• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.9
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• pp.3-9
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• 2019

Modern cities have been clustered with spaces defined by specific functions, while standardized with well-defined areas. The monopoly of the function reduces the publicity of the space and hinders people's daily communication. Street also be overwhelmed by the function of being a "passage", traditional streets were losing their liminality. In fact, the street was a place of meeting, a place of events, and a place of freedom to broaden the choices of behavior. The freedom to stop or walk on one'sits own, be attracted by unforeseen events that are available on traditional streets, has become rare on the streets of big cities. Life has become dull and monotonous, too, through the modelling of the street system. Cities have become grim as communities are cut off and fragmented. In today's big cities, public attention to the liminality of the traditional streets need to be aroused so that people could gather freely and have a festival time.

• English & American cultural studies
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• v.10 no.2
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• pp.149-207
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• 2010

Written simultaneously with Prometheus Unbound, Shelley's "Julian & Maddalo" is a masterwork of dramatic poiesis, of doubling embedded in its couplets, dialogic debate on human nature and contrasted symbolic emblems. The emblems mirror each other and are themselves sites of generative paradox: the "heaven illumined" but "dreary tower" of the Maniac and the glorious sunsets on the "ever-shifting sand" of the Lido, a wasteland that is a place of self discovery but also of "abandonment" and barren mingling figured, inter alia, in its "amphibious weeds," a trope of the poem's personae. This essay also explores the poem's dramatic structure and various rhetorical devices, beginning with the Preface, a threshold of complex identity disguise that Shelley uses for veiled self-presentation, as in "Alastor," mirroring and literary references replete with nuanced ironies. I focus mainly on the complex figures of liminality Shelley uses to develop his own thoughts (as well as his ongoing debates with Byron) about man's potential for growth in thought, insight and empathy, in political reform and interpersonal and individual healing. Advancing Shelley's most optimistic ideas, Julian, escorted by Maddalo observes the Maniac, -- a living ruin whose pained eloquence reveals the link of eros to poiesis and the limits of the latter's ability to 'transform a world.' The Maniac is the core of muse-work (remembering, thinking and song) and Shelley presents him as its emblem. He also is prefigured in and reflects the quintessentially liminal Lido with its "barren embrace" of sea and land. Yet it is less the Maniac's feeling that his grief is "charactered in vain…on this unfeeling leaf" than Julian's rationales for leaving the site of pain that point to Shelley's final comment on poetry's transformative limits. As the primary haploids of the drama's meiosis re-combine and two of them, Maddalo and the maniac fall away, an analogy I briefly develop and embedded in the erotic dynamics of poiesis, Shelley suggests, as he did at the beginning of his poetic lyricism in "Alastor" and at its end in "the Triumph of Life"that images mislead and delude; that "the deep truth is imageless" and redemption is not in but beyond figuration.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.5-50
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• 2012

In these days, we come across a growing interest in animals from various perspectives. Considering that the posthumanistic point of view forms the major stream of postmodern humanities, ethics and philosophies, this paper tries to study the liminality between human beings and animal as appear in postmodern plays. The cases of a middle-aged architect falling in love with a goat (The Goat, or Who is Sylvia? by Edward Albee); An abandoned (human-)dog that encounters his old mistress under the moonlight (A leaseholder by Yoon Young-sun); Coexistence of men, dog, plants in a Country life (White Cherry by Bae Sam-sik); A Mutual sympathy between a swarm of bees and a woman dying of cancer(Bee by Bae Sam-sik) were discussed referring such concepts as 'Otherness' of Derrida, 'Becoming'of Deleuze, 'a bare life' of Agamben and ecological co-existence. In The Goat, the moment of Martin who happened to meet a goat's eyes in a suburbs can be paralleled with that of Derrida who one day found himself caught up with the gaze of a cat in the bathroom while he was naked. They shared the common experience in that they went through the ontological and mysterious abyss that rendered them to raise the question of "Who am I ?" In A leaseholder, a young woman returns to her hometown exhausted by the calculating human society and meet her old time (human-dog). This story reminds us of Agamben's werewolf, Levinas's dog Bobby and Derrida's Zootobiography. He, an abandoned pet, both excluded and included from human society, now appearing as a mysterious human-dog, welcomes, embraces, and comprehends his old mistress and exposes his individual remorses and passions as an animal-subject. In White Cherry, the author describes the coexistence of all the life-beings such as an old dog, a golden bell tree, the deceased daughter and even a fossil remains in a country life. Bee is a story of a beekeeping village where bees were leaving and disappearing. A swam of bees fly down on a woman who was dying of cancer. With physical and spiritual empathy the dying woman helps the swarm of bee to conduct a new birth and a new life.

• Child Studies in Asia-Pacific Contexts
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• v.2 no.1
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• pp.61-75
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• 2012

Indisputably school is the main institution that socialises migrant children into the culture of their new country. Through school they learn the new language and customs, which will enable them to become cultural brokers between the new cultural world and their families. During this process migrant children often transit a liminal terrain where their roles and identity become at the same time diverse and ambivalent. Despite the challenges involved these children often become experts in juggling different cultures, environments and expectations. This study explores the experiences of Latin American children and their families as they start primary school in Australia.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2017.11a
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• pp.123-126
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• 2017

본 연구에서 미디어의 생산과 소비가 어떻게 사람들을 리미널한 형태로 사람들을 끌어들이는지 살펴보았다. 즉 미디어 생산의 주체 혹은 인기 있는 프로그램의 미디어 소비는 급격한 의식의 이탈을 만들어낸다. 2011년에 시작한 프로그램, '나는 가수다' 이후 지상파, 종합편성, 케이블채널에 음악프로그램, 특히 대중가요 중심의 노래 프로그램들이 대거 만들어졌다. 현재 큰 인기를 끌고 있는 '판타스틱 듀오'와 '나는 가수다' 속에 들어있는 제의적 속성인 리미널러티현상을 반 게넵(Arnold van Gennep)의 '통과의례'에 나타나는 전이 단계와 빅터 터너(Victor Turner)의 이론을 토대로 분석하였다. '전이'의 단계에 제의의 주체들은 사회적인 지위나 문화적인 상태의 속성들을 거의 가지고 있지 않은 일종의 사회적인 중간상태(social limbo)를 통과하게 된다. 미디어 이벤트로서의 리미널러티, 시청자, 가수와 도전자, 청중평가단의 일체감으로 일어나는 인지, 정서적 느낌과 그로 인한 코뮤니타스, 반구조((anti-structure) 상태를 분석하였다. 그리고 그 이후에 오는 위로와 위안 그리고 공감으로 이어지는 사회문화적 현상을 살펴보았다.

• The Journal of the Korea Contents Association
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• v.16 no.5
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• pp.282-289
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• 2016

A term that has been used since ancient times, 'trickster' means 'a person who performs general tricks'. In other words, a trickster is a person who exhibits his or her intrinsic characteristics by using tricks, or who has a special ability to make any situation work well only for him or herself. This thesis looks for basic concepts and features of tricksters in research undertaken into tricksters to date. It also aims to uncover the trickster side of Maltugi in Talchum (a traditional mask dance). A trickster is a person who tricks, but the characteristic itself is unclear and abnormal. A trickster also has borderline, duplicitous or multi-value characteristics, so it is impossible to merely define him or her as 'a person who tricks'. When dealing with a trickster's characteristics, the 'Liminality' element is very important, because he or she is a person who exists in all the borderlines of space, time, society, and language, and assaults the social order via deceit, play, and the fulfillment of greed. Maltugi in Talchum is a man of humble birth, but he is a character who attacks the Yangban (aristocrats) without hesitation. He is a kind of representative of the people who speaks for the commoners' feelings. At a time of the Three Policies' Disorder and frequent external aggressions, the commoners felt a sense of helplessness against the Yangban, who they viewed as immoral. Maltugi laughs at and depreciates the Yangban through the use of puns, and shows a faithful attitude to the present without being afraid of the result caused by his activity. This implies that he has the characteristics of a trickster.

• Asian Oncology Nursing
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• v.12 no.3
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• pp.237-245
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• 2012

Purpose: The purpose of this study was to identify attributes of the concept of cancer survivorship. Methods: Walker & Avant's concept analysis framework (2005) was used to review the medical & nursing text books, medical and nursing research articles related to cancer survivorship and published from 1985 to 2011. Results: There were nine aspects of the concept of cancer survivorship: A process, liminality, uncertainty, life-changing experience, complexity, unique experience, duality of positive and negative aspects, partnership, and need for support. Antecedents of cancer survivorship were cancer diagnosis and perception as a cancer survivor. Empirical referents of cancer survivorship were survival rate, quality of life, adaptation to the survivorship experience, and health-related hardiness, social support, spirituality, and health behavior. The consequences of cancer survivorship were effects on the physical, psychosocial, spiritual and socio-economic well-being of the patients. Conclusion: This concept analysis of cancer survivorship is expected to contribute to promotion of survivorship care in the clinical field by removing conceptual ambiguity and confirming the true meaning of survivorship care.

• Korean Institute of Interior Design Journal
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• v.17 no.5
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• pp.31-39
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• 2008

Each human era has its own unique architectural embodiment of religious philosophy at the time. Though, many modern religions have developed their own architectural expression based upon each own religious doctrine, one of the main native Korean religions, Won-Buddhism, has not developed its own proper architectural expression yet. So, the goal of this research is to find the probable architectural design methods for Won-Buddhism doctrines. 1) The history of Won-Buddhism architecture is comparatively analyzed to find the architectural trend of Won-Buddhism. 2) Modern religious architectural cases are analysed and compared between plastic expression and spatial expression types. 3) Won-Buddhism doctrines are analysed to find key characteristics to be used as architectural design concepts and method. Based upon analyses, the main characteristics of Won-Buddhism doctrine are synchronicity, circularity, and liminality, which are found to be similar to the trans-boundary characteristics of contemporary architecture. In the future, more study on these characteristics and how they are materialized, the probable design methodology for Won-Buddhism Doctrines can be proposed.

• Journal of English Language & Literature
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• v.56 no.5
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• pp.907-930
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• 2010

Most previous studies on A Gesture Life focused on illuminating the role and significance of Kkutaeh, the Korean comfort woman, whom Hata runs across at a military camp in the Burmese jungle. For instance, Carroll Hamilton argues that the return of Kkutaeh as a traumatic subject disrupts Hata's nationalist narrative, causing the protagonist's eventual failure at national enfranchisement. However, this paper focuses on Hata's relationship with Bedley Run, the sleepy suburban white town, in which the protagonist settles down right after immigration to the US. The racial/racist nature of Bedley Run has not received due critical attention, although a few studies on the novel saw Hata's gestures as a survival tactic deployed against the hostile environment of his new host society. This paper, resorting to Pierre Macherey's thesis on symptomatic reading, exposes what Hata, the narrator/protagonist, hides from his readers concerning his status in his muchbeloved town; and it also explores the subversive significance of Hata's ethnic memories. The aim of this study is, after all, to map both the subversive possibilities and the limitations of Hata's immigrant narrative as a bildungsroman.