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Expansion and Transition of Tasan's Allegoric Poetry (다산(茶山) 우화시(寓話詩)의 확장(擴張)과 전이(轉移) -<오즉어행>과 <리노행>을 중심(中心)으로-)

  • Lee, Kyung-ah
    • Journal of Korean Classical Literature and Education
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    • no.15
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    • pp.329-353
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    • 2008
  • Tasan Jeong Yak-yong is great scholar, who makes a synthesis of Sil-hak[實學, Practical Science of Korea], reformer of society, and a poet in the Joseon Dynasty. He expressed contradiction and conflict of those days by intellectual language, and reperceived basic ideology of the Joseon society. Also he theorized dissatisfaction of the people about those days and its system as form of religion. We can divide Tasan's life into two times. The first part is his ages 16~39 in the period of Jeong-jo(1777~1800). The second part is in the period of Sun-jo(1801~1834). In this period, he was exiled into Gang-jin for 17 years. After banishment, he lived a quiet life for the rest of his life in his hometown. His allegoric poetry were written in this second period. The special feature of allegoric poetry is strong satire. An allegory would be that is 'king's ear', which the barber has sight, or the barber's voice, which has divulged king's secret among the bamboos. Otherwise it would be that is the sound 'king's ear is donkey's ear' in the bamboos. This sound is divulging of the true donkey's ear. It doesn't travel to audiences, but travels trough wind in the bamboos. The narration exists just as story that barber can't stand to keep silence about king's secret. There are exposure of true and critical motive as allegoric expression. Tasan's allegoric poetry stand on the basis of his love for the people. Also there reveals his thought deeply with an enormous amount of reading and self-communion. Moreover there are his warm mind with his sharp insight in which captures alive lives as allegoric materials. Most of allegoric poetry satirize actuality of those days to make an excuse for external distinguishing marks of animals and plants. However Tasan's poetry are different from them. After he grasped serious problems from his contemporary actuality, and then choosed allegoric media to express correctly. Because he grasped the special features of lives after minute observation, he could exposure controversial point of the actual. His sharp insight was not limited to allegoric media. He noticed his period and the current of his society sensitively. It made his allegoric poetry as important materials to make us to know the condition of the people in the Joseon Dynasty. Tasan's allegoric poetry is inherited by Baek Seok[白石, 1912~1995] as regular juvenile literature. Baek Seok's juvenile stories are the results of expansion and transition for Tasan's allegoric poetry. Allegoric poetry was the shout of barber to prosecute about social irregularities and contradiction, and the sound of the bamboos to travel moaning of the people in the past. Now allegoric poetry create new emotion to make us to speculate ourselves with our surrounding. This changes are caused by special feature of allegoric poetry as a form to reflect our general lives.

A study on 'Life-giving function' of Dance as a performing arts (공연예술로서 무용의 '생명적 기능'에 관한 연구)

  • KIM, JI WON
    • (The) Research of the performance art and culture
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    • no.33
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    • pp.195-222
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    • 2016
  • This study says that giving a life through the mixed power of motions which can not be fixed. It is a fundamental activity of the art of dance. In the fact, the art of dance is defined as the most instinctive and intuitive arts show that dance is a harmony of emotion on the body, thus, this view wants to discuss the relations between "sense and body". This view doesn't focus on the mere motions of dancing form, but characterizes dance as an art of another vitality through the mixture and combination of these motions. In other words, this study emphasizes that dance transcends time and space on stages, and that dance, as an expression of identity, is an art which shows a sense from inside of human. Therefore, when we want to understand the true meaning of the art of dance, we should attend what attributes of dance define it as an art and show its creative. This study, thus, seeing those attributes as the life-giving function of dance, aims to help understand the principle meaning of the art of dance that realizes creation as well as the attitudes of audience who appreciate the art of dance. And by doing so, this study contemplates how we should see the creative idea of choreography, forming sympathy and the art of dance.

Destitution as an Expenditure: Beckett's Literature of Poverty (소모로서의 궁핍: 베케트의 빈궁문학)

  • Park, Ilhyung
    • English & American cultural studies
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    • v.10 no.2
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    • pp.73-97
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    • 2010
  • Representation of destitution may be considered as an expression of a social desire toward forging a bond or solidarity with the impoverished. However, political and ethical demands of the solidarity force the formulaic framework structuring the form of representation to its limits. The thesis aims to examine the responses to such demands within the tradition of modernist literature that can be traced from Charles Baudelaire, Knut Hamsun to Franz Kafka and that somehow culminates with Samuel Beckett, and to analyze how the issue of destitution that weaves through Beckett's works criticizes and inherits such a heritage. Whereas destitution in 19th century Realism is structurally fixed and its potential for change is inherently excluded, for these writers, destitution is no longer the state of rigid reality in which any possibility is limited. It is destitution as an imperative that calls for exploitation of possibilities that can be recuperated from the impoverished condition of destitution. What these writers consistently resist against is destitution that leads to compensation and reward. Since occupying a superior position toward the other as the subject of description or sympathy can be seen as one form of profit or reward, they have persistently pursued absolute solitariness and austere conditions rather than prematurely simulating a sense of solidarity and community. The ultimate goal of destitution as an imperative is to pursue destitution in order to worsen it by identifying and then excluding and expending possessions and assets to a state of penury. This is a paradoxical process that opens up the realm of possibilities of destitution and redefines it as abundance and wealth. Destitution for Beckett as seen in the writers above is the objective of literature. But, what he focuses on is to amplify the shreds of economic world that still remain in a state of poverty and to reveal extreme poverty as a state of odd affluence and to transform it into a pursuit of accumulation and profit. One of his famous axioms, "less is more", contains the essence of such a paradoxical strategy. In a sense, such approach is a twist on the strategy that identifies and uses any remaining potential hidden in destitution as was pursued by other writers. It also expands on the imagination of the destitute described by Hamsun. But Hamsun and Beckett are diametrical opposites. Unlike Hamsun, Beckett does not link imagination with a sense of guilt. Imagination is not intended to overcome the destitute reality nor to culminate in artistic martyrdom as in the case of Kafka's hunger artist. The imagination of the impoverished in Beckett is simply a hilarious game and not an escape that ends in a sense of guilt. This game formulates a "rhetorical question" or derision at the ironical situation where the pursuit of hunger and art as the disinterestedness has been turned into symbolic capital. It is inherently a fundamental critique at the aestheticization of destitution that has been pursued by Modernism. Beckett's efforts at divulging falsehood inherent in non-profit acts such as charity, donation and hospitality are dissections of social fictions in which aestheticization of destitution remains a part of the whole.

The Concept of Beauty in Chuang-Tzu and Kant : The Practical Beauty and The Reflexive (장자와 칸트에 있어서 미 개념 : 실천미와 반성미)

  • Noh, Eun-Im
    • (The)Study of the Eastern Classic
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    • no.34
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    • pp.339-362
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    • 2009
  • If we try to define the concept of beauty in the large sense, as Kant and Chaung-tzu all agree, It can not be fixed in the one sense, but whose connotation and denotation should be extended infinitely. In this sense, I would like to say that the beauty is liberty. Aesthetics of Kant is oriented toward subjective and reflexive dimension, while that of Chuang-tzu is oriented toward natural and practical one. The difference between aesthetics of the two philosophers begins from their philosophical methodology. If the transcendental methode which is proper to Kant's philosophy prefers to discriminate and devide everything especially from dichotomic viewpoint by langage. But Chuang-tzu' methode called Za-Mang criticizes such a dichotomic division and langage itself. Even so, the two in the long run agree as to the foundation of beauty. But Kant's liberty is one of will or transcendental, meanwhile that of Chuang-tzu is based on recognize the fact that we are all production of nature. according to Chuang-tzu, in the great beginning, there was non-being. It had neither being nor name. The One originates from it. When things obtain it and come into existence. As the One, Tao is in the excrement and urine. Everything is under the constant flux. All species have originative or moving power. Although the universe is vast, its transformation is uniform. Because all things are one. Vacuity, tranquillity, mellowness, quietness, and taking no action characterize the things of universe at peace and represent the ultimate of Tao and virtue. The material was transformed to be form, form was transformed to become life, and now life has transformed to become death. A basic principle of Chuang-tzu's art is expressed in the phrase "taking off clothes and squatting down bare-backed". The key of Chuang-tzu's aesthetics is to dedicate to the expression of inner spirit instead of physical verisimilitude, and painting should be a spontaneous and instantaneous flow of the brush. Kant's concepts such as "disinterested" and "purposiveness of nature" seem to imply in the long run the unification of nature and human being which is fundament to Chuang-tzu's aesthetics.

On the "Virtual and Real" and Blankness in Chinese Landscape Painting

  • Dongqi, Liu
    • International Journal of Advanced Culture Technology
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    • v.10 no.3
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    • pp.174-183
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    • 2022
  • The abstract should summarize the contents of the paper and written below the author information. Use the word "Abstract" as the title, in 12-point Times New Roman, boldface type, italicized, centered relative to the column, initially capitalized, fixed-spacing at 13 pt., 12 pt. spacing before the text and 6 pt. after. The abstract content is to be in 11-point, italicized, single spaced type. Leave one blank line after the abstract, and then begin the keywords. All manuscripts must be in English. When it comes to the issue of "virtual and real" in traditional Chinese painting, the first impression is to describe the problems of painting strokes and ink, layout of pictures, etc., but it runs through the initial conception of the work, creation in the middle and aesthetic appreciation of the work. It exists in the whole process of artistic creation and appreciation. In essence, it is a problem of aesthetic thinking and philosophical thinking. Because the traditional Chinese painting theory is influenced by Taoism, when the concept of "virtual and real" is implemented in the specific picture of Chinese painting, it is contained in the specific shape of "physics", that is, the painting theory research of "blank space" in the picture. Based on the traditional Taoist philosophy of China, this paper takes the "virtual and real" view in Lao Zhuang's thought as the research object, deeply analyzes and compares its relationship with the "virtual and real" in Chinese landscape painting, and finds out their artistic spirit, essential characteristics and how to present them. This paper mainly discusses the internal relationship between Taoist philosophy and "virtual and real" in Chinese landscape painting from the following aspects. The introduction expounds the origin, purpose, significance, innovation and research methods of the topic. This paper analyzes the philosophical thoughts about landscape in the philosophical thoughts represented by Lao Tzu and Zhuangzi. The development of Chinese traditional aesthetics theory is closely related to Taoist philosophy, which has laid the foundation and pointed out the direction for the development of Chinese painting theory since ancient times. It also discusses the influence of the Taoist philosophy of "the combination of the virtual and real" on the emergence and development of the artistic conception of landscape painting. Firstly, through the analysis of the artistic conception of landscape painting and its constituent factors, it is pointed out that the artistic conception is affected by the personality and the painting artistic conception. Secondly, through the Taoist thought of "the combination of the virtual and real" in landscape painting, so as to reflect that it is the source of the artistic conception of Chinese landscape painting. It is the unique spiritual concept of "Yin and Yang" and "virtual and real" that creates the unique "blank space" aesthetic realm of Chinese painting in the composition of the picture. Finally, it focuses on the "nothingness" in Taoist philosophy and the "blank space" in Chinese landscape painting. The connotation of the "blank space" in Chinese painting exceeds its own expressive significance, which makes the picture form the aesthetic principle of emotional blending, virtual and real combination and dynamic and static integration. Through the "blank space", it deepens the artistic characteristics of the picture and sublimates the expression of "form" in Chinese painting.

Success Factors Analysis of Chinese Large Scenario Experience Drama:'You Jian Ping-yao' (중국 대형정경체험극 '우견평요'의 성공요인 분석)

  • Wang, Yilun;Jang, Hyewon
    • 지역과문화
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    • v.8 no.3
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    • pp.27-48
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    • 2021
  • In recent years, China's tourism performing art in a series of new completion of the project, increase the box office of tourism performing arts industry, higher economic income, at the same time led to the formation of brand of tourism performing arts and has a good reputation, with the regional culture, has a certain role in promoting economic development, including Large scenario experience drama is one of the key projects. Large scenario experience drama is a new form of drama that simulates the space design of real environment and enables the audience to have active experience in visual, auditory, smell, taste, touch and other senses with strong interactivity.Large scenario experience drama are adapted from traditional Chinese culture, regional culture and long-passed stories, and combine high technology such as lighting, sound effects, special effects and 3D effects to make the audience's experience more real.As the first Large scenario experience drama in China, 'You Jian Ping-yao' reflects the profound culture of Shanxi with new forms of expression and creative means, in the form of scene experience and make the audience more intuitive feel the 'Shanxi emotion', 'Shanxi sentiment' and 'Shanxi Morality', carry forward the traditional culture at the same time, also passed the Shanxi ancient and great values, strengthened the drama of China's movie village, impetus the development of the tourism industry in Shanxi, drive the Shanxi region of jingjing, gradually formed a complete industrial chain. However, there are also limitations such as improper plot connection and improper tourist management, which can improve the performance effect through more audience interaction and guidance. Therefore, it can be seen that large-scale situational experience dramas play a great role in promoting the dissemination of traditional culture and values, the development of tourism industry, the formation of regional brand characteristics and economic development. Through these, it can be seen that large-scale situational experience plays have enlightenments such as innovative thinking content, gradually forming an industrial chain closed-loop, and broadening publicity channels for the development of live-action performances.

Reconsideration of Film Music with Repetitive Rhythm Characteristics - Focusing on the Aesthetic and Functional Meaning of Philip Glass's Film Music - (반복적인 리듬 특성을 지닌 영화음악의 고찰 - 필립 글래스(Philip Glass)의 영화음악에 관한 미학적, 기능적 의미를 중심으로 -)

  • Lee, Sang-Yoon
    • Journal of Korea Entertainment Industry Association
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    • v.13 no.7
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    • pp.183-192
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    • 2019
  • This study studied five major films from the 1980s to the 2000s when Philip Glass's minimal music was used, and studied the aesthetic and functional meaning of the minimal music. Minimal music has a repetitive rhythm and is understood to be aesthetically monotonous, to avoid a particular purpose, or as an expression of moveless. On the one hand, it can mean infinite persistence by repetitive rhythms, or sometimes repetition with subtle changes. The functions of film music were applied as the function of film music common to many theorists. As a result of the analysis of the music in five films, the aesthetic meaning of Philip Glass's minimal music was most relevant to the characteristics of the film story, and the functional meaning of the film music was determined by the structure, form, and genre of the film. Therefore, the theme of the film and the contents of the story played an important role in the aesthetic interpretation of film music with repetitive rhythm characteristics. And the elements of the plot such as the structure, form, and genre of the film are thought to have had a significant effect on the functional interpretation of the film music. The aesthetic value of the film music is closely related to the story of the film, and the functional meaning of the film music is interpreted as determined by the formal elements of the film.

A Study on the Self-Propulsion CFD Analysis for a Catamaran with Asymmetrical Inside and Outside Hull Form (안팎 형상이 비대칭인 쌍동선의 자항성능 CFD 해석에 관한 연구)

  • Jonghyeon Lee;Dong-Woo Park
    • Journal of the Korean Society of Marine Environment & Safety
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    • v.30 no.1
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    • pp.108-117
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    • 2024
  • In this study, simulations based on computational fluid dynamics were performed for self-propulsion performance prediction of a catamaran that has asymmetrical inside and outside hull form and numerous knuckle lines. In the simulations, the Moving Reference Frame (MRF) or Sliding Mesh (SDM) techniques were used, and the rotation angle of the propeller per time step was different to identify the difference using the analysis technique and condition. The propeller rotation angle used in the MRF technique was 1˚ and those used in the SDM technique were 1˚, 5˚, or 10˚. The torque of the propeller was similar in both the techniques; however, the thrust and resistance of the hull were computed lower when the SDM technique was applied than when the MRF technique was applied, and higher as the rotation angle of the propeller per time step in the SDM technique was smaller in the simulations for several revolutions of the propeller to estimate the self-propulsion condition. The revolutions, thrust, and torque of the propeller in the self-propulsion condition obtained using linear interpolation and the delivered power, wake fraction, thrust deduction factor, and revolutions of the propeller obtained using the full-scale prediction method showed the same trend for both the techniques; however, most of the self-propulsion efficiency showed the opposite trend for these techniques. The accuracy of the propeller wake was low in the simulations when the MRF technique was applied, and slight difference existed in the expression of the wake according to the rotation angle of the propeller per time step when the SDM technique was applied.

Critical Factors to High Thermostability of an ${\alpha}$-Amylase from Hyperthermophilic Archaeon Thermococcus onnurineus NA1

  • Lim, Jae-Kyu;Lee, Hyun-Sook;Kim, Yun-Jae;Bae, Seung-Seob;Jeon, Jeong-Ho;Kang, Sung-Gyun;Lee, Jung-Hyun
    • Journal of Microbiology and Biotechnology
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    • v.17 no.8
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    • pp.1242-1248
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    • 2007
  • Genomic analysis of a hyperthermophilic archaeon, Thermococcus onnurineus NA1 [1], revealed the presence of an open reading frame consisting of 1,377 bp similar to ${\alpha}$-amylases from Thermococcales, encoding a 458-residue polypeptide containing a putative 25-residue signal peptide. The mature form of the ${\alpha}$-amylase was cloned and the recombinant enzyme was characterized. The optimum activity of the enzyme occurred at $80^{\circ}C$ and pH 5.5. The enzyme showed a liquefying activity, hydrolyzing maltooligosaccharides, amylopectin, and starch to produce mainly maltose (G2) to maltoheptaose (G7), but not pullulan and cyclodextrin. Surprisingly, the enzyme was not highly thermostable, with half-life ($t_{1/2}$) values of 10 min at $90^{\circ}C$, despite the high similarity to ${\alpha}$-amylases from Pyrococcus. Factors affecting the thermostability were considered to enhance the thermo stability. The presence of $Ca^{2+}$ seemed to be critical, significantly changing $t_{1/2}$ at $90^{\circ}C$ to 153 min by the addition of 0.5 mM $Ca^{2+}$. On the other hand, the thermostability was not enhanced by the addition of $Zn^{2+}$ or other divalent metals, irrespective of the concentration. The mutagenetic study showed that the recovery of zinc-binding residues (His175 and Cys189) enhanced the thermo stability, indicating that the residues involved in metal binding is very critical for the thermostability.

Molecular Cloning and Expression of the $\beta$-Xylosidase Gene (xylB) of Bacillus stearothermophilus in Escherichia coli

  • Suh, Jung-Han;Eom, Soo-Jung;Cho, Ssang-Goo;Choi, Yong-Jin
    • Journal of Microbiology and Biotechnology
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    • v.6 no.5
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    • pp.331-335
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    • 1996
  • The second $\beta$-Xylosidase gene (xylB) from Bacillus stearothermophilus was isolated from the genomic library, cloned into pBR322, and subsequently transferred into Escherichia coli HB101. Six out of 10, 000 transformants were selected from the selective LB medium supplemented with p-nitrophenyl-$\alpha$-L-arabinofuranoside (pNPAf) and ampicillin ($50\mu g$/ml) based on their ability to form a yellow ring around the colony. One of the clones was found to harbor the recombinant plasmid with 5.0 kb foreign DNA, which was identical to the $\alpha$-L-arabinofuranosidase gene (arfI) previously cloned in this lab, while the other five had 3.5 kb of the foreign DNA. Southern blotting experiments confirmed that the 3.5 kb insert DNA was from B. stearothermophilus chromosomal DNA. A zymogram with 4-methylumbelliferyl-$\alpha$-L-arabinofuranoside as the enzyme substrate revealed that the cloned gene product was one of the mutiple $\alpha$-L-arabinofuranosidases produced by B. stearothermophilus. Unlike the arfI gene product, the product of the gene on the insert DNA (xylB) showed an activity not only on pNPAf but also on oNPX suggesting that the cloned gene product could be a bifunctional enzyme having both $\alpha$-L-arabinofuranosidase and $\beta$-xylosidase activities.

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