• Journal of English Language & Literature
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• v.60 no.2
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• pp.295-314
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• 2014

Flannery O'Connor's stories have garnered critical attention for her religious views. Thus, the interpretation of violence in her fiction has been mainly associated with salvation in her characters. Nonetheless, O'Connor was aware of the historical facts surrounding white supremacist activities in the American South. In its revenge narrative, O'Connor's story "The Displaced Person" (1955) unveils subtle layers of politics from the Ku Klux Klan as well as her white characters' views of race and immigrants. O'Connor used a voice of reserve due to her minority position as woman and Catholic. Although she was a white female, she lived within repressive Southern religiosity. Racism prevailed beneath Southern chauvinism and patriotism. The conflicts in the South display the violent aspects of the "Invisible White Supreme Empire." After the World Wars, devalued whiteness elicited atrocities against socially upward mobile African Americans, foreigners and Catholics. This article explores the convoluted issues of racial hierarchy, miscegenation, and xenophobic reactions in the South.

• 중국학논총
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• no.68
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• pp.141-161
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• 2020

This paper aims to analyze China's political education, which plays a role of vehicle in the Chinese Communist Party (CCP) promoting its ideological strategy, in order to figure out the utility of the CCP's ideological strategy. After Reform and Opening Up, the CCP rebuilt and reinforced political education in China according to its ideological strategy. Especially after the Tiananmen incident in 1989, the CCP made nationalism and patriotism as the core part of political education, and expanded its curriculum. Such reinforcement of political education has a advantage in maintaining the CCP's governance by creating a nationalist consensus against the western ideas. Although it can be helpful for the stability of domestic politics, it also has negative possibilities which isolate China in the global community and obstruct China's development.

• SUVANNABHUMI
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• v.16 no.2
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• pp.67-90
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• 2024

This article paid attention to three types of children's characters in Vietnamese children's literature in North Vietnam from 1945 to 1975, including children's characters as young soldiers in the frontlines, young citizens in daily life, and role models. The goal of this body of literature was illustrated as educating young generations on patriotism, the revolutionary spirit, and civic consciousness. Our research suggests that politics in children's literature is universal and that the power discourse of adults is an inevitable factor predominating in children's literature. Besides, juxtaposing Vietnamese children's literature with Southeast Asian literature helps us see that the political orientation and moral concepts in children's literature have created a stagnation in the current pace of Vietnamese children's literature. This paper, therefore, contributes to identifying Vietnamese children's literature in the overall picture of Southeast Asian children's literature in the post-colonial context.

• Sijohaknonchong
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• v.42
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• pp.213-238
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• 2015

Jeongun(丁芸) Lee, Young-do (李永道), who is deemed a representative female poet of Korea, began her literary career in May, 1946 when she published in a publication called "Bamboo Sprout, (죽순)". Her Korean identity, which was formed through her Confucius upbringing as well as traditional value system of her family, had a strong presence in her work, and she remained a quintessential figure in Korea's female sijo poet circle for 30 years until her passing in 1976. Despite the highly acclaimed talent and her noble aspirations, it is undeniable that her works did not receive fair assessment due to her private life. Against this backdrop, it is necessary to deeply inquire the literary values and beauty of Young-do Lee's sijo. As mentioned, Young-do Lee is a solidly established figure in Korea's modern poetry. The following illustrates the spirit and the world of her poetry. First, Young-do Lee lived through turbulent times and it was her country that served as the source of her sijo work. Assessing the multitude of dramatic historical events such as Japanese colonization, 8.15 Liberation of Korea, division of the nation, 6.25 Korean war, 4.19 Revolution, 5.16 military coup, it is natural that patriotism was strongly present in her work who was one of the intellectuals at the time. Second, Young-do Lee is a poet who had experienced more pain than others in terms of the turbulence of the time. Her Korean identity, which was formed through her Confucius upbringing as well as traditional value system of her family, had a strong presence in her work. Third, Jeongun Lee, Young-do is a poet of longing. The abundance and richness of her emotions were fortified through the relationship with another poet, Chihwan Yu. Fourth, Young-do Lee is a poet opened up new horizons for the modennization. The transparency of image reflected in her work and the elaborate nature of her language are outstanding. In summary, Young-do Lee was a true artist, who has a strong presence in Korea's modern poetry society, and who was a poet of patriotism, poet who suffered the turbulence of the times, and a poet of longing.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.15-26
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• 2018

This is a qualitative study conducted to understand and explain the experience of nursing students' exploring historic sites of independence movement overseas. The study's participants were 24 nursing students in the first and second graders who participated in a program to explore the historic sites of independence movement overseas at a college in C County, Gyeongsangbuk-do. The data collection period was from December 23, 2017 to December 25, 2017. The data collection was carried out in an open self-reporting process, and the collected data were analyzed using the qualitative content analysis method of Krippendorff[13]. Based on the analysis of the experience of nursing students' exploring historic sites of independence movement overseas 19 sub-theme, 10 themes, and 4 categories were derived. The four categories are "Our History Represented in the wake of the independence movement", "Footprint projected of an independent activist ", " Rage Boiling But Hope Remaining", "blooming patriotism through reflection". The results of this study provided an understanding of nursing students' experience in exploring the historical sites of independence movement and have shown that nursing students had the opportunity to recognize the history of independence movements, inspire patriotism and reflect on their attitude as nurses. In addition, institutional efforts and resources should be supported to address the lack of policies on the preservation of the historic sites for independence movements overseas, which are dependent on the private sector.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.1
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• pp.63-72
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• 2017

Gardening activities, plant raising, and general flowerbeds the public makes today can be found in the original form of cottage gardens in the United Kingdom. A cottage garden is a popular garden style of modern Britain, implying unique Englishness including ethnic sense and vernacular. In addition, the purpose of this study is to consider the modern movement in the United Kingdom in the past 200 years and read Englishness of cottage gardens through style differentiation and background of occurrence of cottage gardens appearing in this process. Therefore, this study is summarized as follows. First, a view of nature of the Englishman loving freedom and landscape acts as a key part of patriotism and is connected to the preservation of idyllic England. For this ideal of the Englishman of the country, idyllic British characteristics are found in various literatures and artistic fruits; cottage gardens, that is a form of new garden, were made with invigoration of supply and collection of plants. Second, an early form of cottage gardens was the domestic garden, in which there is a vegetable garden by middle-class move to a suburb according to urbanization, but evolved into a form of garden having both artistry and regionality, vernacular, and ecological characteristics with various situations of modern society(handicraft promotion movement, preservation of remains, and ancient building restoration movement). Wild gardens occurring in this process are a type of garden realizing wild fields and forests in the United Kingdom;they have made a big impact on many garden designers up to now. Cottage gardens, reflecting a variety of Englishness, is a subject of city planning and flower shows and is a culture symbolizing the United Kingdom.

• English & American cultural studies
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• v.18 no.4
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• pp.103-137
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• 2018

Harold Pinter's One for the Road(1984) is a play about violence. Nicholas, who appears to be the manager of a place, interrogates Victor, Nicky, and Victor's wife Gila in a room for one day from morning to night. There is no direct physical violence in this play. But hints about the atrocities that took place outside the stage make the audience guess the violence and cruelty. Violence, which is not seen as such, is the central theme of the play. One for the road is worth reading as a resistance to breaking the mirror of global ideology, not as it deals with violent events confined to Turkey. The problem which Pinter had in mind, in particular, is that the United States plays a leading role in producing world-class ideologies, and that Britain is involved in collusion with the United States in cultivating such ideological fantasies, both abroad and at home. This thesis analyzes the contrasting reactions of each character in the play based on this social context. In particular, the conflicting reactions of the characters on the system are the most important conflict in the drama. Nicolas is a manager who moves on the system without seeing the truth. Victor and his family, on the other hand, do not move within the same ideology as Nicholas. This paper will take a look at what their strategies of resistance is and how they are revealed in the work. In fact, Nicholas appears split. Nicholas seemingly reacted decisively to the interpellation of the system. He expresses his belief and respect for the legitimacy of his actions. However, he has repeatedly sought the respect and love of Victor. Nicholas is now swaying. The theme that Nicholas presents consciously by grabbing at his own sway is 'Patriotism.' But this fantasy splits through Victor's silence and death demands. Therefore, the questions to be answered are: So why does Nicolas appear to be torn apart in a system that directs violence? But why is he forced to assimilate into the system? What other figures imply? To answer these questions, this thesis will take Slavoj Zizek's view of ideology. On the other hand, there are previous studies that read the system of violence in One for the road from the Althusser's perspective. Surely, this play explores the role of Ideological State Apparatus. However, from the point of view of Althusser, it is not possible to read Nicholas's division and the point of resistance seen by Victor's family. Pinter does not limit the scope of the ideological system as a closed one that regenerates ideologies, but secures the domain of main body resistance and struggle. On the other hand, there are already several domestic theses that read Pinter's work in Zizek's perspective. But these theses are mainly focused on analysis of Mountain Language. What this thesis would suggest is that there is a potential for an ethical figure of Zizek to be considered in One for the Road.

• Cross-Cultural Studies
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• v.38
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• pp.89-113
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• 2015

This paper explores the work of mourning of 9/11 in the United States, focusing on the project of building the National September 11 Memorial managed by the Lower Manhattan Development Corporation(LMDC) and the War on Terror declared by the George W. Bush administration in the wake of 9/11. This paper first looks at the project of building the Natioanl September 11 Memorial and considers what was at stake in achieving this project. It also examines the limitations of the project. This paper argues that, in spite of the efforts to mourn the victims in significant and meaningful ways, the work of mourning in the memorial project fails at least in two respects. First, the memorial project "began so soon" right after 9/11 that the victims' families were not given enough time to mourn their loved ones. Second, the project were permeated with American nationalism and patriotism, which made the 316 non-American victims of 9/11 invisible and forgotten. Then, it goes on to examine the War on Terror because the War on Terror epitomized the failure of mourning due to these causes. In his address to the nation delivered on the very day of 9/11, President George W. Bush stated that "America was targeted for the attack because we're the brightest beacon for freedom and opportunity in the world" and that the terrorists failed to threaten America into chaos. He also stated that America is in "the war against terrorism." These statements were a futile reassertion of the illusion of American invulnerability and a prohibition of mourning in favor of violent military responses to 9/11. American nationalism also underlies Bush's official naming of September 11 as "Patriot Day." The victims were sacrificed because they were at the site when terrorists attacked, which implies that their death had nothing to do with American patriotism. Naming September 11 as Patriot Day was an act of imbuing the absurdity of the victims' death with a false meaning and an act of forgetting the non-American victims. The failure of the work of mourning of 9/11 consisted in the inability to recognize human vulnerability and interdependence and the inability to mourn not only American victims but also non-American victims killed in 9/11 and the War on Terror. A meaningful and significant mourning could be possible when we realizes that all human beings are exposed to one another and their lives are interdependent on one another. September Eleventh Families for Peaceful Tomorrows well demonstrated this kind of mourning. When most Americans supported violent retaliations, Peaceful Tomorrows made pleas for nonviolent responses to 9/11. Turning their grief into action for peace, its members work "to create a safer and more peaceful world for everyone," not only for Americans. Their effort to mourn in meaningful and nonviolent ways delivers the message that a disaster like 9/11 should not happen anywhere.

• (The)Study of the Eastern Classic
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• no.54
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• pp.235-252
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• 2014

This paper is examining the ideological underpinnings of Park Jin-young[朴震英]. He was intellectual activity is based on Haman[咸安] Gyeongsang-namdo[慶尙南道]. And He was causing the Righteous Army[義兵] saved the country from the crisis of Imjin War[壬辰倭亂, 1592~1598] and the Byongja War[丙子胡亂, 1636~1637] in Mid-Joseon[朝鮮] Dynasty. Therefore, he had to practice patriotism and love people. The purpose of this paper is centered on the acts of Park Jin-young to focus on its ideological foundation to be sure. A cause[大義名分] was laying on the side and the real meaning of the terms of participation and his a far-sighted view [達觀] ever conduct of life[處世] divided into such discussions were developed. In addition, the formation of his ideas around the Jung gu[鄭逑] influenced correlating it with the teacher and student relationships were investigated. Park Jin-young is Im-Byeong War[壬丙兩難] since emerged on the Joseon [朝鮮] Social Jon-ju[尊周] thought was one of the representative figures. His mentor Jung gu was the cause, seriously. And he cause, the influence of the teacher very seriously here was typical of that era. The people loved teacher. And his disciples to overcome difficulties that influence the Righteous Army sought to raise the country. His teachers have taught him Confucian influence. And behave appropriately when life. Park Jin-young acted appropriately when affected by such a life. Consequently, he was a true intellectual in those times.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.123-153
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• 2020

As the importance of documented fact has weakened in historical dramas, the combination with other genres has become prominent. By reviewing the way romance is dealt with in historical dramas, this research examines how the properties of historical events adopted by historical dramas are related to the motif of love, and how the narrative of love and romance contributes to the historical effects, with a focus on the television drama Mr. Sunshine. Mr. Sunshine is the first historical drama written by Kim Eun-sook, combining deliberately rearranged history with the writer's unique grammar of romance. The failed resistance movement of the righteous army in the drama is matched with the love that cannot be achieved based on self-negation. The drama, which deals with the tyranny of Japanese imperialism and the independence of Joseon, fictionalizes key characters and events, transforming the desire of love into the passion of patriotism. Romance in Mr. Sunshine serves as a catalyst for emphasizing the tragedy of historical events and reconstitutes cultural memories. In historical dramas, the fictional plot of romance leads viewers to reflect on human life in history that flows from the past to the future. How does an individual's inner feelings contribute to the historical representation? This research is significant as it is the first attempt to examine the relationship between historical drama and romance in various ways.