• Journal of English Language & Literature
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• v.58 no.5
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• pp.975-999
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• 2012

This paper interrogates what a new point Schmitt shows concerning the problem of sovereignty in Hamlet or Hecuba in comparison with his Political Theology. Schmitt reveals his political stand on sovereignty through ‘political representation’ that connects the politics to the aesthetics in Hamlet or Hecuba since Hamlet is above all aesthetic work as play. He stresses the determining effect of political reality over the play as he links the story of Hamlet to the tragic family of James I and the religious conflicts of the Stuart dynasty. This leads to, on the one hand, supporting the myth of absolute sovereignty by elevating Hamlet to the transcendental and the exceptional status of sovereign. However, Schmitt’s intent over the absolute sovereignty is, on the other hand, demolished with the two shadows that he scrutinized through the couple of Hamlet and James I: first, the suspect that Gertrude(Mary Stuart) was involved in the murder of Hamlet(James I)’s father, and second, the century’s conflicts with religious reformation and civil war. The perils of sovereignty are manifested not only in these two, “the taboo of the Queen,” and “the Hamletization of the avenger.” It is most of all evidenced in Hamlet itself that subverts the unconditional sovereignty consistently. Hamlet’s selfreflective remarks likening the king to the beggar and the reality of Denmark succession prove that Hamlet’s political discourse is totally different from the politics that accentuates the divine sovereignty.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.619-639
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• 2009

In his 1993 stage play, Arcadia, Tom Stoppard appropriates scientific theories to dramatize the difficulty in predicting the future and in describing the past. Arcadia tracks the archaeological efforts of two present-day literary critics, Hannah Jarvis and Bernard Nightingale, as they attempt to piece together the events that occurred at a large country house called Sidley Park, from 1809 to 1812. While employing a variety of historical and cultural references to the changes taking place in British landscape gardening around the early nineteenth century, the play also turns around the intuitive-romantic versus rational-classical dichotomy represented by Hannah, and present in its discussion of science and the recoverable/irrecoverable past. Stoppard's use of chaos theory as a metaphor for the difficulties faced by those involved in biographical/bibliographical literary research suggests that unsubstantiated assumption can result in the construction of its subject, rather than in its recovery. This paper explores the way in which Stoppard uses scientific concepts, particularly the chaos theory, as a metaphor for human life and behaviour, and how he successfully describes the dilemmas and contradictions of life in so doing. Influences from his famous British predecessors, George Bernard Shaw and Oscar Wilde, are evident, but Stoppard transcends both playwrights and crafts a dramatic style distinctively his own. The combination of wit, comedy, intellectual depth, intriguing ideas, literary allusions, scientific concepts, metaphors, and cultural references, all combine to make Arcadia a dramatic edifice that will stand the test of time.

• Journal of English Language & Literature
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• v.55 no.5
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• pp.821-841
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• 2009

This paper explores the ways to reshape humanistic values of the curriculum of the English department of Korean universities. The English curricula are usually composed of three fields of literary studies, general education, and English proficiency, whose conventional humanistic values have been currently dwindling. As for literary studies, teaching literature still hovers over the canonical works of past decades, not allowing students to access the canon with their own ideas and ending up with authoritative monologues. The general education field leans toward edited texts rather than authentic ones, which ignores a genuine path of communication between the author and its readers. Subjects for English proficiency such as "TOEIC" tend to be taught online with no teacher's presence for the nominal purpose of optimizing economic efficiency in teaching. All these testify to the attenuation of humanistic values in the curriculum, which motivates us to suggest some ways to reshape the values. Authoritative monologue in teaching literature can be shifted to the open-ended conversation by using role-play methods as well as accepting extra-canonical works into the curriculum. Authentic texts for general education prove to be preferred by students with the successful result of our experiment. Lastly, it is teacher's presence in the class that helps get higher achievement of "TOEIC" than some online classes. As suggested above, open-ended conversation, wider communication between author and readers, and human presence of the class will help reshape humanistic values in the English curriculum.

• Journal of Convergence for Information Technology
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• v.10 no.6
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• pp.147-155
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• 2020

This is a literature review study on personality traits' role in language learning. Personality traits play an important role in language learning. In order to review research outcomes in recent studies, articles related to language learning and personality traits were collected through research databases such as ProQuest, Google Scholar, and EBSCO. Based on the analysis of collected literature, this study revealed that extraversion and openness to experience are the personality traits leading to the successful language learning. More specifically, extraversion was related to speaking skills while openness to experience was related to listening. It is also important to note which learning strategies are more likely to be utilized in second language learning and personality traits that are more likely to use them. These findings focus on writing skills, listening skills, and speaking skills. Further studies in the field are suggested.

• (The) Research of the performance art and culture
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• no.43
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• pp.203-228
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• 2021

This thesis examines the play education method shown in the elementary school textbook 'Enjoy Play'. If the educational methods of the curriculum other than plays were presented in the order of 'Understanding play - Appreciation of Works - Creation of Works', the method of drama education is presented sequentially in the order of 'Understanding play - Creation of Works - Appreciation of Works' in the order of 'Understanding play - Artwork - Appreciation' have. Even if such a curriculum considers the study linked to the subject of 'Plays', students may not feel the 'burden' of 'creation', and by simplifying the understanding of 'spoken language', it is rather the characteristic of 'Korean language'. It may also make it difficult for students to feel the attraction. In addition, empathy through the conflict situation of the play or comparison with the actual conflict is mainly presented through the translation of foreign works or the expression of a fairy tale and fantastic world that is far from reality, so the burden of inferring the right life problems can be confirmed. Theatrical expressions and plays and plays learned through textbooks are partially different depending on the educational goals to be achieved. The result of this study is that the course of textbooks for elementary and upper grades may correspond to the problem of expressing 'Plays', but it is regrettable in leading students to think about ways to solve life problems in detail through 'Plays'. It is also necessary to emphasize the importance of expression that makes students realize how to express themselves autonomously in the way of expressing their feelings, but on the other hand, on the other hand, it is necessary to share empathy with feelings first, understand these feelings, Therefore, it was suggested that training to infer expressions and emotions by learning individual expressions through methods of expressing emotions and a process of educating students to voluntarily accept shared emotions are also necessary. Sharing and expressing emotional emotions through 'play', and participation through cooperation and division of labor through the process of performing.

• (The) Research of the performance art and culture
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• no.39
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• pp.581-607
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• 2019

Noting that exorcism play and mask play are different in their ritual nature, this paper aims to examine their ritual through the social drama theory of Victor Turner, a cultural anthropologist. Turner views every incident in human history as a social drama and interprets it based on the four-step structural theory of breach, crisis, redressive action, and reintegration. In particular, he believes that the redressive phase takes place through a ritual solution rather than a legal or political solution in the village community. Based on such Turner's theory, Chapter 2 analyzes Yeonggamnori, Jeju's typical exorcism play, and explains the process leading to reintegration in accordance with peaceful ritual. Chapter 3 then analyzes the Puppet Play on the same principle and examines that redressive action is being resolved through a sacrificial ritual in the case of this play. Chapter 4 checks whether the results from the previous two plays show similar aspects in other traditional plays. To this end, the exorcism play will be analyzed for Jeju's Seocheon Flower Play, Junsangnori, Segyeongnori and Sanshinnori, while the mask play will include Bongsan Mask Dance, Yangju Byeonsandae Play, Goseong Ogwangdae and Hahoe Mask Dance. As a result of these studies, it is the main point of the study to prove that exorcism play and mask play are different in their ritual nature. However, this research is only in the stage of seeking differences in its ritual, and the review on the historical and social causes of differences is left as a research task at a later date.

• English Language & Literature Teaching
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• v.10 no.2
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• pp.89-111
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• 2004

The purpose of this article is to study the effect of finger play teaching method on the reproduction of children's English words. The hypotheses are as follows: 1) there will be the difference of the reproduction of children's English words between the experimental group(that is taught by finger play teaching method) and the controlled group (that is taught by only oral teaching method). 2) there will be the difference of children's retention capacity of reproducing English words between the experimental group and the controlled group, The researcher made the time series data The measure tool was the check list for reproduction test of children's English words that was made by Run-Soon Oh and J. Eden(2004). The researcher analyzed the data using the Repeated Measures ANOVA and the Analysis of Covariance. The findings of research are as follows: 1) the more the frequency of teaching increases, the more there are the difference of reproducing English words according to frequencies and groups. The reproduction capacity of the experimental group is better than that of the controlled group. A degree of statistical significance is p<.001. 2) The difference of retention capacity of reproducing English words between the experimental group and the controlled group is a statistical significant, p<.05. The experimental group is better than the controlled group.

• Korean Institute of Interior Design Journal
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• v.19 no.2
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• pp.243-251
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• 2010

Based on theories and case analysis, the present research concerns the deduction of useful results about the basic stage for setting up a planar plan for children's play therapy facility, which cures children's psychological problems such as social maladaptation by means of play rather than language. The case analysis was sub-categorized into movement in each area, relative position among areas, and the size of each room. Detailed investigations were made concerning: First, Adjacent areas of each area. Second, Movement plan, which was sub-categorized into the movement of therapists and that of the children receiving therapy and guardians; area was sub-categorized into management area, therapy area and service area. Third, the size of each area measured was calculated to be expressed as the percentage of the total size. The result is as follows: (1) As for adjacent areas, in some cases management area and service area were adjacent, with isolated therapy area; whereas in the other cases, service area and information area, which is a part of management area, were placed along the doorway, with therapy area between them and therapist area, which is the other part of management area, behind them. (2) As for movement, the movement of therapists and that of children receiving therapy were same; whereas the movement of guardians was allowed only up to the middle part of the therapy facilities, and there was almost no entry of guardians into the play therapy rooms located in the inner parts. This is because they do not show the details of their therapy for children to guardians. (3) As for size, the area of independent facilities were similar; whereas institutional facilities in general had larger waiting room and unlike independent facilities, were of diverse size.

• Journal of the Korean housing association
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• v.25 no.4
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• pp.83-91
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• 2014

The purpose of this study is to clarify the characteristics between the type of daily routine and spatial configuration of activity areas in classroom and provide alternatives for space planning of activity areas in classroom of child-care centers. This study used the content analysis on daily activity plan and floor plans through field survey. Analysis on floor plans was conducted for 35 classrooms in 9 child-care centers which allowed field survey. The results of this study were as follows; There was no significant difference for classroom size according to the type of daily routine in 3 to 5-year-old classrooms. The average size of classrooms was $61.6m^2$ for care oriented type, $41.4m^2$ for indoor activity oriented type and $48.8m^2$ for group activity oriented type. There was no significant difference in composition of activity areas in classrooms according to the type of daily routine. In case of 0 to 2-year-old classrooms, they were composed of 6 activity areas including gross-motor, role play, block building, language, creative expression, exploration/manipulation. Activity area of the most low frequency was gross-motor area. In case of 3 to 5-year-old classrooms, most classrooms were composed of all the 7 activity areas including art, tone and rhythmic, block building, role play, language, math and science. Most accessible and central areas in 0 to 2-year-old classrooms were gross-motor and role play. Also, most separate areas were exploration/manipulation and block building. Most accessible and central areas in 3 to 5-year-old classroom were art and math. Also, most separate areas were tone and rhythmic and science.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1211-1234
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• 2010

Mule Bone (1931), Zora Neale Hurston's collaboration with Langston Hughes, has been credited as the 'first' attempted by African Americans to create black folk comedy. The proposed research is driven from a question to the recent scholarship's tacit consent on such historic importance imposed on the play. This paper suggests a possibility that De Turkey and De Law (1930), Hurston's edition of the collaboration work, could be the truly first attempt in the tradition of American black folk comedy. By illuminating a series of historical moments in which Hurston first expressed her dream for writing a real black folk comedy that would be a really new departure in the African American drama, then collaborated with Hughes on the dream play project, and eventually quit the collaborationship due to artistic dispute with Hughes, this paper explains why Hughes edition Mule Bone came to remain 'unfinished' and, more importantly, fall short of Hurston's original goal and expectation from the collaboration. On the other hand, this paper sheds light on the significance of often-ignored Hurston's edition De Turkey and De Law by demonstrating how this play, compared to Mule Bone, fulfills her original idea of black folk comedy in terms of contents and themes compared with Mule Bone. Adding to the knowledge about little known behind story related to the Mule Bone controversy and the subsequent birth of the two different editions of the Hurston-Hushes collaboration project, supplementing the dearth of the related research with a critical comparison of the two editions, and discussing the validity of Hurston's edition as the real sense of black folk comedy, this paper argues for the necessity of reconsidering the origin of the mentioned genre. This paper finally concludes that De Turkey and De Law, replacing Mule Bone, deserves a right to be truly the first American black folk comedy genre in the sense that it was completed and copyrighted three months earlier than Mule Bone and that, more importantly, it cherished the original aim and artistic vision of black folk comedy Hurston first planned and expected through the collaboration with Hughes.