• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.5
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• pp.137-145
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• 2016

We are accustomed to using the word 'beautiful' when we see something, but we don't use the word 'sublime' very often. In fact, these two words have totally different meanings and we can say 'sublime' only for special objects. The notions and objects of sublime have been studied by numerous philosophers ranging from Longinus to Burke and Kant. According to their studies, we can feel sublimity from objects which give us fear, because the sublime is inherent in fear. Therefore, in this study, we considered the sublime in the gothic novel, A Rose for Emily, in which we can find solemn sublimity in Emily's iron gray hair, her black suit, and a red rose which stands for blood. In addition, we can feel sublimity in the image of Emily who is waiting for Homer and the image of Homer's dead body. These kinds of images instill us with fear, but also show us tragic sublimity. The sublime exists in all kinds of literature and, therefore, more studies and analyses of the sublime in literature will likely be conducted.

• Architectural research
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• v.15 no.1
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• pp.17-23
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• 2013

The purpose of this paper is to reconsider and revaluate Ste. Genevieve Library designed by Henri Labrouste as a criticism of Classicism. Considered as the epitome of the early structural Rationalism the modern historian tried to focus only on the iron structure of the library. Arguably, the structural concern was one of the ideas that the architect wanted to manifest in the library. As a rebel against a view of the Acad$\acute{e}$mie des Beaux-Art the notions of H. Labrouste were radical. He criticized an autistic Classicism with an echoing Claude Perrault's doubt about the myth of classical beauty. These radical ideas firstly showed in his report of the Grand Prix de Rome and must have been developed through several discussions for a novel: Notre-Dame de Paris by V. Hugo. 'Ceci tuera cela', one of the chapter of the novel, was generally known as the death of architecture due to the invention of the printing press around Renaissance period. We, however, consider that even though the historical background of the novel is the Gothic period the ideas, which was discussed with Labrouste, related to the death of architecture was not the architecture itself but classical architecture recomposed during Renaissance period. As the first design work the library must be reflected his ideas, which were developed, and manifested his criticism of the Classicism indirectly.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1123-1137
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• 2009

Revisiting the horror of slave mutiny in nineteenth century America via Julia Kristeva's concept of abject, this essay examines abject fear in Amasa Delano and Babo's subversive act to deceive Delano in Herman Melville's "Benito Cereno." Babo, the slave, exercises subversive power, thereby reversing racial hierarchy aboard the slave ship-the San Dominick. Babo's ability to mimic and control racial stereotypes exposes how nineteenth-century racial hierarchy was only a social fiction, which becomes the very source of Delano's fear. Delano's dread belies upon the possible disruption of social order triggered by Babo'sblack rebellion. In order to repress his fear, Delano consciously and unconsciously attempts to re-inscribe white dominion and reaffirm black inferiority and stereotypes by means of rationalizing the disturbing signs he witnesses on the San Dominick. When Delano discovers the realsituation of the ship, he must relinquish the abject resonance that disturbs the previous racial order. Employing a legal document, Delano re-inscribes the official position of the blacks as slaves, defining them as violent savages, and thereby silences Babo. However, Melville's text is not a testament to white power. "Benito Cereno" actually endorses abject instability to challenge racial hierarchies through the poignant image of Babo's dead gaze in the last scene of the novella. Thus, "Benito Cereno" exemplifies the recurring power of abject as a threat to social hierarchy and as a constant reminder of the falsity and insecurity of a social order.