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A Study on the Use and Meaning of Classical Novels in Web Novels －Focusing on “Tiger Eosa Shakes Joseon.”

SEO BOYOUNG | 2024, (65) | pp.5~40 | number of Cited : 0

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This study aimed to examine the relationship between classical novels and web novels in the context of the changing interest in and awareness of the latter. Due to the difficulties of directly comparing classical novels and web novels, we considered how classical novels could be utilized in web novels. This study sought to predict the methods by which classical novels survive in web novels and to discover unique and distinct aspects of their adaptation as web novels. The web novel selected for this study is “Tiger Eosa Shakes Joseon.” Serialized from February 10, 2021, to February 8, 2022, on Naver and Kakao Page, this work achieved success as a web novel through storytelling that relied on classical novel techniques, indicating a positive outlook for web novel creation utilizing classical novels. First, classical novels are utilized in web novels regarding the origin and formation of the work. Additionally, elements such as the author and readership of classical novels and their consumption methods are observed in web novels. Lending libraries, novelists, critics, and other aspects of novel culture offer possibilities for this type of adaptation. Next, depending on the genre of web novels, classical novels are regarded from the perspective of historical facts or tales, with attention to the historical events reflected in classical novels. As classical novels are communicated in the realm of “old stories” such as fables or fairy tales, characters from classical novels form relationships with characters from web novels, leading to a narrative progression different from that of classical novels, with changes in the appearance, role, and function. Moreover, classical novels are newly created within web novels through the reiteration of familiar characteristics, such as structure, motifs, and themes. This is due to the multimodality pursued by web novels, in which the genre of classical novels is continuously reproduced with slight differences. Finally, the diverse utilization of classical novels in the web novel “Tiger Eosa Shakes Joseon” fundamentally stems from the capabilities of the author.

The Practice of Creative Content Based on Classical Literature －Focusing on Case Analysis of Assignments of Department of Media Storytelling

Yunkyung Shin | 2024, (65) | pp.41~72 | number of Cited : 0

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A Study on the Transformation Aspect of the Subject’s ‘Emotion’ in Seungsarok

Park, Sang-Young | 2024, (65) | pp.73~116 | number of Cited : 0

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This study examines the way the discourse is structured in <Seungsarok>, a travelogue of Gangnam left by the 19th century Yeongnam scholar Choi Doo-chan(1779-1821), and the subtle changes in the author's sensibility accordingly. <Seungsarok> is the only record of Gangnam drift from the 19th century, and although it provides important clues in many aspects, it has long received less scholarly interest than other drift records. This study examines the discourse characteristics of <Seungsarok> and the emotional transformation of the author, which have not been studied in earnest until now, from a new perspective, Pěcheux’s theory as the relationship between ‘subject(Choi, Doo-chan) and Subject(environment)’. First, <Seungsarok> is largely divided into three parts. The first is from the departure from Jeju to the landing at Mt. Bota. It was exciting, but when a storm hit and life and death were at a crossroads, it showed the emotions of fear, anxiety, and helplessness that the drift itself brings. In this process, it presents an aesthetic of anti-identification that is not in harmony with the Subject. Second, in the Gangnam cultural experience section, the subject clearly reveals self-awareness within the emotions of ‘joy and sadness’. As the previously uneasy emotion was replaced by a sense of stability, Gangnam was newly captured through the subject's gaze. The scenery, the sense of kinship and emotional unity with Gangnam writers are portrayed positively. In other words, various aspects of sympathy and emotional identification with the Subject are discovered. The last part is the return/repatriation period (June 10 to October 2: Seokmun to Uiju), which is a period of general anxiety, including reminiscence of history that had not been discovered before and antipathy toward the Qing Dynasty. Overall, it is discovered that nostalgia in the sensibility of anxiety is the mainstream, showing a new sensibility that is out of sync with the Subject surrounding the subject and the aesthetics of anti-identification. In fact, even within the discourse characteristics of the period of drift with a certain pattern of launch-drift-return, experiences at each period tend to create new meanings and emotions. In that respect, this study, which examines how the author's emotional changes due to movement in time and space are expressed in the text, provides a foundation for understanding the internal principles of the entire work by finding the fine textures of the work hidden between letters. At the same time, it is meaningful in that it opens a way to understand a single literary work.

A Study on the Image of Shamans from the Perspective of the Scholar-gentry(士大夫)

LEE, JUYOUNG | 2024, (65) | pp.117~152 | number of Cited : 0

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This article examines the portrayal of shamans through the perspective of the scholar-gentry(士大夫) class as reflected in various records, such as Pilgi(筆記) and Yadam(野談), and explores the significance of these portrayals. From the late 13th century, shamans were subjects of rejection and criticism by the scholar-gentry, and after the founding of the Joseon Dynasty, they were perceived as antagonists disrupting the order of Confucian society. Shamans were negatively depicted, labeled as “wicked shamans” or “fake shamans.” The literati aimed to emphasize the legitimacy of rejecting shamans through these depictions. The literati focused their criticism on shamans who deceived people and gained undue benefits by exploiting superstitions about spirits. Male shamans dressed in women's clothing were recognized as the primary image of the “wicked shaman.” On the other hand, shamans were unique beings capable of communicating with spirits or ghosts through possession(降神/憑依). Although the scholar-gentry rejected shamans, they were very interested in their spiritual abilities. This is connected to verifying the authenticity of “spiritual shamans” and “genuine shamans”. As the Joseon Dynasty progressed, the scholar-gentry increasingly acknowledged the spiritual power of shamans through their experiences and observations of possession phenomena. Consequently, they began to view shamans and shamanistic practices more positively compared to earlier periods. Narratives from the late Joseon period include acceptance of shamanistic phenomena and rituals, and shamanistic practices often served to complement or even replace Confucian rituals. Shamans were depicted as marginalized figures, yet they secured their position by serving as spiritual intermediaries for the common people. This dual perspective on shamans reflects the contradiction between the literati's ideals and the reality of their perception. The scholar-gentry show a more flexible and reserved attitude toward shamans than before, expecting an interest in the unknown world, experiences with them, and solving practical problems through shamans. That is, shamans were portrayed as beings who were excluded from the Confucian society, but simultaneously, they were seen as entities filling the gaps within that society, thus maintaining their vitality.

A Comparative Artistic Approach to the ‘Rice Eating Scene’ in <Heungbujeon>

JEONGWON LEE | 2024, (65) | pp.153~194 | number of Cited : 0

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In order to deepen our literary understanding of the rice eating scene in <Heungbujeon>, this paper compares <Heungbujeon> with paintings depicting a meal scene. The paintings of The Last Supper, which recreates the event of the Last Supper as recorded in the Christian Bible, and <Peasant Wedding>, painted by the 16th century Flemish painter Pieter Bruegel, were examined. Eating is both a material cycle of nature that mediates life and an act of human civilization. I considered this duality as an important clue to understanding the uniqueness of the work, which deals with the overcoming of materiality and the isolation of the figure. ‘Overcoming Materiality’ is a discussion of how the figures overcome the materiality of the act of eating to achieve a level of civilization, and what that means. In the paintings of The Last Supper, the figures are reverent in the presence of food and isolate the betrayer Judas. The paintings of the Last Supper thus suggest that humans, as spiritual beings, should be oriented toward a community of faith. In <Peasant Wedding>, people eat, drink, and rejoice. In this way, human beings are not limited to spiritual beings, but physicality and social solidarity are affirmed. In <Heungbujeon>, Heungbu's family members cut gourds and eat gluttony. As such, they are seen as regressive beings. However, unlike Imugi and Nolbu, Heungbu's hunger is inherent in a moral tension, as Heungbu's family is committed to ethical eating. Thus, gluttony is understood as an act of satisfying the moral hunger inherent in hunger and rejoicing in the rewards of morality. If eating is an act of expressing and pursuing civilized meaning, that meaning will be realized differently for different people. This is because civilizational meaning belongs to the realm of the mind, and people are in different situations. In Leonardo da Vinci's <Last Supper>, Jesus is isolated. Jesus' calmness expresses that he is the savior and divine providence is transcendence. In Pieter Bruegel's <Peasant Wedding>, the bride is isolated. However, the distinction between the bride and her guests is only temporary, and the bride's smile expresses that the reception in the peasant community is an embodiment of humanity that should be respected. In <Heungbujeon>, Heungbu is isolated. He does not find sympathy from the rest of the family for his family's integrity, his belief in humanity, or his ethical obligation to wait for the wicked to be reformed. However, the good fortune of his brother shows that his isolation is not in vain. His isolation expresses his simple trust in humanity and the difficulty of that trust.

A Study on the Social Critical Consciousness and the Way of Resolution of Social Conflict in <Seong Jinsa-Jeon>

Jung Inhyouk | 2024, (65) | pp.195~222 | number of Cited : 0

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<Seong Jinsa-Jeon> was written by Lee, Ok, a writer in the late Joseon Dynasty. It deals with a fraud case that Jinsa Seong, Hui-ryong in Sangju went through. However, the social critical consciousness of <Seong Jinsa-Jeon> draws attention to the serious economic imbalance in late Joseon society and class conflicts between the yangban and the common people, the rich and the poor through the appearance of refugees caused by famine, not just in fraud cases. In particular, the essence of <Seong Jinsa-Jeon> lies in its approach to resolving societal conflicts. The purpose of this study is to the perspective on and proposed solutions to conflict within <Seong Jinsa-Jeon> with a particular focus on the relationship between its two protagonists, Seong, Hui-ryong and a beggar. The narrator argues that Seong, Hui-ryong's self-refinement[謹身] was instrumental in resolving the conflict, exploring the broader connotation of such self-refinement. Within <Seong Jinsa-Jeon> the ‘door’ represents both the starting point of the incident and is the boundary that separates the space between Seong, Hui-ryong and the beggar. The space in <Seong Jinsa-Jeon> is divided into a rich inner space inside the door where the rich reside along the boundary of the door, and an outer space outside the door of the refugees who become beggars and wander after losing their homes. Therefore, it is recognized that the ‘door’ should be closed and protected for the rich, and open for the beggars. Nonetheless, the door also serves as a conduit that connects and associates the two worlds inside and outside. By opening the door and recognizing the beggar as another subject, Seong, Hui-ryong facilitates conflict resolution through dialogue. Face-to-face communication fosters empathy centered on the other, paving the way for conflict resolution. In other words, ‘face-to-face’ is to recognize the other outside the door as another subject like me. ‘Self-refinement’ encompasses not only self-cultivation but also placing others at the core of one's concern. The possibility of resolving such conflicts offers insights into bridging the gap between the reality of laws and legal sentiments. In a space governed by legal standards, endless opposition between legality and illegality persists due to a binary perception that merely seeks a stronger law to satisfy one's legal sentiments. Recognizing the other as a mutual subject through communication allows for attentiveness to one's conscience, unveiling hidden truth, and enabling forgiveness through empathy. This is the way to resolve conflict suggested by <Seong Jinsa-Jeon>. Although it is a short work, what <Seong Jinsa-Jeon> has achieved is truly great.

Several Aspect o f Care i n “Shim cheongjeon”

BAEKJIMIN | 2024, (65) | pp.223~252 | number of Cited : 0

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The aim of this paper is to explore the several aspects of care in “Shimcheongjeon.” While the term “filial daughter Shimcheong” aptly represents the thematic consciousness of the work, confining it within the framework of a text about ‘filial piety’ restricts the possibilities for diverse interpretations. In the Confucian values of the Joseon Dynasty, filial piety was a value of great importance, not only in the realm of ethics but also in that of justice. Filial piety, commonly understood as a child's duty to serve their parents well, tends to imply a unilateral relationship. However, this paper posits that filial piety can be included within a broader concept of care, suggesting it involves reciprocal, interdependent actions, thus necessitating a focus on care in “Shimcheongjeon.” "Shimcheongjeon" features various characters in need of care, who engage in reciprocal relationships and perform acts of care. This study examines aspects of care, distinguishing between the realms of private ethics and public justice, and observes how care extends from the private to the public sphere. Key to examining care in each realm are the notions of relationality and contextuality. In the private realm, the focus is on how care is enacted within spousal and parent-child relationships. In the public realm of justice, the study explores how care extends from the familial unit to community and national levels. This process confirms that care is portrayed not only ethically but also justly. "Shimcheongjeon" advocates for the practice of care, illustrating that the performance of care leads to rewards or punishments. The scope of care is not limited to family members but expands through the community and national units, enhancing social cohesion and solidarity. This paper's attempt to interpret “Shimcheongjeon” as a narrative of care highlights how individual acts of care contribute to ethical values within the community and to social justice, reminding us that care holds significant social and political implications beyond the personal level.

Strategies for Educational Use of Folktales for Mutual Understanding and Development between International and Korean Students

Saehae, Han | 2024, (65) | pp.253~296 | number of Cited : 0

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The Research of the Korean Classic 2023 KCI Impact Factor : 0.9

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2024, Vol., No.65 All Issues