• English & American cultural studies
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• v.18 no.1
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• pp.93-120
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• 2018

Constance Fenimore Woolson is among those whom scholars have for long been trying to rediscover and add to the list of representative American writers. The primary methodology has been regionalism, based on the fact that most of her work portrays remote, exotic regions in and out of America. Still, Woolson remains obscure to general readers as well as literary critics outside a small circle of her scholarship. This essay attributes that obscurity to Woolson scholars' blind reliance on regionalism's nationalistic assumption in reading Woolson's multifaceted writing, and proposes to explore her nationally and regionally displacing view of the rigidly stereotypical and ideologically biased binary opposition between the center and the margin in postbellum America. The essay takes as an example the only story by Woolson that has never been reprinted or anthologized until very recently, "In Sloane Street," and examines why it resists the scholarly endeavor to regional categorization. The examination especially focuses on how the story exposes the Americanizing conceptualization of the region and its limits. The essay concludes with an attention to the story's ending where Woolson abruptly yet deliberately introduces a form of almanac as the main character Gertrude's mode of daily record. The attention to that uniquely hybrid genre in the American literary tradition, which encompasses the public and the private, the universal and the local, sheds light on Woolson's authorial intention to deconstruct the Manichean view of literary regionalism.

• Cross-Cultural Studies
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• v.38
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• pp.7-28
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• 2015

This article considers Chunhyanjeon written in Japanese by Jang Hyukju in 1938. His Chunhyangjeon was presented from among the collusion and crack of 'things Japanese' and 'things Chosun' discussed in Japanese literary world in the 1930's. This article analyzed the writing method and the meaning of the text. Jang Hyukju(張赫宙, 1905~1997) became known to Japanese literary world by the second grade nomination of the prize contest of the magazine Kaizo in 1932. Since then, he worked actively in the Japanese literary world by writing novels in Japanese and introducing the literature of Chosun. Thanks to his activity, the literature of Chosun drew attraction from the Japanese, which can be called 'boom'. Jang Hyukju was in the middle of this boom. So, his text presented the collusion and crack of empire and colony. We can make sure this issue from his play Chunhyangjeon. When he presented Chunhyangjeon, Jang Hyukju mentioned his purpose of writing. He intended to write modern play in new literary style. Chunhyangjeon was surely the material of things traditional Chosun, which was corresponded to the demand of Japanese literary world. Through the story of Chunhyangjeon, however, he formed the modern text style. He wrote in standard Japanese language, and described things from the perspective style which is often used in modern novel. And he renewed the character characteristically and arranged the structure of the play. His writing style showed clear distinction in the comparison to Chunhyangjeon written by You Chijin which was presented in Korean language 2 years earlier than Jang Hyukuju's. The text Chunhyangjeon written in Japanese by Jang Hyukju reflected specificity as a district of Japan. But on the other hand, a new literary method of modern realism was tried. Chunhyangjeon written by Jang Hyukju shows the cross penetration of empire and colony. And in his Japanese-language literature, the literature of Chosun is coexisting and playing variation.

• Journal of Digital Convergence
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• v.14 no.4
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• pp.425-435
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• 2016

This paper has the aim to track down the viewers' cognitive emotion of how they are interacting with the story of Shakespeare in Love. Human minds have cognitive and emotional flows while plots, characters, and action-ideas are intertwined in the story of the film. This paper especially focused on the analysis of characters' networks with four statistical data pictures in order to schematize the storytelling architecture on how and why Shakespeare has strongly motivated to write a great star-crossed love play, Romeo and Juliet in his very young age. This paper examines that Shakespeare's subject of desire is to accomplish both a true love and a sincere play which can make the nature of love true. The desire of subject is always slipped aside into scattering with "object a." In the film of Shakespeare in Love, the "object a" is a writing process and has a product of Romeo and Juliet as well.

• Journal of English Language & Literature
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• v.56 no.2
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• pp.329-356
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• 2010

Coleridge's fame as a poet rests on the achievement of the mystery poems, "The Anceint Mariner," "Kubla Khan," and "Christabel." Coleridge's achievement in "Christabel" goes far beyond what previous critics have imagined. Coleridge is one of a handful of great writers who are included as representatives of androgyny. Throughout his life, Coleridge was accustomed to point out feminine qualities within himself. "Christabel" exemplifies the kind of writing contemporary feminist theories call l'écriture féminine. L'écriture féminine is not necessarily the creation of women but may rather be the works of those who refuse to identify with the father and the laws of paternal discourse. "Christabel" becomes Coleridge's most daring symbolic story. "Christabel" appears in its full significance as a vehicle for some profound insights into the dynamics of relationships between men and women, fathers and daughters. Through her deformity, Geraldine is actually the casualty of her father's hatred of women, and is the embodiment of all its anti-virtual aspects. The poem shows no bitterness against women, only compassion and remorse. Coleridge is sympathetically presenting Christabel's suffering as a woman at the hands of an overmastering man. Also, "Christabel" demonstrates woman power as well. In fact, the one person whose tales have any real effect within this narrative is the ambiguous Geraldine. Geraldine excels at story-telling, at making words act for her. Perhaps, despite the appearance of the surface, in which men hold all the cards, it is in fact women, or the feminine, so necessary to procreation and creativity, who hold sway here. This apparent dominion of the feminine derives at least partly from Coleridge's use of the conventions of that feminine genre, the Gothic romance. L'écriture féminine is a concept defined by its divergence from a dominant cultural norm. One may speculate that the fragmentary state of "Christabel" and "Kubla Khan" is in fact congruent with this mode of writing. If these poems imply a theoretical écriture féminine, they are by definition "incomplete," for completeness is a standard of patriarchal language and culture. More perplexing even than the other "mystery poems," "Christabel" is the true fragment of the three.

• Cartoon and Animation Studies
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• s.33
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• pp.223-246
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• 2013

Even though cartoons and narration comics were born from different origin, they have been called by names such as 'cartoons' or 'comics'. The reason can be found in the similarity of cartoons and narration comics. The similarity of cartoons and narration comics is the genre consisting of writing and drawing. Writing can be the format of expression and it can represent the story. Such story is present as a component of 'narration'. Sub genre of comics includes cartoons and narration comics. It includes animation in a broad range. In cases of narration comics and animation, it is thought that narration is present with continuity of time. However, in case of cartoon, because one or two cuts without continuity of writing are frequently expressed, it is being asked whether narration is present. It is easy to be reminded of epic or chanson de geste whenever you hear 'narration'. Since it deals with a biography of the character, we think the concept of 'narration' with temporality. However, narration provides a certain event in a broad range. Thus, cartoons presenting one event with the image may have the existence of narration, because description of multiple scenes of narrative comics can be implicitly represented in cartoons. As such implications leave a space, the empty space can be filled by active reasoning of recipients. However, nevertheless, it is very difficult to find studies as well as mentions of narration in cartoons. Thus, in this paper, we investigate the concept and structure of narration and demonstrate the presence of narration in cartoons. First of all, we looked at the narration theory in literature before studying narration in cartoons. The reason is that we thought the approach to the literary theory was required in order to investigate the basic elements, since cartoons are a collection of writing and drawing. We were focused on the prerequisites of narration presented in "story and discourse" of s. Chatman. If the prerequisites of narration are present, we can assume that the narration is present. The prerequisites are 'narration reasoning', 'screening', 'consistency', 'process statements' and 'stasis statement'. As s. Chatman described them as prerequisites of narration, he analyzed the narration structures of films and novels. In addition, we revealed that the narrations were present in cartoons as we identified how prerequisites of narration presented by Chatman were presented and expressed through "vocabulary of comics", "Timeframe" and "life in the line" described in "understanding comics" by Scott McCloud.

• (The)Study of the Eastern Classic
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• no.59
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• pp.93-120
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• 2015

The purpose of this study is to explore the source of appealing which Gusadang Kim Nakhaeng's writing for ancestral rites is equipped with. Gusadang was one of the Confucianists in Yeongnam during the 18th century and was praised for his scholarly virtue of jihaenghapil and silcheongunghaeng. Although Gusadang's writing for ancestral rites and his teacher Milam Lee Jaeui's letters were even specially named as 'gujemilchal', there has been almost no research on Gusadang's writing for ancestral rites yet. Therefore, this study selects three pieces of Gusadang's writing for ancestral rites which are especially rich in emotional expression for discussion. Chapter 2 titled as 'the Reconstruction of Memory in a Microscopic Perspective' presents the reason why Gusadang's writing for ancestral rites is recognized even as a piece of work equipped with appealing. Writing for ancestral rites begins from the point that there exists memory that can be shared by both the living and the dead. In reconstructing the anecdote with the dead on the stage of ritual writing in detail, the writer's memory plays an important role. Chapter 3 titled as 'the Rhetorical Reconstruction of Elevated Sensitivity' examines rhetorical devices needed for writing for ancestral rites. Proper rhetoric is needed to upgrade the dignity of the ritual writing and arouse sympathy from the readers. Although writing for ancestral rites is supposed to express sadness in terms of its formal characteristics, it should not end up being a mere outlet of emotion. Chapter 4 looks into 'the Descriptive Reconstruction of Lamenting Sentiment'. There should be a clear focus of description to make the gesture of the living towards the being not existing in the world any longer an appealing story. While maintaining a distinct way of description, Gusadang organizes the noble character of the dead, pitiable death, the precious bond in the past, and the longing of those left for the dead systematically. Writing for ancestral rites is a field to mourn over the death and reproduce the sadness of the living through writing. To make the text written in that way get to work as ritual writing properly, it should be appealing necessarily. This study has found the fact that such appealing that gives life to ritual writing is grounded on authenticity.

• Journal of Digital Convergence
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• v.11 no.1
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• pp.423-430
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• 2013

The development of information technology introduced digital contents and Social Network Services(SNS), and allowed the virtual transaction and communication between users called "the experience knowledge" advanced from "the objective knowledge." This paper will analyze interactive storytelling system creating different types of stories on narrative genre about family history, personal history and so on. Through analysis on narrative interviews, direct observations, documentations and visual records, contents about CEO story, corporate story, family story and especially family history will be categorized into sampleDB and informationDB. Accumulated contents will allow the user to increase the value and usage of the contents through interactive storytelling system by restructuring the contents on family history. This research has developed writing tool data model using different digital contents such as texts, images and pictures to encourage open communications between first generations and third generations in Korea. Furthermore, researched about connected system on interactive storytelling creation device using various genre of family story that has been data based.

• The Journal of Korean Medical History
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• v.25 no.2
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• pp.137-153
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• 2012

A thesis insisting that Sugjong's medical doctor Yoo Itae(劉以泰) and the author of Marjinpyeon Yoo Itae(劉爾泰) are not a same person and his activities were in Heonjong(헌종) period, and his writing Marjinpyeon is in 1846, is published. In this study, I'd like to reveal that Yoo Itae(劉爾泰), the Marjinpyeon's author and Yoo Itae(劉以泰), Sugjong's medical doctor are a same person through analysis of Geochang Yoo's genealogy, articles, The True Record of the Joseon Dynasty, Seungjeonilgi, Taeweonseonsaengan, Sancheong-gun's paper, Sancheong Hyanggyo's paper, Sancheong-gun's paper, The geographic paper, Dongyuhagan, Sawoo Munjib, and analysis of folk story, the wrote year of his Marjinpyeon and Inseomunkyunrok and his birth year. According to my analysis, Yoo Itae(劉爾泰), the Marjinpyeon's author and Yoo Itae(劉以泰), Sugjong's medical doctor are a same person. And Marjinpyeon is written in 1696, the year of Byongja, and other his books, InseoMungyonlok at 1709, the year of Gichug. In conclusion, Yoo Itae(劉以泰.劉爾泰) was a famous medical doctor at Sancheong, born in 1652 (HyoJong the $3^{rd}$ year) and passed in 1715 (SugJong the 41th year), left books of Marjinpyeon, Silheomdanbang, and Inseomunkyunrok.

• SUVANNABHUMI
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• v.5 no.2
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• pp.29-39
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• 2013

This paper deals with the study of a manuscript on Rakhine history which is deposited today in Oriental and India Office Collection of the British Library as the accession number OR 3465 A. The External Criticism of this manuscript shows that it is a manuscript, which was commissioned Nga Mi to compile by Sir Arthur P. Phayre by making references of the existing Rakhine chronicles in the early colonial period, as Phayre wanted a historical account with an outline of the royal dynasties. The Internal Criticism reveals that the compiler Nga Mi did not invent the writing of his own but drawn the sources from various Rakhine chronicles in compiling his work. And Sir Arthur Phayre who used this Nga Mi Chronicle or OR 3465 A as the chief source in writing Rakhine history. He did not analyse the mythical, supernatural and improbable elements in Nga Mi Rakhine Razawin. Phayre did not problematicize any historical issue from Nga Mi Chronicle. One of the outstanding examples of the legend of King Min Saw Mon is discussed in this paper. As Arthur Phayre took this account from Nga Mi Chronicle and framed the story into a convincing narrative in his "History of Burma", the scholars after Phayre have continued to present the legend as a historical fact.

• Journal of Convergence for Information Technology
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• v.10 no.12
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• pp.245-255
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• 2020

The purpose of this study was to investigate effects of 'activity program for effective storytelling' on the empathic ability and language teaching efficacy of a story grandmother. The subjects were 51 beautiful story grandmothers in Gangwon, Gyeongsangdo and Seoul. The research tools used the emotional empathy scale of Jeon(2003), and language teaching efficacy scale of Kim and Lee(2011). As for the research procedure, from March 06 to July 27, 2017, an 'activity program for effective storytelling' was conducted. For data analysis, a t-test of the corresponding sample was conducted to find the difference between the pre- and post-scores of the two variables. As a result of the study, first, the cognitive empathy ability between the story grandmother and the young children after applying the 'activity program for effective storytelling' was higher than that of the dictionary. Second, the language teaching efficacy between the story grandmother and the young children after applying the 'activity program for effective storytelling' was higher than that of the dictionary. Therefore, the 'activity program for effective storytelling' suggests that there is a positive effect on improving the cognitive empathic ability and language teaching efficacy of the story grandmothers.