• Korean Architects
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• s.544
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• pp.48-53
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• 2014

• Journal of English Language & Literature
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• v.60 no.2
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• pp.211-232
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• 2014

In late Victorian England, a "pervert" meant two things. One meaning designated a person who "turned" or converted from one sect of Christianity to another. In Wilde's time this referred specifically to converts from the established state Church of England to the transnational Roman Catholic Church. The other, newer meaning designated someone who turned from conventional heterosexual relations to a (as yet unnamed) homosexual orientation. In the context of the late Victorian empire, both were considered dangerous. The rising social and political influence of Roman Catholicism appeared threatening as a transnational Church invading a national one. For the Anglican Church of England, this crisis was played out what came to be known as the Oxford Movement, still influential during Wilde's time as a student there from 1874 to 1878. What is interesting in Wilde's life, as in his work, is the way he himself played with the dangerous transgressions inherent in being a "pervert." Sexually, he was converted to same-sex love while still a married man. In terms of religion, he remained fascinated with Catholicism, allegedly converting on his death-bed. But what is provocative is way that Wilde used one "perversion" to play into another: so that in such works as The Picture of Dorian Gray and Salome, his version of a kind of anti-Catholic Catholicism becomes a site of sexual desire, and sexual desire expression for that kind of spirituality, which, as unrequited longing, can ultimately n find no object adequate to its imagination.

• Journal of architectural history
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• v.17 no.5
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• pp.39-53
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• 2008

This study aims to investigate and analyze the plan and structural system of 4 kan(間) by 4 kan(間) square church built in early 20th century. At that time, three kinds of traditional wooden structure church had been built under the circumstances of transitional era : Basilica style such as Ganghwa Anglican Church, 'ㄱ' shaped style such as Keumsan Church and $4{\times}4$ Square style such as Bukok Church and Jacheon Church that are concerned in this study. Traditional plans and structural system were mixed with new religious function and transformed into korean peculiar style. $4{\times}4$ Square style is a residual product in that process. Despite of it, little concerns on it till now. The results of this study are described as follows. 1. The plan of these $4{\times}4$ square churches is divided into three areas : cathedra($1{\times}1$), attendance($4{\times}2$), and intermediation($4{\times}2$). The location of cathedra is commonly the opposition part of main gate and projected out of the building. Attendance area was also divided into two, man and woman, because of keeping a distance with each other. 2. The structural system of these $4{\times}4$ square churches are somewhat different because of their size and roof style. In the case of Bukok church, $4{\times}4$ square fall off $3{\times}3$ and $2{\times}2$ gradually and turn into paljak(八作) roof, which enable us to get in traditional entering methods. On the contrary, Jacheon church use hipped roof but almost alike pyramidal roof, which could make us not to recognize entering in the aspect of gable part.

• Korean Journal of Social Welfare Studies
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• v.44 no.1
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• pp.5-31
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• 2013

This study is phenomenological qualitative research about lived experience of recovering alcoholic homeless who had completed Therapeutic Community program. The meaning which is revealed through this study is as in the followed. First, Moving to recovering space. In Therapeutic Community, they have a turning point for new life and new connection with people who watch him carefully. Second, Physical recovery. They are no more lying down on the street. Analogy of Standing can be viewed as being most active in recovery. Third, Positioning on time flow. The recovering of time is represented by accepting past and present as well as looking ahead into the future. Fourth, Settling into network of a relation. They tried to reconnect with society by network of a relation. Their social place is located in a network, not a position. From this present study, the social work implications for the alcoholic homeless are deducted.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.539-565
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• 2009

T. S. Eliot attempted the combining of the liturgy of Anglican Church and a drama in Murder in the Cathedral (1935) and created a modern verse drama which comes most close to the regular tragedy like Greek tragedy today. Eliot chose the drama to deliver his religious insight because of its ritualistic origin and its potentiality to deliver a dramatic world which can contain a complete order. The central theme of this play is the martyrdom. The dramatic action of killing the archbishop Thomas Beckett in this play, however, is not treated as important event enough to be a dramatic climax. He is portrayed as a witness to the reality of God's will rather than a man who wills to give up his own life for any religious belief or cause. In Eliot, a martyr is nothing but "a witness" in its ancient sense. This paper purposes to review the language of this play. The various and new meters and rhythms of the language of this play function enough to bring its playwright to encounter 'the real audience' in 'a living theatre'. The interactions between different verbal models also play a big role to make this play a living theatre. Eliot found the poetry which crosses the various classes and levels of the tastes of audience is the most useful poetry. And the poetry of this play proves as the very thing which intensifies the theme of the play and gives the most powerful force to the play. Especially Eliot's poetry succeeds smost in the various and free meters of chorus, which makes Eliot the first playwright since Aeschylus, who could bring the chorus to undertake the function of extending the dramatic action of the play into the universal meaning. In the theatre the real audience identifies themselves with chorus. And the chorus leads the audience to respond to peace which passeth understanding beyond words and sounds of this play, which is the desired response in Eliot's conception of drama.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.1
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• pp.107-118
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• 2016

The Seoul metropolitan government announced an open design competition for reconfiguring the annex building of the National Tax Service Building site on Sejong-daero as a space for citizens to commemorate the 70th anniversary of Korea's liberation. The site, built during the Japanese colonial period, has been in use ever since. This study, as one of the entries for the competition, described the strategy and design contents by drawing the concept and main points of the design through an analysis of the historical context of the site. As the guidelines instructed to consider the value of the Sejong-daero area and the cultural heritage through a comprehensive analysis, this study specified the site as a place connecting the past, present and future. Since the foundation of the Joseon dynasty, the Korean Empire and the Japanese colonial period, Sejong-daero has been a main site for important events and activities along with the change of the city structure. Jungdong, to the rear of the site, was a place for adopting new culture during the beginnings of modern Korea, while adjacent places like Duksugung, the Anglican church, and the Seoul City Council building have also been historic urban landscapes of the historical layers of time as the city has changed. When Gojong announced the Korean Empire, the city structure was remodeled with this site as the center along with Sogong-ro, Wongudan and so forth. In this study, public interest stated in the guidelines was focused and the relevance of the road and the plaza was considered from the view of an historic urban landscape by a comprehensive analysis with Sejong-daero as the center. The restoration of public interest was to be drawn as the concept of the object site by considering the current status and the change around the site and Jungdong at the rear. Returning the site to the public is ambiguous with the relevance of the restoration of public interest and as the symbol of the idea of the Korean Empire by Gojong's announcement. The object site, having the characteristic of being returned to the public, must ensure public interest and therefore the design strategy has been established with the keywords of openness, connection and void. As a result of a review of the alternatives, a plan for a square has an 8% slope, just as the original site does, and provides ramps for convenient access for all, including the disabled and the elderly, and is connected to the grounds adjacent. No construction is allowed at the terrace square of the Anglican church level and the main square connected to the pedestrian street, so a variety of modern city utilization can be done. The value of the site at which this design is aimed shall be given back to the public with the concepts of modern democracy, independence, and the vision of Gojong by reinterpreting the space from a modern viewpoint. This study focused on the processes of establishing a main concept and strategy rather than the content of the design details, and the suggestion is meaningful in that the design for the object site with historic backgrounds and the layers of time can continue to be grown.