2019, Vol.55, No.

Cross-Cultural Studies 2023 KCI Impact Factor : 0.52

pISSN : 1598-0685 / eISSN : 2671-9088
https://journal.kci.go.kr/ccs

The genre of SF that began with the modern scientific technology, was introduced for the enlightenment of scientific technology recognized as a symbol of westernization in Korea, in the late period of the Joseon Dynasty. So, Korean SF not has meanings and characteristics of narratives as a genre, as well as meanings by interacting with social phenomena. Thus, examining characteristics of Korean SF narratives could be a methodology of viewing changes in the perception of scientific technology in Korea, while also verifying the culture changed by scientific technology, and inflection points of the perception derived from it. Changes in Korean SF narratives, show different aspects in accordance with social changes. Working as a tool for the enlightenment of scientific technology in the late period of the Joseon Dynasty, is a remarkable characteristic. After that, it was not largely expanded or changed, by going through colony and war. It shows narrative characteristics such as playing a role as propaganda, or training aids for scientific knowledge, and learning for adolescents. Also, due to delayed perception of science and influence of special social phenomenon such as the state of division, diverse attempts of the genre were limited. However, in the 21st century, owing to influence of rapid development of scientific technology and institutionalized scientific technology, Korean SF narratives started showing possibilities different from the past. Sticking to diverse values to move forward after the modern age, Korean narratives are evolving towards becoming an avant-garde culture and arts genre. So, the statement of the expanded significance of Korean SF narratives will play an integral role in expanding the boundaries of Korean culture in the future.

This article is dedicated to the themes of the “Literature War” during the Cold War between the USA and USSR in 20th century. As we know, these two opposite ideological state systems fiercely competed with each other, to decide which system would achieve superiority in globally. After World War II, the USA and USSR worked to secure rocket scientists who had worked for Nazi Germany, because they wanted to take the initiative in international politics. When the USSR put the artificial satellite “Sputnik” into the space October 4, 1957, it was not surprising that the USA could not repress its astonishment. Americans perceived that Soviet science and technology, was second to America’s until that point in time. After that, the USA and USSR competed on all fronts, including politics, economics, science, military power, and culture. What we call the “Literature War”, is the representative by-product of the Cold War. We can identify indirect traces of system competition, when we read literary works (especially SF) from those days. The Cold War wielded a strong influence over the world situation, so it is very important to identify symptoms of the political (un)conscious in literary works, which claimed to symbolize the pure imagination of humanism. That’s why we have to investigate SF from the period of the Cold War.

This purpose of this study is to examine similarity and difference between the award acceptance speeches by Korean leading male and female actors, and Chinese leading male and female actors from the thanking and institutionality perspectives. Corresponding to presenting an award as a public compliment, accepting an award is an active response to an award. Acceptance of an award leads to a vocal response to the award ― thanking. In analyzing this, we must understand the difference between conversation and institutional discourse first, on thanking by considering contents of the speaker's benefit, intention of the benefactor, uncertainty of the hearer on the film awards ceremony, role of participants in the ceremony, etc. Based on understanding this, this study analyzed award acceptance speeches by Korean and Chinese leading male and female actors on two aspects of such speeches. One is constructing the speech as a thanking discourse. The other is the order of people whom the speaker mentioned in the speech. This analysis shows that the speeches are almost similar each other in terms of the structure of the speech, but are slightly different in elaboration, before and after thanking. And it shows that, based on the result of examining the order of people whom the speaker mentions, Korean male and female actors seem to regard themselves as performers. They also regard the ceremony as a setting in which to share the public's compliment (in the form of an award) with colleagues and audiences. However, Chinese male and female actors seem to regard themselves as appraisees, and the ceremony as a setting in which to be appraised.