• Korean Institute of Interior Design Journal
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• v.16 no.6
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• pp.86-95
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• 2007

The objective of this research is to provide basic materials for future development of unit household plane of lease apartment house by comparing and analyzing the unit household plane of SH Corporation lease apartment house in Korea and PHA apartment house in the state of Minnesota, USA. For this purpose, the researcher chose 8 SH Corporation lease apartment houses in Yangcheon-gu Korea and 16 PHA apartment houses in St. Paul, Minnesota, USA. Drawing of 8 complexes of Korea SH Corporation, literary materials collected by Korea House Corporation and SH Corporation and the plane of USA were analyzed and the unit household plane of Korea and USA were processed by CAD to ensure exact analysis. Based on the drawing for CAD, the materialization work was implemented. The total size of materialized drawing and size of each room was drawn by using 'CAD POWER 2005' program. The result of this research is as follows. The plane of SH Corporation lease apartment house shows the difference in the plane composition from 12 pyung. Since LIVING ROOM is described in the drawing, the living room and bedroom seen in the existing size less than 12 pyung become independent as they are separate. While SH Corporation is composed in the form of kitchen that functions as dining room, living room functions as dining room in PHA. While SH Corporation shows 5 types, PHA shows different pattern in each complex. This is probably because PHA has diverse complexes. All planes of SH Corporation have entrance, which reflect the own character of Korea as it is. In PHA, the portion of receipt and storage space is very high.

• Journal of Korean Medical classics
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• v.21 no.1
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• pp.205-222
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• 2008

"Yumunsachin(儒門事親)" is a very important work that contains everything of Jangjahwa(張子和)'s medical thought. The book was made into present form after the process of change several times. These days the printed book is consist of 10 classes and 15 volumes that combine several books. Original "Yumunsachin(儒門事親)" was the name of volume 1, 2, 3, "Chibyeongbaekbang(治病百法)" volume4, 5, "Siphyeongsamnyo(十形三標)" volume 6, 7, 8, "Japgigumun(雜記九門)" volume 9, "Chwalyodo(撮要圖)" volume 10, "Chibyeongbaekbang(治病雜論)" volume 11, "Sambeop-yukmun(三法六門)" volume 12, "Samsoron(三消論)" volume 13, "Chibeoppillyo(治法心要)" volume 14, and "Sinhyomyeongbang(神效名方)" volume 15. "Yumunsachin(儒門事親)" is a collection of a few books so, the literary style isn't uniform. The unconformity show that "Yumunsachin(儒門事親)" was not written by one person. The problem who is the writer of each volume remains controversial. But most scholars recognize that volume 1, 2, 3, original "Yumunsachin(儒門事親)" and was written by Jangjahwa(張子和), embellished by Majigi(麻知幾). Also, it is recognized that "Samsoron(三消論)" was collected by Majigi(麻知幾) and inserted by posterity, and that Sangjungmyeong(常仲明) and Nangi(欒企) who were Jang[張子和]'s disciples participated in compilation of "Yumunsachin(儒門事親)". Therefore, it is sure that the contents of the book express Jangjahwa(張子和)'s medical thought.

• Journal of English Language & Literature
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• v.54 no.1
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• pp.3-29
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• 2008

Ian Watt, author of The Rise of the Novel, maintained that the novel originated in modern England, came from prose discourses such as the news, political essays and journalistic writing which propagated the Enlightenment, and the novels represent formal realism. The main point of this paper is to examine Watt's theory of the rise of the novel on the basis of the criticism of antinomy of the Enlightenment and "the public sphere" in Habermas' terms. At first, I will criticize formal realism, which is not a new literary species, but a formally renovated realistic form that represented capitalism and protestantism. And, then, I will show that formal realism is a kind of antinomy because it turned away from the voices and reality of the low-class and women though the novel concentrated on common people, not the aristocrats. Secondly, I will inquire into the antinomy of the Enlightenment in the aspects of reason, freedom, individualism and women. In my view, as soon as the high-middle class acquired their political rights, these values were no more encouraged and the result revealed antinomy of the Enlightenment more explicitly. Thirdly, I'd argue that "the public sphere" had positive meanings to everyone when the bourgeosie were fighting against the Absolutism and the aristocracy. I'll also insist that the high-middle class and the intellectuals were in "the public sphere" in which Habermas argues that rationality and equality were thought to have been realized, while the low-middle class and most women were de-enlightened and disciplined by reading the novel privately. In conclusion, formal realism is not the rise of the novel, but the opening of the novel peculiar to bourgeosie parliamentarism from the middle-eighteenth century to the middle-twentieth century.

• Architectural research
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• v.22 no.4
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• pp.123-133
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• 2020

Light is an essential environmental element for elderly people to do various activities. At senior welfare centers, healthy indoor lighting is especially necessary because the facilities are used by the elderly to perform their mostly indoor activities. The purpose of this study is to evaluate light environments at senior welfare centers for well-being lighting characteristics. We based the study on the 'Biophilia' theory, a concept related to health from happiness. Thus, this study is mainly based on literary review and survey research. For this, we conducted a location focused field study to identify the current state of the lighting environments at senior welfare centers in Busan, South Korea. First, we constructed structural questionnaire to evaluate lighting environment based on 'Light and Space' biophilia theory. Then, to survey subjective evaluation, the participant of research included total of 122 senior welfare center users. Based on the results of this research, the conclusions are as follows; 1) overall, it seems that the overall result of the light environmental evaluation seems to be high because the evaluated facilities in the case survey in large-scale were recently built elderly welfare centers. 2) most of the healing design elements are focused on the introduction of natural light and psychological influence. The satisfaction with actual natural light is evaluated to be high. Although shadow and reflected light are very important in discrimination and recognition of indoor space and wayfinding, the evaluation of reflected light and shadow was low for the study. 3) items that are related to the functionality of the light were highly evaluated, while the items that are related to the spatiality of the light were rated poorly. This study has its significance when examining the effects of light environments within the welfare center form of the perspective of senior citizens. It can be referenced when reconsidering the recognition of light environment as a major consideration factor to establish a desirable senior welfare center environment.

• International Journal of Computer Science & Network Security
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• v.22 no.2
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• pp.63-74
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• 2022

Repressive measures in the Crimea against the Ukrainian media and the ban on the entry of international and Ukrainian monitoring missions created the conditions for the function of providing information to be performed by representatives of civil society. Such a phenomenon was called Crimean citizen journalism and became a post-occupation phenomenon characteristic of the Crimean information sphere. The journalists' activities are aimed at reporting on human rights violations and repression against Ukrainian citizens who find themselves in conditions of information bans and restrictions. Crimean citizen journalism, which connects the peninsula with the mainland of Ukraine, is monothematic in nature, and its emergence has become a form of nonviolent resistance to the occupation of Crimea. The purpose of the study is to cover the characteristic features, the development of common Crimean citizen journalistic movement features as a social phenomenon, a phenomenon that arose after the occupation through the identification of a modern journalist portrait. The study uses the general scientific method of empirical research as the main one, the sociological method of a questionnaire survey, as well as the methods of classification, generalisation, observation, statistical calculation. An analysis of a survey of Crimean citizen journalists demonstrates the existence of an active, mobile community in Crimea that seeks to provide information and human rights nonviolent resistance to the occupation.

• Journal of English Language & Literature
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• v.57 no.5
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• pp.727-755
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• 2011

In this paper, I'll try to read Don Lee's Yellow intertextually with a more canonical text, Sherwood Anderson's Winesburg, Ohio, in order to see what kind of traditions and techniques Yellow references and/or rewrites as a way of tracking this production. Yellow's formal properties as a short story cycle are established through its use of particular conventions. For instance, Yellow follows the short story cycle model that includes the assemblage of recurring characters into one locale. Yellow's characters are all connected to and at some point located in the fictional small town of Rosarita Bay, California. The text form aligns it with established literary conventions and traditions and suggests the author's reliance upon or trust in those modes. Yellow's setting in a small town alludes to and has often been compared to Anderson's Winesburg, Ohio, which is perhaps one of the most well-known and extensively discussed short story cycles in American literature. Also following convention is Lee's construction of Rosarita Bay and the text's third person narrator as a member of that town. Both Rosarita Bay and the narrator become important figures through the related-tale nature of the text. The method of story-telling is similar to how the town Winesburg and its "seemingly sympathetic and non-overtly judgmental" narrator are operational in Anderson's text. In sum, Yellow is opportune for intertextual reading largely because it is a collection of stories that create a linked series.

• Journal of English Language & Literature
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• v.56 no.5
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• pp.797-821
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• 2010

This paper aims to explore how Millay's love sonnets rewrite the carpe diem tradition in the complicated ways. This paper redirects critical attention away from Millay's individual experience and inner self toward the scene of literary history, suggesting that there may be more historical consciousness in Millay's sentimental and feminine "gesture." Rewriting the carpe diem tradition, Millay's sonnets reveal an awareness of the dependence of the carpe diem poems' discursive logic on the woman's coyness, its inability to accomplish its triumph over woman or time (death) without her posited reluctance. Contrary to Andrew Marvel's "To His Coy Mistress," the speakers of Millay's sonnets could never be accused of the sexual coyness; they are outspoken in their defiance of both death and lovers whose possessiveness resembles death's embrace. Moreover, as Stacy Carson Hubbard points out, by converting female sexual experience from its status as a onetime closural event to repeatable one, hence an opportunity for the general and emotional irritability productive of narrative, Millay seizes for the woman the power of "dilation" in both its sexual and its verbal forms. Furthermore, this paper argues that the woman's sex no longer invites analogies to things secret and sealed, preserved or ruined in Millay's sonnets. The woman's promiscuity implies a rejection of monumentalizing love, as well as a refusal of the fixing inherent in the carpe diem's fearful invocation of the movement of time. Throughout the love sonnets, the speaker's sexualized body produces nothing but ephemera. For Millay, this body spends its powers in hopes of having them, and the force of this spending is a perpetual and willful forgetting, which makes possible the repetition of love's story. Ultimately, Milly disturbs our critical categories by rendering permeable boundaries between modern literature and dead form of classic literature, the female speaker and male speaker.

• Journal of English Language & Literature
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• v.56 no.2
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• pp.219-236
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• 2010

As a poet, a reviewer of books, and an editor of a major literary journal, Marianne Moore participated in aesthetic revolution which invented the American poetry of the twentieth century. Of all the modernists, she was one of the few truly technical originals, and became an endearing mascot of poetry. Innately attentive to detail, Moore wrote a myriad of poems about animal and plant subjects, and set out to develope and secure her own particular paradigm for modernist poetic and the poetry of objective and scientific description. Foregrounding a mind scientifically trained, Moore used her verse to demonstrate a means by which to see the reality beyond the obvious. Ironically enough, however, a central difficulty with understanding Moore's poetry lies with her concern for such scientific or surface description and precision. In order to understand Moore's poetry fully, it is of special necessity to appreciate relativity among the seemingly disparate entities such as science and literature, as Moore herself did. This paper explores the way in which the poetic techniques of Moore substantiate her sense of morality that underlies the creation of her poetry. Rather than merely addressing her artistic genius or craftsmanship as a modernist poet, Moore's methods engage the power of imagination, magic, lifting the human spirit and eschewing anthropocentric perspectives. For Moore, the poet's magic comes by diligence. In so doing, as I would argue here, Moore draws on the nature of language, especially what Bakhtin insisted with his notions of polyphony and carnival. By introducing openness to various perspectives and meanings in her verse, Moore succeeds in maintaining her own sense of creativity while continuing to acknowledge morality. In a similar skein, her use of active verbs in animal poems and the kaleidoscopic descriptions demonstrate how Moore accommodates imagination and reality, and form and content.

• Journal of English Language & Literature
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• v.55 no.5
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• pp.865-883
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• 2009

The mock-heroic, "the single most characteristic and individual literary form of the neoclassical era," as Brean Hammond puts it, epitomizes the process of the "novelization" of the 18th-century British culture. Bakhtin mentions that when the novel reigns supreme, almost all the remaining genres are "novelized"; Hammond borrows the term "novelization" from Bakhtin and uses it as a "shorthand way of referring to the cultural forces that render epic anachronistic." Indebted to Hammond's apprehension of novelization, this paper reads Alexander Pope's Rape of the Lock in the context of novelization, particularly focusing on 'probability,' 'contemporaneity' and 'domesticity,' three important signatures of the novelization of the 18th-century British culture. First, Sylph as a counterpart of god in epic is presented in The Rape of the Lock just as a helpless, fictional and irrelevant thing that hardly affects the empirical world. It indicates how the mock-epic 'mocks' the classical world of 'epic' and stands closer to the world of the novel. Second, Pope's poem displays an accurate picture of the author's contemporary reality, a capital concern of the novel, such as imperialism, consumer society, commodity fetishism, or reification. Lastly, The Rape of the Lock lays out the construction of modern gender ideology, another quintessential interest of the novel, particularly with the fixed female image of a coquette. It efficiently silences and nullifies Belinda, a typical coquette, who stands as a threatening force to the ascendent domestic ideology.

• Journal of Korean Classical Literature and Education
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• no.34
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• pp.115-147
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• 2017

This paper compared and reviewed the poetic theories and Chinese poems of the Korean author Kim Chang Heup and his Japanese counterpart, Kan Chazan. Kim Chang Heup and Kan Chazan shared largely the same opinions on poetry, and both rejected archaism. First, they did not just copy High Tang poetry. Instead, they focused on the (sometimes trivial) scenery right in front of them, and described the calm feelings evoked by what they had seen. They also adopted a sincere tone, instead of an exaggerated one, because both believed that poetry should be realistic. However the differences between the two poets are also noteworthy. Kim Chang Heup claimed that feelings and scenery meet each other within a literary work through Natural Law, and the linguistic expressions that mediate the two are philosophical in nature. However, Kan Chazan did not use Natural Law as a medium between feelings and scenery. Instead the Japanese writer said the ideal poetical composition comes from a close observation and detailed description of scenery. In sum, while Kim Chang Heup continued to express reason through scenery, Kan Chazan did not go further than depicting the scenery itself. In addition, Kim Chang Heup believed poetry was not only a representation of Natural Law, but also a high-level linguistic activity that conveys a poetic concern about national politics. As a sadaebu (scholar-gentry), he held literature in high esteem because he thought that literature could achieve important outcomes. On the other hand, Kan Chazan regarded it as a form of entertainment, thereby insisting literature had its own territory that is separate from that of philosophy or politics. In other words, whereas Kim Chang Heup considered literature as something close to a form of learning, Kan Chazan viewed it as art. One might wonder whether the poetics of Kim Chang Heup and Kan Chazan reflect their individual accomplishments, or if the characteristics of Chinese poetry that Korean and Japanese poets had long sought after had finally surfaced in these two writers. This paper argued that the two authors' poetics represent characteristics of Chinese poetry in Korea and Japan, or general characteristics of Korean and Japanese literatures in a wider sense. Their request to depict actual scenery in a unique way, free from the ideal model of literature, must have facilitated an outward materialization of Korean and Japanese literary characteristics that had developed over a long time.