• Sijohaknonchong
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• v.20
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• pp.5-27
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• 2004

This article aims to clarify the significance of nature's silence in sijo by comparing with the works taking misunderstanding and lie as poetic materials. Sijo poets praise the silence of nature with correlating the false of the mundane language. This is the natural consequence in which they arrive by denying both 'mundane' and 'language'. In mundane world people struggle for their interest and distinguish between right and wrong. Therefore the silence of nature is not the principle of life but counter-pair of mundane politics. Sadaebu[사대부], the sijo poets praise the silence of nature to realize needs to rise above the boundary of right and wrong. Then they don't recognize the nature as pure scenary. As Confucianist, they recognize the nature in connection with mundane world. Because they have two persona, the scholar [사] and politician[대부]. In Confucianism the naturalization of moral and moralization of nature is pursued simultaneously.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1235-1253
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• 2010

Lucy Snowe, the heroine and narrator of Charlotte Brontë's Villette, has oftentimes been studied in terms of her silence. However, the critics' approach to Lucy's silence has been mostly negative as her silence has often been interpreted as an illustration of her sense of absence, powerlessness, unreliability, or mental deprivation. Lucy's silence, however, is complex in nature as the functions and meanings of her silence vary depending on when, why, and how silence is performed. This article particularly looks into the moments in which Lucy's silence generates multifarious meanings and resonances depending on the contexts in and the purpose for which it is exercised, such as a sense of wholeness, marginality, power and individuality. First of all, Lucy's silence about herself during the recount of her childhood days at Bretton implies the feeling of entirety and peacefulness where the identification of the "I" becomes unnecessary. Second, Lucy's silence in relation to Paulina at Bretton denotes her social marginality and powerlessness. Third, as an older self/narrator, Lucy chooses to be silent in order to exert power over the readers. And lastly, Lucy's conscious refusal to tell the readers what she already knows also serves to reveal her sense of individuality. Through the instances of Lucy Snowe's silence in Bronte's Villette, I demonstrate the possibility to reveal various aspects of one's self through silence.

• The Journal of Industrial Distribution & Business
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• v.10 no.5
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• pp.59-66
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• 2019

Purpose - Many studies show that dissatisfied customers are silent rather than expressing complaints directly to firms. Although silent voices are pervasive in service failure, they have received little attention from researchers. Silence implies a multidimensional nature, not just the opposite of voice. This study focuses on two types of silent students in higher education: acquiescent silence and defensive silence. This study also proposes cognitive trust and affective trust as variables affecting student silence. The objective of this study is to analyse the effects of trust types on student silence and exit intention. Research design, data, and methodology - To test the proposed model, this study conducted a survey with undergraduate students who selected silence in a dissatisfied relationship with a professor. Respondents were asked to respond to the questionnaire, recalling the dissatisfaction at that time. A total of 300 students was surveyed from whom 275 completed questionnaires was obtained. The structural equation model analysis was used for the hypothesis test. Results - First, cognitive trust was negatively related to acquiescent and defensive silence. Second, affective trust was negatively related to acquiescent and defensive silence. Third, cognitive trust was negatively exit intention, but affective trust didn't significantly reduce exit intention. Forth, acquiescent silence was positively related to exit intention, but defensive silence didn't have a significant positive impact on exit intention. Thus, a key result of this analysis was that acquiescent silence enhances exit intention. Conclusions - The findings of the study provide a better understanding of the types of silence, and the role of trust, thus furthering the implication of student reactions to dissatisfaction. In particular, this study is meaningful in that it confirms the value of student silence in the context of complaint management. Acquiescent silence should be more importantly managed because it has stronger negative motive than defensive silence. Acquiescent silence is reduced through various channels(mail, telephone, counseling) that can express complaints. Cognitive trust and affective trust are a essential factors in reducing silence. Also, in explaining exit intention, cognitive trust plays a more important role than affective trust.

• Korean Journal of Culture and Social Issue
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• v.23 no.2
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• pp.239-270
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• 2017

This study investigated the nature and dimensionality of the motives why employees showed the silence even though they could speak up their opinions. It aimed to develop the scales measuring employee silence. Thus, three studies were designed and particularly, two studies featured two different studies, totaling five studies. Study 1 conducted open-ended survey asking and 104 workers from a variety of work field answered. With the results of open-ended questions, a were developed, consisting of 60-items to measure employee silence motivation. Study 2 examined the scale developed and 481 workers from diverse work fields participated in. The exploratory factor and 'intra-ESEM' analyses were confirmed the construct of silence motivation, composing 5 factors(acquiescent, defensive, disengaged, opportunistic, relational silence) the 20-items was developed to measure the construct(Study 2-1). Furthermore, 'inter-ESEM' analysis was examined the discriminant validity of scale developed by the current study with general silence behavior and voice behavior. It found that the employee silence was distinguished from general silence behavior and voice behavior(Study 2-2). Study 3 was designed for validation of silence motivation scale which developed from Study 1 and Study 2. Based on these results, the implications and limitations of this study as well as the direction for future study were discussed.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.127-139
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• 2021

This study is intended to review the poetic directing created by the aesthetics of silence of Claude Régy, a French director who carries out playwriting in silence, departing from conventions through the concept of "potentiality" proposed by Giorgio Agamben, an italian philosopher. Claude Régy stated, "What's fundamentally important is not to say what you want to say." Thus he tries to create the stage of "silence" rendered in overly slow, excessively segmented dialogues while selecting restrained minimal means. Agamben makes Bartleby who "prefers not to" as a cardinal model of his perfect potentiality, asserting that the nature of potentiality is revealed in the pause of actuality. As in Agamben's philosophy, Claude Régy's directing is also the "pause" of words and actions. This silence is not a return to actuality but a creation of the moment at which "the invisible" become visible. The silence of words or the silence of an empty stage with dim lighting is viewed by Agamben as potentiality that has "underlying passivity" and is "hospitable to non-existnece". In this light, this study is to create another direction for the theater arts of our time and the 21^st century and to extend the horizon of new directional modes. It aldo reviews the concept of Agamben's "potentiality" that provides critical viewpoints to "the artist without content", works directed by Claude Régy who has created his own distinctive styles of direction with the aesthetics of "slowness" and "silence", L'intérieur by Maurice Maeterlinck and Quel'un va venir By Jon Fosse.

• English & American cultural studies
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• v.18 no.1
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• pp.1-21
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• 2018

In Woman Watches over the World, Linda Hogan explores the broken identity of herself and her family, the issue of the poverty and the identity crisis, the alcoholism, prevalent in the Native American community and their silenced history. Previous studies have claimed that her memoir contributes to the restoration of Native American identity and history by accusing the violence of white culture, and seeks to recognize a dialogue between native culture and white mainstream culture as well. However they seem to overlook the complicated relations among story, identity, body and nature, to which Hogan as a multi-binded storyteller resorts as a way to break the silence of herself and her tribe for healing. Her own story, as a way to break the silence, becomes the formative drive to reveal the silenced history of her own tribe to lead the young generation to the future. She also understands the formative function of the story, which becomes the vehicle for embodying and connecting themselves to nature. To her, healing lies in the restoration of sympathetic relationship with nature. History, as a type of story, can be made up or mistold just like a story. There may be a blind spot where one can not assess what is true. In spite of the vision of the parallel worlds of the two cultures she presents, there seems to be no immediate solution to the discrimination against the Native American, poverty, identity crisis, and environmental problems which the Native American community faces. However, it can be said that her memoir serves as a rudder by presenting a direction to not only the Native American but also to readers in other cultures in its quest for practical possibilities for the future.

• Journal of the Korean Society of Floral Art and Design
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• no.40
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• pp.45-61
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• 2019

This study attempts to examine the recent trend of 'Maison & Objet' exhibition which shows everything that forms a space, and seek cases where such 'green amenity' is applied. In terms of morphology, a minimal space was filled with a curved shape, and gradually a design that reproduces nature was produced. As the maximalism gradually emerged, decorative elements were added to the design, and a lot of craft products appeared. In terms of materials, the emotion of naturalism was the most common, and natural wood materials were mainly used. These materials combine with various heterogeneous materials to complete a new design, and natural elements were shaped in space. In terms of colors, the theme in 2016 was 'Wild', and it was possible to see a space where wild nature can be experienced. It showed various colors of nature centered on brown and green of trees. 'Silence' in 2017 is distinguished and characterized by its pink color. Also, pieces of warm reddish brown furniture were made. In the past, brass or rose gold would be trendy, but in 2017, gold or silver colors showed a greater popularity. In 2018, 'Show Room' was the theme, and the representative color was green, which affected new designs with yellow and pink.

• Korean Institute of Interior Design Journal
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• v.25 no.5
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• pp.157-166
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• 2016

This study is intended to examine the various kinds of emptiness that are shown in the empty spaces created by Hyo-Sang Seung and Louis I. Kahn. Architecture creates the usefulness of a certain space thanks to its emptiness. The word, 'Emptiness' has the following meanings, 'non-fulfillment', 'non-existence', 'emptiness', 'blankness', 'non-visibility' and 'non-limitation', etc. Such concepts of emptiness can be broadly divided into 'ideological emptiness', 'aesthetic' and 'architectural spatial'. Comparisons regarding such concepts of emptiness as they are expressed in the architectural spaces created by Hyo-sang Seung and Louis I. Kahn shall be identified in this study. Hyo-sang Seung tried to leave numerous open possibilities which can contain everything into a certain space since 'emptiness' is not being used at this moment. Louis I. Kahn tried to contain into a space the essence and silence of that space before something that exists is created. The 'emptiness' created by Hyo-sang Seung and Louis I. Kahn is a specific space which can contain more kinds of non-visible spaces than some visible ones. Thus, such spaces may contain various potentials which are possible because they are empty, because of changes in nature and time, and because of silence and intentions going beyond an artist's original intent.

• Journal of the Korea Construction Safety Engineering Association
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• s.55
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• pp.37-51
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• 2012

There is a shround of mystery surronnding Gaudi. In all probability, the first mist preventing us from gaining acess to his work is the intrinstic mysteriousness of all genius and, at the end of the day, of all human spirit. The situation is complicated by the well-known fact that Gaudi wished to creat an aura of silence around his persona, while, at the same time as maintaining this secretiveneness - in other words, the annihiliation of his fundamental values-gave expression and symbolisation to his moods and incerdible mental power. On a piece of land on the Muntanya Pelada, in the Barcelona district of La Salut, Eusebi G$\ddot{u}$ell Wanted to build an urbanisation inspired by the concepe of the garden city. in this he sought to return to nature, health and an escape from the insalubrous industrial city. Gaudi worked on the construction of this park between 1900 and 1914, and even moved his home there in 1906. An outstanding feature of park G$\ddot{u}$ell is the integration of architecture with nature. In other to save the natural slopes, Gaudi built viaducts from brick pillars, which he covered with stone obtained from the excavation.

• English & American cultural studies
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• v.13 no.1
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• pp.1-28
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• 2013

Edward Abbey is regarded as one of the most influential ecological or nature writers. He celebrates the American Southwestern desert, argues for wilderness preservation, and advocates politically-oriented environmental activism to defend wilderness. He, however, does not classify himself as a nature writer, but rather places himself in the tradition of a kind of autography. His books show his fascination with the delicate harmony of the desert, and at the same time his personal journey over the desert. That is, eco-centered, he keeps his journey into the heart of the desert. He finds the desert harsh, brutal, fatal, and most of all, indifferent. The desert reveals simplicity and mystery, silence and revelation, and emptiness and fulfillment. This mythical and paradoxical essence of the desert draws him into the place and inspires redemptive humility and beauty, which, in turn, peel off his old ego or self. During his journey, Abbey tries to immerge himself with the desert yet remains intact and individual. The desert serves for him as the bedrock which sustains him and offers an opportunity to gain a new whole perspective. Like a pocket hunter in the desert whom he characterizes himself, he sticks to the desert to dig out ground for his existence and survival. Pulling the energy and force of the desert into his soul, Abbey is free, or compelled to contemplate what is beyond the human. His experience in and of the desert leads to a discovery of self and initiates selfhood.