특집 논문 : 탈식민지 이론과 중국의 문화비평

정봉희 단국대학교 한국문화기술연구소 2008 한국문화기술 Vol.6 No.-

從20世紀80年代到90年代傳到中國的后現代主義理論和批評在中國的文化批評和文學批評中産生了廣泛的影響, 活躍了批評文壇。 在接受過程中對后殖民主義理論的飜譯, 介紹, 評价鞏固了后殖民主義在中國理論和批評界的地位, 爲文學和大衆文化的批評提供了行之有效的方法論, 在國際化的時代, 喚起了對民族話語。后殖民主義理論首先在西方的漢學和中國學中起了重要的作用。 后殖民主義理論作爲現代文化政治理論和批評的整合, 與后現代主義解構權力中心的傾向一脈相承, 擺脫了結構主義和文本主義的傾向, 再生産了國際化和本土化的兩極話語。通過后殖民主義的接受, 中國的文學和文化批評把西方中心主義和民族國家的話語引入到了現代化的宏大敍事中。 通過后殖民主義理論的傳播與實踐, 反省了在西方文化覇權和多元主義時代, 如何重構中國的形象問題, 反思了如何認同東西方文化差異和共性, 如何樹立民族的文化身分的安全感和均衡性的問題。 爲此, 該論文分析了接受后殖民主義理論的中國社會文化的背景, 闡述了會殖民主義理論在中國接受過程, 以及后殖民主義理論與中國文化批評的關系。

한국 영화가 터키 영화에 끼치는 영향 - 한국 영화 <7번 방의 선물>과 각색 터키 영화 <7번 방의 기적>을 중심으로

아타세벤파덴 ( Ataseven Faden ) 단국대학교 한국문화기술연구소 2021 한국문화기술 Vol.31 No.-

본 연구는 한류의 전파로 인해 터키에서 각색하여 방영한 드라마와 상영된 영화를 살펴봄으로 터키 영화 < 7번 방의 기적(7. Koğuştaki Mucize) >이 이루게 된 성공이유를 고찰하는 데 목적이 있다. 이를 위해 첫째, 터키 방송국에서 최초로 방영된 <대장금> 등의 한국 드라마들도 함께 살펴보았다. 터키에서 한국 영화가 개봉되기 시작한 것은 2004년부터다. <올드보이>부터 <기생충>까지 터키 개봉된 한국 영화들을 표를 통해 검토하였고, 터키에서 각색된 한국 드라마와 영화의 차이점을 살펴보았다. 둘째, 한국 영화 <7번 방의 기적>과 터키 영화 <7번 방의 선물>을 소개하였다. 본 영화들은 지적 장애를 가진 아버지가 억울하게 누명을 쓰고 사형선고를 받고 나서 딸이 몰래 교도소로 들어가서 함께 생활하는 이야기이다. 터키 영화 <7번 방의 기적>을 대상으로 하여 원작 영화인 <7번 방의 선물>과 비교분석해 보았다. 한국 영화를 각색하는 과정에서 터키 영화 <7번 방의 기적>은 한국 영화가 가지고 있는 장점을 흡수하고 터키 문화, 역사, 사회 등을 고려하여 적절히 각색함으로써 영화의 가치를 높이고 흥행의 성공까지 이루게 되었다. 원작 영화와 각색한 터키 영화의 차이점은 첫째, 시대 배경의 차이다. 원작에서는 1997년, 터키 영화는 1983년으로 시대 배경을 설정하여 현실성을 구현했다. 둘째, 장르의 차이다. 터키 영화는 코미디보다 드라마 장르에 가깝게 각색되었고 이것은 영화의 분위기에 적절히 작용했다. 셋째, 거주지 차이다. 원작 영화와 같이 공간 배경으로 도시를 적용한 것도 1980년대 터키의 모습 잘 그려냈다는 호평을 받았다. 넷째, 문화의 차이점에서 비롯되는 가족제도다. 원작에는 없는 할머니의 역할이 당시의 터키 가족제도를 보여주었다. 다섯째, 종교적 분위기의 차이다. 터키에서는 무슬림 사회로 원작과 달리 이슬람적인 분위기가 영화 전반에 드러난다. 여섯째, 감옥 형태와 분위기의 차이다. 한국의 감옥과 달리 터키 교도소에 맞게 각색하였다. 터키의 감옥은 한국과 달리 재소자가 재소자복을 입지 않고 이름 대신 쓰는 번호가 없다. 일곱째, 결말 차이다. 원작 영화에서는 아버지가 사형을 당하지만 터키 영화에서는 다른 사람의 희생으로 탈옥하게 된다. <7번 방의 기적>은 원작보다 더 현실적으로 다가왔다는 호평이 지배적인 반면 한편으로는 흥행을 위해 극적 감정을 지나치게 확대했다는 혹평도 간과 할 수 없다. 그렇지만 무엇보다도 터키에서 각색, 상영되던 기존 영화들의 흥행기록을 제치고 2019년 최고의 흥행작이 되었고, 넷플릭스를 통해 세계 여러 나라까지 상영된, 터키 영화로서는 국제적 성공을 거둔 가치 있는 각색 영화라고 할 수 있다. The purpose of this study is to examine the reasons for the success of the Turkish film < Miracle In Cell No.7 > by examining the dramas and films that were released and adapted in Turkey due to the spread of the Korean Wave. First, Korean dramas such as < Dae Jang Geum >, which was first showed on a Turkish TV channel was examined. Korean films have been released in Turkey since 2004. Korean movies which has been released in Turkey < Oldboy > to < Parasite > were reviewed through tables, and differences between Korean dramas and movies adapted in Turkish were examined. Second, the Korean film < Miracle In Cell No.7 > and the Turkish film < Miracle In Cell No.7 > were introduced. These films tell the story of a father with an intellectual disability who is unfairly sentence to death, and then his daughter secretly enters to the prison and lives with him. The Turkish movie < Miracle In Cell No.7 > was compared and analyzed with the original Korean movie. In the process of adapting a Korean film, the Turkish film absorbed the strengths of a Korean film and appropriately adapted it in consideration of Turkish culture, history, and society, thereby increasing the value of the film and achieving success at the box office. The differences between the original film and the adapted Turkish film are, first, the difference in the historical background. In the original film, 1997, and in the Turkish film 1983, the period background was set and reality was realized. Second, there is a difference in genre. Turkish films were adapted closer to the drama genre than the comedy, and this worked well for the mood of the film. Third, there is a difference in residence. Unlike the original movie, the Turkish movie has been settled in the village and it shows the portrait of 1980s Turkey. Fourth, it is a family system that stems from cultural differences. The role of the grandmother, which was not in the original, showed the Turkish family system at that time. Fifth, there is a difference in the religious atmosphere. Turkey has Muslim society, and unlike the original, an Islamic atmosphere is revealed throughout the film. Sixth, there is a difference in the form and atmosphere of the prison. Unlike Korean prisons, prison is adapted as Turkish prison. In prisons in Turkey, unlike in Korea, prisoners do not wear prison uniforms and do not have numbers to use in place of their names. Seventh, there is a difference in the ending. In the original film, the father is executed, but in the Turkish film, the prisoner escapes with the help of another people. While Turkish movie < Miracle In Cell No.7 > is reviewed by positive reviews. Because it is more realistic than the original but it has been criticized that there is an intense dramatic emotions for the sake of box office success. However, it has became the top-grossing film of 2019 and famous all around the world by Netflix.

강경애와 소홍의 동북배경 소설 가운데 나타난 고난 비교

진건 단국대학교 한국문화기술연구소 2011 한국문화기술 Vol.12 No.-

강경애는 중국 동북에 이주한 한국인 작가이고 소홍은 동시기 동북작가군중의 한 작가이다. 1930년대라는 역사적 격동기 속에 동북이라는 지역은 특히 한국인과 중국인들이 서로 삶을 함께 영위해가는 공간이었다. 두 작가 모두 동북에서 생활하며 문학 창작활동을 했고, 따라서 자연스럽게 두 작가의 많은 작품이 동북을 배경으로 창작되었다. 역사적 격변기라는 시대적 상황, 동북이라는 공통된 공간, 그곳에서 출신이 다른 한국과 중국의 작가가 만들어낸 작품에 대한 연구는 한중 문학연구에 매우 의미 있는 주제라고 생각된다. 또한 본 논문에서는 당시의 시대적 배경의 표출이라 할 수 있는 고난이라는 주제에 대해 천착한 점도 의미가 있다고 생각한다. 강경애와 소홍은 중국 동북지방을 배경으로 삼아 빈곤, 질병, 여성고난이라는 세 가지 측면에 중점을 두고 작품을 창작했다. 본문은 강경애의 『소금』, 『원고료 이백원』, 『마약』, 『그 여자』, 『모자』,와 소홍의 『啞老人』, 『廣告副手』, 『生死場』, 『呼蘭河傳』를 비교를 했다. 작품에서의 고난을 어떻게 표출했는지, 그 차이가 무엇인지를 검토해 봤다. 두 작가의 동북배경 서사는 모두 동북사회현실에 비롯하여 나온 것이었다. 동시에 이 작품들을 통해서 현실 고난을 더 깊이 있게 노출시켰다.

한국문학 데이터베이스 구축 방안 -구축 사례 중심으로

박순철 단국대학교 한국문화기술연구소 2005 한국문화기술 Vol.1 No.-

한국문학과 정보검색

이상범 단국대학교 한국문화기술연구소 2005 한국문화기술 Vol.1 No.-

1950년대 북한 잡지에서의 여성교양 소설 연구 - 『조선녀성』을 중심으로

임옥규 ( Lim Ok-kyu ) 단국대학교 한국문화기술연구소 2017 한국문화기술 Vol.23 No.-

Educating women was the task in 1950s`, that was the period of shifting socialism, of North Korea. 『Joseon Nyeoseong』 was used for that. 『Joseon Nyeoseong』 that was enlightened women by following North Korean official policies and taking a role of ideology·refinement magazine. The study analyzes 1950s`, which is a formative period of North Korean system, discourse of 『Joseon Nyeoseong』 and imagery of literatures. By analyzing, it is supposed that understanding the discourse of women refinement and finding cultural refinement or the truth of mobilization enlightenment. Because 『Joseon Nyeoseong』 was important media to propagate the justification of ideology and instigate North Korean women as a method of political ideas. In 1950s`, there is a gap between refinement discourses and the truth. This study tried to find the nature of state-dominated women refinement, mechanism of restructuring women and the hierarchy of gender role those are conducted with integrated ideology of North Korean society and national growth-centered development policy.

소설과 TV드라마의 서사구조 비교분석 - 소설 「너를 닮은 사람」과 TV드라마 <너를 닮은 사람>을 중심으로

유용억 ( Yoo Young Eok ) 단국대학교 한국문화기술연구소 2022 한국문화기술 Vol.32 No.-

이 논문은 소설의 TV드라마화 과정에서 일어나는 서사구조의 변형에 대해 논의한 것이다. 분석한 작품은 정소현의 소설 「너를 닮은 사람」과 동명의 소설을 각색하여 제작된 TV드라마 <너를 닮은 사람>이다. 소설이 드라마로 제작되기 위해서는 매체의 차이에 따른 변용절차를 반드시 거쳐야 하고 그 차이로 인하여 상당부분 변모된다. 영상언어의 표현양식보다는 서사적 측면에 주목하여 소설원작이 TV드라마 속에서 어떻게 변형되어 지향하는 의미를 전달하고 있는지 분석해 보았다. 소설 「너를 닮은 사람」은 과거에 만났던 ‘너’가 ‘나’를 세 번 찾아오는 동안의 이야기이다. 세 번의 만남이 이어지는 동안에 현재와 과거의 회상이 교차적으로 반복되면서 점차적으로 진실이 드러나는 플롯으로 되어있다. 이 소설은 단편이지만 많은 사건들과 극적인 갈등에 충분한 개연성을 부여하는 ‘잘 짜인 플롯’을 가지고 있다. 특히 한겹 한겹 과거의 일들이 현재를 찢고 돌출하는 반전형식의 플롯은 TV드라마로 각색되는데 많은 장점으로 적용되었다. 소설 원작에서 피해자와 가해자를 전복시키고 ‘실패한 용서’를 드러내며 불완전한 인간의 모습을 그렸다면, TV드라마 <너를 닮은 사람>은 원작의 서사에 도발적인 복수의 과정을 추가하였다. 또한 다수의 등장인물을 동원해 메인 플롯과 유기적으로 결합시키고 인물의 재설정을 통해 이야기에 더 집중할 수 있게 하였다. 원작에 충실하면서 대표적인 대중문화 장르인 TV드라마에 맞게 시청자들의 관심에 부응하는 요소들을 적절히 반영하여 작가가 설정한 서사 구조를 끝까지 밀고 나갔다. 이 논문은 소설과 TV드라마를 매체 변용하는 과정에서 문학작품의 내용을 어떻게 재현하는가가 아니라 영상매체의 특성을 유지하는 범위에서 선택된 소재의 원천적인 자료에 얼마나 충실하게 근접하는가가 중요하다는 것을 밝혔다. 소설과 TV드라마의 교류는 서사예술의 독립적 존재로서 매체들 간의 고유한 특성을 받아들이고 이들을 연결시킬 수 있는 가능성, 나아가 서로의 영역을 무한대로 넓혀가는 창조적인 공생을 하여야 할 것이다. This thesis discusses the transformation of the narrative structure that takes place in the process of producing a novel into a TV drama. The analyzed works are Jung So-hyun’s novel 『Person Who Resembles You』 and the TV drama < Reflection of You >. In order for a novel to be produced as a drama, it must go through a transformation procedure according to the difference in media, and much of it is changed due to the difference. Focusing on the narrative aspect rather than the expression style of video language, we analyzed how the original novel was transformed in TV dramas. The novel 『Person Who Resembles You』 is the story of “You” and “Me” that we met in the past. It is a plot in which the truth is revealed as the present and past memories are repeated interchangeably during the three meetings between “I” and “You.” This novel is a short story, but it has a “well-organized plot” that combines many events and dramatic conflicts. In particular, frequent inverted plots have become many advantages in the process of being adapted into TV dramas. In the original novel, if the victim and perpetrator were overthrown, and an incomplete human being was drawn by revealing “failed forgiveness,” the TV drama < Reflection of you > added a provocative process of revenge to the original narrative. In addition, a number of characters were mobilized to organically combine with the main plot and to focus more on the story through the reset of the character. While sticking to the original work, he pushed ahead with the narrative structure set by the artist to the end by appropriately reflecting factors that meet the interests of viewers in line with TV dramas, a representative popular cultural genre. In the process of media transformation of novels and TV dramas, this paper revealed that it is important not to reproduce the contents of literary works, but to how faithfully they approach the material selected within the scope of maintaining the characteristics of video media. As an independent existence of narrative art, the exchange of novels and TV dramas should embrace the unique characteristics of the media and create a creative symbiosis that expands each other’s domain to infinity. In this regard, it is important to explore the related aspects of novels and TV dramas. This paper was discussed based on that perception. We look forward to discussions on more works in the future.

윤석중 작품에 나타난 향수의 공간연구 -『고향땅』을 중심으로

노경수 ( Kyeong Soo Roh ) 단국대학교 한국문화기술연구소 2012 한국문화기술 Vol.13 No.-

Yoon, Suk-Joong(1911-2003) was born in Supyo-dong 13, Jung-gu, Seoul, Korea. He began his literary world, being accepted for 《New Boy》 in 1924 and 《Children》 1925. He published his complete works of thirty volumes from Woong-jin publishing company 1988 and collected 5 volumes as a series of 『Homeland』. This dissertation focus on the difference between the nostalgic space in『Homeland』 and Supyo-dong where he was born and grown up. Yoon, Suk-joong’s father lived with his step-mother, doing virtue to neighbors in Yulmok-ri, Eumam-myeon, Seosan-city, but drawn into the Korean War and passed away. Yoon’s family became victims of the war and he turned his back on Seosan. Yoon’s works in Vol.5 『Homeland』entered upon a new phase since the Korean War. Hometown on his former works such as 「Road」, 「A zelkova in our town」, 「Homeway」 「A child living in a country」, 「Homeland」, 「Geese」 means allowed space whenever you want to go. In contrast, hometown in latter works suck as 「Goodbye, my hometown」, 「Homesky」, 「Missing Hometown」, 「Hometown」means space not allowed to go. Also, commonly set up-nostalgic space is the object of yearning and the place with sunset, a pass beyond a pass, a well and ridgeway and children driving cows. Hometown is just a birthplace as a common statement. However, it can be a intensive place full of precious values in a literary aspect. Past studies regarded hometown as a common place or home town baring in mind, but it actually has country mood rather urban mood like Seoul. Though countryside looks similar, taking the truth that a work come out from writer’s experience into consideration, the nostalgic space in 『Homeland』 is Yulmok-ri, Eumam-myeon, Seosan-city, the place where his father lived and precious values left by mom existed.

외국인 학습자에 대한 문예교육에 선행해야 할 이질문화의 언어적 이해 -한,중 "죽음" 어휘에 대한 언어결정론적 접근

김진호 ( Jin Ho Kim ) 단국대학교 한국문화기술연구소 2011 한국문화기술 Vol.11 No.-

This paper attempts to highlight the significance and importance we may attach to a cross-cultural understanding of language in the course of a literary education of Korean as a foreign language for foreign students. Since language is closely linked to the influence of culture on the perception, value orientations, ways of expression, and behavior patterns of the people enjoying that culture, language is inseparable from culture. Undeniably, a proper understanding of the culture inherent in the language of a people is prerequisite to the efficient teaching of literary works as a cultural product of the people using that language. According to Linguistic Determinism, or the Sapir-Whorf hypothesis, there are two kinds of approach toward the problem of the long-debated language and culture relationship: one is that the language of a people is determined by, or reflects, their culture and the other that the language of a people determines and moulds their culture. In this paper, we have conducted a lexical approach to the relationship of language to culture and thought within a framework of the Sapir-Whorf hypothesis. Especially, through an overall survey of the specification and differentiation found in death-related vocabulary words, Korean and Chinese, we have proved that cultural awareness supposedly achieved in the course of a proper understanding of focal areas of cultural emphasis may contribute greatly to the success in a literary education for foreign students of language.

전봉건 시의 결정판 확정에 대한기본 유형과 의미화

김윤경 ( Yun Kyung Kim ) 단국대학교 한국문화기술연구소 2016 한국문화기술 Vol.20 No.-

Divide the task of reviewing the type of definitive confirmation by the target when the artist with multiple the definitive Edition as Jeon bong-gun poet has an important meaning. In general, regulatory changes are reflected in the poem Jeon bong-gun different version was found intact in the complete works of poetry and poetry have been published after the Hangul spelling newly revised in 1988. It works in the classification and analysis work and historical research work related to the surge reprinted minutes of Jeon bong-gun poet with many of the same work of the same title different version presents clear criteria. Jeon bong-gun poetic sense to pass this represents an ideal means trust and love that is generated by performing a frontal confrontation, intense negotiations with reality through the materialization of images. Different version when they Jeon bong-gun poet the meaning of the experience and sensibility of the means set forth in each paragraph will be embodied in the subjective perception. Each different version every form of poetic completed through the rise and diversification of the means through the materialization of images. In the space of negative devastation produce a positive means to create poetic as smoking flower creative space. Jeon bong-gun is receiving the effect of the musical effects by the variation means and repeatedly at the same time. ``Repeat`` and through the ``variation`` of the technique is called of God and the human actors ``nested`` condensed and the effects of the open and the diffusion combination and comprehensive and meet or effect of connect or will occur due to the unique inner power Jeon bong-gun when you meet with the effect of the transformation techniques are springing up. Jeon bong-gun and the spirit of the poet is aware of the devastated world of poetry, poetic reality and fantasy that exists as a form of creative dreams to overcome, and through him to the reader to stopping the vitality of a new life. Space of play and the life through the entire work of the poet Will rebirth in the poetic space for the pursuit of completing a poetic way done lost through the collapse of the process scars of devastation and space, the poetics of positiveIt is shaped by Poetic narrator willingness to overcome the one experience undergoes a poetic space recovery is made of life has created a structural poetics which means building a new network of crave for life and existence. Salpineun the process of organizing and shaping a form of variation, such as through visiting the precise changes in Shea Shea through the image that appears at the Jeon bong-gun (pattern) can be described as an essential work for understanding the aesthetic value based on the market price of the poet. If a particular situation and the phrase is repeated at the Jeon bong-gun and it appeared that a lot of variation and repetition of poetic shaping the negative situation in reality represents a repetitive and rhythmic characteristics of the images that appear through the ticker system. Meaning of organically shaped and poetically conscious and that party ``Language`` through a variety of angles the music of the ``melodies`` is through the rhythm. Jeon bong-gun`s Poem is that almost all the area has a dense musical techniques of aesthetic intent in trying to ``repeat`` and ``variations``. Jeon bong-gun was achieved through the mist of time sex substitution of the implementation of such refractive and poetic narrator weave the image was based on the experience gained from the war showed the disruptive and time configuration fragment. Thus it can be seen that the pursuit of endless eternity and through the recovery and the language of emotion.