• Korean Journal of Construction Engineering and Management
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• v.23 no.6
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• pp.15-20
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• 2022

A single-person-house-holder has been increased since 2000s in South Korea, which led to high demands for small and medium-sized new houses requiring municipal architectural review committee consideration. And it has been argued recently that there are many limitations in the review system. Comprehensive expert surveys and interviews were conducted and the results were analyzed using the AHP to explore limitations in B city. The analysis with the data of 27 survey responds found that 'Related ordinance itself', 'Committee members limitation', and 'Absurdity on administrative procedure' are problematic in order of priority. It is also revealed that architects and administrative officials have different thoughts on the seriousness of those. The results of this study are expected to be used as basic data on studies for improving the system.

• Iberoamérica
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• v.21 no.2
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• pp.53-81
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• 2019

Generally, the image of Colombia is constituted as a dangerous country in war against guerrillas and with greater cocaine production. The massacre of Bojayá, taken to the theater work Kilele by Felipe Vergara which forms the object of analysis of this paper, was an event that has most affected the sensitivity of Colombia in the first decade of the 21st century due to the absurdity of its occurrence and the magnitude. The work Kilele not only represents the social drama of Bojayá as a bitter and nightmare past, but breaks the veil of death and communicate with the souls that, according to their beliefs, still hang in limbo. The main goal of this act is to go to reintegration of fractured society, celebrating a funeral rite worthy of the deads that wander various spaces of limbo. This article analyzes the epic structure in Kilele, rituals related to the African spirituality, and the fragmentary structure of the work. Finally this paper intends to reveal how it helped to recover from the trauma of the massacre.

• Journal of English Language & Literature
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• v.58 no.1
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• pp.21-42
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• 2012

Gloria Naylor's second novel Linden Hills (1985) explores the issues of self-exploration, empowerment, history, and memory by delineating the communal and familial tragedies and the distortion of values prevalent in a prosperous African-American urban community called Linden Hills. Drawing upon the Freud's concept of "primal scene" and "family romance," this paper aims to focus upon the Nedeed family, the founder of Linden Hills, and investigate the compelling traumatogenic force within the family, which is inseparably intertwined with the inversion of values and moral corruption permeating the entire community. The "primal crime" committed by the Nedeed ancestors serves to preserve and perpetuate a tyrannical rule by ruthless patriarchs who reign by underhanded strategies of purposefully neglecting and abusing others, including their own wives. The imprisonment, by Luther Nedeed, of his wife Willa in the family morgue epitomizes the long legacy running in the family-the oppression and burial of the pre-Oedipal, maternal history. Willa's accidental encounter, at the nadir of the family estate and her personal despair, with the faded records of the forgotten and abused Nedeed women exposes the violence-ridden ground of the family's primal scene and the absurdity of family romance the Nedeeds pursued. As the several lines of poem composed by Willie, Willa's male double, show, the hidden, forgotten history of the Nedeed women, in a sense, is the real, which cannot be assimilated to the social symbolic governed by the inhumane patriarchy of the Nedeed family and the success-oriented Linden Hills society. By portraying a catastrophic downfall of the Nedeed family and the futile outcome of its family romance, the ending of Linden Hills conveys implicitly that the contingent symbolic order and its oppressive control, however solid and invincible they may seem, can be toppled down by the real, its nameless forgotten Other.

• Journal of Korean Classical Literature and Education
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• no.35
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• pp.87-122
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• 2017

1) The passage "Sila seongdae so-seongdae cheonha daepyeong nahu-deog (新羅盛(聖)代 昭盛代 天下大平 羅侯德)" of the Korean Dynasty , corresponds to the primary passage of Cheonyong Rang Manghaesa(처용랑 망해사)>. These passages are ironic expressions of King Heongang's reign. This passage can therefore be interpreted as having the meaning of "People talk about King Heongang who ruined the kingdom. The bright politics of Silla's loyalty is the virtue of King Heongang." 2) "Cheoyong aba isi insaeng-ae sangbuleo hasilandae isi insaeng-ae samjaepalnan-i ilsi somyeol hasyatda (處容 아바 以是人生애 相(常)不語시란 以是人生애 相(常)不語시란 三災八難이 一時消滅샷다)." This was said by Cheoyong(처용), who was unable to reveal his anger while witnessing his wife being raped by Yuk-sin(疫神). This passage means, "Father Cheoyong(처용), in this world if a man does not express anger about the absurdity of the world, he can escape from catastrophe," or, "Father Cheoyong (처용), because in this world you had not expressed anger about the absurdity of world, you could escape from catastrophe." 3) In "maa-man maa-man haniyeo sibi jegug-i moda jiseo syeon aeu cheoyongbi-hal maa-man haniyeo (마아만 마아만 니여 十二諸國이 모다 지 셰온 아으 處容아비 마아만 니여)," the most likely interpretation of Maa is "마아(麻兒)," which means "scarecrow." In this way, this passage emphasizes that Cheyong(처용) is not a scarecrow, but a representative of the eyes of all people in all kingdoms. 4) In "meoja oeyaja logliya ppallina nae singohal maeyara (머자외야자 綠李야 리나 내 신고 야라", meoja (머자) is the double arranging shape of meotda(멎다), and oeyaja(외야자) is the double arranging shape of oeda(외다); those characters mean "ugly" and "wrong for each other." Additionally, Rokri(綠李) can be regarded as an administrator in blue or black clothes who is performing an errand of the yuksin(疫神).

• Journal of the Korean Society of Costume
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• v.40
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• pp.151-170
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• 1998

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.

• Korean Security Journal
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• no.10
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• pp.293-322
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• 2005

The culpability of a person, as determined by due process of law, for any of his actions that are defined as criminal. Determination of such responsibility is a legal function, not a psychiatric one, although a psychiatrist may be called upon to present evidence to the court in order to aid the judge or jury in reaching a decision as to responsibility. Determination of responsibility varies with the laws of the state in which the accused is being tried, but in general all states base their laws on three famous judicial decisions concerning criminal responsibility. 1. the M'Naghten(McNaughton) rule(a. to establish such a defense the accused, at the time the act was committed, must be shown to have been laboring under such defect of reason as not to know the nature and quality of the act he was doing, b. if he did know it, he did or know that what he was doing was wrong). 2. the irresistible impulse test. 3. the Durham decision. Under the Durham test, however, the psychiatrist may give any relevant testmony concerning the mental illness at issue. The psychological and behavioral appearance of a person, in clinical psychiatry this term is commonly used to refer to the results of the mental examination of a patient. The written report of the mental status usually contains specific references to the following areas: I. Attitude and General Behavior (1)General health and appearance. (2)General habits of dress. (3)Personal habits. (4)General mood. (5)Use of leisure time. (6)Degree of sociability. (7)Speech. II. Attitude and Behavior during interview (1)Co-operativeness. (2)Poise. (3)Facial expression. (4)Motor activity. (5)Mental activity. (6)Emotional reactions. (7)Trend of thought. III. Sensorium, mental grasp, and capacity (1)Orientation. (2)Memory and retention. (3)Estimate of intelligence. (4)Abstraction ability. (5)Tests of absurdity, interpretation of proverbs. (6)Judgment.

• Cartoon and Animation Studies
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• s.24
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• pp.25-48
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• 2011

The fantastic has had various semantic layers between 'the Marvelous' and 'the Uncanny', these has been assorted by historical and synchronic aspects. The Marvelous has been harmonious and abundant world of fantasy which includes metaphysical system and all tradition of magical fence. The Uncanny has been a subversive fantasy world which shows absurdity and negative truths of this very world by modern consciousness. In comics, because of the media features, it is more useful the fantastic than the realistic. However, the relationship about comic and fantasy has rarely discussed in detail. So we has wanted to understand the specificities of affiliation with the Marvelous and with the Uncanny. Then it has been necessary to check the works of You, Sijin the comic book writer, for we ought to know how the affiliations with fantasy could influence each works' styles, and themes. You, Sijin started her works with sensibility of uncanny, but she tried to develop the theme "uptight" and devoted to establish "the Secondary World" stably. However, at Shin Meoung Ki(神明記) fantasy world overwhelmed the theme. After that, in The Closer and On, she crashed down the uptight feeing and made new self-consciousness by mixed fantasy style. The Closer and On has been the turning point of writer You, Sijin. Since than her works has showed a propensity for the Uncanny.

• Cartoon and Animation Studies
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• s.38
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• pp.115-132
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• 2015

An animation is a tool to represent the consciousness of an author. It is a medium that converts his/her consciousness to time by the means of spaces. Image is the most inherent element among the elements of an animation. Character is the element that has the very core function among the elements of an image because a character is a shape that can deliver a story through various actions and facial expressions. In this context, is a representative satire animation that describes a ranked and unequal human society and selfishness and absurdity of human beings existed in the human society, based on the original work of George Orwell. Therefore, this study aims to study what the work tries to satirize through the meanings and symbols that the characters, animals, and spaces in the work. As a result of the study, it was found that the characters appeared in the work are metaphoric symbols that imply the meanings of each character, not just simple characters or spaces. In the work, the farm is a symbolic space that symbolizes a human world. John, a human being, is described as a dictator in an absolute Russian monarchy who suppresses people. Old Major, a pig, is described as an old pioneer that preaches the appropriation of a revolution while Snow Ball, a pig that follows the Major is described as a naive leader that dreams to establish a real socialist state where everybody lives equal, through successful revolution. Another pig, Napoleon is described as the more greedy dictator than human being. He killed Snow Ball for his private ambition and suppresses and exploits the same race, animals. That is, setting man and various animals in the relation of dominant class and subordinated class, the author generates conflicts among characters. Although the characters pursue an ideal society through revolution, it requires another revolution in the process, which expresses repetitive contradiction of human history in a symbolic and strong way.

• The Journal of the Korea Contents Association
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• v.20 no.9
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• pp.638-647
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• 2020

This study reflects on suffering, a theme of anthropology, from a Christian theological point of hope. It suggests that suffering is not a negative experience, rather a medium of hope that can be a positive driving force in life and an opportunity to reach personal maturity. It aims to deepen the content of anthropology regarding the meaning of suffering by discovering a new harmony within the relationship between pain and hope. The book of Job denies the theodicical concept that justifies suffering as punishment for human sins and opens a new horizon of understanding the suffering as a space of hope, where men can experience the Love of God in the relationship with God. In his theology of suffering, Moltmann broadens and deepens the horizon of understanding as the book of Job discovered. First, he interprets the history in the hope of an eschatological future when the resurrected Jesus Christ will bring the final victory over evil and suffering. Then he invites men to proactively resist the absurdity and suffering revealed through this interpretation. Second, Moltmann reflects on the problem of suffering in the concept of the Trinity of God who endures active suffering with love for men shown in the crucifixion of Jesus Christ. He offers another hope that enables men to overcome the suffering in God's love. Therefore, the Christian faith can confess that we can hope in suffering.

• Korean Security Journal
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• no.62
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• pp.9-33
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• 2020

This study presents aspects of the financing of terrorism using virtual-currencies. Fisrt of all, this introduces the conventional threat of the financing of terrorism and the analysis of current legal system regarding virtual-currency in South Korea. Next, the financing of terrorism cases are analyzed. With given analysis, the paper deals with its response and future extensions by technical and institutional aspects. The threats of the financing of terrorism are going higher after the appearance of virtual-currencies such as Bitcoin. There are two typical ways to use virtual-currencies by terrorist groups. One is to conduct public fund-raising in the social network system and the dark web. The other is to hack into virtual-currency exchange network in order to steal virtual currencies for developing the weapon of mass destruction. Specifically South Korea is top three country of trading virtual currencies and has been subject to virtual-currency hacking more than 10 cases. However, many countries including South Korea deal with virtual currencies as only innovative technology and means of investment, not the threats of the financing of terrorism. Under these circumstances, there a the legal contradiction. This article points this limit and absurdity. Also, it shows reasonable alternatives. All in all, given these aspects, the article proposes detailed policy directions.