• Journal of English Language & Literature
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• v.55 no.3
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• pp.415-427
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• 2009

Woolf s preoccupation with the interplay between gender, commercialism, and the modern city is exposed in higher relief by her feminist remapping of the city through a discourse of fl nerie, which is epitomized in her singular urban travelogues such as Street Haunting and The London Scene essays. A fanatical London-adventurer herself, she assumes the persona of the fl neuse in exploring the street of modern London and especially the public sphere of the marketplace, as represented in Oxford Street Tide. Living and working in the quarter of Bloomsbury, in close proximity to the capital s famous sites of tourism, entertainment, and mass consumption, Woolf was placed at the heart of urban spectacle. In spite of the lack of critical analysis of this high-profile writer s interest in such quotidian matters as shopping, fashion and appearance, which would be informed by a hierarchy of value within literary criticism, it seems that they are inextricably intertwined with her quest into more serious-minded topics that revolve around the twin pillars of her literary project: feminism and modernism. Her essays, in particular, suggest this point in one way or another, mirroring her extraordinary susceptibility to such concerns. For Woolf, street sauntering is synonymous with an act of creative mobility, by which she plays with the notion of shifting identities, rediscovers the urban rarities and splendors, and ultimately pins them down in her literary output. By adopting the identity of a masterly rambler/observer/explorer with an omnipotent gaze, she firmly anchors herself as an active interpreter of urban modernity and viewer of its spectacle. She thus challenges the idea of public space as a male domain, which is central to the classic androcentric discourse of loitering, spectatorship and urban modernity.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.5-50
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• 2012

In these days, we come across a growing interest in animals from various perspectives. Considering that the posthumanistic point of view forms the major stream of postmodern humanities, ethics and philosophies, this paper tries to study the liminality between human beings and animal as appear in postmodern plays. The cases of a middle-aged architect falling in love with a goat (The Goat, or Who is Sylvia? by Edward Albee); An abandoned (human-)dog that encounters his old mistress under the moonlight (A leaseholder by Yoon Young-sun); Coexistence of men, dog, plants in a Country life (White Cherry by Bae Sam-sik); A Mutual sympathy between a swarm of bees and a woman dying of cancer(Bee by Bae Sam-sik) were discussed referring such concepts as 'Otherness' of Derrida, 'Becoming'of Deleuze, 'a bare life' of Agamben and ecological co-existence. In The Goat, the moment of Martin who happened to meet a goat's eyes in a suburbs can be paralleled with that of Derrida who one day found himself caught up with the gaze of a cat in the bathroom while he was naked. They shared the common experience in that they went through the ontological and mysterious abyss that rendered them to raise the question of "Who am I ?" In A leaseholder, a young woman returns to her hometown exhausted by the calculating human society and meet her old time (human-dog). This story reminds us of Agamben's werewolf, Levinas's dog Bobby and Derrida's Zootobiography. He, an abandoned pet, both excluded and included from human society, now appearing as a mysterious human-dog, welcomes, embraces, and comprehends his old mistress and exposes his individual remorses and passions as an animal-subject. In White Cherry, the author describes the coexistence of all the life-beings such as an old dog, a golden bell tree, the deceased daughter and even a fossil remains in a country life. Bee is a story of a beekeeping village where bees were leaving and disappearing. A swam of bees fly down on a woman who was dying of cancer. With physical and spiritual empathy the dying woman helps the swarm of bee to conduct a new birth and a new life.

• The Journal of the Korea Contents Association
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• v.20 no.9
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• pp.659-671
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• 2020

Severe congenital heart disease (CHD) is a chronic disease requiring continuous and holistic health management to improve patients' quality of life. This study explored the health management experiences of adolescents with severe CHDs in Korea. On the basis of in-depth interviews with nine youths, four categories and 12 subcategories were identified. The participants lacked a full understanding of their health status and the need for appropriate health management for their health status. Nonetheless, they practiced health management to some extent, in ways that were affected by heart function, self-identity, and social support. Although adolescents with severe CHDs were affected by physical limitations and the discriminatory gaze around them, they tried to achieve normalcy through managing information, seeking homogeneity with peers, and fostering positive acceptance about their disease. Regarding demands for health management programs, disease knowledge and mental health content were preferred, and the preferred delivery methods were self-help group camps and smartphone applications. Based on the results of this study, we suggest a health management intervention to promote a healthy transition to adulthood for adolescents with severe CHDs, and that policy-makers should consider measures that would enable a successful transition to adulthood in the future of youth with severe CHDs.

• Korean Journal of Cognitive Science
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• v.21 no.4
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• pp.481-503
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• 2010

In the present study, we examined global and local characteristics of eye movements while 17 Korean third-graders read a Korean story and an expository text. In story reading, children fixated for about 213ms at an eojeol(word cluster), made a forward saccade of about 3.6 characters to the next eojeol, and regressed backward at 30.8% on average. In expository text reading, children fixated for about 214ms at an eojeol, made a forward saccade of about 3.3 characters to the next eojeol, and regressed backward at 31% on average. In addition, the effects of eojeol length, word frequency and landing position were examined. The gaze duration in the long ejoels was longer than in the short eojeols. In a further analysis where the repeatedly used eojeols were excluded, the eojeol length effect appeared in the low-frequency words, but seemed to disappear in the high-frequency words. In terms of landing position, the eyes seemed to land near the center of an eojeol more frequently than on the boundaries. When the eyes landed at the boundary of an eojeol, the eyes tended to fixate the eojeol again.

• (The) Research of the performance art and culture
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• no.36
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• pp.45-73
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• 2018

In this paper, I examine how the voice of Simcheong is reproduced and the meaning of it by examining the reconstruction method and characteristics of . And I tried to explore the possibilities and directions of contents based on classical literature by exploring the way in which this text reintermediation, and recreates the narrative of . This work deals with the story of ShimChung, and sees the problematic aspects of ShimChung's sacrifice and death through the gaze of the surrounding people such as the Namkyeong merchant and Guideok's mother while excluding the central characters Shimcheong and Shimbongsa. In the process, the voice of Simcheong was discovered as a victim and social hit. And It connects this with the discourse of filial duty and virtuous woman which regulates the life of women in the patriarchal society and establishes the place of social public opinion about the life of the women of the Joseon era. In this way, is presented the possibility of a new interpretation of . Also readers and audiences of present-day have an opportunity to reconsider the 'sacrifice' of social subordinate based on deep understanding of .

• (The) Research of the performance art and culture
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• no.18
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• pp.47-72
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• 2009

This study explores mime elements of court Hagmu(鶴舞) in literature and what is expressed in the practice of current Hagmu and examines what has been changed while others are kept intact. The content of Hagmu is that "attracted by lotus flowers in a pond, cranes dance around and peck at them, when the blossoms open wide with a girl [dancer] inside, upon which the surprised cranes fly away." The dance consists of 4 steps: the first step is for the entrance of cranes; in the second step the cranes dance moving across jidang(池塘) and the north; in the third step the cranes are curious about the lotus calyces, yeontong(蓮筒); and the cranes withdraw in the fourth step. The literature suggests that the dancing courses on the stage are limited to the east, the west, the south, and the north. The movement is limited to naeson (內旋) only in mujin(舞進) and mutoe(舞退). Furthermore, the gaze is only allowed toward the north and jidang. Motions are limited to naejog(內足), oego (外顧), and naego(內顧). However, the mime elements of current Hagmu are attributed to the effort of translating crane's life into a realistic story. It relates the life of cranes to that of human beings and implies love in it. Finally, the court Hagmu has entered the real world out of the literature, enriched with new elements. Under the transition from literature to practice the diversity of expression is added while the elements related with court codes such as courses, movements, directions, and motions are kept intact. These limitations, however, are coupled with the sensitive 'love' and the exposure of dancing instruments intrigues audience and creates dramatic effect. In conclusion the significance of mime elements in court Hagmu is in enhancing communication with audience.

• (The) Research of the performance art and culture
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• no.35
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• pp.175-202
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• 2017

In this article, I focused on the identity of the Japanese magician, Tenkatsu(天勝), who appeared in Exhibition of Joseon, 1915, and the social gaze and reverberation of them. I would like to see how Tenkatsu group appeared, how it was active, and how it was utilized. Because It was a big stimulus for traditional performing artists. 'Ma-sul' was a new word, taking the place of 'Hwan-sul(幻術)' or 'Hwan-hee'(幻?) for a term of english 'Magic'. In the various articles published during the Japanese colonial period, we can find the performers of the contemporary magic and the Korean artists who tried to make them nationalized. In the mid-1920s, a magician of Korean origin appeared. Kim Mun-phil(김문필), Park Chang-sun(박창순), Kim Wan-shil(김완실) were them. They had experience of studying abroad, such as Russia, and were also helped by religion, the Chondo-kyo. They attracted popularity while touring around the country. Incidents of social problems often arise by linking magic to a form of fraud, though. But the appearance of a Korean magician confirms the existence of a performer who actively engages in new performances.