• Journal of English Language & Literature
• /
• v.54 no.2
• /
• pp.281-299
• /
• 2008

The main purpose of this essay is to suggest that Faulkner's "pro"-lynching letter published in Commercial-Appeal in 1931 does not contradict his antilynching works such as "Dry September," Light in August, Go Down, Moses, and Intruder in the Dust. In the letter, Faulkner writes, "they [lynching mobs] have a way of being right." The remark has been interpreted as the expression of Faulkner's sympathetic attitude toward lynching mobs; however, it can be also seen as Faulkner's observation and criticism of the southern white people's structures of feeling in his time that stubbornly justified lynching as a way to do justice to black people who did "not" deserve to be a legal subject. This essay argues that Faulkner understood that the legislation of anti-lynching law alone could not save black people from the violence of lynching as far as white people believed that black people were not their equals and that lynching was a right means to fulfill social justice. Faulkner's fictions such as Light in August and Go Down, Moses provide moments in which white male characters feel as if they were social others, and their experiences work as an ethical urge for them to stand up for social others. This essay illuminates how Faulkner depicts the process of white male characters' identity formation as a violent break from his strong tie with black friends, how they reverse the process to blur the border again through the experiences of becoming-other, and how the experience of becoming-other has a potentiality to play the role of an ethical agency in stopping the custom of lynching in the South.

• English & American cultural studies
• /
• v.13 no.1
• /
• pp.83-103
• /
• 2013

This paper focuses on the function of suicidal images in the history of art including literature. Death has been romanticized or repoliticized into an existential act of defiance and rebellion in literary works, so questions remain about the correlation between literary suicide and the essence of suicide. Although Jacques Ranciere insists that the order of art contrasts with the order of common people whose acts and gestures can express either their specific purposes nor the rationalities of their frustration, literary suicide reflects the outside life of readers. In fact, images of suicide produces the order of things about the real world. William Shakespeare's Hamlet handled two oppositional self-murder significantly. As Ron M. Brown pointed out, Hamlet, by choosing confrontation, seeks out an end which is voluntary, thus he avoids self-destruction and feels triumph of heroic fashion. Ophelia's self-chosen death stems from loss, frailty and the disintegration of reason, which demeans the act and diminishes her from the tragic to the pathetic(16). In the $19^{th}$ century, the resurrection of Ophelia acted as the context for later periods where life itself is fictionalized from the differing periods of network of signifier and texts. Finally, in Ophelia's case, fiction became life(Brown 285). Her suicidal image was fixed in the Victorian Culture whose visual discourse was strikingly similar to that of the men. Likewise, the ambiguities of the suicide became intertwined with the social, cultural issues of a certain period, and the paradigm of suicide was conformed to the changing needs of successive generations. However, if literary art understands that a European culture grappled with the almost impossible task and coming to terms with this strangest and most persistent of phenomena, it will be able to focus on of the multi-layered suicide by recognizing the inherent instability of the verbal sign which cannot reveal the design and grammar of truth.

• (The)Study of the Eastern Classic
• /
• no.43
• /
• pp.33-64
• /
• 2011

The historical drama played on TV in 2003, Daejanggeum is originally based on the short historical record of lady doctor of the palace from the [Jungjong record] of Josun. The drama mixed fiction and historic record well together draw enormous interest and became a novel, musical and animation for children. Also the location of shooting drama became a theme park to attract travelers and the name 'Daejanggeum' was used for products to create great additional value. Most of all, the drama then was exported to overseas and became the representing drama of Korea. Therefore, drama is the representing piece that proved the success of historic data with its application as various modern cultural contents. The analysis of success reason of showed the creation of new modern woman character, fresh selection of the item that suits well in the time of desiring wellbeing, the strong drama scenario with different story development compared to previous historic drama. Also, it used 'one source multi use' method prior to the broadcasting and prepared production of various cultural contents. This success of Daejanggeum means a lot from the point of 'modern acceptance of tradition' to tradition researchers.

• Journal of English Language & Literature
• /
• v.57 no.2
• /
• pp.265-284
• /
• 2011

This paper examines how Sedgwick makes a political allegory of founding the nation in domestic terms in The Linwoods (1835). Set in the Revolutionary period, The Linwoods is a historical fiction reconstructed by the writer in order to diagnose currently controversial issues. In this aspect, Sedgwick's interest in history is genealogical in Foucaudian sense. Foucault's genealogical method provides a way of recuperating a part of history hidden, submerged, obliterated by the official history. Seen in a genealogical perspective, the story of the Linwoods can be viewed as a political allegory in order to explore political conflicts of Sedgwick's own day. Faced with the threat of national disunion presented in the Nullification Crisis of sectional conflicts and divisions, Sedgwick attempts to provide a fictional solution to the first serious challenge to the U. S. Constitution. Going back to the times around the American Revolution, Sedgwick emphasizes how strenuously the American Constitution of America was formed as the outcome of the war against the tyranny of Britain, and how the Union was made on the basis of the cooperation between the States. By posing a contrast of political positions between family members, Sedgwick imagines a family/nation that allows diverse political positions. The conclusion of a diversity of marriages between man and woman who agree to be united after overcoming their differences in political affiliations seems to show her conservative proclivity to support the Union. However, by emphasizing the principles of freedom and equality represented by the significant role of Isabella and Rose, an African-American slave, in the victory of the American Revolution, Sedgwick also supports the spirit of the Jacksonian American democracy.

• Journal of English Language & Literature
• /
• v.57 no.1
• /
• pp.107-127
• /
• 2011

Don DeLillo has shown considerable interest in terror, frequently depicting extreme dread of something terrible to happen, in his literary texts. Since more than three thousand innocent people in New York were killed by the 9-11 terrorist attack in 2001, the anticipation about what kind of fiction he would write as a New Yorker was high. DeLillo's novel Falling Man (2007) in fragmentary detail represents the scene of the terrorism from the perspective of Keith Neudecker, a lawyer who escapes the collapsing world trader center. Neudecker's post-traumatic stress disorder in the first chapter is followed by the free-associative portrayal of various impacts of the 9-11 terror on Neudecker's wife Lienne in the second chapter. The random mixture of the first person narratives from such diverse view-point characters as Neudecker's son Justin, relatives and friends, with dialogues and recollections yields a very close picture of the consequences of terrorism. Reading DeLillo's Falling Man in juxtaposition with a Japanese Canadian novel Obasan by Joy Kogawa, reminiscences of the maltreatment of Japanese Canadians during and after the second world war, surfaces the authorial intention of the two novels. They as trauma literature emerge to aim at curing the readers and proposing post-traumatic ethics. Laurie Vickroy's theory of trauma narrative and cure, E. Ann Kaplan's theory of trauma witness narrative and responsibility, and Emmanuel Levinas's theory of trauma memory and ethics offer theoretical grounds for the convincing analysis of the two texts.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.5
• /
• pp.49-57
• /
• 2020

This paper analyzed maximized the tension not by functional restriction but by psychological response inducement to form the tension of the horror game from the point of space time view. In order that, We arranged three major situations inducing the tension in the horror game and prepared space time analysis base. Pure fiction time of game itself is applied on game time excluding the time creating the cut-scene and the game space is organized with various combination of three space types. This analysis result can help horror game design by discovering the relationship between space time structure and tension forming of the horror game. These analysis results allow us to find guidelines for the time and space design of horror games that can be flexibly linked to game events and contexts by controlling the player's dynamic/static tension and temporary/continuous tension.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.4
• /
• pp.157-164
• /
• 2019

If a drama play is interested in recreating the play text on stage, the post-drama play aims at a drama that has been liberated from the play text. In this process, the boundaries created by drama theater are dismantled. Actors and audiences, fiction and reality, theater and non-theater, works and events, language and non-language are the names of typical boundaries. The demolition of these boundaries is an opportunity to restore the festival character of ancient Greek theater, which was forgotten by drama theater. This has led to the dismantling of language-centric and play-centricism, which has dominated the play since Aristotle, and has led to a new play. If language-centered, play-centricism has brought about the crisis of drama, the post-dramatic play dismisses them and finds ways to communicate with the audience as new cultural content. The method is found above all in the restoration of dramaturgy. This is because the post-drama plays are more dependent on theatricality than literature. The demilitarized nature of post-dramatic play with enhanced theatricality will be a stepping stone to popularization, and this shows the possibility of post-dramatic play as cultural contents.

• Journal of English Language & Literature
• /
• v.57 no.6
• /
• pp.1151-1171
• /
• 2011

Conrad's novels, specifically the Lingard Trilogy-Almayer's Folly, An Outcast of the Islands, and The Rescue-and Lord Jim, set in the Southeast Asian or Malay Archipelago can be considered travel literature that played a significant role in British imperial expansion. Conrad's Malay novels were based not only on his experience in the region during his commercial journey but also on information from earlier travel writings about the Malays and their customs, including James Brooke's journals. The English traders in Conrad's novels, namely Lingard and Jim, were partly modeled on Brooke, the White Rajah, who founded and ruled the English colony on the northwest of Borneo in the 1840s. The white traders in Conrad's novels, who act as enlightened rulers, represent the British commercial expansionism, which was obscured by the phenomenon of the civilizing mission in the late nineteenth century. On the other hand, the colonial official Clifford's tales and novels about British Malaya demonstrate the typical travel accounts of the late nineteenth century that stress the civilizing mission over commercial exploitation. The concept of the enlightening mission was rooted in evolutionary anthropological thinking, which developed as part of the natural history in the early nineteenth century. In fact, the development of natural history, stimulating British expansion in search of commercially exploitable resources and lands, enabled travel writing as the collection of natural knowledge to become a profitable business. In Conrad, the white characters are mainly traders acting as colonial rulers, while in Clifford, they are scientific rulers with their commercial interests rarely apparent. In sum, Conrad's novels reveal that the new imperialism of the civilizing mission is still a commercial one, which disturbs rather than contributes to the imperial expansion-in contrast to other travel literature such as Clifford's.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.5
• /
• pp.99-104
• /
• 2023

This study aims to 1) summarize the definitions the definitions of afrofuturism through a theoretical review 2) through exploratory empirical research, and 3) recover the concept of reversal in relation to the turning point of future technological development. To this end, first, the theoretical background and conceptual discussion of Afrofuturism were examined, and works in the field of SF literature, music, and art were analyzed. Octavia Butler's science fiction confirms the idea that black people must liberate themselves from othered oppression by bringing the past of slavery to the forefront of the world. Janelle Monae's music presents a liberated utopia where technology allows minorities to connect with the outside world. In addition, Jean-Michel Basquiat's artwork reimagines a black identity that has been excluded and seeks to expand communal discussions. In light of their work, this paper proposes that the values inherent in African humanism can provide clues to the co-evolution that is generated by relating to the Other in the face of exponentially advancing technology.

• Journal of Science Education
• /
• v.35 no.1
• /
• pp.1-12
• /
• 2011

The purpose of this study was to examine the effects of science class using the multimedia materials on high school students' attitude toward science. The subjects were 222 high school students. For this study, 11th graders at a high school were assigned to a comparison group and an experimental group. The experimental group was received science class using multimedia materials for 3 months. The research design was pretest-posttest control group design, the data were analyzed using PASW statistics 18.0 program. The types of multimedia materials used in experimental group were science fiction movies, science documentaries, TV programs, and Power Point presentations created by students. Before and after treatment, the attitude toward science tests were administered. Pre-tests and post-test score differences between 2 groups were analyzed by ANCOVA. The differences of attitude toward science based on gender were compared by analysis of covariance. And the perception on science class with multimedia materials were also investigated. The results of this study were as follows: First, the attitude toward science was improved significantly after applying science classes using multimedia materials. Especially, there were significant difference between pre-test and post-test in the score of attitude toward science class and attitude toward science content which were sub-area of attitude toward science. Second, there was no significant difference between female and male students in total score of attitude toward science. However, the attitude toward science, scientists and society, which was a sub-area of attitude toward science, female students scored significantly higher than male students. Third, 84% student showed a positive perception that the science class enhanced their interest in science. 69% the students responded that we had thought about Science-Technology-Society. Multimedia material types which the students prefered were science fiction movie, science documentaries, science TV programs, respectively.