• Journal of English Language & Literature
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• v.57 no.1
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• pp.107-127
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• 2011

Don DeLillo has shown considerable interest in terror, frequently depicting extreme dread of something terrible to happen, in his literary texts. Since more than three thousand innocent people in New York were killed by the 9-11 terrorist attack in 2001, the anticipation about what kind of fiction he would write as a New Yorker was high. DeLillo's novel Falling Man (2007) in fragmentary detail represents the scene of the terrorism from the perspective of Keith Neudecker, a lawyer who escapes the collapsing world trader center. Neudecker's post-traumatic stress disorder in the first chapter is followed by the free-associative portrayal of various impacts of the 9-11 terror on Neudecker's wife Lienne in the second chapter. The random mixture of the first person narratives from such diverse view-point characters as Neudecker's son Justin, relatives and friends, with dialogues and recollections yields a very close picture of the consequences of terrorism. Reading DeLillo's Falling Man in juxtaposition with a Japanese Canadian novel Obasan by Joy Kogawa, reminiscences of the maltreatment of Japanese Canadians during and after the second world war, surfaces the authorial intention of the two novels. They as trauma literature emerge to aim at curing the readers and proposing post-traumatic ethics. Laurie Vickroy's theory of trauma narrative and cure, E. Ann Kaplan's theory of trauma witness narrative and responsibility, and Emmanuel Levinas's theory of trauma memory and ethics offer theoretical grounds for the convincing analysis of the two texts.

• Sijohaknonchong
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• v.42
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• pp.93-115
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• 2015

Dynamics of Sijo was regarded as a genre of 'closed nature' once. But ironically thanks to the 'closed nature', today dynamics of Sijo is refocused in diverse fields. Sijo is quoted not only in its original field of literature, but also in writing study. Quite remarkably, it is often referred to in the field of literary therapy, further in emotional healing. This article discussed the dynamics of Sijo as a manifestation of emotion especially called Gamsung in the process of the refocus. It is to show effectively that as a literary genre, Sijo can interact and share what is reasonal as well as what is emotional and sentimental in a poem as an emotional container beyond the lyricism Sijo has. Of course, it is also clear that the concept of lyricism may limit the dynamics of Sijo itself. Thus, the key word 'Gamsung' mainly referred to in this article was used to show the dynamics which Sijo has as much as possible, overcoming the limitation. That is, the purpose of the study is to prove that Sijo is the genre to represent human emotion most dynamically by reviewing the reasonal aspect of Sijo in addition to its emotional disposition which has been estimated to focus on sentiment or emotion. In the process of reinterpreting the structure of Sijo, the specific analysis on such emotional disposition and reasonal aspect was conducted by structurizing that as '(1) Facing, (2) Feeling dynamical, (3) Interpellating by feeling, and (4) feeling by sensation'.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.190-217
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• 2012

This research has studied the building awareness of Nu-Jeong that a view of nature and aesthetic consciousness to unite the nature are inherent by considering Nu-Jeong of scholars who left fame and wealth behind and retired to hermitage in the backwoods in the 16~18 Century. This is to clarify correlation with leaving nature as it is, namely, an ideal state that scholars at the time would enjoy, through landscape awareness accepted into Nu-Jeong literature. In addition, this research has tracked the ideologic flow that acts on space formation by clarifying Korean unique meanings inherent to Nu-Jeong's cultural landscape. As a suggestion for this, the interpretation through 'Pungsu location Nu-Jeong name's analysis Nu-Jeong literature analysis', etc. was tried, so its integrated conclusion is as follows. It is not a chance that scholars of Joseon have left numerous literature works singing the nature. They already had huge interest and knowledge on the nature, and achieved active poetic exchange by sublimating the praise of nature as literature. Nu-Jeong, which was a place of exchange like this, had cleanliness of the nature and ideological purity as an oppositional space on turbid political realities. The Nu-Jeong literature drew the nature into a literature space as it is, without doing abstraction or ideation on the nature. The owner of Nu-Jeong exclusively possessed such natural landscape in grim and independent postures, so it provided a clue of Nu-Jeong cultural landscape that this research aimed to discuss. Scholars who aimed to raise wide and large vigor filled in between the sky and earth got to convince that people are born from the nature, grow in the nature and finally return to the nature. What people are born from the nature and finally return to the nature is just consistent with Taoistic and Zhua-ngzi thoughts denying human work, and leaving nature as it is or nature itself remained intact which is an ideal state. The construction at the time is a vessel containing the spirit of the times of the era. This thesis has proved that the Nu-Jeong culture of scholars located on the central line of Korean landscape was the flower of Joseon's scholar culture by interpreting it semantically.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.1-13
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• 2010

This research is the semantic study on the nature cognition and lyricism of pavilion builders as reflected in the pavilion tablets in the Damyang poetry culture area built during 16th century. The names of pavilions, pavilion writings and "poetry with given theme" were studied by actual site visits. The view on the nature and aesthetic awareness of the pavilion builders at the time were explored together with surrounding landscapes. Following conclusions were drawn. 1. Pavilion names borrowed phrases from the famous historical events left by the sages. Or, they took the compliment on the beautiful nature surrounding orthe academic achievement of pavilion owners as the theme, then elaborated them with thinking based on Sung Confucianism. 2. The writings of pavilion literature were the idealistic view on the nature. They think the nature and human as "object and ego are one, object and ego communicate each other, object and ego become one". 3. The nature in the 16th century was the "principle of birth-death-grow-wither" for the intellectuals. They thought that the nature is the ultimate place to return for the realization of life with self-respect. 4. The introduction of fairy land among literary activities in the pavilion was the symbolic means healing the frustrated ego. It was confirmed that they temporarily entrusted their depressed feelings by borrowing the fairy land, far from the reality. The pavilion was the space to escape from the reality and soothe the anger and discord in the reality. 5. The pavilion literature in the Damyang poetry culture area during 16th century sang their pleasure of enjoying the beautiful scenery in the rural area using their social status. The literary works also contained their agony due to the frustration of difficulty in the realization of ideal. When the intellectuals, who already mastered literature, history and philosophy, came down to rural area, built pavilions at the location with beautiful scenery, and spent time while composing poetry, it was an escape from the burden that they should take the social responsibility as the model intellectuals of the society. The pavilions in Damyang poetry-culture area during 16th century were the idealized conceptual world and the space of awareness reflecting the philosophy and thinking of the time.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.27 no.4
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• pp.105-123
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• 2016

This study analyzes the spectrum of recommended books for adults included in the bibliotherapy book lists commonly used in libraries and organizations in the UK, US, and Korea. While the recommended book lists in the UK and US retain a diverse range of books relevant to the practitioners' needs, the Korean bibliotherapy book lists are mostly made up of non-fiction self-help books regardless of where the bibliotherapy service is provided. In the subcategory of the bibliotherapy book lists in the UK and US, aside from fictions, books on "health, fitness, dieting" including medical books rank higher than any other kind, which shows that bibliotherapy claims to have therapeutic effects in those organizations. In Korean bibliotherapy book lists, on the other hand, so-called "psychology books impregnated with self-help ideology" take up more than 60%. With the prospect of bibliotherapy as an interdisciplinary practice in mind, I suggest that bibliotherapy should draw upon the insights from humanities in order to help participants have time for deep introspection and attain inner maturity rather than just try to restore their normal conditions before the crisis.

• (The)Study of the Eastern Classic
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• no.48
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• pp.65-90
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• 2012

This paper treats indigenous themes on of Kim Si-seup(金時習). has strong local color to the others of "Keumoh-shinhwa(金鰲新話)". This novel is set in Nam-won(南原) and Manbok-sa (萬福寺)which are used to realize the subject. Not only a folk game like Jeopo is used as important tool, but the main character of the novel is native Namwon man. Kim Si-seup stayed for a long time in Namwon. Because of this experience, he can realize unique and local setting, and then can break from the convention about a place setting of classic novel. The local color on is confirmed at . This tale have come down in Namwon, and then was recorded early 1970s. This tale is very similar with , so many researchers understood that the tale is the orginal work of . However, I suggest that is the orginal. Written with Chinese character, was very difficult to read. Besides, many Chosun scholar couldn't find this novel. Nevertheless, has a strong local color, so many Namwon people could accept this novel, and could create new folk tale easily.

• Cross-Cultural Studies
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• v.46
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• pp.173-197
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• 2017

The present work aims to analyze the concept of space in $Jes{\acute{u}}s$ $Fern{\acute{a}}ndez$ Santos' work Los bravos. Throughout its pages, one can observe the multidimensional possibilities of space in literature. Throughout time, the concept of literary space has developed and it has been modified constantly in order to meet the needs required for the evolution of narratology. In the past, Aristotle stated that space is the place where characters and physical objects happen to exist. This remained almost unchanged until the Renaissance. In the $19^{th}$ century, space stopped being considered just a mere scene where the action takes place as it was given more importance by romantic authors in their works. Realism intensified the spaces as the interior of the house. In fact, the descriptions of space became more important. In this article, I focus on the various meanings of space in the novel Los bravos. First, I analyze the dichotomy between real and ideal spaces, and continue with the cathartic dimension of the fictional space. Then, I present and analyze the opposition between urban and rustic spaces in this novel, and, finally, I show the confrontation between the spaces of men and women. Through this analysis, we can observe that characters have a space where they feel more comfortable and how, occasionally, they leave their "usual space of action" to reach their "ideal place". Women want to stay in their kitchen to chat with each other, while men prefer to leave the house to visit a cafe with their colleagues. The door and the window divide the border of the worlds of men and women. However, that line is not only dividing the structure of the house, but it is also of a psychological house.

• Cross-Cultural Studies
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• v.41
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• pp.33-56
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• 2015

Trauma studies have provided useful models for dealing with the catastrophic and disastrous events that an individual and collective group experience. Most important of all, the perspective of post-structuralist trauma study, including Cathy Caruth, became a paradigmatic model and it has been applied to almost all contexts of life. The perspective of this study model, which is called an "event-based model of trauma," focuses on the literal registration of the traumatic event and the accurate and immediate recall of the past. The person directly involved in the event becomes the passive bearer transmitting the truth of a traumatic event. From this perspective, the traumatic subject only undergoes and endures the event and cannot play an active role in constructing trauma and dealing with it. Eventually, the truth of trauma has to be obtained at the cost of the traumatic subject's autonomy and the possibility of his/her agency. The problem here is that the truth, which is reencountered through the literal return of the past, obtained at the cost of the subject's autonomy, strikes a rather fatal blow to the person, than gives help for resolving many of matters surrounding traumatic experience and curing trauma. This suggests that the active way of dealing with trauma on the part of the traumatic subject, rather than the traumatic event itself, is demanded. Furthermore, because more recently, images of disastrous events were viewed "live" by audiences and an immediacy to the event is replicated in public discourse about them, the event becomes more immediately traumatic and there is a more strong presumption that people regard themselves as traumatic victims than before. This is the reason that we must explore an active way dealing with trauma on more human position at this time. This essay aims to examine the limits of the paradigmatic model of trauma study, an "event-based model of trauma," critically through a literary, theoretical text in which it reveals how the literal return of the traumatic past have a fatal effect on the victim; and hopes to suggest "the narrative memory" as a way to deal with trauma from a more humanistic perspective.

• (The) Research of the performance art and culture
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• no.35
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• pp.509-541
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• 2017

The basic intent of this thesis lies in proposing a meaningful direction of developing cultural content by combining Asian traditional dance forms which hold cultural closeness in common historically. For this study, this paper selected Oyangseon(五羊仙; 'Five Taoist Hermits on Five Sheep'), a Korean court dance of Chinese origin as an example as the Oyangseon story is commonly found in ancient Vietnam and China as well as Korea. Its original narrative is a mythic story that five hermits had come down to ancient Vietnam region riding on five sheep of five colors to bestow 6 ears of milets to people. Later, the story was spread to other regions to be reformed into Woljeongjeon(越井傳; Vietnam), Choi Wee(崔?; China) and Oyangseon(Korea) that have different plot and background. While Woljeongjeon and Choi Wee were adapted into novels that describe the hero Choi Wee's mysterious adventure to be repaid his father's previous devotion to ancient King's shrine. Meanwhile, the epic narrative of Korean Oyangseon proves the modification of the original myth by adding a Seowangmo(西王母; a Chinese mythic heavenly queen) motif while it was enacted as a court dance to praise king's long life and pray country's prosperity following Confucian concept. Based on this historical lineage of Oyangseon story, I searched for the possiblity of constructing a cultural content program by combining the Oyangseon dance of three countries. While there was Oyangseonmu(五羊仙舞) in China which was recently composed by referring to Korean Oyangseon, any traditional dance item based on Oyangseon story was not available in Vietnam. Thus, I tried to propose the Vietnam Dance College to choreograph a new dance item with Woljeongjeon story while using the traditional dance technique, music, costume, etc. of Vietnam as most as possible. As a result, I could display a direction of developing a cultural content by staging three countries' dance items based on Oyangseon story at Korean National Haneul Theater in Oct 2016.

• (The) Research of the performance art and culture
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• no.35
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• pp.471-508
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• 2017

The basic intent of this thesis lies in proposing a meaningful direction of developing cultural content by combining Asian traditional dance forms which hold cultural closeness in common historically. For this study, this paper selected Oyangseon(五羊仙; 'Five Taoist Hermits on Five Sheep'), a Korean court dance of Chinese origin as an example as the Oyangseon story is commonly found in ancient Vietnam and China as well as Korea. Its original narrative is a mythic story that five hermits had come down to ancient Vietnam region riding on five sheep of five colors to bestow 6 ears of milets to people. Later, the story was spread to other regions to be reformed into Woljeongjeon(越井傳; Vietnam), Choi Wee(崔?; China) and Oyangseon(Korea) that have different plot and background. While Woljeongjeon and Choi Wee were adapted into novels that describe the hero Choi Wee's mysterious adventure to be repaid his father's previous devotion to ancient King's shrine. Meanwhile, the epic narrative of Korean Oyangseon proves the modification of the original myth by adding a Seowangmo(西王母; a Chinese mythic heavenly queen) motif while it was enacted as a court dance to praise king's long life and pray country's prosperity following Confucian concept. Based on this historical lineage of Oyangseon story, I searched for the possiblity of constructing a cultural content program by combining the Oyangseon dance of three countries. While there was Oyangseonmu(五羊仙舞) in China which was recently composed by referring to Korean Oyangseon, any traditional dance item based on Oyangseon story was not available in Vietnam. Thus, I tried to propose the Vietnam Dance College to choreograph a new dance item with Woljeongjeon story while using the traditional dance technique, music, costume, etc. of Vietnam as most as possible. As a result, I could display a direction of developing a cultural content by staging three countries' dance items based on Oyangseon story at Korean National Haneul Theater in Oct 2016.