2024, Vol.71, No.

The Meaning of the Bear's Desire and Drowning in the Legend of Gomnaru

Jiyoung Kang | 2024, 71 | pp.1~15 | number of Cited : 0

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This paper aims to analyze the desire of the bear in The Legend of Gomnaru, considering the possibility that the group comprised bears, humans, and cubs could not be a family. The scenes in which the bear throws herself with his cubs after the man leaves her are analyzed. Three versions of The Legend of Gomnaru are used for this analysis. The desires of the bears are divided into three groups: the bear that immediately throws herself with her cubs after the man leaves; the bear that throws herself after throwing her cubs in the river, and the bear that shows her cubs to the man to make him back and waits for him to come back then throws them into the river and finally drown herself. In all three versions, the bear recognizes their cubs as independent beings, in that she causes her cubs to die due to the frustration of her desires. The cub comes into existence as a separate entity from the mother through the mother's childbirth, and in all three versions, the mother's death is read as a failure to accept the cub as a deterritorialized entity from the mother's territory. From this, it is clear that the typical family structure consisting of father, mother, and children, does not appear in The Legend of Gomnaru. This could mean that the bear's desire is centered on a man, not her family. In all three versions, the death of the bear shows that she has been deterritorialized from the territory of her desire for a man and has not reached the reterritorialization of building herself. One of the versions showed that the bears attempt to get the man to return by showing the cubs to the man, which suggests that the bear's view of family organization can be read differently from the other two versions. In the version where the bear witnesses the death of her cub, the bear's behavior is interpreted as a kind of self-inflicted harm caused by depression or melancholy due to the failure to fulfill her desires on the man as the territory to reterritorialize herself. The difference in the bear's perception of the family demonstrated the possibility of reading desire as a way to fill a deficiency, and the possibility of reading it as a kind of operation outside the category of the family. Through this, this study aimed to show a new view of the establishment of family and the operation of the bears’ desires to the existing studies that had analyzed The Legend of Gomnaru compared with myths.

A Study on the Comparison of the Ghost Possession Aspects shown in <Seolgongchanjeon> and <Geumbongchaegi>

QIU RUIQING | 2024, 71 | pp.27~52 | number of Cited : 0

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In this article, we compared <Seolgongchanjeon> and <Geumbongchaegi> from 『Jeondeungsinhwa』 and focused on the phantom of Ghost possession used in the two works. The result is that although the two works have something in common, they also seem to have differences. What they have in common is that first, the main character goes to the underworld after death, but is allowed to return to this world by an Official of the underworld. Second, the main character's soul returns to this world and is possessed by another's body. Third, the way of possession is through the body of the main character's relatives or family. Fourth, the soul relieved its resentment by possessing another person's body. Fifth, the person who has been possessed is sick or has no energy. Finally, after the Ghost’s possession, the behavior of those who were possessed is the same as the behavior of the one who possessed. The difference between the two works, first is that in <Geumbongchaegi> there is no exorcism, while in <Seolgongchanjeon> there is an exorcism scene. Second, the stories of the underworld were barely mentioned in <Geumbongchaegi>, but the stories of the underworld were mainly mentioned in <Seolgongchanjeon>. Through this comparison, in terms of the Ghost possession aspects, we can see that Korea's <Seolgongchanjeon> and China's <Geumbongchaegi> from 『Jeondeungsinhwa』 have something in common, and there are also many differences. The <Seolgongchanjeon> which was created at a later time, may borrowed the motif of the Ghost possession of <Geumbongchaegi>, but <Seolgongchanjeon>’s aspect of the Ghost possession has its strong unique characteristics. So <Seolgongchanjeon>’s writer Chae-su's independent invention seems to be stronger than borrowing. Although this Ghost possession motif brought popularity to <Seolgongchanjeon>, it also caused fatal damage to this work. In other words, <Seolgongchanjeon> was banned by the Emperor and then burned. Also, due to this damage, later works could no longer utilize the Ghost possession motif. Accordingly, only <Seolgongchanjeon> which uses the Ghost possession motif in Korean novels has its own unique meaning, unlike many Chinese novels about the Ghost possession motif.

Properties of Coordination of Distinct Types of Interrogatives in English

Mija Kim , Cho Sae Youn | 2024, 71 | pp.53~75 | number of Cited : 0

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The Formation and Use of Korean Acronyms

SeonYeong Lee | 2024, 71 | pp.77~102 | number of Cited : 0

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Reading the discourse of Korean culture through ″Bulham culture theory″: the perspectives and methods

Lee Sun-Hee | 2024, 71 | pp.103~130 | number of Cited : 0

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This article aimed to explore the perspectives and methods of reading the discourse of the Korean culture. It points out that the discourse of Korean culture, a product of modern society, has not been the subject of full-scale research and raises the need for further study. It also explores the perspectives and the methods of reading the discourse of Korean culture focusing on the "Bulham cultural theory", which is considered the origin of modern discourses of Korean culture. The main points of discussion are as follows. First, this paper examined the process by which "Bulham cultural theory" is displaced in the process of discursive practice. It emphasizes that reading the discourse of Korean culture must capture the nature of the discourse itself, deepen our understanding of the discursive terrain, as well as critically reconceptualize the readings imposed by the nation-state regime. Reflective reading, which closely traces the practices and effects of the discourse, refers to a perspective and method that encompasses such multilayered reading. Second, this study discusses how to recognize the desire for cultural universality and singularity projected in the discourse of Korean culture and the comparative cultural methodology that embodies it. This paper sheds light on the fact that singularity and universality are desires generated by the nation-state regime and problematizes the concept of mediative universalism or universal universalism. The ethics of comparative culture is to distance oneself from nationalism and imperialism. Furthermore, reading the discourse of Korean culture requires a dialogic perspective and methodology with other cultures, whilst paying attention to the historical changes in culture. Finally, I suggest that a postmodern perspective, free from the shackles of nation and ethnicity, is necessary for reading the discourse of Korean culture to have a creative freshness and socio-cultural value.

On the Onomasiological Approach to Past Tense in Korean.

Hongshik Yi , Eun-Gyeong Yi | 2024, 71 | pp.131~170 | number of Cited : 0

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Critical Post Apocalypse in Parables of Octavia Butler

Jun, Soyoung | 2024, 71 | pp.171~190 | number of Cited : 0

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Cross-Cultural Studies 2022 KCI Impact Factor : 0.61

2024, Vol.71, No.