• Journal of English Language & Literature
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• v.56 no.5
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• pp.797-821
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• 2010

This paper aims to explore how Millay's love sonnets rewrite the carpe diem tradition in the complicated ways. This paper redirects critical attention away from Millay's individual experience and inner self toward the scene of literary history, suggesting that there may be more historical consciousness in Millay's sentimental and feminine "gesture." Rewriting the carpe diem tradition, Millay's sonnets reveal an awareness of the dependence of the carpe diem poems' discursive logic on the woman's coyness, its inability to accomplish its triumph over woman or time (death) without her posited reluctance. Contrary to Andrew Marvel's "To His Coy Mistress," the speakers of Millay's sonnets could never be accused of the sexual coyness; they are outspoken in their defiance of both death and lovers whose possessiveness resembles death's embrace. Moreover, as Stacy Carson Hubbard points out, by converting female sexual experience from its status as a onetime closural event to repeatable one, hence an opportunity for the general and emotional irritability productive of narrative, Millay seizes for the woman the power of "dilation" in both its sexual and its verbal forms. Furthermore, this paper argues that the woman's sex no longer invites analogies to things secret and sealed, preserved or ruined in Millay's sonnets. The woman's promiscuity implies a rejection of monumentalizing love, as well as a refusal of the fixing inherent in the carpe diem's fearful invocation of the movement of time. Throughout the love sonnets, the speaker's sexualized body produces nothing but ephemera. For Millay, this body spends its powers in hopes of having them, and the force of this spending is a perpetual and willful forgetting, which makes possible the repetition of love's story. Ultimately, Milly disturbs our critical categories by rendering permeable boundaries between modern literature and dead form of classic literature, the female speaker and male speaker.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.111-117
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• 2023

The aim of this study is to present a practical teaching plan for liberal arts English classes that target foreign students. Foreign learners who do not have Korean language proficiency at the university level may struggle to understand the contents of liberal arts classes conducted by Korean language professors. In this study, six topics were selected (K-culture, Online game, Harry Potter, Disney, Marvel, DC) and topic-centered participatory class activities using various media were developed. A questionnaire was conducted to analyze learners' attitudes toward and perceptions regarding topic-oriented classes. It showed that learners' satisfaction with topic-based classes was high (75%), and the reasons for this high level of satisfaction were the instructors' caring attitudes, the comfortable class atmosphere, and the fun learners had in class. Learners also reported high satisfaction with various participatory class activities (81.9%), citing the learning benefits, their increased interest and motivation, and the efficiency of participatory classes. As globalization continues to increase the number of foreign students in South Korea, the need to develop realistic class plans and various class activities that are suitable for them is becoming more and more urgent.

• Cross-Cultural Studies
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• v.20
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• pp.241-274
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• 2010

Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples' everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned-a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people's consciousness through the medium of popular culture.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.39-85
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• 2020

This paper examines the aspects of disaster narrative, which makes the most of the concept of 'masterplot' as a narrative simulation to solve problems. By analyzing and comparing the remnants of 'masterplots' operating in the disaster narratives of Korea, the United States, and Japan, the differences between each country and social community problem recognition and resolution will be discussed. Disaster narrative is the most suitable genre for applying the 'masterplot' toward community problem solving in today's global risk society, and the problem-solving method has cognitive differences for each community. First, in the case of American disaster narratives, civilian experts' response to natural disasters tracks the changes of heroes in today's 'Marvel Comic Universe' (MCU). Compared to the past, the close relationship between heroism and nationalism has been reduced, but the state remains functional even if it is bolstered by the heroes' voluntary cooperation and reflection ability. On the other hand, in Korea's disaster narratives, the disappearance of the country and paralysis of the function are foregrounded. In order to fill the void, a new family narrative occurs, consisting of a righteous army or people abandoned by the state. Korea's disaster narratives are sensitive to changes after the disaster, and the nation's recovery never returns to normal after the disaster. Finally, Japan's disaster narratives are defensive and neurotic. A fully state-led bureaucratic system depicts an obsessive nationalism that seeks to control all disasters, or even counteracts anti-heroic individuals who reject voluntary sacrifices and even abandon disaster conditions This paper was able to diagnose the impact and value of a 'masterplot' today by comparing a series of 'masterplots' and their variations and uses. In a time when the understanding and utilization of 'masterplots' are becoming more and more important in today's world where Over-the top(OTT) services are being provided worldwide, this paper attempt could be a fragmentary model for the distribution and sharing of global stories.

• Journal of the Daesoon Academy of Sciences
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• v.28
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• pp.267-302
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• 2017

This study aims to understand the concept of God in Daesoon thought through gods, divine beings, and divine Dao as they are featured in the I Ching. This study also explores analysis by dividing the 'one' from the I Ching into personal subject, metaphysical and fundamental marvel, innate divinity and morality of human beings as being among various concepts of god. Among the terms regarding god, divine Dao is especially clear in its depiction of this concept. In this context, the study looks closely at the characteristics of the concept of God. The divine Dao is actually an order that has been spread throughout the world by Sangje's will and the gods are endowed with His mandate. Through such order, the divine Dao leads to the Dao of divinely empowered humans by the Great Dao of mutual beneficence and natural solution. Divinely empowered humans is a concept which corresponds to the idea that 'Divine affairs are akin to those of humans.' Divine beings have human will and feelings in the afterlife, and due to their close relationship to human beings, they exercise an influence over human beings. They have human will and feelings while alive as well. In addition, they also have grievances and grudges. Such grievances and grudges can be resolved by mutual beneficence. And the divine affairs and activities move in accordance with Taegeuk (the Great Ultimate), Sangje's will, and the divine Dao. Therefore, it is a principle that divine beings should obey and an operational law in theonomy. Sangje's divine Dao and heavenly mandate accord with the Great Ultimate and are thereby revealed. Natural solutions can be reached when Divine beings and human beings gain awareness of this truth. To realize the divine Dao, humans and divine beings should practice the dao of benevolence, justice, propriety, wisdom, and they should rely on one another. Furthermore, this is done to accomplish the dao of heaven and earth.