• Journal of Korea Society of Digital Industry and Information Management
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• v.9 no.1
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• pp.33-42
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• 2013

Mobile voting has been considered as a promising technology, but it has not been used widely or popular enough in the world. We think this situation is caused by immature technologies of mobile voting and no agreement among people in our society. In this paper, we reviewed literature on electronic voting systems in order to find out technical issues on mobile voting system, and we also surveyed people's opinions via the Internet in order to understand what they worry about mobile voting. From the literature review, we understand that the existing electronic voting systems did not consider security, robustness, and reliability issues enough. From the survey, we also get to know that people worry about "manipulation of the result of mobile voting" mostly. Our work can help researchers on mobile voting to consider the ways or technologies that convince people of the reliability of mobile voting.

• Journal of English Language & Literature
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• v.59 no.4
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• pp.619-643
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• 2013

The experience of interment during World War II has been one of the primary motifs of fictional and autobiographical narratives by Japanese Americans. Examining textual evidences in John Okada's No-No Boy and Monica Sone's Nisei Daughters, this paper argues that the internment has been designed, carried out and concluded based primarily on the principles of economics. Borrowing the notion that 'wealth has (racial) color' as Lui and others maintain, this paper analyzes episodes in which the protagonists and other characters testify how their internment has resulted in their loss of capital as well as human rights and dignity, not to mention temporary suspension of their citizenships. In addition, this paper contrasts the image of the US as a land of equity as represented in the literary texts of the $18^{th}$ century authors in the US with that of our two authors. In doing so, this paper argues that the historical incident of internment in the $20^{th}$ century is the scene in which American ideals become irrecoverably sullied and American dreams turn into American nightmares.

• Journal of English Language & Literature
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• v.54 no.1
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• pp.149-167
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• 2008

Korea has persisted in the notion of "ethnic nationalism." That is "one race, one people, one language" as a homogeneous entity. This social ideal of unity prevails, even in overseas Korean communities formed by voluntary and involuntary displacement in the turmoil of modern history: communities made intermittent with the Japanese colonial occupation and with postcolonial encounters with the West. Given that the Korean people suffered from the trauma of deprivation of the language caused by the loss of the nation, nation has been equated with the language. Accordingly, "these bearers of a homeland" are also firm Korean language holders. The linguistic patriotism of unity based on the intertwining of "mother tongue" and "father country" has become prevalent in the collective memory of the people of the Korean diaspora. Korean American literature has grappled with this concept of the national history of Korea and the Korean language. The aesthetics of Korean American literature has been marked by an influx of literary resources of 'Korea' in sensibilities and structure of feelings; Korean myth, folk lore, songs, humor, traditional stories, manners, customs and historic moments. An experimental use of the Korean alphabet, Hangeul, written down as pronounced, provides an ethnic flavor in the midst of the English texts. Despite its national framework of mind, however, Korean American literature as an interstitial art reveals a keen awareness of inbetweenness, and transnational hybrid identities. By exploring the complex interrelationships of cultural and linguistic boundary-crossing practices in Korean American literature, this paper argues that the poetics of the Korean diaspora challenges the closed structure of identity formation, and offers a transnational sphere to deconstruct a rigidly demarcated national ideology of "one race, one people, one language," for the world literary history.

• (The)Study of the Eastern Classic
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• no.37
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• pp.411-439
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• 2009

Fu-Shan(傅山, 1607~1684) was a progressive actualist between the late Ming(明) dynasty and the early Qing(淸) dynasty. He regards the intellectuals at that time as scarecrows leaned on the empty and exaggerative moral philosophy which the neo-confucian of Song(宋) dynasty established. He thinks that the neo-confucian discussion cause harmful side effects, disregarding the utility side and the variety of the actual world. His thought becomes known all in political thought and literature. He asserts that the neo-confucian ideas provides the logical frame which regulates the actual world and creates a kind of absolute moral ideology. Therefore he insists that the Saint in the true sense of the word consequently is the social reformer and revolutionist who exposes the irrational elements of society. He insists that literature also must be able to express vividness of the actual world. He thinks that genuine literature must have creative contents and find one's own free wild way. He asserts that old literary style from the mimicry is the act which goes against human natural. He thinks that the writing must be able to express the actual world.

• Cross-Cultural Studies
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• v.40
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• pp.159-183
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• 2015

This study examined the issue of criticism in Korean Chinese literature in 1990's. This is transitional time why China introduced a market economy system. It had an important effect on Korean Chinese society not the cultural climate but also literature. Besides, Diplomatic Relation between Korea and China in 1992 gave an impulsion to changing literature. So this study tried to take note of directionality of Korean Chinese literature through the Korean Chinese magazine Literature and Art(Munhakwayesul) and Zhangbaikshan. First issue of Korean Chinese literature in early 1990's is crisis and restoration of criticism genre. At that time criticism faced with what is modernity. Some critics insisted that criticism should to improve. So it was necessary to accept foreign theory. Then they were concerned postmodernism and deideology tendency. What was important thing is that they would find their culture identity. So few critics tried to communicated with world literature. Especially they emphasized communication with Korean writer who lives in other country. Ultimately they thought that Korean Chines literature must get literal universality and ethnic speciality. For example poet Nam-YoungJeon's totem poetry is representative work. The issues of Korean Chines criticism in 1990's are not directivity of literature but also directivity of culture identity. Korean Chines literature had departed from Socialistic realism little by little and had getting diversity. Above all things criticism aimed for international sense and ethnic culture identity.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.1
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• pp.13-22
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• 2007

As the world has been forming the global village and the cultures of each country are exchanged, the unique cultural specialty of each country high been merged with the generality in the world. The increasing interest on the oriental world and the globalization recently brings the fusion form of oriental and occidental cultures. In such a global trend, it is our challenge to find out the traditional beauty and the design factors of Korea for the new challenge and development of Korean fashion and to develop the most Korean and global design by interpreting them in a modem sense. It is the Era of the Three States when an of official hat among the personal ornaments of Korea was firstly described on the literature, including the literature of ancient China and Chronicles of Three States and Heritage of Three States of Korea. Those literatures clarified that the people in Goguryeo Baekje, Silla and Gaya decorated themselves with gold, silver and jade. Furthermore, since various kinds of ornaments have been excavated, they shown the development of metal craft in the Era of Three States. This study aim to exploit the design motives among the gold crown elements among the ornaments during the Era of Three States, interpret them in a modem expression, develop the textile design using the Adobe photoshop and suggest the application approaches by applying them to the clothing design.

• Journal of English Language & Literature
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• v.57 no.6
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• pp.1089-1109
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• 2011

In an attempt to demonstrate in context of Nietzsche's "overman" (ubermensch) and Heidegger's "Being-in-the-World" (Dasein) the collective human efforts to overcome humanism in crisis, I will provide the ground for the poetics of overcoming, the ground which are based upon the double movements of transhumanism and transnationalism. For this purpose, I will turn to the theories of two distinctive poets who reveal and disreveal their truths about the subjecthood or the subjectivity in terms of overcoming: Christopher Dewdney for posthuman transhumanity and Dionisio D. Martinez for transnational cultural contamination Transhumanism represented by Christopher Dewdney manifests an interfusion of outside and inside, thereby collapsing the boundary between the mind and the world, and provides a breakthrough from the limitedly defined mind to the transhuman perspective of overcoming by using terminalogy and techniques from science and technology. The emerging transhumanism reflects the growing interdependence between humans and bio technologies, and suggests a potential improvement of human beings. The main argument of transhumanism is that we humans can and should continue to develop in all possible directions, by overcoming our human limitations by shedding the body and having the disembodied consciousness which will liberate our mind. Kwame Anthony Appiah's "cultural contamination" is another form of overcoming as well as a way to otherness, a counter-ideal of cultural purity which sustains authentic culture, reversing the traditional binary opposition between enriching authenticity and threatening hybridization. Dionisio Martinez's poetry sublimates the negative side of Appiah's concept of contamination, by redeeming the value of the Appiah's list of the ideal of contamination such as hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, a bit of this and a bit of that is how newness enters the world. When a poetic subject is doubly exiled and doubly homeless away from his/her native homeland and home of native language, one has no more identification with the authentic culture of both home and away, but rather anticipates a new identity as a transnational subject to cross the bridge beyond cultural authenticity and to enter into the field of cultural contamination.

• Journal of English Language & Literature
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• v.57 no.3
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• pp.515-527
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• 2011

Miss Pettigrew Lives for a Day, Winifred Watson's novel of 1938, is a fairytale in novel form. Set in London of 1938, the story revolves around a one-day adventure of an ill-starred but truthful governess who is granted a second chance. This light-hearted comedy of manners was turned into a film by director Bharat Nalluri in 2008. An Anglo-American collaboration, co-scripted by Simon Beaufoy and David McGee, the film converts Watson's quaint novel into an edged heritage piece that encapsulates the 1930s, the problematic decade between the two World Wars. The film, while sustaining the narrative core of Watson's Cinderella story, attempts to place it firmly within a wider current of the novel's setting or London in 1938, tapping into the major concerns of the interwar years that engage with characters in one way or another. Stylistically, the film presents Art Deco as a main visual idiom to convey the prevailing mood of nihilism and decadence of the day. The setting here takes on significance in that it offers a telling counterpoint to the giddy superficial world of the novel. The 1930s was a highly charged decade under the threat of fascism and the Great Depression, fraught with economic and socio-political tensions and apprehensions. The film makes an explicit reference to the dismal context which is suppressed in the original text. The thirties is, therefore, portrayed as a decade of contradiction. It features gay buoyant festivity, rampant consumerism, and shifting morals and attitudes towards love, marriage and sexuality. Yet lurking beneath the surface glamour are the symptoms of crises and the deep-seated anxieties on the eve of World War II. In this way, Watson's novel of manners has been recreated into a defining film on the 1930s with its period feel propped by the atmospheric lighting, the exuberant Jazz score, and the splendid Art Deco costume and production design.

• 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.

• Cross-Cultural Studies
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• v.25
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• pp.363-389
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• 2011

Modern Chinese Literature, the so-called 'feminist' is a very modern and the traditional criticism and took an important position in the double action. Because a woman's freedom from the bondage of traditional ethics of restoring the social status equal to men but to women does not give, that compared to men and women just the dimension of the problem of isolation is not just. It is dominated by yugajeok worldview by streamlining the whole Chinese society to build a modern society and the country was a critical task. However, multi-cultural life of Lin, Hui-yin and Ling, Shu-hua in the history of the world's attention to the shrine was worried attention to soils, rather than East-West dualism law by taking a mixture of both women in modern Chinese literature and Western literature from the center of efforts to overcome the traditional point hayeotdaneun feminist literature that may be different. Lin, Hui-yin and Ling, Shu-hua to overcome the Western-oriented culture really the true dream of China's globalization and localization could be regarded. She naesewotdeon the banner of feminist literature in the traditional 'anti feudal', 'free personality' silcheondoen under such slogans as well as women's liberation from traditional, male-oriented perspective away from the women's unique experiences and new understanding of the value of the superiority the concept of a woman, and was to create. In particular, the femininity of these women who traditionally associated with women and the unique culture - the creation of a new consciousness, a re-evaluation of traditional feminine skills and talents was to try to.