• Cross-Cultural Studies
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• v.21
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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.

• Cross-Cultural Studies
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• v.45
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• pp.479-496
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• 2016

The aim of this essay was to investigate Marlow's desire for constructing enlightenment subject of knowledge and power sustained by the collusion of imperialism and patriarchy in Joseph Conrad's Heart of Darkness. Marlow's narrative, based on his journey up the river in Africa to retrieve Kurtz, attempts to conceptualize himself as the subject of the enlightenment reason and rationality. In the novella, collusive network of ideologies of empire and gender contributes to the making of a Western Enlightenment subject. Marlow eulogizes himself for realizing the harsh realities of imperialism, political domination and economic exploitation of the natives in Africa. However, Marlow is a colonial subject who has been ruled by the hierarchical system of thought in the Western logocentrism. He is not aware that his narrative has already been infiltrated by the ideological discourse of the totalitarian enlightenment. His narrative in effect is not a self-congratulatory testimony to truth and realities but a narcissistic and self-defeating document. Marlow unconsciously employs the totalitarian ideologies of empire and gender in order to relegate the African natives to the inhuman existence and to consign women to the sphere of illusion.

• Journal of Korean Academy of Nursing
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• v.49 no.4
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• pp.423-436
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• 2019

Purpose: The aim of the study was to explore nurses' experience of person-centered relational care in the context of critical care. Methods: Key interview questions were developed based on the human-to-human relationship model suggested by Travelbee. Data were collected through indepth interviews with a purposive sample of 11 nurses having more than 2 years of working experience in intensive care units. An interpretative phenomenological analysis was conducted to analyze the data. Results: Four super-ordinate and nine sub-ordinate themes were identified. Emerged super-ordinate themes were as follows: (1) encountering a live person via patient monitoring systems; (2) deep empathic connection; (3) humanistic and compassionate care, and (4) accompanying the journey to the end. Study findings revealed that nurses in intensive care units experienced 'balancing emotions' and 'authenticity' in caring when entering human-to-human relationships with dying patients. The phenomenon of person-centered relational care in intensive care units was found to subsume intrinsic attributes of empathy, compassion, and trust, similar to the central concepts of Travelbee's theory. Conclusion: The interpretative findings in this study provide deeper understanding of Travelbee's human-to-human relationship model. The technological environment in intensive care units did not hinder experienced nurses from forming human-to-human relationships. These themes need to be emphasized in critical care nursing education as well as in nursing management. The results of this study will contribute to understanding nurse-patient caring relationships in depth, and help improve the quality of nursing care in intensive care units.

• Convergence Security Journal
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• v.18 no.2
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• pp.89-99
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• 2018

In the year 2018, South Korea faces a crucial decision with regard to reunification. Starting from inter-Korean and US-North summits held from April through June, A rough journey for North Korea's "Complete, verifiable and irreversible dismantlement" began. Although South Korea insists that North Korea's Nuclear 'CVID' is the only minimum condition in the process of peaceful reunification, North Korea and other countries who support North Korea, including China and Russia, will possibly claim that North Korea's Nuclear 'CVID' will minimize their political and military positions internationally. Despite representatives from each country agreeing to North Korea's denuclearization, it is inevitable that many challenges still need to be resolved during the process. From the perspective of the Chinese government, North Korea is not a country that stimulates international conflicts. Instead, China can utilize North Korea as their political and tactical leverage against the US in order to compete for hegemonic power in Asia. In order to reject the emerging supremacy of China and resolve uncertainties in the denuclearization agreement and implementation process, I suggest the necessity of 'Korea-Japan Security Cooperation' as a 'second alternative' to achieve the North Korea's Nuclear 'CVID'.

• Journal of Korean Academy of Nursing
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• v.49 no.3
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• pp.349-360
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• 2019

Purpose: This study was conducted to derive a substantive theory on lived experiences of elderly cancer patients. Methods: The data were collected from February to March 2018 through in-depth personal interviews with 14 elderly cancer patients. The collected data were analyzed based on Corbin and Strauss's grounded theory. Results: The core category was "the journey to find balance in daily lives as a cancer patient by recovering disturbed ego integrity." The core phenomenon was "shattered by suffering from cancer," and the causal conditions were "physical change" and "limitations in daily life." The contextual conditions were "decreased self-esteem," "feelings of guilt toward the family," and the sense of "economic burden." The participants' action and interaction strategies were "maintaining or avoiding social relations," "seeking meaning of the illness," "falling into despair," and "strengthening the willingness to battle the cancer." The intervening conditions were "support from health care providers and family," "dissatisfaction with health care providers," "spiritual help from religion," and "the improvement or worsening of health conditions." The consequences were "having a new insight for life," "living positively along with cancer illness," and "the loss of willingness to live." A summary of the series of processes includes the "crisis stage," "reorganizing stage," and the "ego integration stage." Conclusion: This study explored the holistic process of ego integrity impairment and the recovery experience of elderly cancer patients. This study is expected to be used as a basis for the development of nursing interventions that can support patients when coping with all stages of their cancer illness trajectory.

• Human Ecology Research
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• v.56 no.6
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• pp.589-601
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• 2018

This study explored the internal world through sandplay therapy for an elementary school boy who had social and emotional difficulties of poor peer relations, anxiety and withdrawal. This study examined the changing processes of sandboxes, how a boy expressed his internal world by the content themes in sandplay according to Turner (2009) based on analytical psychology and sandplay theories. There were 72 sessions. The initial phase was 1-6 (The beginning of war) expressing confusing wars as the start of a long internal journey. The intermediate phase was 7-55 (Struggle), dividing by phase I 7-18 (Hero's fight I), phase II 19-36 (Hero's fight II), phase III 37-48 (Seeking for a male identity), and phase IV 49-55 (Centering). The client identified himself as a teenaged hero and expressed the conflict between good and bad, between death and rebirth and struggled for seeking treasures in the fight of heroes. He found identity as a male by finding a sense of existence, establishing order in the middle of confusion, and expressing strong and rational masculinity. The final phase was 56-72 (The winner of the struggle). In the fights repeating, he expressed an adventurous and positive male energy such as racing, speed contests and a union in the opposites of hero and heroine as well as the birth of a new conscious. This study provides a basic knowledge of educational guidance in school and counseling fields by expanding the understanding of a boy's unconsciousness.

• English & American cultural studies
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• v.13 no.1
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• pp.29-57
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• 2013

Patricia Waugh once regarded modernism fiction as 'the struggle for personal autonomy' against the opposition existing social institutions and conventions. Michael Cunningham's characterizations of Virginia Woolf and Septimus in The Hours show the two contrasting reactions to individual alienation and mental dissolution in the modern era. As the personifications of endurance and self-destruction against the mechanical power of contemporary world, Woolf and Septimus consist of just the world of diptych where the woman's role is confined to the angel in the house. By creating Mrs. Brown based upon his own alienated mother image, however, Cunningham succeeds in representing the more dramatically vivid world of triptych where woman can have her own room and self-realization despite still facing the dilemma of the traditional family. Accepting Joycean Bloom's optimistic and relaxing way of life in part, Mrs. Brown connects the labyrinths between the author's (and also Richard's) alienation with the theme of celebration of the life. Clarissa in postmodern New York setting is still a concealed and mystified character. Similar to Mrs. Dalloway, on the one hand Clarissa watches other people's tragedy with compassion. Cunningham's Clarissa, on the other hand, is no longer seeking for either winning or defeat in the spectacular world unlike her predecessors. In many resilient attitudes of everyday life Clarissa is closest to Mrs. Brown whom Virginia Woolf originally hopes to describe. Without any fear or rage toward the society Clarissa witnesses and achieves "the humanity, humour, depth" of female values by successfully turning the trivial life into an epic journey.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.403-414
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• 2018

This paper suggests a different reading of James Joyce's "Araby" by offering the video game as a lens through which we can reimagine the story. Understanding the unnamed boy's journey to the Araby bazaar as a fetch quest, this paper focuses on the boy's failure to complete this quest. As soon as the boy promises Mangan's sister something from Araby, his fetch quest begins. In order to complete the quest, the boy must successfully perform three sub-quests: get money from his uncle as early as he can, get on the train for the Araby bazaar on time, and pass through the sixpenny entrance at the bazaar. However, because his uncle comes home late, the boy fails to get the money early, and that sets off the subsequent failures. The boy then takes the train late and arrives at the bazaar so late that he feels he must go through any entrance. So he walks through the adult entrance by mistake. As a result, he does not have enough money to buy a gift, failing the larger quest. But, regardless of this failure, the boy can try these quests as many as he wants until he finally succeeds in completing them. But no matter how the boy tries to accomplish these subquests, he is doomed to fail them because he cannot make his uncle come home early. The more he tries his quest, the more bitterly he realizes that he will ultimately fail. In this respect, the boy's "anguish and anger" should be understood as his epiphany: the re-playability of the game is possible, but all the replays lead to the same failure: losing the game. In this regard, reading Joyce's "Araby" is much like playing a video game.

• Journal of English Language & Literature
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• v.58 no.2
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• pp.217-247
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• 2012

This essay attempts to read Melville's Moby-Dick as a prefiguration of American pragmatism, especially Jamesian version of it. Underlying this project is the assumption that the American Romance and James's pragmatism partake in the enduring tradition of American thoughts and imagination. Despite the commonality in their roots, the continuity between these two products of American culture has received few critical assessments. The American Romance has rarely been discussed in terms of American pragmatism in part because critics have tended to narrowly define the latter as a kind of relativistic philosophy equivalent to practical instrumentalism, political realism and romantic utilitarianism. Consequently, they have favored literary works in the realistic tradition for their textual analyses, while eschewing a more imaginative genre like the American Romance. My contention is that James's version of pragmatism is a future oriented pluralism which is unable to dispense with the power of imagination and the talent for seeing unforeseen possibilities inherent in nature and culture. James's pragmatism is in tune with the American Romance in that it savours the attractions of alternative possibilities created by the genre in which the imaginary world is imbued with the actual one. The pragmatic impulse in Moby-Dick finds its finest expression in the words and acts of Ishmael. Through this protean narrator, Melville renders the text of Moby-Dick symbolic, fragmentary and thereby pluralistic in its meaning. With his rhetoric of incompletion and by refraining from totalizing what he experiences, Ishmael shuns finality in truth and entices the reader to join his intellectual journey with a non-foundational notion of truth and meaning in view. Ishmael also envisages pragmatists' beliefs that experience is fluid in nature and the universe is in a constant state of becoming. Yet Ishmael as the narrator of Moby-Dick is more functional than foundational.

• Journal of English Language & Literature
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• v.54 no.4
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• pp.511-530
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• 2008

In "A Good Man Is Hard to Find," Flannery O'Connor describes a striking journey of a family, in which all the members dramatically get killed. Through the tragic death of Bailey's family, O'Connor evokes the reader to think about life and the life after death. Growing up in the communities of Catholicism and Protestantism, O'Connor herself had agonized with the same question between the two types of Christian belief throughout her life. In the story, O'Connor embodies her anguish with the major characters and questions the reader about the meaning of Christian salvation. More specifically, Bailey's family represent the people who get lost in life. They live without any direction and purpose. Red Sammy and his wife, on the other hand, provide travellers with rest, food, and the necessaries. The Tower is a shelter of travellers in life; however, it is not everlasting but temporary. The Misfit, exemplifying religious stragglers, has been completely frustrated with the variance of Christian salvation theories, and no longer practices the religion but knows enough to justify his cruel behaviors. Finally, the grandmother is the manipulator and opportunist of the religion. All those characters are fragments of human characters and their life - obscene and transitory. In the story, there is little God's grace on the surface even though the writer claims "all my stories are about the action of grace." Nonetheless, the reader should be able to identify with those characters because they are the mirror images of themselves. While visualizing the characters, O'Connor wants the reader to have a moment to think about the "Righteousness," and ultimately to seek out God's grace that she essentially wishes to show the reader. Instead of showing God's grace directly, O'Connor ultimately leads the reader to consider about God and the grace as she/he reads the work.