• 영어영문학
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• 제58권2호
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• pp.279-304
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• 2012

Since the publication of Foucault's Discipline and Punish, theatricality has become one of the key concepts in New Historicism. By defining theatricality as the most definitive feature of early modern society and culture, New Historicists have promoted the idea that theatrical practices in every day life were eventually replaced by textual practices as the western society started to undergo modernization with the advent of print culture and technologies. This paper questions this linear model of English literature, the shift of literary practices from theatricality to textuality in the event of modernization, by closely looking at the ways in which newsbooks and playlets during the English civil wars appealed to their target readers. The early print-based literary commodities during the English civil war (i.e. newsbooks and playlets) were able to win the attention of their audience not by breaking away from theatrical energy and creativity but instead by embracing and taking advantage of them through the use of dramatic conventions, dialogues, and many others. The newsbooks and the playlets during the time, however, did not simply replicate the dramatic forms and experiences of the previous generation. Instead, as the case study of Craftie Cromwell exemplifies, they went further to produce a different mode of theatricality by reshaping everyday lives into serialized drama, whose resolution is always already delayed and postponed into the ever-receding future. In conclusion, the study of the newsbook and playlets during the civil wars suggests that the textuality of modern times, materialized in print forms, have been co-evolved with the development of new theatricality, whose contents and forms are susceptible to the changes of everyday reality.

• International journal of advanced smart convergence
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• 제8권1호
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• pp.204-213
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• 2019

Perhaps nothing more vividly illustrates the many different ways in which traditions can be interpreted than a study of the life of Confucius in modern times. In China and Korea, Confucian values and culture are dismissed and scorned during some periods and held up as facilitators of cultural prosperity in others. This changing perception of and attitude toward the Confucian tradition in modern society embodies the long life of the Confucian tradition and its continually evolving trajectory, as well as its versatility within shifting sociopolitical milieux spanning distance and time. In this paper, I investigate the (re)emergence of Confucius in modern Korea and China with a comparative and critical gaze. I demonstrate how different modern interpretations of Confucius, both negative and positive, in these two countries bring new life to the Confucian tradition within their own complex social realities. By focusing on the recent revival of Confucius in China-Anti-tradition of Korean dramas, the Restoration of Confucian Culture in China and Korean Wave, the modernity of China in Confucius are examined, and finally, in terms of the means of realization of the Chinese dream-I illuminate how the image of Confucius serves the (re-)invention of contemporary China, with her pervasive desire to romanticize and materialize China's past as well as her future.

• 영어영문학
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• 제58권4호
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• pp.589-609
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• 2012

This research compares a future society described in Ray Bradbury's Fahrenheit 451 (1953) to modern technopoly. The main protagonist of the novel, Guy Montag, is a fireman who burns books in a future society which does not allow people to read or own books. The future society which controls the expansion of knowledge is similar to technopoly which Neil Postman defines as a culture where people passively react to overflow of information. Bradbury compares Montag to several characters, such as his wife Mildred and Captain Beatty. With this comparison, Bradbury lets his readers look back themselves who live in a sea of information without being aware of the domination of technopoly. This research suggests that the reason people do not know that knowledge is controlled and limited is because they do not distinguish between knowledge and information. They misunderstand widely available information is knowledge as characters in Fahrenheit 451 feel stuffed with information. Since the 1990s, scholars and writers such as Neil Postman and Nicholas Carr have expressed problems with the excess of information, however Bradbury already predicted through Fahrenheit 451 in 1953 that the development of technology does not mean a higher level of knowledge. This research suggests what modern human beings have lost in vast amount of information rather than what they have gained.

• 복식
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• 제50권3호
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• pp.13-30
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• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• 한국지역지리학회지
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• 제12권2호
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• pp.291-304
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• 2006

그 동안 문화정보에 관한 연구는 개별 문화정보가 중심을 이루어 왔으며, 그 연구내용은 종이지도를 이용한 권역 설정에 그 초점이 맞추어 졌다고 볼 수 있다. 그 결과 극히 제한적인 계량적 공간분석과 지도상에 보이는 직감적인 분석은 복잡하고 방대한 문화자료를 체계적이고 과학적으로 정리하고 활용하는데 한계가 있었다. 이러한 문제점을 해결하는 방안으로 지역문화정보에 대한 효율적 관리체계의 구축과 문화정보의 시공간적 역동성을 총체적으로 분석할 수 있는 GIS의 도입은 필수 불가결하다. 특히 오늘날 고도 정보산업에 의해 문화 전달속도가 빨라지고 가치가 다변화된 사회구조에서는 편방향의 정보제공이 아닌 양방향 정보제공이 중시되고 있다. WebGIS에 기반을 둔 지역문화정보시스템은 사용자가 인터넷을 이용하여 다양한 문화정보에 대한 시 공간적인 분석과 통계적 분석을 가능하게 됨으로서 WebGIS를 이용한 호남문화정보시스템은 지역정보에 대한 포괄적인 접근이 용이할 뿐만 아니라 문화 개별요소간의 통계 분석을 통한 새로운 정보의 창출과 지역 간 비교 연구에 기여할 수 있을 것으로 생각한다.

• 동아시아식생활학회지
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• 제24권4호
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• pp.441-443
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• 2014

Korean traditional fermented milk, Tarak, came down from the Koryo dynasty according to Korean ancient cookbook SoowoonJaabaang, which was written by Taakjunggong, Yoo Kim around AD 1500. Tarak is generally refers to milk or dairy products. Three theories on 'Tarak' revealed in this study are as follows: 1) it has been derived from Dolgwol language, tarak, 2) it has originated in Mongolian language, Topar(tarague), meaning horse's milk and 3) it originated in Tarak mountain located in Hanyang, which was capital of Chosun. In Mongolia, fermented milk has been called as Tarak and it has been called as tar by Yakuts tribe who are nomads in Sakha. The common part, tar, of these words is said to be the term representing the origin of the fermented milk coming from the central Asia. Therefore, Korean Tarak seems to be part of the central Asian culture that flowed into the Korean peninsula. The manufacturing method of Mogolian Topar(tarague) is similar to those of Tarak found in the SoowoonJaabaang. This research revealed that Korean traditional fermented milk, Tarak, is thought to be affected by the central Asia, especially Mongolia.

• 보건교육건강증진학회지
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• 제12권1호
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• pp.72-82
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• 1995

The purpose of this study was to review health and adjustment issues of Korean students in the context of international students' health in the United States. The number of international students studying in the United States has increased. In addition, more and more Koreans come to the United States for education. Korean students formed the fifth largest international group found on American campuses. As more and more international students study on American campuses, their health needs and problems became a concern to health professionals. Most health problems international students experience are stress related and psychosomatic. These students also have difficulties in using health care services. International students face barriers to obtaining health care because of differences in language and differences in cultural beliefs toward health. Korea manifests an eastern culture which is quite different from the western culture, so many Korean students studying in the United States experience difficulties in adjustment and using health care services. The study on the needs of Korean students in the U.S. reviewed in this research was a survey of 105 Korean students at the Pennsylvania State University, 1990. Korean students' health problems included stress, colds, fatigue, and headaches. Homesickness, financial problems, and academic problems were also important problems the Korean students faced. Korean students usually did not participate in any activities with Americans as much as with Koreans. Most Korean students did not participated in any health education workshops held on campus. This may be because the students had not participated previously in health education workshops conducted on campuses in Korea. Korean student's confidence with the English language appeared to be an important variable in using or not using the university health services. University health professionals in the United States need to develop better information system for international students so that they may better use the health services provided on campus. Also, university health professionals working on campuses in Korea need to put more attention on health of college students and provide on-campus health education workshops which meet the student's needs.

• 대한음성학회:학술대회논문집
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• 대한음성학회 2000년도 7월 학술대회지
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• pp.166-177
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• 2000

The purpose of this study was to create letters for of nonliterary Pulang tribe in Thailand those who immigrant from China. illiterate Pulang tribe hand down their tradition by primary oral culture therefore their tradition can't initiate and keep, moreover, it may disappear throughout history. So it is expected to crusade against unlettered people. The scheme of research adopted in this study was a minority race who habitate at the northern Machan, Chiangrai in Thailand. It is not only analysis of language but also the eradication of literacy and the research based on linguistic, ethnolinguistic, and primary oral culture. Five Pulang people who live in that area were chosen for creating letters. By using the I. P. A., after each word was listen to their pronunciation one by one it was described and repeated this process several times; the material words and humanbody were pointed in front of them while other words were described by gesture. For final description, number of people were in the lineup for listening the sound of words and phrases to sentences. In the first stage, it was an analysis segmental of Pulang: vocoid, contoid and diphthong were described with each sample syllables and words. The suprasegmental were studied with intonation and juncture of the words in the second stage. Two words were compared and different meanings within their intonation and juncture were shown. At the end of this part, each case of phonemic or morphophonemics representation described the juncture in the words. In the third stage, minimal pairs were analyzed with vowels and consonants and described in free variation based on words. In the last stage, syllable structure in open syllable and closed syllable was studied and then each syllable of its structure was analyzed with samples. There were thirty-two phonemes in apong Pulang as follows: seven vocoids; a, i, e, o, u, ${\ae}$, and $\wedge$, one diphthong; wu, 24 contoids; b, c, d, f, g, h, j, k, k, 1, m, n, ${\eta}, {\;}p^{h}$, p, p, r, s, s, sh, t, t, w, and y. Their pronunciations of p, s, d, $p^{h}$, j, and t are frequently used in speech and are unique in triphthong. Moreover, most of the words used initial and final consonant cluster.

• 공연문화연구
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• 제19호
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• pp.191-220
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• 2009

탈놀이는 무언극 형태와 유언극 형태가 혼합되어 있음에도 불구하고 기존의 연구에서 연극적·미학적 논의가 유언탈놀이 중심으로 전개된 사실을 반성하고, 무언극을 본격적으로 논의하여 유언극과 변별되는 연극미학을 정립하려고 하였다. 먼저 텍스트의 문제로 기존의 채록본을 검토하여 무언탈놀이를 기록함에 있어서 개괄적·설명적·해석적 기록을 한 오류를 지적하고, 객관적·묘사적 기록방법을 취하고, 무보(舞譜)를 작성하고, 동선(動線)까지 표시할 것을 주장하였다. 그리고 영상기록의 필요성도 재확인하였다. 다음으로 무언극을 '인상의 미믹(mimic)적 묘사와 몸짓에 의해 모방하는 표현예술'로 규정하고 물리적 신체동작과 기호화된 신체언어에 의한 미믹에 대하여 하회별신굿탈놀이의 무동춤·걸립놀이, 봉산탈춤의 노장·소무놀이와 사상좌놀이, 수영들놀음의 사자춤놀이를 집중적으로 분석하였다. 마지막으로 등장인물이 동일한 무언극과 유언극, 동일한 마당의 무언탈과 유언탈을 대조하여 유언극이 음성언어매체를 이용하여 무언극보다 표현영역을 확장하고 표현력을 강화한 사실을 구명하였다. 그리고 탈놀이가 무언극으로 시작하여 유언극 시대로 이행하였지만 무언극이 여전히 존재하여 발달 단계가 상이한 두 연극양식이 적층·혼합되어 있는 연극사적 사실을 확인하였다.

• 영어영문학
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• 제55권5호
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• pp.865-883
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• 2009

The mock-heroic, "the single most characteristic and individual literary form of the neoclassical era," as Brean Hammond puts it, epitomizes the process of the "novelization" of the 18th-century British culture. Bakhtin mentions that when the novel reigns supreme, almost all the remaining genres are "novelized"; Hammond borrows the term "novelization" from Bakhtin and uses it as a "shorthand way of referring to the cultural forces that render epic anachronistic." Indebted to Hammond's apprehension of novelization, this paper reads Alexander Pope's Rape of the Lock in the context of novelization, particularly focusing on 'probability,' 'contemporaneity' and 'domesticity,' three important signatures of the novelization of the 18th-century British culture. First, Sylph as a counterpart of god in epic is presented in The Rape of the Lock just as a helpless, fictional and irrelevant thing that hardly affects the empirical world. It indicates how the mock-epic 'mocks' the classical world of 'epic' and stands closer to the world of the novel. Second, Pope's poem displays an accurate picture of the author's contemporary reality, a capital concern of the novel, such as imperialism, consumer society, commodity fetishism, or reification. Lastly, The Rape of the Lock lays out the construction of modern gender ideology, another quintessential interest of the novel, particularly with the fixed female image of a coquette. It efficiently silences and nullifies Belinda, a typical coquette, who stands as a threatening force to the ascendent domestic ideology.