• American Studies
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• v.34 no.1
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• pp.181-202
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• 2011

The purpose of this paper is to examine Paul Auster's Leviathan according to Slavoj Žižek's theory. Analyzing the characters in Leviathan, this paper chiefly discusses the postmodern subject's anxiety and obsessive repetition that the lack of the big Other led to. Section II explains the disintegration of the big Other and the subject's anxiety and obsessive repetition by the interpretation of the characters: Peter Aaron, Maria Turner, and Benjamin Sachs. Aaron wants to write on Sachs's life to overcome his uneasy subject's condition, and to establish the consistent and whole world. But his writing fails to meet his desire, owing to uncertainty of his understanding, and the incompleteness of his writing. In case of Maria, her uneasy subject's condition led to her obsessively repetitive picture-shooting herself and others, which proved to be a meaningless struggle for filling the void of the big Other and herself. Although Sachs already knows the lack and inconsistency of the big Other, he also repetitively tries to establish the consistent and whole Other. In Section III, this paper examines Sachs's terror as he struggles for the preservation of the big Other. His extreme striving also fails to reestablish the big Other as it loses its symbolic effectiveness in the postmodern era because he does not grasp the big Other as an empty Symbolic order, and rejects the premise of the big Other itself.

• Journal of information and communication convergence engineering
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• v.8 no.5
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• pp.595-601
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• 2010

The strategy through visual sense is one of the ways that subject builds the outside world and communicates. The visual sense seems higher level of dependence than the other senses and contributes to intercommunication. For this reason, the desire of image dates back to primitive art and visual image(visual media and visual culture) has dialectically developed in the history of mankind. Visual subject, based on perspective of Renaissance, was moved from God to human beings. Andre Bazin's 'la genese automatique' through technical art has epochally changed the paradigm of visual art and visual culture. From primitive art to photo and film, the image, based on visual sense, has reflected human wish, appealed visual desire and led to evolution of image. In the late 20 century, without dialectical evolution of technology and culture, rapidly progressive digital image has changed social and cultural implication over rational strategy of production and distribution and it strengthened authority of image through visual approach of endless desire. The goal of this study is to analyze the value change of digital image developing a new Renaissance through production, reading, communication, and implication of evolution due to digitalized image, which has evolved as object and tool of desire.

• Cross-Cultural Studies
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• v.21
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• pp.289-306
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• 2010

In Jamaica Kincaid's novel Lucy, the narrator grows up with the burden of colonial legacies embedded with Englands' imperial disciplinary projects, its language, educational institutions, discourses. Colonial education interpellates the narrator into a colonial subject through its multiple ideological discourses and systems. Teaching the literature of England is the most insidious form of the Empire's disciplinary colonial projects, more powerful than military enforcement: Its mode of operation is creating phantasy and instigating and planting desire for such phantasy. As Homi Bhabha aptly theorizes as colonial mimicry and ambivalence, the narrator as colonial subject grows up split and confused as an ambivalent subject, simultaneously mimicking and desiring for the phantasized England as real, while resisting and criticizing such up-bringing and mimetic desire. This paper explores Kincaid's rhetorical strategy of employing Wordsworth's poem, "I Wandered as a Lonely Cloud," especially her use of the flower "daffodil." Employing the concept of "daffodil gap" suggested by postcolonial critics, this paper closely examines two episodes involving the flower daffodil in the novel, one in a colonial classroom and the other in a garden in a new world and suggests that Kincaid accomplishes intertextual critique of colonial education and imperial projects.

• Journal of Digital Convergence
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• v.13 no.1
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• pp.481-486
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• 2015

This study aimed to analyze how a variety of relations created by the actions of characters shown in SBS Wednesday and Thursday dramas are communicated by using Greimas' actantial model. This study analyzed the sparsity structure that the subject have in relations between the subject, and a desire structure that the subject have will appear if we look into the interactive and binding relation between the subject and the object in the process of solving those problems. In the relations between the subject and originator, the role of originator in the dramas was limited when his or her character is established as a poor character weaker than the subject and the one to be protected, whereas he or she was more authoritative than the subject in the structure that originator shares a role as an antagonist. Objectors shown in three works gave help to the solution of incident after all by turning coat as another cooperators of the subject and the object, showing a tendency to reach maturity rather than being unhappy.

• Journal of Fashion Business
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• v.27 no.2
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• pp.124-139
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• 2023

The purpose of this study is to determine the aesthetic identity of modern eroticism fashion in which the energy of desire is maximized through the 'jouissance' and 'gaze' of the unconscious theory of Jacques Lacan. The research method derived aesthetic identity after examining jouissance and gaze deeply related to eroticism in Lacan's theory of the unconscious by analyzing data of domestic and foreign monographs and prior research. Case analysis was limited to 2000 S/S to 2022 F/W. Based on prior research, it was analyzed mainly on clothing with eroticism characteristics of 'exposure, close contact, see-through, the conversion of underclothes into outer garments'. Results of the study are as follows. First, eroticism, which can be linked to Lacan's type of 'jouissance' with multiple meanings as the generating point of eroticism, has manifested itself in voyeuristic eroticism, fatale eroticism, masochistic eroticism, surplus eroticism, and sacred eroticism. Second, as eyes of unconscious desire, visual expression characteristics of 'gaze' appeared as anamorphosis, trompe l'oeil, and dépaysement. The identity of eroticism derived from Lacan's jouissance and the perspective of the desire gaze was divided into voyeuristic desire to gaze, fatal desire to gaze, masochistic desire to gaze, surplus desire to gaze, and sacred desire to gaze. Results of this study will expand theoretical horizons of eroticist fashion with a new interpretation of eroticism by combining Lacan's desire as a repressed and alienated subject within the human unconscious with the art that expands it.

• The Journal of Art Theory & Practice
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• no.5
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• pp.7-24
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• 2007

The subject is connected with a structure named "The Symbolic" to Lacan, but he denied that the subject is explained simply as a fruit of language and "Other". From his point of view, passing through Subject, De-formation and Crack over it is designated as foundation of generation and creation rather than our destined defect. It should not be understood that subject of "The Real" is a concept of the subject free itself from restraint of "The Symbolic". However, this does not mean he asserts "Subject" is something incapable of being controlled by the unknown power. The problem is that this autonomous existence meets inside of it with something "more than one's own self" by "circulating around itself" like a permanent star. This is the indication of a "stranger in the middle of my privacy", or "extimit$\'{e}$", a coined-word by Lacan. Perhaps "Subject" is nothing more than the name of distance of object which is "too hot" to come close, and of this circulating movement. It's because of this object that the real subject stands against generalization and the subject can't be restored to any place in symbolic order-even though it is empty. The part which is told from Lacan's structural theory, that is to say, an importance to Lacan is that his Subject theory is not suggested or denied as a manual structure. On the contrary, it is a study of the relationship between the settled symbol that included in "real subject which is a unconscious one" and the symbolic subject hold- that is a metaphysical subject in general meaning. In Lacan's enlarged concept of subject beyond symbolic reality, it is noticeable that it gives justifiability to the union of a medium of different nature in artistic expression. We can recognize that the unconscious world is a living space which enables it to be a "condition of human being", not something dark under the surface of water through Magritte's(Rene Magritte, 1898~1967) surrealistic works. In other words, Magritte's art secures a core dimension of human nature through a mysterious gap of conscious and settled space. Magritte's drawings often evokes strange and unsettling feelings in people who view his paintings. This is because routine objects are found in "unsuitable" places from which we usually find them in our everyday lives. "Reality" in Magritte's paintings makes it aware that it is a strained field of concealment and disclosure basically between truths, and we can learn that his behavior to overturn to paint in-visible things is finally an effort to restore the "real subject" to the viewer's reality. In other words, such reversion arouses a nostalgic desire for the objects existing in their original appearance as they are - natural condition that our gaze had not been distorted yet by anamorphic stains. - and the state when we are conscious of them normally. Such desire offers an opportunity for us to get out of mental depression rather than operates to us as an abnormal crack. It's a successive process of effort to search for lost subject and Paradise Lost facing up to reality of subject human that is to be a subject of world and life are ousted from their place by structure and authority of culture.

• Journal of the Korean Society of Costume
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• v.51 no.1
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• pp.163-174
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• 2001

The purpose of this study is to review the features of eroticism expressed in men's fashion, to explain psychological and social contexts which engender eroticism and to analyze in what way eroticism is portrayed in men s fashion in this context. Eroticism as the metonymy of forbidden sexual desire, has been embodied mostly in visual forms such as picture and photo. From a psychoanalytic view, the context in which eroticism is formed can be explained by primary narcissism and fetishism. Primary narcissism is the feeling of satisfaction with the self in which the subject who is admiring and the object of admiration are one and the same. Accordingly, in order to give rise to eroticism, both subject and object have to exist. Fetishism, the metonymy of castrated penis, is also one of the factors to produce eroticism. Metaphorically seen as a woman who has a penis, a man who dresses in the same manner as a woman dresses can be a source of eroticism to gays. From a sociological view, the context in which eroticism is fostered depends on the dynamic relations among social powers. In these relations, who is a subject or who is an object has been continuously changing. In the Post-modern culture appearing in the late 20th century, power begins to take various forms, and gays and women who had never been subjects begin to make man an object of eroticism. The other point is that social morality, ignoring desire itself, objectifies sexual desire and seeks to remove It by exchanging it for objectified symbols. The design elements provoking eroticism in men s fashion are exposure and decoration. In particular, models in exposure and decorative fashion have been objectified through the methods of fragmentation rather than showing the whole figure or removing a person s individuality or will,.

• Cartoon and Animation Studies
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• s.44
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• pp.117-141
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• 2016

The various representations are receiving attention in modern society that has so many contents. Among them, the fantasy shows that you can not see in reality. But the intention of these fantasies is not giving a visual fun. The fantasy show the reality through stories that are not in reality. The fantasy that allows readers to continue to make the suspect between the real and the imagination and that suspect arises from the desire of real life. If the desire break the community, the social ideology will collapses. Conversely, if the desire is overturned by community, the social will be maintained. The goal of the fantasy which has the relationships of society is revealed through the various expressions of existence. They are divided into the subject and the other show the inner side of the main character. The subject shows the inner side of the main character by the transformation, alter ego and the other exists. The other shows the desire of the subject by the transformation, alter ego and the strangers. Disney animation studios select the target audience and the message in relation with the society. They choose the original like the fairy tale, myth and change them to satisfy the middle class. The characters of Disney animation says that messages by the expression of fantasy. The subject go through the transformation by twice. The first transformation is antisocial and the second transformation is social. The second shows a complete transformation. The other characters personified show the many kinds of the main character. The other as the alter ego of the main character represents the desire of the subject. They are described as an object of fear and exclusion. They expresses as a dark and menacing looks and hinders the complete transformation of the subject. But they were overthrown by the subject at the end of the story and it strengthen the social ideology. As a result, Disney highlights the value and the moral message of the society by using the representation of fantasy.

• Journal of the Korean Home Economics Association
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• v.40 no.10
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• pp.141-159
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• 2002

The purpose of this study is to find plan of practical using websites as welfare support system for present single-parent family practically. The subject websites were chosen by search in twice using Yahoo(http://www.yahoo.co.kr),Naver(http://www.naver.com).Empas(http://www.empas.com). The first search was accomplished by reference to these websites from the eighth of December to the twelfth of December in 2001. With the use of key words‘widowed mother & widower’,‘divorce’,‘single parent’,‘single-parent home’,‘single-parent family’. The second search was conducted on March 27, 2001. Finally 10 websites were selected. Chosen websites were analysed by structural element measure and structural technique measure of the contents. The following are summary of results and conclusion of this study. First, counsel program, self-help group, legal advice of the legal system and legal question area in the field of psychology·emotion·health problem of subject websites satisfied desire of single-parent family comparatively. Second, subject websites were classified into two types which are after the assessment of contents and structural technique of subject websites, a imaginary site was designed to solve the problem of single-parent family and to support single-parent family by means of prior research. Putting the result mentioned above together, As a step to solve the problem of single-parent family, to use practically website as a place single-parent family can be provided what the country and community cannot offer. It was accomplished by expanding self-help group extremely through the connection with ground to acquire strategy of dealing with single-parent family's desire and problem, volunteer supports and specialists.

• Korean Institute of Interior Design Journal
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• v.20 no.4
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• pp.37-45
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• 2011

This thesis sets out to study the immanent mechanism of architecture which had classified as external spaces in general. As human controls a space, it controls or manages human's behavior, too. This study is depended on the humanities to analyze a various operation of power in the architectural space. It makes a comparative study of a space-power in a dwelling space through a discourse of Michel Foucault and Jacques Lacan, in particular everyday's microscopic scope. According to analytical results, the space-power of dwelling falls under the influence of a spacial arrangement and subject's desire. It has shown a noticeable characteristics in aspects production & consumption, using behavior, and use value. As it is seen through the aspects of production & consumption, owns of the space-power in a dwelling could not be its subject. We have also understood about a physicalistic furniture at the using behavior, it has a special power unconsciously to control a human's action and lifestyle. And then in the aspects of use value, the centric theme is a television. It lies on the core of space-power in dwelling, because is profoundly related to an innate respect of a dwelling value. In conclusion, so this study has the important meaning in the side to offer some interpretative possibility about the architectural space-power through a microscopic structure.