1970년대 버스 안내양의 재현 방식 연구

권경미(Kwon, Kyong-mi) 중앙어문학회 2013 語文論集 Vol.53 No.-

1970s bus guide had the unique occupation’s meaning on the other hand has been strengthenedas the typicality of the surrounding bus guide. In this paper, the memoirs on the bus it to his own novel, the film narrative reveals bus guide reproduce that looked.<br/> Bus guide was appeared professional appearance also the gender implications to the amount of novels, movies, and memoirs. Profession as a guide, particularly human qualities are trying to assess the caliber to look toward ‘ppingttang’ bus guide of sale is unethical and immoral, while the amount of poor working conditions for the justification for the public to engage volunteers for potential concerns or complaints were.<br/> Bus guide’s appearance cross as revealed gender as a guide to maximize the amount of femininity look that emphasizes service and transportation from the service of women engaged in debauchery seems.<br/> The amount of women as gender to the male characters around prominently seen mechanic, supervisor, passenger assistance, as well as infertility bus guide surrounding discourse was to publicize and bus guide of consolidation, which contribute to the look.<br/> This is only going to make his narrative revealed in memoirs point too subtle to be skewed crack these social prejudices and stereotypes could be found. Manipulation in whatever profession as bus guide as women narratives were mocked and questioned about the discourse surrounding the bus guide. Than the first, and work ethic, and professionalism, the desire of the individual towards the profession as bus guide toward enhanced femininity of the individuals themselves tending to their flesh and violence, even the immortal voice revealed.

말하는 꽃, 해어화 -식민지 조선 기생들의 이야기

권경미 ( Kyong Mi Kwon ) 국제비교한국학회 2013 비교한국학 Comparative Korean Studies Vol.21 No.3

After the Kabo Reform abolished all class system in Korea, many kisaeng suddenly found themselves bereft of a livelihood. As a result, they quickly began working for the high-end restaurants and form their own unions and training schools with other court musicians. Women who used to be the “private possessions” of the court or of the elite class were now accessible to anyone who had enough money to request their service and entertainment. And the more these kisaeng became visible on the streets of the new urban landscape of Korea, however, the more they were allowed to participate in the public space and act asa vehicle for modern popular culture. Being one of the very few groups of women who could roam the streets without worrying about social decorum, the kisaeng also became an object of desire and envy. By the mid-1930s, social taboos previously attached to kisaeng diminished somewhat but because they were off the social spectrum, they gained more mobility and space without being bound by the social decorum or protocols usually placed on women. As actresses and models, kisaeng inadvertently became Korea`s spokesperson. They reappropriated the femininity defined and shaped by men and tried to assert their own agency by sharing their stories with the public and joining what used to be male spaces. At the same time, however, their cast roles were precarious and could quickly give way to either infamy or popularity.

수도권역 ‘화성’과 70년대생의 문화지리학 -『우리동네』 속 세대 간 구분을 중심으로-

권경미 ( Kwon Kyong-mi ) 한국문학이론과 비평학회 2020 한국문학이론과 비평 Vol.89 No.-

Lee Mun-gu wrote about the life of farmers and farmers after the Korean War in his novel. Therefore Lee Mun-gu was called a rural writer and a peasant writer. Of course, Lee Mun-gu's achievements in rural literature are great. However, it is a problem to call this phrase a rural writer and a peasant writer. In this regard, Lee Mun-gu's Our Neighborhood offers the possibility of opening a new horizon to Lee Mun-gu's research. It is farmers who are rural residents as well as those who lead the novel powerfully. But if you turn your eyes a little, you can meet the farmer's children. And the peasant's children are now the elderly responsible for our times. Then, you can see how the elderly in our society were in their childhood through this novel. The older generation in our society is a generation educated by the higher academic discipline of parents and enjoying urban and modern culture. Their cultural tastes all stem from their childhood experiences. If the novel is viewed as a cultural change between the generations of parents born in the 40s and those of children born in the 670s, rather than as a changing/declaration of rural customs, one can look at the different aspects of this phrase. In response, the school wants to pay attention to Hwaseong, a rural area and the background of the novel near Seoul. It analyzed the culture of the semi-agricultural peninsula as possible because of Hwaseong, near Seoul, and the new generation culture of the 670s.

근대 국가의 빌보드 - 식민지 조선에 나타난 춘향전의 시각적 각색

권경미 ( Kyong Mi Danyel Kwon ) 국제비교한국학회 2013 비교한국학 Comparative Korean Studies Vol.21 No.2

Korea`s modernity is often complicated by the presence of colonial experiences in tension with the nationalist movement. And such dominant narrative had undermined the role industrial technology and mass media played in informing and shaping the modern masses and popular culture. In recent years, however, the new generations of scholars began to reconsider the makings of Korea`s popular culture in the early twentieth century and how it coped with and responded to the historical and political conditions of the time. The Tale of Ch`unhyang in this sense can shed a new light on the relationship between Korea`s modernity and the mass media because its new surge of popularity in the first half of the twentieth century paralleled and reflected the development of industrial technology and popular culture. One of the most beloved folktales in its various adaptations had become a very effective vehicle through which the masses experienced new modes of seeing and understanding the world around them. Like many women of the time, the recreated facets of Ch`unhyang also acted as a billboard which articulated and exhibited contrasting images of Korea`s modernity. In order to trace the cultural implications of The Tale of Ch`unhyang in its recreations in Colonial Korea, this paper first examines some of the most popular visual adaptations in light of one particular parody written in an early form of comic strip.

하층계급 인물의 생성과 사회 구조망

권경미(Kyong Mi Kwon) 한국현대소설학회 2012 현대소설연구 Vol.- No.49

This research aims to investigate how typical representation of ``prostitute`` was formed while prostitutes in 1970s were combined with popularity and populism of popular novels. This endeavor was arose from the fact ``prostitute``, a disparate being living in shade, had got a general figure of prostitute with the intervention of genre-specific characteristics, authors, readers, and reality of the time. This could be explored through ``translation of culture``. Interpretation of disparate culture within an identical language boundary requires the ``translation`` process, during which disparate objects are described from the perspective of an ``observer`` and a ``main agent``, who is subordinate to norms. Accordingly prostitute, a disparate object, gains general signification as being translated into the world of norms and order. At this moment a prostitute story, an excitatory writing material of reportage, acquires generality in the field of popular novels and is taken lightly by readers in the middle or higher class. This not only let readers satisfy their voyeuristic curiosity but also had them remain silent on contradiction of 1970s` Park Jeong-Hee Administration. Unique lightness of popular novels intentionally made the structure of prostitution out of attention by over-interpreting the prostitution itself only. This is portrayed by the government`s surveillance and control directly conducted on the underclass. Residence of the underclass represented by ``red-light district`` and ``bank district`` indicate where government power intervenes fast, easily, and effectively. By analyzing an intersecting point of realism attribute and popular novels, domination ideology and power, densely entangled under the name of popularity and populism, would be identified.

노동운동 담론과 만들어진/상상된 노동자

권경미(Kyong Mi Kwon) 한국현대소설학회 2013 현대소설연구 Vol.- No.54

Researchers interpreted the labor stories were labor`s pure voices. But the labor movement is affected the workers itself and external factors. So this paper analyze 1970`s labor stories how to reproduce workers themselves and what that process of the labor movement. Seok`s stories are transformed look in the process, the discourse of knowledge workers is injected from outside the narrative of one individual delete all. Yoo`s story is problematic in that manipulation of the workers, despite advocating workers to determine an individual`s voice. He directly in the plant construction trade unions and co-workers to educate and develop as an active labor movement. But he didn`t recognized as workers themselves, rather than the theological dimension of evangelization devise Corporation is recognized as a pre-plant labor minister deployment. In other words, workers with stories of workers and their awakening to overcome the absurd reality of working a typical pattern inside the narrative of the struggle for the deletion of the personal appearance and the desire to achieve religious salvation, as appears more complex and subtle point.

한국전쟁과 원한서사의 역방향성 연구

권경미(Kyong Mi Kwon) 한국현대소설학회 2012 현대소설연구 Vol.- No.51

This research aims to see the two times-1950s and 1960s- the continuous times not to be cut off. Many research of SeonUh Whee`s novels so far only considered the relationship between historical reality. However a look of the diachronic perspective in the 1950s can take off the weight of historical reality a little. This could be explored through ``nation reconstruction``. In the 1950s, others (socialism, the north) should be achieved by denying the national identity was retroactive as to individuals. The concept of 1960s` citizens also be attributed to be supported 1950s` social individual by pinch-conscious. It could be explained by the 1950s` political participation. In the 1950s was the emergence ``the political participation``. Seungngman Yi regime, the absolute power of public influence revealed. It also appeared throughout the novel, and the appearance of popular political participation can be found. The 1950s personal ressentiment narrative is converted to the community ressentiment due to the weight of historical reality. Individual revenge narrative is inclusion in the nations as combining a individual narrative and nation policy. Individuals moves to the position of the country. In other words, at any moment individuals ressentiment narrative reverse the direction of conduction by identifying the dominant ideology. Feelings of ressentiment are revealed by the violence. And the violence is revealed a convince violent, socially acceptable violence also due to the reverse- directionality of ressentiment narrative. By analyzing a diachronic point of view can be opened the viewpoint to see 5,60`s continually and understood the 50`s in three dimensions.

대중소설의 도시적 교양성과 타자의 윤리

권경미(Kyong Mi Kwon) 한국현대소설학회 2014 현대소설연구 Vol.- No.56

Josunjak writes the characters excluded from the space, time of 1970`s Seoul. Maybe country-boy could see each other Seoul for a split of the space being a social and cultural divide more sensitive. He writes the degree of being classifying Seoul for deficiency and lack. And in the middle-class culture that reflects the tastes and cultural characteristics are well exposed and has a unique one. However, this cultural space, cultural space of the middle class in order to enter the marriage can be a very valid excuse. Both men and women farmhouse young men and women of their own weapons on marriage-market. Of their youthful market products soon to be married by him in Seoul because the space available for distribution. Note that here, but the product of their ``youth, youth`` is. In particular, the small man shipbuilding ``old`` men or ``late`` ``marriage`` does not have to follow the logic of the market economy and struggling to be exquisite. The youth because they are both young marriage-market products on the market which can be recognized to be sensitive to both men and women. This temporality of modern social conditions, and to be a small shipbuilding. Josunjak isn`t social condition writer for he recognizes the social conditions resulting from the characters` ethical attitudes. Josunjak characters are aware of modern values , rather than only those migrants in the city towards the sick and the afflicted to try getting out a warm hand. Love and care towards others suffering from the pain, through the ethical attitude to overcome the conflicts and contradictions. Josunjak but maybe too vulgar for vulgar flow in an atmosphere of flowing thoroughly moral attitude towards others as you wish to reconcile. Therefore, Joseonjak popular novels, social conditions can not be dismissed only novel insight into the times and the alternative would have to work to contain.

1970년대 여성노동자 담론과 비노동자로서의 가정부

권경미(Kwon, Kyong-Mi) 한국현대소설학회 2016 현대소설연구 Vol.- No.61

일상툰의 소시민성과 병맛툰의 경계 너머 내러티브

권경미 ( Kwon Kyong Mi ) 성균관대학교 인문학연구원(성균관대학교 인문과학연구소) 2016 人文科學 Vol.0 No.62

한국 웹툰은 웹툰 역사 10년 동안 눈부신 성장을 이뤘다. 특히 일상툰과 병맛툰은 지금 현재의 웹툰의 탄생 및 성장과 궤를 같이 하기 때문에 주목할 만하다. 일상툰과 관련해서는 작가의 성장 서사에 초점을 맞춘 연구가 주를 이룬다. 그런데 일상툰과 관련해서 주목해야 하는 것은 작가의성장과 변별되는 ‘독자의 정체(停滯) 내지 퇴보’이다. 어느 순간 웹툰 작가는 우리 사회의 영향력 있는 문화 인사의 자리에 오르게 되었다. 이들의 일상적인 에피소드가 연재되는 동안 그 누적된 시간과 무게에 비례해작가들의 사회적 지위나 경제적 풍요 역시 더해졌다. 반면 이들의 잉여력에 공감하고 열광하던 독자들은 이들의 성장 속도를 따라가지 못하거나 아니면 여전히 잉여적인 일상을 살아가고 있다. 따라서 일상툰 연구 역시성장하는 작가 내러티브와 변별되는 잉여로서의 독자에 주목해야 할 것이다. 병맛툰은 기-승-전-결의 형식이 아닌 기-승-전-병(신맛)의 구조를 갖는다. 즉, 지금까지 전개된 이야기와 무관하게 납득할 수 없는 결말에 도달해서 종내는 비논리로 응수함으로써 이야기 전체에 무의미성을 이루는 형태이다. 이러한 병맛툰과 관련한 최근의 연구 경향은 그 병맛툰의 특정한 구조적 형식의 특징을 정의하는 것이다. 이들 연구는 병맛툰 특유의 구조와 형식이 갖춰져 있음을 전제로 한다. 그렇지만 본고에서는 병맛툰에 특정한 구조와 형식이 존재한다는 그 발상이 곧 병맛툰의 경계 흐리기, 경계 지우기 내러티브를 다시 재영토화할 뿐이라는 것을 분석하고자한다. 즉 병맛툰은 그 자체의 내러티브 힘이 존재하며 그 내러티브는 곧경계를 넘나들기, 경계를 지우거나 흐림으로써 의미를 갖게 됨을 볼 것이며 이를 위해 이말년과 컷부의 웹툰을 분석했다. Korean webtoons have made a remarkable growth during the past 10 years. And in recent years, Korean webtoons have attracted special attention because of their role of covering the story of the visual contents industry. Research related to the trend of Korean webtoons is largely divided into social and cultural analysis and Korean webtoons related to the type of narrative analysis of the media dimension. This study is significant because it tends to provide clues that can significantly examine the present situations of Korean webtoons. The daily-toons reflect the day-to-day self-narratives of the author and has the characteristics of a growth narrative. In the early period daily-toons, the authors confessed shyly their surplus lives but now they tell their love, marriage, and parenting to readers. For 10 years the authors have changed their life style from that of surplus in their 20s to that of petit bourgeois in their 30s. And it’s true that the author’s narrative is the ‘growth narrative’. But the reader’s daily life was not that of the ‘growth narrative’ unlike the author. Rather, reader’s life has regressed for 10 years. Meanwhile the cripple taste [byeongmat] comics were very interesting. Usual narrative has the order of “introduction, development, turn, and conclusion,” but the cripple taste [byeongmat] comics are equipped with the structure of ‘introduction, development, turn, and cripple taste [byeongmat]’. Current trends in research related to the cripple taste [byeongmat] comics is to define the characteristics of the particular structural form. These studies are based on the premise that the cripple taste [byeongmat] comics are endowed with stocked distinctive structure and format. However, this paper attempts to analyze that the idea of its specific structure and format of the cripple taste [byeongmat] is just re-territorialization of previous narratives.