“빨간 모자” 다시쓰기의 상호텍스트성

류현주(Hyun-Ju Ryu) 한국영미어문학회 2013 영미어문학 Vol.- No.111

This paper examines intertextuality from a perspective of rewriting concept in the two disciplines, translation studies and literature studies. The present research follows up my previous theoretical research on rewriting with examplary of Little Red Riding Hood to elaborate intertextual approaches in interlingual translation and creative writings. I applied Julia Kristeva's definition of a text for intertextuality. According to Kristeva, a text is not a product but a state of production, which implies that a text is open to continuous rewritings. The rewrites of the example fairy tale in the paper include but are not limited to the children story so the paper uses "Red Riding Hood(RRH)" as a motif or a source story. An English writer, Angela Carter translated a French version of RRH into English while expands the source text into separate short fictions with her creativity and imaginative twists of the fairy tale motif. These two kinds of intertextual rewrites always encounter with each other in a multi-dimensional literary space.

(비교)문학과 번역학

류현주(Ryu, Hyun-Ju) 신영어영문학회 2012 신영어영문학 Vol.53 No.-

This study explores ‘rewriting’ of a literary text in terms of two interpretations, post-modern views and language translation under a big framework of literature studies and their evolution. Rewriting has been studied as re-interpretations of existing literary texts in literature and as a skillfully manipulated text in another language of an original (language) text in translation. In a broad sense, these two approaches concern relations or intertextuality among different literary works including translated texts. Literary theoreticians and comparative literary scholars are translators themselves as are the cases in Spivak, Bassnett and Lefevere, to name a few. A translated text in literature studies should be redefined with the following points in mind: readers meet translated texts first, not original texts in foreign languages; a translator is not merely a language transferrer; and rewrites are not immune to various constraints inside and outside of a text.

다중형식 서사의 비선형성 : 영화의 분기구조

류현주(Hyun-Ju Ryu) 신영어영문학회 2006 신영어영문학 Vol.35 No.-

The objective of this study is to explore nonlinear narratives with focus on bifurcating structure in films, Groundhog Day(1993) and Sliding Doors(1998). Nonlinearity is characteristics of computer mediated narratives such as hyperfictions and computer games even though it is not just uniquely limited to these digital media narratives. The case in point is forking paths in conventional narratives including printed novels and films. There is no unanimous definition on nonlinearity but there can be an agreement that it refers to narrative structure telling a story against a straightforward way. Among them are different point of views or non-chronological arrangement of events, which have been often touched upon by scholars on narratology. However, narrative bifurcation has yet to be fully researched. This research examines how chronological presentation of events show stories nonlinearly with forking paths in the two films. These narrative texts have different outcomes with variations on the same events: five in Groundhog Day and two in Sliding Doors.

마르잔 사트라피의 『페르세폴리스』에 나타난 시각적 서사성

류현주(Hyun ju Ryu) 한국영미어문학회 2016 영미어문학 Vol.- No.123

This research addresses visual narrativity in the case of Marjane Satrapi’s graphic novel, Persepolis. This novel is an autobiographical memoir about the Iranian-born author’s childhood and early 20s and a new form of literature ‘depicting’ a story with both image and text together, ‘visual narrativity’. In narrative studies visual narrativity refers to written images in traditional text-based novels and narrativity of visual images in paintings. Significantly, graphic novels combine these two aspects of visuality and narrativity. What matters in Satrapi’s artistic world is not its genre style but the storytelling medium as she ‘writes’ images and ‘draws’ a text. Moreover, this unconventional novel offers the pleasure of ‘reading’ the story as it ‘depicts’ Marji’s outcry for freedom and independence. In other words, the novel’s artistic and functional, visual narrativity is conducive for reader identification: Satrapi’s signature hand drawings in black & white and episodic structure as well as her compelling storytelling sprinkled with a good sense of humor. In summary, graphic novels help readers and scholars to transcend the boundary of novels, paintings, comics and revisit their natural process of appreciating narratives, “painting a picture,” literally and figuratively.

비선형성 관점으로 본 매체와 서사

류현주(Hyun-Ju Ryu) 신영어영문학회 2007 신영어영문학 Vol.38 No.-

This study addresses relation between media and narratives with focus on nonlinearity. I interpreted it from perspectives of text structure and narrative users such as readers(game players) and audience: We enjoy several different sequences, plots or stories in one narrative form of text. With digital computer medium or ‘new media’ buzzing around academia as well as industries, we have witnessed discourse demarcation between conventional narratives and computer-generated counterparts, in particular, in literature. However, in an effort to embrace these two kinds, I crossed over different media narratives-fictions, movies and games(book forms). The present paper covers crossmedia narratives with concept of nonlinearity as a means of connecting the two media genres or narratives.

문학의 진화: 경계와 소진 그리고 발전

류현주 ( Hyun Ju Ryu ) 現代文學理論學會 2011 現代文學理論硏究 Vol.0 No.47

본 논문은 문학의 경계를 문학의 안과 밖 차원으로 나누어 어떻게 경계 허물기 노력들이 이루어졌는지를 탐구한 것이다. 이런 맥락에서 어떻게 컴퓨터 매체가 문학 창작에 도입되어 작가들의 창작 고뇌와 아이디어의 소진에 돌파구를 마련했는가를 살펴보고, 그 결과 탄생한 새로운 형식의 문학과 서사가 문학 발전에 제공한 기회와 도전을 국내외 사례 중심으로 연구하였다. 먼저 문학 밖과의 경계를 넘나드는 노력으로서, 문학과 예술, 즉 영상, 음악, 무용 등 다른 장르와의 만남 사례들을 살펴보고, 문학 내부의 경계로서는 그 동안 본격 순수 문학과 장르 문학으로의 구분과 쌍방향 서사 발전의 문제를 진단해 보았다. 전자의 경계 허물기는 주로 문학을 영상에 담거나, 음악가와 문학인의 창작적 영감 교류, 그리고 문학과 미술의 만남을 통한 ''문학 전시''의 형태로 이루어진다. 후자의 노력은 컴퓨터 매체 활용에 도움을 받아 PC 통신, 온라인에서 장르 문학이 활발하게 발표 및 유통됨에 따라 이것이 오프라인 출판계와 문학계 전반에 장르 문학 재조명 계기를 마련하였다. 컴퓨터 매체 부상에 따라 인쇄책과 문학의 종말 혹은 죽음이 예견되면서 미국 작가들을 중심으로 쌍방향 서사의 서막을 알렸다. 이에 비해 우리나라에서는 장르 문학, 특히 판타지 문학이 활성화되고, 이것이 게임 문학 혹은 경계의 문학으로서 부상하였는데, 문학 자체보다는 컴퓨터 게임과의 밀접한 연계성 때문이다. 그래서 우리나라 연구 풍토에서는 컴퓨터 매개 디지털 문학과, 게임, 그리고 판타지 문학을 항상 동일 선상에서 파악한다. 그 결과 문화 산업 육성에 따른 콘텐츠 개발에서 문학으로서의 장르보다는 게임 문학으로서의 장르 문학이라는 인식이 확산됨에 따라 장르 문학이 주목 받는 듯 보이지만, 사실상 게임 시나리오 성격으로만 존재하는 장르 문학의 문학적 위상에 대한 고민을 안겨 주었다. 결국 이와 같이 문학 안팎 장르의 만남과 경계를 넘나드는 시도에 따라 창작자는 컴퓨터 나아가 스마트 기술을 통해 새로운 문학을 시도하며 문학은 계속 시대를 거듭하며 진화하게 될 것이다. This paper explores the current trend of cross border efforts of literature: ''meeting'' different genres including music, art, dance and other performances(extra-literary meeting) and blurring the demarcation of genuine literature and genre literature as well(intra-literary meeting). Computer media has transformed literature which heralded e-book, interactive narratives such as hyper fictions and games, in particular, ARG. Writers often dubbed this sea change as the end of books and death of literature. Korea also witnessed increasing release and growing popularity of genre literature in PC communication network before the introduction of WWW int past and online now. Amid this backdrop, genre novels, especially fantasy genre is considered synonymous with computer-based digital literature, which in turn becomes a source of computer games in the context of Korea. That's why game scenarios are even called as ''game novels.'' All these new forms or buzzing sounds such as ''the end'' and ''death'' reflect challenges facing novelists as they realized their ideas were exhausted. Yet this is the main booster and contributor to further literary evolution.

안젤라 카터의 『피로 물든 방』에 나타난 늑대 모티프

류현주(Ryu, Hyun-Ju) 신영어영문학회 2014 신영어영문학 Vol.57 No.-

This paper explores a wolf motif in Angela Carter’s The Bloody Chamber with focus on wolf trilogy-The Werewolf, The Company of Wolves, Wolf-Alice. A wolf is a symbol of animal desire. He lingers not only in a forest but also in a girl’s mind. Therefore, a girl/woman is always destined to face a wolf in a forest called a society full of rape and violence. The Bloody Chamber is a gem of Carter’s innovative interpretation of fairy tales. In the trilogy, Carter twisted Little Red Riding Hood to show the latent meaning of the story. In the three rewrites of the tale, a girl is not a typical helpless victim sacrificed to a wolf. She is wise and strong-minded enough to fight against a wolf with her knife in a forest. She grows even empowered to tame a wolf and enjoy being together with him in her adolescent age with a help of a red hood, literally and figuratively.

레슬리 마몬 실코의 『의식』: 체(Ts’eh)에 관한 연구

류현주(Ryu, Hyun-ju) 신영어영문학회 2021 신영어영문학 Vol.79 No.-

This study examines “Ts’eh” in Leslie Marmon Silko’s Ceremony as a major female character vital to Tayo’s healing process and completion of the ceremony, literally and figuratively. She is an incarnation of Yellow Woman, a representative feminine figure in Pueblo mythology who seduces but imbues a man with a life force to help him sustain and grow. In the same vein, Corn Woman/Mother exercises another mythological feminine power of life for Tayo. Ts’eh who lives in the base of Mt. Taylor, the sacred place with spiritual power, helps Tayo find Josiah’s cattles and recognize Pueblo heritages such as ceremonies, roots, plants and a she-elk rock painting. She also protects him from Emo’s bad intention to capture and send him away. She manifests physically Pueblo legends in yellow colors and related imagery supporting him to remember a cattle, a mountain, a woman and encounter the pattern of stars which Betonie visioned in the ceremony for Tayo. By doing these, she has upheld his quest for healing and awakening journey to regain mental and physical strength along with the medicine man’s ceremonial performance without influence of the witchery.

플래그쉽 스토어를 통한 브랜드 경험이 브랜드 소비자-관계에 미치는 영향에 관한 연구 -아이웨어 브랜드 젠틀몬스터 사례를 중심으로-

류현주 ( Hyun Ju Ryu ),이연준 ( Youn Joon Lee ) 한국기초조형학회 2016 기초조형학연구 Vol.17 No.2

본 연구는 경험의 다면적 특성이 가장 잘 드러나는 접점공간인 플래그쉽 스토어에서 브랜드 경험 전략 요인들이 브랜드와 고객 관계에 어떠한 영향을 미치는지에 대한 실증 분석을 목적으로 한다. 선행연구를 통해 브랜드 경험의 감각, 감성, 인지, 행동, 관계 경험의 5가지 요소를 추출하였고, 이 요소가 브랜드 태도와 충성도에 어떠한 영향을 미치는지 설문조사하고 분석하였다. 그 결과 첫째, 행동 경험과 관계 경험이 브랜드 태도에 정의 관계가 있는 것으로 나타났다. 이는 물리적 참여인 행동 경험이 고객에게 큰 만족을 주며 플래그쉽 스토어 내의 다양한 콘텐츠를 소셜 네트워킹 서비스, 개인 블로그 등에 올리는 활동을 통해 사회적 관계 경험으로 확장하는 것을 확인할 수 있다. 둘째, 인지 경험과 관계 경험이 브랜드 충성도에 정의 영향을 미치는 것으로 나타났다. 감각 경험의 시각과 촉각 요소가 고객의 심리적 참여로서 인지 경험에 영향을 미치며, 이러한 경험의 호의적인 태도가 관계경험에 긍정적인 영향을 미치는 것으로 파악되었다. 본 연구에서는 브랜드 경험의 5가지 경험 요인이 모두 총체적으로 작용해야 한다. 또한, 강력한 브랜드 태도와 브랜드 충성도를 위해 플래그쉽스토어 내의 인지, 행동, 관계 경험을 강화하여야 하며 브랜드 경험으로써의 고객 참여가 필요함을 제시하였다. This paper aims to investigate empirically how strategic factors of a flagship store`s brand experience, which account for various perspectives of experience as a point of contact, influence the relationship between brand and customer. Through prior research, five elements of brand experience - sensory, sensibility, cognition, behaviour, relate - were elicited and surveyed to see how these elements impact on brand attitude and loyalty. From the results, first, behavioural and relational experiences have a positive impact on brand attitude. The results explain that behavioural experience in terms of physical engagement affords customer satisfaction. Then, this experience can be extended into a social relationship through sharing diverse contents in a flagship store via a social networking service or personal blog. Second, cognitive and relational experience have a positive impact on brand royalty. Visionary and tactile elements, in terms of sensory experience, influence cognitive experience as customers` psychological engagement and favourable attitude towards such an experience have a positive impact on the relational experience. This paper suggests that five experiential elements of brand experience need to be utilized holistically. In addition, for a strong brand attitude and loyalty, cognitive, behavioural and relational experiences in a flagship store need to be reinforced and customers` engagement with a brand experience is required.

수용자 관점에서 본 쌍방향 내러티브

류현주(Hyun-Ju Ryu) 신영어영문학회 2005 신영어영문학 Vol.31 No.-

The objective of this research lies in studying narrative interaction from receptors’ perspective. I meant readers, wreaders(writer+reader) and computer gamers, and anyone who enjoys narratives by ‘receptors.’ I sought to trace literary evolution by encompassing conventional print fiction and computer-generated narratives as well aiming at bridging ever-widening divides between the two media-driven narratives. To this end, I explored Jorge Luis Borges’ metafiction, Garden of Porking Paths, Infocom’s phenomenal text computer game Zork I, and Michael Joyce’s Afternoon, a story, the first hypertext fiction. These three texts use distinctive narrative structure to lead receptors to be deeply immersed in texts cognitively or/and physically. As interactivity has buzzed across all works of art with easier access to computer technology, an increasing number of people pursue interactive narratives. Well-structured digital narratives can be made possible not merely by receptors’ physical interaction, but, more significantly, their active cognitive interaction with texts.