2016, Vol.44, No.

This study attempted to investigate the issue how stepmother’s narrative was transferred to <Simcheongjeon>. For this agenda, the approach of this paper is described below to determine how Bbaengdeok’s stepmother narrative was transferred episodically to <Simcheongjeon>. First, this paper started from the relation between stepmother narrative and <Simcheongjeon> affiliated with each root folk tale in Buddhist text. Among <Jeondongja>·<Bubmyodongja>·<Sayohime>· <Sunwootaeja>·<Mokryugumo>·<Wonhongjang>·<Hwangchunmuga>·<Hoynye jieun> known as root folk tale until now, this paper investigated whether <Jeondongja>·<Bubmyodongja>·<Sayohime>·<Sunwootaeja>·<Mokryugumo>· <Wonhongjang> was the root folk tale affiliated to Buddhist literature. At that point, stepmother narrative showed relation with opening eyes motive. It has been reported that the text of opening eyes in Buddhist literature is originated from the south. This paper confirmed that <Simcheongjeon>’s stepmother narrative was related to Buddhist literature originated from south. Next, this paper investigated the background of opening eyes motive of stepmother types. After entering Gyeongpan <Simcheongjeon>, it formed Bbaengdeok narrative of Wanpan <Simcheongjeon> related to Literary geography of Jeollado enjoying space of Wanpan <Simcheongjeon>. There are two evidences for this. The first one is <Woomoknangsang> which was passed down around Jeollado. In the course of sudden Buddhist folklore’s flow into the country, it is <Woomoknangsang> that combined stepmother narrative of sudden Buddhist literature with the characteristics of northern Buddhist literature which was reconstructed into son’s filial behavior of northern Buddhist literature to make father’s blinded eyes open. The other is the Buddhist trend of the late 18th Chosun when northern Buddhist literature and sudden Buddhist literature were combined. It appeared that stepmother narrative was formed in the Buddhist background of the late 18th Chosun when northern Buddhist literature and sudden Buddhist literature were combined.

A Study on Korean-Chinese Characters Represented in Korean Films

Kim Jong Soo | 2016, 44 | pp.191~209 | number of Cited : 18

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A New Relationship between Poetry and Music - music as Creative Principle of Poetry in Mallarmé's World

DO YOONJUNG | 2016, 44 | pp.211~237 | number of Cited : 5

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This paper seeks to explore the new relationship between music and poetry established in the beginning of the Modern Era. This was a period when reading silently was the dominant culture rather than reading aloud and orality was limited due to the emergence of literacy and print culture. A poet sensitive to the characteristics of the period, Mallarmé created his own concept of music and new creative principles of poetry from it. We analyze his 『Divigation』 and letters, in particular, the "Crisis of vers", "Music and Literature", "Mystery in the letters", and "About the book." Firstly, Mallarmé connects music with the mystery and the sacred: the mystery surrounds the music and the music is oriented with the sacred. The sanctity is that of the human race and has existed within humans since the beginning. Transposing the characteristics of this music to the poetry is his first creative principle of poetry. However, Mallarmé called music a totality of relationships that exist between objects without reducing the dimension to only the instruments or the sound. His definition is abstract, regarding music as a complete rhythm, the atmosphere and the air. Secondly, we have the question of how to realize music in a poem. As the music is surrounded by the mystery, Mallarmé can transpose the sacred to a poem in mysterious ways. This leads to his second principle of poetry: make a poem as a structure. In other words, 'musically', based on the disappearance of real objects and the initiative of the poet, he created a structure with only the words. We can create an acoustic structure but Mallarmé created a visible structure to overcome the incompleteness of the sound of a word in the diffusion of print culture. In this manner, the use of silence as much as sound and the use of visual as much as aural components were introduced in poetry as important motifs and the essentials of creation. This new relationship between poetry and music and the creative principles drawn from it appear to be the areas to which attention should be focused in the research of poetry.

A Study on the Fate of Futurism: Russian Futurism in the 20 th Century and Korean ‘Futurism’ in the 21 th Century

Sun Yung Park | 2016, 44 | pp.239~281 | number of Cited : 2

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Linguistic Characteristics of the Proverb and it's Effective Application to French Learning

Jung,Il-Young | 2016, 44 | pp.283~314 | number of Cited : 0

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Dramatic and Musical Composition in the Musical Comedy Les Misérables

Cho, Man-soo | 2016, 44 | pp.315~342 | number of Cited : 1

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There exists a general misunderstanding of the Musical as being both a dramatic genre and a musical genre. This misunderstanding lies in the fact that music fills the role of the drama. In other words, there exist a series of narrative episodes that help the development of the drama and music generates the ambience that corresponds to each episode. In this case, music is subordinated to the drama and thus becomes secondary. However, this paper seeks to show that in the Musical, musical composition is so strongly linked to the development of the drama that it is through the musical development that the drama unfolds. This paper seeks to explore this view through one of the most successful musicals of our time, Les Misérables. A musical adapted from a novel is not the retrenchment of a series of episodes from the original novel. The process of dramatizing the novel compels the musical creators to observe what to draw out as a dramatic action. The interesting points of a musical consist of how the musical creator has reflected his understanding of the fiction through the composition of the music. This is why this paper has created a table analyzing the forty musical compositions in Les Misérables. This table is meant to visualize the musical motifs employed in this play in order to explain the relationship between the musical composition and the development of the drama. The theme of Les Misérables lies in the transformation of Jean Valjean. His change includes the process of transformation from a thief to finding Jesus and his denial of being a sinner to his confessions of sinning. This paper explores the transformation of the dramatic action of Jean Valjean, which is symbolized by such themes as Misery, Love and Name established in musical form. The dramatic conflict between Jean Valjean and Javert as well as between Jean Valjean and Thénardier is also explored through the composition of music. The success of Les Misérables lies in its successful constitution of music that embodies the in depth interpretation of the original play.

The Adinkra, Ghanaian Philosophy Symbols - The Expansion of the Speculation System in Adinkra Symbols

CHO JI-SOOK | 2016, 44 | pp.343~372 | number of Cited : 3

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The Current State and Task of African Studies in Korea

HONG Myung-Hee | 2016, 44 | pp.373~391 | number of Cited : 8

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Since the 2000's, interest toward Africa in Korea has increased rapidly. Korea's interest in Africa began in the second half of the 1960’s. However, this interest in the 1960’s was motivated by political and diplomatic necessity at the time rather than the needs of indigenous groups in Africa. Korea had to oppose North Korea’s diplomatic expansion in Africa to gain the support of international organizations like the United Nations. This interest in Africa motivated by diplomatic needs vanished quickly after the end of the cold war in the 1990’s. Authentic Korean interest in Africa began to emerge in the 2000’s. Korea's rising international status based on economic development led to a natural interest in Africa, which was the last frontier on earth. As a result, African studies in Korea increased significantly after 2010. The increase in the number of theses, articles and books was remarkable from 2010-2016, in comparison with 1957-2010. In spite of the increase in the quantity of thesis, articles, and books, the problem with Korea’s African studies is above all, its preponderance. Over 75% of thesis and 70% of articles are concentrated in the domain of politics and economics. This reflects the fact that Korea’s interest in Africa is based on short term political and economic interest, indicating that Korea’s African studies did not deviate from the rudimentary phase in its quantity and quality. Another problem with Korea’s African studies is the lack of integration of different types of research. African studies in Korea has three components, government funded research centers, university laboratories and individual researchers. The government funded research centers focus on the overview of African nations and their political and economic information. University laboratories mainly perform research on the theoretical aspects of politics, economics, human sciences and culture in Africa. Individual researchers are concerned with various categories. However, these three groups have failed to achieve a synergic effect on African studies in Korea and most of the research on Africa does not extend beyond each academic area. To overcome this problem, first of all, a live exchange may be necessary between domestic researchers.

The Enigma of Korea-Japan Relations: Why is Japan’s Nation Branding Strategy not Working in Korea?

Kang, Sungwoo | 2016, 44 | pp.393~410 | number of Cited : 4

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The Paradox of Grant Allen’s Physiological Reductionism

Lee, Sungbum | 2016, 44 | pp.411~430 | number of Cited : 0

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One of central issues in the Literature and Science discourses during the Victorian era is the relation of physiology to psychology. Many thinkers tackle the question of whether or not psychic phenomena can be reducible to their physiological bases. For instance, Victorian physiologist William Benjamin Carpenter claims that there should be a boundary between physiological and psychological qualities. Yet, his contemporary writer Grant Allen contends for the reduction of psychology into physiology. In the essay, I discuss Grant Allen’s work Physiological Aesthetics (1877) so as to eventually problematize his physiological reductionism. I especially highlight the paradox of his physiological aesthetics. In order to clarify my argument, I introduce two concepts: evolutionary aesthetics and physiological reductionism. On the one hand, Allen argues for the development of aesthetic appreciation. The gradual evolution from gaudy to serene colors, for instance, reflects the fine differentiation of sensory organs. He believes that the existence of varied aesthetic pleasures corresponds to the evolution of sensory nerve structures. Nonetheless, Allen ironically gives more weight to the commonality of aesthetic experiences than to this teleological ordering of aesthetic experiences. He argues that there is no fundamental difference among humans in terms of their aesthetic assessments. Furthermore, there is even no essential distinction among plants, animals, and humans in light of their aesthetic appraisals, he states firmly. Although he asserts the gradual advance of aesthetic feelings caused by the intricacy of nervous systems, he simultaneously trivializes the evolution of aesthetic appraisal. In the essay, I highlight this paradox in Allen’s physiological aesthetics. It should be underscored, lamentably enough, that Allen seeks biological purity by erasing fine lines among physiology, psychology, and sociality. He estranges aesthetic experiences from subjective variations and their socio-cultural contexts. He makes great efforts to eliminate individual differences and socio-cultural specificities in order to extremely biologize aesthetic experiences. Hence, Allen’s physiological aesthetics is marked as the politics of physiological purification.

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Cross-Cultural Studies 2023 KCI Impact Factor : 0.52

2016, Vol.44, No.