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Sense and body was understood as an important and necessary element for forming a subject at the Joseon literary world in the early 1920’s, which was denied by the enlightenment and reason. With this, they tried to find the freedom of the individual and give a high value to inner personality. Also No, Ja-young persuaded the way for self-affirmation, which is aware of personality, as romantic approaching to sense, emotion and passions at the novel in the 1920’. The sense of youth yearned dating which is an appreciator of personality and unknown, and had desire to have a family through romantic love. The public’s longing for dating of the day was a foundation which No, Ja-young generates literature, and an opportunity to spread it, so there are full of optimism of appropriateness at his novel in 1920’s, which realizes ‘complete self’ or ‘real-self’. This appropriateness can be met with romantic aesthetic sense as an optimistic prospect for future and dating or made with a tragic grudge following failure of realization of love and his idea. On the other hand, at No ja young’s novel in 1930’, he took the focus on various existences in the real world and their ‘self-crack’, while putting ‘complete self’ and ‘real-self’ in brackets. Therefore, while his novels was reproduced the achievement of self-development that a society personage of the colonized Joseon period obtained and appeared their personal deception or snobbery in the private field at the same time, which it had both such attitude like that. Like that, while No, Ja-young combined ideologically the enlightened declaration for romance of sense and personality into the novel of 20’s, at one of 30’, it was disclosing in naturalism that romantic aesthetic sense was failing completely in closeness and pitiableness of the daily life world. Such attitude in naturalism has a limitation that can’t change the violating mind which is mockery and overturned value, to the real power.

이희철의 「읍혈조」는 1920년대 초반 『동아일보』에 「환희」와 「선도자」에 이어 세 번째로 연재된 창작 장편 소설이다. 이 소설은 유학생들의 근대적인 체험 및 연애를 다루고 있다는 점에서 1920년대 연애소설의 계보에 속하면서도 (표면적으로만 연애를 구사했을 뿐-삭제) 미달된 연애소설의 형태를 취(하고 있-삭제)한다. 등장인물들 대부분이 남녀 간에 연인 관계로 설정되지만 이들 사이에 애정 갈등이나 삼각관계와 같은 구도는 전혀 발생하지 않을뿐더러 연애를 통한 진정한 인간관계에 대한 이해나 성찰로도 가 닿지 못한다. 오히려 연애서사가 전면화 되면서 흥미롭게 설정된 시대 배경이나 다양하게 등장한 인물들이 후경화 되거나 혹은 실종되는 경향을 보인다. 이러한 현상은 소설예고와 연재 사이의 간극을 통해 극명하게 드러난다. 애초 예고대로 현대 조선 청년을 주인공으로 내세웠음에도 불구하고 시대를 그리고자 한 방향으로 나아가지 못하고 미달된 연애소설로 귀결된다.

This study aims to examine what is at stake in Shim-Hoon’s film criticism that constitutes the first scene of “Film Criticism”. Shim’s “Film Criticism” is a film criticism in itself and serves as a meta-criticism on film criticism at the same time. What are striking about his film criticism are its specialty based on the objective evidences and its audience-oriented interpretation with universal validity. Indeed, Shim’s film criticism can be interpreted as a “resistant signifier” defying that of the contemporary literati who made a significant contribution to the inauguration of Chosun film criticism. Critiquing the arbitrary film criticism of the literati and their license to intervene in the other kinds of art than their own, Shim proposed a criticism specific to the objective constitutes of the medium of film. With the success of the film “Arirang” triggering the formation of the mass audience in Chosun film industry, the film criticism was supposed to mediate between the Chosun film and the audience, which is crucial to the development of the Chosun film. Through his criticism based on his acute awareness of the discrepancy between literature and film, film and the reality, Shim tried to problematize an assumed hierarchy between literature and film and redress the inferior status of the latter.

On this study, I will consider processes of reconstitution of ‘zhonghuamizu(中华民族)’ through affections in Yanan(延安) of the 1930’s. At that time, the Chinese Communists aroused nationalist emotions of the public through movies, magazines, posters, and all sorts of cultural events and made them as power of the anti-Japanese movement and a socialist movement. Among them, based on descriptions- news, movies, memorial writings, and magazine articles of Norman Bethune, I will study how the Chinese Communists strengthened bonds between members with a position of ‘a foreigner’ of him. In other words, I will analyze processes of making ‘a public enemy’, the Japanese army, by producing ‘anger’, of recalling ‘zhonghuaminzu’ by invention of ‘fraternity’, of promoting class solidarity of the world, and of raising lots of individuals as socialist warriors, who resided in the continent, by developing ‘sublimity’. ‘Affection’ originally means excitement, joy, anger, sorrow, and pleasure, pain, and delight felt from the inner side of an individual. However, according to the descriptions of Norman Bethune, the individual affections started to become collective standards, and finally showed a tendency to set in as ethical patterns. On this study, following these processes of flowing, I will reveal that the reason why the Chinese Communists could achieve the last victory even in materially poor circumstances was that they built ethical justifications by penetrating capabilities of the public and managing affections.

This article focuses on Cartoon that have flowed into the public Journalism, which the process is related to the analysis of the formation and popularization of planning. Cartoon become gradually through a Colonial-Chosun is to draw attention to the process. Cartoon was still poor in 1910's journalism. But widely on a variety of topics addressed, Colonial Chosun were an opportunity to expand the spectrum of Cartoon(Comics). Cartoon finally began to form in 1920's Colonial Chosun, because of it was expericece facing the Cartoon from 『Mailshinbo』 and ruled Japan's policy shift since 1919. Appointed as a journalist and journalism in the first "Caroon page" trackon in fixed in 1920 years, 『Dong-A Ilbo』. And it was that the 『DongMyoung』 reproduce and led to social problems with Cartoon. In this process, awareness of the colonial politics of intellectuals, led at the tind of Journalism, and how the regime formed in the process of forming public opinion through a newspaper and went to shows.

This paper is a study on unfolding phase of the serial historical novels in newspapers from the 1945 Liberation to Korean War. In the historical novels during this time advanced age's legacy and new phases derived from the age's political situation coexists. This paper's primary purpose is to prove such it's specific aspects. For this the facts and series' reality of released works will be researched bibliographically. I judge that the continuity between this time historical novels and advanced age's those can be verified on such a basis of the analysis about form traits and discourse characteristics as a serial novel. In addition to this the core issues are the assumption by the theoretical discussions concerning historical novel, changed new themes, and writers' historical consciousness in order to track the variation of historical novel's tradition.

The purpose of his paper is to consider the relation of a modern state and modern academy, especially Sasanggye and academism. To do this work, I tried to make it clear that Sasanggye designated litterae humaniores to achieve the goal of idea formulation at first, but gradually its focus moved to social science because of the response to the request of the times. And I investigated that Sasanggye had intensively refined academism to settle down the academic writing tradition as its subordinated subject. It means Sasanggye took the role of a learned journal. At that time, as South Korea was a newly emerging nation, intellectuals tried to have new knowledges for nation-building. And the academic community and knowledge production systems had not constructed yet, Sasanggye took the charge of that role. So learned journals which were published by the learned societies and Sasanggye were not distinguished easily in the 1950s. But Sasanggye had a exclusive possession in classifying knowledges with particular methods. In other words it adopted a particular branch of learning as a foothold and attempt to hierarchize the academy. And through the process of its arranging learning, economics and historical science were embossed as the important knowledges in Sasanggye. The reason why they took the important role was to have power to explain the actualities concretely. However, Sasanggye is also noticeable in the respect of training the scholars by presenting abundant paper samples. And in the primary stage of Sasanggye, this scholar training was none other than reader training, Until 1954 its readers were scholars mostly. But in 1955 Sasanggye changed the main reader with university students and thirties intellectuals. This was for popularization of the academic knowledge. For This purpose, Sasanggye invited the public to join in the prize contest for the papers on university students which they could participate in after learning how to write academic papers. And Sasanggye boldly devoted space to the papers written by university students if they were remarkable. But as Sasanggye extended the range of the reader, the characteristic of a popular culture magazine for the well-educated classes was strengthen gradually. Undoubtedly it had relations with the continuously demand by the reader.

In the 1970’s, Korean literary world and publication market were connected to each other. In the early 1970’s, because literary magazine was booming and as a popular literature, a series story in a newspaper had the power, literary world developed various response strategies such as the discussion of commercialism of popular literatures, forming the novella for setting up its cultural capital. The antagonism between existed literary world and members of literary coterie in new generation magazines and the conflict between populism of a series story in a newspaper and aesthetic serious caused subdivision of literature magazines and diversification of reading materials. In accordance with the single book system of publication market, this change in the field of literature caused expanding the market of popular literature. The revival of a series of novels in the 1970’s could be called as results from interests between Korean literary world and publication market. With giving values to the field of literature such as awarding the literary prize of Lee Sang, it could be proven by the fact a series of novels took the position as a best seller. In conclusion, because it broke a genre awareness as transition period of a full-length novel, it could have the limelight as a unique novel form. The process of this series of novels was caused by the ‘segment’ and the ‘chance’, features of a series of novels. When the method seeing the genre is understood, specific genre could be a specific speech on specific social reality. The meaning of a series of novels at that time is providing multiple views and interpretation on a social reality and expanding the prospect of the awareness. As understanding social problems at that time with multiple views, because it gave the chance adopting social problems at that time to the public, it is possible to find the fact a series of novels in the 1970’s had the meaning.

For field specialists or researchers working at cultural contents industries ‘storytelling’ is classed as the most important tactical term. Lately internal academia’s discourse map about storytelling is getting very subdivided. This study generally examines formation process of discourse about storytelling between Anglo-American researchers, and prospects related internal researcher’s results in relative contexts. Through these process the internal Storytelling Studies’ current address, developing into to Story Engineering, and remaining tasks are reviewed. Storytelling Studies has not a few tasks to acquire autonomy as one efficient Story Engineering. Efforts in various angles should be supported to make interdisciplinary research features, as Storytelling Studies is consilience study that treats technology amalgamative area.

The Scarlet Letter (2004) directed by Byeon Hyeok is said to be based on Kim Young-ha's short stories Photo Shop Murder and Meditation of the Mirror. The director created a new film narrative by blending these two novels. This article aims to figure out how queerness in the film depicts adultery, a narrative form considered disturbing in society, and how it is represented as a filmic narrative form. In his early stories, Kim Young-ha borrowed filmic images in his writing and expanded the imagination of desire. Rather than focusing on the borrowed filmic images in the stories, this article aims to examine another theme that is produced in the film as the film amalgamates the narratives of his novels. The film The Scarlet Letter is a representative queer movie with a storyline of homosexual relations between two heroines. On the surface, the story is about adultery: the main character takes her lover’s husband and is unfaithful to her lover. Looking into it more closely, it is revealed that the story is about revenge: the main character takes her lover's husband from her and marries him to pay back her lover for her betrayal. In Nathaniel Hawthorne's The Scarlet Letter, implication of the upper case “A” which Hester wears for adulterer is transformed into “angel” in the last part of the novel. As with this novel, the film shows similar transformation. The mark of adultery and homosexuality in the film is changed into a mark of punishment for the ruling class's narcissism. In the same way Hester resists oppression of conventional society by wearing the beautifully embroidered letter A, the film voices up resistance and freedom from social oppression in a multi-layered narrative form.

Korean Idol stars, commonly known professional singers, are products of entertainment agencies (hereafter, EA). The EA are responsible for the whole process of the idol-centered phenomenon. A television show that most Korean viewers call audition program shows how much the EA have strong impact on the idol-boom. All judge of the competition program come from big EA, two are CEO, one a representative celebrity. While giving some comments on the contestants' performances, they emphasize the importance of controlling emotions. They suggest that idol stars should make themselves beings without ego, self-esteem throughout training. In fact, through discipling the pre-idols, the EA give emphasis on "emotional labor'. Most idols stars' revenue depend on their showing on talk show, advertisements, and fan-meeting. They are always to be ready for the occasions to give big smiles and to deliver sweet talks. Idol stars and EA in Korea articulate their endeavors with national success. They are busy to mention their success referring to dilligency and patience that are important virtue in Korea. They are trying to be a part of national pride and to relate themselves with recovery in national economy. They tend to play a role of social apparatus through which people are encouraged and again disciplined to be industrious beings. They try to take advantage of popularity of K-Pop around the world and to enhance it soft-nationalism.

Kangful’s webtoon is widely loved by the public. One of the most important reasons of his popularity is his touching and heartwarming story between people. But the reason why such a evident story can attract the public is the way this story is presented. In this thesis, we think that this way of presenting is using the traditional technique of detective novels, called the ‘Mystery Puzzle game’ technique. By showing gradually the mysteries and the solutions, it asks for the readers’ continuous inference, and through this, it makes the readers feel a pleasure as if they were playing a mystery game. This technique is a common point in Kangful’s works, but it is the most remarkably revealed in this piece, <The lighting store>, which we are talking about. The mytery puzzle in Kangful’s <The lighting store> is more detailedly organized than any other works. In order to prove this, we should first analyze the work’s characteristic in its structure of narration. With a general view, half of the 30 chapters are bringing up the mystery, and the others are the process of solution, when a twist happens in the 22 chapter. The complex composition of the space and time and the characters are also worth to analyze. They show how mysteries, hints or other indications are proposed and solved, and what are the roles of the unsolved mysteries. Finally, it as well indicates that this mystery puzzle technique uses the structure of narration of detective novels, and that it can in any degrees extend into various genres.

This thesis strives to analyze the relationship between the dance aesthetics of Isadora Duncan, who is still considered a representative for Western modern dance, and the scientific discourses of Modern Times. With regard to this thesis, it is especially required to analyze an deciding influence of 'discourse about the future', which was emerged from the industrial as well as the scientifically modernized western world, on Duncan's dance. For this analysis I mainly concentrate on Isadora Duncan's book, Der Tanz der Zukunft, which was translated and published in Germany in 1903. Until now Duncan's dance has been in most cases considered in conjunction with the social and cultural distinctiveness of Modern Era. The women's liberation movement and the appearance of free dance style is one example of this context. However Duncan's initiative for a new kind of movement based on a discourse about 'human nature' was actually very closely related to the modern zeitgeist, which emphasized the dialectical synthesis between Körper (Body) and Geist (Mind). Duncan strove to embody contemporary scientific discourses referring to 'naturality of the human being'. This was anticipated by the evolutionary theories of Darwin and Haeckel as well as the humanistic and aesthetic theories about Greek culture by Wagner and Nietzsche. However it is quite important to note that these modern discourses mostly postulated an explicit separation between the ancient Greeks, respected as ideal model for the human being, and the uncivilized barbarian. Such a distinctive modern perspective on human body and culture is also to be found in arguments of the Western modern dancers like Isadora Duncan, whose mission was to embody 'the civilized nature', so to speak, to be conscious of their own naturalness.