• Journal of English Language & Literature
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• v.55 no.4
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• pp.567-596
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• 2009

A staple of feminist literary anthologies which was instrumental in reevaluating the writer Susan Glaspell, Trifles(1916) has received numerous comments from feminist scholars so far. Most of them tend to concentrate on the themes of female solidarity and justice challenging the androcentric system of law and order. Lacking in the plethora of thematic approaches to the play's feminist subject, however, are formal analyses considering the way in which the play's generic form assists in communicating such thematic concerns of feminism. An alternative to the typical scenario at the courtroom whose mistreatment of women must have loomed large to the young Glaspell as she revisited the old trial of a midwestern murderess which she had covered as a journalist for a local newspaper in Iowa, Trifles serves as a corrective to the courtroom dynamics offering a 'dramatic justice' as opposed to a strictly legal procedure. What this article discovers at the heart of this dramatic justice is the celebration of the unsayable, or what Wolfgang Iser termed negativity, of women's experience which has no room for reflection in the legal discourse at the courtroom tyrannized by the sayable and the evident. Examining how the dramatic form of Trifles gives a voice to the unsayable of woman's experience, which can not be properly represented at the courtroom governed by the straightforward and definitive male rhetoric, the article argues that the play is a better form than its fictional adaptation "A Jury of Her Peers"(1917) in that it syntactically suppresses the monopolizing operation of the verbal by giving precedence to the scenic and non-verbal which is constituted of setting, props, gesture and eye contacts. As a theoretical frame of reference with which to examine the modes of the unsayable in the play the article brings the concept of 'negativity,' defined by Iser as textual effects or modes of the unspeakable and unsaid, into the discussion of the taciturnity of the absent heroine and the non-verbal representation of drama.

• Coupled systems mechanics
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• v.2 no.2
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• pp.127-146
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• 2013

A closed-form solution for a fluid-structure system is presented in this article. The closed-form is used to evaluate the finite element method results through a numeric example with consideration of high frequencies of excitation. In the example, the structure is modeled as a cantilever beam with rectangular cross-section including only shear deformation and the reservoir is assumed semi-infinite rectangular filled with compressible fluid. It is observed that finite element results deviate from the closed-form in relatively higher frequencies which is the case for the near field earthquakes.

• Communications of the Korean Mathematical Society
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• v.21 no.1
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• pp.11-16
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• 2006

In this article we show that if R is a Noetherian ring with the global dimension at most one, then every S-torsion free R-module T has a divisible envelope of the form $T{\hookrightarrow}S^{-1}T$

• Journal for History of Mathematics
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• v.20 no.4
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• pp.49-60
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• 2007

In this article, the concept of rigidity of smooth surfaces in the three dimensional Euclidean space which naturally arises in elementary geometry is introduced, and the natural process of the development of rigidity theory for compact surfaces and its generalizations are investigated.

• Communications for Statistical Applications and Methods
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• v.13 no.1
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• pp.89-99
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• 2006

This article deals with the problem of estimating parameters of Burr Type XII distribution, on the basis of a general progressive Type II censored sample using Bayesian viewpoints. The maximum likelihood estimator does not admit closed form but explicit sharp lower and upper bounds are provided. Assuming squared error loss and linex loss functions, Bayes estimators of the parameter k, the reliability function, and the failure rate function are obtained in closed form. Finally, a simulation study is also included.

• Journal of the Korean Mathematical Society
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• v.58 no.4
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• pp.849-871
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• 2021

A (positive definite integral) quadratic form is called even 2-universal if it represents all even quadratic forms of rank 2. In this article, we prove that there are at most 55 even 2-universal even quadratic forms of rank 5. The proofs of even 2-universalities of some candidates will be given so that exactly 20 candidates remain unproven.

• Korean Journal of Mathematics
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• v.31 no.2
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• pp.189-201
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• 2023

In this article, we establish Hilbert-type integral inequalities with the help of a non-homogeneous kernel of hyperbolic function with best constant factor. We also study the obtained inequalities's equivalent form. Additionaly, several specific Hilbert's type inequalities with constant factors in the term of the rational fraction expansion of higher order derivatives of cotangent and cosine functions are presented.

• Architectural research
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• v.13 no.2
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• pp.23-30
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• 2011

Critical regionalism has been consistently influential in architecture since the 1980s. While acknowledging its contribution to the discipline of architecture, this article inquires into two co-related issues in critical regionalism as elaborated upon by Kenneth Frampton: critical subjectivity and identity. Regarding critical subjectivity, critical regionalism demands one to stand critical of both tradition and technological development. It assumes that one can locate herself in a neutral zone unshackled from both conditions so that she can make an unbiased judgment. This article criticizes this form of subjectivity by illuminating the situated nature of the subject in the continuity of tradition within which one always stands. The second issue is identity. Keeping the identity of a region through architecture is accepted as a rule in critical regionalism. However, how we shall understand the identity is unclear. This article introduces a notion of identity as rooted in the dialectics of opposites, and demonstrates it by referring to Le Corbusier's architecture and Tetsuro Watsuji's philosophy of climate. The objective of this series of inquiries is not to shake the validity of critical regionalism, but to renew and extend its significance for contemporary architecture.

• American Studies
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• v.42 no.2
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• pp.79-107
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• 2019

This article explores the photographic work of North American artist Jeff Wall. While his photographic work has been much discussed in terms of aesthetics and composition highlighting his methodological appropriation of modernist painters such as Eduard Manet and Piet Mondrian, the political aspect of his work remains to be investigated. This article especially unpacks the complicated dialectical relationship between the formal aesthetics and the political nature of his works by visiting his photographic work in the context of contemporary debates on the contradiction and conflicts between aesthetics and politics in photographic form. Ultimately, this article argues that Wall's photograph acquires its political meaning by problematizing the reified social representation of the other in a way in which the materiality and/or otherness of the photographic object is registered within the photographic frame and by representing the violence of the social representation and the un-representability of the object/other.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.1
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• pp.200-216
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• 2021

This article considers short-form fashion videos as distinguished from fashion films, defines the concept, details the expressive characteristics of short-form fashion video, and reveals the method of producing it. For the methodology, a literature review was conducted to derive the concept and expression techniques. A case study was also performed to define the expressive characteristics. Five short-form fashion videos were also produced based on the results. The final results are as follows. First, short-form fashion video was defined as a fashion medium on the purpose of fashion communication within 60 seconds and classified by three digital image formats. Second, the result of analyzing the expression of the short-form fashion video shows the simplicity and reconstitution, characterization and remediation, borderless and expansion, and synesthesia trigger of the fashion image. Third, five short-form fashion videos were produced based on the theme of the digital garden. It shows that the short-form fashion video intensively expresses the content as a medium whose sensational expression is more prominent than the composition of the story by the short running time that reflects the taste of digital mainstream.