• 영어영문학
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• 제58권1호
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• pp.93-115
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• 2012

The decades after the French Revolution witnessed the prolific production and consumption of apocalyptic literature, tinged with the optimistic vision of political progress and human perfectibility. However, the Romantic writers were cautious to embrace the idea of the end of history, even though it promised an aesthetic space relieved of historical determinants. Mary Shelley's The Last Man joined this line of Romantic literature which skeptically questions the millenarian desires of political apocalypse by representing apocalypse without millenium. Using the theme of apocalypse as a tool to investigate the place of human beings in the universe and to test diverse political reform ideas to their fullest potential, the novel diagnoses the ideas of representative political subject as the most problematic aspect of political structure. The notion of subjecthood presupposes a political decision as to who can be counted as subject and this decision, according to the novel, assumed a subject that is "active, free, conscious and willful sovereign," which Raymond embodies in his exemplary body. Against the sovereignty of Raymond is juxtaposed the subaltern subject such as Sybil. The resistance of Sybil to Apollo, another exemplary subject, is the subtext of the novel, which guides the way out of the grim future of humanity. While the plague exemplifies the universalizing ideal with its principle of sovereignty, Sybil and her descendent Lionel practice the unconditional hospitality so that they can renew the community in a way to embrace singularities of individuals.

• 미술이론과 현장
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• 제13호
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• pp.185-213
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• 2012

Charles Stankievech's 2011 installation LOVELAND includes a wall-sized screen depicting video footage of a barren arctic landscape in an enclosed room, painted and bathed in white light, that appears as an extension of the imaged environment. A melodic and industrial musical score emanates from multiple sound panels and as the music increases a cloud of purple smoke becomes visible on the horizon line in the distance and gradually advances toward the viewer until it completely fills the screen. The smoke then remains, rushing about madly and lapping at the border between the screen and the room before it suddenly subsides and the spectator is again left with the desolate landscape. The entire process takes a mere five minutes and then, fixed on an endless loop, begins again. This paper positions LOVELAND as an attempt to simulate a sublime experience of the end of the world through a transposition of the Arctic atmosphere into the gallery space. Encompassing a discussion of the historical and contemporary significance of the Arctic in popular culture, aesthetics and environmental politics, it is suggested that Stankievech employs an apocalyptic trope in reference to the unstable position of the North in the current political and ecological climate. Revisiting critiques of modernist exhibition practices and investigating the perceptual and temporal dimensions of the work, this analysis focuses primarily on the experience of the installation's spectator. Visually, aurally and phenomenologically immersed, the viewer is made subject to, and implicated in, the events unfolding on the screen and within the space. Due to the looping of the video footage, this paper argues that the apocalypse imaged in LOVELAND is presented as an endless event - incessantly enacted, yet infinitely deferred - and that the spectator is enveloped in an uncertain and unceasingly extended present moment.

• 영어영문학
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• 제55권1호
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• pp.83-105
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• 2009

Modern poetry begins as criticism of modernity and, by so doing, rejects its idea of time. Modernity emphasizes sequential, linear, and irreversible time and progress. Williams rejects the modern view of time, and attempts to substitute literature for history assuming that literature can take us into the immediacy of time. His poetry asserts the true moment of experience as an immediacy, of words co-existent with things. He suggests that modernity and its idea of time already led to World War I and could clearly lead to an actual, manmade apocalypse with continued technological progress. Already in the 1920s, Williams sensed that he was living in a world where such an end could come all true, which is why Spring and All, his greatest early achievement, begins with a parody of the modern apocalypse. Throughout the work, Williams criticizes "crude symbolism" and expresses his longing to annihilate "strained associations," for he believes that the metaphoric or symbolic association is related to order, the center, and the traditional concept of time itself. The metonymic model of Spring and All substitutes a self-reflexive, open-ended, and indeterminate structure of time for the linear and closed one. Instead of supplying an end, Williams only asserts the rebirth of time and attempts to arrive at immediacy while attacking the mediacy of traditional art. His characteristic use of fragmentation and abrupt juxtapositions disrupts the reader's generic, conceptual, syntactic, and grammatical expectations. His radical poetic experiments, such as the isolation of words and the disruption of syntax, produce a sense of immediacy and force the reader to confront the presence of the poem. His destruction of traditional forms, of the tyrannous designs of history and time, opens up rather than closes the possibility of signification, and takes us into a moment of beginning while disallowing temporal distancing. Spring and All, as a criticism of the modern idea of time, asks us to view Williams's work not as an ahistorical text but as a cultural subversion of modernity.

• 통상정보연구
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• 제8권4호
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• pp.301-322
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• 2006

The change of the global environment, especially the development of the communication and transportation and the decrease of the trade barrier promotes the progress of globalization. Under this background, the globalization progress of Chinese electronic firms is also pushed forward, compared with the early firms, which is being quickly shortened. This study has some purposes. First, this tries to investigate the growth process of the Chinese electronics firms, by which reveals the progress of the global competition ability and the background of promoting their rapid globalization. Second, this study estimates and analyzes the implemented process of Haier's globalization strategy, which is the Chinese most representative global Firm. Finally, this article elaborates the globalization of Chinese firms and the apocalypse of the Korean firms and also shows the corresponding projects for them.

• 한국정보통신학회:학술대회논문집
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• 한국정보통신학회 2016년도 추계학술대회
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• pp.929-931
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• 2016

최근에 모바일 게임을 즐기는 이용자들이 증가하고 있다. 우리나라 뿐만 아니라 전 세계적으로 모바일 게임의 인기가 식을 줄 모르고 있는 가운데 블루오션이라 불리는 중국시장을 겨냥해서 게임이 개발되고 있다. 게임의 장르는 서바이벌(생존)게임인데, pc게임시장에서는 서바이벌게임이 상위권에 많은 반면 모바일시장에서는 서바이벌 장르의 게임의 비중이 적다. 뿐만 아니라 모바일시장에는 카피캣 게임이 대다수를 차지하고 있다. 본 논문에서는 틈새시장 공략하기 위해서 서바이벌(생존)게임을 기획하고 새롭고 참신한 독자적인 모바일게임을 개발에 대한 연구를 한다. 유비쿼터스 컴퓨팅 환경에서 다양한 접속 채널과 서비스 플랫폼에 대응하는 게임의 개발도 요구 되고 있는 상황에서 본 연구에서 개발된 게임은 좋은 사례가 될 것이다.

• 대한가정학회지
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• 제46권6호
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• pp.101-114
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• 2008

The purpose of this study was to develop a self-report scale measuring dysfunctional communication behaviors that Korean husbands and wives may use during marital fights. Based on the four concepts of criticism, contempt, defensiveness, and stonewalling proposed by Gottman(1994a), an initial pool of 38 items was developed. Through expert reviews of the 38 items to assess content validity, preliminary 30 items were selected. Using a sample of 89 married couples who were living in Susan, Korea, we conducted item analyses and exploratory factor analyses with the 30 items. These analyses yielded a final 19-item, four-factor scale : criticism(5 items), contempt(5 items), defensiveness(5 items), and stonewalling(4 items). The internal consistency estimates for these subscales were satisfactory. Finally, using another sample of 228 wives, we conducted confirmatory factor analysis to confirm cross validity of the 19-item, four-factor model. The result indicated that this model fitted the data reasonably well. All standardized factor loadings were significant in this model. The results of this study supported reliability and validity of this scale.

• 영어영문학
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• 제57권1호
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• pp.3-25
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• 2011

As extremes of climate such as heavy storms, rainfalls, and droughts tend to be routine in recent years, global climate change becomes a serious concern not only for natural scientists but also for scholars of the human sciences. Efforts to tackle the anthropogenic climate change certainly require not only scientific knowledge about it but also a new sociocultural paradigm for valorizing and respecting nature in its own right. The huge casualties and mass destruction caused by recent climate disasters also remind us that nature has been an important factor to bring about changes in human history-a fact largely ignored in traditional history. This again validates the ecocritical request to prioritize place, physical setting, or the relationship characters hold with the natural world in understanding literary works. In this context this paper aims to demonstrate the importance of the meteorological vision in creating as well as understanding literary and cultural texts by examining such works as Shelley's "The Cloud," Byron's "Darkness," Keats's "To Autumn," all produced during the period of dramatic climate change including "the year without summer." It also briefly discusses Roland Emmerich's 2004 movie The Day after Tomorrow as a way of understanding recent cultural responses to the crisis of global warming.

• 한국환경과학회지
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• 제29권4호
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• pp.403-413
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• 2020

The purpose of this study is to understand the formation of internal wind paths of open space and its effect on meteorological factors and the generation of negative air ions. Various types of internal wind paths of open space were formed. Subsequently, changes in meteorological factors in each type were measured and the generated negative air ions were analyzed. The four key findings of the study are summarized as follows. First, the average wind speed formed inside the open space was analyzed such that the difference in wind speed was dependent on the difference in the composition of the wind path. Second, the negative air ion generation was observed to have the same trend as the average wind speed difference. Third, changes to the meteorological factors were more evident depending on the difference in wind path formation patterns. Solar radiation was expected to be highly affected by the physical structure (direction) of the target site. The relative humidity was found to show large difference depending on the different wind path type; however, this difference was significantly reduced when converting to absolute humidity. Fourth, it was found that the wind path formation type of open space affects meteorological factors through path analysis, and the changed meteorological factors affect the amount of generated negative air ions. Two conclusions can be obtained based on these results. First, the changes in internal wind speed formation of open space directly reduced the amount of generated negative air ions. Second, the changes in wind speed affect meteorological factors as well as the amount of generated negative air ions.

• 한국콘텐츠학회논문지
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• 제14권3호
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• pp.140-150
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• 2014

음모론은 현실에서 일어나는 부당한 상황에 대한 책임을 '사건의 뒤에서 모든 것을 조종하는 존재'인 큰 타자에 돌림으로써 비판론자들로부터는 책임전가이자 일종의 편집증이라는 평가를 받지만, 은폐와 불충분한 정보로 인해 총체성을 파악하기 어려운 이 세계를 해석하는 하나의 방식이자 일종의 정치사회적 하위문화 Sub-culture로서의 역할을 하기도 한다. 한편 최근 음모론 영화의 재현 방식은 외형적으로 가시적이고 리버럴하지만 내적으로는 더욱 촘촘한 은폐가 작동하고 있는 지금의 후기 자본주의 체제 하의 세계를 반영하며 그 안에서 파국의 정서와 무정치성이라는 어떤 이데올로기적 경향성을 드러낸다. 본고는 당대 헐리우드 음모론 영화들에서 보이는 변화된 재현의 특징과 그 재현이 지시하는 이데올로기를 분석해 봄으로써, 음모론이라는 정치 사회적 해석 기제가 후기 자본주의라는 정치사회적 자장을 배경으로 현재 내러티브 재현의 장에서 어떤 식으로 수렴 및 변화되고 있는지 살펴보고자 한다.

• 한국환경과학회지
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• 제29권6호
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• pp.623-631
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• 2020

This study analyzes the effect of negative air ions on the concentration of airborne particulate matter and evaluates the expected purification efficiency of open spaces for particulate matter by investigating the amount of negative air ions generated by plants. This study establishes a negative air ion generation treatment environment, plant environment, and control environment to measure the purification efficiency of particulate matter under the conditions of each, analyzing the expected purification efficiency by designing a particulate matter purification model. Results show that the amount of generated negative air ion according to environment was negative air ion generation treatment environment > plant environment > control environment; this order also applies to the particulate matter purification efficiency. Moreover, it took 65 min for the negative ion generation treatment environment, 90 min for the plant environment, and 240 min for the control environment to reach the standard expected purification efficiency of particulate matter concentration of 960 mg/㎥ for PM₁₀. For PM_2.5, with the designated maximum concentration of 700 mg/㎥, it took 60 min for the negative ion generation treatment environment, 80 min for the plant environment, and more than 240 min for the control environment. Based on these results, the expected purification efficiency compared to the control environment was quadrupled in the negative ion generation treatment environment and tripled in the plant environment on average.