Earticle

Teleoperated avatar robots can enable situated participation for individuals with mobility impairments, yet the psychological transition of these systems becoming "another body" is underexplored. This study proposes a model in which representational fidelity—accurately conveying a user's identity and intentions—enhances both social and physical presence, leading to extended embodiment, which encompasses aspects such as ownership, agency, and self-location. A preregistered mixed-methods experiment in South Korea compares avatar robots with videoconference conditions using multi-group and within-participant tests. Presence is assessed using validated scales, while representational fidelity is measured through congruence of identity and intent, as well as nonverbal synchrony. The study considers technology quality and effort expectancy (latency, stability, expressiveness) as moderators of the presence-embodiment relationship, utilizing objective logs to minimize bias. By linking representation, presence, and embodiment, the research offers design insights for inclusive telepresence in robotics for individuals with disabilities.

장애인 캐릭터가 그들의 작품에 묘사될 때, 그 모습은 또한 재현 프로 토콜의 정체성을 촉진시킨다. 싱의 『성자의 샘』(The Well of the Saints)에서 메리와 마틴 그리고 오케이시의 『주노와 공작』(Juno and the Paycock)의 조니 보일과 같은 캐릭터들은 신체적인 장애를 통해 장애 캐릭터를 식별해 내는 아일랜드의 극적인 전 통을 잘 보여주고 있다. 나는 도덕적 결함으로서 장애와 타자성과의 접점으로서의 장 애의 관점에서 두 작품 속의 장애 재현을 이야기하고 결과적으로 이러한 것들이 주관 적인 인식과 정체성의 형태가 될 수 있음을 살펴보았다. 결론적으로 논문은 장애인들 이 혼란스러운 식민지 시대의 객관적인 상관관계일 뿐 아니라 작가의 창조적 기질의 기표가 됨을 보여주고 있다.

When a disabled character appears in their plays, that appearance precipitates an identity in the protocols of representation as well. Characters such as Mary and Martin Doul in J.M. Synge’s The Well of the Saints and Johnny Boyle in Sean O’Casey’s Juno and the Paycock attest to an Irish dramatic tradition of identifying disabled characters by their physical impairment. I discuss the disability representation in the plays in terms of moral flaws and contact with otherness and argue that it could become eventually a mode of intersubjective recognition and identity. Consequently the paper shows the disabled characters are the representational correlatives of a chaotic postcolonial condition as well as being the symbols of the author’s original dispositions.

본고는 장애인 인식개선을 위한 실천으로 영상 미디어가 활용되면서 등장한 '영웅적 장애인 재현'과 '장애에 대한 상품화' 담론에 대해 고찰하고, 인권적 관점에서 장애인 재현 방안에 대한 논의를 통해 장애인에 대한 인식 개선과 향후 후속연구를 위한 기초자료 마련에 기여하는 것을 목적으로 한다. 이를 위해 문헌연구 방법과 담론분석 방법을 기초로, 장애인 재현 양상과 장애의 상품화 담론을 고찰하고 논의하는 탐색연구를 시행하였다. 연구 결과, 영상 미디어 제작 과정에서 장애인 당사자의 참여가 배제되면서, 비장애인의 시각에서 장애인의 모습이 재현되어 특정한 방식으로 정형화되고 있었다. 특히 장애인 성공 신화로 대표되는 ‘영웅적’ 장애인 재현 방식은 오히려 새로운 낙인을 부여하여, 장애를 상품화한다는 비판적 담론이 형성되고 있었다. 본고는 이 결과를 바탕으로 영상 미디어의 장애인 재현이 나아가야 할 지향점을 인권적 관점에서 논의하고 제언하였다.

This study examined the discourse surrounding the ‘objectification of disability’ in the heroic representation of the disabled, aiming to discuss ways to portray them from a human rights perspective. The purpose of this study is to enhance awareness of disabilities and provide foundational data for future studies. Through an exploratory investigation utilizing bibliographic research and discourse analysis methods, stereotypes in the portrayal of the disabled and the discourse around the objectification of disability were examined. The research findings indicate that the exclusion of the disabled from the video media production process results in a standardized description of disability. Notably, recent representations often frame disability as something to be overcome rather than accepted, constructing heroic narratives that emphasize triumph over disability. However, this approach may inadvertently contribute to a ‘heroic stigma’ attached to the disabled. In light of these results, this study proposes a direction for representing the disabled in video media from a human rights perspective.

본 연구의 목적은 사건표상이 또래갈등해결능력 미술치료의 효과에 차이를 주는가를 보는 것이었다. 먼저지적장애청소년의 또래갈등해결능력 미술치료프로그램을 개발하고, 타당성을 검증하였다. 그리고 사건표상에 따라 미술치료프로그램의 효과에 차이가 있는가를 보았다. 연구대상은 지적장애청소년으로 실험집단 10명, 통제집단 10명이었다. 프로그램 타당성은 프로그램 과정에서의 또래갈등해결능력 변화와 또래갈등해결능력척도를 사전, 사후, 추후에 실시하여, 반복측정분산분석을 하였다. 사건표상 정도에 따른 프로그램 효과검증은 t-검증을실시하였다. 연구결과는 다음과 같다. 첫째, 또래갈등해결능력 집단미술치료 프로그램이 개발되었다. 선행연구가고찰되었고, 또래갈등해결능력 프로그램의 요구도가 조사되었다. 이를 기초로 예비프로그램을 구성하여 실시하고, 수정․보완하였다. 둘째, 미술치료 프로그램은 타당성이 있는 것으로 나타났다. 또래갈등해결능력의 점수가실험집단에서 유의미하게 변화되었다. 사후점수가 사전점수보다 높았고, 추후점수는 사후점수가 유지됨을 보여주었다. 또한 회기진행과정에서 또래갈등해결능력 향상을 볼 수 있었다. 셋째, 사건표상이 높은 집단과 낮은 집단 간에 의미있는 차이가 나타났다. 사건표상이 높은 집단의 또래갈등해결능력이 더 높았다.

The purpose of this study was to examine the effect of event representation on peer conflict resolution ability art therapy for adolescent with intellectual disability. A peer conflict resolution ability art therapy program was developed and the validity was investigated. Then the effect of event representation was examined. The subjects comprised 10 adolescents in the experimental group and 10 adolescents in the control group. The change in peer conflict resolution ability during the sessions and the score of the inventory were used to verify the program. ANOVA with repeated measures and t-test were conducted. The results were as follows. First, program was developed. The precedent literature had been reviewed and need for the program was surveyed. Based on these analyses, a preliminary program was composed, conducted, and supplemented. Second, the program was found to have validity. There was a significant change in peer conflict resolution ability score in the experimental group. The posttest score was higher than the pretest score. The follow-up test score showed that the posttest score had been maintained. Also there were positive changes in peer conflict resolution ability during the sessions. Third, there was a difference in program’s effect between high group and low group in event representation. Adolescents in high group of event representation had more peer conflict resolution ability than those in low group.

본 연구는 수전 손택의 『은유로서의 질병』이 제기한 질병 은유 비판을 2015년 이후 스트리밍 시리즈의 장애 재현 분석으로 확장한다. 손택이 질병에 부착된 신비화와 도덕화를 비판했다면, 여기서는 장애가 비극, 결핍, 천재성, 순수성, 구원, 극복의 상징으로 소비되는 방식을 되짚어본다. 이를 위해 의미축, 주체축, 매체축으로 구성된 ‘장애 탈은유화 입체분석 모형’을 제안하고, 실제 분석에서는 의미·시간, 주체·환경, 형식·플랫폼의 세 통합모듈을 적용한다. 분석 대상은 <Special>, <As We See It>, <Deaf U>, <Sex Education>, <무브 투 헤븐: 나는 유품정리사입니다>이다. 분석 결과 스트리밍 시리즈는 영화보다 긴 시간성, 에피소드 구조, 접근성 기능, 글로벌 배급, 장르 혼종성을 통해 장애를 단일 사건이 아니라 반복되는 일상과 관계의 조건으로 제시한다. 또한 당사자 수행, 제작 환경, 감각 형식, 플랫폼 접근성을 함께 보아야 장애 재현의 윤리적 변화를 설명할 수 있음을 제시한다. 본 논문은 장애의 탈은유화가 은유의 폐기가 아니라 장애를 능력주의적 상징 자원이나 플랫폼의 윤리적 이미지 자산으로 소비하지 않도록 서사, 형식, 유통의 책임성을 재배치하는 과정이라고 결론짓는다.

This study extends Susan Sontag’s critique of illness metaphors to the analysis of disability representation in post-2015 streaming series. While Sontag criticized the mystification and moralization attached to illness, the present study examines how disability is consumed as a sign of tragedy, lack, genius, innocence, redemption, or overcoming. To analyze this process, the study proposes a model of disability de-metaphorization organized around the axes of meaning, agency, and media. In the analysis, the model is applied through three integrated modules: meaning-time, subject-environment, and form-platform. The works analyzed are <Special>, <As We See It>, <Deaf U>, <Sex Education>, and <Move to Heaven>. The analysis shows that streaming series, through extended temporality, episodic structure, accessibility functions, global distribution, and genre hybridity, can present disability not as a single dramatic event but as a recurring condition of everyday life and relationships. It also argues that the ethical transformation of disability representation should be examined in relation to disabled performance, production conditions, sensory form, platform accessibility, and reception contexts. This study concludes that disability de-metaphorization does not mean abolishing the metaphor itself but redistributing narrative, formal, distributive, and receptive responsibility so that disability is not consumed as an ableist symbolic resource or as an ethical image asset of streaming platforms.

본 연구는 장애 인식 개선에 긍정적 영향을 미친 서로 다른 유형의 장애를 표현한 세 가지 게임들의 장애 표현 방식을 분석하여 효과적인 개선 전략을 도출하는 데 중점을 두고 있다. 각 게임이 표현하는 장애의 유형에 따라 차이점 을 보였으나, 장애 인식 개선에 성공한 게임들 사이에서는 장애 표현 방식의 근본적인 유사성을 발견할 수 있었다. 본 연구의 의의는 게임이라는 매체의 잠재력을 활용하여 사회적 인식을 변화시키는 도구로서의 가능성을 제시하고, 게임을 통한 장애 인식 교육의 새로운 방향성을 제시한 데 있다. 이를 통해 게임 개발자와 교육자들에게 효과적인 장애 인식 개선 게임 설계를 위한 실질적인 지침을 제공할 수 있을 것으로 기대된다.

This study focuses on analyzing the representation methods of disabilities in three different games that have positively influenced disability awareness, aiming to derive effective improvement strategies. Although there were differences depending on the type of disability portrayed in each game, fundamental similarities in the representation methods were found among the games that successfully enhanced disability awareness. The significance of this study lies in presenting the potential of games as a medium for transforming social perceptions and suggesting a new direction for disability awareness education through games. It is expected that this research will provide practical guidelines for game developers and educators in designing effective games to improve disability awareness.

이 연구는 <미지의 서울>에서 장애가 어떻게 재현하고 있으며, 그 의미가 무엇인지를 파악하기 위해 수행되었다. 연구 결과, <미지의 서울>은 장애라는 취약성이 사실은 모두의 취약성으로 인지될 수 있음을 이야기한다. 장애를 가진 이들의 다양한 정체성‘들’은 장애를 특별한 것으로 보이게 하지 않고, 여러 정체성‘들’의 하나로 인식하게 한다. 또한, 등장인물의 대다수가 취약한 집단이거나 사람일 때 이들 모두의 취약성은 다수의 사람과 공통적인 공감을 이끌어내게 한다. 이러한 공감을 기반으로 장애의 취약성은 그들만의 것이 아니라 모두의 취약성으로 이해된다. 두 번째로 이 드라마는 취약성을 인정하는 것이 얼마나 어려운 일인지를 드러내고 있었다. 취약성이 자신만 경험하는 것이 아닌 다수의 사람에게 존재한다는 것, 그리고 상호의존적인 관계성과 그러한 관계가 한쪽으로 기울어질 수 있다는 것을 진심으로 받아들일 때, 자신의 취약성을 인정하고 드러낼 수 있게 된다. 취약성의 인정은 취약한 순간에서 정지된 삶을 앞으로 나아가게 하는 필요 전제이기도 하다. 마지막으로 장애인 ‘되기’의 과정은 이들의 입장과 경험하는 환경을 더 깊이 이해하게 하면서 “함께 돌봄”의 사회에서 우리가 고민할 문제들을 상상하게 했다. 이러한 상상은 취약한 이들 간의 연대를 가능하게 한다.

This study examines how disability is represented in the drama “Our Unwritten Seoul” and explores its broader implications. First, the findings indicate that the drama presents disability-related vulnerability as a universal human condition. Rather than portraying characters with disabilities as “special” or marginalized, the narrative highlights their multifaceted identities and presents disability as just one aspect of their identities. By depicting most of its characters as vulnerable in different ways, the drama fosters a sense of shared understanding among viewers. This empathy allows the audience to perceive disability-related vulnerability not as an isolated issue, but as part of a shared human experience. Second, the drama reveals the immense difficulty of admitting one’s vulnerability. It suggests that individuals can recognize and disclose their vulnerabilities only when they accept both the universality of vulnerability and the inherently interdependent, and sometimes unequal, nature of human relationships. Acknowledging these realities is a vital prerequisite for overcoming the “suspended situations” caused by vulnerability. Finally, by depicting the process of becoming disabled, the drama enables viewers to develop a deeper understanding of the perspectives of individuals with disabilities and the environments they encounter. This understanding encourages a collective imagination for a supportive, care-oriented society, creating possibilities for solidarity among all vulnerable people.

본 연구는 시각장애에 대한 이해와 공감을 유도하기 위한 교육용 게임을 개발하고 그 설계 과정에서 선행 연 구의 이론을 실제 게임시스템에 적용하였다. 대상은 초등학교 저학년 아동이며 시야 제한, 상호작용 중심 구조, 문제 해결형 미니게임, 감정 반응형 AI 대화 시스템 등을 통해 장애 상황을 간접 체험할 수 있도록 구성하였다. 본 게임은 디지털 게임의 몰입성과 상호작용성을 활용하여 장애 인식 개선 교육의 효과를 높이는 데 그 목적이 있다. 특히 선행 연구에서 제시된 ‘장애 체험 요소’와 ‘게임플레이 메커니즘’을 실질적으로 구현함으로써 이론과 실천을 연결하는 후속 연구로서의 의의를 지닌다. 향후 초등학교 현장에서의 적용 가능성과 교육적 효과를 검증할 수 있는 실증 연구로의 확장을 기대할 수 있다.

This study presents the development of an educational game designed to promote understanding and empathy toward visual impairment. Targeting lower-grade elementary school students, the game integrates limited vision, interactive structures, problem-solving mini-games, and an emotion-responsive AI dialogue system to simulate disability-related experiences. The game’s design emphasizes immersion and interactivity—key strengths of digital games—as effective tools for disability awareness education. Based on prior research analyzing disability representation in games, this study incorporates two core elements—“disability experience” and “gameplay mechanisms”—into the actual system. By applying theoretical findings to practical game design, this research contributes as a follow-up study that bridges theory and practice. It offers a design direction for educational games and establishes a foundation for future empirical research to validate the game’s educational effectiveness in real school settings.

이 연구는 방송에서의 장애 재현과 관련한 최근의 국내 연구가 미흡하다는 문제의식 하에 대중적 콘텐츠 <이상한 변호사 우영우>에서 장애가 어떻게 재현되었고, 그 의미가 무엇인지를 밝히는 것을 목적으로 했다. 이를 위해 텔레비전 드라마 텍스트 에서 장애가 어떻게 재현되었는지를 중심으로 서사 분석을 수행했으며, 관련 기사의 담론 분석을 보조적으로 수행하여 장애 재현의 의미를 찾아보고자 했다. 분석 결과 이 드라마는 기존의 전형적인 장애(인) 이미지를 다변화시켰으며, 장애(인)의 관계 성을 낭만화 하는 경향이 있었다. 하지만 드라마는 이러한 낭만에 현실성을 입히면서 대중들이 현실의 장애 문제를 인식하게 하는 힘을 가지고 있었다. 이러한 텍스트에 대한 대중적 호응은 장애에 대한 다양한 담론을 만들어내면서 장애에 대한 대중들 의 인식과 관심을 높이는데 기여한 측면이 있었다.

The study aimed to uncover how disability was represented and what it meant in the Extraordinary Attorney Woo, conscious of the lack of recent domestic research on the representation of disability in broadcasting. To this end, a narrative analysis focusing on how disability was represented in the show was utilized, as was a discourse analysis of the relevant articles, which was auxiliary to determine the meaning of the representation of disability. In the analysis results, the show diversified the typical disability images of disabled people and tended to romanticize the relationship between a disabled person and others. However, by adding realism to this romanticized text, it had the power to make the public aware of the problem of disability in reality. The public response to this show has contributed to various discourses on disability, thereby increasing both public awareness and interest in disability.

This study examines the aesthetic reconfiguration of disability representation in contemporary theatre by tracing a shift from disability as a signifier to disability as materiality. Focusing on The Glass Menagerie and Cost of Living, the study argues that this shift is not merely representational but structural, involving a transformation in how body, space, and perception are organized on stage. In The Glass Menagerie, disability is mediated through the memory play form, which aestheticizes and stabilizes Laura’s impairment as a symbolic device. In contrast, Cost of Living foregrounds disability as lived materiality. Through scenes of care, the disabled body produces friction with space, reorganizing spatial relations and generating what can be understood as a performative event. Drawing on a relational reinterpretation of abjection alongside performance theory and spatial theory, this article demonstrates that disability, when treated as material condition rather than metaphor, destabilizes boundaries, disrupts perception, and produces affective ambivalence. Ultimately, the article proposes that contemporary theatre stages a fundamental shift in aesthetic logic from representing meaning to enacting material relations, where the disabled body becomes a site that reconfigures space, relationality, and spectatorship.

This study examines the representation of disability in R. J. Palacio’s Wonder through the lens of critical literacy. Drawing on disability studies and critical literacy theory, it explores how the novel constructs disability and difference and reproduces dominant discourses of normalcy and power. The analysis focuses on Auggie’s portrayal, his relationships with others, and narrative strategies that shape readers’ perceptions of disability. While Wonder promotes empathy, inclusion, and respect for diversity, it also reinforces dominant ideologies through supercrip and inspirational narratives and by using disability as a catalyst for nondisabled characters’ moral growth. These findings reveal the novel’s ambivalent representation of disability, combining inclusive messages with conventional assumptions about normalcy. This study demonstrates how critical literacy can uncover the ideological implications of literary representations of disability.

이 연구는 장애를 향한 미디어 재현의 효과를 낙인·반낙인 단서와 배양 이론 중심으로 논의함으로써 실천적 대안을 모색해보고자 했다. 특히 장애를 향한 미디어 재현에서 기능적 손상을 경험하는 개인의 재현과 상호작용 과정에서 발생하는 부정적 결과의 재현을 구별해야 할 필요성에 주목하였다. 주요 논의를 종합하여, 미디어를 통해 재현된 낙인·반낙인 단서가 사회 구성원으로서의 장애인 인식과 장애인을 향한 신념에 미치는 영향을 실증적으로 분석하였다. 전국 거주 만 20세 이상 59세 이하 일반인 1,080명 대상으로 2(단서: 낙인 vs. 반낙인) x 2(자막-스크립트: 있음 vs. 없음) 집단 간 요인설계를 적용하였고, 통제집단을 추가하여 총 5개 집단으로 구분한 뒤 주요 변인을 조작한 실험 자극을 제시하였다. 연구 문제 및 가설 분석 결과, 낙인 단서에 노출된 집단은 사회 구성원으로서의 장애인과 장애인의 이동환경을 더 부정적으로 인식하였다. 반낙인 단서에 노출된 집단은 사회 구성원으로서의 장애인을 덜 부정적으로 인식하였고, 장애인의 이동환경은 긍정적으로 인식하였다. 사회 구성원으로서의 장애인을 향한 부정적 인식과 장애인 이동환경 인식은 장애인을 향한 신념(적대적 차별주의, 온정적 차별주의)에 유의미한 영향력을 발휘하였는데, 낙인 단서에 노출된 집단에서는 장애인의 이동환경을 긍정적으로 인식할수록 적대적 차별주의도 증가하는 것으로 나타났다. 주요 결과를 종합하여, 장애를 향한 미디어 재현의 이론적·실천적 함의를 논의하였다.

The stigma on disability can serve as evidence that society is not functioning authentically, as it means a failure to achieve social integration among its members. Stigma is created through communication between social members and could bring about devaluation as social members within social or interpersonal relationships. This devaluation is initiated by the individual who marks and shares stigma cues, while the person being marked becomes the devaluation target. Media representation could influence the devaluation of disabled people as marked individuals when it conveys stigma cues about disability. Conversely, media could also convey challenge cues, which present appropriate ways to solve problems with the support of people aiding disabled individuals. It indicates a separation between the media representation of those with long-term physical, mental, intellectual, or sensory impairments and the media representation of the negative aspects of their social interactions. Simply put, the media could choose and convey stigma or challenge cues about disability when it represents disability. This study applies cultivation theory to examine the effects of stigma and challenge cues for disability. Specifically, it investigates the effects of stigma or challenge cues for disability on perceptions and beliefs about disabled people. Media representation can shape perceptions of the real world when individuals rely on media messages as cues or as sources of information about reality. Previous studies suggest this as the primary cultivation effect and also describe the secondary cultivation effect as the relationship between perceptions of reality and beliefs about a represented object. However, there is a research gap about the primary and secondary cultivation effects of media representation on disability. To fill this research gap, this study conducted an experiment to investigate the primary and secondary cultivation effects of media representations of disability, with a specific focus on stigma and challenge cues. Employing a 2 (stigma: stigma vs. challenge) by 2 (script: present vs. absent) between-groups factorial design, including a control group, the results revealed that participants exposed to stigma cues exhibited more negative perceptions of disabled individuals and the mobility environments they navigate compared to those exposed to challenge cues. The findings indicate that negative perceptions of disabled people (personal characteristics and adaptation to the social environment) increased beliefs about disabled people (hostile and benevolent discrimination). Perception of the mobility environment for disabled people, however, increased hostile discrimination while decreasing benevolent discrimination. Moreover, the effects of perceptions of the mobility environment for disabled people on hostile discrimination were significant only in the group exposed to stigma cues about disability. This study provides empirical evidence for the cultivation effects of media representation on disability. Further, it expands previous studies by confirming the primary and secondary cultivation effects of media representation of disability.

Victorian Britain witnessed the rise of disability, and the permeation of disabled figures in Victorian literature was the literary reflection of the age. Focusing on Rochester in Jane Eyre, this paper examines the representation of disability in Victorian literature and the problem of masculinity. It aims to expand the territory of disability studies within Victorian literary studies. Jane Eyre follows the ‘just-world’ model of disability: Rochester becomes disabled as a result of his sin. His disability is regarded as punishment for his immoral attempt to marry Jane while married to Bertha. He has no choice but to compromise his masculinity since he is confined to home due to his disability, which is considered feminine according to Victorian gender ideology. Through his atonement and repentance, Rochester’s disability begins to be cured; and by Jane’s sacrifice and love, his undesirable masculinity is transformed into an ideal one. The process of reconstructing Rochester’s masculinity is completed by marrying Jane and holding his first son in his arms.

This paper examines how contemporary drama represents physical disability, focusing on Bernard Pomerance’s The Elephant Man which is considered one of the most successful plays to deal with disability. Reworking the story of John Merrick, a Victorian sideshow “freak” whose deformed and disabled body earned him the name of the Elephant Man, Bernard Pomerance especially concentrates on laying bare the specular economy in which Merrick's disabled body becomes the object of the voyeuristic gaze of Victorian England. Conflated with this gaze are both the medical and the white, middle-class male gazes as represented by Dr. Treves in the play. As a way to critique this gaze, Pomerance puts Merrick in the position of the voyeur in a crucial episode when Mrs. Kendal takes off her clothes to show her body to him and in the following scenes has Merrick question the legitimacy of the gaze of Dr. Treves. Treves in turn expresses skepticism about the medical and civilizing project that, as he ultimately realizes, only kills him rather than normalize him. Pomerance’s play presents a scathing criticism of medical discourse vis-a-vis disability and seems successful in implicating the spectator in the voyeuristic gaze of Treves’ society, but it fails to offer a space in which the disabled character can come up with an authentic disabled identity in his own terms.

문학이나 미디어에서 장애를 다룰 때, 많은 경우 장애는 중심서사에 위치하기 보다는 서사보정장치(narrative prosthesis)로 이용되거나, 혹은 시대적 은유로 동원되어 왔다. 이는 장애에 대한 인식에서 비롯된 것이라고 할 수 있는데, 과거 장애에 대한 접근은 개인적 비극, 진단과 치료의 대상에 초점이 맞추어져 있었다. 때문에 장애가 문학적 형상으로 표현될 때에도, 고난이나 고통, 비극, 혹은 정상화되어야할 어떤 것을 상징하곤 했던 것이다. 그러나 장애에 대한 논의가 확대됨에 따라 장애 개념에도 변화가 생겨났다. 기존의 의학적 모델을 벗어나 장애를 만들어내는 사회구조에 주목하게 되었고, 이는 억압과 차별을 만들어내는 기제들에 대한 비판으로 확장되어 갔다. 장애를 둘러싼 이러한 논의들을 바탕으로 한다면, 오늘날 문학 속에서 재현되는 장애 문제 역시 새롭게 살펴볼 필요가 있다. 본고에서 주목하는 비페이위의 장편소설 ≪마사지사≫는 장애가 문화적으로 어떻게 수용되고 있는지를 보여주는 좋은 텍스트가 될 수 있다. 소설은 장애가 조연이나 주변부 서사로 등장하던 방식을 벗어나 장애 문제를 보다 직접적으로 다루고 있으며, 장애인들을 둘러싼 일상생활과 인간관계들을 매우 세밀하게 포착해 내고 있다. 소설의 주요 주인공으로 등장하는 시각장애인들의 각기 다른 이력과 생활, 사고방식은 이들의 구체적인 경험을 통해 우리에게 보여진다. 소설은 장애인을 일방적으로 억압받는 존재로 그리지도, 혹은 저항의 아이콘으로 그리지도 않는다. 이들은 단순히 선/악으로 구분되지도 않으며, 비장애인과의 삶과 완전히 단절된 존재 역시 아니다. 이들의 경계는 단순히 장애/비장애로 구분되는 것이 아니라, 장애 안에서도, 혹은 비장애 안에서도 언제나 혼재되어 있다. 이를 통해 소설은 장애가 사회 속에서 어떠한 방식으로 받아들여져 왔는지를 거듭 강조하는 동시에 이들을 둘러싼 기존의 인식을 비판적으로 바라볼 것을 요청하고 있다.

When literature or media address disability, it often serves not as the central narrative but rather as a narrative prosthesis or a metaphor for the times. This tendency stems from the way disability has traditionally been perceived?primarily as a personal tragedy or as something requiring diagnosis and treatment. Consequently, when disability is portrayed in literary forms, it often symbolizes suffering, tragedy, or something that needs to be normalized. However, as discussions about disability have expanded, the concept of disability has also evolved. Moving beyond the medical aspect, attention has shifted to the social structures that produce disability, expanding into critiques of mechanisms that generate oppression and discrimination. Based on these discussions surrounding disability, there is a need to re-examine how disability is represented in contemporary literature. Bi Feiyu’s novel Blind Massage , the focus of this study, serves as an excellent text to demonstrate how disability is culturally received. Unlike traditional narratives where disability plays a peripheral role, this novel tackles the issue of disability more directly, capturing the everyday lives and relationships of disabled individuals with meticulous detail. The diverse backgrounds, lives, and thought processes of the blind protagonists are revealed through their specific experiences. The novel does not portray disabled individuals as merely oppressed figures or icons of resistance. They are not simply categorized as good or evil, nor are they completely isolated from the lives of non-disabled individuals. The boundaries they navigate are not strictly divided into disabled and non-disabled but are instead fluid, even within the realms of disability and non-disability. Through this portrayal, the novel repeatedly emphasizes how disability has been received in society and urges for a critical reassessment of existing perceptions.

본 논문은 조선 후기 고소설에 나타난 불구 인물의 서사적 형상을 ‘죄와 벌’의 관점에서 분석하여 그 문학적 의미와 사회적 함의를 고찰하고자 했다. 조선 후기 고소설에서는 인물의 외모와 성격이 직접적으로 연결되고, 이에 따른 선과 악의 구분이 명확하게 드러나는 경우가 많았다. <한후룡전>과 <유화기연>에서는 전생의 죄로 인해 신체적 결함을 가지고 태어난 주인공들이 등장한다. 한후룡은 시각 장애를, 임허영은 다리 장애를, 유춘은 성불구자로 태어난다. 이들은 불구의 몸으로 인해 가족에게 괴로움과 불편을 끼치지만, 선업을 쌓아 신체적 결함을 극복하여 완전한 신체를 회복하고 영웅으로 거듭난다. 이를 통해 불구를 극복의 대상으로 삼는 인식과 도덕적 성장의 중요성을 강조하고자 하였음을 확인할 수 있었다. 반면, <장화홍련전>에서는 후천적으로 불구가 되는 인물인 장쇠가 등장한다. 장쇠는 부친의 명에 따라 누이를 죽이는 데 일조하는데, 그 과정에서 스스로의 악독함을 드러내었다. 장쇠는 결국 호랑이에게 두 귀와 한쪽 팔, 한쪽 다리를 물려 불구가 된다. 이는 장쇠의 악행에 대한 천벌로, 불구가 단순한 신체적 결함이 아니라 도덕적 타락의 결과로 내려진 벌임을 강조한다. 이는 불구가 개인의 신체적 결함을 넘어서 사회적, 도덕적 맥락에서 이해되고 있었음을 시사한다. 이와 같이 고소설에서 불구 인물의 서사적 형상은 당시 사회의 도덕적 기준과 장애에 대한 인식을 반영한다. 불구는 전생의 죄나 악행의 결과로 묘사되며, 이는 불구 인물을 통해 선과 악의 구분을 명확히 하고, 도덕적 교훈을 전달하는 서사적 장치로 사용되었다.

This paper aims to analyze the narrative portrayal of disabled characters in late Joseon Dynasty novels from the perspective of "sin and retribution" to explore their literary significance and social implications. In these novels, characters' appearances are often directly linked to their personalities, resulting in a clear distinction between good and evil. In "Hanhuryongjeon" and "Yuhwagiyun" the protagonists are born with physical disabilities due to sins committed in their previous lives. Han Hu-ryong is born with a visual impairment, Im Heo-yeong with a leg disability, and Yu-chun as a eunuch. Despite causing distress and inconvenience to their families due to their disabilities, these characters accumulate good deeds, overcome their physical limitations, and eventually restore their complete bodies, transforming into heroes. This narrative emphasizes the perception of overcoming disabilities as a path to moral growth and the importance of virtuous actions. Conversely, in "Janghwahongryeonjeon" there is a character named Jang-soe who becomes disabled later in life. Jang-soe assists in killing his sister following his father's orders, revealing his own cruelty in the process. Eventually, Jang-soe is attacked by a tiger, which bites off his ears, one arm, and one leg, resulting in his disability through the mauling. This is depicted as divine punishment for his evil deeds, emphasizing that his disability is not merely a physical defect but a consequence of moral corruption. This suggests that disabilities were understood within a broader social and moral context, beyond just physical impairments. Thus, the narrative portrayal of disabled characters in these novels reflects the moral standards and perceptions of disability in late Joseon society. Disabilities are depicted as the result of sins or evil actions, serving as a narrative device to clearly distinguish between good and evil and to convey moral lessons.

This research paper explores the representation of autism in Mark Haddon’s The Curious Incident of the Dog in the Night-Time and John Maxwell Coetzee’s Life & Times of Michael K through the lens of Mikhail Bakhtin’s dialogic theory. Both novels feature protagonists whose disabilities are central to their experiences and interactions with the world around them. Using Bakhtin’s concept of dialogism, which emphasizes the multiplicity of voices and the relational nature of communication, this paper analyzes how the protagonists’ unique modes of perception and expression shape their interactions with other characters and the broader social environment. By examining the dialogic nature of their language, the paper argues that these characters’ disabilities are not merely individual traits but are integral to the larger discourse of identity, communication, and social inclusion. In doing so, it explores how language functions as both a barrier and a bridge in representing disability and how these novels challenge conventional narratives surrounding autism and communication. Through a Bakhtinian framework, this analysis sheds new light on the intersection of language, disability, and social interaction in contemporary literature.

이 글은 동시대 한국연극의 현장에서 시도되고 있는 장애연극의 접근성과 재현의 문제를 살펴본 것이다. 접근성은 ‘배리어프리’보다 포괄적인 관점으로, 극장에 누가 올 수 있는가라는 질문에 대한 광범위한 실천이다. 그러나 접근성은 극장의 물리적 장벽을 없애는 제도의 마련만으로 충족될 수 없다. 휠체어석, 수어통역, 자막, 음성해설 등이 구비되어도 관객의 심리적 ‘미스핏’을 해결하기 어렵고 무엇보다 공연 미학과 어우러지지 않는 접근성은 한계가 있다. 공연의 의도와 잘 접합되지 않는 시스템보다 공연 관람 문화를 갱신하려는 태도로서의 접근성이 중요한 것은 이 때문이다. 장애 감수성이 높아졌다고 하더라도 극장에서 장애인을 만나는 일은 아직 낯설다. 장애예술가에 대한 시선은 ‘장애로 환원될 수 없는 몸’과, 장애라는 고유성을 지닌 ‘응시의 대상이 되는 몸’이라는 딜레마를 발생시킨다. 그간 다른 소수자 운동과 같이 장애연극 역시 장애 가시화와 장애인의 현실을 드러내는데 노력을 기울여왔지만, 재현의 딜레마 속에서 장애의 몸과 현실은 곧잘 의도와 다른 효과를 발생시킨다. 최근 공연된 극단 애인의 연극은 이와 같은 딜레마를 직면하고 장애의 몸이 어떻게 연극의 다른 언어로 생성되는지를 보여준다. 장애연극은 장애를 저항의 장소이자 문화적 주체성의 원천으로 보는 문화적 모델의 가능성을 배태하고 있다.

This research examines the issues of accessibility and representation of disability theater being attempted in contemporary Korean theater. Accessibility is a more comprehensive perspective than ‘barrier-free’, and is a broad practice that addresses the question of who can come to the theater. However, accessibility cannot be satisfied by simply establishing a system that removes physical barriers in the theater. Even if wheelchair seats, sign language interpretation, subtitles, and audio commentary are provided, it is difficult to resolve the psychological misfit of the audience, and above all, accessibility that does not harmonize with the aesthetics of the performance has limitations. This is why accessibility as an attitude to renew the culture of watching performances is more important than a system that does not connect well with the intention of the performance. Even if disability sensitivity has increased, it is unfamiliar to meet a disabled person in a theater. The gaze on disabled artists creates a dilemma between a body that cannot be reduced to disability and a body that is the object of gaze with the uniqueness of disability. Like other minority movements, disability theater has also made efforts to make disability visible and reveal the reality of the disabled, but in the dilemma of representation, the body and reality of the disabled often produce effects different from the intention. The recently performed play of the theater company Ae-in confronts this dilemma and shows how the body of disability is created in a different language of theater. Disability theater is incubating the possibility of a cultural model that sees disability as a site of resistance and a source of cultural subjectivity.

This thesis aims to identify the logic behind disability representation in Oh Jung-hee’s(吳貞姬, 1947~) novels and examine its effects. Driven by the issue that existing critical discussions have not sufficiently explained the logic and function of disability representation in the novels’ narrative, this thesis revisits various representations of disabilities in Oh’s novels in the context of the dynamic relationship between non-disabled subjects and objects with disabilities. In Oh’s novels, disability is represented through the perspective of a non-disabled narrator observing a disabled object. The object’s “extraordinary body” is portrayed as a fantastical mirror that vicariously relieves the narrator’s excessive desire. Oh Jung-hee’s early works repeat a pattern of objectification that portrays the disabled body as phenomenal, demonic, and shamanic. This pattern can be schematized as a narrative that progresses through (1) projection, (2) disability experience, and (3) return to reality. This thesis demonstrates that the narrative pattern, which operates through objectified representations of disability, supports the unique architectural structure of Oh Jung-hee’s novels. On the other hand, this thesis also focuses on the diachronic process through which the representation of disability in Oh’s novels breaks away from its objectified coordinates and gains a realistic three-dimensionality, due to the “aesthetic nervousness” it casts on the novel. Oh’s novel oscillates between a problematic gaze that objectifies the disabled body and a reflective gaze that critically examines such attraction. This thesis traces how the author’s reflective self-awareness of the “novelization/objectification” mechanism, in general, has been deepened, using the changing representations of disability in Oh’s novels as touchstones. Oh’s narrative schema was fundamentally eroded by the reality of disability, which cannot be subordinated to the mechanisms of objectification. As the author’s self-awareness of the violence of objectification deepened, the novel’s narrative pattern revolving around the representation of disability was completely rearranged. This triggered severe aesthetic crises for Oh Jung-hee in her later years, ultimately leading her to stop writing novels.