• Journal of English Language & Literature
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• v.53 no.2
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• pp.219-241
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• 2007

This study takes its point of departure from Lacanian psychoanalysis and explores the point that an irremediable gap in the human subject can be illuminated in terms of the Lacanian categories, fantasy, symptom, gaze or voice as cause of desire of the Other. With respect to the category of the symptom, Lacan claims that the Other is always already there in the constitution of the subject, that is, the relation of the subject to the Other that is overwhelming as well as attracting the subject. Chapter II deals with the unthought, excessive ground of the conscious that borders on the subject, as is the case of self-excentric aspect of the man. Indeed, in Lacan's early work, the subject is essentially a relationship to the Other as desire(objet petit a), and there is no such thing as a symptom or fantasy without some subjective involvement. Lacanian unknown real, perpetual excess as the cause of desire animates the subject even as it threatens to blast it apart. The structures that establish the lines of desire in every individual are derived from an ineluctably intersubjective field. The Other is always already there in the constitution of the subject. In the final years of Lacan's teaching we find a kind of universalization of the symptom and almost everything that is becomes in a way symptom. Symptom, embodied in Laura in "Goblin Market," is her only substance, the only positive support of her being. By looking at the Laura's symptom in chapter III we gain an insight into the forbidden domain, into a real space that should be left unseen and unthought. The voice of goblin men therefore functions as a sublime object that is animating as well as dominating element even as it threatens to disintegrate the subject. Objet petit a as a sublime object that must be excluded in reality returns in the real, taking on a certain materiality which has an effect on Laura, that is, animates Laura's desire. Objet petit a is a real object, signifying nothing. In conclusion, the theoretical importance of Lacanian psychoanalysis is the relation between a subject and an Other as Objet petit a.

• The Journal of the Korea Contents Association
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• v.11 no.6
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• pp.144-154
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• 2011

As the cinematographic works are familiar to us, the infringement of the cinematographic works is also increasing. Because we are always able to be closely accessible to the cinematographic works through the Internet, this phenomenon easily occurs across the genre of the cinematographic works or the borders. The case is typical that the Music Video "Sonata of Temptation" infringes the copyrights of the Japanese Animation "Final Fantasy 7". When the two works are compared and analyzed, a considerable portion of similarity is found; we can even express that no new scene is exist except it that the singer sings in the Music Video "Sonata of Temptation". Because this situation is not only a dishonor to the indivisual but also a great loss to the nation, we should thoroughly prepare not to infringe others' copyright even unconsciously.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.647-651
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• 2007

Game was begun to sell to multi platform rather than is sold as a title of a kinds of machine since some moment. In case of competition flag species such as PS (Play Station) or XBOX, there is 'Final Fantasy', 'Gear of War' masterpiece. However, title of game was begun to manufacture to multi platform and this is step that much games are manufactured to multi platform by selection of game developers to minimize danger by production cost rise of game. About game character development method in multi platform surrounding that this research is such game character abstract of multi platform and multi platform environment direction for multi platform through analysis and example proposal to basis data for presentation utilize wish to.

• English & American cultural studies
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• v.10 no.2
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• pp.267-289
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• 2010

Nationalism endorses a collective movement to establish an authentic position in the international cultural and political arena. Arguably the dialectic of nationalism and geopolitics bears a reassuring similarity to the philosophical lineage going back, at least, to Hegelian dialectic of universality and particularity. This dialectic platform has been concerned with sustaining, among other things, the dynamics between the universal and the particular. In practical terms, nationalism prompts increased sensitivity to socio-political pressures coming from abroad to cancel the national particularity into geopolitical, so-called universal, anonymity. Drawing suggestively from psychoanalysis, Lacanian ethics in particular, this discussion articulates the ethics of nationalism. Recounting Kantian self-determination as a reference point for responsible morality, Lacan suggests the problematics of desire as an alternative index for ethics. As individual desire flows from the unfathomable abyss of misrecognition, Lacanian ethics dissuade individuals to unlearn the fantasy that their own real desire, a residue produced by the Symbolic process, can be satisfied with that very socio-cultural Symbolic. Subjecting nationalism to Lacanian implications, Zizek illuminates nationalism as a small screening object which obscures as much as displays the circuits to the individual desire. Psychoanalytic ethics addresses that the ethical base should be found upon the particular, individual, real desire. As far as the nationalist cause also puts emphasis upon particularity rather than universality, nationalism is logically positioned to exert reflective efforts on empowering its constitutive individuals. Lacanian ethics persuades us to challenge the universal claim and to work through to regenerate nationalism in presenting its final contribution towards individual particularities.

• Journal of Korea Game Society
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• v.17 no.1
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• pp.41-50
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• 2017

The theme is the core of the work in all media including the games. In order to develop successful games, it must effectively express the game theme. In order to express the game theme, it must be able to understand and to utilize the characteristics of the game theme. This Study extracted 11 characteristics of the game theme through the precedent literature research and found 4 core characteristics of the game theme through interviews with 11 experts. This Study conducted a survey about 4 core characteristics of the game theme in Final Fantasy X of Japan and Skyrim of USA. As a result, degree of an expression about 4 core characteristics of the game theme received high-rated in common(3.45~4.59 / 5). It may become guidelines for the theme studies in the other games. I will contribute to develop successful games through understanding and utilizing the 4 core characteristics of the game theme.

• Cartoon and Animation Studies
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• s.20
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• pp.47-61
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• 2010

The Uncanny Valley is a hypothesis introduced by a roboticist, Masahiro Mori. The theory holds that as robots and other facsimiles of humans look and act more human-like, the emotional response from a human spectator to them will become increasingly empathic, until they approach realistic similarity to humans but not quite exactly like them, when those images stop being likable and instead become repulsive and "uncanny." Although the scientific validity of this hypothesis is still debatable, it is true that many spectators has tendency to reject hyper-realistic animation. For that reason, the great success of the recent movie Avatar is remarkable. Computer animations that try to represent humans in hyper-realistic way fall into a paradox: successful result images would look too mundane and unsuccessful ones look "wrong". On top of that, audience would expect from hyper-realistic animation to see same level of acting of live-action films, which is usually not the case. The subtle differences between digital characters and real actors irritate spectators and hinder them in absorbtion. The biggest difference between Avatar and other hyper-realistic animation is the referent of their representation. While Avatar pursues a similar hyper-realistic visual style, the referents of the representation shown in this movie are totally alien to us thus impossible to compare with the real counterparts. Unlike characters in other hyper-realistic animations who had to fight an uphill battle with great actors in real life, those in Avatar have criteria of their own. That is why this movie can be free from the dreadful valley and let the audience absorb into the spectacle.