<철선공주(铁扇公主)>의 트랜스아이덴티티 스토리텔링 마이너 캐릭터를 중심으로

정원대 한국애니메이션학회 2024 애니메이션연구 Vol.20 No.2

이 연구는 마이너 캐릭터와 대상의 변화 특성에 근거하여 <철선공주(铁扇公主)>의 스토리텔링 특성과 시대적 함의를 새로운 시각에서 고찰하였다. 분석 방법은 트랜스아이덴티티(transidentity)를 활용하였다. 먼저 신체 변화 중심의 트랜스아이덴티티 특성을 검토하여 권력 주체가 구분한 ‘차이’를 통한 생물학적, 사회적, 존재적 타자에서의 해방 가능성을 밝혔다. 특히, 트랜스아이덴티티는 애니메이션 캐릭터의 조형적 특성을 통해재현된 신체적 억압을 해소하는 데 용이하였다. 애니메이션의 마이너 캐릭터는 스토리텔링의 개연성 및 다양성을 형성하는 대상이며, 세계 속 다수의 사회 구성원이자 우리와 동일시된다는 점에서 현실의 보편적 인식을 드러내고 있었다. 마이너 캐릭터와 대상의 변화는 일상 재현과 재편의 대상으로서 나타날 수 있음을 확인하였다. 이후, 시대적 함의를 살펴보기 위해 근대 중국의 사회상과 스토리텔링적 특성을 고찰하였다. 근대 중국의 인민들, 특히 농민들은 다양한 권력 주체들의 ‘소외’로 인해 타자화되었고, 영상 매체에서는 이를 개선하기 위한 의지가 반영되었다. 분석 결과, <철선공주> 속의 농민 캐릭터들은 메신저, 피해자 역할로 스토리텔링을 강화하고 있었다. 특히 농민들은 억압된 타자에서 자유로운 주체가 되는 정체성 역전을 하였다. 무엇보다 농민들은 소외된타자로서 근대 중국 농민과 유사함을 확인하였다. 농민들의 정체성 역전은 근대 중국의 영화처럼 제작자가 타인의 시선에서 소외된 타자에서 벗어나기를 바라는 욕망에서 재현되었다고 할 수 있다. <철선공주> 속 마이너 캐릭터의 정체성 역전은 스토리텔링을 내용과 구성을 강화할 뿐만 아니라 보편적 인식 재편의 상징에 해당한다. This study examined the storytelling characteristics and historical implications of <Tiě shàn gōng zhǔ> from a new perspective based on the characteristics of minor characters and objects changing. As the analysis method, transidentity was used. First, the characteristics of transidentity centered on body change were reviewed. Transidentity was effective in getting others out of biological, social, and existential others through the 'difference' of the body classified by the power subject. In particular, transidentity is easy to relieve the physical oppression reproduced through the formative characteristics of animation characters. The minor character of animation is the object that forms the probability and diversity of storytelling. Above all, minor characters reveal the universal perception of reality in that they are identified with us as many social members of the animation world. It was confirmed that changes in minor characters and objects can appear as objects of daily reproduction and reorganization. After that, in order to examine the implications of the times, the social image and storytelling characteristics of modern China were considered. In modern China, various power subjects regarded the people, especially farmers, as others in a way that they were 'alienated'. In literature and films of the time, it was confirmed that the contents were made up of edifying contents to improve the identity of other farmers. As a result of the analysis, farmers, who are minor characters in "<Tiě shàn gōng zhǔ>, were making the content and composition closely with the roles of messengers and victims. In particular, farmers reversed their identity from being suppressed to being free subjects. The reversal of farmers' identity helped to strengthen the thematic consciousness of storytelling and reorganize universal perception. Above all, farmers confirmed that they were similar to modern Chinese farmers as marginalized others. It can be said that the reversal of farmers' identity was reproduced in the desire for producers to escape from the eyes of others, like in modern Chinese movies.

페이딩 환경에 강인한 디지털 통신 변조 기법 자동 분류 딥러닝 모델

이동규(Dong Gyu Lee),한동석(Dong Seog Han) 한국통신학회 2022 한국통신학회 학술대회논문집 Vol.2022 No.11

트랜스아이덴티티 인물형상의 표상들

임대근 한국비교문학회 2020 比較文學 Vol.0 No.81

This paper argues some representations of the transidentity characters that represented in narratives. Jorge Luis Borges has created a character Funes who cannot fully recognize, perceive, and remember the world in a short story, “Funes the memorious”. He could be a archetype of human being. Funes formally shows the concept of the contemporaneity of the uncontemporary by Ernst Bloch. He can be further explained by the concept of ‘the identity of the non-identity’. He is also a person who lacks the cognition of ‘object permanence’ as Jean Piaget said. Object persistence is an important concept that explains whether an object’s identity can be recognized. The character of a person who has completed the transformation of identity within a specific narrative must reveal a representation that can deny his object persistence. The typical representations are costumes, transformations, renaming, (pseudo) masks, or specific materials such as water or fire. Through these representations, readers and audiences can obtain information such as the characters in the narrative being acquired a new identity or concealing the identity, and naturally understand the development of the narrative. Therefore, the way in which the narrative reveals its representation in the process of changing the identity of the character can determine the attitude of the reader and the audience to accept the narrative, which is also related to the genre issue of the narrative. In the case of Funes, the perception of ‘self permanence’ also has a problem. In this regard, the transidentity situation is achieved in such a way that the self permanence of the self or the other’s object permanence is eventually cut off. In this context, this paper discusses some representations that break the other’s permanence toward self. 이 글은 서사체 내부에서 드러나는 트랜스아이덴티티 인물형상의 표상들을 다룬다. 호르헤 루이스 보르헤스(Jorge Luis Borges)는 「기억의 천재 푸네스」(Funes the memorious)라는 단편소설에서 세계를 온전히 인식, 지각, 기억할 수 없는 인간의 불완전성에 대한 역설적 묘사를 위해 인간 자신의 전형인 푸네스라는 인물형상을 창조한다. 에른스트 블로흐(Ernst Bloch)가 제시한 ‘비동시성의 동시성’ (the contemporaneity of the uncontemporary)을 형상적으로 보여주는 인물의 특징은 ‘비동일성의 동일성’(the identity of the non-identity)이라는 개념으로 설명할 수도 있다. 이는 장 피아제(Jean Piaget)가 말하는 ‘대상영속성’(object permanence)의 인지 결핍 상황이기도 하다. 대상영속성은 대상의 정체성 인지가능 여부를 설명하는 중요한 개념으로서, 특정한 서사체 내부에서 정체성 전환을 완수한 인물형상은 반드시 자신의 대상영속성을 부정할만한 표상(representation)을 드러내야만 한다. 그 표상은 대표적으로 복장(코스튬), 변신, 개명, (유사)가면 등, 또는 물이나 불과 같은 특정한 요소와 더불어 드러난다. 독자와 관객은 이러한 표상을 통해서 서사체 내부의 인물형상이 새로운 정체성을 획득했다거나, 정체성을 은폐하고 있다거나 하는 등의 정보를 얻게 되고, 자연스럽게 서사의 전개를 이해하게 된다. 따라서 서사체가 인물형상의 정체성 전환과정에서 그 표상을 드러내는 방식은 독자와 관객이 서사를 수용하는 태도를 결정할 수 있고, 이는 서사체의 장르화 문제와도 관련된다. 대상영속성 개념은 다른 측면에서 ‘자기영속성’(self permanence)이라는 개념을 떠올리게 한다. 이와 관련하여 우리는 트랜스아이덴티티 상황이 결국 자신에 대한 자아영속성을 단절하거나 자아에 대한 타자의 대상영속성을 단절하는 방식으로 이뤄진다는 사실을알게 된다. 이런 맥락에서 이 글은 자아에 대한 타자의 대상영속성을 단절하는 표상들을 논의한다.

접두어 ‘trans-’의 인문학적 함의 : 탈경계 인문학 Trans-Humanities 연구를 위한 개념 고찰을 중심으로

조윤경 이화여자대학교 이화인문과학원 2010 탈경계 인문학 Vol.3 No.3

The purpose of the study is to discuss the implications of the prefix “trans-” for our current culture when the word is associated with different concepts, as a way of identifying a variety of problems and possibilities that occur at the boundary (or transcending the boundary) that do not or cannot belong anywhere else. The prefix “trans” refers to the process of crossing, transcending, or passing through a boundary. As a prefix of a verb, it means the act of transferring, transcending, trespassing, and transgressing. But the factors that make up such acts are not always physical, and the boundaries do not necessarily refer to the borders between nations. The prefix “trans-,” which cannot be used alone, presents a new paradigm for the domains of glocalization, medium, gender, human nature, and academics by being added to words like “transculturality,” “transmediality,” “transidentity,” and “transdicipline.” The prefix “inter-,” often compared with “trans-” in the current cultural paradigm, has the connotation of a mutual relationship and two-way communication between two equal entities, and another prefix, “multi-,” implies multi-centered, enumeration, co-existence, and relativism (not involved in or intervening in others’ affairs). By contrast, the assumption that lies behind “trans-” is a holistic, meta-community, such as is expressed in the concepts of cyber network and global village, where mutual involvement, intervention, infiltration and influence lead to the changes in individual entities and in the identity of the community. This identity is not a single identity, but a “hyphenated identity.” In other words, it is a double identity that refers to ethnic and cultural identity. The hyphenated identity also rejects the premise that there are two realms that are separated by a border. Now, the dynamics of networks open to sub-entities are shifting from the dichotomous paradigm that guided thinking on the relationship between center and periphery. The process of crossing, transcending, and changing that lies behind “trans-” implies a process of initiation. The space for “trans-” does not mean a “house” but a “road.” It does not point to a private space to stay and settle, but to a social space characterized by mobility, interaction, and change. The culture, ego, academics, and media of our time, a time dominated by a discourse of “trans-” that symbolizes the process of initiation, force one to risk losing one’s self in order to find one’s self. It is a venture involving a process of introspection that takes place at academic boundaries and at territorial borders. The transcendence in the discourse on “trans-” refers not to metaphysical transcendence, but to a change from one attitude to another. Only for this reason can “trans-” serve as another perspective allowing us to gain insight into our time and culture.

접두어 ‘trans-’의 인문학적 함의 - 탈경계 인문학Trans-Humanities 연구를 위한 개념 고찰을 중심으로

조윤경 이화여자대학교 이화인문과학원 2010 탈경계인문학 Vol.3 No.3

The purpose of the study is to discuss the implications of the prefix “trans” for our current culture when the word is associated with different concepts, as a way of identifying a variety of problems and possibilities that occur at the boundary (or transcending the boundary) that do not or cannot belong anywhere else. The prefix “trans” refers to the process of crossing, transcending, or passing through a boundary. As a prefix of a verb, it means the act of transferring, transcending, trespassing, and transgressing. But the factors that make up such acts are not always physical, and the boundaries do not necessarily refer to the borders between nations. The prefix “trans-,” which cannot be used alone, presents a new paradigm for the domains of glocalization, medium, gender, human nature, and academics by being added to words like “transculturality,” “transmediality,” “transidentity,” and “transdicipline.” The prefix “inter-,” often compared with “trans-” in the current cultural paradigm, has the connotation of a mutual relationship and two-way communication between two equal entities, and another prefix, “multi-,” implies multi-centered, enumeration, co-existence, and relativism (not involved in or intervening in others’ affairs). By contrast, the assumption that lies behind “trans-” is a holistic, meta-community, such as is expressed in the concepts of cyber network and global village, where mutual involvement, intervention, infiltration and influence lead to the changes in individual entities and in the identity of the community. This identity is not a single identity, but a “hyphenated identity.” In other words, it is a double identity that refers to ethnic and cultural identity. The hyphenated identity also rejects the premise that there are two realms that are separated by a border. Now, the dynamics of networks open to sub-entities are shifting from the dichotomous paradigm that guided thinking on the relationship between center and periphery. The process of crossing, transcending, and changing that lies behind “trans-” implies a process of initiation. The space for “trans” does not mean a “house” but a “road.” It does not point to a private space to stay and settle, but to a social space characterized by mobility, interaction, and change. The culture, ego, academics, and media of our time, a time dominated by a discourse of “trans” that symbolizes the process of initiation, force one to risk losing one’s self in order to find one’s self. It is a venture involving a process of introspection that takes place at academic boundaries and at territorial borders. The transcendence in the discourse on “trans-” refers not to metaphysical transcendence, but to a change from one attitude to another. Only for this reason can “trans-” serve as another perspective allowing us to gain insight into our time and culture.

기억, 길, 혼존성 : 타의적 정체성에서 선택적 정체성으로의 트랜스(Trans-)

이정인(JungIn Lee) 한국외국어대학교 대만연구센터 2017 대만연구 Vol.- No.10

This article discusses themes such as trans-humanities, trans-nationalism, trans-identity through Taiwan movies, 〈Cape No.7〉 and 〈Etude〉. Korea and Taiwan are sharing the history of colonization, but two nations possess the same moments with different ways. In Taiwan, the identification is difficult and complicated. This paper focuses on the ‘Trans-’ in the process of identification of Taiwan. Referring to the survey of ‘Changes in the Taiwanese/Chinese Identity of Taiwanese’(the Election Study Center, NCCU, 1992-2016.12), the results is below. Taiwanese : 17.6%(1992) → 58.2%(2016) Both Taiwanese and Chinese : 46.4%(1992) → 34.3%(2016)Chinese : 25.5%(1992) → 3.4%(2016) What I am interesting is the figure steady upwards curve of Taiwanese. It means that Taiwanese have chosen their identity as only Taiwanese. The figure of 25.5% as Chinese(1992) was even more than the figure of 17.6% as Taiwanese(1992). Taiwanese identity has been transferred from Chinese and Taiwanese to only Taiwanese. Stuart Hall said that the identity is not given in the fixed conception, is evolving in the process. In modern history of Korea and Taiwan, national identity was mostly transferred by not arbitrary, for example as a colonist under the imperialism of Japan. Also Taiwan classified into 3 identities given by time when you came to the island of Taiwan such as Native taiwanese, Mainlanders and aborigines. When the national party(Guomintang) ruled Taiwan, Taiwanese were forced to identify themselves as Chinese, then after 90s, when the president Lidenghui governed Taiwan, they have been considering themselves as Taiwanese and the Taiwanese things. 〈Cape No.7〉 have been at the center of controversy, having a pro-Japanese’s review, even if Taiwan had been ruled by Japan. So 〈Cape No.7〉 has been criticized that still can not get out of the colonial view of history. But I wonder why Taiwanese accepted this movie. The critics on criticizing 〈Cape No.7〉, they are under the views of ‘Sinocentrism’. China has an intention which integrates Taiwan as one nation using mediated memory of colonial history, whereas Taiwan refuses to construction of memory by China, Taiwan tries to reconstruct the memory of Taiwanese. In 〈Etude〉 tried to explore the ‘Taiwanese things’ through crossing island of Taiwan by bike. So I focuses on the memory and hybridity for the reconstruction of Taiwanese things through these 2 movies. The quests for Identification or Taiwanese things examine the diverse reviews mediated through transnational and regional discourses. It concerns how difficult it has been to create local-ethnographies of what it means to be a dweller in Taiwan through any single historical interpretation. The memory of colonization can be serving as a mediated memory in the nation-state, such as Korea after Japanese-colonization has focused on the anti-Japan, that is, nationalism for the social unification using the memory of colonization and after Korean war has focused on the anti-communism using the memory of the war, so maintained pro-American. The memory of colonist has been used as the mediated memory for the unified nation state. The nation needs one homogeneous memory, so some memories uncomfortable for one homogeneous memory could be excluded and forgotten. So this article concerns hybridity and diversity from behind the homogeneous memory.

한중 문화교류의 매개체로서의 〈나의 붉은 고래(大鱼海棠)〉

정원대(Won-Dae Jung) 한국애니메이션학회 2021 애니메이션연구 Vol.17 No.4

한중 양국은 문화적 공감대가 있음에도 불구하고 갈등이 끊이지 않는 실정에 처해 있다. 한중 양국의 갈등은 상호 간의 문화교류가 부족하여 발생하는 현상이라고 할 수 있다. 한중 양국의 갈등은 서로가 공유 가능한 문화적 공감대를 통해 소통할 수 있는 문화교류로 해소가 가능하다고 판단된다. 다양한 문화교류 중에서도 민족신화와 결합한 애니메이션의 공유를 통한 문화 공감대 형성은 양국의 상호 문화적 차이의 격차를 줄이는 데 도움이 될 수 있다. 한중 양국에서 공통적으로 찾아볼 수 있는 민족신화와 일부 원형은 인간 보편적 정서가 드러나고 지역적 특색이 되기 때문에 서로 간의 문화를 이해하는 데 도움이 되기도 한다. 특히 한반도 북방과 만주지역의 민족신화는 원형의 변화를 통해 이루어진다는 점에서 스토리텔링적 공통점도 함께 가지고 있다. 그러한 민족신화와 결합한 애니메이션은 스토리텔링으로서 창조된 세계에서 한중 양국의 구성원이 서로를 간접적으로 확인하고 이해하는 매개체로 작용할 수 있다. 민족신화와 결합한 애니메이션은 한중 양국이 공감할 수 있는 원형과 그 변화, 캐릭터 중심의 스토리텔링으로 문화의 교류가 이루어지도록 하는 매개체로서의 역할을 하는 셈이다. 〈나의 붉은 고래(大鱼海棠)〉(2016)는 한중 양국이 문화적 공감대를 형성할 수 있는 요소와 스토리텔링으로 이루어졌다고 할 수 있다. 〈나의 붉은 고래〉에 나타난 민족신화의 원형과 그 변화는 한중 양국이 공감하기 쉬운 스토리텔링적 요소에 해당한다. 또한 작중 주인공의 변화는 일종의 개인 정체성의 변화로서 동시대 한중 사회 구성원이 갈망하는 자기실현과 유사한 양상으로 나타난다. 따라서 이 연구에서는 〈나의 붉은 고래〉의 스토리텔링 분석을 통해 한중 문화교류의 매개체로서 애니메이션의 가능성을 검토하고자 한다. 〈나의 붉은 고래〉의 스토리텔링 분석은 주인공인 춘(椿)의 원형적 특성과 개인의 자기실현을 통해 진행하려 한다. 이를 통해 한중 문화교류의 매개체로서 애니메이션의 가능성을 제시하고자 한다. Despite the fact that there is a cultural consensus between Korea and China, conflicts continue to exist. The conflict between Korea and China can be said to be a phenomenon caused by a lack of mutual cultural exchange. It is judged that the conflict between Korea and China can be resolved through cultural exchange through mutually shared cultural consensus. Among various cultural exchanges, the formation of cultural consensus through the sharing of animation combined with national myths can help narrow the gap between the two countries’ cultural differences. National myths and some archetypes that can be found in both Korea and China are helpful in understanding each other’s cultures by suggesting universal human and regional characteristics. In particular, the national myths of the northern part of the Korean Peninsula and Manchuria have a common storytelling aspect in that they are made through a change in the original form. Animation combined with such national myths can act as a medium through which members of Korea and China indirectly identify and understand each other in a world created as storytelling. Animation combined with national mythology corresponds to the role of a medium that enables cultural exchange through storytelling centered on characters and archetypes and changes that both Korea and China can sympathize with. “My Red Whale (dà yú hǎi táng)” (2016) can be said to be composed of elements and storytelling that can form a cultural consensus between Korea and China. The prototype of the national myth and its changes in “My Red Whale” is a storytelling element that both Korea and China can relate to. Also, the change of the protagonist in the work is a kind of personal identity change, and it appears in a similar way to the self-actualization that members of the contemporary Korean-Chinese society long for. Therefore, this study intends to examine the possibility of animation as a medium for cultural exchange between Korea and China through the storytelling analysis of “My Red Whale”. The storytelling analysis of “My Red Whale” attempts to proceed through the archetypal characteristics of the main character, Chun (chūn) and her personal self-actualization. Through this, we intend to present the possibility of animation as a medium for cultural exchange between Korea and China.