• Journal of Popular Narrative
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• v.25 no.2
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• pp.169-216
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• 2019

This study proposes the concept of Bachchin's Chronotope as a tool for analyzing coevolution between the genre of the epic and society. Bachchin says through the concept of chronotope, literary works are on the foundation on which the axs of time and space intersect, and the literary works standsuch intersections are always conversing with social and historical chronotopes and mutually penetrating. Thus, finding and analyzing chronotope in literary works and extended things such as films and dramas reveals how chronotope and chronotope of a society have created specific social realities through a process of resonance. To make analytical use of this concept, we proposed a "cronotope drama analysis method" and concretely analyzed the genre of Korean medical dramas. The naturalized categories of health care, health, and disease are socially constructed entities, and the analysis of public works that has a significant impact on this process of social construction is essential but was underperformed. According to the analysis, the Korean medical drama's "Chronotope" has evolved using "Chronotope of the school" and "Chronotope of the secret chamber". At this time, the genre of Chronotope was expanding spatially and converging in time. In other words, the influence of structures and systems within the genre has grown, and the capacity of individual actors has decreased. This change in chronotope was interpreted as resonating with the social reality of neo-liberalistic spatial expansion and simultaneous production. The neo-liberalistic trend that dominates Korean society has embraced the category of health care and was further influencing the chronotope of drama text. It can also be inferred that the popular understanding of health care produced by the medical drama genre has taken a break in the process of forming a social reality of health care again.

• Journal of English Language & Literature
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• v.56 no.1
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• pp.135-156
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• 2010

In the 1640's and 1650's, Milton wrote many prose works on a variety of topics such as education, church polity, divorce, censorship, regicide, tithing, civil liberty, and blindness. Much of his prose shows us turbulent decades of English history. In this period, he also published his first collection of poems and wrote sonnets. He wrote 23 sonnets in his life, and many sonnets Milton wrote after he had become Latin secretary are occasional poems in historical time. Milton's sonnets, as Annabel Patterson says, are a marker in his personal development, in his life, in his career as a writer, and in the history of his time. Four sonnets (15, 16, 17, 23), written between 1648 and 1655, were not published in the collected edition of Milton's poem in 1673. These sonnets, addressed to leaders of the Parliamentary party during the English revolution, Thomas Fairfax, Oliver Cromwell, and Henry Vane, and to his friend Cyriack Skinner, have been known as "commonwealth" sonnets. They are also called as "heroic sonnets" because they have the common style and theme with his later heroic epic poems. These sonnets were finally published in 1694 by Milton's nephew John Phillips. Milton was interested in religious, domestic, and political liberty for his lifetime, and his heroic sonnets also deal with these ideas of liberty. Milton asks civil liberty from Fairfax, freedom in religion from Cromwell, and from Vane for the reconciliation of both. The aim of this article is to examine how the rhetorical strategies of his "left-handed" prose interact with those of his "right-handed" poetry. This paper explores the relationship between Milton's heroic sonnets and his prose works, such as The Second Defense of the People of England, A Treatise of Civil Power, and The Likeliest Means to Remove Hirelings. Milton deals with the critical issues of religious tolerance, the separation of church and state, liberty of conscience and defense of his blindness, and attempts to define the statesman's role in peacetime England in these heroic sonnets and prose works.

• BMB Reports
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• v.57 no.3
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• pp.161-166
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• 2024

Aberrant DNA methylation plays a critical role in the development and progression of colorectal cancer (CRC), which has high incidence and mortality rates in Korea. Various CRC-associated methylation markers for cancer diagnosis and prognosis have been developed; however, they have not been validated for Korean patients owing to the lack of comprehensive clinical and methylome data. Here, we obtained reliable methylation profiles for 228 tumor, 103 adjacent normal, and two unmatched normal colon tissues from Korean patients with CRC using an Illumina Infinium EPIC array; the data were corrected for biological and experiment biases. A comparative methylome analysis confirmed the previous findings that hypermethylated positions in the tumor were highly enriched in CpG island and promoter, 5' untranslated, and first exon regions. However, hypomethylated positions were enriched in the open-sea regions considerably distant from CpG islands. After applying a CpG island methylator phenotype (CIMP) to the methylome data of tumor samples to stratify the CRC patients, we consolidated the previously established clinicopathological findings that the tumors with high CIMP signatures were significantly enriched in the right colon. The results showed a higher prevalence of microsatellite instability status and MLH1 methylation in tumors with high CMP signatures than in those with low or non-CIMP signatures. Therefore, our methylome analysis and dataset provide insights into applying CRC-associated methylation markers for Korean patients regarding cancer diagnosis and prognosis.

• Cartoon and Animation Studies
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• s.33
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• pp.223-246
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• 2013

Even though cartoons and narration comics were born from different origin, they have been called by names such as 'cartoons' or 'comics'. The reason can be found in the similarity of cartoons and narration comics. The similarity of cartoons and narration comics is the genre consisting of writing and drawing. Writing can be the format of expression and it can represent the story. Such story is present as a component of 'narration'. Sub genre of comics includes cartoons and narration comics. It includes animation in a broad range. In cases of narration comics and animation, it is thought that narration is present with continuity of time. However, in case of cartoon, because one or two cuts without continuity of writing are frequently expressed, it is being asked whether narration is present. It is easy to be reminded of epic or chanson de geste whenever you hear 'narration'. Since it deals with a biography of the character, we think the concept of 'narration' with temporality. However, narration provides a certain event in a broad range. Thus, cartoons presenting one event with the image may have the existence of narration, because description of multiple scenes of narrative comics can be implicitly represented in cartoons. As such implications leave a space, the empty space can be filled by active reasoning of recipients. However, nevertheless, it is very difficult to find studies as well as mentions of narration in cartoons. Thus, in this paper, we investigate the concept and structure of narration and demonstrate the presence of narration in cartoons. First of all, we looked at the narration theory in literature before studying narration in cartoons. The reason is that we thought the approach to the literary theory was required in order to investigate the basic elements, since cartoons are a collection of writing and drawing. We were focused on the prerequisites of narration presented in "story and discourse" of s. Chatman. If the prerequisites of narration are present, we can assume that the narration is present. The prerequisites are 'narration reasoning', 'screening', 'consistency', 'process statements' and 'stasis statement'. As s. Chatman described them as prerequisites of narration, he analyzed the narration structures of films and novels. In addition, we revealed that the narrations were present in cartoons as we identified how prerequisites of narration presented by Chatman were presented and expressed through "vocabulary of comics", "Timeframe" and "life in the line" described in "understanding comics" by Scott McCloud.

• The Journal of Art Theory & Practice
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• no.9
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• pp.93-121
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• 2010

This study is about Yoo Young-kuk's early works which show constructivism, especially focus on his debut painting, for the 7th Dokuritsu Bijutsu Kyokai(獨立美術協會, the Independent Fine Arts Association) in Tokyo in 1937. The work was painted 2 years after he had started his study in Japan in 1935. It was the first painting that applied Constructivism. played an important role for Constructivism to be a leading art in his abstraction. After this picture, Yoo was soon devoted to the principles of Constructivism-- Faktura(material), Tektonika (tectonics), Tekhnika(technique), space, construction-- in his painterly reliefs. This article examined why Yoo concentrated on Constructivism for , what the characteristics were, and what influences were on other works from 1935 to 1949. In addition, I investigated in which period was painted and how Constructivism was spread in 1930s and early 1940s in chapter 2. I scrutinized Rhapsody in chapter 3. When Yoo created Japan was under the Fifteen Years War(1931-1945), and a major discourse was the Japanese Spirit at that time. It was connected with construction of an ideal nation which the Japanese ultra-national fascism pursued. This ideological pursuit was intended to unite the Japanese people for total war system and to restore a national dignity which had been fallen down due to Manchurian Incident(1931). Thus, on the hand, Kokusai Bunka Shinkokai(國際文化振興, The Society for International Cultural Relations) and the Nippon Kosaku Bunka Renmei(日本工作文化連盟, Japanese Werkbund) were supported financially by the Japanese government. On the other hand, the government enacted regulations to opposing parties which would distract Japanese people's unification. As for the Japanese art world, the merge of art groups was carried out through remodeling of Teikoku Bijutsuin(帝國美術院, The Imperial Fine Arts Academy) in 1935. This brought out continuous dispute and disorder. Young artists who felt difficulty of entering an entry of Imperial Fine Arts Exhibition repeatedly grouped and disbanded for small art groups to build their standing, which they pursued Surrealism and Abstract art. Among them Constructivism was considered as the latest trend and was popular in craft, design, architecture as well as fine arts. In the year before he painted , Avant-garde theatres including Constructivism theatre were introduced in a feature article of September, 1936 in Atelier, which was dealing with mainly avant-garde arts. Books related with Constructivism were translated into Japanese, and Gestaltung Education had become active since the publication of A Compendium of Gestaltung Education("構成敎育大系"(1934)), Salvador Dali(1904-1989) was also introduced, so Surrealism was drawn more attention by young artists. reflected popular trends. Yoo analyzed the Japanese avant-gardists' archaic taste in the Independent Art Association that he submitted his painting to. And then he entitled 'Rhapsody' which derives from Ancient Greek's epic poetry and deliberately set up images in a scene. In chapter 3, I examined a theme which was planned carefully by sorting favorite images from the Japanese Surrealism. was a result that Yoo Young-kuk observed objectively the phenomenon that young artists dreamt of Utopia or longed for Nostalgia passively and lethargically under wars. And then he otherized himself from that circumstance. First of all, for he used the typical icons of Japanese Surrealism such as the horizon, flowing clouds, and vast plain that were considered stereotypes of Arcadia. He, however distinguished himself form those Japanese Surrealists. He made his own vision about Utopia by referring Lyubov Popova(1889-1924)'s stage design. His objective point of view was expressed by positive and dynamic images of structure and human's actions. Constructivism which was attempted in had an effect on other early constructive works, and the principles of Constructivism were sought hard in reliefs, paintings, and photos.

• The Korean Journal of Nuclear Medicine Technology
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• v.13 no.3
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• pp.76-80
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• 2009

Purpose: The uptake of $^{99m}Tc$-MIBI increases in the parathyroid adenoma, hyperplasia, and carcinoma. The purpose of this study is to evaluate and compare the results of the biopsy with quantitative analysis results in the localized parathyroid lesions (adenoma, hyperplasia, and carcinoma). Materials and Methods: From April 2002 to January 2009, double-phase $^{99m}Tc$-MIBI parathyroid scan (early 15 min, delayed 2 hrs) was performed after injection of 750 MBq of $^{99m}Tc$-MIBI in 27 diagnosed parathyroid patients (adenoma:15, hyperplasia:4, carcinoma:8). For quantitative analysis, early, delayed lesion to non-lesion ratios (L/NLs), washout rate (%, WR) and vertical axis were calculated. Results: In early images, lesion to non-lesion ratios were $1.53{\pm}0.41$ (adenoma), $1.38{\pm}0.27$ (hyperplasia) and $1.45{\pm}0.64$ (carcinoma). In delayed images, lesion to non-lesion ratios were $1.56{\pm}0.43$ (adenoma), $1.33{\pm}0.10$ (hyperplasia), $1.83{\pm}0.79$ (carcinoma). In vertical axis, the sizes were $2.11{\pm}0.67$ (adenoma), $2.23{\pm}0.75$ (hyperplasia) and $2.20{\pm}0.97$ (carcinoma). There was no statistical difference between lesion to non-lesion ratios and the size of vertical axis (p>0.05). However, washout rates were $31.59{\pm}13.97$ (adenoma), $37.8{\pm}5.69$ (hyperplasia), $17.73{\pm}11.02$ (carcinoma). As a result, there was a significant difference statistically between and that of carcinoma (p<0.05, p=0.028 by Kruskal-willis statistic, Dunn's Multiple comparison test SPSS Ver 12.0). Conclusions: There was no statistical difference between the lesion to non-lesion ratios and the size of vertical axis. However, there was a significant difference statistically between WR of hyperplasia and that of carcinoma.

• Archives of design research
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• v.18 no.2 s.60
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• pp.37-46
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• 2005

Today's advertisement is dominated by visual images, which deliver messages in the most efficient and engaging way. Vivid and live images, through multimedia, attract the viewer to consume the products being advertised. In this course, the effect of 'Verfremdung' or alienation is often detected. This terminology was at first used in a epic play of Bertolt Brecht to signify a specific effect to block the empathy of the audience by reminding them of their position as the audience separate from the play. 'Verfremdung' helps them to have a sense of objectivity and critical attitude toward the performance. Multimedia commercials nowadays exhibit such a quality together with 'viewer participation:' criticism on reality: and 'speed.' In an advertisement for Shinsegi Communications' mobile system titled <017-I-Touch series, the hand transformed into a web>, the copy, 'my blood type is 'i', ' is accompanied by six unrelated fictitious scenes in which the same ocean appears as a common denominator. Because there is no connection between the scenes, free imagination of the viewer has to be involved and thus plays a significant role in making them into a context. This fact dearly exhibit some characteristics of post- modern advertisement. Momentary 'Gap' and 'Difference' between scenes contribute to 'Verfremdung' or alienation' that makes it hard for the consumers to comprehend the content on the spot. Such an uneasy situation, however, keeps the viewers thinking about the advertisement itself. While repeatedly exposed to the alienated images, the viewers come to get involved in the advertisement, trying to make the fragmented images into a coherent context. In addition, the leaps between the scenes produce a sense of 'speed' in a context, which adds more impact to the way of delivering messages using multimedia. With the help of multimedia, 'Verfremdung: which was originally intended to bring about objective and critical altitude of the audience in a play, plays a crucial role in attracting the viewer's attention and conveying a specific message in a moment in contemporary advertisement.

• Cartoon and Animation Studies
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• s.31
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• pp.117-152
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• 2013

is a comics that the original Yoshokawa Eiji's novel . Since the series started in 1998, it's epic that records the 54 million or more copies of the cumulative sales volume to 1.7 million unit volume average in the book, 34 are currently up to volume has been published. proceeds with narratives in a way of following naturally the personality of a character based on the rule of an author, which is 'people should be described as what they are'. Accordingly it features very unique characterizing. This study focused on the fact that numerous characters in maintain a structural balance through the establishment of a character composition in an antipodal relationship although those characters have strong personalities. In order to analyze the relationship of such characters, the study utilized as an analytic frame MBTI personality types theory which is a psychology test tool. First, the study inferred personality patterns as the temperamental characteristics of MBTI, and tried to analyze the antipodal character composition based on the combination of cognition and judgment which are assumably the most important functions. From this, the study was able to discover the following three structures applied to those characters. (1) The antipodism between Musasi, the main character and Kojiro, a mirror character becomes central to the work, (2) The antipodal relationship between their fosterers and the character playing the mentor's role extends the character attribute of Musasi and Kojiro. (3) The Yoshioka family was also established in the antipodal composition as a role of exchanging influences with Musasi and Kojiro. Through this, the study reached a conclusion that in the pairs of characters in contrast were established as if to reach a dialectic synthesis. As such, the antipodal structuralization of the character composition shown in is deemed to differentiate the inner sides of numerous unique characters; thereby make it possible to describe their inner sides in-depth. Finally, the following common context is found: works in the field of successful comics and animation in terms of criticism and performance are focused on characters. It is probably because their consumers are relatively very interested in those characters as the characters in comics or animation become differentiated from those of novels or movies. Subsequently, it is expected that the analyzed results of characterizing can be referred to during the production of contents by preparing the results as database.

• Journal of Science of Art and Design
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• v.12
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• pp.65-96
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• 2007

Today, the modern art is extremely diverse. It is denying its own boundary through chaos, extreme, abjection. In fact the diversity of the modern art can be best described as questioning and challenging to the essence of the reality, rather than the artistic pursuit of the beauties. The pursuit of the reality has been a long lasting discourse since the ancient. Through the history, the reality (referent) and representation (image) has been complementing and disposing each other in a relationship of a meaningful construction until the modern times. The limit of modernistic self-reference and the emergence of the figure leads to the emergence of Post-modernism in a trend of experimenting new visual arts. The return to the figure is clearly distinguished from existing representation's system and it brought new meanings to approaches and interpretations of the reality. In the case of Pop arts of 1960's and the following the modern sculptures, which is covered by this thesis, I put an emphasis on the diversification of those via changed strategies on the reality. In a situation where the reality is dictated by signified, the modern arts can no longer stay on a classic concept of representation, rather it pursuits new system and diverse strategies. I provide three types of strategic characters of the reality and the diversification of reality: the transition of the reality. These three types can be used as a frame work, which is supporting new aspects of the modern arts in reflecting on existing system. Therefore, the reason of categorizing is to distinguish modernistic arts and post modernistic arts, and to propose new post-modernistic discourses. Adapting J.F, Lyotard's view, absence is used to trace down the diversification of the reality thorough the sublime on the deconstruction of the mega discourses and the relationship of representation. Based on H. Faster's theory of the appropriation, the appropriation is used to exemplify the strategies of visual arts are in variations and being delayed. Lastly, in the transition, J. Baudrilliard's simulacre is used in terms of the concept of post modernistic representation. Based on the core of his theories, the deconstruction of existing concepts and simulation as the post modernistic representation, and the world of hyperreality based on simulacre are explained. These allows us to deny that representation is the expression of reality through mimesis. My aim is to work on the definition of the arts and representation in the modern era, and go further from there in order to clarify meaning and extension of the modern sculptures. Now two artists are reviewed based on their own art works: George Seagal; Jeff Koons. They are selected among numerous artists from the Post Modern era. Epic contents and emphasis on daily life of Seagal's works show good examples to artists from Pop Arts and following time period and may have served as a start point for Postmodernism. Indeed, he tried to show a newly defined relationship between art works and daily life experience. On the other hand, J.Koons used the strategies of fabrication and appropriation, which shows characteristics of the postmodernism. Through his four individual exhibitions, he shows the diversification of the reality based on art works as fetishistic merchandises, and newly defined concept of Ready-made since M Duchamp. Lastly, the diversification of the reality is analyzed again in context of my art works. I focused on the return to the figure among a variety of trends of late 20 th century modern sculpture. It showed the post modernistic point of view on the reality. Post modernistic diversified strategies are adopted as a method of distinguishing each art works via the diversification of the reality. This is the result of contemporary social and cultural situations.

• (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.