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한국문화기술 update

The Journal of Korea Culture Technology

  • : 단국대학교 한국문화기술연구소
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수록정보
24권0호(2018) |수록논문 수 : 6
간행물 제목
24권0호(2018년) 수록논문
권호별 수록 논문
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KCI후보

1한강 「채식주의자」 속 이미지 연구 - 폭력적 이미지를 중심으로

저자 : 김용남 ( Kim Yongnam )

발행기관 : 단국대학교 한국문화기술연구소 간행물 : 한국문화기술 24권 0호 발행 연도 : 2018 페이지 : pp. 7-31 (25 pages)

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If images are powers that drive the changing reality, not their reproduction or copies, and exercise to experience sympathy, the viewpoint of this article is that studies on images must be done to be more than studies by reproduction of things or reappearance of consciousness. For this article, Chapter II examines how images appear and how characters are changed by powers of the images, Chapter III explains characters' various characteristics with twofold characteristics of images. Through them, the study tries to explain the point that images are power that drives narratives beyond the rhetorical and symbolic levels and main exercise that changes characters' behaviors in 「The Vegetarian」.
Images in the world of 「The Vegetarian」 do not stay at reproduction (represente) of the reality or copy (摹寫). The images are strong power that derives the changing reality and sometimes, the reality itself. It is useless to discuss the reality and its reproduction in the world of this novel. If the images divide, capture, and accept the connected word through instant images, the images do not copy the world but capture slices of the world. Therefore, the images are not illusion, fakes, and copies. So to speak, the images are not the In other words, the images cannot be the entire part of the existence (Substance) but they can be part of it. This article begins from the perception that the point shown in the world of 「The Vegetarian」 is this fact. The methods that we can understand the characters whose real life is dramatically changed by fantastic and unrealistic dreams and images can be created when there is the perception that reality and dreams are not different from each other.
「The Vegetarian」 shows that the images which represent dreams and fantasy can actually drive us by the more powerful force than those of reality. The world of 「The Vegetarian」 crosses the boundary of all types of division into two parts (二分) like Yeong-hye who is between the boundary. The level of fasting (無食) beyond meat eating and vegetable diets, the level of life beyond men (Animals) and women (Plants), the level of images beyond dreams and reality, the level of violence beyond doing harm (Predation) and damage (Being preyed). Going beyond all these levels of division in two parts does not mean deception or concealment of somethings (For example, violence). This article tries to look at it differently through discussions of binarity, for example, patriarchal violence, the fixed perception of animal nature (Meat eating culture) and vegetable property, the definition of typical personality of characters, and the concept that the images are expanded by causes and effects of accidents. And this study tries to examine the system of the images shown at the level of action and reaction among the characters beyond the study on the images that stay at the material/symbolic level through it.

KCI후보

2정이현 소설에 나타난 도시 생태학과 윤리학 - 소설집 『오늘의 거짓말』을 중심으로

저자 : 김정남 ( Kim Jeong-nam )

발행기관 : 단국대학교 한국문화기술연구소 간행물 : 한국문화기술 24권 0호 발행 연도 : 2018 페이지 : pp. 33-60 (28 pages)

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The purpose of this study is to analyze the urban ecological conditions of megalopolis in Seoul and to examine the consciousness of ethics that focuses on the relationship between people, in Jeong I-hyeon's novel 『Today's Lie』 (2007). Especially, in the research methodology pursued in urban ecology, interpersonal relationship is the core. In this study, we tried to derive the meaning of the relationship between human ecology under the ethical context. The above discussion can be summarized in the context of urban ecology.
First, the way of life of urban people is based on so called instant life, one-time. The convenience that arises here means the daily life that is reificated by blocking the contact surface with the world by itself. In this process, life is transformed into an object of fear to urban people. The nature deficit disorder that appears here makes nature exist not as an entity but as an idea. In this context, for urban people, the city itself is an episteme and the outside does not exist. 
Second, urban ecology is a huge artificial system. This system represents the closed self-sufficiency structure of the central control system. For example, a high-rise apartment with access to a security card is a metaphor for a urban system. In this case, the identity of the urban person in the digital control environment is switched from 'knowing-not knowing' to 'sensing-not sensing'. The actual situation of the prison in the background of the future society appears in the form of panopticon that internalized the surveillance and punishment. Furthermore, it clearly demonstrates the way bio-power works by sorting humans themselves and inserting microchips accordingly.
Third, obsessive hygiene of urban reflects social anxiety and existential hunger in urban ecology. As philosopher Han Bueong-cheol have argued, obsessive hygiene are associated with smoothness and excessive affirmation of smoothness means a state of canceling any negativity. It is the product of excessive affirmation that recognizes itself as dirt here.
Fourth, the internal relations of urban people can not be explained by the logic of simple alienation and discontinuity. Within the urban ecology, the internal relations of the subjects are mediated and traded. It is established as symmetrical exchange relation, with complicity con-sciousness, connection and financial power.
Fifth, the eco-chain of urban ecology operates in myriad lies of sub-jects wearing false and hypocrisy masks (persona). At this time, the mask is anonymous fake information mainly appearing in the internet space, as a mask of the snobbish hypocrisy, and also as a cultural abitus as a distinction. All kinds of lies become a host, and the insatiable desire is disguised as innumerable masks, forming a city of giant snob called Sodom.

KCI후보

3유튜브 플랫폼의 변천 양상 연구

저자 : 김진수 ( Kim Jinsoo )

발행기관 : 단국대학교 한국문화기술연구소 간행물 : 한국문화기술 24권 0호 발행 연도 : 2018 페이지 : pp. 61-91 (31 pages)

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The orientation of YouTube which has quickly substituted for the existing traditional media has been established by itself, while interactions between contents creators and enjoyers endlessly negotiate with platforms. Enjoyers of contents also served as producers and initiatively led the development of platforms. This study diachronically examines creation and transition of YouTube, a sharing platform of videos, which has been operated for about 10 years. To this end, it initially investigated the differentiation of the YouTube platform and divided the transitions into technological evolution, transition of profit structures, contents production of creators and enjoyers and changes in types of consumption. This study attempts to exactly recognize the current relationship between YouTube platform and users and consider some challenges to be resolved in the future.

KCI후보

4권용철 동화의 여행 모티브 연구 -「동화 나라의 달」, 『하늘이 보내준 여행』, 『마음 나라 여행』, 『햇귀』를 중심으로

저자 : 백현주 ( Park Hyunju )

발행기관 : 단국대학교 한국문화기술연구소 간행물 : 한국문화기술 24권 0호 발행 연도 : 2018 페이지 : pp. 93-114 (22 pages)

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The purpose of this paper is to analyze characteristics in Yong-cheol Kwon's literary works with journey motive. Modern juvenile literature has been developed since 1920s reflecting oral literature. In these works, those with journey motive have some courses for a character to leave home and come back to where he or she started. The feature of Yong-cheol Kwon's works is shown at itinerary and results. 
The course of journey is divided as the story to start and return. Their itineraries are the processes to realize perfection of self and self-discovery, the importance of relationship and the order of life based on the feeling of longing as inner desire. To express these, the plan for character's trip often is set in the wide spaces as background and shows a whole life. Some parts of these are finished with the purpose unaccomplished. The end of the journey without achieving the goals is the feature of Yong-cheol Kwon's works and this structure intends to express the author's goal to emphasize the description of longing.

KCI후보

5북한 영화에서 나타난 환상의 양상 -영화 <불가사리>의 내용적 특징을 중심으로

저자 : 이지용 ( Lee Jiyong )

발행기관 : 단국대학교 한국문화기술연구소 간행물 : 한국문화기술 24권 0호 발행 연도 : 2018 페이지 : pp. 115-135 (21 pages)

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Fantasy in North Korea are heterogeneous at the antipodal point of socialist realism and have been recognized as unnecessary elements. However, in exceptional cases I have allowed fantasies with children's literature and scientific fantasy, medieval fantasy. Fantasy is an element that can not be excluded from cultural art. Furthermore, since the 2000s, the range of enabling fantasy of cultural art has expanded, and this phenomenon is conspicuous especially in video texts. What showed the possibility of such a change was made in 1985, and it can be a movie < Bulgasari > published in 1998. < Bulgasari > is classified as an art movie from North Korea. This is basically analyzed in the range of a medieval fantasy that takes a form of a dramatic film and utilizes a classic story. However, medieval fantasy is permitted mainly in the classical scrivener called ethnographic literature. Compared with this, < Bulgasari > shows a new epic utilizing Gosol 's story. It also has possibilities as a historical movie and a revolutionary movie. However, classification and criticism of the features of movies other than basic classic art movies of the dramatic film are not discovered. This is because the elements of the fantasy held by < starfish > are operating outside the range restricted by North Korea. In order to clarify and make meaning to genre-like provisions of < Bulgasari >, it is in evitable to extend the meaning of fantasy. Bulgasari is a story based on a story with a historical background, but acts as a reality allegory that fantasies have, not as a role as ethnic classics. This is the same as the original role of the ring which reveals the actual backside and exposes reality hidden areas. In this way, < Bulgasari > can be a work showing an unusual part of the implementation aspect of the fantasy from North Korea. And the possibility of expansion of vision in North Korean culture art, which can be derived by this, significantly affects the interpretation methodology of the meaning held by North Korean cultural art.

KCI후보

6수정주의와 교조주의 -1950년대 후반 북한문예의 '부르주아 미학' 담론

저자 : 홍지석 ( Hong Ji-suk )

발행기관 : 단국대학교 한국문화기술연구소 간행물 : 한국문화기술 24권 0호 발행 연도 : 2018 페이지 : pp. 154-172 (19 pages)

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North Korea's Socialist realism discourse in the 1950's began to object naturalism as a bourgeois decadent art. North Korea's early socialist realism theorists strongly opposed to the opinion that “Like a camera, Realism is a detailed copy of the reality as it is.” Objectivism, pursued by writers who focus on literal and mechanical descriptions of facts, was what they saw as “bourgeois decadent art” 
However, such an attitude inevitably emphasizes the personal sub-jectivity of artists and writers. In this context, we can understand that the 'critics of schematism (attacks on the cliche and stereotypes of Art and literature)' of North Korean literature in the late 1950's. However art critics and literature theorists who stressed “the combustion of the subjective spirit” frequently had to face reverse attack. In other words, the debaters who stress the subjectivity of individual artists were criticized as those who are obsessed with revisionism or bourgeois individualism. In this situation, North Korean artists have needed to choose between schematism and revisionism. As a result, Many artists have taken the schema and the norms as their own. North Korean critics at the time criticized such an attitude as a dogmatism, but it was safer than being criticized as a bourgeois revisionist. That is why the Socialist art of those days, including North Korea, was established solely as a positive art for a regime and dominant ideologies. Art critics shouted, “There is no forbidden theme in Socialist Realism Art,” but in reality there were many prohibited topics.

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