• Journal of English Language & Literature
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• v.56 no.5
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• pp.797-821
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• 2010

This paper aims to explore how Millay's love sonnets rewrite the carpe diem tradition in the complicated ways. This paper redirects critical attention away from Millay's individual experience and inner self toward the scene of literary history, suggesting that there may be more historical consciousness in Millay's sentimental and feminine "gesture." Rewriting the carpe diem tradition, Millay's sonnets reveal an awareness of the dependence of the carpe diem poems' discursive logic on the woman's coyness, its inability to accomplish its triumph over woman or time (death) without her posited reluctance. Contrary to Andrew Marvel's "To His Coy Mistress," the speakers of Millay's sonnets could never be accused of the sexual coyness; they are outspoken in their defiance of both death and lovers whose possessiveness resembles death's embrace. Moreover, as Stacy Carson Hubbard points out, by converting female sexual experience from its status as a onetime closural event to repeatable one, hence an opportunity for the general and emotional irritability productive of narrative, Millay seizes for the woman the power of "dilation" in both its sexual and its verbal forms. Furthermore, this paper argues that the woman's sex no longer invites analogies to things secret and sealed, preserved or ruined in Millay's sonnets. The woman's promiscuity implies a rejection of monumentalizing love, as well as a refusal of the fixing inherent in the carpe diem's fearful invocation of the movement of time. Throughout the love sonnets, the speaker's sexualized body produces nothing but ephemera. For Millay, this body spends its powers in hopes of having them, and the force of this spending is a perpetual and willful forgetting, which makes possible the repetition of love's story. Ultimately, Milly disturbs our critical categories by rendering permeable boundaries between modern literature and dead form of classic literature, the female speaker and male speaker.

• Journal of English Language & Literature
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• v.56 no.2
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• pp.277-299
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• 2010

This study explores Witi Ihimaera's The Whale Rider (1987) from ecological and postcolonial perspectives. Ihimaera is one of the prominent Maori writers who have critically voiced their concerns about the fragmentation of Maori tradition and the alienation of an environmentally friendly culture in New Zealand. Throughout the novel The Whale Rider, with his mythic imagination and cultural sensitivity, Ihimaera raises ecological awareness in terms of environmental justice and promotes critical consciousness regarding sociocultural and histo-political realities of the Maori people as alienated others in their ancestors' land. Revolving around the developmental process of a young Maori girl named after a mythical Maori ancestor Kahutia Te Rangi also known as the Whale Rider to inherit the Maori leadership, the novel describes the historical, cultural, emotional landscape of the Maori community in the white-centered society of New Zealand. In particular, this paper analyzes the leaving and homing process of narrator Rawiri which is deeply embedded in Maori myth and philosophy toward an eco-friendly culture and postcolonial reality. Indeed, Ihimaera skillfully juxtaposes young man Rawiri's experience outside the Maori community and young girl Kahu's life at the Maori home. In the end, while Kahu achieves her destiny in a mythical way to foster a new vision of harmonious co-existence that is rooted in Maori heritage and compatible with Western culture, Rawiri comes to understand the interrelatedness of all existence and embraces both the rational knowledge of scientific empiricism and the traditional knowledge of spiritual experiences. The novel The Whale Rider was also turned into a film by New Zealand's most influential female film director Niki Caro in 2002, and the film Whale Rider received international acclaim.

• Journal of architectural history
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• v.32 no.5
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• pp.81-94
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• 2023

Haeju was home to the Hwanghae-do Provincial Office and a hub for supporting the northwestern regions of Korea. Local commerce expanded in Haeju during the late Joseon period based on its abundant resources and regional products, leading it to evolve into a large city. King Seonjo temporarily resided in Haeju while seeking refuge from the Japanese Invasions of Korea, and Yi Yi (sobriquet: Yulgok) secluded himself in Seokdam in Haeju in his later years. King Seonjo's residence in Haeju and Yi Yi's retirement there boosted interest in the city among the literati and influenced its places of scenic beauty. The development of its local history and literary achievements were documented in a wide variety of historical records and visual materials. Eight scenic views in Haeju became famous through a poem written by Seong Su-ik in the late sixteenth century. Around the mid-eighteenth century, eight new scenic views became popular. Local officials and travelers from other regions produced a vast body of prose and poetry focusing on the landscape and society of Haeju, playing a crucial role in raising awareness of its scenic attractions. Most surviving visual materials related to Haeju were created in and after the nineteenth century. Many of them illustrate both landscapes and the everyday lives of people. Among them, paintings of scenic spots created by Jeong Seon (sobriquet: Gyeomjae), who never actually visited Haeju in person, raises some of the issues posed by relying on indirect materials. In contrast, Eight Scenic Views of Haeju, which is presumed to have been produced by a local painter, appears to have accurately highlighted the characteristics of each scenic spot. Moreover, Haejudo, a folding screen presenting a panoramic view of Haeju, incorporates content from paintings depicting eight scenic views, in this case Eight Scenic views of Haeju. This practice can be observed in visual materials of other provincial cities.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.186-205
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• 2013

${\ll}$Three Purities Album${\gg}$ in the Kansong Art Museum is an album of poems and pictures of apricot tree, orchids and bamboos drawn by Lee Jeong. Given that the poems and pictures in the album were drawn by Lee Jeong who has been recognized as a person who established the standards of ink bamboo drawings in the Joseon Dynasty, the album is highly valuable. Nevertheless, there are more values and meanings that Three Purities Album has. The production circumstances and transmission processes of Three Purities Album include the historical characteristics and meanings of the time so that it is also worthwhile as a historical material. During the Japanese Invasion of Korea in 1592, Lee Jeong was stabbed with a sword by Japanese invaders and got injured. After he suffered, he tried to make his masterpiece in his lifework and finally created Three Purities Album. For the work, Lee Jeong received memorial writings from Choi Rip, Cha Cheon-ro and Han Ho, and asked them writings. They were the best literary men in the poem and calligraphy fields at that time. Yu Geun, Lee An-nul, and Yu Mong-in made writings and poems to praise his work. Likewise, ${\ll}$Three Purities Album${\gg}$ is the 'treasure of the time' created through the participation of the best literary men at that time. Given the aspects, it is fair to say that ${\ll}$Three Purities Album${\gg}$ is not simply a personal artwork of Lee Jeong, but is a comprehensive artwork and also a cultural monument created through the skills and capabilities of the literary artists in the middle of the Joseon Dynasty. After the death of Lee Jeong, Three Purities Album was handed over to Hong Ju-won. But, during the second Manchu Invasion into Korea in 1636, the album was in danger of disappearance by fire. As of now, there are still signs of fire in it, which vividly shows the urgent situation at that time. After the second Manchu Invasion into Korea in 1636, Hong Ju-won recovered some damaged writings with the help of Yoon Shin-ji. Since then, the album had been handed down as a family treasure over the next 7 generations. It can be found in the writings by Song Si-yeol and Uh Yu-bong. Unlike the literary men who praised Three Purities Album in terms of its work when Lee Joeng was alive, they focused on the transmission courses of the album and involved persons. That seems to be because the stories and characters appearing in Three Purities Album impressed the later literary men and were meaningful to them rather than the album itself. It strongly reflected the positions of Hong Jung-gi and Hung Sang-han who asked for writings as the descendants of Hong Ju-won. That is because the traces of the persons involved in Three Purities Album are the causes for admiring their ancestors and enhancing their political legitimacy and family dignity. Therefore, in this aspect, it is possible to witness the fundamental causes of the unique artistic awareness by East Asian people who consider their historical meanings as well as the aesthetic value of artworks significant. Unfortunately, during the Japanese invasion at the end of the Joseon Dynasty, Three Purities Album was handed over to Japanese Tzuboikouso. But, fortunately, Jeon Hyeong-pil who made an effort to regain our cultural assets by investing his entire property during the Japanese Imperialism regained the album, which is now preserved in the Kansong Art Museum. ${\ll}$Three Purities Album${\gg}$ truly includes the whole processes to overcome national crises that Korean people experienced during the Japanese Invasion in 1592, the second Manchu Invasion of Korea in 1636, and the Japanese Imperialism, and it shows the sufferings of our cultural assets and the history of preservation. Also, the album shows that one artwork is able to accumulate its historical meanings in the process of transmission and thus enhances its meanings and values. ${\ll}$Three Purities Album${\gg}$ features accumulative and constant historical meanings and it is a typical case showing that an artwork is plenty of aesthetic and historical values. It is expected that this work will contribute to promoting more studies on finding historical meanings and hysteresis of artworks.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.148-165
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• 2015

The Cultural Properties Protection Law Act 1962 has been achieving its role for systematic preservation, management and application of the cultural heritage under rapid economic growth circumstances through continuing revisions. Introduced the influence review system for cultural heritages in 2000, and legislated the guideline for the state-change allowance standard for the National Cultural Heritage in 2006 in specific, the law has been contributing significantly for the cultural properties and historical/cultural environment preservation, along with increase in administrative efficiency and improvement on settlement environment. However, increase in public awareness about the cultural property's value and the needs for the local revitalization by utilizing the heritages, while some allowance standard not peoperly delivering the surrounding conditions, such as the value of the properties and their substantial characteristics, land utilization, etc. being applied, complaints from the local residents are increasing continuously. Thus this research focuses on clear vision/value of the heritage and apply them to create the review criteria for the state-change allowance per heritages. Here we set the Focus of Landscape Management Indicators in order to actively preserve and manage the physical characteristics and the native value by analyzing the Cultural Heritage Protection Laws and related guidelines, manuals and research papers, and redesign the cultural propertiy's classification scheme and propose the Review Standard for state-change from the view point of changing the current state. With this research, we expect increase in the satisfaction for the Property management system with public understanding promotion regarding the Standards by applying the reviewed state-change allowance Standards, white securing the consistency for the review criteria as well as the systematic management of historical/cultural environment with their typification characteristics and the value for short-term.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.3
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• pp.47-58
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• 2023

This study was conducted through reviewing Aspects of Design and Construction in Entrance Space of the World Heritage Royal Tombs of the Joseon Dynasty, which is equipped with parking lots, ticket offices, toilets, exhibition halls, information boards, and rest facilities for the convenience of visitors and the purpose of this study was to propose a direction for improvement. The results of the study are as follows: First, the reduced area of Royal Tombs of the Joseon Dynasty was unable to fully accommodate the ritual movement line, and as a result, the location of the entrance space in the current royal tomb was decided to accommodate minimal convenience functions. In the meantime, the entrance space of the royal tombs has been relocated or renovated in order to achieve its integrity as a World Heritage Site, rational arrangement of movement lines and spatial utility. Second, the size of the entrance space ranges from 1,000 square meters in Jeongneung in Seoul to 16,000 square meters in Hongyuneung in Namyangju, and the number of annual users varies greatly from 12,000 in Onneung in Yangju to 410,000 in Seonjeongneung in Seoul. Considering the conditions of the 16 royal tombs, the entrance space should be provided at an appropriate scale, reflecting the surrounding land use and accessibility that affect the influx of users, the size of the site, and the king's awareness and preferences. Third, the location of the parking lot, the presence or absence of an outer courtyard and an internal courtyard bordering the ticket and check offices, and the location of the Historical and Cultural Museum made it possible to know the aspects of entrance space of the Joseon Royal Tombs, where the spatial configuration is determined Fourth, according to the royal tombs, it was found that the entrance space should have essential parking, access control, information, and convenience functions, and that support, exhibition, passage, and recess functions should be optional. At this time, the management office and the Historical and Cultural Center are in charge of support and exhibition functions. The function of passage can be a strategy that provides a sense of entry and the function of recess which has been introduced in only four royal tombs requires an appropriate location and landscape access.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.38-47
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• 2013

This study was performed in order to preserve and protect the scenic sites and surrounding environment is located in the Urban Residential Area. After classifying the type of area surrounding parcels of Seongbuk-dong is located in Seongragwon, Satisfaction Survey, scenic sites designated areas for residents living near the analyzed. Research methods, Cadastral research, literature survey, field survey, and the survey was conducted. Cultural heritage awareness about the collected questionnaires of frequency analysis, and reliability analysis for cultural heritages around satisfaction, satisfaction analysis by parcel area, parcel area for the verification of specific differences regression analysis for the full-on relationship satisfaction, one-way ANOVA was conducted for each. Overall Cultural awareness analysis results, the residence is located close to the Seoul Seonjamdanji, Seongragwon, Simujang, Sanghoe Lee Tae-Joon's houses, Seoul Hanyang castle showed that cultural heritage were know unfulfilled cultural heritage. The purpose of cultural heritage visit was to break/walks. Preservation was usually level and there is no inconvenience caused as a cultural heritage. Regulatory intensity level was usually level and showed a positive reaction to the impact of cultural heritage in Seongbuk-dong image mostly. cultural heritage have a positive impact on the image of the town. but access to cultural heritage is not easy and doesn't affect the life is expected. Overall satisfaction for cultural heritages in the surrounding space, the larger the size of the lot, and higher satisfaction. Seongbuk-dong most of the residents satisfaction was higher. Small lots of residents showed low satisfaction for safety when walking at night, heritage value rise, private ownership of heritage use, harmony with surrounding environment, Building exterior, non-physical uniqueness like culture art mental. It can be interpreted that small lots of residential environment quality is low compared to the large lots, influx of residents in other regions due to the redevelopment of one of Seongbuk-dong, private ownership of heritage use. And generally lower satisfaction on the harmonization of the facility(street lights, signs, etc.). Therefore cultural heritage signs for facility expansion, cultural educational programs, will be needed to maintain the uniqueness village when scenic sites in the city center around the area of management strategy.

• (The)Study of the Eastern Classic
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• no.48
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• pp.195-223
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• 2012

Until now, I guess, many scholars misunderstood the characteristic of economic awareness of Yi Hang-no as if it was a modern nationalism or radicalism against Japanese anti-Korean insistences. But I think these opinions are out of historical attitude. So to understand Yi's economic awareness correctly, I think, We should focus on the traditional Confucian thought system at that time. As one method to reach the goal, I focused on the word, Jeong-jeon-je: Oriental equal land system. Yi Hang-no put the importance on Jeong-jeon-je to make utopia he dreamed of. Yi thought Jeong-jeon-je is the basis of equal society and strong state. Also Yi thought a moral society would be achieved by Jeong-jeon-je because the equal land system, so called Jeong-jeon-je provide peasants with equal lands, so it makes peasants stable in economic situation. Especially, Yi Hang-no put importance on that Jeong-jeon-je would raise moral consciousness of people because equal economic condition makes people wealthy, so people would be good men naturally. Yi Hang-no explain it in basis of Insim-Dosim-seol: a theory of two minds bad & good to be. Yi Hang-no thought equal economic condition is the basis of making people moral being. He thought Jeong-jeon-je was a basis of the condition. Reversely, Yi thought Western insists of trade was the beginning of making people fight for individual benefit, so it produces devil selfishness out of human mind. That was the reason that Yi Hang-no opposed the trade with Western Powers. Eventually Yi's assertion of embargo came out of his Insim-Dosim-seol. In this context, Yi's Jeong-jeon-je was insisted as a method to raise human moral consciousness.

• The Journal of the Korea Contents Association
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• v.12 no.8
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• pp.114-122
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• 2012

The world focus on enhancing national prestige based on the value of traditional culture and history to preserve cultural heritage that make an effort to popularize in public. Hence, the true issue of paradigm for traditional culture are given at recreation for the value of cultural heritage. To study level of awareness of the importance in cultural heritage, proceed on experimental research for two groups that each group as for professionals and laymen. There are five experiment with two groups that of level of immersion, educational effect, interest, intelligibility score in the documentary in achieve which are recorded image and recorded film. The result of experiments, it showed difference between professionals and laymen, high scored of immersion and intelligibility score in professionals group of recorded image, other highly scored of immersion and educational effect in laymen of recorded film. Consequently, it will need historical recording documents to supply divisively with as considering levels and cognitive situation for professionals and laymen to satisfy their intention. And also, the needs for public to develop various source and contents of heritage to have people's interests. For the expert, it demand on educational projects and contents to be initiated in skills and arts.