• Journal of Digital Convergence
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• v.19 no.5
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• pp.375-381
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• 2021

This study aimed to examine the dilemma of rural China under rapid urbanization process after economic reform, by paying attention to the problem of the order of village community and the expression of individual desires depicted in the film with a rural background. To this end, the narrative analysis, which is suitable for exploring the story structure and expression style of the text, was conducted to examine the community order and ethics, patriarchy and paternity, and the expression of desires of subject. In the film, closed space and villagers, who are disciplined by community customs, local culture, and formality of the rule of manners, are depicted. The film is covered in a form of mystery movie dealing with the deaths of members of the village community. However, the film talks about the rise of the Imaginary desire of subject against the symbolic rules of community order and ethics through the puzzle pieces story according to the perspectives of the characters. In conclusion, through the narrative analysis, it was possible to examine the implications of weakened communal discipline and paternity of the countryside by the rapid urbanization of China, and implications of the lethargy and neurosis of the subjects.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.181-209
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• 2019

The purpose of this article is to compare zombie narratives in relation to the Other. In previous research, the view of zombies as post-capitalist soulless consumers or workers has been frequently expressed. But in this article, I wanted to look at zombies as the main cause of the collapse of the world and a new future. First, zombies do not only mean the representation of the consumer in the late capitalist era. Rather, it is an awakening subject desiring the outside of the system. As you can see from the Uncanny's point of view, zombies are something that we should oppress as freaks and monsters that threatened the Other. To be a zombie in this way is to meet one's other self, the "Fundamentals of Humanity," and it is the moment when everything becomes the subject ex nihilo, the new beginning. Second, the concept of infection shows a new ethic. Zombie cannibalism is different from the selfish love of a vampire who sucks a worker's blood. Zombie cannibalism is an infection, which is a model of Christian love for one's neighbor. It is a moment of awakening and the beginning of solidarity. It is on the waiting for the solidarity that the zombie hangs in such a way, and the attack on the human being is an active illusion. Third, the situation of the end of a zombie narrative is another event for newness. The anger of a zombie serves not just to show monsters, but acts as a catalyst that accelerates the world's catastrophes. The anger of zombies is the messianic violence that stops the false world, and presents a new way. The emergence of zombies and the popular response to them embody a desire for the possibility of a new subject and world.

• Cartoon and Animation Studies
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• s.26
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• pp.79-108
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• 2012

This thesis is on the purpose of seeking for the possibility of a mechanism in interpreting, analyzing and criticizing cartoons which are applied to the concept of "the gaze" based on "the otherness of vision", which states a pluralistic visual world. It proves that cartoons are in line with other art works that are the subject to "lack and desire"; the gaze, greets reality and acts as an important criterion of analyzing and criticizing the trend in contemporary art, in which the cartoon expresses the gaze in harmony within its work of art. In this thesis, the artist, Kang Doh-ha structuralized ambiguous and difficult forms of art as he has cumulated experimental minds by working in an indie cartoon plane for a long period of time. Among his works of art, he identified the "invisible world" through his piece "Kubrik". Therefore, he represented: a metaphor and a metonymy, an ambiguously situational expression, an intentional and emotional error, the structure of individuality and integration, and finally tension beyond its meaning through use of 'the gaze' that is both the cause and the subject of a desire in the visible world which Lacan academized when he interpreted and analyzed "Kubrik". The concept of the gaze can be used in a variety of ways to display one another's presence in relation each character, revealing a spot of lack by staring back at readers or audiences and furthermore, to analyze and criticize the hidden side of the art piece by critics. The most important details are the artist's gaze, which is seen in the eyes of the analysis and also his or her criticism of the cartoon, which functions as a metaphoric screen in which the subject himself or herself betrays the law of desires thus enabling the violent and cruel reality to be masked and indulged in plays. This will serve as an element that will lead into an art as well as control the degradation to just a piece of enjoyment with the cartoon remaining only within the visual world.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.325-330
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• 2021

This study set out to investigate the forms, attributes, and escape methods of post-subjects projected on the investigator's works in connection with rhizomatic thinking proposed as a way of social transformation by Deleuze and Guattari and examine their social connotations. Post-subjects projected on the investigator's works are not completed wholes of some sort, but like materials whose constant premise is change and creation. In the investigator's works, post-subjects have conscious and unconscious desire. It is the desire of creation with positive attributes including Deleuze's and Guattari's pursuit of changes in a contradicting society. When desire is deployed in post-subjects, they will carry out an escape. This way of escape is rhizomatic proposed by Deleuze and Guattari. It deconstructs contradicting things and repeats connection, contact, and severance with the outside world, building a new order. Rhizomatic post-subjects appearing in the investigator's works depict the escape process and method in abstract ways through the variable installation of objets combined with a color field of repeating brushes. In this work, the goal of post-subjects is to make a safe landing in a space where beings are recognized for their values and free and creative lives. These post-subjects are nomads creating a new landscape continuously, wandering around vast plains, and also artists and literary figures resisting a contradicting society. That is, they are connected to the concept of a war machine proposed by Deleuze and Guattari as a concept of social transformation and to the concept of Nietzsche's Agon to devise and create new values and politics based on street passion. They seek after a space where they can co-exist with otherness recognized rather than the complete deconstruction of the old order.

• Journal of Sasang Constitutional Medicine
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• v.10 no.1
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• pp.215-233
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• 1998

The object of this study is 27 patients who had been treated in the Oriental Medical Hospital at Dong Eui Medical Center during 6 months from January 1998 to June 1998. We proceeded the judgment of Sasang Constitution by Questionaire of Sasang Constitution Classification II(QSCC II). The following conclusion were made in comparison with Questionaire of Sasang Constitution Classification II(QSCC II) and Questionaire of Pusan Sasang seminar. 1. The subject of "the facial type is small and sharp" is significant differences in Sasang Constitution classification. The frequency of Soeumin group is more than Taeumin group and Soyangin group. 2. The subject of "the walking form is fast and shake the body" is significant differences in Sasang Constitution classification. The frequency of Taeumin group and Soeumin group is less than Soyangin group. 3. The subject of "the skin type is white and thin" is significant differences in Sasang Constitution classification. The frequency of Soeumin group is more than Soyangin group, and the frequency of Taeumin group is low marks. 4. The subject of "the skin type is tender and dry" is significant differences in Sasang Constitution classification. The frequency of Taeumin group and Soyangin group is less than Soeumin group. 5. The subject of "the image of face is smart" is significant differences in Sasang Constitution classification. The frequency of Soeumin group is more than Taeumin group and the frequency of Soyangin group is low marks. 6. The subject of "the sweating type is not sweatier" is significant differences in Sasang Constitution classification. The frequency of Taeumin group and Soeumin group is less than Soyangin group. 7. The subject of "the desire of eating is changeable accoding to emotion" is significant differences in Sasang Constitution classification. The frequency of Soeumin group is more than Taeumin group and Soyangin group. 8. The subject of "the health is changeable accoding to the type of stool" is significant differences in Sasang Constitution classification. The frequency of Soeumin group is more than Soyangin group and the frequency of Taeumin group is low marks. 9. The subject of "the type of voiding is changeable accoding to the drinking when they have a fever" is significant differences in Sasang Constitution classification. The frequency of Taeumin group and Soyangin group is less than Soeumin group. 10. The subject of "the skin type is soft" is significant differences in Sasang Constitution classification. The frequency of Soeumin group is more than Taeumin group and Soyangin group. 11. The subject of "the chief complaint is the forgetfulness" is significant differences in Sasang Constitution classification. The frequency of Soeumin group is less than Taeumin group and Soyangin group.

• The Journal of Art Theory & Practice
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• no.15
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• pp.51-79
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• 2013

This paper examines the characteristics of post-modern self-portrait photography. Characteristics of postmodernism associated with the "loss of centeredness," such as the death of the author, interdisciplinarity, and intertextuality, brought about a number of changes within the self-portrait. The distinction between post-modern and modern self-portraiture can be characterized by the following qualities: appropriation, the use of photography, and the utilization of the human body as an art. The characteristics of post-modern self-portrait photography can be represented through the works of Cindy Sherman, Orlan, and Morimura Yasumasa. By presenting prototypical women in her works, Cindy Sherman not only represents images of those women, but also exposes her fictitious role in the work. She creates a distance between herself in the works and herself in reality and discloses a paternalistic gaze. Meanwhile, Orlan transforms her face into a distorted image and presents it as an alternative identity that is representative of postmodernism. She corrodes the standard concept of identity through plastic surgery and treats the face not as a place where the identity stays, but as a simple body part or fragment of skin. Orlan's post-human face is malleable according to the artist's desire to raise the issue of what the human face is, and opposes the structure of modernism. Morimura Yasumasa also appropriates images from masterpieces and presents a hybrid identity between Eastern and Western, male and female, original and replica, and subject and object. In order to dissect social prejudice, he puts forth every single structural dichotomy that coexists in his self-portrait and suppresses a strong ego. He also studies the relationship between 'seeing' and being 'seen' by trading the painter's role from that of the subject to that of the object.

• Journal of English Language & Literature
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• v.58 no.5
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• pp.859-880
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• 2012

This paper aims at analyzing Robert Southey's Thalaba the Destroyer in relation to cultural colonialism of the British Romantic period and investigating the ways in which this text portrays the Other through its literary representation of the East. Especially, this paper attempts to show that the Oriental world constructed in Southey's text reveals the imperial subject's self-conscious awareness of its unstable relation with the unknown Other. For this purpose, this paper attends to the formal aspects of Thalaba the Destroyer, examining the process by which the reader's generic expectations about the "epic" undergo complex revisions and frustrations through reading this text. The epic elements contained in Thalaba the Detroyer include the battle between good and evil and the hero's moral epiphany arising from his struggle against malicious enemies. Yet, Thalaba the Destroyer constantly destabilizes the distinction between self and other by leading the reader to recognize the uncomfortable similarity between the poem's tyrannical figures and imperialistic monarchs in the Western civilization. Thus, when the hero enacts a revolution against despotism, the resistant power points not only to the imagined false kingdom within the text, but to the core of the real Empire that seeks to construct its own "garden" in the global scene. In addition, Southey's "panoramic" description of Oriental objects and stories in his footnotes lacks a framing perspective, erasing and de-stabilizing subject/object distinctions. In these footnotes, he exposes his profound attraction to the culture of "Other" and also conveys his aspiration to transforming Eastern myths and stories into profitable literary texts. Southey's attitude to the East in the footnotes appears to be partially grounded upon the interest of mercantile capitalists of the West, who need to discover potential commodities. Yet, simultaneously, he reveals a sense of moral hesitation about his own desire for the materiality of the East, along with deep anxiety arising from the fear of punishment.

• The Journal of the Korea Contents Association
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• v.17 no.12
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• pp.417-425
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• 2017

The goal of this study is analysing a box office success of The Handmaiden in terms of modified space-time and character. The movie which has original novel induces desire of watching by decreasing property of experience good of movie based narrative of novel. Contrary to novel that is set in Victorian age, the movie changed contents that make a character who realizes masculine of colonialism and women oppressed by man escape through transcending class by adopting period of Japanese occupation. It hereby decreases negative effect by substituting growth and solidarity of women for the element of homosexuality. Also the gender discussion about crimes against female when the movie was running increases factor of sympathy of characters and accord with subject of the movie. Beside that, The reasons of success are detector, star system of actor, effective public marketing of movie trailer and selection of movie won the award for best picture at a film festival.. Movie through adapting novel enhances ability of various creation and blow up appreciation of spectator. The differentiation of adapted hit movie is that the altered content is creative, has subject that corresponding with universal awareness transcending space-time and expresses property of media effectively.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.1
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• pp.113-123
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• 2011

The purposes of this study were to re-interpret the Traditional Korean Painting of Flower and Bird Patterns from a modern point of view and use them in apparel textile design. A literature review of the Traditional Korean Painting of Flower and Bird Patterns was made first, and then, through manual and Photoshop workings, two apparel textile designs were suggested. The results were as follows. First, Traditional Korean Paintings of Birds and Flowers are covered not only by decorative beauty but also by the common pure hope and ideology of loving and adoring nature, which is inherent in the symbolism and racial characteristics and high aesthetic sense appeared by ancestors' life feeling. The meaning that is symbolized by each subject matter appearing in the Transcontinental Painting of Bird and Flower is important, but the ancestors' deeper and affectionate desire is shown in the harmony and happy aspect of a picture where more than two subject matters appear, such as Song Hak do where pine is with crane, cockscomb with chicken, bamboo with beacon fire, or a couple of them with flower. Second, two kinds of textile designs were suggested. The motif of work 1 targeted professional women of activity and individuality in their late 30s to early 40s. The lotus blossom pattern was selected to present its concept, "Chic Elegance." The motif of work 2 targeted intelligent women in their mid 40s, and the peony blossom was selected to present its concept, "Romantic Elegance."

• Journal of Korean Academy of Nursing
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• v.27 no.1
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• pp.212-227
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• 1997

Cerebrovascular diseases in Korea is an important health problem since mortality and mobidity have been increased rapidly. It marked the 2nd cause of specific death rates in 1993. The stroke causes physical function disorder due to hemiparalysis and emotional disorder, and stroke patients experience helplessness, powerlessness. sense of alienation and loss of hope. These feelings make the rehabilitation difficult because they lose the will of life. The subjects of the study were seven citizens who live in Pusan, are over 50 years old and belong to low income-level. The data were collected from Jan. to Sep. 1995. The researcher as a caregiver and volunteer made confidence of them and asked for their agreement on the purpose of the study. The subjects expressed their experience as openheartedly as possible. The analysis of the data was made through the phenomenological analytic method suggested by Giorgi, which is as follows ; as an unit of description which include the subject' expressions and the researcher's observation, it is examined the theme that express the hope experience with the subject's language(underlining), and the focal meanings are identified. The focal meaning is the crystalization of the theme, which is written in the language of the researcher. After intergrating the focal meaning and make the situated structural description as the meaning of the hope experience identified on each subject's point. After intergrating the situated structural description and make the general structural description as the meaning of the hope experience identified on total subject's point then the systemizing of the structure of the hope experienced phenomena and the flowing of the conciousness was researched. The conclusions of this study was as follows : The ten sources of hope which the subjects experienced were sorted as under 〈mutual relations to others : spouse, children, relatives, fellow believer. health professioner. associate patient group〉, 〈spiritual dependence〉. 〈recovery of physical function〉. 〈rumination of the past life〉, 〈expectation of the future〉. 〈economic power〉, 〈belief〉, 〈ability〉. 〈spontaneous participation〉 and 〈recovery of roles〉. Their hope was spoken out by the following two kinds of linguistics. First. the hope was expressed in the affirmative expression as follows : 〈 to be dependable〉, 〈to make efforts〉, 〈to keep under control〉, 〈to desire〉, 〈to be pleasant〉, 〈to be peaceful〉, 〈to be grateful〉, 〈to give help〉, 〈self-confidence. Courage〉, 〈to be happy〉, 〈to satisfy oneself〉, 〈to share with others〉, 〈to understand〉 and 〈to be affected, be impressed〉 Second, the hope was expressed in the negative on pression as under : 〈to be distressed〉, 〈to be uneasy〉, 〈to be sorry, be unsatisfied〉 〈despair〉, 〈to abandon〉, 〈to be fearful〉, 〈to suffer〉, 〈to bear a burden〉 〈to be confused〉, 〈to be solitary〉, 〈chest trouble〉, 〈to feel heavy〉 〈grief〉, 〈to be daunted〉, 〈to get angry〉, 〈to be uncomfortable〉, 〈to have something regretable〉 and 〈to feel guilty〉. And their hope was expressed by the following four behavioral expressions : 〈physical sphere〉, 〈psychological sphere〉, 〈social support sphere〉 and 〈spiritual sphere〉. The reaction patterns of their hope experience appeared in the following 4 coping method : 〈conquest type〉, 〈dependence type〉, 〈adaptation type〉 and 〈fate type〉. Finally, in the hope structure the sense of certainty don't always coexict with the sense of uncertainty, When the stroke patients try to search for the best quality of life, the senses of certainty and uncertainty make a continual cyclic system in the hope structure.