• The Journal of Korean Medical History
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• v.23 no.2
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• pp.71-79
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• 2010

The purpose of this paper is to inquire into the significance of Euibangyoochui, Sejo Edition. One cannot study Euibangyoochui, Sejo Edition firsthand since it does not exist today. Instead, this writer looked into the process by which the Sejo Edition had been proofread and the historic figures who led the proofreading process. The quantities of the Sejong Edition and Sejo Edition have been compared, of which the meaning has also been studied. 1. The compilation of Sejo Edition began in 1459(5th year of Sejo), the year King Sejo entrusted the work of proofreading of Euibangyoochui to Yang Seong Ji. This was not a continuance from the work of King Sejong, but a whole new business ignited by the will and necessity conveyed by King Sejo himself. 2. King Sejo regarded medicine important and emphasized its practicality. The fact that the 365 volumes of the Sejong Edition was reduced to 266 volumes reflects the emphasis put on practicality. 3. Yang Seong Ji, who led the proofreading process, played an important role in managing state documents from the time of King Sejo. His compilation, Euibangyoochui, Sejo Edition, is a work that can be discriminated from its Chinese counterpart in that it had been proofread.

• Journal of architectural history
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• v.24 no.1
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• pp.29-40
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• 2015

This study is on historiography of Modern Architecture since its beginning to present. As a critical review of the history of the writing history of Modern Architecture, this study tends to be a meta-history and criticism of historical text. This study try to analyse historiographical project of Modern architecture at specific phase since the beginning of modern architecture. The historiography of Modern architecture shows that writing a history is making a discourse of Modern architecture as a imaginative representation to define and justify Modernism in architecture. The analysis of canonic text since early 20th century proves that the history of writing history of Modern architecture played a critical role not only to shape of our ideal but the practice of architecture with a ideology construction in retrospect. With a name of truth or morality they made myths about the modernity in architecture. So we can find deep 'Hagelean Unconscious' in writing history of Modern architecture not even the first generation of historians but the second generation who were influenced by earlier writer in spite of their intention of revision and overcoming, which is in itself the key concept of Hegel's philosophy of History. Under this kind of 'operative' discourse our view point of Modern architecture were confined and the historiography of Modern architecture itself was narrowly defined as a kind of melodrama that a few architect and work of art matters. The rise of critical history fundamentally has changed the way of seeing and writing the history of Modern architecture. but it has also a new kind of dilemma as regard to writing history and involving practice. This review of historiography traces the texts of historians as like Pevsner, Giedion, Banham, Rowe, Tafuri, Frampton, and Curtis relating to different discours making. When we consider Benjamin's famous concept of constellation, writing history necessarily is a kind of montage making in time and we always need to recognize the historicity of historiography.

• Cross-Cultural Studies
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• v.33
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• pp.407-459
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• 2013

The paper pragmatically analyzes ellipsis in Russian and Polish colloquial and informal texts. The famous Polish writer Sławomir $Mro{\dot{z}}ek^{\prime}s$ "Exit to the South", written in Polish and Russian is used as a material for the analysis. Russian and Polish ellipsis in colloquial and informal texts have in common that the givenness and subjecthood of the elliptical co-referent play a crucial role. However, the ellipsis in two languages also has differences in many ways. Above all, in the Polish texts of colloquial and informal style, a theme is likely to be elliptical and the coreferential relation reaches to an extra-sentential antecedent, while the ellipsis in analysed Russian texts in most cases requires coordinate, subordinate or relative clauses, and the elliptical co-referent tends to have an intra-sentential antecedent. The ellipsis of the theme-subject is unmarked in Polish, where every verbal form has an ending denoting person. Unlike formal style which often allows explicit noun subject, Polish text of colloquial and informal style prefer null form of the subject in most cases. If Polish sentences have explicit theme-subjects, they disambiguate intervening and main themes, and indicate the contrast, the focus, the introduction of new narratives or the change of speaker's point of view. Sometimes direct speeches and deictic pronouns also need explicit theme-subjects in Polish sentences. On the other hand, the ellipsis of the theme-subject is marked in Russian even in colloquial and informal texts. The theme-subject can be deleted in Russian colloquial and informal texts, if the subject is a form of the first or the second person, or if the aspect and the tense of the antecedent sentence's verb are the same as those of the given sentence's verb and both the antecedent and the coreferential word have the nominative case.

• Lingua Humanitatis
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• v.1 no.2
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• pp.91-104
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• 2001

Ford Madox Ford, the early twentieth-century writer most famous for his novel The Good Soldier, perceived his "business in life [as an] ... attempt to discover and to try to let you see where you stand." With this grand purpose in mind, Ford disregarded distinctions of genre in his prolific output of what we would consider novels, memoirs, literary criticism, travel writing, and history. Claiming that "the Novelist ... [is a] historian of his own time," Ford sought his own version of the "truth," a truth that was more faithful to his own subjective impressions than to verifiable "fact." Among these works that depict his age are a series of "memoirs" or "reminiscences," works published from the 1910s to the 1930s which carry out his Impressionistic purpose. What lies behind these memoirs is Ford′s view that his own individual history can be understood as his contemporary society′s collective history. This article explores Ford′s experimentation with boundaries of fact and fiction, and history and narrative, as he employs and expands the memoir form. In particular, 1 focus on two works, Memories and Impressions (1911) and It Was the Nightingale (1933), and Ford′s techniques in these memoirs, such as 1) the adoption of fictional personae from which to comment on his society at large and 2) the use of emblematic "parables" to encapsulate larger lessons of life within the minutiae of existence. Current theorists on the memoir form share interests in these questions of genre and of the social role of the memoir Nancy Miller, for instance, terms the memoir "the record of an experience in search of a community." This article engages these current discussions of the memoir genre by examining Ford′s early twentieth-century examples as innovative experiments that play with the boundaries between fiction and history, and personal impressions and collective truth.

• English & American cultural studies
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• v.18 no.3
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• pp.1-29
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• 2018

Nadine Gordimer's The Pickup, published in 2001, well shows how the social issues have been changed in a way to reflect the South African society which is more complicated in the post-apartheid era. Examining the two different geographical territories between Johannesburg, South Africa and an unnamed nation in Middle East, putting aside the domestic racism between white and black, she extends her issue of racial other to global one with new rising issue of immigration in South African society. It seems that Gordimer's such issue is well represented by two main characters: Julie Summers who comes from a wealthy family and falls in love with Abdu, an illegal immigrant who was born from a poor country in Middle East and is now working at a garage in a downtown of Johannesburg with hiding his real name Ibrahim ibn Musa. Having an official relationship with Ibrahim and joining the regular meeting at the El-Ay (L.A.) Cafe where all participants can enjoy the freedom of expression/speech except for Abdu, she begins to have interest in his silence and his presence, orientalized as the Arab Prince for her imagination. Arriving at Abdu 's nation later, she also keeps projecting the 'less civilized' images to his nation where there are only desert, uneducated people, and dirty houses and streets. In doing so, Gordimer leads reader to a never-ending issue of Orientalism in the Western literature. Moreover, the writer attempts to create a female-centered community at the male-centered Islam community by marginalizing the presence of Abdu who finally leaves to America alone. As Julie is successfully acculturated to the unknown Abdu's community, she begins to place herself at the center of the community and plays a role as a mediator/communicator who can change/civilize it with her western knowledge of language and culture. By replacing the male-centered with the female-centered through Julie, Gordimer seems to be creating an idealized community with the notion of matriarchy. However, Gordimer places Abdu as an unstable subject who has to endlessly move back and forth for his undetermined national and cultural identity while Julie achieves the determined identity in both nations.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.7
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• pp.451-458
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• 2016

The Crying of Lot 49 presents the writer's major ideas through Oedipa Maas who tries to seek out the truth of a mysterious underground postal network, Tristero. Of the many themes inherent in The Crying of Lot 49, probably the most important and widespread of all is 'paranoia', which plays a major role in helping us to comprehend and appreciate other thematic ideas. The other main motif in this novel is a conspiracy. However, it is really difficult to distinguish between reality and fantasy in the crazed environment. Therefore, it is uncertain that the existence of Tristero is a real conspiracy or just a paranoia. The world revealed to her after considering Tristero's knowledge is totally different from the world previously familiar to Oedipa and she discovers that the nature and origins of Tristero will not be a quest of simple curiosity any longer and she greatly needs to escape from the closed system of perception. The secret of the Tristero case should be found in order to return to reality. In addition, accepting what Oedipa has seen and heard may be a reasonable way for her to become a paranoiac.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.148-161
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• 2022

Korea's design developed closely related to economic growth and plays a key role in material growth, wealth growth, and consumption promotion today. Of course, it is true that Korea's design level has grown significantly, but it has not reached a trend-leading level. Behind this, it is thought that one of the reasons behind this is that most design companies are biased towards trend research and benchmarking from a supplier perspective, resulting in the creation of design sculptures. If you look at the examples that lead the world's design trends, you can see that their subjective thinking from the author's point of view accounts for a significant portion of design sculpture creation. Through an in-depth interview with designers and artists at both extremes of the spectrum of thought, I want to look at examples of self-expression design development and get implications for suggesting conceptual models of self-expression design sculpture. Through this, a conceptual model was proposed, which is organized into a five-step design creation process in which balanced thinking is achieved by combining the thinking system and process according to the writer's point of view with the majority of design creation dominated by supplier perspective.

• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.50-60
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• 2014

A writer's text signals are converted into visual ones as a director exerts his fundamental capability to interpret and direct. On the other hand, his situational capability comes into play as the production environment changes. Such latest developments as the increasing popularity of production outsourcing, the sapped advertising market, and the growth in the number of the media channels and consequently heightened level of competition have led to changes in the way of advertising and production sponsorship. In turn, directors are faced with a new environment, where they are now required to pick up the role of an advertising director. Given that the production costs have been rising faster than the advertising revenue, such change in the director's situational capability seems to be part of the overall drama industry's evolution.

• The Journal of the Korea Contents Association
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• v.9 no.10
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• pp.140-147
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• 2009

The narrative in the post modern age specially changed the relationship between the writer and the audience. There has been discussions in digital story telling on the format where the audience directly get involved in the plot and change it. However, relevant research has a problem that makes it hard to be applied to unilateral narrative analysis. However, in this context, Save the Green Planet utilizes the narrative that emphasizes the role of the audience while keeping the media characteristics of the movie. Save the Green Planet is read in a monophonic manner by the audience. The audience is led, through different voices provided by the movie, to create another plot that is restructured by themselves other than the explicit plot. This paper aims to examine how the elements constituting the narrative of Save the Green Planet restructure a new plot, and examine the restructured narrative between the interaction of the two plots.

• Journal of the Korea Computer Graphics Society
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• v.13 no.1
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• pp.33-36
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• 2007

Generally, word balloon have played a role to connect the script with character in comics. The location of word balloons depicts the process of story in comics, because they are located by reading order. Therefore, it is very Important works to generate and place word balloons, these work usually is processed manually by comic writer's. In this paper, we discuss the automated generation and placement of word balloon. For this, we modeled 6 kinds of word balloons. And these word balloons are placed by heuristic method based on EPFLP. We also generate the tail of word balloon automatically by considering the direction and reference points of word balloon.