• Journal of English Language & Literature
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• 제53권2호
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• pp.219-241
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• 2007

This study takes its point of departure from Lacanian psychoanalysis and explores the point that an irremediable gap in the human subject can be illuminated in terms of the Lacanian categories, fantasy, symptom, gaze or voice as cause of desire of the Other. With respect to the category of the symptom, Lacan claims that the Other is always already there in the constitution of the subject, that is, the relation of the subject to the Other that is overwhelming as well as attracting the subject. Chapter II deals with the unthought, excessive ground of the conscious that borders on the subject, as is the case of self-excentric aspect of the man. Indeed, in Lacan's early work, the subject is essentially a relationship to the Other as desire(objet petit a), and there is no such thing as a symptom or fantasy without some subjective involvement. Lacanian unknown real, perpetual excess as the cause of desire animates the subject even as it threatens to blast it apart. The structures that establish the lines of desire in every individual are derived from an ineluctably intersubjective field. The Other is always already there in the constitution of the subject. In the final years of Lacan's teaching we find a kind of universalization of the symptom and almost everything that is becomes in a way symptom. Symptom, embodied in Laura in "Goblin Market," is her only substance, the only positive support of her being. By looking at the Laura's symptom in chapter III we gain an insight into the forbidden domain, into a real space that should be left unseen and unthought. The voice of goblin men therefore functions as a sublime object that is animating as well as dominating element even as it threatens to disintegrate the subject. Objet petit a as a sublime object that must be excluded in reality returns in the real, taking on a certain materiality which has an effect on Laura, that is, animates Laura's desire. Objet petit a is a real object, signifying nothing. In conclusion, the theoretical importance of Lacanian psychoanalysis is the relation between a subject and an Other as Objet petit a.

• Journal of English Language & Literature
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• 제55권3호
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• pp.383-398
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• 2009

Based on the Greek myth of Pygmalion and the fairy tale of Cinderella, Shaw's Pygmalion demonstrates a masterful coalescence of these two narrative motifs into a coherent plot scheme. Even more significant is his keen insight into the conflicts created at the tripartite intersection of human activity concerning language/class/culture, which, as the leitmotif, revolves around lessons in language learning. This play basically deals with human transformation and by its very nature, Higgins's experimentation with transforming Eliza cannot stop at language alone. Her cultural transformation ripples over into the realms of gesture and even a unique way of living (modus vivendi) intimately associated with taste and manners, which Bourdieu terms as habitus. By acquiring a new fashion and language, Eliza is reborn as a new lady aspiring to be filled with a newly acquired habitus. While separating her from her old Cockney style, Higgins inculcates Queen's English in Eliza, in which process her changed speech styles gradually transforms and restructures her deportment and manners, finally generating new practices, perceptions and attitudes. The gist of Pygmalion is however less Eliza's ascent into the middle class than her battle for symbolic capital waged at the level of language. By problematizing his contemporary practice of habitus conventionalized and warped by class distinctions based on economic, social and cultural capitals, Shaw creates a new humanist model of man founded on spiritual and rational virtues. In conclusion, Eliza is not a frigid Galatea but a dynamic character that goes through a brilliant transformation of three stages: 1) linguistic; 2) cultural, and 3) humanist. Finally she is built into a "consort battleship" on an equal standing with her sculptor. The process of her character-building cannot be illuminated without resorting to the dynamic notion of habitus, which highlights the process of inculcation, structuring, generation and transposing. Given the overwhelming weight of the heroine's role and the dynamic process of her transformation as the major plot scheme, this play should be christened Galatea in lieu of Pygmalion.

• Journal of English Language & Literature
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• 제57권5호
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• pp.757-786
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• 2011

Seneca, the most influential classical Stoic and Justus Lipsius, the founder of Renaissance Stoicism suggest constancy, an unmovable strength of the steadfast mind based on reason and sound judgment, as a practical way or attitude in life full of both public and private evils. As a member of the Sidney family, Wroth is very much likely to have been influenced in molding her concept of constancy by Senecan and Lipsian Stoicism, which was introduced into England through Sir Philip Sidney's friendship with Lipsius. This paper explores Wroth's concept of constancy in Urania as a Stoic ideal in the context of the major Stoic writings of Seneca and Lipsius. While the titular character of the romance Urania shows some inherent attributes of Stoic constancy from the beginning of the romance, Pamphilia as the pattern of constancy gradually perfects the virtue through the ordeals of her love of Amphilanthus and her queenship. Her frequent retirements into private and secluded places are the essential occasions for her disciplining in Stoic constancy through self-examinations of her psychological and emotional disorders and poetry writing. Amphilanthus, a constantly inconstant lover, fully understands the importance of constancy in love as well in life only after his marriage to another woman and Pamphilia's marriage to another man. At the end of the romance they come to accept the vicissitudes of life in Stoic constancy. In Urania, Wroth transforms the strongly masculine Stoic constancy into a female heroic ideal. Thereby she presents those female characters as important political, ethical and cultural subjects and their constancy as a thread through the labyrinths of love and life.

• Journal of English Language & Literature
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• 제56권2호
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• pp.277-299
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• 2010

This study explores Witi Ihimaera's The Whale Rider (1987) from ecological and postcolonial perspectives. Ihimaera is one of the prominent Maori writers who have critically voiced their concerns about the fragmentation of Maori tradition and the alienation of an environmentally friendly culture in New Zealand. Throughout the novel The Whale Rider, with his mythic imagination and cultural sensitivity, Ihimaera raises ecological awareness in terms of environmental justice and promotes critical consciousness regarding sociocultural and histo-political realities of the Maori people as alienated others in their ancestors' land. Revolving around the developmental process of a young Maori girl named after a mythical Maori ancestor Kahutia Te Rangi also known as the Whale Rider to inherit the Maori leadership, the novel describes the historical, cultural, emotional landscape of the Maori community in the white-centered society of New Zealand. In particular, this paper analyzes the leaving and homing process of narrator Rawiri which is deeply embedded in Maori myth and philosophy toward an eco-friendly culture and postcolonial reality. Indeed, Ihimaera skillfully juxtaposes young man Rawiri's experience outside the Maori community and young girl Kahu's life at the Maori home. In the end, while Kahu achieves her destiny in a mythical way to foster a new vision of harmonious co-existence that is rooted in Maori heritage and compatible with Western culture, Rawiri comes to understand the interrelatedness of all existence and embraces both the rational knowledge of scientific empiricism and the traditional knowledge of spiritual experiences. The novel The Whale Rider was also turned into a film by New Zealand's most influential female film director Niki Caro in 2002, and the film Whale Rider received international acclaim.

• The Journal of the Acoustical Society of Korea
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• 제42권6호
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• pp.511-518
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• 2023

Accurate ranging is one of the key factors in the test and evaluation process of underwater vehicles. In particular, when estimating range using Time of Arrival (ToA) values, signals such as Linear Frequency Modulation (LFM), a chirp signal, are highly applicable due to their correlated nature. However, in a Doppler shift environment with mobility, measurement errors may occur due to the range-Doppler coupling effect. In this paper, we propose a signal that compensates for the distance-Doppler coupling effect to reduce the measurement error of the arrival time value. The proposed signal is constructed by superimposing two types of LFM signals, and the range-Doppler coupling effect can be minimized. Through simulations, it is confirmed that the proposed signal is a way to compensate for the distance-Doppler coupling effect in the distance estimation of underwater mobile bodies, reducing the measurement error of the arrival time value.

• Korean Journal of Culture and Social Issue
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• 제10권3호
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• pp.61-81
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• 2004

The purpose of this study was to investigate effects of North Korea defectors' living experiences in South Korea on their self-perceptions and perceptions of South Korea. For this purpose, a questionnaire was distributed to 66 defectors with no living experiences at all and 99 defectors with living experiences of an average of 2.7 years in South Korea. They were asked to rate their own as well as South Koreans' values, personality, attitudes toward sexual misbehavior, gender stereotypes. Also, they evaluated the society of South Korea and its political control. The results indicated that those defectors with living experiences tended to perceive more negatively their own and South Koreans as well, and yet that they were less negative for sexual misbehavior and weaker for gender stereotypes. Also, results suggested that living experiences led defectors to perceive South Korea in a more negative way. Those findings were discussed in terms of changes in culture.

• Annals of Occupational and Environmental Medicine
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• 제34권
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• pp.19.1-19.9
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• 2022

Background: It is widely known that carbon dioxide (CO₂) arc welding generates carbon monoxide (CO). However, to the best of our knowledge, no case reports have been published regarding CO poisoning in CO₂ arc welders. Therefore, we aimed to report a case of CO poisoning-induced encephalopathy in a CO₂ arc welder in the Republic of Korea to inform about the dangers of CO exposure among CO₂arc welders. Case presentation: A 40-year-old man working as a CO₂ arc welder for 15 years visited a local hospital with a tremor, involuntary urination, and speaking gibberish, on April 9, 2019. He stated that he had intermittent headache and forgetting symptoms for the last 5 years, and had been lost on the way to work several times. On April 9, 2019, he was diagnosed with CO poisoning-induced encephalopathy through brain magnetic resonance imaging. He received hyperbaric oxygen therapy, and some of his symptoms improved. According to the exposure assessment of his work environment, he was continuously exposed to high concentrations of CO for 15 years while operating CO₂ arc welding machines. Conclusions: After evaluating the patient's work environment and evaluating his medical history, we concluded that his encephalopathy was caused by CO exposure during CO₂ arc welding. Thus CO₂ arc welders must be aware of the risk of CO poisoning and strive to avoid CO exposure.

• Journal of Korean Medical classics
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• 제6권
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• pp.89-130
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• 1993

Huh-joon's medical thoughts shown on his medical book of the Doog-Eui-Bo-Kham can be summerized as follows. 1. The general trend of medical science in Koryo dynasty is that much more interests were concentrated upon the books about curative means rather than upon the books about theoretical knowledge of medical science. With the development of Hyang Yak(鄕樂) (the term referring either various kinds of domestic medical stuffs such as herbs or the curative methods using those stuffs) and the writing of books on Hyang Yak, independent medical science of the nation's own was established in late Koryo dynasty. And the national medical science was continuously further developed until early Choson dynasty. Briskly-expanded mutual exchanges with China in early Choson dynasty provided Choson opportunities to import Chinese medical science and to examine it. Under this circumstances, he wrote the Dong-Eui-Bo-Kham. 2. As we look over the preface and Chip-Rae-Muo(集例文), we can find the characterstic of Doog-Eui-Bo-Kham is that the philosophical theory of Taoism was quoted in explaining the principles of his medical science and that the main idea of Naekyuog is the basis in explaining the way of curing diseases. 3. 83 kinds of medical books were quoted in the Doog-Eui-Bo-Kham. Besides, as many as 200 kinds of books including Tao-tzu's teaching books(道書), history books(史書), almanac(曆書), and Confucius' teaching books(儒家書籍) were quoted in total. Naekyuog and Eue-Hak-Ip-Mun, Dan-Kye-Sim-Bup were the most frequently quoted books among them. 4. Huh-Joon's medical thoughts about health care were like these. 1) The reason why Huh-Joon regarded the idea of health care as of great importance was that he laid much more emphasises on the preventive medicines rather than on the remedial medicines. The direct reason was that he was greatly influenced by profound knowledge of Taoist's study of discipline and who participated in the editing the books from the beginning. 2) Huh-Joon's outlook on human body started from the theory of "Unity of Heaven and Man"(天人合一論), which implied man was a kind of miniature universe. In addition to that, he largely theory of essence(精), vital force(氣), and spirit(神) which were regarded very important as the three most valuable properties in Taoism. However, he took his medical ground on practical and pragmatic idea that he did not discuss fundamental essence(元精), fundamental vital force(元氣), and fundamental spirit(元神) which were given by Heaven from the received only the theory of essence, vital force, and spirit which were acquired after birth and worked mainly on realistic activity of life. 3) Huh-loon accepted Do-In-Bup(導引法) sharply as a method to prevent and cure diseases. 5. Huh-loon's medical thoughts on remedial aspects are as 1) Naekyung was considered so important in Dong-Eui-Bo-Kham that not only each paragraph was begun with the Quotations from Nackyung but also the edited order of the content of the book the same with that of Naekyung. And differently from the former korean medical books he accepted at large and recorded the theories of the four noted physicians of the Geum-Won era(金元四大家) by Dong-Eui-Bo-Kham. 2) For the first time, Huh-Joon introduced the theory of Un-Ki (運氣論) in the Dong-Eui-Bo-Kahm. However, he accepted it as a pathological function of human body but he did not apply physical constitution, physiological function, pathological function, and remedial methods. 3) Huh-loon liked to use Hyang Yak that he recorded korean name of Hyang Yak(鄕名), places of the production(産地), the time of collecting(採取時月), and the way of drying herbs(陰陽乾正法) in the remedial method of a single medicine prescription for diseases at the end of each paragraph. By doing so, he developed, arranged, and revived Hyang Yak. 4) He believed that since the natural features of China were different from those of Korea the reasons of being attacked with its remedial methods couldn't be the same with different from Chinese medical books which primarily focused on paralysis and the injury of the cold has his own structure in his book that he founded independent science of this nation. He consulted enormous documents He discovered and wrote the theory and therefore concrete methods for diseases so that the book hadthe principles of outbreak of diseases(理), methods of cure(法), prescription(方), and a single medicine prescription(藥) and set system of medical science in a good order. By doing so, he and pragmatic development of medical science.

• Journal of Science of Art and Design
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• 제11권
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• pp.153-199
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• 2007

The East has recognized 'similar forms' and 'similar spirits' as important topics in expressing an object. Figure painting, in particular, has attached importance to 'transmission of spirit'. Gu Kaizhi (345-406) definitely presented the transmission concept and made it the moot important criterion in painting criticism. By identifying the possibility of revealing spirit through a form, he recognized the 'expression of will' in a creator's work and the experience of such 'expressed will' by an appreciator to be the essential acts of art. Thus, he said, a figure painting revealed the character and nature of the depicted object rather than reproducing its form. Regarding art as a person creating the saintly way of life via developing own character, he attached importance to the will of an artist as the central aesthetic subject. This dissertation explores the keynote of the spirit expressing an artist's inner world and the external shape of a figure. It is carried out by investigating the process of Gu Kaizhi's theory (namely spirit transmission and revelation in painting) leading to Su Dongpo's assertion that "the nature of things" and later leading to Yun Duseo's "theory of the way of painting" as the spirit-transmission theory faithful to the principle of revealing spirit through a form in Chosun. The chronological study of the aforementioned works reveals that the relation between an artist and an object is important at the stage of setting aim in producing a work, and this dissertation analyzed it with four elements: (1) creating work based on the viewpoint of nature that heaven and man are one; (2) reflection of the creator's character (including his/her nature, temperament, spirituality, and emotion during the creation) and the artistic merit of a picture; (3) the dialectic unification between the true and the false through space which is a volitional state as creative thinking space; (4) importance of artist's will above the technique used such that a purposeless, inactive and plain work (where human will is combined with heavenly one) was pursued because the picture is regarded coming from the mind created in the unity of host/artist and guest/object. Thus, through his/her intuitive insight is the world where self is united with the cosmos symbolized. Such expression of an artist's inner world and the external shape of a thing pursues the stage of materialization and creates the new modes such as using space, a variety of brushstrokes, and accidentality and improvisation of India ink. In particular, the writer sees that such expression which enables a creator to express his/her nature or personality (and even the emotion) at the time of creation will be highly worth studying in the future, in accord with the pursuit of contemporary painting being expressed as an abstract aspect.

• Journal of the Korean Society of Costume
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• 제18권
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• pp.111-131
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• 1992

This thesis was designed to study Symbolics of Chinese Liturgical Vestments. Chinese who regarded the life of human beings as the combination of heaven and earth considered garments as the traditional product of the movement of nature. Accordingly, they thought human beings are the center of the universe composed by heaven and earth and the chief of all things; therefore man only can utilize clothes to distinguish from all of the colours. This views of clothes led to the development of liturgical vestments esteemed courtesy than anything else, especially the thought of courtesy associated with Conficius who regarded courtesy as the highest things and since then the theory of Five Elements and courtesy were inherited by all the adherents of Conficius. Yin and Yang Five Elements in the liturgical vestments was given absolute symbolics in both formative side and in colourful side. results of research studied in this was can be summed up as follows : 1. The crown of rites was made imitating after the system of head, horn, beard, bread of birds and beasts and that form of crown is front-circ-ular and back-rectangular meant to be towards light and dark. That the upper part of faceplace is black represented the way of heaven and lower part of red symbolized the way of earth. 2. Upper vestment of liturgical rites symbolizes heaven and outskirt represented earth. So front of outskirt is YANG and back is Yin. It is why then are going to harmonize positive and negative making front part three width and back part four width. Therefore, emperor who symbolizes heaven made the subjects recognize high and low and wore Dae-gu(大 ), Kon-bok(袞服), Bel-bok, Chui-bok, and Hyonbok according to the object and position of rites so that he may rule the country based on courtesy. 3. As an accessory of liturgical vestments, Bul, Pae-ok, Su, Dae-dai, Hyok-Dai, Kyu, and Hol were used. Before Bul was used man dressed skirt as the first waist-dress in order to conceal intimate part of the body. Pae-ok, as decoration blended with jade was worn by men of virtue, so men of virtue symbolized morality and virtue by Pae-ok. Su began from Yeok, connected with Pae-su , in Chou-dynasty is said to be originated by practical needs and they are divided into large Su and small su, and maintained as decoration to signify the class positions. Dae-dai did the work as not to loose the liturgical vestments and leather belt hang Bul and Su to begin as the function of practical use are in later years it became decoration to symboliz e the class position. Kyu was a jade used when empeor nominated feudal lords and observe ceremony to God and Hol, was held in hands to record everything not to forget. These Kyu and Hol became to offer courtesy during the time of rites and in later years it became used according to class position rather than practical use. 4. As far as colours are concerned, colours based by five colours according to YIN-YANG Five Elements theory and they were divided into a primary colour and a secondary colours. Primary colours corresponded with the theory of Five Elements each other, Blue, Red, Tellow, White, and Black symbolized ive Elements, five hour space, five directions, and five emperors. Secondary colours contradict with Blue, Red, Yellow, White and Black and another as a primary colour and they are Green, Scaret, Indigo, Violet, Hun colour, Chu colour, and Chi colour. This primary colour was used in liturgical vestments, that is, upper-vestments used black colour. This primary colour was used in liturgical vestments, that is, upper-vestments used black colour as primary colour and outskirt was used Hun colour as secondary colours. Thus symbolism in chinese liturgical vestments mainly began with heaven and earth and corresponded with YIN-YANG Five Elements Scool. They were developed as the scholary theory and Conficius and his followers in the later days and continued up to Min-dynasty.