2017, Vol.32, No.

Father's Return, Modern Romance Family Romance

Kim, Han Sik | 2017, 32 | pp.7~29 | number of Cited : 3

Masculinity and “Father” in the Poems of Kim Su-Young

Lee Kyung Soo | 2017, 32 | pp.31~74 | number of Cited : 11

The fatherly consciousness and the father's image of Yun Jeung's family crest

KANG HYESUN | 2017, 32 | pp.75~105 | number of Cited : 6

The Aspects of a Father and the Meaning of Problematic Fatherhood Found in <Boeungiwoorok>

Hyunsung Hong | 2017, 32 | pp.107~132 | number of Cited : 6

Therefore, the Issue Is Literature: A Few Critical Suggestions on Recent Cultural Study

류보선 | 2017, 32 | pp.135~170 | number of Cited : 3

The primary purpose of this paper is to do a careful reading of Munhaksa ihuui munhaksa(Literary History after Literary History) and Heoyongdoen buron(Permissible Rebellion), books that comprehensively survey the cultural research carried out after the mid-90s and also present a direction for future research. Reading these two books gives us the opportunity to examine the accomplishments of cultural studies and to look at ways of future research. In Munhaksa ihuui munhaksa, cultural researchers count as the fruits of their research the return of “literatures” and “cultures” previously excluded from literary history that until then was centered on nationalism, men, and the elites, and showing the possibility of “plural literary histories.” This evaluation should not be taken as self-praise. Indeed, cultural research since the mid-90s has drawn several important elements into the realm of literary history, such as subcultures, historical geographies, gender oppression, literary debut systems, which earlier literary history did not talk about or even repressed. And thanks to this, we have the conditions to establish a new genealogy of Korean literature. Heoyongdoen buron is a compilation of research on the colonial censorship system that emerged as an important part of cultural politics studies after the late 90s. It includes almost all areas related to colonial censorship, such as what censorship devices were used by the censors that made it impossible to “write what one wanted to write” and what it was that writers of that period “couldn’t write.” The post mid-90s cultural research that broadened the horizon of Korean literary research now stands at a crossroads: Will Korean intellectuals will carry out meaningful genealogical practice or will their research decline to meaninglessly listing unordered subcultures. This is related to how researchers engaged in cultural studies after the mid-90s view literature. As they move the focus of their research from “literature to cultural studies,” they oversimplify the act, institution, form, or practice of literature. To them, literature is merely an agent of the symbolic order that suppresses subcultures. As a result, they believe that they can dismantle the existing symbolic order simply by returning the subculture to the literary form. However, this brings about the adverse effect of covering up the violence of the symbolic order by only criticizing the literary practice that resists the symbolic order. Thus, in order to invent the “literary history after literary history” or “plural literary histories” that recent cultural research dreams of, “cultural research without literature” should change to “cultural research with culture” or “cultural research with literature.” In other words, recent cultural research can attain its original purpose of dismantling the symbolic order when it compares, contrasts, and infers the research into the cultural sphere in which they are interested with a serious archaeological exploration of the history and status of literature. Thus, paradoxically, the most crucial question in current cultural and literary research is what literature was, is, and will be. In other words, the issue is still literature.

Yun Dongju's images in TV documentaries and entertainment programs

MYUNG SEOK KIM | 2017, 32 | pp.171~206 | number of Cited : 3

Reproduction of the Historical Memories and Spectacle Cultue and Politics: Bringing the Korean movies in 1990s to the Center

han Young Hyeon | 2017, 32 | pp.207~235 | number of Cited : 3

The thesis aims at focusing on a specific area, that is, ‘Historical Memories’ which the Korean movies in 1990s had generated by interests in cultural and political aspects of spectacle images reproduced within movies. The point of the thesis observation is that the spactacle filmic images from historical memories, which has originated from the 1990s cultural phenomenas with consciousness of denial and refusal from 1980s could be glanced, incorporating a sense of cultural and political ideology phenomenon. The similarity which may be discovered among the spectacle images produced from historical events in Korean movies in 1990s is that both ‘fear’ and ‘sympathy’ are being acrively cited. While all the movies in 1990s reproduce historical events, they emit the emotions of fear and sympathy in a form of spectacle image.The real scence of the Pre-democracy Movement that reminds of warfares and labors resembling the severity of wars is a place where a state of excessive emotion such as fear for ‘death’ and ‘sympathy’ for ‘life’ and ‘victims’ becomes effecrivly enabled together. However, such two different emotions play a role to approach to and prevent a way to historical evemts by the public. Meanwhile, what people encounter in their previous memories, which may be reprodiced in a form of a movie, are the historical events that has been seized by madness. Through this, the public in the 1990s approached the present life in the contradictory feeling of historical events and turned off the truth of historical events. In the end, the cultural discourse of the post-Cold War era was only about consuming superficial freedom and diversity. In fact, within the spectacle images from reproduced movies, breaking the irrational, non-standard and abnormal boundaries away and remembering the key of an event, there are some authoritative power and an ideological orientation hidden to establish a certain subject or humanity that is not historical.

The 'inner refugees' in '48 system' below 38th parallel in the Korean peninsula

Junhyun Kim | 2017, 32 | pp.238~263 | number of Cited : 3

This paper argues about the 'inner refugees' in '48 system' below the 38th parallel in the Korean peninsular by reading novels and stories published in 1948~1950. The '48 system' refers to the situation or condition of the Korean peninsular after the foundations of the single governments of North Korea and South Korea, which made a huge number of converts by declaring the others 'dummy' governments. And also, there are a great deal of ideological alterations which can not be defined as 'exile', or 'covert' in the Korean peninsular in the period. The people in the period had to suffer their ideological alteration without crossing the border, or announcement of convert. 'inner refugees'(instead of the Constitution, national security Law operated Korean government at the time) is the word created to define the people who suffered that kind of alteration in '48 system'. The gap between the 'introduced nation' and the 'operated nation' made Korean people 'inner refugees', because it derived them from the right to create and change the nation by their own will. The people in ‘48 system’ failed to gain the full identity of 'citizen', and were treated as the objects of aid and surveillance, which make them look like 'refugees' who didn't cross the border. Because of the problem of the identity, Many citizens of the republic of Korea had to hesitate to express their political opinion, and to practice their political acts. This status had been made clandestinely and silently thanks to the gap between the two (introduced and operated) nation, which blocked a way of the Korean people gaining the identical and practical position of the 'citizen'. As several dictator ships were attempted and practiced continuously for more than 30 years from the foundations of the single governments in 1948, the status 'inner refuges' endured for many years and played a part of political obstacle for Korean citizens.

The Study of the change in the movie of “Widow”by Hwang Sun-won

bang-geumdan | 2017, 32 | pp.265~292 | number of Cited : 2

This paper aims to review a common feature and a difference by finding the point of contact changed to “widow by the Cho, Mun-jin’s movie with the same title as Hwang, Sun-won’s novel, ”Widow”. In Hwang, Sun-won’s novel, “Widow”, the life of young widow, which has been lived with accepting it her destiny to subordinate herself to the family and to be sacrificed with conventionality. This novel was produced in the movie over 3 times, and therefore it is judged that it is a very popular characteristic work. All 3 movies had almost same contents, the Cho, Mun-jin’s movie, “widow”, which we are now reviewing in this paper, has keeping the same thematic consciousness, and was produced latest among 3 movies periodically. Nevertheless, the Cho, Mun-jin’s movie showed more strong Confucian discourse, and therefore much more concrete discussion are needed. Differently from the novel, various types of commercial elements as like sex, love, and lust, etc were expressed in the movie “widow” Of course, this has a deep relation to the production trend of the movie prevailed at that time. In 1978 when the movie “widow” was produced, a movie to take a woman as the main subject of the movie was developed as a mainstream. Because the movie has strategically shown a sensuality that the medium TV can not handle, after the movie “winter’s woman” Such kinds of trend can be caught in the movie “widow”, and therefore It is duly reviewed and analyzed. At first, the novel, “widow” is different from the movie, “widow” in the expression aspect in accordance with the difference of medium, in spite of their common feature, “description”. Accordingly, it is in this paper to compare and analyze the change of the description and their characters, and to discuss the symbol images in the movie and the expression aspect of discourse. Even though the expression type of the discourse was adopted from the novel, it was disclosed by means of the narration structure and the difference among all the characters differently from the novel. So, I try to discuss such kind of trends at the oppositive view point between each female and male character. Also, a sincere attention was paid that the movie built the discourse by the difference of the medium differently from the novel and therefore I try to analyze the reasons why songs and images in the movie really enhance the thematic consciousness differently from the novel by analyzing the songs and images in the movie.

A Study on Sensation of Yeom Sang Seop During the Period of Liberation

Park subin | 2017, 32 | pp.293~319 | number of Cited : 2

In this article, I will examine how Yeom Sang Yeop perceived and signified this period through his short story. Before liberation, for ten years, he stopped writing as a writer, and during this time, he encountered liberation. As a writer and as an individual who underwent the colonial period, who was a realist who always wrote pieces inquiring into chronological problems of liberation period, it was a serious and a crucial moment for him. He depicted the meaning of national liberation through narration of paternal recovery. After liberation, he focused on the changed status of Joseon people and depicted the people who were placed in a situation where they had to choose their own ethnic identity. In the process of recovering from the past of colonization, he intactly depicted the chaos of liberation in his perspective. There is a twofold narration about Japan and Japanese people in his work. Japan (Japanese people) is ethnically the target of revenge in Joseon; however, in the sense of establishing the identity of Joseon people, they stanchly performed a role as a mirror. Since his story is meaningful in authentically emphasizing individuals, when signifying liberation, he focuses on the authority and detailed emotions that individuals acquire, which is the development of emotions and behaviors. Rather than to concentrate on ethnical⦁political signification, he focuses on the essential problems of people. In particular, if you look at his series, 「ihap」(1948)-「jaesaeng」(1948) even after liberation, everything is decided based on the different ideologies and logic behind politics, meaning that the situation between North and South are virtually the same as it was before liberation. So, aside from ideology, it comes to the conclusion that we all are victims in this historical reality. Yeom Sang Seop, as a writer who looks at this period by putting the problems of life in front, focused to realistically depict how people found themselves by encountering intense social chaos during liberation. In this process, ideology was put aside; however, the aspects of these people fully show realistic narrative attitude as well as the sensation of the marginal man, Yeom Sang Seop.

Linguistic Duplicity in Pansori - on the Perspective of Social Stratum and Regional Dialect -

Kim kee Hyung | 2017, 32 | pp.321~347 | number of Cited : 4

The behaviors of Nobi and punishments in classical novel

SUHSHINAE | 2017, 32 | pp.349~382 | number of Cited : 3

Review on the Korean Grammar in the part of Korean Language for Learning in Standard Korean Language(for Elementary School Students)

Kim hye young | 2017, 32 | pp.383~410 | number of Cited : 8

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2017, Vol.32, No.