• Journal of English Language & Literature
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• v.56 no.3
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• pp.429-443
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• 2010

The purpose of this article is to examine how Byron's Don Juan VII-VIII depicts the various facets of characters' minds and actions in taking attitude toward glory during wartime in Ismail, Turkey. It explores the multifaceted sides of their hidden intentions and military activities in the self-centered and ruthless battle. Byron investigates their diverse and unreasonable causes, which drive them to undertake their particular deeds while participating in the combat. He unfolds the complex, dark layers of man's motivations and acts in responding to such martial ideals as fame, honor, success, or triumph. By making an effective characterization of four major figures such as Suwarrow, Juan, Johnson, and the Turkish Khan, Byron, indeed, enriches the poem with a variety of their different conceptions and stances toward these remarkable achievements. While fighting in the same battle, they, interestingly, reveal strikingly different attitudes, especially in responding to the complex aspects of reputation, glory, war, manliness or fate. The article also considers how the two Cantos of Don Juan feature the ironic results of the characters' quest for glory, which bring about an extensive range of inhuman consequences. The poet accentuates the diverse, negative aftermaths of their illusionary, abusive pursuit of fame and honor. In doing so, he effectively utilizes figurative portrayals of brutal pictures to highlight the unanticipated boundaries and dreadful outcomes, which have been caused by the undesirable or irrational exercises of their freedom of choice in pursuing such self-centered desires and renown.

• Cartoon and Animation Studies
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• s.39
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• pp.321-348
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• 2015

The purpose of this study was to find a system and a progression principle in orchestral piece based on the outcome after comparatively analyzing the orchestral operation technique in "Battle for The Glory" out of the background music in the animation "Dragon Quest IV" by Koichi Sugiyama(1931~), who is a leading runner of Japan's animation music, based on functional parts daccord & Instrumentation Pattern, Rhythm Pattern, Voicing Pattern, and harmonic ratio by progression section devised by the writer. As a result, first, five themes in this music have specific instrumentation pattern, respectively. In a passage that is shown exposition, reprise, and representation in theme, the unity was emphasized by maintaining the same instrumentation pattern. On the contrary to this, a passage of being suggested new theme is being used the exchange method and addition & subtraction in musical instrument in order to strengthen diversity. Second, the voicing pattern is forming the vertical contrasting relationship of "thinness-thickness" on the whole. However, the diversity is being intensified that is changed into the structure of "thickness-thinness" in the third theme and of "thinness-thickness" that has two melodies in the fourth theme. Third, the rhythm pattern is forming the vertical contrasting relationship of "big-small" on the whole. However, the fifth theme is being given diversity with being changed into the structure of "small-big." Fourth, the harmony by progression section from the horizontal perspective is shown to be high in the proportion of unity in the section of being repeated and represented the theme and to be high in the proportion of diversity in the section of being suggested new theme. In this study, the balanced orchestral operation technique through the operation technique, which was used in this work, is what extracts the relationship of diverse proportions in the horizontal progression section based on the technique of vertical perspective. In this aspect, this analytical study is desired to be positioned as a new paradigm in establishing a theoretical system and an educational method in orchestration.