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논문검색은 역시 페이퍼서치


Journal of Korean Language and Culture

  • - 주제 : 어문학분야 > 언어학
  • - 성격 : 학술지
  • - 간기: 연3회
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1598-1576
  • - 간행물명 변경 사항 : 한양어문(~2001) → 한국언어문화(2001~)
수록 범위 : 61권 0호 (2016)

한국 문학에서 호모 사케르와 주권 권력의 역학관계와 재현 양상

이도흠 ( Lee Doheum )
This paper critically accepted Giorgio Agamben`s theory and applied it to Korean literary work: The folk tale of Wukmyeon in the Buddhist era, Boeun-giu-rok in the Confucian era, Namaste in modern times. There are opposition between human order and divine order in King Gyeongdeok era. It is possible to be excluded by sovereign power in human order but is not possible to be homo sacer through sacrificial rite in divine order. Wukmyeon is a homo sacer who is excluded by sovereign power. However, in the temple that the authority of Buddha far surpass King`s, she is practicing asceticism to escape from homo sacer, and to become a Buddha. In the order of the family in which Confucian mythology operates, Yeoncheong Wi, hero in Boeun-giu-rok, is homo sacer who can be assaulted and deported by his father, and can be killed by law and culture based on Confucian ideology at that time. However, outside of the order of the family, he is the ideal pursuing the moral and ethics of Confucianism. So, Yeoncheong Wi escapes from homo sacer and passes the state examination, and makes a lot of money and reconciles with his father. Kamil, hero in Namaste, is homo sacer who is thoroughly excluded by the sovereign power and Korean people who have a strong ethnic myth and exclusiveness. Kamil resists against the sovereign power through various types of action in order to escape from homo sacer. However, no change at all, he eventually suicides himself.

백석 `가무래기`와 윤동주 `오줌싸개`의 주변인

김응교 ( Kim Eunggyo )
The purpose of this study was to examine the meanings of “the Marginal” in poems of poet Baek Seok and Yun Dongju. Baek Seok showed `the experienced anxiety,` based on his own experience of losing everything. On the other hand, Yun Dongju showed `the active commitment` in his poems. In the poems by Baek Seok, poverty of “The marginal” represents the where the post is wikking to stay along with the beings he feels connected to, meaning “voluntary poverty.” Baek Seok`s poetry pursues a harmonious, coexisting and matricentric community as its utopia, but in real terms, such dream remains unachievable. In the poems of Yun Dongju, we can meet the “Solidarity of the Sufferring” in poems, “Eight Lucks”, “Hospital”, “Comfort”, “Cross”. We can pay attention to the relationship between faith and practice. Yun`s poetry comes from his active ability for Nation and “the Marginal”. Although the two poets adopt different ways to present the meaning of “The Marginal”, They give us how we have to pay attention to “The Marginal.”
It has been common sense that the literature or the novel doesn`t exist only as pure aesthetics. That`s why we noticed that the aesthetics and politics made inside and outside of the one, and the division existed as being deconstructed. What is seen as pure aesthetics can become the political thing by the certain point of view and the case. It shows how many potential possibilities their relationship exists with. The close connection between life and politics is embodied through the body. The physical restraint, captivity, deport, monitoring, discrimination, manipulation, distinguishment, and commercialization can be called violence to the body. As the violence is made visually as well as invisibly, it works in both consciousness and unconsciousness, and makes human life humble and painful. As the power which works politically through the body is direct and close, the human, especially the being pushed out by the power is possible to be subordinate to the power again. In this sense, the characters are problematic in ≪The Last Fan Club of Sammi Super Stars≫. They have double attitudes to assume the aspect that they are deported by the main power, and to shake the structure at the same time. Once they are moved into the structure by the main power, and they have the new possibility and potentiality to leave the structure with resistance and deconstruction. The politics are based on the life, and the life is based on the body. It is same with the fact that the novel is based on the text, and the text is based on the body. In this context, the excellent politics is made by the (un)distinguishment which means the division among the politics, life, and body is deconstructed. And the best novel is created by the (un)distinguishment among the text, life and the body. If it is the point of contact for the novel and the politics, we should focus on what are based on the life and body, such as main power, life politics, bare life, exception, discord, structure, deconstruction, vision, and prospect. The argument on the sociology and politics of the novel reached the new stage through a process of profound search and speculation.

조선후기 현실비판가사와 `벌거벗은 생명`의 형상들

이형대 ( Lee Hyungdae )
This article focuses on `Bare Life` figures from social critical lyrics of the late Joseon between 18th-19th Century. First part of this study demonstrates that `Live Politics` which arose from Western political context has how different foundation from confucian political tradition of the East. After this analysis, this research found that characteristic of the late Joseon political power system. From this features of the period, this paper argues that social critical lyrics also frequently contains `bare life` figures. In addition to this find out, this study examines certain relevance to changes of confucian publicness and concept of the people during this period.

<주토피아>에 나타난 디즈니 이데올로기의 변화 양상

김대범 ( Kim Daebeom )
< Zootopia > is a work created in 2016 at Disney Studios. It has a story of a rabbit police officer, `Judy Hobbs` and a trickster fox, `Nick Wilde` in < Zootopia >, the world of ideal animals, take the charge of the case to solve the disappearance. Disney Animations were produced as a theme of conservative ideology pursued by the Disney until the mid-1990s, but < Zootopia > was represented as `an adventure to try` for achieving one`s dream rather than an accidental `adventure to a fortune`. So, it is a piece that does not match the theme of the ideology which the Disney has pursued so far. First, < Zootopia > was developed based on provocative events in the structure of Act III Scene 8, reconstructed by the Disney hero`s journey structure. Among the characters in < Zootopia >, the main characters `Judy Hobbs(rabbit)` and `Nick Wild(fox)` was utilized as the characters criticizing the Disney ideology which was fixed by appearance-oriented views and hostility towards others, and a male-oriented and conservative society. Thus, they became the characters that can overcome realities of their own in the relations of society and value that they don`t have any choice but to live in obedience in the flow of differentiated gaze and age. `Judy Hobbs` completed her mission as the first rabbit police officer, and `Nick Wild` who is the object of prejudice and hostility became the first fox police officer, so that it could establish that a new ideology of “anyone can be anything” was made. Also, it was confirmed that it was transformed from the conservative to the female-centered structure through the surrounding characters who can break the prejudice which has been working its way down the generations, and it could break the stereotype that herbivorous animals are tender and good beings. The other thing is that `a little mouse` became a boss with `polar bears` as a subordinate, and `a sloth` which has been thought to be only slow turns out to be a biker enjoying speed. In this way, it could be confirmed that the Disney`s ideology was newly constructed and expressed in < Zootopia >. Until now, the storytelling strategy of the Disney Animations has been analyzed within a formal framework. However, in the results based on text analysis in terms of the storytelling strategy, it came to the conclusion that the Disney does not always plan the strategy only with the topics consistent with the Disney ideology. This is the biggest core change of the Disney Animation, which is a part that needs to be continuously studied and discussed in the future. There are expectations that this article will be utilized as a part of the diversified storytelling strategy of the Disney Animation, and its related various discussions will continue.

≪홍길동전≫의 이중 서사 구조와 통일 서사 구조

김민혁 ( Kim Minhyeok )
In the Honggildonggeon, Gildong has some doubt about the existing system but cannot change it. Such an image of him has been recognized as contradiction or limitation in previous studies. And the issue of unity in the narrative before/after his overseas expansion has been long examined by previous studies. This paper reads the Honggildonggeon from the perspective of structuralism by using Algirdas Julius Greimas`s Actantial model, in order to deal with such an issue. From the perspective, the Honggildonggeon shows the stringent conflict between one narrative of self-approval by a son of a concubine and other narrative of embracement by power system through confrontations against the others, leading to double semantic structure. Although Gildong experiences the conflict with his father, a minister Hong, because of the Hobuhohyeong program, this conflict is consequently converted into confrontations against his father`s mistress Choran and the assassin Teukjae. In this process, Gildong becomes a contradictory character, in that he is opposed to father, while helping him. Moreover, Gildong initially stands against his nation but later belongs to it through the same semantic structure and character relationships even in national and social spaces. In addition, such a double semantic structure continuously lasts from pre- to post-overseas expansion, which comes to create a unity structure. In the latter half of the work, Gildong shows the development of the narrative, the self-approval by a son of concubine, through his growth process in which is married, becomes Bongsason and King of Yuldoguk, while otherizing opponents in the confrontation and being identified with Joseon, a large power. Such identification, the result of tough confrontations, shows that Gildong`s growth is consequently embraced by his family, nation, ethics of society and power. The Honggildonggeon deepens this issue by raising the question of appointments of sons of concubines, furthermore, that of selection of talented people in Joseon, and the value of it resides in such questions.
The purpose of this study targeting foreign learners is to propose different methods of learning Korean language culture effectively through poetry education. There`s 2 perspectives in poetry education. One is the knowledge-centered approach method, and the other one is the appreciation-centered approach method. Through knowledge-centered poetry teaching, learning can be achieved through analyzation of the poetry`s form, subject and theme. On the other hand, through appreciation-centered poetry teaching, learners feel the importance of their interpretation and literary experience. According to the appreciation-centered approach, in an activity-centered poetry teaching; learners become the main subject of the learning through all kinds of class activities. The composition of executing the class activities from the reception(comprehension) phase to the production(creation) phase is as follows: 1) Reading and appreciating poetry, 2) Memorising and recitation, 3) Introducing similar poetry from one`s country, 4) Writing latter part of poetry, 5) Writing poetry of other poetic narrator, 6) Writing parody poetry, 7) Writing of the other genres of poetry, 8) Creation of one`s poetry. Through the phases of activities, learners not only remain in the level of just reading and appreciating poetry, but through interpretation and criticism, learners also develop growth in the level of sharing and expanding the literary experience. Furthermore, through poetry teaching, learners can get to understand the Korean lifestyle, one`s way of thinking and emotions at the same time as tasting the abundance of Korean expressions when they get in contact with the poetic language.
This article proceeds to delving into any absolute paradigm presiding over the mind of Koreans. Furthermore, their reaction to the paradigm becomes to be another topic. Koreans call the paradigm for `destiny` or `fate.` As a selective case, the Folk Song “Irresistible Remorse in Marriage” becomes a target text. Its related posteriori-reason on the fate is to be expected after poring over the text. The folk song contains a bridegroom`s disappointment in the death of his bride just before a marriage ceremony. His fate had been fixed into a cursed bachelorhood. He has tried to overcome his fate. Nevertheless, he confirmed his irresistible destiny of singleness. In the last section of the song, an abrupt turn of theme occurs as in the cases of the other folk songs. Specifically, the mood of remorse gives a way to that of happiness through surrendering to his own fate.

강철수 만화 <발바리의 추억>의 여성비하적 성격에 대한 고찰

한상정 ( Han Sang-jung )
< Memory of Balbari > is a comic strip drawn by Kang Chul-soo and was featured in the newspaper Sports Seoul from 1988 to 1990. The comic strip became so popular that thanks to it the newspaper was able to achieve a circulation of 100,000. The fact that the comic strip also was made into a theater play and a movie further underlines that it was one of the major parts of this newspaper at that time. But it was the excessive depection of obscenities and the violation of sexual morals which eventually led to its discontinuation. While the comic strip had been criticizised in the 1990s for those two, seen from today the disparagement of women through language and perspective appears predominant. But even when the comic strip was republished in 2003, no critique in that regard was raised. Sexual discrimination and the disparagement of women in comics still has not become part of the discourse. While the increasing depiction of violence and sex in comics due to the severe competition of webtoon platforms has been raised, aspects of discrimination against women in those works, especially the objectification and disparagement of women, are rarely discussed. Even the current discourse on sexual discrimination and misogny only touches on these topics as something external to those works and their creators. This study will therefore introduce the aspect of disparagement of women in this widely read comic strip created by a major artist of the 1970s and 1980s. It will show in detail how the use of language and specific terms disparages women. Thereby, it is shown that it is necessary to treat the issue of gender equality in comics in the future as a basic point for consideration.