• Journal of English Language & Literature
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• v.56 no.1
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• pp.79-101
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• 2010

In "The Animal That Therefore I Am (More to Follow)," Derrida notices that he is being watched by his cat. He becomes ashamed of being naked in front of his cat. The sense of shame is a response to being reduced to the level of an animal. He is ashamed of being as naked as an animal. His next move is, therefore, to cover his nakedness from the gaze of his cat. By contrast, he realizes, the animal is not self-conscious of being naked and so does not shield its nudity. In a truer sense, then, the cat is not naked. Humans do not see animals for what they really are but what they project on them. Whereas the gap between man and animal is clearly identified by Derrida's philosophical discourse, the possibility of going beyond the gap can be suggested by fantasy stories in children's literature. Children's literature in Britain arose in the eighteenth century with the revival of traditional fairy tales and growth of literary fairy tales. Romanticism in the early nineteenth century contributed to opening up a new horizon for the concept of the child, in which the child is no longer defined as the object to be tamed and childhood imagination is glorified as a powerful means to reach the higher state, the spiritual origin prior to separation of Man from the 'thing-in-itself.' In The Wind in the Willows, animals talk and behave like humans. The anthropomorphic figuration of animals can be understood as a result of the one-sided projection of anthropocentric perspectives on animals rather than an interaction between humans and animals. Significant contradictions also emerge in this story, however, as traits particular to animals are vividly delineated even as the main didactic theme of good triumphing over evil reflects an anthropocentric projection on animals. An attempt to capture the true characteristics of animals and locate them in the text constitutes a remarkable achievement in The Wind in the Willows. This can be evaluated as an important step toward a more ecopocentric perspective on animals which appears in later children's fantasies like Charlotte's Web.

• Journal of English Language & Literature
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• v.55 no.5
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• pp.885-906
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• 2009

In terms of class, race, or gender, critical literacy takes seriously the problem of inequality and injustice embedded in texts. Texts are considered as tools that are used for maintaining the status quo by constructing and communicating our identities, particularly in relation to others. While reading texts and identifying our roles in society, some feel empowered, and others, marginalized. Thus we need to challenge the characterization and the message included in those texts by asking problem-posing questions. In this paper I have demonstrated how to read and teach four versions of "Snow White" from a critical literacy stance. By the use of problem-posing questions, students are led to discover that one of Grimms' fairy tales, the original version of "Snow White," was written from the perspective of men with power, thus marginalizing women in general, as well as the seven dwarfs. Through a critical analysis of Snow White's personality, the typical theme of fairy tales - good is rewarded while evil is punished - should be challenged. In the animation, Snow White and the Seven Dwarfs, power is given to the marginalized people in the original, the seven dwarfs and women in general. In "Snow Night,"a feminist short story, women in general are empowered while men, who should be judged by their looks, are powerless. "Snow-Drop"reminds us of the original, but challenges stereotypes, prejudices, and the theme inherent in the story. In those three stories many parts from the original are rewritten from the perspectives of the marginalized, but still some people are described prejudicially. So students should be guided to write another story from a new perspective. When those four works were taught with problem-posing questions in a university, this approach proved to be quite successful: most students acknowledged the effectiveness of critical literacy in teaching literary works.

• Lingua Humanitatis
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• v.7
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• pp.157-203
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• 2005

The Epic of Gilgamesh drew heavily upon Mesopotamian literary tradition. Sin-leqe-uninni, the editor of Standard Version of the Epic of Gilgamesh in 13th century B.C.E. adopted the Old Babylonian version as well as older Sumerian tales about Gilgamesh. He also was very successful by extensive use of materials and literary forms originally unrelated to Gilgamesh. The epic opens with a standard type of hymnic-epic prologue. This study lens a measure of vindication to the theoretical approach by which Morris Jastrow recognized the diversity of the sources, which underlies the epic and succeeded in identifying some of them. Thanks to the ample documentation available for the literary development of the epic, we can trace the steps which its author and editors took with the result that the epic inspires fears and aspirations for more than three thousand years.

• Korean Journal of Child Studies
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• v.29 no.1
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• pp.49-61
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• 2008

This study explored the contents of young children's verbal communications with their teachers in play situations. Participants were 2- to 6-year-old children. Results of observations showed 10 different verbal categories : making demands, asking questions, boasting, complementing the teacher, gaining recognition from the teacher, telling tales, explaining, making suggestions, asking permission, and insisting on one's own way. The five categories most frequently observed in older children were demanding, asking questions, boasting, explaining, and insisting on one's own way. Teachers were advised to prepare to respond more effectively to the variety of young children's verbal communication with their teachers.

• English Language & Literature Teaching
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• v.9 no.2
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• pp.91-107
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• 2003

Although the language of Geoffrey Chaucer as part of late Middle English has been discussed by many studies, among which David Burnley (1983) seems to be most remarkable, some aspects of Chaucer's language still need to be better illuminated for a more thorough understanding of not only Chaucer's work and language but also the English language in the late Middle English period. This paper examines the English negation of Chaucer's language, shown especially in his Canterbury Tales, and explains how negation is used in his work, focusing on the three different types of sentence negation and the uses of or and and in the scope of negation.

• Korean Journal of Child Studies
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• v.28 no.3
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• pp.235-250
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• 2007

Using content analysis this study examined Korean people's traditional view on children with disabilities, hoping to contribute to the selection of appropriate picture books for an understanding of disabilities in kindergartens and child care centers. Story book characters with disabilities mainly interacted with their families and village people, had lower positions, did not accomplish their work on their own, and suffered from others' anger and beating. Differences in types of disabilities were that physical disabilities were viewed positively, while mental disabilities were viewed negatively. The former had wider scope of activities and maintained more positive relationships with other characters than the latter; furthermore, the former had higher position than the latter and had cooperative interactions with people without disabilities.

• Journal of the Korea Furniture Society
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• v.21 no.4
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• pp.293-303
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• 2010

With changing systems of wealth creation around the 21st century, crafts(traditional and industrial crafts) are affected by the trend of changes or lead the trend, that is to say, a turning point of paradigm has come. Values of crafts give the value of users, and the tradition and modern coexists in the trend of times changing from the tradition to the modern so crafts artists’ works are diversified and used in design industries. Based on a place of expression showing various beauty of crafts, identity of design is established through ‘Craft Consilience’ of intangible cultural assets, master craftsman, crafts artists, crafts industries, and crafts departments. As master craftsman and furniture designers meet together to mix master craftsman’s idea with designers’ idea, the new Korean crafts furniture is suggested.

• International Journal of Costume and Fashion
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• v.3
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• pp.37-49
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• 2003

In the oral literature of the Mongolians such as folk-tales, legend, epics, poetry, songs, riddles etc., there are endless examples describing various stories about the origin of the costumes, ornaments and accessories, or the way how they were designed and changed with the times and how they correspond with relevant customs, public rituals and etiquette in general. In this paper we argue that every piece of the Mongolian national costumes and wear in general has specific meaning and symbolism, which is still the miraculous universe waiting to be unveiled properly. As for the Mongolians, the costumes and accessories mean the treasury of intellectual culture of their own as well as their daily necessities of life. There are still many undiscovered features of ancient national culture, apart from characteristics of various tribes and clans of the Mongolians.

• Journal of Multimedia Information System
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• v.2 no.2
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• pp.241-248
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• 2015

The safety-critical software in healthcare systems needs more and more perceptive excess among human observation and computer support. It is a challenging conversion that we are fronting in confirming security in healthcare systems. Held in the center are the patients-the most important receivers of care. Patient injuries and fatalities connected to health information technologies commonly show up in the news, contrasted with tales of how health experts are being provided financial motivation to approve the products that may be generating damage. Those events are unbelievable and terrifying, however they emphasize on a crucial issue and understanding that we have to be more careful for the safety and protection of our patients.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.903-908
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• 2009

In this research, is take the foundation at deity appearing in China ancient mythology symbolic, the ideology of kindhearted and vicious to them is classified, and take the kindhearted and vicious role of the game at present compares. Pass such analysis, combine deity appearing in the mythology symbolic with tales of marvels, apply to role's design current situation of the present game, hope to find out the key element of succeed in designing the game role with culture intension.