• Journal of English Language & Literature
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• v.55 no.4
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• pp.641-659
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• 2009

Since Plath killed herself in 1963, the theme of death has become one of the central motifs and allusions in her work. The biographical emphasis continues to blur the boundary between the artistic world and the material world. While approaching Plath's work from the perspective of personal experience, the objective of this paper is not to suggest that we encounter Plath's personal voice and emotions directly in her work. Rather, I emphasize how Plath's work of mourning is substantiated in the act of writing. Plath protects herself from the unnamable or the existential void by writing poems. She shows the way in which art or writing enables the subject to confront traumatic memory. While the death drive propels Plath towards destruction, artistic formation serves to alleviate her psychic crisis. What I shall suggest in the paper is how works of art lead the melancholic subject to challenge traumatic events. Plath herself suggests the therapeutic power of language. Plath's hostility toward women as well as men situates her work nearer to the Kristevan psychoanalytic theory which examines depressive anxieties intrinsically linked to the loss of maternal objects. Kristeva's particular focus on the concept of "death-bearing mother" or the unnamable offers a fruitful reading of the representation of infantile fantasies, sexuality, anger, and ambivalence toward lost loved object which clearly dominates most of Plath's poems. Kristeva elaborates mourning and melancholia through the framework of signification and it is of especial relevance in deciphering the recurring death drive and melancholic rage in Plath's work. Melancholic subjects in Plath's work are characterized by an amorphous state, occupying a borderline state regulated by the death drive.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.133-140
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• 2023

The origin of texts we refer to as literary or artistic may be imagination, but many are based on experiences. In fact, experiences can be the source of artistic imagination since imagination often builds upon experiences. Therefore, the act of verbalizing human experiences using them as raw material can become a great form of art. Transforming past experiences into stories and infusing them with vitality inevitably requires a creative process of reconstruction, which is essentially a literary process. As such, 'Personal Narrative' holds significance as a literary process that weaves facts into stories and shapes them into forms. Individual experiences are stored as personal memories, and these 'personal memories' continuously generate stories. Collections of individual stories are stored as multiple memories, which gradually form 'collective memories' with distinct social and cultural inclinations through the passage of time and invisible yet potent societal and cultural censorship. The problem lies in the fact that individuals may tend to align their own memories with the inclinations of collective memory rather than simply recalling what they personally experienced. In the context of actual history, personal memories and collective memories communicate with each other, producing non-fictional content close to reality and sometimes manifesting as fiction content enriched with imagination. 'Personal Narrative' holds a significant genre as one genre of non-fiction content within our culture.

• Archives of design research
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• v.15 no.4
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• pp.47-56
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• 2002

The purpose of this study is to clarify how modern formative art reflects surrealism and propose a Art Make-up expressed based on the trend. The study also aims at demonstrating the part that the Make-up based on surrealism is also an artistic being keeping pace with the trend of art. For the purpose, the study reviewed related theoretical backgrounds and works as manufactured. Based on these theoretical backgrounds, the author anufactured works of his own, realizing the combination between theoretical and practical aspects. Those works were motivated from existing surrealistic paintings or otherwise made surrealistically through creation by the author for himself. The works included , (Work 2-MAGRITTE's Expression>, , , and . Results of the study, which were obtained through manufacturing the works, can be described as follows. First, senses of modern formation and line were emerged by applying the materials and images frequently shown in surrealistic paintings to human bodies. Second, characteristics of the Art Make-up for artistic image were revealed, not limited to colors, expressions, subjects, techniques and materials. Third, an unlimited, interesting expression of the Make-up using a variety of materials became possible by applying extremely subjective, surrealistic paintings and images in various ways. This paper proposed that the Make-up should be a artistic image itself, not as a secondary means for an obvious expression of personal beauty which has been maintained since the ancient times. The researcher tried to put the Art Make-up into our daily life by making creative works which viewed and psychologically enjoyed by people and by proposing the works as sort of image theme to the spectators.

• Review of Culture and Economy
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• v.21 no.2
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• pp.175-196
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• 2018

When social disaster which is a phenomenon that causes a big wave to the social members occurs, the members of the society are anxious and show feelings of shame or guilt over behaviors that are against social norms. This sense of guilt is expected to reduce consumption of arts having its luxury and hedonic characteristics. The purpose of this study is to identify the causes of the decline in art consumption at the time of social disasters and we focus on guilt. We hypothesize that guilt for art consumption at the time of social disasters will increase as the tendency toward guilt is higher and the empathy tendency is higher. A result of the questionnaire survey of 286 people shows that the higher the guilt for art consumption in the social disaster situation, the more the art consumption decreased and the guilt changed depending on the degree of personal guilt and sympathy. This study contributes to explaining the decrease of art consumption in a big social phenomenon in recent years.

• Korean Security Journal
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• no.9
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• pp.27-68
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• 2005

Recently, because credit card crime using a personal credit information is increasing, professionalizing, and spreading the area, the loss occurring from credit card crime is enormous and is difficult to arrest and punish the criminals. At past, crime from forging and counterfeiting the credit card was originated by minority criminals, but at present, the types and appearance of credit card crime is very different to contrasting past crime. The numbers of people using credit card in the middle of 1990's was increasing and barometer of living conditions was evaluated by the number having credit card, therefore this bad phenomenon occurring from credit card crime was affected by abnormal consumption patterns. There is no need emphasizing the importance of personal credit card in this credit society. so, because credit card crime using personal credit card information has a bad effect, and brings the economic loss and harms to individuals, credit card company, and members joining credit card. Credit card crime using personal credit card information means the conduct using another people's credit card information(card number, expiring duration, secret number) that detected by unlawful means. And crime using dishonest means from another people's credit information is called a crime profiting money-making and a crime lending an illegal advance by making false documents. A findings on countermeasures of this study are as follows: Firstly, Diverting user's mind, improving the art of printing, and legitimating password from payment gateway was suggested. Secondly, Complementing input of password, disseminating the system of key-board protection, and promoting legitimations of immediate notification duty was suggested. Thirdly, Certificating the electronic certificates as a personal certificates, assuring the recognition by sense organ of organism, and lessening the ratio of crime occurrence, and restricting the ratio of the credit card crime was suggested.

• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.48-62
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• 2015

Practice is essential in art and design. Through practice, artists gain tacit knowledge that is hard to acquire from conventional academic studies. This paper characterizes practice-led research in the study of fashion and textile design through the investigation of practice-led research theses in the UK. According to relevant literature, which includes four exemplary case studies, the following features can be drawn: First, the methodology is different in each case and the use of practice is unconventional. Second, the research is not always aimed at making products. Third, the structure follows an iterative process. Fourth, the ratios of theory and practice are different and various theories are used. Fifth, a personal journal or diary is used for reflection as a major aid to research. Lastly, the process should be recorded by a thorough academic method. Practice-led research can have unexpected outcomes in theory and practice. It can be a good option for fashion practice research to develop a better evaluation method and reduce the gap between subjectivity and objectivity.

• Journal of Korea Technology Innovation Society
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• v.8 no.spc1
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• pp.476-498
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• 2005

The purpose of this study is to development of venture business curriculum by FGI interview to venture CEO and related field employer and suggest to venture related structure of liberal art, major part of undergraduate and graduate school. Research methods are 2 step interview with 325 venture business CEO and related employer. They selected practical course to motivate venture entrepreneurship among 3 subsidiary (entrepreneurial condition, psychology of entrepreneur, competency of entrepreneurial technology, competency of entrepreneurial knowledge, competency of managing growing business). Major findings are as follows; the selected course category of entrepreneurial condition of liberal art are venture mind and entrepreneurship, venture biz and spearhed industry. The selected course category of psychology of entrepreneur are leadership, personal relationship, and creativity, negotiation skill, etc. The selected course category of competency of entrepreneurial technology are venture technology, introduction to technology trends. The selected course category of competency of entrepreneurial knowledge are biz validity, entrepreneurship, the discovery of business opportunity, utilization of monetary resource etc. The selected course category of competency of managing growing business are operating strategy of venture business, service marketing and technical innovation and technology management.

• Journal of the Korea Furniture Society
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• v.26 no.4
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• pp.383-391
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• 2015

In recent years the industry has utilized some of the 3D printers in the manufacturing process a trend which spread also a personal desktop 3D printer priced. The 3D printer can create the 3D object by using an ink or a laser instead of the powders, and various liquid plastic material. Properties of 3D printers are liquid, solid, powder and raw materials are also classified as varied. New ideas and processes in the form of designer furniture, becoming increasingly evolved through the development of materials and technologies. Science, art and technology combine to create a new aesthetic for the complex and free binding structure is a combination of design and materials are available in craft and the structure appears not showing. 3D scanning was not simply continue to develop as the production process by a variety of tools and content transformation. Create new mathematical tables and chairs designed by the theory fit the digital age shows a coupling structure with decoration into small pieces. It has created a new craft technique in the digital age.

• Culinary science and hospitality research
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• v.13 no.3
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• pp.68-79
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• 2007

The purpose of this study was to contribute to merchandising of native local foods. This study was designed to standardize the recipes and to analyze the nutrients of native local foods in Gijang region such as 'Myeolchijjigae', 'Galchijjigae' and 'Maejipjjim'. The test recipe for each food was prepared according to the information obtained from the personal interview of Gijang natives and then supplied for the sensory evaluation. After that, CAN Pro 2.0 was used for the nutritional evaluation. The results are as follows : Myeolchijjigae was preferred when radishes and traditional soybean paste were added. Galchijjigae was more liked when young pumpkins, mixed soy sauce and soybean paste were added. Maejipjjim was preferred with Aeji(Codium adhaerens), Warty sea squirt(Styela clava), soybean paste and powdered perilla seed(Perilla frutescens var. japonica) added. The analysis of nutrient composition revealed that in general energy content was low whereas protein content was as high as recommended requirement in Myeolchijjigae and Maejipjjim. Calcium and phosphorus were high in Myeol-chijjigae, vitamin A in Galchijjigae, and vitamin A, B_6$, folic acid, phosphorus and iron in Maejipjjim.

• Journal of the Korean Society of Costume
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• v.47
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• pp.125-142
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• 1999

Dancing along with mankind has existed in various ways form old age to the present. This dancing combined with artistic meaning is called the art of dancing. This study is mainly about the functions decorations and expressions of dancing costume and the claracteristics of the costumes by the 20th century designers Leon bakst Oskar Schlemer Pablo Picasso. The dancing costume were not so much different from those of the public from old age to middle age. In 18th and 19th centuries the length of the cotstumes become short from the knee to the thigh. The functions have much to do with the development of dancing for example the appearance of toeshoes. The costumes are designed not to prevent the movements of dancers smooth line in old age and ladylike vend high-blown line in the 18th and 19th centuries. Cotton and hemp textiles are turning into the transparent forms such as lace and gauge. The personal ornaments earings and necklaces have change into the pattern with wings and tassels. The dancing costumes of Leon Bakst Oskar Schlemer and Pablo Picasso are designed after the due consideration of body shape. Bakst focused on the beauty of smooth lines with splendid colors and decorations. Schlemer analyzed the body abstractly and metaphysically and expressed it with detaile and simple lines. Picasso emphasized cubic forms with cubism and expressed the characteristics of costumes with clear colors and smooth curved line. Bakst Schlemer and Picasso made the early 20th century the age of functional dancing costumes putting a light on the concept of space and foundation for the modern dancing costumes.