• Journal of English Language & Literature
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• v.58 no.5
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• pp.903-941
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• 2012

This essay examines Edward Said's Culture and Imperialism focusing on the concepts of 'culture,' 'empire,' and 'nation'. The approach is critical, theoretical, and historical rather than explicatory. Consequently, the range of the essay is not limited to Said's own explanation and argument about Western imperialism and its culture presented in the book. In doing this, this essay finally purposes to be a discursive resistance to the current global empire, the United States, via a critical reading of Said's work. Said's notion of culture is set upon to disclose the function of culture as an apparatus of ideological consent of the dominated to the dominant. When applied to imperial practice, Western culture functions to subject the colonized to the colonizer. Said's geographical approach to imperialism complements the historical understanding of imperialism. Imperialism is not only the practice of Western-centered historicism but also the spatially mutual interaction between the West and the rest of the world. Along with European imperialism, Said poses the current global empire of the United States as his main target of criticism. Said's problem is that he takes the United States as a nation-state. When examined, the United States is not a nation-state, but today's empire. The empire in the appearance of the nation-state United States does not work for the interest of the American nation, that is, the American people. The empire is the transnational and postnational political and economic institution that works for the interest of global capital. In order to resist the current global empire, this essay suggests that the building or restoration of nation-states with its basic principle of people's sovereignty is in need.

• Journal of Convergence for Information Technology
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• v.8 no.1
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• pp.105-114
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• 2018

The purpose of this study is to reconsider whether Temple in William Faulkner's Requiem for a Nun has grown morally. Temple in Sanctuary, the previous work was raped with a corn cob by Popeye and perjured in the court, resulting in Lee Goodwin's brutal death. Now she is now a mother of two children and a wife of Gowan Stevens, but she cannot get out of the past and tries to run away with Pete, Red's brother, but she was resisted by Nancy Mannigoe, a nanny. Nancy tries to stop Temple sacrificing herself and Temple's baby. When confronting Nancy who accepted her death sentence without hesitation, Temple realized her past guilt which never fades out. A lapse of 20 years between Sanctuary and Requiem provides Temple and author himself opportunities for spiritual and moral growth in spite of painful realization that the past is never past. On the other hand, Faulkner tells the history and the past of Jefferson elaborating the description of the courthouse and the jail. Both are correlated in thematic perspective, the former representing humanity's need for security, the latter the opposite impulse toward aggression and destruction. but together represent the presentness of the past and the fluidity of time.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.12 no.12
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• pp.5477-5485
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• 2011

This study comparatively analyzed the instrumentation and the voicing structure, which were shown in the film music titled "Star Wars-Main Title" by John Williams(1932~), with analytical technique that the writer mapped out, and aimed to discover the progression principle in orchestration based on the results. Also, it applied a functional part-division method that was classified and distributed into 3 functional parts according to auditory cognitive level as for each of functional elements such as the musical element. And, it made it pattern for the vertical structure and the voicing structure in musical instruments, which were distributed to each functional part based on this, and comparatively analyzed the standard point in a change which were shown according to progression of music, namely, the operating technique. As for the results of this study, first, each theme has specific instrumentation pattern. Unity was emphasized by consistently organizing those things in exposition, reprise, and recapitulation of each theme. To reinforce diversity, an attempt was made such as adding and reducing auxiliary instruments in the middle part and the rear part. Second, even in a change of instrumentation pattern by passage in accordance with a change in theme amid each part, the same instrumental group was organized in the middle part, thereby having maintained unity. Third, to strengthen diversity by clause, which is forming each theme, a continuous change in voicing pattern was created by adding or omitting a part. Fourth, the voicing concentration was maintained the structure of "thinness-thickness" in the whole musical piece. However, in part 2 that is repeated theme 3, diversity was pursued with a unique change of "thickness-thickness." Fifth, in part 4 that is indicated theme 4, the other diversity was intensified with the inverted range in the front part and the middle part. Accordingly, based on the conclusions that were indicated in this work, it is desired to be conducive to understanding the horizontal consideration and the progression principle of orchestration.

• Cross-Cultural Studies
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• v.38
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• pp.29-63
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• 2015

This paper attempts to re-read Tennessee William's A Streetcar Named Desire from a non-Aristotelian perspective, particularly focusing on the audience performativity. In Chapter 6 of the Poetics, Aristotle says that tragedy has a final purpose or end (telos) and that is to inspire a catharsis (literally "purification") of pity and fear by means of representation and to give pleasure from experiencing their relief. However, a dramatic theoretician Augusto Boal argues that Aristotelian catharsis is not to get rid of pity and fear through their vehement discharge; rather, the basic function of catharsis is the purging of antisocial elements from the social body and the restoration of order because catharsis occurs when the spectator, terrified by the spectacle of the catastrophe, is purified of his "hamartia" which looks similar to the tragic flaw of the hero in the play. Thus, Boal asserts that Aristotle's coercive system of tragedy manipulates the emotions of the passive spectator. By contrast, in non-Aristotelian aesthetics, tragedy functions not as legitimation for a particular political configuration but as the performance of ethical acts-through which all the participants, including not only the actors but also the audience, communicate more actively about practical problems and actively work in order to make sense of themselves, others, and society. Here, the audience is required to restore and reinforce his/her capacity to think and to act; thus, an unquestioning, passive, indifferent attitude is not allowed. In these contexts, this paper explores how Tennessee William's A Streetcar Named Desire involves the audience in the responsibility for what occurs on the stage, in order to urge the audience's ethical judgements and responsible acts. This paper argues that what this play asks of us is not catharsis, the purging of pity and fear, but empathy toward the other's pain, beyond pity and fear, to carry out our responsibility of sharing in and caring for the other's suffering. That is to say that it will be an ethical way to "re-member" Blanche DuBoi-the iconic Williams victim "dis-membered" by traumatic memories and open wounds and is thus unable to complete her grieving and mourning-as one of us, not as the other. It will be the only way to remember right regarding her tragedy.

• Transactions of the Korean Society of Automotive Engineers
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• v.20 no.4
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• pp.92-102
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• 2012

The process of the wind noise analysis around an OSRVM is developed and is verified by simulating unsteady flow field past a generic OSRVM mounted on the flat plate at the Reynolds number of $Re_D=5.2{\times}10^5$ based on the mirror diameter. The transient flow field past a generic OSRVM is simulated with various turbulence models, namely DES-SA, LES Constant SGS, and LES Dynamic SGS. The sound radiation is predicted using the Ffowcs- Williams and Hawkings analogy. For the present simulation, the 6.35million cells are generated. Time averaged pressure coefficients at 34 locations on the surface of the generic OSRVM are compared with the available experimental data. Also, 12 Sound Pressure Levels located on the surrounding mirror are compared with the available experimental data. Both of them show good agreements with experimental data.

• Archives of design research
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• v.11 no.1
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• pp.81-88
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• 1998

In the history of the design movement since 18708 in Japan, four eras can be seen; the first era started with the opening of Meiji era and oontinued to the World War I, the second era to the World War II, the third era from right after the second world war to 1960, and the fourth era after 1960. Before the second world war, the design education of Japan had been influenced by plenty of modem design movements which brought about in Europe such as Art and Craft Movement of William Morris, Deutscher Werkbund, and Bauhaus and by American industrial design after the World War II. Japan which early introduced western civilization established design department in universities in 1940 professing itself to be a original design education. And Japan has kept making progresses with the help of design policies of the government until now, and has seen the tornadoes of education revolution in every university after the oollapse of bubble eoonomy.

• Journal of Food Hygiene and Safety
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• v.26 no.4
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• pp.435-447
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• 2011

This study was investigated to determine the contents of sulfur dioxide residues in medicinal herbs in Seoul Yang Nyoung Shi in 2010 (1,522 samples of 189 kinds). Samples were measured by modified Monier-Williams method. of the total samples, 618 samples (84 kinds) were domestic, and 904 samples (158 kinds) were imported. The content of sulfur dioxide in the domestics showed the range of 0.0 to 1,298.0 mg/kg (average 12.7 mg/kg), while those in imported samples were the range of 0.0 to 3,982.2 mg/kg (average 42.4 mg/kg). The average (mg/kg) amount of sulfur dioxide by parts in medicinal herbs was as follows; Tuber 122.3, Radix 69.3, Rhizoma 37.4, Cortex 33.3, Fructus 8.8, Ramulus 4.9, Semen 4.6, Folium 3.4, Flos 2.7, Perithecium 1.4. of the total samples (1,522), 52 samples (3.4%) were violated the KFDA regulatory guidance of sulfur dioxide. Among these 52 unsuitable samples, 16 samples (7 kinds) were domestic, and 36 samples (23 kinds) were imported. Approximately 88.1% of the total samples was less than 10 mg/kg of sulfur dioxide and 6.3% of the total samples showed more than 30 mg/kg of sulfur dioxide.