• Cross-Cultural Studies
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• v.38
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• pp.29-63
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• 2015

This paper attempts to re-read Tennessee William's A Streetcar Named Desire from a non-Aristotelian perspective, particularly focusing on the audience performativity. In Chapter 6 of the Poetics, Aristotle says that tragedy has a final purpose or end (telos) and that is to inspire a catharsis (literally "purification") of pity and fear by means of representation and to give pleasure from experiencing their relief. However, a dramatic theoretician Augusto Boal argues that Aristotelian catharsis is not to get rid of pity and fear through their vehement discharge; rather, the basic function of catharsis is the purging of antisocial elements from the social body and the restoration of order because catharsis occurs when the spectator, terrified by the spectacle of the catastrophe, is purified of his "hamartia" which looks similar to the tragic flaw of the hero in the play. Thus, Boal asserts that Aristotle's coercive system of tragedy manipulates the emotions of the passive spectator. By contrast, in non-Aristotelian aesthetics, tragedy functions not as legitimation for a particular political configuration but as the performance of ethical acts-through which all the participants, including not only the actors but also the audience, communicate more actively about practical problems and actively work in order to make sense of themselves, others, and society. Here, the audience is required to restore and reinforce his/her capacity to think and to act; thus, an unquestioning, passive, indifferent attitude is not allowed. In these contexts, this paper explores how Tennessee William's A Streetcar Named Desire involves the audience in the responsibility for what occurs on the stage, in order to urge the audience's ethical judgements and responsible acts. This paper argues that what this play asks of us is not catharsis, the purging of pity and fear, but empathy toward the other's pain, beyond pity and fear, to carry out our responsibility of sharing in and caring for the other's suffering. That is to say that it will be an ethical way to "re-member" Blanche DuBoi-the iconic Williams victim "dis-membered" by traumatic memories and open wounds and is thus unable to complete her grieving and mourning-as one of us, not as the other. It will be the only way to remember right regarding her tragedy.

• Journal of Korean Philosophical Society
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• v.126
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• pp.159-190
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• 2013

Feminist critics have criticized Aristotle as a sexist, misogynist, male chauvinist or masculinist, or, at least, their chief spokesman. Indeed, he says in the Politics that the male is by nature superior to the female and, also, that women possess the same deliberative part of the soul as men, but without authority, etc. In the Generation of Animals, he claims that the male supplies the form and the efficient cause, whereas the female supplies the material cause only in reproduction and describes the female as a mutilated being. When these remarks of Aristotle are read without considering their overall context, it hardly seems possible for him to escape from such severe criticism and condemnation. On the contrary, in what follows, I shall claim that the criticism and condemnation that has been ascribed to him is unfair. Although it is undeniable that Aristotle has made such remarks, it does not immediately follow that he was a sexist. In particular, I shall show his view on the status of men and women by analysing the value of matter and form ascribed in two of his main philosophical theories, the theories of hylomorphism and four causes. In consequence, we shall arrive at the conclusion that, since the theories do not imply the significance or necessity of either form or matter alone, but of both, there is no sign of sexism or misogyny or male chauvinism in Aristotle.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.261-285
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• 2016

Saseol-sijo, a form of sijo with longer verses, still affords pleasure to modern readers, even when it is read without the original performance context. In this study, I focused on Saseol-sijo that induces laughter through exaggeration and caricature while singing about eagerly waiting for a lover who has left. These texts describe concurrently the emotions that are contradictory to each other, such as nostalgia and laughter. In addition, this feature reflects human's inner emotions that are not unified but rather change dynamically. Craving creates a sense of nostalgia, and also produces a comical element in nostalgia, so that nostalgia and laughter can be co-exist without conflict. In this study, 'semiotic square' was applied as the framework for interpreting the Saseol-sijo, which demonstrates the coexistence of inconsistent meanings. As a result, a Saseol-sijo which sings about waiting for a lover can be interpreted through contraires such as prohibition and authorization, craving and concerns, exposure and concealment and concentration and dispersion. The nostalgic laughter in Saseol-sijo is generally based on the conflict between the craving self and the restrictive world. A character consumed by craving may seem ridiculous and pathetic in the view of others. However, people in general would find sympathetic humor and identify with characters who portray their weaknesses or repeat their mistakes. After all, this is the laughter of compassion and reflection which Saseol-sijo evoke.

• Journal of Korean Philosophical Society
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• v.130
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• pp.247-276
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• 2014

The purpose of this paper is to explore how Zhang Zai(張載)''s Gi-Hak(氣學) and Wang Shou-Ren(王守仁)''s Sim-Hak(心學) are interrelated, which differs from prior positions viewing the two as separate, unrelated philosophies or ones standing in contrast to each other. By direct comparing the notions Tae-Heo(太虛) and Yang-Ji(良知), I tried to explain that ontological structures of Gi-Hak and Sim-Hak are interrelated ; and by comparing Dae-Sim(大心) and Chi-Yang-Ji(致良知), I made an argument that Gong-Bu-Ron(工夫論) of Gi-Hak and Sim-Hak corresponds to each other. Zhang Zai''s the doctrine of Tae-Heo can be seen as a respond to Jeok-Myeol-Ron(寂滅論) in Buddhism ; therefore, understanding Sim-Hak in terms of Gi-Hak, that is, interpreting the fundamental meaning of Yang-Ji as Tae-Heo, can free Yang-Myeong-Sim-Hak(陽明心學) from the unceasing criticism by Ju-Ja-Hak(朱子學) that it is a 'Buddhistic heresy'. This study could be highly significant in that it enables us to read the tradition of Zhang Zai not only from the viewpoint of u-Ja-Hak, but even from ang-Myeong-Sim-Hak tradition. I interpreted Yangming School of Mind as a developmental succession of Neo-Confucianism, and understood Zhang Zai''s Gi-Hak as a theoretical pioneer of Wang Shou-Ren''s Sim-Hak.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.287-326
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• 2016

This study describes the acceptance of Hae-Dong-Yu-Yo(海東遺謠), which is a book the 19th century to 20th century, into the genre of poetry. In chapter 2, I searched for lists, constructions and arrangement of poems in Hae-Dong-Yu-Yo(海東遺謠). The book has not only 39 poems (gasa) in Korean, but also more than 20 poems (hansi) in Chinese. I also found two new poems by the editor of the book. This shows that the receiver fully accepts the poetry and that he has equal consideration for Korean songs as well as hansi ones. In chapter 3, I focused on the red and blue points inside letters. When we read only the red and blue points within the poetry, I realized that Hae-Dong-Yu-Yo(海東遺謠) created these for poetry's literary value, not for music or songs. This reveals how the editor of Hae-Dong-Yu-Yo(海東遺謠) received the older famous poems as his own. This shows us the degree of acceptance of Korean classical poetry and songs, and therefore leads us to believe that this can be of use to present learners as well.

• Journal of Korean Philosophical Society
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• v.145
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• pp.381-407
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• 2018

Gilles Deleuze presents his distinctive logic of sensation in "Francis Bacon: The Logic of Sensation" with his own approach to Bacon's paintings. What matters here is the sensation of 'haptic' that is 'one possibility of the eyes' but different from optical perception. The concept of 'haptic' has been translated into Korean variously, and Gilles Deleuze adopted this concept from Austrian art historian, Alois Riegl. Alois Riegl had used the concept of 'haptic' to mean proximate view (Nahsicht in German) as in seeing Egyptian bas-relief. Gilles Deleuze was in succession to Alois Riegl's way of thinking and used the concept of 'haptic' to discuss Bacon's paintings. By the way, Alois Riegl had adopted this concept anyway to read Egyptian bas-reliefs, but Gilles Deleuze applies this concept to paintings. Actually, this concept in Gilles Deleuze's theory of painting has more meanings than Alois Riegl'. That is to say, when we intend to understand "The Logic of Sensation" as a new logic of sensation to be represented more than just a discussion about Bacon's paintings, we would say that key word is the concept of 'haptic' being symbolic of Bacon's paintings. Yet, what kind of sensation is the 'haptic'? And, what is Deleuze's theory of sensation? I want to interpret "Francis Bacon: The Logic of Sensation" as a work being developed through his own theory of sensation, and further more I should like to draw special attention to the sensation of 'haptic' in order to make his theory of sensation with admirable clarity.

• Korean Journal of Comparative Education
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• v.28 no.2
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• pp.97-121
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• 2018

The numbers of Korean immigrants and students in the United States are steadily increasing, but there have been very few studies of their second language literacy development (Cole, Maddox, Lim, & Notari-Syverson, 2002; Scarcellar & Chin, 1993; Shin, 1994; Skilton-Sylvester, 2001; Yu, 1994). Nor do the very few studies explore the inseparable relationship between Korean literacy and English literacy within a cultural context. This study aims to compare their views on Korean writing with those on English writing to see trace the multiliteracy development of Korean learners of English in the United States. I conducted in-depth oral interviews with Korean immigrants and students of various ages. They were asked to state everything they could remember about what they have learned to write and read in their native language and in their second language across their lifetimes, focusing particularly on the institutions they attended, materials they used, people involved in their learning, and their motivations for writing. The results reveal that the participants developed a view of writing specific to the Korean context and after they moved to the United States, they struggled to readjust the values and meanings they had had for Korean literacy to the second language context. The results of this study suggest future multiliteracy studies are needed to explore multiliteracy development in terms of the meanings and values language learners associate with their multiliteracy and help educational institutions and communities to approach second language learners' multiliteracy development as a life-long experience.

• Proceedings of the Korea Water Resources Association Conference
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• 2019.05a
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• pp.73-73
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• 2019

지구 표면의 약 2%에 해당하는 담수에서 육상계 전체가 흡수하는 탄소의 50%가 배출되며, 이는 토양표면에서 배출되는 탄소량에 비해 더 큰 수치로 전 지구적 탄소순환 해석에 중요한 역할을 한다. 특히, 내륙수역과 대기의 경계면에서 $CO_2$ 이동은 전 지구적 탄소순환의 중요한 구성요소로 평가되고 있다. 호수와 저수지 같은 담수 저류시설은 육상에서 기인한 탄소의 운송 및 처리 역할을 한다. 하지만, 저수지에서 온실가스배출량을 평가할 수 있는 명확한 방법론이 부족하며, 전지구 규모 GHGs배출량에 대한 추정에 대한 불확실성이 상당히 큰 상황이다. 본 연구에서는 몬순기후대에 위치한 인공저수지를 대상으로 보다 신뢰도있는 온실가스 배출량 추정을 위해 $CO_2$ NAF 산정하고, 산정에 영향을 미치는 인자들을 분석 하였다. 분석을 위해 $CO_2$ NAF 산정에 필요한 수리 및 수질 인자들을 2017년부터 2018년까지 수집하고, 기초통계량 및 상관분석을 실시하였다. 또한, 주성분분석(PCA) 및 다중선형회귀모델(MLR)과 랜덤포레스트(RF) 기법을 사용해 변수 중요도를 평가하였으며, $CO_2$ NAF 산정 주요인자인 기체교환 계수를 경험적 모델 3종(Cole and Caraco, Crusius, Vachon), 표면갱신형 모델 4종(Heiskanen, Maclntyre, Read, Soloviev)을 비교, 검토하였다. 조사기간 동안 기체교환계수 산정 결과 Crusius 모델 예측값이 평균 $0.342(0.047{\sim}4.323)cm\;hr^{-1}$으로 검토한 모델중 가장 낮은 평균값을 보였으며, Heiskane 모델이 $2.135(0.337{\sim}5.152)cm\;hr^{-1}$으로 가장 큰 평균값을 보였다. 대상 수체는 연주기로 완전혼합되며 수온성층이 약화되는 시기에 저수지 표층 아래에 축적된 탄소가 표층으로 전달되어 높은 수준의 p$CO_2$를 보이며, 수표면에 큰 난류 강도가 작용하는 기간에 대기중으로 배출(pulse emission) 기작이 나타난다. NAF 산정결과 경험적 모델의 NAF값($-1246.0{\sim}6510.3mg-CO_2m^{-2}day^{-1}$)은 표면갱신형 모델 NAF값($-1436.1{\sim}8485.7mg-CO_2m^{-2}day^{-1}$)보다 낮은 수준을 보였으며, 풍속의 함수만을 이용하는 경험적 모델보다 부력 플럭스와 난류 혼합의 영향을 고려하는 Macintyre, Heiskanen모델이 성층 저수지의 $CO_2$ NAF 산정에 적합한 것으로 나타났다. $CO_2$ NAF 산정의 주요인자로 MLR모델은 Tw, EC, pH, Chla, TOC, Alk, RF모델은 EC, DO, TOC가 중요 변수로 평가되었다. PCA 분석결과, 수온이 낮고 성층이 약화되며 pH가 낮은 상태에서 NAF가 큰 것으로 나타났다.

• Journal of Korea Port Economic Association
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• v.25 no.2
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• pp.25-56
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• 2009

The purpose of this study is to analyze the components and to verify the relationship between service orientation, employee satisfaction, customer orientation and business performance of liner shipping company. In order to achieve the purpose of this study, literature survey related to service orientation, employee satisfaction, customer orientation and business performance was carried out and took a empirical analysis by the use of questionnaire method for employees in liner shipping company. The final results and conclusions are as follows; Service orientation of liner shipping company is a major element which has an effect on employee satisfaction. It has also effect on employee's dedicational attitude to achieve company's goal with pride on their duty and organization. In addition to, the relationship between service orientation, employee satisfaction, customer orientation and business performance finally reach to valuable attitude related in customer's satisfaction, and then it will read up high business performance and successful attainment.