• 영어영문학
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• 제56권1호
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• pp.25-45
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• 2010

While environmental ethics, a relatively new field of philosophy, has gained its practical power in the contemporary world, the ethics of ecological poetry has not been studied well and the relationship between poetry and ethics has also been troubled for a long time. How can it be probed, interrogated, and constructed in ecological criticism? Attempting to steer some critical focus to the topic of ethics and poetic language, this essay is to elucidate these questions within the ecological traits of Mary Oliver's poems. In the process of revisiting Oliver's poems, this essay tries to rescue the poet Oliver, one of the most gifted poets in contemporary American poetic landscape, but a long-neglected one, and questions of ethics which have been evaded for a long time in ecological criticism. Oliver's ecological imagination at once invites readers to become other in the outer world in a most spontaneous way and re-questions the fundamental distance between the self and the other in the process of becoming other. Challenging the humanistic view of nature, she opens the various layers of becoming other: from the possible state of perfect merging to the sad recognition of the impossibility of merging, from the happy moment of rebirth beyond death, to the conflicting moment of being-together. In the different cycles and levels of becoming other, Oliver's poetry completes the poetics of relation in the components of 'self-in-relation.' In those different layers of relations, the ethics of ecological poetry is newly explored rather than residing in the safe net of goodness or sympathy between the self and the other, or the stark division between the two. Oliver's witty, sensitive, sometimes sad eyes toward others, therefore, entice readers to move from the established view of nature to the extraordinary moment of encountering it, thus accomplishing the ethics of beings, not just of ecological poetry.

• 영어영문학
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• 제58권5호
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• pp.809-837
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• 2012

Philip Roth rejects the narrative unity and singularity of the traditional novel and creates instead a multi-levelled, fragmentary, and repetitive narrative. It is not easy to distinguish fact from fiction in The Plot Against America. As an entertaining and creative work of the postmodern historiographic metafiction, Philip Roth's The Plot Against America interrogates the existence of historically verifiable facts, the validity of authentic and official version of history, and reexamines the narrative conventions of history writing. The aim of this paper is to examine Roth's narrative experiment or 'thought experiment' and to explore the intention of creating alternative history in The Plot Against America. Roth does a 'thought experiment' in The Plot Against America. In this cautionary "what if" political fable, Roth hypothesizes that in 1940 aviation hero Charles Lindbergh, an ardent isolationist who was sympathetic to Hiltler, won the presidency. Jewish communities are stunned and terrified as America flirts with fascism and anti-semitism. Reimagining his children-with considerable fact mixed in with the fiction-Roth narrates an alternative history that has an unsettling plausibility. Roth has constructed a brilliantly telling and disturbing historical prism by which to refract the American psyche as it pertain to the discord of individual, race, history in The Plot Against America. Roth analyzes the life of individual in a historic space, the situation of anti-semitism in world of invisible order, racial conflict between black and white in world of visible order, and the darkest side of national power in this work. Roth's stories argue for the equality of various cultures grounded on the common notion of humanity, for an ethic of mutual respect, and for the peaceful resolution of conflicts.

• 영어영문학
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• 제57권6호
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• pp.999-1016
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• 2011

In The Turn of the Screw, the go'erness encounters with the apparitions that harrow her throughout the story: she sees a frightening male ghost that Mrs. Grose identifies as Peter Quint, deceased former 'alet of the children's uncle, who had pre'iously shared the charge of the children with the pre'ious go'erness, Miss Jessel. The appearance of the ghosts hails the go'erness and thereby forces her to be jarred out of the comfortable habits of indi'iduality and plunged into a negati'ity de'oid of the socio-normati'e directi'es and guarantees. Such an encounter shows the idea that consciousness is a plenum of existence e'ocati'e of human mind as a decentered pandemonium. For the go'erness in The Turn of the Screw, the foundation to force her to experience the uncanny, as an inconsistency in the symbolic order, is particular. Its particularity is absolute in the same way e'ery one of us dreams his or her world. It resists mediation and cannot be made part of a symbolic medium. Just as Lacan's conceptions of desire, feminine sexuality, 'Object a,' not-whole, sla'ery, mastery, self-deception, authenticity, and act of psychoanalysis help us understand our contradictory social reality, so does The Turn of the Screw help us make sense of the way the go'erness, as the being who is capable of raising the question of being, questions the idea of being. In conclusion, the particular way the go'erness dreams her world is e'ocati'e of an excessi'e being, an anatomical complement, and a particular experience, such as the go'erness's encounter with the ghosts testifies to a knowledge that escapes the knowledge of the speaking being.

• 영어영문학
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• 제53권2호
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• pp.281-306
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• 2007

M. M. Bakhtin's dialogic concept of multi-voiced discourse allows us to open up the text of The Clerk's Tale and to account for its radical heterogeneity. Once we recognize the multi-voiced character of The Clerk's Tale, then what was heretofore regarded as discontinuous or ignored can be seen as the clash of several different world-views. Such a conceptual framework gives an added depth and scope to such thematic subjects as sovereignty, the status of women, and rhetorical style. There are three different and antagonistic voices involved in the tale's narration. These voices project different viewpoints or world-views, and they consequently engage each other in a polemic debate. Their relationship with each other is discontinuous and dialectical rather than continuous and harmonious. The first voice is the Petrarchan voice of moral allegory, which is the voice of tradition, authority, and high seriousness. This voice of moral allegory regards the story of Griselda as an exemplum of spiritual constancy and virtuous suffering. The second voice is the Clerkly voice of pathos based on human experience and feeling. This voice is defined by the Clerk's asides and apostrophes interspersed in the narrative proper, which function to engage the Petrarchan voice in a polemical debate. The third voice is the voice of parody, nominally identified with Chaucer the poet, which is located in the second ending, including Envoy. Whereas the other two voices are earnest and serious, the voice of parody is irrelevant, playful and antagonistic to both the Petrarchan voice of moral allegory and the Clerkly voice of secular humility.

• 영어영문학
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• 제55권4호
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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.

• Acta Via Serica
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• 제8권2호
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• pp.79-94
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• 2023

The purpose of this study is to examine the descriptions of the transmission of plague along the Silk Road in Orhan Pamuk's 2022 novel Nights of Plague. Pamuk won the Nobel Prize in Literature in 2006, the first prize for Turkish literature. Pamuk's vast knowledge of epidemiological history, which has long fascinated him, comes to life in this novel as he describes the characters' battles against the plague in the East and West and how the plague was brought to the islands and spread along the Maritime Silk Road. One of the most important trade routes in human history, the Silk Road was not only a link between East and West trade and cultures but also a route for the transmission of bubonic plague during the medieval period onwards. It was this epidemic that contributed to the decline of the Silk Road. In the novel, a plague originating in China strikes the Ottoman coastal cities of Smyrna and Mingheria on its way to Europe via India. The epidemic is contained in Smyrna but the death toll spirals out of control when the plague reaches the island of Mingheria by sea. The spatial setting of the novel is an island, which means that it communicates with the outside world by sea. The only way the plague could have spread to an isolated island was by ship. Rats from different ports and ships would have traveled to other parts of the world or even countries to spread the plague. In Nights of Plague, the fact that the plague reached Mingheria via the maritime Silk Road is also proven by the route of the ships and various narratives. The novel confirms what many scholars have argued, that the Silk Road brought various goods from the East to the Roman Empire, along with deadly diseases, and that the sea routes were an important way for the plague to travel and spread.

• 디자인학연구
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• 제11권1호
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• pp.303-312
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• 1998

최근 인터넷의 사용 과열과 함께 VRML의 소개로, 온라인을 위한 가상 현실 공간이 출현하고 있다. 인간이 거주하는 가상 현실세계는 복잡한 과정과 인간의 경험을 포함시킨다. 가상 현실 세계를 내비개이션 하며, 그 내용을 켜며, 다른 사용자와 인터렉션하는 것을 포함하게 될 VR 인터렉티비티 디자인은, 현재 규명 중이며, VR 제작에 있어서 중요한 영역이다. 따라서 이 분야의 연구는 현재, 미래의 멀티미디어 디자이너에게 경쟁력 우위를 부여한다. 이에, 본문의 논제는 온라인 가상 현실 세계를 디자인하는 데에 있어서 주요한 측면인 인터렉티비티에 관한 것이다. 그 내용은 VR 인터렉티비티 유형 및 유형의 분류 분석으로써, 문헌 조사와 웹사이트를 중심으로 연구하였다. 그 유형은, 첫째, 사용자 내비개이션에 관한 것이며, 둘째, 다른 사용자와, 가상 현실 공간의 물체와의 사용자 인터렉션, 셋째, 메타포 디자인이다. 본 연구의 결론으로써 그 효율적 적용 및 제안을 제시하고 있다.

• 지적과 국토정보
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• 제45권1호
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• pp.137-150
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• 2015

전국적으로 지적도면을 디지털 지적정리(세계측지계 변환)를 하려는 움직임 가운데 그 대상 중 우선적으로 도로, 하천과 같은 대규모 국 공유지로 논의되고 있어 이에 대한 방법론이 필요하게 되었다. 대규모 국 공유지의 디지털 지적정리를 위한 지적도면 정비방안을 중심으로 유사사례와 문헌 조사를 통하여 종합적으로 검토한 결과 세계측지계로 변환하기 전에 미리 지적도면의 정비가 필요하다. 그 정비내용은 도형 및 속성오류의 정비와 현황조사를 통해 필요한 부분은 분할 및 현황측량을 실시하고 군소필지와 지목불일치 해소를 위한 지목변경 및 합병정리가 필요함을 제시하였다. 대규모 국 공유지의 디지털 지적정리에 세계측지계 변환만으로는 지적도면의 부실성은 해소되지 못하며 근본적으로 지적도면의 체계적인 정비가 필요하다고 판단된다.

• 디지털융복합연구
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• 제15권7호
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• pp.401-406
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• 2017

본 연구는 대표적인 테마파크인 롯데월드(Lotte World)와 에버랜드(Ever-Land)를 중심으로 사인 디자인(Sign Design)에 따른 사용자 관점을 비교 분석하고 이를 통해 디자인에 따른 사용자 경험을 파악하여 연구하는 데 목적이 있다. 사인 디자인의 다양한 디자인적 요소들을 고찰하고. 사용자 경험에 어떠한 영향을 주고 있는지 연구하였다. 1차로 문헌연구를 통해서 테마파크와 사인 디자인의 이론적 배경을 고찰하고, 사인 디자인의 구성요소를 비교 분석하였다. 2차로 피터 모빌(Peter Morville)의 허니콤모델(Honeycomb Model)을 바탕으로 재구성하여 설문지를 진행하였다. 그 결과, 사인 디자인의 접근성과 위치 파악에 대한 개선이 필요한 것으로 분석되었다. 본 연구를 바탕으로 앞으로 사인 디자인에 따른 사용자 경험 개선 방안을 위한 참고 자료로 사용될 수 있을 것을 기대하며, 이후 진행될 다른 분야의 사용자 경험 연구에도 도움이 되길 바란다.

• 비교문화연구
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• 제21권
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• pp.7-29
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• 2010

Young Tolstoy, when he was an already well-known writer, accomplished his first overseas travel in 1857, which gave him imaginable opportunities to compare his country's social strata with others such as serfdom, monarchical Russia and industrial and capital Europe. The present story is, indeed, the work which is influenced by those experiences by young Tolstoy during his first journey into Europe. Written in the form of booklet-like-small-piece, rather than an artistic work, the text presents the writer's severe criticism on the world of nature and civilization. Close to the nature itself, narod are those common people for Tolstoy, and they represent love, while the nature creates a necessity to love, hope and bottomless happiness of life. On the contrary, the civilized or civilization itself is considered artificial, willy, reasonal, and erotic congruity among people. For the writer, the most unsafe and ugly, seamy side of the westernized society is a lack of necessity to unify people to people. Though in its early embryonic stage, young Tolstoy's worldview is reflected in this work, especially his sharp tongue on the western people and their society is also detected when the write imposes his message under the mask of a gypsy singer. In addition, the narrator who seems an obvious Tolstoy's mouthpiece delivers his own ideas and impression on the western world, history, art, and literature. For this very reason, the present work contains numerous signs from which the reader is able to interpret, understand, and figure out what young Tolstoy imposes for his work.