Korean | English

pISSN : 1738-3188

2020 KCI Impact Factor : 0.93
Home > Explore Content > All Issues > Article List

2014, Vol.20, No.1

  • 1.

    Establishment of Byul-Hak and the Plan of Plulalistic Civil Society : focusing on 『Byeolgeongon(別乾坤)』

    KIM BOK SOON | 2014, 20(1) | pp.7~50 | number of Cited : 8
    Abstract PDF
    『Byeolgeongon』showedestablishmentofByul-Hakthatmeansabberational knowledge and academic system. Byul-Hak is a knowledge and discourse systems of a new perspective of keyword of people, popularity, citizenship, individuality, culture and private life. By thought of Byul-Hak, “national” subject of colonial Korea was converted to subject of “Homo-Tastekus”. Private life is a new “social” ares, was created by 『Byeolgeongon』. It means “birth of a new public sphere”, which was a great achievement of 『Byeolgeongon』. The way of 『Byeolgeongon』 to make “private life” was a way in which positioned in the category of knowledge as “private life”, and was located in the ‘new society’. Hybrid realities by borrowing the swapping of viewing were created by the thoughts of Byul-Hak. And the round-table discussion was a format that corresponds to this.
  • 2.

    A Study on the Narrative of Reportage in Byeolgeongon and its Fun Effect

    Choi Bae Eun | 2014, 20(1) | pp.51~78 | number of Cited : 3
    Abstract PDF
    Byeolgeongon is the first magazine to claim to advocate the promotion of the public taste in modern Korea, and so it is thought to be an important material in tracing the modern origin of popular culture in Korea. Because “fun” in Byeolgeongon was a key element, its editorial staff made an various attempt to draw the interest of the general public. We need to pay attention to ‘reportage’, one of their attempts, as the unique narrative strategy, which caught readers` interest. In this paper, I studied how the narrative of reportage in Byeolgeongon created ‘fun’, and tried to illuminate the popular-style writing shown there. “Reportage” in Byeolgeongon is an article reporting about it after reporters under the direction of the chief editor investigate a specific area during a limited time. Reporters, the subjects of narrative, are also the subjects of investigation, and they perform many roles. The object of investigation is primarily ‘Gyeongseong’ or ‘Seoul’ under Japanese Imperialism. In this case, the space of investigation includes such covert ones as the streets of ‘Gyeongseong’ at a certain time of day, a cesspool of crime, bar-whorehouses, boarding-house villages, private homes, and the like. The narrative in reportage may be summarized as follows. First, the process of investigation is described in detail in the present tense, and the vivid description of the target-site and the direct quote of on-site interviews give a sense of reality. Second, the adventure narrative that utilizes ‘infiltration’ and ‘disguise coverage’ of reporters adds interest and thrill. Next, the frequent psychological description of reporters increases the readers` understanding and empathy for the situation and investigators. Finally, revealing the hidden corruption of the subject of investigation and criticizing social conditions lead the readers to the pleasure. In view of the overall discussion above, it is important that ‘reportage’ in Byeolgeongon created the stereoscopic narrative, which enabled us to glimpse the hidden side of modern city. In other words, the narrative style of ‘reportage’ seems to have provided readers with ‘vicarious satisfaction’ in the way reporters lead them to the private space, which cannot be seen even if readers want to. I think this paper has a special meaning in that I have analyzed the narrative of ‘reportage’ in Byeolgeongon, which has seldom been dealt with so far, and examined how 'fun' is created in Byeolgeongon. However, it will be possible to reveal the complete narrative strategy after the narrative of the other articles in Byeolgeongon is also analyzed and considered in a comprehensive manner.
  • 3.

    A study on history discourse of 1920~1930s modern popular magazine 『Byeolgeongon』 : About representation method of historical events and figures

    Kalam Zeong | 2014, 20(1) | pp.79~111 | number of Cited : 7
    Abstract PDF
    There is a lack of general discussion about 『Byeolgeongon』, it because 『Byeol- geongon』 had advocated to hobbies and practical benefits. So it has significant meanings in terms of history as part of the narrative strategies and reconstruction of public memory to subsume for the 1920s public readers. It does not mean that simply pleasure or entertainment. It means that the spread of the Enlightenment and the public awareness in ‘hobbies’ or entertainment discourse of the 『Byeolgeongon』. To improve modern hobbies is not get rid of enlightenment. Rather, it means that the contemporary Korean reborn. As it were, the hobby discourse of byeolgeongon has a kind of nation discourse. This is called enlightenment and awakening of consciousness contributes to the role. I look at the history discourse to clarify. It because we can confirm select who to be indicators. As well as when it called these historical events and figures, we can found a narrative strategy.
  • 4.

    Shinpa, Popularity, and intertextuality of Lady who sells Flowers

    Cho Sung-Myeon | 2014, 20(1) | pp.115~141 | number of Cited : 1
    Abstract PDF
    Lady who sells Flowers (꽃 파는 처녀) is classified as immortal classic masterpieces in the cultural field of North Korea. The compliment called Immortal classic masterpieces can be said the category of North Korean literary art, which revolutionary works created and directed by Kim Il-Sung or Kim Jong-Il's handling. The main works based on Juche thought(North Korea's self-reliance ideology) includes the following culural texts: Sea of Blood, Destiny of a member of self- defense, Seong- hwangdang (shrine to the village deity), Ahn Jung-Geun shoot at Itou Hirobumi, and Lady who sells Flowers. These remarkable texts were done to transform and to expand wide variety of genres that had made operetta, film, play, and novel. The existing researches on Lady who sells Flowers have run to carry on operetta and film, but have been endeavoring to go on literary text recreated by 4・15 Collaborate Writing Group (4・15창작단) in 1977 until now. Lady who sells Flowers can be said revolutionary cultural contents that make full use of play・operetta・nove・juvenile- literature・currency-design. While the kernel of the novel will center on conflict and resistance, the storyline of the novel unfolds around class struggle between the small peasant farmer Kkotbunyi’ family and the big landowner Bae’s couple. It is considered that Lady who sells Flowers has always remained adhere to its principles of socialists realism and loyal to canon and paragon of Juche thought. But it was more of Shipageuk (transpontine melodrama) and popular fiction by the standard of aesthetic form and story. In addition, Arthur Schnitzler’s short story “Der blinde Geronimo und sein Buder” (1900) had a big impact on the revolutionary novel of NK. As we reported and reviewed, studies on NK literature conducted in the future have to look at the level of popular literature study and the relationship affects between North Korean’s and other countries’ work.
  • 5.

    Children’s Radio Programs and the Position of Children’s Literature (1)

    Choi, Mi-Jin | 2014, 20(1) | pp.143~173 | number of Cited : 2
    Abstract PDF
    The purpose of this paper is to explore the foundation and position of children’s literature by taking a close look at how radio programs for children had been realigned from the time Korea was liberated from the Japanese colonial rule until the post-war restoration period. First, children’s programs were among the regular radio programs during the liberation period. For example, <Children’s Time> which was reinstated in October 1945 was broadcast for fifteen minutes in kindergartens and primary schools across Seoul. Songs for children took center stage with considerable amount of stories and plays for children. It is noteworthy that female writers made strides during this period. Since October 18, 1946, when the American programming system was introduced, a signal music began to be used and <Toddlers’ Time> was newly broadcast. <Children’s Time> offered a variety of sub-programs to help young audience enhance the level of their culture, but existing creative works lost some ground. In particular, a pilot program 『Ddolddori’s Adventure』 resulted in a great success for which many competent writers worked together. The problem was that after about four years of broadcasting, good follow-up program was not produced, whose broadcasting was even suspended following the outbreak of the Korean War. Second, radio broadcasting was crippled in the middle of the Korean War and programs for children were broadcast again only after the broadcasting reorganization on December 16, 1951. During this period, <Stories from Grandmother> presented by the United Nations Command was translated and broadcast everyday, while wartime children’s songs were played on <Children’s Time> mainly by the children’s songs clubs of the military and police. As the number of writers for radio programs was not enough, other genres lost more ground and became more of the purposed literature. Third, radio programs for children during the post-war restoration period continued to change year after year. In 1953, <Toddlers’ Time> which focused mainly on children’s songs in the process of three rounds of reorganization, weakened, while <Children’s Time> continued to supplement its sub-programs but revealed unstability in its operation. At the time, creation of children’s literary works gradually increased but the share of literary writers was relatively small, which made it difficult to guarantee the quality and value of the works. In 1954 when the nation began to be stabilized, <Children’s Time> was broadcast longer and a series of new programs were introduced while <Toddlers’ Time> was scrapped. It was during this time when two of the popular quiz shows <What is this?> and <Children’s Play Series> started. Many professional writers also joined hands, enhancing the position of children’s literature and adding more weight to these programs. This trend continued until 1955. Meanwhile, the Christian Broadcasting Station, opened in 1954, began to regularly broadcast <Children’s Time> with a stable broadcasting format. Its sub-programs arranged religious works, dialogic plays with scientific themes and serials with a fixed schedule. As opposed to serials, most of which were adapted stories, creative works went on the air for short programs, where a lot of renowned writers of children’s stories and radio broadcast writers participated, expanding the scope for children’s broadcast programs. Given the discussions above, it is hoped that problems in some broadcasting stations will be fixed while the foundation can be laid for studying children’s literature in earnest.
  • 6.

    Trends and Limitations of Children Animationduring Theatrical Animation Buoyancy: Focusing on <Tori Janggun–The Third Tunnel> and <Kkomaeosa Ttori>

    Soong Buem Ahn | 2014, 20(1) | pp.175~206 | number of Cited : 3
    Abstract PDF
    This paper attempts to critically reconsider the storytelling of the “Ttori Janggun” series produced during the theatrical animation buoyancy. The “Ttori Janggun” series, produced between the late 1970s to 1980s, holds contents that significantly affected contemporary children, along with the “Taekwon V” series. Especially <Tori Janggun – The Third Tunnel> and <Kkomaeosa Ttori>, which represent the “Ttori Janggun” series, illustrate the standards for differentiating between good and evil in the value oriented and the regulatory ruling order of the society at that time. What is more interesting is that these animations request for agreement and approval from the audience. Through this study it was found that there are various political and ideological implications in the process the main character Ttori overcomes the situation of his ‘father’s absence.’ Furthermore, it was possible to indirectly infer, in conscious and unconscious level, the effects on the audience of the children animations with similar characteristics that were released during the production buoyancy of theatrical animation at that time. It is judged that the study on the works of theatrical animation during the period of buoyancy is insufficient in terms of quantity and quality. This paper as well is limited to the two pieces of work that represent the ‘Ttori Janggun’ series. I hope this research on the works representing this period can be proceeded at various angles in the future.
  • 7.

    A study on Jung Oonbok's editorials of Jegooksinmun帝國新聞

    Dae Hyung Lee | 2014, 20(1) | pp.207~238 | number of Cited : 8
    Abstract PDF
    Jung Oonbok鄭雲復 was a japanese collaborator in period of Japanese occupation. But we must not discount his acting for patriotic enlightenment movement. He insisted exclusive use of Hangeul, and made efforts for patriotic enlightenment through public speech and newspaper editorials. We pay attention to his editorials about custom improvement and women enlightenment. It is different from other intellectuals’ direction in those days. His insisting is based on the discourse that Western culture is good. He insisted exclusive use of Hangeul but his writings have traditional Chinese style. In the writing style his newspaper editorials mainly have sensitive tendency of speech. Such a phenomenon was from his enlightening attitude and an agitative speech. On the other hand he wrote newspaper editorials very concretely. Because he wanted his writing would be used as guide for readers about concrete matters. It is also involved in enlightening attitude.
  • 8.

    The Military-Civilian Cooperation and Film Exhibition Practices: “Military Movie Theaters” in Gwangwon-do

    Gyeong-hae Wee | 2014, 20(1) | pp.239~272 | number of Cited : 5
    Abstract PDF
    This historical examination of film exhibition practices investigates “military movie theaters” in non-urban areas of Gwangwon-do in northeastern Korea. Gwangwon-do contained a few cities and many rural areas, isolated by mountains; thus, its rural inhabitants had little access to urban movie theaters. In several parts of this region, massive military camps were established near the DMZ, the military border with North Korea. In these camps, the army’s corps set up several military movie theaters from 1959 to the mid-1970s, with the financial support of the U.S. military. This paper explores three dimensions of the military movie theater. First, I examine the management of the movie theaters, including their openings, functions, roles, and audiences. Second, I look at the movie theaters in the contexts of the film industry from the late 1950s to the 1970s. Third, I study the meaning of the movie theaters in the contexts of society and the Cold War. As part of my study, I analyze written documents published by a film studies organization, oral testimonies from people involved in the movie theaters, and the Seoul and Gwangwon-do daily newspapers from the post-Korean War period. I conclude this study as follows: First, the management of the military movie theaters did not differ from urban ones that were more profit oriented. The films and the audiences of both types of theaters were quite similar. Propaganda and commercial films were screened for soldiers and rural civilians, including female prostitutes, at the military camps. Second, the movie theaters functioned as arenas for government policies by showing propaganda films and, at the same time, as substitute places for urban culture, which the rural people had not experienced because of the inaccessibility of mass media. Third, they provided entertainment for soldiers and their families. However, the movie theaters also earned profits for each army corps, since they showed commercial films to the civilians in their regions. Finally, the military movie theaters resulted in the eventual disappearance of temporary movie theaters and mobile film units in rural communities, leading to the reconstruction of film exhibition practices in non-urban areas. Accordingly, the movie theaters diffused culture and shaped public opinion by unifying the channels of film exhibition in many rural areas of Gwangwon-do.
  • 9.

    A Study on Narrative Motif Classification Logic : Based on Doppelganger Motif

    Yun Hye Young | 2014, 20(1) | pp.273~297 | number of Cited : 1
    Abstract PDF
    Motif is a theme that penetrate through a narrative and repeated in human life. A story contains this kind of motif is transformed and passed down to another story. Therefore motif is a source of narrative creation. For such a reason, many scholars tried to extract universal motives from stories and classify them. But these attempts have limit of classifying motives in parallel and doesn't have coherent logic. So this study proposes classification logic by using Levi-Strauss's binarity. Levi-Strauss explains a myth as derived story from theme of life and death that is primitive to human. These lasting motives contain binary tension that sustain themselves and go forward with a plot. The binary feature of motif could function as logic that explains relationship between similar motives.
  • 10.