특집논문 : 1970년대 대중 서사의 전략적 변화

김성환 ( Sung Hwan Kim ) 한국문학연구학회 2013 현대문학의 연구 Vol.0 No.51

According to the industrialization, the popular culture made out the popular narrative. Culturalism of 1960s drived people take a ‘good’ cultural mode and style for the spiritual elevation as the novel or essay. This thought made it possible to censor the ‘bad’ popular magazine and indecent article, photographs in it. Presentation of the qualitative problems was mean for controls by power. Although the controls, the popular narrative do not have always a drama of controls and resistances. The popular choices were concentrated on the popular or vulgar culture mode. These choices is the result of the popular literacy, which was gained by a modern general education and literacy education. Popular literacy shows how the popularity of 1970s was constructed, by what it made of, and what the composition of it is. popular criticism to th popular culture of obscenity was the intrinsic condition for various narrative mode. The pseudo novel was published in popular magazines as Sunday Seoul(『선데이서울』) and Daily Sports(『일간스포츠』) in 1970s. the first case was Imkeokjeong(<임꺽정>), the novel comics and The Parade of Fools, the conte(<바보들의 행진>) These are made in vulgar mode far form sophisticated style, but these took a important accomplishment of novels and have an intend to show that sophisticated mode was made even in popular narrative as comics and conte. some popular mode gave up the canonized novel`s norms for communication with the real readers. ‘Yuho`s Series’ is a example, which is a kind of novel, but writer never indicated his works as novel. This is a strategy of popularity of narrative. Popular narrative connotes the ruling ideology and a vulgar taste and demand. A trace of the intervention of ruling ideology can be found in popular narrative. But A voyeuristic view is intervened between the traces. This means the objectification of female and narrative was focused on expression of sexual love and description of sex, then narrator give a popular knowledge in succession. It is the one of the popular literacy which is made by ruling ideology and voyeuristic views. When a reality is brought in the narrative, the effect is not only communication with the reader and causing interest, but also the social meaning related with that reality. the popular narrative identified the social problems and find a means for resist and satire against the problems. The popular narrative seems a deviation from the canonized novel forms, but constructed a communication, made a mode of popularity, and a social meaning.

1970년대 <선데이서울>과 대중서사

김성환(Kim, Sunghwan) 중앙어문학회 2015 語文論集 Vol.64 No.-

이 글은 1970년대 <선데이서울>을 중심으로 대중서사의 양상을 고찰하는 것을 목표로 한다. <선데이서울>은 1970년대 대표적인 대중 주간지로, 기사와 연재소설 등의 양식은 시대의 대중성의 기원을 보여주는 텍스트이다. <선데이서울>의 대중성은 읽을거리를 소비하는 방식, 즉 대중의 글읽기와 글쓰기를 통해 형성될 수 있었다. 이 과정에서 <선데이서울>은 다양한 계층의 독자를 호출하며, 대중의 열망을 담아내는 통속적 기사를 생산하는 한편, 관변기사를 통해 권력의 욕망과 이데올로기를 개입시켰다. <선데이서울>은 이 두 욕망이 상충하는 공간으로, 대중성과 공공성을 담보하는 매체의 성격을 지닌다. 두 욕망의 자장 내에서 <선데이서울>은 다양한 대중적 서사양식을 개발했다. 소설의 방계형식으로 고안된 유사소설을 통해 <선데이서울>은 대중적 문예양식의 가능성을 설정했다. 그리고 영화와 드라마, 혹은 사진과 같은 영상매체와의 관계를 유지하며 대중적 문예양식을 다양한 방향으로 확장할 수 있었다. 기사 유형 중 하나인 저널리즘 서사는 성(性)과 부(富)에 대한 대중의 관심을 바탕으로 흥미로운 읽을거리를 생산했다. 상담수기는 주로 성에 대한 통속적 흥미를 충족시키는 내용으로 이루어져 있지만, 성에 대한 사회 상황을 반영하는 것은 물론, 그 고유의 소통구조를 통해 대중독자의 글쓰기를 상상하게 만드는 효과도 발휘한다. 권력이 직접 개입한 부의 서사는 성공담으로 포장된 서사에서 권력과 대중의 욕망이 충돌하는 공간을 만들었다. 부에 대한 열망으로 이루어진 성공담은 권력과 등가의 관계에 있는 대중의 욕망을 증명했다. ‘예비재벌’의 성공담은 부를 향한 대중의 열망을 거침없이 드러냈으나 정치-경제 구조의 변화에 따라 대중의 체험과 부의 감각은 단절되고 성공담의 서사성은 약화되는 경향을 보였다. This paper aims to demonstrate the popularity of popular narratives. Under the controls of the power, the popular narrative does not always have a drama of controls and resistances. The popular choices were focused on “popular” or “vulgar” culture. These choices are the result of widespread popular literacy, which was gained by modern general education and literacy education. Popular literacy shows how the popularity of the 1970s was constructed: how it was made, and of what it was comprised. A theme of criticism to the popular culture of obscenity was the intrinsic condition for various narrative modes. Sunday Seoul(<선데이서울>) is one of the weekly magazines that illustrated the popularity of the 1970s. Sunday Seoul developed various popular narratives around sex, wealth, and popular culture. Numerous experiments were carried out in literary genres, “Yuho’s Series”(유호시리즈), or the pseudo novel answered the identities of Sunday Seoul. Many of Sunday Seoul’s popular narratives, e.g. translated nonfictions and TV-novels, were developed into films and TV series. With this in mind, Sunday Seoul could be considered the most meaningful media to the public and the popular literary genre. Journalistic narratives were also included in Sunday Seoul. Its interests were focused on sex and riches; popular desires in everyday life. Counseling stories were focused primarily on sex. In spite of its vulgar taste, the counseling story reflected the sociality of sex, and drove peoples’ literacy. In the early 1970s, the narrative was clear in the journalistic writing for riches, or the success story. The "Preliminary Riches" series exhibited ardent desires that were in conflict with the power. However, due to the expansion of ideologies of national political economy, the narrative eventually weakened.

〈권익중전〉의 서사 혼종과 대중화 전략

윤은정,이명현 한양대학교 동아시아문화연구소 2023 동아시아 문화연구 Vol.94 No.-

This paper attempted to examine classical literature as popular literature of this period by examining the narrative structure of “Right and Right Jungjeon,” which was enjoyed until the late 19th and early 20th centuries. The 19th century is already a period of cultural expansion with social and economic growth. Various cultural aspects coexisted through internal commercial development and the influx of new culture from outside. Among them, classical novels also made various changes in response to the changing society of the time. “The Right and Right Jungjeon” is a work that has changed in a way that variates and mixes various narrative elements. The narrative of “The War of Rights” is largely composed of a love story centered on the rights of the first half and a hero story centered on the right of the second half of Gwonseon-dong. However, the two narratives are not presented in parallel, forming variations in the existing schematic narrative development, influencing each other’s narratives and combining them. The elements of the first half of the affection story make the second half of the hero story probable, and the hero narrative of Gwonseon-dong leads to the realization of the first half of the affection story and forms a complete narrative. In the process, mythological factors such as love narratives, real songs other than hero narratives, regenerative motifs, and birth through the combination of the two worlds or being granted gods create narrative probability. At this time, the combined narrative elements also show a pattern of variation and hybridization without following the purpose or structure of the existing narrative. Variations and hybridization of narrative elements occur by offsetting the points at which narratives may collide. In the process, “Right and Right Jungjeon” leads to the combination of various narratives centered on the family community. A narrative connection of “individual-family-state” is established by connecting families and families between affection stories dealing with individual emotions of men and women and hero stories defending the national governance system. In addition, Gwonseon-dong and Oknangmok, an external antagonist, appear as internal beings for the solidarity of the family community, connecting various mixed narratives into a process of a large event. The narrative of family formation is completed as a compromise between the love story centered on individual emotions and the hero story centered on the protection of the community. Around the family community, narrative elements are transformed and mixed, and narratives with a single completeness are created, not stories arranged in parallel. In the process, the variations and hybridization of the narrative can be seen as reflecting the demand of the public at the time. Variations and hybridization of narratives are one of the strategies to survive as popular literature between the rapidly changing cultural trend of the times and the cultural trend to maintain the existing governance system firmly. Through the popularization strategy, classical novels, including “The War of Rights,” were able to continue their vitality by enjoying them to the time. It is necessary to reconsider popular literature that has changed in modernization and achieved popularization and secularization without devaluing classical novels from the 19th to 20th centuries into popular novels and secular novels. 이 논문은 19세기 말, 20세기 초까지 향유되었던 〈권익중전〉의 서사 구조를 살펴보고 이를 통해 이 시기의 대중문학으로서의 고전문학에 대해 고찰하고자 하였다. 19세기는 이미 사회, 경제적 성장에 따라 문화적으로도 팽창된 시기이다. 내부의 상업적 발전과 외부의 새로운 문화 유입을 통해 다양한 문화 양상이 공존하였다. 그 가운데 고전소설 역시 변화하던 당대 사회에 대응하며, 다양한 변화를 이루었다. 〈권익중전〉은 여러 서사 요소를 변주하고 혼종하는 방식으로 변화를 보인 작품이다. 〈권익중전〉의 서사는 크게 전반부 권익중 중심의 애정담과 후반부 권선동 중심의 영웅담으로 구성된다. 하지만 두 서사가 병렬적으로 제시되지 않고, 기존의 도식화된 서사 전개에서 변주를 이루며 서로의 서사에 영향을 끼치며 결합한다. 전반부 애정담의 요소들이 후반부 영웅담이 개연성 있게 진행되도록 만들고, 권선동의 영웅서사가 전반부 애정담의 실현으로 이어지며 하나의 완전한 서사를 이룬다. 그 과정에서 애정서사와 영웅서사 외의 진가쟁주, 재생 모티프, 두 세계의 결합을 통한 탄생이나 신물을 부여받는 등의 신화적 요소 등이 얽히면서 서사적 개연성을 만든다. 이때 결합된 서사 요소들 역시 기존의 서사가 지닌 목적이나 구조를 따르지 않고 변주되어 혼종되는 양상을 보인다. 서사 요소의 변주와 혼종은 서사끼리의 충돌될 수 있는 지점을 상쇄시키면서 이뤄진다. 그 과정에서 〈권익중전〉은 가족 공동체를 중심으로 여러 서사의 결합을 이끌어낸다. 남녀 개인의 감정을 다루는 애정담과 국가 지배 체제를 수호하는 영웅담 사이에 가문ㆍ가족을 연결시켜 ‘개인-가족-국가’의 서사 연결을 맺는다. 또한 가족 공동체의 결속을 위한 내부적 존재로 권선동과 외부적 적대자인 옥낭목을 등장시켜 혼종된 여러 서사를 하나의 큰 사건의 과정으로 연결시킨다. 개인의 감정이 중심인 애정담과 공동체의 수호가 중심인 영웅담 사이의 타협점으로서 가족 맺기 서사를 완성한다. 가족 공동체를 중심으로 서사 요소가 변주되고 혼종되며 병렬적으로 나열된 이야기가 아닌 하나의 완결성을 지닌 서사가 만들어진다. 그 과정에서 이뤄진 서사의 변주와 혼종은 결국 당대 대중들의 수요를 반영한 것이라고 볼 수 있다. 서사의 변주와 혼종은 시대의 빠르게 변화하려는 문화 흐름과 기존 지배체제를 견고하게 유지하려는 문화 흐름 사이에서 대중문학으로서 살아남기 위한 전략 중 하나이다. 대중화 전략을 통해 〈권익중전〉을 비롯한 고전소설은 당대까지도 향유되며 생명력을 이어갈 수 있었다. 19-20세기 고전소설을 통속소설, 세태소설로 평가절하하지 않고, 근대화 속 변화하며 통속화ㆍ세속화를 이룬 대중문학이라는 재고가 필요하다.

당대(唐代) 통속서사 속 웃음의 요소와 그 연출 방식

정광훈 한국외국어대학교 외국문학연구소 2016 외국문학연구 Vol.- No.62

The purpose of this article is to examine the factors of laughter in Tang popular narratives and the ways of performance by analyzing Dunhuang Bian-wen. In terms of the history of Chinese traditional literature, Tang popular narratives have been considered as significant works for their direct relationship with succeeding Song popular literature. The typical features of Song popular literature also can be seen in Tang popular narratives. Generally, popular narrative is much closer to audience than literary narrative, so it contains many factors of laughter, humor, satire and comedy. Tang popular narratives also have these factors. This paper investigates how these factors presented in Tang popular narratives and how can be transmitted to the audience. For the study, this paper will discuss four aspects of comedy in Tang popular narratives which include intentional insertion of comedial scenes, provoking of laughter by wrangle, humorous performance by the way of picture representation and the clownery for audiences. Considering the intimate relationship between Tang popular narratives and actual performance, we can see these factors as a sort of comedial establishment. If these factors spread in the whole narrative, we can designate it as a comedy in itself. This study on the laughter of Tang popular narratives could be more deepened through the comparison with Song popular literature. 본고는 중국 돈황(敦煌)에서 발견된 변문을 대상으로 하여 당대(唐代) 통속서사의 해학적 요소와 그것의 연출 방식에 대해 논하였다. 시대적으로 당대의 통속서사는 송대(宋代)에 본격적으로 유행하는 통속문학의 바로 직전 시대 작품이라는 점에서 의미가 크다. 송대 이후 통속문학의 특징들이 이미 당대 통속서사에도 보이기 시작하기 때문이다. 더구나 돈황 변문은 후대에 다시 정리된 것이 아닌 해당 작품이 유행하던 당시 그대로의 통속적 모습이라는 점에서 자료로서의 가치가 더욱 중요해진다. 본질적으로 문인 문학보다는 청중들과 훨씬 가까운 통속문학의 특성에는 웃음, 풍자, 익살의 요소가 자연스럽게 포함되며, 때로는 웃음의 요소들이 곧 작품 전체를 이끌어가는 분위기를 만들곤 한다. 당연히 당대 통속서사 역시 이러한 해학의 요소를 내포하면서 코미디적 특성을 보여주고 있다. 본고에서는 당대 통속서사 속에 웃음의 요소가 어떤 모습으로 들어가 있는지 분석하고, 또 그러한 요소가 청중들에게 어떤 연출 방식으로 전달되었을지에 대해 주로 논하였다. 현재 당대 통속서사라고 분류되는 작품 전체를 대상으로 하여, ‘희극적 장면의 의도적 설정’, ‘말다툼을 통한 웃음의 유발’, ‘그림 도구를 통한 해학적 공연’, ‘청중을 불러 모으는 익살’의 네 가지 주제로 나누어 이 문제를 살펴보았다. 당대 통속서사가 공연과 직접적 관련이 있다는 점에서 해학적 요소들은 청중들을 끌어 모으기 위한 일종의 코미디 장치가 된다. 이러한 해학적 요소가 작품에 전반적으로 퍼져있다면 그 자체를 하나의 코미디극으로 볼 수 있을 것이다. 그리고 작품 전체를 코미디극으로 규정하긴 힘들더라도 이야기를 서술하는 과정에서 곳곳에 웃음의 요소를 의도적으로 넣은 작품도 적지 않다. 본 연구는 공연의 관점에서 당대 통속서사의 웃음에 대해 살펴보고 있으며, 향후 이를 송대 이후 통속서사 속 웃음의 연출 방식과 비교한다면 소설과 희곡 장르 모두에서 더 깊은 문학사적 논의를 진행할 수 있을 것이다.

문제 중심 학습 모형을 이용한 대중서사 수업

여건종(Keonjong Yoh) 한국영미문학교육학회 2010 영미문학교육 Vol.14 No.2

PBL (Problem-Based Learing) is a student-centered learning process in which students autonomously and collaboratively construct their own problems related to class topics. PBL aims to cultivate students’ abilities to extend and improve their knowledge by practicing how to develop appropriate questions according to their own everyday experiences. In PBL class, students, as self-directed learners, design their own problems and produce their own plans to solve those problems. Many studies show that PBL is an effective teaching method that helps students internalize learning and leads to greater comprehension. This article is a case study of an implementation of PBL model into undergraduate and graduate courses on popular narrative, based on “Understanding British and American Popular Narrative” courses. Popular narrative includes various forms of narratives which are produced and consumed through the commercial media. We forge our identities and the images of common world mainly through the everyday consumption of popular narratives. Those courses consist of four modules under which students constitute their own questions: (1) the ethics of popular narrative (2) the aesthetics of popular narrative (3) popular narrative and the market (4) popular narrative and literature. PBL provides an effective structure for discovery that helps students develop their own critical awareness of the problematic nature of mass culture they consume in everyday life.

문학사교육과 대중서사

최미진 구보학회 2017 구보학보 Vol.0 No.16

The purpose of this writing is to suggest Bricolage Literary History as one of the horizons of the literary history education, and then to study the cross-section of the literary history education communicates and the popular narratives. After the 1990s the Korean literature research opened up in earnest to the study on popular narratives, which had been neglected in the past while posing the fundamental question about the extension of modern literature admit of literature crisis. As a literary education, new forms of literary history education have been presented in the deconstruction movement, but the field of literary history education has not changed despite the narrowed ground. For the result of this problem recognition, the paper investigates bricolage literary history using education for the limited time postwar period. Bricolage-type literary history presupposes a multi-layered structure of literary practices of various subjects. In this regard, the education of postwar literature history should be focused on the ‘process’ itself, which is the confusion and competitions in the literary fields triggered by the Korean War. First, it shall be critically understood that conventional literary history education in the postwar period was biased toward the nationalism and the literary system preempting the literary power. Then, the attention should be given tot he diversity which was closely integrating with the field of popular narrative. The detailed stages of the popular narrative education are as followed. First is the stage of understanding the interoperability of media environment and popular narratives in the postwar period, and review cross-check with the field of literary system. Second is the stage for contemplating the characteristics of popular narratives by the medias as well s the communication methods with public readers, attempting to rediscover the critical interpretation and topics. Third is the stage to examine the diversification of the communication methods and activation of the literature filed by setting the public readers as the subject of creation and enjoyment in education of literature history. Last is the stage of building up the identity by expanding the field of culture and art, and by comparing the literary field at the time to other cultural arts in their naturally and distinctiveness. Further measures still remains in the from of opinions. Even though it is only the beginning, further changes in the literary history education is expected as new discussions are added on. 이 글의 목적은 최근 문학사교육과 문학사 기획들을 검토하고, 그 가운데 전후(戰後) 시기에 한정하여 브리콜라주 문학사의 방향과 접근방식을 고찰하는 데있었다. 1990년대 이후 한국문학연구의 장은 문학의 위기 속에서 근대문학의 외연에 대한 근본적 질문을 던지는 가운데 간과되어왔던 대중서사 연구가 본격화되었다. 문학교육으로서 문학사도 탈구축의 움직임 속에서 새로운 문학사교육이 제안되고 있지만, 문학사교육의 현장은 좁아진 입지에도 큰 흔들림이 없었다. 그러한 문제의식의 소산으로 전후 시기에 한정하여 브리콜라주 문학사교육을 살폈다. 브리콜라주 문학사는 브리콜라주의 정당성에 따라 설계되고 학습자의 비판적 해석력 신장을 위한 요건을 갖추어야 한다. 이를 위해 다양한 주체들의 문학적 실천들이 서로 다른 장(場)과 가치체계들이 교차되는, 다층적으로 구조화된 문학장(場)으로 전제했다. 그런 측면에서 전후 문학사교육은 한국전쟁으로 촉발된 문학 장의 혼란과 경합의 ‘과정’ 자체에 주목해야 했다. 그 ‘과정’을 보다 분명하면서도 다각적으로 재구성하기 위하여 문학 장을 분화시키거나 가로지르는 세 가지 장으로 나누어 살폈다. 우선, 전후 문학제도의 장이다. 전후 브리콜라주 문학사는 기존의 문학사교육이 국가주의와 문학권력을 선점한 문학제도의 장에 편향되어 있음을 비판적으로 이해해야 한다. 다음으로, 전후 대중서사의 장이다. 전후 브리콜라주 문학사는 대중서사의 장과 함께 호흡했던 다양성에 주목해야 한다. 대중서사교육의 구체적 단계는 첫째, 전후 매체환경과 대중서사의 연동성을 이해하고 문학제도의 장과 비교 검토하는 단계다. 둘째, 매체별로 대중서사의 특징적 면면과 독자대중과의 소통방식을 고찰하여 비판적 해석과 논제의 재발견을 꾀하는 단계다. 셋째, 문학사교육에서 독자대중을 창작과 향유의 주체로 곧추세워 소통방식의 다각화와 문학 장의 활성화를 검토하는 단계다. 마지막으로, 전후문화예술의 장이다. 전후 브리콜라주 문학사는 문화예술 영역으로 확장하여 이시기 문학 장이 다른 문화예술과의 친연성과 차별성을 비교 검토하여 독자성을 구축해야 한다. 이상의 접근 방식은 아직 시론에 머물러 있다. 성글지만 새로운 논의를 더해가며 문학사교육이 변전하기를 기대한다.

한중간(韓中間) 불경(佛經)설화의 수용방식과 변이양상 - 관불삼매경(觀佛三昧經)의 불영담(佛影談)을 중심으로 -

김승호 ( Kim Seung-ho ) 국제어문학회 2010 국제어문 Vol.48 No.-

Gwanbulsammaegyeong(觀佛三昧經), which was translated into Chinese by Bultaebaltara(佛?跋陀羅), who is India`s Buddhist monk in the 4th century, is known to more richly cherish narrative-based materials than any Buddhist scriptures. As even the clause of Eosanbulyeong(魚山佛影) in Samgukyusa(三國遺事 :Memorable of the Three Kingdoms), is actually the tale of the origin about rocks of Mt. Maneo based on narrative of having Gwanbulsammaegyeong as material, it belongs to a case that the direction of narrative was changed. In China that had faced Bulyeong(佛影 : Buddha`s shadow) narrative prior to us, what confirms Bulyeongcheo (佛影處) on the way of making a tour of Cheonchuk was solidified as tradition in China. In other words, as Beophyeon(法顯) in Dongjin(東晉) and Hyeonjang(玄?) in Tang(唐) are such Buddhist monks, they recorded it in travel essay by adding another story while confirming traditional narratives. Also, Hyewon(慧遠) in Dongjin(東晉) formed a stone cave same as Bulyeongcheo in India, thereby having strived to prove efficacy possessed by Bulyeong narrative in the Chinese land. Unlike China, Korea can be said to have produced diverse derivative tales with a method of modifying the source tale without being satisfied at rewriting narrative of Gwanbulsammaegyeong. Eosanbulyeong in Samgukyusa is its early trace. On the other hand, as the tales about the origin of rock at Mt. Maneo and about establishment of Bulyeongsa temple are derivative tales in future generations, which were transmitted orally, those can be discovered to be disappeared gradually the Buddhist color. In this way, a story of Bulyeong, which belongs to Indian narrative, wasn`t restricted its dicourse-based function in delivering Buddha`s teaching. Buddhist-scripture narrative, which occurred in India, proceeded with spreading to other countries such as China and Korea, and played a role of a catalyst, which creates even new narrative. To grasp significance and character in Buddhist narrative, which possesses big weight in narrative of the Middle Ages, the interest will be said to be essential not only in the narrative of home country, but also in the narrative within Buddhist scriptures.

피터 그리너웨이 영화의 대중성과 예술성 - <제도사의 계약>(The Draughtsman’s Contract)을 중심으로 -

백로라 ( Paek Ro-ra ) 숭실대학교 인문과학연구소 2004 인문학연구 Vol.34 No.-

It seems to me that a contemporary cinema, which is called the flower of popular culture, excites populace’s desire, absorbs it, and even constitutes it in the modem times. Although the cinema exercises its powerful influence upon the popular culture, it is true that it is ontologically caught in a dilemma that a production has to achieve both popularity and artistry. In this respect, this research was first derived from a problematic question related to the cinema that has functioned as the core of contemporary popular culture: how to control a distance between popularity and artistry. In order to approach this issue, I focused on the film of Peter Greenaway who has won acclaim as one of the most remarkable filmmakers in British film history. He usually applies unique cinematic languages, which include poetic allegories and symbols, fragments of exuberantly visual images and double-layered wordplay and puns, to his productions. More significantly, his works have achieved the cinematic aesthetics, which is quite popular and artistic, through literary imagination and pictorial beauty. For this reason, I thought that Greenaway’s film provides me with a clue to solve the dilemma into which the contemporary cinema falls: the popularity and the artistry. Especially, my interest was geared into the Draughtsman's contract that can be situated in the heart of this issue because this film not only is composed of mysterious narrative, which resembles a so-called ‘whodunit’ of Agatha Christie, but also is structuralized by poetic symbols and diverse cinematic techniques. I thought that those cinematic languages involve the popularity and the artistry that Greenaway's film possesses. To sum up, the Draughtsman’s contract shows the relationship among nature, an artist, and an art through various cinematic languages and techniques. Specifically, this film foregrounds a detective narrative and unfolds interesting stories such as a double contract, murder cases, adultery. For this reason, the audience is compelled to see the pictorial scenes and to read the significance which is concealed under the surface of the narrative. While the movie-goers are actively enjoying this film such as a kind of puzzle game, they come to reconstruct fragmented narratives and images. As a result, they are forced to realize the relationship among the garden of Campton-Anstey, Neville’s identity as a draughtsman, and his drawings. In other words, audiences inevitably arrives in the center of the cinematic garden entitled The Draughtsman’s Contract that Peter Greenaway designed and decorated aesthetically. Consequently, Peter Greenaway’s film makes the audience enjoy an exciting entertainment and experience exuberant cinematic aesthetics as well. This fact might explain both the reason and the way that Peter Greenaway’s films have achieved the popularity and artistry.

웹툰 <정년이>를 통해 본 여성공동체 서사의 재맥락화 양상과 의미 - 여성의 성장, 연대, 그리고 사랑

송소라 한국어문학회 2023 語文學 Vol.- No.161

This study examines the narrative of the female community in the work and its meaning of the webtoon <Jeongnyeoni>(2019.4.1.-2022.5.9. serialized on Naver) based on ‘Female Gukgeuk’(women's national drama) in the 1950s. Female Gukgeuk was a traditional music drama consisting of only women and was a genre that enjoyed considerable popularity at the time. The webtoon <Jeongnyeoni> reproduces the actual history of Female Gukgeuk with the time background of the 1950s and 1960s when Female Gukgeuk was popular. However, rather than accepting this as it is, the aspect of the women's community has been narratively recontextured in the flow of women's narratives today. This study analyzed its aspects in the following three ways. First, <Jeongnyeoni> refocused the narrative of the women's community by focusing on the growth of individual actors rather than reflecting the history of Female Gukgeuk, which was organized around existing stars. Second, <Jeongnyeoni> converted the negative perception of the women's group into a story of harmony and solidarity in the women's community. Third, <Jeongnyeoni> re-contexted the same-sex intimacy that existed in the women's community into the narrative of active homosexuality. This re-contextualization is the first meaning in that it reveals the flow of female narratives today. Today, women's growth, harmony, and solidarity appear frequently in popular narratives. And this reflects the role of women who have changed socially and is what the public wants. Next, the active realization of female homosexuality shown by <Jeongnyeoni> is meaningful in expanding the base of female narratives. In popular narratives, homosexuality between women has tended to be expressed in terms of girls' intimacy and deep friendship between women. <Jeongnyeoni>, which actively and positively depicts women's love, is meaningful in opening another phase of women's narrative.

Korean Popular Culture as a Resource for KFL Learners’ Intercultural Competence

Jae Rim Yoon 고려대학교 언어정보연구소 2014 언어정보 Vol.18 No.-

In today’smulticultural world, language learners’ intercultural competence (Byram, 1997)in addition to their linguistic competence has been increasingly emphasized byresearchers. For Korean as a foreign language (KFL) learners, Korean popularculture seems to have potential to be a useful resource to develop their interculturalcompetence, in that the intense popularity of Korean popular culture in manyparts of the world (Toru, 2007) have an effect on Korean language learning. This study investigates to what extent Korean popular culture influences Koreanas a foreign language (KFL) learners’ intercultural competence and suggests afew pedagogical implications. Drawing from Pavlenko’s (2007) narrative analysis,I analyze content, context, and form of two KFL learners’ narratives. The analysesdemonstrate how learners can use diverse resources including Korean movies,dramas, and people in developing their intercultural competence by acquiringintercultural knowledge and undergoing the process of ‘decentering’ from theirown cultural perspectives. The participants narratives also shed light on possiblepedagogical application of Korean popular culture in Korean language teaching,in that teachers can incorporate popular culture and other steps to develop learners’intercultural development in classroom settings.