• The Journal of the Korea Contents Association
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• v.13 no.3
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• pp.495-501
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• 2013

The words a speaker uses can be regarded as the core, the main issue and a symbolic icon of what he says. Applying this to presidents' addresses of each English literary society in Korea shows that frequency in use and the linkage of words they use in their addresses are value and ideas executive officers pursue. The purpose of this study is to analyze the contents of presidents' addresses introduced in home page of each English literary society in Korea and investigate features and constitution of them each, focusing on analysis of a language network. The results of this study show the features of resemblances and differences of commonly-used words. In addition, these results appear to suggest that they can be also applied to a comparative study between the English literary societies in Korea.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.5
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• pp.1-15
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• 2007

본 연구는 커뮤니티 시설 상세 설계의 대상물에 대한 질적 특성을 파악하기 위하여 그 대상물의 이미지를 상징화하는 단계적 발전 과정을 거쳐 그 시설의 상세 설계적 언어를 형상화하는 방법을 제시하였다. 사례로 역사적, 문화적, 전이적 특성을 지닌 세 커뮤니티를 조사하여 디자인 언어와 상징화되는 이미지를 구명해 보면서 디자인 언어의 구성과 설계요소와의 관계 커뮤니티의 목표 등과 연관시켜 커뮤니티의 본질성을 추구하는 수단을 평가 분석하는 방법을 강구하고 커뮤니티 시설의 상세 설계 언어의 형상을 검토하는 방법을 통섭적으로 제시하였다. 설계 언어의 형상 분석의 수단을 구체화 하는 데는 시각적 형태, 설계 주제의 상황, 설계요소의 관계성, 설계요소의 위치와 구성 등과 연관된 문제이다. 본 연구는 상세설계 언어의 형상을 개발하는 시도로 네 가지 기본 전제를 세우고 그를 설명해 보았다. 본 연구는 커뮤니티 시설 특성의 상징화를 위한 설계언어연구 대상의 사례로 미국의 전통성이 강한 메사츄세츠주에서 역사적, 문화적, 전이적 특성을 각기 다르게 지니고 있는 콩코드(Concord), 렉싱톤(Lexington), 알링톤(Arlington) 등의 세 커뮤니티를 택하였다. 사례 커뮤니티 시설 특성의 상세 설계 언어의 형상을 도출하는 과정을 설명하고 시각적 노트와 디자인 의미와 그 상징성을 바탕으로 상징과 시각적 언어를 찾으면서 상세 요소의 디자인 언어를 비교하였다. 그를 바탕으로 디자인 언어와 의미 및 그에 대한 평가를 위하여 편익을 기초로 사회, 건강, 환경, 경제 등 네 가지로 세부 분류된 커뮤니티 시설을 검토하였다. 커뮤니티 시설 특성을 파악하는 기법 발굴 과정에서 시작된 시각적 형상으로부터 상징과 그 의미 등을 구명하면서 그를 정성화하기 위한 기준으로서 설계 언어, 상징적 언어, 커뮤니티, 자연적 심미성 등의 네 가지로 대표되는 평가 요소에 의하여 분석 평가 검토에 이르기까지 일련의 과정이 그 상세설계언어의 형상에 관하여 통섭적 접근이 이루어 졌다.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.433-451
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• 2018

In Jesmyn Ward's 2017 novel, Sing, Unburied, Sing, Ward places herself within the modern African American literary tradition and lays out the unending "historical traumas" of blacks and cultural haunting in her narrative. She brings to the fore the story of a young black boy and demonstrates the difficulty of living while a black man in the American rural South. Living or dead, black males remain spectral as their frustrated black bodies are endlessly rejected and disembodied. It's through Ward's close attention to the notions of black masculinity and retrieval of (black) humanity that the black South is remembered, recuperated, and historicized. Shrewdly enough, Ward expands it further into the tradition of American literature. Instead of singularizing African American identity and its historical traumas, she renders them the part of American history and universalizing the single black story as the story of the American South. Filling in the gaps that Faulkner and other white writers have left in their novels, Ward writes stories about the unspeakable, the invisible, the excluded to deconstruct white narratives and rebuild the American history; and reasserts African roots and history, spirituality, black raciality and locality within the American tradition. I examine the symbolic significance of Jojo's claim of black masculinity within the socio-political contexts of contemporary America. I also look closely at Ward's portrayal of Jojo's black family genealogy on account of its traumatic experiences of incarceration in notorious Parchman Farm. Locating Jojo as the inspiration of linking the past and the present, the unburied and the living, I contend that Ward creates "home" for blacks in an atemporal oceanic space where the past and the present are able to meet simultaneously. I argue that the oceanic space is an alternative space of affect that functions against the space of white rationality.

• Journal of English Language & Literature
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• v.58 no.2
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• pp.217-247
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• 2012

This essay attempts to read Melville's Moby-Dick as a prefiguration of American pragmatism, especially Jamesian version of it. Underlying this project is the assumption that the American Romance and James's pragmatism partake in the enduring tradition of American thoughts and imagination. Despite the commonality in their roots, the continuity between these two products of American culture has received few critical assessments. The American Romance has rarely been discussed in terms of American pragmatism in part because critics have tended to narrowly define the latter as a kind of relativistic philosophy equivalent to practical instrumentalism, political realism and romantic utilitarianism. Consequently, they have favored literary works in the realistic tradition for their textual analyses, while eschewing a more imaginative genre like the American Romance. My contention is that James's version of pragmatism is a future oriented pluralism which is unable to dispense with the power of imagination and the talent for seeing unforeseen possibilities inherent in nature and culture. James's pragmatism is in tune with the American Romance in that it savours the attractions of alternative possibilities created by the genre in which the imaginary world is imbued with the actual one. The pragmatic impulse in Moby-Dick finds its finest expression in the words and acts of Ishmael. Through this protean narrator, Melville renders the text of Moby-Dick symbolic, fragmentary and thereby pluralistic in its meaning. With his rhetoric of incompletion and by refraining from totalizing what he experiences, Ishmael shuns finality in truth and entices the reader to join his intellectual journey with a non-foundational notion of truth and meaning in view. Ishmael also envisages pragmatists' beliefs that experience is fluid in nature and the universe is in a constant state of becoming. Yet Ishmael as the narrator of Moby-Dick is more functional than foundational.

• Journal of English Language & Literature
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• v.57 no.1
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• pp.73-105
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• 2011

The purpose of this paper is to contend the importance of resurrection of fluid identity and ecological imagination for making the habitable biosphere in Marilynne Robinson's Housekeeping. Ruth as a narrator suggests the future-oriented vision that the environment and nature(mother) can be resurrected, crossing Fingerbone bridge of the boundary line of society/nature as a faithful follower of her aunt Sylvie and becoming the existence with a transparent voice despite of her absence. This novel is to rewrite the American pastoral. Based on the patriarchical way despite of the absence of Edmund Foster, Sylvia's conventional housekeeping is to divide between inside and outside of the house. Nevertheless, Sylvia's relentless efforts to keep her house intact turns out to be fragile. Contrasting with Sylvia, Sylvie's housekeeping is to recognize the continuity of inside and outside. She willingly accepts the reconciliation of the self, the nature and the society. After Ruth and Lucille's staying at night in the lake, they are diverged into going their own way. Ruth accepts Sylvie as a substitute mother. Lucille leaves the house voluntarily and go to her Home Economics teacher, Miss Royce, pursuing the ideal mother of symbolic society. Sylvie and Ruth has the more intimate bond, with their trip to the deserted house in the valley. Ruth meditates on the non-solidity of house and the resurrection of her family. Leaving their house to escape from the town people's legal enforcement, Sylvie and Ruth become transients. Although their history is completed by the drown-death publicly, they always want to visit Lucille's well kept house in Fingerbone. Therefore the method for making Ruth and Sylvie as the existences of ecological imagination return to the real world is to accept the reconciliation of nature and society. This novel is not limited as the binary opposition of vagrance/stability and transience/durability. The significant element of fluid identity can be composed of the interactions with transience and stability.

• Annual Conference on Human and Language Technology
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• 2021.10a
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• pp.66-71
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• 2021

본 연구는 한국어 자질 기반 감성분석(Feature-based Sentiment Analysis: FbSA)을 위한 대규모의 학습데이터 구축에 있어 반자동 언어데이터 증강 기법(SSP: Semi-automatic Symbolic Propagation)에 입각한 자질-감성 주석 데이터셋 FeSAD(Feature-Sentiment-Annotated Dataset)의 개발 과정과 성능 평가를 소개하는 것을 목표로 한다. FeSAD는 언어자원을 활용한 SSP 1단계 주석 이후, 작업자의 주석이 2단계에서 이루어지는 2-STEP 주석 과정을 통해 구축된다. SSP 주석을 위한 언어자원에는 부분 문법 그래프(Local Grammar Graph: LGG) 스키마와 한국어 기계가독형 전자사전 DECO(Dictionnaire Electronique du COréen)가 활용되며, 본 연구에서는 7개의 도메인(코스메틱, IT제품, 패션/의류, 푸드/배달음식, 가구/인테리어, 핀테크앱, KPOP)에 대해, 오피니언 트리플이 주석된 FeSAD 데이터셋을 구축하는 프로세싱을 소개하였다. 코스메틱(COS)과 푸드/배달음식(FOO) 두 도메인에 대해, 언어자원을 활용한 1단계 SSP 주석 성능을 평가한 결과, 각각 F1-score 0.93과 0.90의 성능을 보였으며, 이를 통해 FbSA용 학습데이터 주석을 위한 작업자의 작업이 기존 작업의 10% 이하의 비중으로 감소함으로써, 학습데이터 구축을 위한 프로세싱의 소요시간과 품질이 획기적으로 개선될 수 있음을 확인하였다.

• Journal of English Language & Literature
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• v.55 no.1
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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.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.6
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• pp.171-184
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• 2017

The designers pursue the thoughtful and wide thinking through the accumulation of knowledge and cultivation of insights for making use of high-level design philosophy and language. The purpose of this study is to investigate characteristics of concept figuration types based on designer's 'memory' in landscape design. The results of this study are as follows. First, the design idea starts to be based on the language and image memory of the designer. The figuration types are composed of the verbal and visual view which are representative communication means. Second, the verbal concept figuration of landscape design consists of two types. The symbolic language of the title as a design theme can be a 'phrase', and it should have a hierarchial balance between the master and the sub. 'Descriptive shape of conceptual scenario' is a text that expresses the concept narratively in order that the reader virtually experiences designed landscapes. Third, visual concept figuration of landscape design is divided into three types. 'Simple visualization of a diagram' is easily embodied through a simple graphic using symbols, comments, images and key words. 'Concept sketch and shape of core idea' is useful to grasp the core of the idea such as physical element, form attribute of space and spatial relation at the initial phase of the concept. 'A collage and montage that create a new shape with a combination of images' are a collection of materials and images that provide a new perspective. These are tools to depict them in a compressed way after recording landscapes phenomenon.

• Journal of Oriental Neuropsychiatry
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• v.25 no.2
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• pp.203-212
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• 2014

Objectives: The aim of this study is to bring new light on TalYeong-SilJeong (exhaustion of Yeonggi and loss of Essence) through the verification of both the original intention of Hwangjenaegyeong and the conceptual variation afterwards. Methods: Of various East Asian medical texts, those inferring to TalYeong-SilJeong includeing Hwangjenaegyeong itself were closely examined under the aspect of its conception. Results: TalYeong-SilJeong was suggested as the first representative tool and accurate diagnostic method of questioning in order to determine the mental state of a patient. However, medical scholars have suggested different levels of meaning. Some used the term for the broad coverage of mental illnesses, understanding Hwangjenaegyeong's discrimination as symbolic gesture, while others projected an unchallenged value on it and weaved it into the concrete set of a disease. Conclusions: The treatment of TalYeong-SilJeong is suggested according to the varying viewpoints of each medical text. By understanding multiple layers of the conception beyond, a clinician is expected to gain an exuberant image of conception on the one hand and an insight for more effective treatment on the other hand.

• Korean Institute of Interior Design Journal
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• no.13
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• pp.102-110
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• 1997

We have lost our true characteristics without being grown and development of our traditional beauty in state of drawing into a whirlpool as the environment of western cultrue. So, to be existed for self-sown capability of our traditional culture, we'll have to keep up with the unique and creative Korean traditional furniture design through the synchloization between 'Traditionalism in our already westernized life' and 'Korean identity in our already westernized life' and 'Korean identity in worldwide culture' based on independent position by correct view of worth, as for the escape from attitude of receive on western culture in recklessnese. Hereupon, first of all, after reviewof fornuclation backround and characteristics in traditional furniture to be established by an ancestor, based on this and extract the conceptual language, it was presented past published works as for the approaching method toward physical form aspect by use of pattern of modern access method. Secondly, it was the symbolic approaching from method based on traditional and cultural context. Gradually, the embodiment of traditional image, in today's features of our furniture loosing the particular cultural identify is very important aspect, and beside above mentioned two methods, it should be investigated as for the diversified approaching study. Thereafter, we'll have to establish the positionof our modern furniture in global wordwide, for seek the beauty being interrelated form past historical communications, under the circumstance of original and future-oriented value.