미래엔(민병곤) 중1-2학기 1-1단원 옥수수뺑소니/홍길동전

Main ideas / lessons from the subtitles

1) Purpose of Unit 1-1 (MiraeN / Min Byeong-gun)

• The unit is centered on conflict and conflict resolution in literature.
• Core learning goal:
  • Identify what conflict is
  • Read narrative works (novels/plays) by focusing on conflict
  • Understand the work in depth, then apply the conflict-resolution process to life

2) What “conflict” means

• Conflict = confrontation and clash that happens when different thoughts/opinions/forces meet.
• Conflict can appear in multiple forms:
  • Between characters
  • Between a character and society
  • Between a character and the environment/nature
  • Between a character and fate
  • Even inside one person (two minds/values fighting within)

3) Two types of conflict

• Internal conflict
  • Fighting between two thoughts inside one character’s mind (Mind A vs. Mind B).
• External conflict
  • Fighting between a character and something outside:
    • Character vs. character
    • Character vs. society
    • Character vs. fate
    • Character vs. nature

4) Narrative literature and its structure (5 stages)

To understand novels/plays from a conflict-centered perspective, the subtitles emphasize these stages:

1. Exposition (beginning)
   • A clue to the event is provided.
2. Rising action (development)
   • The conflict starts and begins to grow.
3. Crisis
   • The conflict escalates/intensifies.
4. Climax
   • The conflict explodes / reaches its peak.
5. Resolution (ending)
   • The conflict is resolved, concluding the problem.

Key idea: These stages are divided based on how the conflict changes in intensity.

5) Role of conflict in a story

Conflict is not just plot; it performs several functions:

• Drives the composition/structure
  • Without conflict, the story cannot move forward.
• Raises tension
  • Especially because characters fight internally or against external forces.
• Reveals character values and personality
  • How the character deals with conflict shows who they are.
    • e.g., running away vs. overcoming
• Reveals the work’s theme
  • The theme depends on how the conflict is solved.
• Helps readers understand human life deeply
  • Through vicarious experience: readers reflect, judge, and learn possible responses to conflicts.

6) Showing vs. telling (how character personality is presented)

Two presentation methods to distinguish when reading:

• Telling (direct presentation)
  • The narrator directly states personality traits using explicit words.
  • Example pattern: “This person is kind/bad/brave.”
• Showing (indirect presentation)
  • Personality is revealed through actions, words, and behavior.
  • Example pattern: “He volunteers every weekend” (implies traits without naming them).

Important reading instruction: Novels usually combine both; readers must tell them apart.

7) Case study: Corn Hit-and-run (옥수수뺑소니) — focus = internal conflict

Main points emphasized:

• The central conflict is internal:
  • The protagonist repeatedly lies to avoid inconvenience and gain/secure a settlement.
• Conflict progression uses repeated “development” stages:
  • Beginning: first accident + witness/contact issues + lying
  • Development 1: second accident causes a smartphone repair problem → more lying
  • Development 2: hesitating to lie → still lying → expanding complications
  • Development 3 / Crisis / Climax: lies cause misunderstanding and a hospital situation
  • Resolution direction: protagonist learns the injured person’s real situation → guilt → chooses truth

Also highlighted:

• Point of view and tone/imagery support conflict understanding:
  • First-person perspective (subjective internal feelings)
  • Metaphor/personification and vivid descriptions to visualize emotion
    • e.g., a “chattering piercing voice,” inner organs used metaphorically, smartphone “shouting,” etc.

8) Point of view (narrator/person classification)

The subtitles outline four common viewpoints and how to distinguish them:

• 1st-person protagonist
  • The speaker is the protagonist (the main conflict is experienced as “I”).
• 1st-person observer
  • “I” narrates, but the main conflict belongs to someone else.
• 3rd-person observer
  • “I” is not present; cannot fully convey inner thoughts—only what’s on the surface.
• 3rd-person omniscient narrator
  • Can convey multiple characters’ inner thoughts.

9) Conflict size and evaluation

Readers should:

• Determine conflict magnitude through the 5 stages.
• Evaluate decisions as positive/negative/critical depending on outcomes.

Example evaluation structure:

• “Should I tell the truth?” / “Should I lie to avoid burden?”
• Lies escalate consequences → worse conflict
• Honesty and responsibility reduce long-term harm

Also included:

• Incident = events that happen in a novel
• Conflict = incidents specifically tied to clash/escalation/resolution

10) Applying the method: “how to study the ending/next actions”

An implicit writing/understanding instruction is emphasized:

• After the climax/resolution begins, readers can infer likely next scenes (e.g., truth confession, forgiveness process).
• When writing the “latter part,” ensure:
  • It matches the topic/theme
  • Later actions follow logically from earlier decisions (conflict continuity)

11) Second case preview: The Tale of Hong Gil-dong (홍길동전) — focus = external conflict

The subtitles contrast the two works:

• Corn Hit-and-run: internal conflict 중심
• Hong Gil-dong: external conflict 중심

Conflicts in Hong Gil-dong described as:

• Character vs. character
  • Hong Gil-dong vs. Minister Hong (and the refusal to recognize his wish)
• Character vs. society
  • Social discrimination against illegitimate sons
• Overall:
  • Two external conflicts are often emphasized as the core

Also included concepts:

• Social background: corruption and legitimacy-based discrimination in Joseon
• Discussed as:
  • classic/hero novel, social criticism novel
• Key theme elements:
  • Illegitimate vs. legitimate discrimination
  • Resistance and escape/achievement (e.g., reaching fame fortune / forming Yuldo)

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Method / step-by-step reading approach explicitly conveyed

• Identify whether the story’s conflict is mainly:
  • Internal (inside one character) or External (outside forces)
• While reading narrative literature, track conflict through the 5 stages:
  • Beginning/Exposition → Rising action/Development → Crisis → Climax → Resolution
• For each stage, ask:
  • What conflict is happening here?
  • How does it intensify/escalate?
  • How does the character’s psychology change?
  • How is the conflict resolved (or worsened)?
• When analyzing characters:
  • Distinguish telling vs showing:
    • Direct naming of personality = telling
    • Personality inferred through behavior = showing
• Evaluate the character’s behavior:
  • Can the action be judged as irresponsible/foolish, or brave/wise?
  • Use the conflict-resolution outcome to justify evaluation
• Distinguish terms:
  • Conflict vs incident
    • Not every event is a conflict; conflicts involve clashes plus escalation/resolution.
• Apply the understanding to life:
  • Use the story as vicarious experience to reflect on conflict-resolution strategies.

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Speakers / sources featured (as stated or directly referenced)

• Min Byeong-gun (민병곤) — referenced in the lesson title and unit context
• Heo Gyun (허균) — mentioned as the author of Hong Gil-dong (“Originally, a person named Heo Gyun wrote this…”)
• Giyoungdo (기영도) — referenced as the poet whose poem is discussed in relation to imagery (“This is the poem by the poet Giyoungdo…”)
• Yeomra / King of Hell (염라대왕 / King Yeomra) — referenced as a metaphorical comparison

Characters / works mentioned as sources/texts

• Corn Hit-and-run / Corn Ppaengsoni (옥수수뺑소니)
• The Tale of Hong Gil-dong / Honggyeoldongjeon (홍길동전)