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논문검색은 역시 페이퍼서치

한국문학이론과 비평검색

Korean literary theory and criticism (KLTC)


  • - 주제 : 어문학분야 > 국문학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1598-3501
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 36권 0호 (2007)

편집인의 말

김남석
1,000
키워드보기
초록보기

디지털 스토리텔링과 내러티브 이미지

정형철 ( Hyung-chul Chung )
6,400
초록보기
The term “digital storytelling” refers to the postmodern transformation of the traditional art of oral storytelling. Common individuals without a technical background are enabled to use recently developed digital media technology to tell their own personal experience stories. Digital stories or “digistories,” which can be shared electronically all over the world by means of the computer and the Internet, are composed of photographic images, a musical soundtrack, and a narrated story. In Korea, however, the concept of digital storytelling has been generally associated with interactive narrative computer games or non-linear narrative entertainment. In the first section of this essay, I argue that artistic “Korean” mode of digital storytelling could be developed in the direction of nonfiction, documentary, and autobiographical personal reflection narrative. I examine distinctive features of digital stories outside the realm of narrative computer games in the second section. Seven main elements of a digital story developed by Joe Lambert are: point of view, a dramatic question, emotional content, the gift of your voice, the power of the soundtrack, economy, and pacing. The types of digital storytelling are: character stories, memorial stories, events stories, places stories, professions stories, recovery stories, love stories, and discovery stories. In addition, according to Bernajean Porter, there are six fundamental elements of a good digital story such as living in your story, unfolding lessons learning, developing creative tension, economizing the story told, showing not telling, and developing craftsmanship. The third section concerns the ideas of visual literacy and narrative images. In this visual culture, we are supposed to improve our visual literacy that is the ability to find meanings in imagery. The visual narrative mode of thought, which needs narrative images, operates on the basis of intuition, metaphor, and imagination. Jean Fran ois Lyotard’s concept of little narratives (petits r cits), which can be defined as “a non-finite series of heterogeneous events of narration which resist incorporation into grand or meta-narratives by virtue of being discontinuous and fragmentary,” is applicable to our understanding of digital storytelling.

부산의 문화와 디지털 스토리텔링의 가능성

정봉석 ( Jeong Bong-seok )
6,200
초록보기
In Section 1, we have pointed out two problems that culture city of Busan needs to solve. One is that the traditional culture is not fully used to create new culture, and the other is that international cultural festivals that are growing remarkably are centered on the consumption of the culture rather than its production. In Section 2, we have examined the cases of storytelling-based cultural content productions in Busan. Representative of them is In Hyeon’s song < Kutseeora Geumsuna >, which was developed as performance contents, called Dongmyungeu Akgeok and festival contents, called Hyun In Gayoje. In addition, musical jagalcbi that dramatizes the lives of Jagalchi market’s merchants, and opers Pureun githal that dramatizes the keeper of Dogdo Island, Young-Bok Ahn. In Section 3, efforts have been made to develop storytelling that is essential to digitalizing the current Busan cultural contents that are analogue performance content-oriented. One such effort is to postulate imaginary digital storytelling Cheonmajeolyoung and to present three springboard stories to complete it. The first of the three stories is the motif of the narration Palseonkwahae, one of the best ten Chinese classics. The second is the motif of Seohulkwaji, the story of a Chinese man looking for a herb of eternal youth, and the third is the motif of Cheonmajeolyoung, the myth and narration associated with Bongrae mountain in Busan. If the imaginary storytelling of Cheonmajeolyoung is realized and completed, it is expected to be used to develop other related digital contents such as games, animation, and movie and to develop Busan tourism contents including a character industry.

디지털 게임의 서사학 시론-에이전시와 다중시점의 문제를 중심으로

이정엽 ( Lee Jung Yeop )
6,700
초록보기
This Thesis attempts to analyse narrative aspect of digital games with the concept of ‘agency’ and ‘multiple point of view’. The past theory of ‘interactivity’ concentrate on players’ diverse experience, which was hardly ever related to the final object of the game. We can’t estimate that it has embodied high agency of the players’ desire when a game emphasizes on only variety choice of interface. It can be estimated that it has high developed interactivity but low agency. Furthermore we will introduce the ‘multiple point of view’ of digital games. From 1990s FPS(First Person Shooting) game has become increasingly popular with a point of view of first person. The interface of FPS can be seen as first person, but it can be converted into second person by literary description. It means that FPS accomplish second person narrative successfully for the first time in the history of narrative.

융합 콘텐츠를 위한 장르 전략; 포토포엠

김영도 ( Kim Young-do )
5,700
초록보기
Literal outputs and visual image are distinguished forms of expression. However, most of the literal outputs, produced in the form of contemporary printing media, change into new contents or genre in the influence of visual media and digital technology. Therefore, the first trial of this study is to perceive intertextual spectrum and a new possible relations between image and text. The second trial is to discover a various cross point of similarities and new possibilites between photograph and poem. The third research is to find the genre strategy and narrative structure of PhotoPoem as a new type of convergence contents. In conclusion, the aim of this study should seek to establish PhotoPoem as the convergence contents and new genre based on mutual relations between image and text through positively accepting photographic image rather than evaluating it from the view of traditional literature.
6,600
초록보기
This thesis is an essay on the method of existence of the TV Drama as a Digital Era story-teller. Through the MBC weekend special drama Couple in Trouble, I looked into the connection between story-telling and TV Drama, and by examining the TV Drama’s characteristic of being completed through viewer participation, I explored the new status of TV Drama as a story-teller in the Digital Era. I analysed the story-telling by classifying into the presence and inter-activeness of TV Drama. Then I took a detailed look at the fun of participation through the dialog Processes inside and outside of the text. Couple in Trouble accomplishes currency through correspondence between the actual season with the season within the story, between the places in reality and those in the story, and through popular contemporary music, expressions, and parody of highly recognized advertisements. As for dialog inside the text, it was common in the form of dramatic setting of a scene where characters in different places appear as if they were talking to each other. Particularly, as the story moves to the latter half, the interaction between dramatic situations also appears in the method of repetition or variation of situations or dialogs that were accumulated to that point. Dialog outside of the text included attempts at parody of a scene from a familiar movie or drama, or twisting customary expressions(cliches). Moreover, I observed that the fun in the process itself of viewers jumping into the TV Drama text and participating is the driving force that enables TV Drama text to be interpreted in a variety of ways. As a result, I was able to confirm the existence method of TV Drama as a story-teller in the Digital Era. As a story-teller in the Digital Era, in order to properly understand the form of existence of TV Drama, a change is necessary in the perception of TV Drama. Of course, the poor production environment where ‘filming’ and ‘broadcasting’ take place simultaneously, which were criticized as the decisive element that damaged the degree of perfection of the TV Drama, must be improved. However, paradoxically, the argument for total ‘pre-production system’ as an alternative is highly likely to bring about negative side effect of preventing viewer participation. Therefore, with the premise of changing the paradigm of ‘quality ploy’, it is not advisable to insist upon total pre-production system for all works, but there should be a variety of choices for each work.
6,300
초록보기
This study aims at identifying the pattern of modem transformation of korean classical poetry. In particular, Pansori-opera < Jeongyeupsa >, as a typical case of modern transformation into performing arts, has been mainly discussed. < Jeongyeupsa > is a well-known siga work, but the author is not known. Based on the original text, Pansori-opera < Jeongyeupsa > well expresses the emotion of waiting. As the original text, in Pansori-opera < Jeongyeupsa > there is a motif of ‘the waiting husband’. ‘The waiting husband’ is the post important element in < Jeongyeupsa >. Pansori-opera < Jeongyeupsa > however, reconstructed some part of the story by expanding narrative structure and deepening trouble or repeating suffering and standing out the tragic ending, for the performing arts. Thus, Pansori-opera < Jeongyeupsa > in appearance takes over the emotion of the original text, but it tries an intentional modification for the purpose of the public performance. Such a succession with modification is likely inevitable during the changes of the classical one to a modem one. The modem transformation of classical literatures should consider how to succeed to the innate sprite of the original text instead of superficial resemblance. In this regards, we should continuously look for possible way to revive the classic literature as living culture but not fossilized inheritance.

영상서사의 서술상황 연구

김종구 ( Kim Jong-gu )
6,600
초록보기
This study is about discourse situation in cinematic narrative. Narrative exists in so many cultural forms : novels, films, television series, theatres, strip cartoons, mythologys, advertisements. Narrative emerges in a wide variety of forms in our own culture, but it is also a cultural universal, present from the beginning of human history in all cultures at all time(Lapsley and Westlake, 2006, p.129). After structuralism, Narratology became ‘the science of narrative’. The descriptive field devoted to the syetematic study of narrative. This term was particularly popularized by such structuralist as Gerard Genette, Mieke Bal, Gerald Prince, Christian Metz, Rimmon-Kenan, etc. Structuralist narratology searched for general structures underlying the diversity of narrative. In his famous book, 『Narrative Discourse(1972)』, Genette s theoretical interest is not the story itself, but how it is told. The process of storytelling itself. The distinction between ‘story’ and ‘story as narrated’ can be taken to imply that stories exist independently of narrative presentation - in other words, the same story can be narrates in more then one way(Poter Abbott, 2002, p.193). Under the influence of narratologist, Some current Film theorists interested in cinematic narrative discourse. Most theorists expressed with there are no stories without a storyteller’s discourse. But one of the most prominent film theorist David Bordwell wrote that "in watching films, we are seldom aware of being told something by an entity resembling a human being(David Bordwell, 1985, p.62). Unlike Chatman, Bordwell goes farther, reject the concept of the implied author, as well as the narrator. Most of the characteristics we would normally attribute to the implied author or narrator could simply be attributed to the narration itself(HermanㆍJahnㆍRyan, 2005, p.44l). To my mind, his ‘political’ ideology to cinematic narrative is very deconstructive.

영화 <양철북>의 정신분석

송명희 ( Song Myung Hee )
6,500
초록보기
This paper analyzed by psychoanalytic criticism, on < The Tin Drum > which was directed by Volker Schlondorf who is a pioneer of New German Cinema in 1979; its original novel, The Tin Drum was written by Gunter Wilhelm Grass. We can see the personal psychological conflict which shows the relationship between mother and child, father and son, or husband and wife through the psychoanalysis about both a hero, Oscar and a heroine, Agnes. The conflict between two men symbolically shows the territorial, political dispute which was caused by the fight to possess Danzig between Poland and Germany; Oscar’s womb-envy complex and Oedipus complex, and Agnes' anorexia, bulimia and suicide are presented as these conflicts in the story. Based on experiences of his, Grass sardonically and pessimistically described the history of Danzig and the criticism against Nazism through both Oscar, a strange character, who was stuck in his three and the Germans around him. Schlondorf applied the rules of New German Cinema to his film, < The Tin Drum > in many sides; accepting Brecht’s skill(estrangement effect), the historical material which describes before and after World War Il, the concern about the Nazi's fascism, etc. Just as Gunter Wilhelm Grass' The Tin Drum is praised that it is the first and last problem novel which dealt with a past issue in earnest, the best literary work and the climax of German novel, Volker Schlondorf’s < The Tin Drum > is also praised that it deeply satirized and described the history of Danzig before and after World War Il.

최근 소설의 영화화에 대한 비판적 고찰-<결혼은 미친 짓이다>를 중심으로

김형중 ( Kim Hyoung-joong )
6,300
초록보기
As many people point out, the novel is a genre whose source of vitality always lies in hybridity. Therefore, the phenomenon itself is not an object of criticism that novles refer to films and vice versa since the middle of 1990s in Korea. The sweeping expansion of Korean film industry in recent years, however, has formed the conditions enough to bestow dominance on the films. And now we are confronted with the serious situation worrying over rather assimilating literature into the films than the productive interaction between genres. The connection which can premise differences can only give birth to creation. For that reason, above all, the productive connection between novels and films should start from the recognition of the fact that these two genres are 'different' each other. This study, under such a premise, sets the goal at reconsidering each autonomy of the novel and the films through examining both Marriage is a crazy thing, a novel of Yi Man-gyo, and its film version directed by Yu Ha. The result of this study is that the novel which never can be cinematized and the film which never can be novelized are authentic arts, getting the originality of each genre.
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