• English & American cultural studies
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• v.13 no.1
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• pp.59-81
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• 2013

Samuel Beckett's literary sympathies with underdogs enslaved to authoritative figures, found in his earliest plays, continued in a more or less subdued form in his later plays: Not I is a good case in point thematizing a social authority psychologically embedded within a subject. The incessant bouts of self-defense, or confessional, which Mouth carries out on a dark stage is directed to an inner authority. In Civilization and Its Discontents (1931), Freud's diagnosis for individuals torn between the opposite calls of a social order-- which he called, by turns, civil society, civilization, and culture--and of individual freedom was a "neurosis." What Not I dramatizes seems to be this state of neurosis suffered by a subject bound to the contradictory calls of an internal social authority, which forces Mouth to carry on a confessional till she obtains a symbolically/linguistically viable social title of "I," and of her individualistic denial of the position("what?..who?..no!.. she!.."). Mouth's ordeal on stage does not signify the psychological pressure of the social system, with its disciplinary measures of guilt, justice, and punishment, triumphs over individualistic irregularities and abnormalities, for her "maddened" confession will never see its closure. The opposite psychological forces at work inside Mouth, who is both "in" and "out[side]" "this world," will keep engaging in an eternal battle. In a way, she is a perfect parable about us humans living within a system, "discontent" and hung between the contradictory calls of individualism and social collectiveness.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.4
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• pp.205-215
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• 2014

This study analyzed 'The representation of death' as expressed in the fashion photography posted on Facebook. Currently, there is a growing interest in 'Well-dying'. Also contemporary art and fashion is a trend that expressed what about death more than life. And today, Facebook is one of the current worldwide as a powerful communication. Death representation in contemporary fashion photography, as expressed in its first characteristic is 'Vanitas', and the main material was a skull. The shape of a skeleton of the symbol of death. Vanitas of inner meaning is vain, a mortal life's futility and death for the paradoxical emotion. The second characteristic is 'Phantom of the ruins'. This is like the darkness of death, and the shape represented in that space. And the death representation is depressed, gloomy atmosphere, dead-man and warm-less. Inner meaning is curiosity about the ghosts and the decadence romantic about the afterlife. The last characteristic is 'Grotesque'. This characteristic is the destruction of the body, fear of sadistic, and inhuman shape. This is parable with death that pain and fear of death, dark fantasy, the appearance of a contradiction modern society and cut off humanity. Inner meaning is the dark fear of death and the anger of wrong of the present society. At present, we have to reproduce the death, and what we want is eventually no one can escape 'Attention to death'. In addition, by expressing the solidarity between death and life is to want to get a consolation for the anxiety and afraid reality.

• Lingua Humanitatis
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• v.1 no.2
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• pp.91-104
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• 2001

Ford Madox Ford, the early twentieth-century writer most famous for his novel The Good Soldier, perceived his "business in life [as an] ... attempt to discover and to try to let you see where you stand." With this grand purpose in mind, Ford disregarded distinctions of genre in his prolific output of what we would consider novels, memoirs, literary criticism, travel writing, and history. Claiming that "the Novelist ... [is a] historian of his own time," Ford sought his own version of the "truth," a truth that was more faithful to his own subjective impressions than to verifiable "fact." Among these works that depict his age are a series of "memoirs" or "reminiscences," works published from the 1910s to the 1930s which carry out his Impressionistic purpose. What lies behind these memoirs is Ford′s view that his own individual history can be understood as his contemporary society′s collective history. This article explores Ford′s experimentation with boundaries of fact and fiction, and history and narrative, as he employs and expands the memoir form. In particular, 1 focus on two works, Memories and Impressions (1911) and It Was the Nightingale (1933), and Ford′s techniques in these memoirs, such as 1) the adoption of fictional personae from which to comment on his society at large and 2) the use of emblematic "parables" to encapsulate larger lessons of life within the minutiae of existence. Current theorists on the memoir form share interests in these questions of genre and of the social role of the memoir Nancy Miller, for instance, terms the memoir "the record of an experience in search of a community." This article engages these current discussions of the memoir genre by examining Ford′s early twentieth-century examples as innovative experiments that play with the boundaries between fiction and history, and personal impressions and collective truth.

• Strategy21
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• s.45
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• pp.116-147
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• 2019

Despite the fact that South Korea, one of peninsula countries, has been already a middle power in an international arena, it still tends to get stuck in continental-driven inertia and be reluctant to become a consolidated maritime power. In its efforts to deal with the parable of South Korea, designing a tailored-made strategy needs to be initiated in detail. Its design is centered around two variables: classification of waters and prestige. First of all, the domain of waters confronted to South Korea ranges from the greatest threat to scattered national interest. Second, South Korea is prestigiously regarded as the middle power which is equipped with the capability to see beyond its sovereign waters. The Maritime Access Strategy(MAS) can be more clearly explained by three-axis factors: ends, ways, and means. Ends need to be oriented to achieving three types of classified objectives-Deterrence, Engagement around the world to maximize remotely-scattered interest and Check of neighboring countries' seapower expansion, called DEC. Ways is mainly driven by the closer access to three different types of waters: waters of security, check, and interest. The active access and closer approach to the domain of waters need to be maintained with a high degree of willingness and capability. Means is attainable by guiding naval forces to be armed with multiple platforms and functionally-balanced assets. These platforms and assets will allow the naval forces to attain and maintain cost effective means, leading to making MAS feasible. This strategy allows the middle-power Korea to make the best of its maritime assets at various seas, contributing to international stability as well as national security and interest.