

본 연구는 아동들의 창의력 증진과 인성 함양을 위하여 러시아에서 개발된 '교훈적 동화 만들기' 수업 모형을 탐색하고 우리나라에서의 적용 방안을 제시하고자 한다. 동화는 아동들이 자신의 창의력을 펼쳐 보이고 자신의 잠재적 능력을 확인해 볼 수 있는 첫 관문 중 하나이며, 자신을 인식하고 성취감을 통한 자신의 감정을 체험할 수 있는 좋은 장르이다. 이 수업을 통해 아동들은 문학 작품의 장르를 인식하고 구별할 수 있으며, 동화를 만들기 위한 알고리듬을 익히고, 이러한 알고리듬을 바탕으로 해서 교훈적인 동화를 만들어 본다. 작품을 만들기 위해 상상하고, 분석하고, 만들어가는 과정 속에서 아동들의 상상력과 창의력 및 언어적 표현력이 더욱 개발될 것이며, 동시에 일상생활에서 삶의 도덕적이고 윤리적인 요소들을 좀 더 면밀하게 살피고 활용하며, 내면화하는 작업을 익히게 될 것이다.

• 인문언어
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• 제6권
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• pp.51-75
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• 2004

Is there a pattern in history? How and why does social change occur? Are we to distinguish between the methods to be employed in the study of man and the study of nature? How does linguistic, or 'philological', knowledge contribute to unearthing historical facts? These are the queries that Vico grappled with throughout his life. Vico, however, was an outsider to the intellectual atmosphere of his own day, dismissed as obscure, speculative, and unsound. Only after his death did he begin to inspire enthusiasm among diverse readers, and as long as we remain concerned with the queries mentioned above, Vico's reflections will come alive with contemporary relevance. Actually he has been regarded as the founder--unrecognized by his contemporaries--of the philosophy of history and as a thinker whose ideas anticipated such later intellectual movements as historicism, pragmatism, existentialism, and structuralism. There are many among modern minds who find Vico fascinating for his view of myth as concrete thought and of an age of myth as a necessary age in the intellectual evolution of the human race. James Joyce, for one, was deeply impressed by Vico's view on myth, on metaphor, on Homer, on language, on psychology, and much else besides. 'My imagination grows when I read Vico,' he once confessed, 'as it doesn't when I read Freud or Jung.' Some philosophers, critics, psychologists, social scientists and even geographers would describe themselves as 'Vichians', sharing the view that Vico was a poet and a lawyer, a platonist and a baconian rolled into one. His refusal to be confined within any one discipline, his imaginative effort to understand different cultures, and his insight in dealing with some fundamental problems in the study of humanity all compel admiration and deserve to be emulated in our age--an age when the split between the literary and the scientific approaches to the understanding of society is widening into a chasm. Vico has left some of his most important ideas underdeveloped or even undeveloped, to be excavated and polished by us afier our own fashion. It is surprising that Vico is still a man of obscure name in the academia of our country, Korea.

• 대중서사연구
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• 제25권2호
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• pp.9-32
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• 2019

이 논문은 '감정 기계' 모티프를 설정함으로써, 우리 시대의 포스트 휴먼 현상이 매우 오래된 이야기 속 피조물들과 긴밀하게 연결되어 있으며, 인문학과 기술 문명, 동양과 서양의 문화적 역사적 경계를 넘어서 공유되는 인류의 보편적이면서도 지적인 상상력에 기반하고 있음에 주목했다. 신화 속 이야기에 등장하는 인간을 닮은 피조물들, 기술 문명 시대의 정교한 기계 장치를 통해 공포와 두려움을 불러일으켰던 기계 인간들, 디지털 기술 혁명 속에서 초월적인 형상과 능력을 갖게 된 포스트 휴먼들을 살펴봄으로써, 각각의 시대에 감정기계에 느꼈던 감수성과 인간다움의 조건을 밝히고자 했다. 그 과정에서 인간과 자연, 기계의 경계가 모호함을 이해하고, 인간중심적 인문학의 한계를 넘어, 21세기 포스트휴먼 시대 인간과 자연, 기계의 공존에 대해 음미해 보았다.

• 비교문화연구
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• 제37권
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• pp.31-49
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• 2014

Peking has peculiar features as capital city, and has gone through various transformations, with its name changed from Peking to Peiping to Peking. Even when it did not serve as a capital city, it still played an unrivaled role in cultural aspects. Laoshe, a great writer of 'Peking flavour' literature, is famous for works full of cultural charms of Peking. In his works, which show the manners, norms, art, culture and optimistic life style of Peking, Peking culture is described as an extension of cultural traditions of Qiren. In addition, his critical view of reality is also expressed in the works. Linhaiyin's literary works show ordinary hutongs she experienced in the 1920s in Chengnan, the southern part of Peking, and the quiet and simple life of warm-hearted people living there. Her vague memories of Peking, along with her nostalgia for the city, let her describe the city with recreated happy memories of it instead of the harsh critical view. Her works express the city in her recreated memory full of hope, with her dark memories of the city being glossed over. As seen above, Laoshe realistically described the tragic and difficult life of low class people in hutongs of Peking as well as lower middle class people of the city. Meanwhile, in ChengnanJiushi, Linhaiyin expresses the daily routine and ordinary life of people in Peking from the perspective of middle class people. In addition, she showed the sympathetic view of middle class citizens towards their low-class neighbors. In Peking Menghualu, Wangdewei mentioned that the 'castle of memory' which old Peking people in Taiwan tried to establish fills an important gap for the continuity of Peking cultural history and cultural imagination. This indicates that the 'Peking castle of memories,' which Linhaiyin, a Taiwanese writer well known for 'Peking flavour,' has established plays a big role in filling part of such gap. ChengnanJiushi, Wuyigong's film based on Linhaiyin's novel of the same title, also describes the daily sceneries and culture of the southern Peking in the 1920s, which both Taiwanese and Chinese people miss, through sophisticated images with 'profound yearning tinted with calm sadness', accomplishing an artistic achievement different from that of the novel.

• 고전문학과교육
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• 제16호
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• pp.147-179
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• 2008

Classical literature texts have been transmitted and recreated as subjective meanings in a wide variety of genres. Authors recreate another world with their own imagination and classical literature texts. This study has been conducted to analysis 'OnDal's Dream' which is an adaptation from 'OnDalJeon' in order to figure out the method of inheritance and the subject and message of the adaptation. The process of inheritance and acculturation appears in the literary world. Some adaptations stick to the genre of the original text, other adaptations change to various genres. There is the process of inheritance and acculturation in the aspect of structure of the adaptation 'OnDal's Dream'. lntertextuality can be found between 'OnDalJeon' and 'OnDal's Dream' in terms of the stages such as 'confrontation' between the ego and the world and 'overcoming' hardships. However, the recreation text has acculturation of the structure that shows the potential desire for elevation of social status at the end part of the work so I could possibly show that the adaptation has limitation because it was far from the dream of common people and laborers at that time. There are different structures and recognition systems between 'OnDal Jeon' and 'OnDal's Dream' because the formal is an epic tale the other is lyric tale. An epic tale has some partial symbols in its story line, while an lyric tale is a symbol as a whole. There is an exhibition of deep emotion which is subjectivized and symbolized against the world in the adaptation 'OnDal's Dream'. And the inheritance of unreality, which is acculturation to the world of dream, from the original text can be found in the adaptation. First of all, study between the original text and the recreation text should be conducted in terms of intertextuality. Secondly, an instruction on the inheritance which is based on intertextuality between the original text and the recreation text should be conducted. Thirdly, an instruction about the structure of a genre and differences of recognition systems according to inheritance or conversion of a genre. It will be helpful for children to stimulate to take an interest in classical literature texts and traditional arts, to learn more recreation texts, and to develop the practical ability to recreate works. Based on above study, an instruction which shows a spiritual value of literature should be conducted.

• 한국엔터테인먼트산업학회논문지
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• 제14권4호
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• pp.133-144
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• 2020

본 논문은 연극의 고유성인 살아있는 예술의 진수를 배우의 '현존'으로 보고, 동시대 연극의 배우 훈련과 역할 창조 방법에 대한 새로운 제안이며 행위자의 실제적 활용을 위한 구체적 시각으로의 접근이다. 이에 대한 방법으로 박탄고프와 미카엘 체홉의 연기 테크닉의 요소를 정리함과 동시에 발전 과정에서 알 수 있는 공연 기록들을 토대로 이론적 개념에 보다 쉽게 접근할 수 있도록 한다. 본 연구에서 중점적으로 논의하는 환상적 사실주의와 테크닉 연기는 새로운 배우, 새로운 역할 창조의 다각화를 위한 방법으로 일상에서의 예술적 영감과 배우의 상상력과 이미지, 무의식에 대한 탐구와 실현의 중요성을 강조한다. 이들의 공통된 관점을 종합할 때 달성하고자 하는 목표는 외적 형태와 내적 진실이 결합된 창조적 방법에 대한 연구이자 배우 개인의 독창적 역할 창조를 위한 새로운 시스템의 구현이다. 이를 통해 알 수 있는 유사점과 차이점에 대한 구분과 실제적 효용성의 한계를 밝히고 동시에 배우의 자발적 훈련과 능동적 태도의 요구와 함께 역할 창조의 보편적 방법으로 제안하고자 한다.