신소설 여성인물의 탈주 양상과 가치유형

장노현(Jang, Nohyun) 한국비평문학회 2015 批評文學 Vol.- No.58

Escape narrative is popular in Sinsoseol. This paper is an analysis of Samgaksan and Ongnyeondang in which escape narrative constitutes the nucleus of the story. I studied escape of female characters and their value domain through this analysis. I grouped escape pattern of female characters in Sinsoseol into two categories, which is typical case and untypical case. The typical case represents by Ongnyeondang and the untypical case is in Samgaksan. I applied Universal Value Theory designed by Shalom H. Schwartz to explain the characters’ value domain. I compared and analyzed the beginning of escape, the process of escape, and the end of escape which are described in the two works. First, a review of the beginning of escape, while Okhyeong’s escape in Ongnyeondang begins under involuntary conditions, Simssi of Samgaksan executes escape on her own active judgment. Simssi have the value domains of Self-Direction and Stimulation and this is completely different from that of Okhyeong. Second, while Okhyeong tries to keep her feminine identity which Confucian patriarchy impose on, Simssi doesn’t cling to the past identities but tries to become other. Simssi keeps Openness to Change through her refusal to conform to the existing system. Thirdly, Okhyeong reverts to the existing system by being captured by pursuer but so is Simssi. The pursuers in Sinsoseol believe in the value domain of Tradition, have an inclination toward Conservation. However Simssi executes re-escape after her return, which is major difference from other escape narrative.

지역정보 콘텐츠의 장소 정체성과 소설 속의 장소 상징들

장노현(Jang, Nohyun) 한국관광레저학회 2018 관광레저연구 Vol.30 No.10

국내 창작 하이퍼서사의 현황과 형식 체계

장노현(Jang, Nohyun) 한국언어문학회 2020 한국언어문학 Vol.115 No.-

Hypernarrative, a kind of digital narrative, has various formal possibilities that can inherit, expand, and deepen the aesthetics of modern novels that have been accumulated for a long time. Nevertheless, the formation and differentiation of the genre of hyper narrative is still weak compared to game narratives, webtoons, and web novels. The enthusiasm for hyperfiction that took place in the West around 2000 did not lead to the establishment of genre conventions. In fact, early hyperfiction at the time was made in different forms for each work, and there was no formal commonality between them. It can be said that early hyperfiction did not have the comfort and familiarity of genre conventions at all. This paper aims to explore and present the formal system of hypernarratives that can be created in the current media environment and conditions. This is because I think this is a way to overcome the problem of non-genreization of early hyperfiction and activate the creation and acceptance of hypernarratives. To this end, this paper focuses on ‘Hannam University Hyper-narrative Creation Project’(HN2 project). Through this, I tried to check the current status of hypernarrative works created and shared in HN2 project, and to confirm the formal systemicity of hypernarratives commonly applied to these works. The research uses a method of comparing hypernarratives created in the HN2 Project in Korea with early hyperfictions created in the United States and Europe around the year 2000. There are many differences between the two in the use of the medium and the formal requirements and systems of the unit. The works of the Korean project creatively utilize the blog platform rather than a dedicated platform to minimize the burden of individual creators in terms of media utilization. It can be seen that the unit s formal system was created to best match the ontological nature of the unit, which operates like a sheet document.

하이퍼서사에서 다중서술의 전략과 효과

장노현(Jang, Nohyun) 한국언어문학회 2020 한국언어문학 Vol.112 No.-

This study analyzes the case of multiple narration in hyperfiction works. Hyperfiction is narrative text based on a ‘unit’ and the ‘hyperlink’ that connects it, multiple narration is a narrative technique which two or more narrators participates in storytelling. The works to be analyzed are hyperfictions that were recently created based on the blog platform in Korea. Of these works, ‘God of Others’, created in 2019, is a good representation of the evilness hidden inside of human beings by strategically utilizing the technique of multiple narration. This study conceptualizes the complex multiple narrative structure of hyperfiction as a multiaxial structural model. The multiaxial structure of hyperfiction is a structure in which there are axes composed of several linearly arranged units, and each unit existing on each axis can be connected to units in other axes. The recent hyperfiction works created in Korea are mostly biaxial or triaxial hyper narratives, while ‘God of Others’ is analyzed as a work with a 7-axis structure. As ‘God of Others’ is complex in structure, there are many aspects of the narrators. ‘God of Others’ is a story about three Sociopath-like murderers and their surrounding victims. The narratives of the victims are described through external focalization, and the narratives of offenders such as Min Seung, Jun Ho and Yoon Ah are described through internal focalization. The narratives of the victims are conveyed through extremely objective and activist descriptors, and the narratives of the perpetrators through special aspects of the descriptors with limited vision. ‘God of Others’ strategically utilizes multiple narration to escape the solid physicality of modern printing fiction and acquire a changeable body of hyper narrative.

디지털 포엠의 시적 전략과 디카시의 변화 방향성

장노현 ( Jang Nohyun ) 한국언어문화학회 2021 한국언어문화 Vol.- No.75

이 논문은 국내의 ‘디카시 운동’을 디지털 포엠의 시적 전략 측면에서 검토하고 변화 방향성을 제안하는 것을 목표로 한다. 이를 위해서는 우선 디지털 포엠의 시적 전략이 무엇인지를 확인하는 것이 필요해진다. 필자가 제시하는 디지털 포엠의 시적 전략은 역동적 문자화 전략, 멀티미디어화 전략, 인터랙션 전략, 하이퍼텍스트화 전략 등 크게 4가지로 정리된다. 역동적 문자화 전략은 시어로 사용된 문자의 비정형적 배열과 배치를 통해 문자의 시각성과 물질성을 강화하는 전략이다. 문자에 움직임을 부여하는 것도 여기에 속한다. 멀티미디어화 전략은 전통적인 문자매체를 시각적 혹은 청각적 오브제로 대체하거나 결합하는 매체 혼종화 전략이다. 이를 통해 전통적인 시의 경계는 크게 확장될 수 있다. 인터랙션 전략은 수용자의 참여와 소통, 그리고 공감을 유도하기 위한 전략으로, 최근에는 시를 매개로 다수 수용자들 간에 발생하는 인터랙션이 주목받고 있다. 마지막으로 하이퍼텍스트화 전략은 시를 작은 유닛으로 쪼개고 이를 다시 링크로 연결하여 비선형적 읽기가 가능하게 하는 전략이다. 이런 4가지 전략을 통해 디지털 포엠은 텍스트 생성적이며 수용자 중심적인 특성을 갖게 된다. 국내의 디카시 운동은 기본적으로 디지털 포엠을 표방한다. 하지만 실제로는 전통적인 시적 관행과 이론 속으로 급속하게 퇴행하는 모습을 보인다. 디카시가 과거의 시적 전통을 반복하는 또 하나의 낡은 사례로 전락하지 않기 위해서는 디지털 포엠의 시적 전략을 충분히 활용하고 강화해야 한다. 우선 디카시는 ‘날시’를 버리고 사진 이미지를 편집함으로써 멀티미디어화 전략을 강화해야 한다. 둘째, 디카시는 문자 유닛의 다양한 해체적 배열과 비선형적 배치를 통해 역동적 문자화 전략을 강화해야 한다. 마지막으로 유닛들의 자유로운 공유 연결 리믹스의 생성적 과정이 끊임없이 발생할 수 있는 집단적 인터랙션 환경을 조성해야 한다. This paper aims to propose the direction of change of the ‘Dica Poem movement’ in Korea in terms of the poetic strategy of Digital Poetry. To do this, it is necessary to first understand what the poetic strategy of digital poetry is. The poetic strategies of digital poetry presented by me are divided into four main categories: dynamic characterization strategy, multimediaization strategy, interaction strategy, and hypertextualization strategy. The dynamic characterization strategy is a strategy to strengthen the visibility and materiality of characters through the untypical arrangement and arrangement of characters used in poetry. Giving movement to the characters is also included here. The multimediaization strategy is a media hybridization strategy that replaces or combines traditional characters with visual or auditory objects. In this way, the boundaries of traditional poetry can be greatly expanded. The interaction strategy is a strategy to induce audience participation, communication, and empathy. Recently, the interaction that occurs between multiple audiences through poetry is attracting attention. Lastly, the hypertextualization strategy is a strategy to break the poem into small units and link them back to make non-linear reading possible. Through these four strategies, digital poetry has text-generating and audience-centered characteristics. The Dica Poem movement in Korea basically stands for Digital Poetry. In practice, however, there appears to be a rapid regression into traditional poetic practices and theories. In order not to degenerate into another outdated case of repeating the poetic tradition of the past, the poetic strategy of Digital Poetry should be fully utilized and strengthened. First of all, Dica Poem should abandon the ‘nalsi’ and enhance its multimedia strategy by editing digital photo images. Second, the dynamic characterization strategy should be strengthened by deconstructively arranging and non-linearly arranging the character units of Dica Poem and integrating them into the visual structure of digital photo images. Finally, it is necessary to create a collective interaction environment where the generative process of sharing, connecting, and remixing units freely among multiple audiences can occur constantly.

『임꺽정』의 삽입구조

장노현(Jang Nohyun) 한국학중앙연구원 1999 한국학 Vol.22 No.3

정보양식의 변모에 따른 전자텍스트의 새로운 구조 연구

장노현(Jang Nohyun) 한국학중앙연구원 2004 한국학 Vol.27 No.1