2024, Vol.30, No.2

Affects of Apocalypse and Settler Colonialism called Healing Journey

Kwon Myoung A | 2024, 30(2) | pp.11~68 | number of Cited : 0

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Current Status of Healing Contents and Characteristics of Healing Novels in Bestsellers of the 2020s

LEE Jura | 2024, 30(2) | pp.69~104 | number of Cited : 0

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This paper identified the current status of healing contents in bestsellers of the 2020s and analyzed the characteristics of healing discourse. In the early 2010s, healing discourse became popular in Korean society, and around 2020, it has begun to critically reflect on the early healing discourse. Healing content began to be organized around books and expanded to the media. Even in the post-COVID-19 era, healing content continues to be a powerful force in the publishing market. However, academic research on healing content and discourse has not progressed since the mid-2010s. Therefore, this paper summarized the current status of healing content in the publishing market since the mid-2010s and analyzed the characteristics and limitations of healing discourse in bestselling healing content. Bestsellers in the 2020s have shifted from essays to novels. While the essays focused on inner reflection, the novels showed a life that goes beyond the individual, empathizing and communicating with others. The message of the healing novel seemed to go beyond the limits of early healing discourse. It revealed a rejection of the method of strengthening neoliberal governmentality in which social problems were attributed to individual responsibility, and the individual subject isolated. However, the community depicted in the healing novels was exclusive, consisting only of people who perfectly embodied the normality of society. The protagonists of the healing novels were able to establish a healing community because they had achieved success through their individual abilities in a meritocratic society, and in order to enter the healing community, they had to embody the speech and manners of those who had acquired cultural capital. On the surface, healing discourse of the 2020s ostensibly advocated the establishment of a social self and solidarity with the others, but behind it, it excluded the socially marginalized group without economic, social, and cultural capital. While critical reflections on renewing healing discourses have been ongoing in the academic and cultural fields, there has been a lack of analysis of best-selling healing content. This paper proposed the possibility of a new change in the healing discourse by securing a critical perspective on healing content that is widely and influentially distributed.

The Ideology of Healing Represented in Korean Animal-toon

Yu Inhyeok | 2024, 30(2) | pp.105~131 | number of Cited : 0

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The purpose of this study is to examine how the representation of non-human animals and healing discourses are combined in Korean animal-toons. The term ‘animal toon’ refers to a subgenre of Korean webtoons that mainly deals with the experiences of raising animals. It grew up in the social, economic, and cultural context of the so-called ‘The age of 10 million of pets’ and was heavily influenced by the phenomenon of "healing" as a secular self-improvement discourse. The popular and academic discourse of companion animals is organized around the ‘pet effect’ which refers to the psychological and physical benefits of the animals. Animal toons are a cultural practice that is produced within and reinforces this discourse. In Chapter 2, I examined animal toons that feature humans finding solace in animals. In these narratives, humans are the ones who endow animals with the characteristic of 'unconditional love' and derive psychological benefits from it. Korean animal toons have reinforced this human-nonhuman economic relationship by portraying animals as ‘the lovable’ but on the other hand, Korean animal toons also point to the problem of human psychological exploitation of animals. Recent animal toons are eager to reproduce the catastrophe that can occur when animals fail to live up to expectations of lovability. In Chapter 3, I explored the ways in which animal cartoons reinforce discourse of ‘healing’ by emphasizing human self-discipline. More recent animal toons tend to emphasize the agency of humans in caring for animals. Humans are portrayed as agents who are able to establish positive relationships with animals after ‘recovering’ a strong self. The discourse of healing of animal toons ultimately narrativizes the strengthening of human agency. This study critically reflects on the ways in which Korean animal toons reproduce the ‘pet effect’, and examines the ways in which animal toons critically reinforce discourse of healing. In doing so, it critiques the ways in which Korean animal toons mobilize animals for healing purposes and reconstructs the ways in which discourse of healing permeate complex cultural practices.

The Era of Post-Healing: (Im)possibilities of Healing - Focusing on Daily Dose of Sunshine

Baek so youn | 2024, 30(2) | pp.133~162 | number of Cited : 0

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Labor-narrative of Placelessness and Affective Alienation - Focusing on the Overlapping of Borders in Korean Teacher -

Kim Nahyun | 2024, 30(2) | pp.163~194 | number of Cited : 0

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Narrative of Animal Family in Anthropocentric Family Norms

Kim， Si-yeon | 2024, 30(2) | pp.195~229 | number of Cited : 0

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This paper examines the representation of animals within the framework of "family narratives" among non-human entities, exploring the ways in which animals are incorporated into the narrative strategies of family norms. It examines how the interpretation and representation of non-human entities, such as animals, within human family narratives reveals a new aspect in which these narratives function as normative discourses related to the family. The representation of non-human entities within "human" narratives emphasizes the "universality" of their "human" value, while at the same time making the anthropocentrism mediated through non-human entities more overt. The discussion begins by tracing contemporary narrative trends, drawing on Korea's narrative tradition, which historically imagined animals in family roles in classical narrative works. It then discusses contemporary narrative trends, indicating a fundamental shift in the perception of human-animal relationships. Focusing on the narrative strategy of a presidential couple aiming to construct a "proper" family narrative that conforms to norms of family normality, the analysis explores a narrative trend in which human and animal roles are reversed, positioning humans as the parents of animals. Lastly, by analysing the phenomenon of Everland's giant panda family, the "Bao Family", which has attracted popular attention, the narrative effects of imagining animal families in humanised roles, emotions and norms are explored. Throughout, animals share the boundaries of normative narratives concerning family norms, gender roles, caregiving, and reproduction. By highlighting scenes in which anthropocentric family norms are reinforced through the mediation of animals, this study hopes to stimulate an advanced discourse on the stratification and othering of non-human entities, as well as ongoing discussions about anthropocentric norms that are either obscured or justified through these strategies.

The study of narrative representations of disasters and responses: Focusing on the Netflix K-zombie drama series <Kingdom>

Kim, Hyeong-Seek | 2024, 30(2) | pp.231~264 | number of Cited : 0

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We are currently in a state of perpetual crisis, with not only the coronavirus pandemic but also various other crises. In the 21st century, the zombie genre has become increasingly popular, depicting disaster landscapes that reflect the current times. In Korea, the zombie craze was at its peak with the success of <Train to Busan> (2016), and the K-zombie craze is now leading the global zombie genre trend. At the center of this trend is the <Kingdom> series, which deals with zombies from various perspectives as the narrative progresses. In particular, <Kingdom: Ashin of the North> is different from other zombie narratives in that it depicts an unstoppable catastrophe. In typical zombie narratives, the origins of zombies are either not mentioned or dealt with in a vague and indirect way. This is because the purpose of a zombie narrative is not to resolve the situation or analyze the cause, but to create a spectacle and a landscape of catastrophe. The <Kingdom> series, however, presents a clear origin of "Saengsacho (Life and Death Plant)." The zombies are not portrayed as inevitable or irresistible, but as a disaster that could have been prevented. While the typical K-zombie narrative portrays zombies as indiscriminate and uncontrollable monsters, the <Kingdom> series portrays them as somewhat 'controllable.' The characters in the series utilize zombies to achieve their own goals and control the disaster. By doing so, the series seeks to find the root cause of the disaster rather than focusing solely on the disaster itself. This is suggested to be due to corrupt and broken politics. However, <Kingdom> seasons 1 and 2, and <Kingdom: Ashin of the North> diverge in their themes and solutions presented. In the first and second seasons of <Kingdom>, the situation is resolved through the struggle of a mythical hero named Lee Chang, who believes that the return of righteous rule is the solution. He believes that if certain forces and corrupt politicians are eliminated, a better world can come into existence. On the other hand, Ashin in <Kingdom: Ashin of the North> is a peripheral character who is excluded and exploited by the power of the state itself. For her, the state is the most corrupt and ugly entity, a negative power that must be overthrown and destroyed. Ashin's solution is collective catastrophe.

The study of Spatiotemporal Iconography in Korean Climate Fiction (Cli-Fi): Focusing on the Critical Function Against Seamless Reality

Park, In-seoung | 2024, 30(2) | pp.265~299 | number of Cited : 0

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Exposed Bodies and Dissoving Egos: Post-human Subjectivity in Kim Bo-yong and Kim Cho-yeop’s Sci-fi’s

Yi SohYon | 2024, 30(2) | pp.301~333 | number of Cited : 0

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SF, which has expanded its scope since the 2000s, foretells a new civilization that humanity will create in response to the Anthropocene crisis. This study examines how science fiction in Korea is recreating the impending Anthropocene disaster, focusing on the novels of Kim Cho-yeop and Kim Bo-young. These writers commonly suggest a solution that humanity must change itself above all in order for humanity to overcome the crisis and survive.It is necessary to fundamentally reflect on the modern view of humanity and transform into a posthuman. Kim Cho-yeop's Dispatchers depicts a world contaminated by 'bumramchae', creatures from outer space. People try to reject and avoid bumramchae, but the protagonist rather tries to find a way to coexist with bumramchae. Through this process, the writer presents a new human figure that goes beyond the modern view of humanity that has established itself as an independent entity. These posthumans are shown connecting with a variety of other beings and joining the flow of creation. Kim Bo-young shows how robots and humans choose to coexist and co-evolve despite the situation of damaging each other in The Story of The Origin of Species. Likewise, in the short story "Old Convention", Kim Cho-yeop asks to practice the ethics and politics of ‘staying in extinction’ and ‘exposure’ by escaping anthropocentrism through the process of seeking coexistence with extraterrestrial life. Neo-materialist feminist researcher Stacey Alaimo encourages us to actively expose ourselves to harmful disasters that pollute our bodies and minds. Life experiences the extinction and damage of the modern ego by exposing itself, but through this, it enters an ontological state of tangling connected to the wider world. This state involves the experience of breaking away from the atomized self and merging into the flow of generation, thus creating pleasure. Based on these reasons, this study proposes the politics of 'exposure' and symbiosis, which went further from 'patience' in the passive and ascetic sense, as an alternative to the Anthropocene.

The Value of the genre of Fantasy as a ‘Field’ of Philosophy - Focusing on Lee Young-do’s Dragon-Raja and Future-Walker

LEE YOUNGSEO | 2024, 30(2) | pp.335~374 | number of Cited : 0

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The purpose of this paper is to prove the literary and research value of the genre of fantasy, by analyzing two of Lee Young-do’s novels. Although discourse on genres like fantasy is more active than ever due to the rapid development of the web-novel market, interest has not yet sparked in academia, because the unique form and structure of genres and its inherent research value have not been sufficiently clarified from a conservative point of view. While taking this issue into consideration, this paper attempts to prove the value of fantasy as ‘a Field of philosophy’ by using narrative theory and philosophical discourse, which are the most traditional in literary study. First of all, in the case of Dragon-Raja, the novel shows the unique status and role of the setting in fantasy which implies the creation of new cultures such as myths, history, and language, as well as race, geography, and tools, in a virtual world. In particular, ‘Eupinel-Helkanes’ epistemology’ is linked to Cosmos-Khaos’ ontology of post-structuralism and stimulates readers’ philosophical thinking. Future-Walker further allows to delve into the issue at hand. In this novel, the author creates an unprecedented event called ‘fixed present’ in this philosophical setting. Events such as the presence of a ghost and the stop of to-come, that appear as the present is symbolically fixed, reflect Derrida’s view on time. As a result, the world of Future-Walker functions as a field of philosophical thought experiment that goes beyond not only reality-code but also narrative-code. In addition, the choices and conflicts of various characters carried out in these philosophical settings and events serve as a good example of how to turn philosophical thought experiments into narrative. As such, Lee Young-do’s works, being categorized as fantasy novels, take full advantage of being free from both reality-code and narrative-code, asking readers fundamental philosophical questions in an interesting and intuitive way. At this point, the genre of fantasy has a wider openness to philosophy than ‘pure literature’, and from now on, this value is expected to be recognized, and research on fantasy novels and Lee Young-do’s works is expected to become more active.

An Ethics of Subaltern toward the Future

Lee Jae-Yong | 2024, 30(2) | pp.375~403 | number of Cited : 0

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The purpose of this article was revealing the unique structure of repetition in Park Chan-Wook's film "Sympathy for Lady Vengeance", through analysis of its temporal framework and narrative. time and narrative. It is also revistis the themes of revenge and atonement depicted in the film. The plot of "Sympathy for Lady Vengeance" has the structure of preparing, executing, re-executing revenge, and ending. During the re-execution process, the subject were changed, from the main character Geum-ja to the parents of the victims, that is 'giving up revenge'. In this process, the central character narration and character voice-over were used. In particular, it was revealed that the central narrator(a voice of middle-aged woman) who was Jenny at the end of the work , the daughter of Geum-ja, revealing that the time of the film consists of three layers. In this process, the method of producing meaning through repeated scenes rather than scene for explanation or actor's lines. In a flashback scene from the film's past, the imprisonment of Geum-ja was made by the threat of the kidnapper, Mr. Baek. Geum-ja becomes an agent of the oppressed prisoners, then kills the Witch. The importatnt motive for becoming agent of other in a different way, continues to be a psychology of atonement for the agent of the Mr. Baek. The film depicts Geum-ja who converts from agent to atonement. This film shows the presnet and future time that the victim cannot live, and the split subject that appears as an agent/atonement. In the transition of the narrative that breaks through the gap in symbolic order, the victim hovering like a ghost, passes on to the a little girl and an young man, thus testifies painfully to the loss of the present and future. This could be called 'an ethics of subaltern toward the future'. This paper underscores that "Sympathy for Lady Vengeance" is a work infused with philosophical weight, necessitating meticulous analysis alongside its cinematic narrative in the tradition of Park Chan-Wook's films.

A Study on Postcoloniality of Pamyo(Exhuma)

jang seo-lan | 2024, 30(2) | pp.405~432 | number of Cited : 0