• Iberoamérica
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• v.12 no.1
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• pp.349-374
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• 2010

En realidad ningún otro cineasta español que Pedro Almodóvar ha centrado tan obsesivamente en Madrid. Casi todas sus obras se ocupan de la capital de España como espacio cinematográfico. Como uno de los protagonistas de La Movida, Almodóvar es un producto de Madrid de la Transición que dió luz a la nueva sociedad democrática. En principio, Madrid en las películas de Almodóvar se convierte en un espacio carnavalesco desde la perspectiva bajtiniana. El crítico ruso ha exaltado la plaza pública de los pueblos medievales europeos como el espacio carnavalesco en el que los contactos libres y familiares se realizan y el principio de lo corporal y lo material predomina. Para Bajtín, el carnaval es básicamente un rito político en el que el individuo parece dotado de una segunda vida que le permite establecer nuevas relaciones verdaderamente humanas con sus semejantes sin ninguna represión. Así que en el mundo carnavalesco todo lo sagrado, lo oficial y lo privilegiado se destronan, y en cambio lo grosero, lo extra-oficial y lo bajo se reivindican. Como los participantes del carnaval, los personajes de Almodóvar disfrutan de una segunda vida en un Madrid del mundo al revés. Por otra parte, la representación carnavalesca de Madrid tiene una tradición rica y larga en el arte español. Entre muchos artistas Goya, Arniches, Valle-Inclán y Buñuel son los antecedentes destacados de esta tradición. Así pues se puede concluir que la estética del cine de Almodóvar está anclada en la tradición hispánica del carnavalismo más bien que la estética global de la posmodernidad.

• Journal of English Language & Literature
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• v.58 no.1
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• pp.69-91
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• 2012

Marina Carr's By the Bog of Cats.... (1998) is the last play of the trilogy of "the midlands plays" which can be regarded as her re-writing of both Euripides' Medea and J. M. Synge's The Playboy of the Western World by resetting the two plays in the midlands of contemporary Ireland. Carr intends to courageously explore into the dangerous liminal space, i.e., the middle between the past and the present, the high Greek and the Irish folk culture, dealing with the ghosts of the dead writers for her own Irish feminist theatre. Thus, in the middle Carr can build a new Irish theatre by minorating and abjecting the Greek tragedy and subverting and expanding Synge's theatre of grotesque realism. This paper attempts to read By the Bog of Cats... as Carr's final project of exploration into the midland of Ireland to establish a new Irish feminist theatre and at the same time a new Irish folk theatre. By focusing on her strategies of minoration and subversion through grotesque imagery and carnival rituals it argues that Carr put Hester's becoming-ghost in the middle, the bog of the cats as both grave and womb, waiting for the birth of a new Irish people. And it emphasizes that the ghost of Hester, merging with the ghosts of her mother and daughter by the bog of cats will haunt the official society as a threatening abjection, challenging the restoration of the social order.

• Journal of Sericultural and Entomological Science
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• v.53 no.2
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• pp.78-81
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• 2015

This study aimed to determine a feed withdrawal duration time of Gryllus bimaculatus (Gb), for removal of intestinal feces. Finally, this species of cricket has been temporarily approved for use as a human food source in Korea. To commercialize Gb as an edible insect, we attempted to prevent the proliferation of micro-organisms and improve taste of Gb by removing intestinal feces of live crickets. Our study showed that weak crickets were damaged in 2 days after feed withdrawal in farm. The microscope findings also revealed that feces of strong crickets' intestine almost disappeared at 1 day after feed withdrawal and instead, some of arms and legs of weak crickets were observed in the former's intestine. The results suggest that 1 day is deemed to be an adequate time for feed withdrawal, when it usually takes 1 day to deliver live crickets from the farm to a destination.

• The Research Journal of the Costume Culture
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• v.26 no.6
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• pp.823-835
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• 2018

The body is an important object of costume expression, and the reflection of the aesthetics of the body according to age, culture, individual or group determines the form of the costume. In particular, British artist Leigh Bowery provided many designers and celebrities with original design ideas. Leigh Bowery's costumes are related to the carnival concept. Thus, this study analyzed Leigh Bowery's life and works, and examined Michael Bakhtin's grotesque carnivalesque theory. Based on Bakhtin's carnival theory around 100 works by Leigh Bowery, in the form of YouTube videos and DVD clips were analyzed in this study. The results of the analysis Leigh Bowery's body and costume research are as follows. First, this study can define fetishism as a characteristic of costumes such as body suits, harnesses, high-heeled boots, and stockings, that stress the body. Second, the character of the body is not expressed as that of an idealized body, but the fat and ugly aspect are revealed. Third, Leigh Bowery's costumes are characterized by ambiguity. The costumes blur the boundaries between women and men. Fourth, common sense, combined with normal and bizarre, brings out a strong sense of carnival humor with ridiculousness arising from the gap between reality and reality. His performance has had a significant impact on victims of discrimination or unequal treatment in sexual, racial, and age-related situations. This study should inspire many designers through the study of Leigh Bowery's body expression and dress, but it also introduces fashion icons that are not well known in Korea.

• Journal of Wetlands Research
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• v.15 no.4
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• pp.485-491
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• 2013

This study examined the cannibalistic polyphenism of larval salamander Hynobius leechii by the level of predation risk. Salamander eggs were collected from three regions (Mountain Inwang, Mountain Surak and Gwangju). Eggs were treated by three different risk conditions: (1) high risk, predation risk three times a day; (2) medium risk, predation risk once a day; and (3) low risk, no predation risk. Predation risk was conducted using a chemical cue from Chinese minnows. The chemical cue treatment started from the day of collection and ended one week after hatching. Post-treatment measurements were head width at the level of the eyes (HWE), largest head width (LHW), and Snout-vent length of the each larva. To compare the morphological change according to the predation risk, we modified the two head size, HWE and LHW, to HWE/LHW. A significant difference in HWE/LHW and snout-vent length was evident according to the level of predation risk. And larval mortality was increase by the predation risk. The results indicate that predation risk can cause cannibalistic polyphenism of larval salamander and this morphological change could influence larval mortality.

• The Journal of Art Theory & Practice
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• no.13
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• pp.97-132
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• 2012

1799 Francisco de Goya published Los Caprichos with 80 aquatint etchings. On 6 February he advertised it on the front page of the Diario de Madrid. The long advertisement which began with "a collection of prints of capricious subjects, invented and etched by Don Francisco Goya" informed purpose, themes and methods of this collection of prints. According to this advertisement Goya "has chosen as subjects for his work, from the multitude of follies and mistakes common in every civil society and from the vulgar prejudices and lies authorized by custom, ignorance or self-interest, those that he has thought most fit to provide material for ridicules, and at the same time to exercise the artist's imagination." The text emphasized that the 'author' of this series didn't to want to criticise any individual and to be a copyist. From his phantasy Goya invented many creatures like the anthropic, humanized animals etc.. With Los Caprichos he stood on the threshold to Romanticism. The early researchers of Los Caprichos classified its author, Goya as an enlightened intellectual. The similarity of the themes of the series with the subjects of the Enlightenment, his some enlightened 'friends' and the idea to avoid the prevalent mystification of his life supported this theory. But this trend became revised since the 80's of the last century. This made possible to research Goya's works in new perspective and to see that Goya didn't criticise the Spanish society and his contemporaries. Rather he showed its reality and parodied through creatures which are mixtures of the reality that he observed, and visions that he invented. Characters and scenes in Goya's prints are ambiguous and equivocal. They have the values which are defined by the dualistic metaphysic in Europe as oppositional, like good and evil for example, at the same time. Goya himself also appeared in various types in this series. This ambiguousness, or "polyphony", as Jennis Tomlinson defined, is a symptom of the decay of the belief in the Enlightenment which spreaded in Europe as a result of the attack of Bastille and the French Revolution. Goya's self-portrait in pl. 43 of this series, "El sue$\tilde{n}$o de la razon produce monstruos" shows the complex psychology of him and his contemporaries as well. As the rest etchings after this print show witchcraft and monsters reside in the world in which the reason of the Enlightenment and the through the reason weakened God's rule lost their authority. In this thesis I will examine and analyse how Goya represented in Los Caprichos the nature of man and its society, as complex being in which the 'antagonistic' value couple as good and evil couldn't be divided, but are united.

• The Journal of the Korea Contents Association
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• v.16 no.10
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• pp.573-587
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• 2016

This study is the one of the first full-scale subsequent research of a TV drama writer who has been out of scholarly pursuits. Along with the 5 advanced research, this study is to analyze Su-Hyeon Kim's difference and her underlying consciousness by applying the Bahktin's dialogism to the author's creating lines instead of existing speech research. Bahktin's dialogism, its core of polyphony, presents a definite purpose to a artistic creation of language. That is to require the author to have 'outsideness' 'boundary carried over' and 'excess of seeing' in a author relation with characters as it leads the characters to 'the whole'. It means an equal relations of mutual independency between the author and the characters. Also this relations accompany by 'unfinalizability of dialogue'. This study ascertains whether the dialogism actually being realized or not in her lines of of her early stage, of melodrama, and of home-drama. The result of this study shows that the she creates 'polyphony', diverse voices of characters, with her mutual independent relations with characters, that is the voices of between characters, between characters' inside. This research also shows that she realizes 'unfinalizability of dialogue' in her drama work itself of open-end as well as in her lines. She has her own consistent distinction of creating lines to be a her drama work itself, that also means to explore language of human beings's existence, and language of perception, instead of using it as a simple tool of making a drama. This study is to explore a subsequent research of the author's lines with another Bahktin's carnivalesque as the lines's importance and the theory's vastness.