• Acta Via Serica
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• 제2권1호
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• pp.31-47
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• 2017

The corridors to the north and south of the $Takl{\bar{a}}m{\bar{a}}k{\bar{a}}n$ (塔克拉瑪干 Ta-ke-la-ma-gan) Desert are the most important regions for cultural confluence on the Silk Road, where caravans made it to the Chinese capital or the Korean Peninsula by the northern road, through the city of Turfan, or the southern path of Khutan. Being an important part of the Silk Road in the course of history, this region was heavily influenced by the cultures of various nations and ethnic communities whose merchants utilized the road to advance their business. The region's language, writing system and literary structure were also affected, so much so that in the course of its tumultuous history, many words, phrases and terms belonging to neighboring cultures found their way into the region, leaving their mark on its linguistic structure. Of the cultural exchanges that took place between the peoples of the region, conspicuous traces can be seen in the architecture, music, literature, texts, and inscriptions. Located in the Turfan region, the minaret of Su Gong (蘇公 Su Gong ) is host to an inscription which bears many signs of such exchanges. As so far no independent research has been conducted to identify the cultural, literary and structural features conveyed in this inscription, the present paper is an attempt to study the inscription in terms of the script, language and syntax in order to unravel the effects of cultures prevalent on the Silk Road on this particular inscription. This study mainly aims to investigate the linguistic structure of the inscription and the impact of the Persian language on Silk Road culture. In fact, we approach the inscription as a symbol of cultural exchange on the Silk Road and will focus on the tradition of Persian inscription-making which affected the Turfan inscription.

• 한국연극학
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• 제40호
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• pp.401-450
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• 2010

This thesis purposes to suggest that creative stage directors have copyright ownership and we make them create high-quality of theatre direction. Stage directors are sincere creator of the theatre stage today. We have little judicial precedents about stage directors, no artistic examination related directing. Stage directors are performers who have neighboring rights, there is a problem that they won't have the exclusive right of making derivative works in this country. Others will make creation (such as cinemas, animations, novels) based on stage expression without permission, because stage directors don't have exclusive right of making derivative works. Copyright law can't protect the concept of stage directors and building blocks of them which are drama text, actors and theatre space, because copyright law don't protect idea according to idea/expression dichotomy. The expression of stage direction is belong to five fundamentals which are composition, picturization, movement, rhythm, pantomimic dramatization that are come from Dean & Carra's work. Directors' work is to make theatrical works based on literary works. Therefore, theatrical works are derivative works which based on drama texts. Also, theatrical works are able to be joint works. In the case of that stage directors write drama text and create expression on the stage, they have to own authorship of both works. Merger doctrine should not apply theatre directors' works strictly like any other functional works because stage directors usually create noble expression which have been not before. We need shift of the definition of theatrical works which are derivative works or joint works to protect theatre directors' creativity. Hereafter, the special legal section for dramatic(theatrical) works including the flexible legal definition for performing arts should be established, and 'contract form' for stage directors should be made. Acting edition(literary works) should be published to grant creative directors compensation. I emphasize to grant ownership of copyright to creative stage directors, to encourage directors' works. Therefore, copyright law will be the support for development of cultural arts institutionally.

• 비교문화연구
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• 제42권
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• pp.241-260
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• 2016

이 글의 목표는 현대 러시아 광고언어에 있어서 어떤 유형의 '언어유희'(игра слов) 현상이 나타나고 있으며, 이는 광고의 어떤 특징 때문에 연유하는지에 대해 밝히는 것이다. 이러한 목표를 달성하기 위해 광고의 정의 및 광고언어의 특징을 살펴보고, 광고의 효과를 극대화하기 위해 언어를 어떻게 이용하고 있는지를 밝힐 것이다. 광고 연구에 있어서 필요한 학문은 언어학을 비롯하여 경제학, 심리학, 사회학, 마케팅, 문학, 예술학, 음악 등으로 아주 다양하다. 이는 현대의 광고가 화면과 소리, 그리고 텍스트가 결합되는 기호학적 대상이기 때문이다. 본 연구에서는 비록 이렇게 다양한 부분을 한꺼번에 연구할 수 없지만 광고 텍스트들에서 나타나는 언어유희 현상을 중심으로 광고 기획자와 소비자가 인식하는 언어유희 현상에 대한 인식에 대해 밝히고자 한다. 광고는 언어학자들에 의해 그 해당 언어를 파괴하는 주범으로 인식되어 온 측면도 있는데, 이는 광고에 사용되어지는 비문법적인 문장 생성이나 비문법적인 단어 표현, 외국어의 남발 및 잘못된 외래어 표기, 비속어 및 은어의 잦은 사용, 맞춤법 등 어문규범의 파괴가 그 원인이다. 이러한 것들이 광고의 어떤 목적을 위해 이루어지는 것인지 밝히고자 한다.

• 영어영문학
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• 제54권1호
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• pp.149-167
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• 2008

Korea has persisted in the notion of "ethnic nationalism." That is "one race, one people, one language" as a homogeneous entity. This social ideal of unity prevails, even in overseas Korean communities formed by voluntary and involuntary displacement in the turmoil of modern history: communities made intermittent with the Japanese colonial occupation and with postcolonial encounters with the West. Given that the Korean people suffered from the trauma of deprivation of the language caused by the loss of the nation, nation has been equated with the language. Accordingly, "these bearers of a homeland" are also firm Korean language holders. The linguistic patriotism of unity based on the intertwining of "mother tongue" and "father country" has become prevalent in the collective memory of the people of the Korean diaspora. Korean American literature has grappled with this concept of the national history of Korea and the Korean language. The aesthetics of Korean American literature has been marked by an influx of literary resources of 'Korea' in sensibilities and structure of feelings; Korean myth, folk lore, songs, humor, traditional stories, manners, customs and historic moments. An experimental use of the Korean alphabet, Hangeul, written down as pronounced, provides an ethnic flavor in the midst of the English texts. Despite its national framework of mind, however, Korean American literature as an interstitial art reveals a keen awareness of inbetweenness, and transnational hybrid identities. By exploring the complex interrelationships of cultural and linguistic boundary-crossing practices in Korean American literature, this paper argues that the poetics of the Korean diaspora challenges the closed structure of identity formation, and offers a transnational sphere to deconstruct a rigidly demarcated national ideology of "one race, one people, one language," for the world literary history.

• 영어영문학
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• 제57권2호
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• pp.191-215
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• 2011

This paper aims at investigating Dorothy Wordsworth's later conversation poetry, which has not been the focus of critical discussions on her literary works. While many critics have been emphasizing Dorothy Wordsworth's journals and the tendency of self-effacement in her prose, this paper argues that her later poetry often reveals acute self-consciousness about the circumstances that condition this self-annihilation and searches for a creative way to endorse her own identity. In "Lines Intended for My Niece's Album," she expresses anxiety and uncertainty about the inclusion of her poetic piece in Dora Wordsworth's album, which contains poems by prominent male writers of the contemporary period. "Irregular Verses" presents Dorothy Wordsworth's self-conscious narrative of her girlhood and shows how her own ambition to become a "Poet" has been stifled by external circumstances, including the ideology that instills the idea of proper womanhood into aspiring girls. While these poems examine contemporary gender discourse and the frustrated poethood resulting from it, other poems activate conversations with William Wordsworth's poems and thereby provide a revisionary re-writing of her brother's texts. For example, in "Lines Addressed to Joanna H." Dorothy Wordsworth becomes "a woman addressed who herself addresses others." Her scrupulous approach to her own addressee refuses to subordinate the other to the self's will, and through this revision of "Tintern Abbey," Dorothy Wordsworth vicariously liberates her own self confined in her brother's poems. "Thoughts on My Sick-Bed," which echoes "Tintern Abbey" through borrowed phrases and direct address to William Wordsworth, foregrounds her own poetic identity in the form of the first-person pronoun "I." Dorothy Wordsworth's continual illness during this period of her life paradoxically allows her the time for personal reflection formerly denied to her in her busy life constantly occupied by physical and spiritual labor for others. Instead of earning satisfaction from the subsumption of her creative energy under William Wordsworth's poetical endeavor, Dorothy Wordsworth finally starts to affirm her own poetic identity that can properly express her inner vision and artistic talent. Although this final affirmation remains largely incomplete due to her later mental collapse bordering on madness, it powerfully conveys the hidden literary aspiration of the formerly frustrated female poet.

• 예술인문사회 융합 멀티미디어 논문지
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• 제7권2호
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• pp.515-523
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• 2017

문학을 활용하는 실습현장에서는 문학의 전문이 아니라 일부분을 발췌해서 사용한다. 따라서 어느 부분을 기억힌트로 활용할 것인지, 어떻게 제시하는 것이 효과적인지에 관한 실증적인 지침이 필요하다. 본 연구를 위해서 헤세의 삶 전반과 그의 인물들을 문학치료적인 관점으로 들여다보았다. 첫째, 헤세의 작품 속 인물을 분석하는 과정에서 자가치유적인 삶을 살아가고 있는 헤세의 모습을 만날 수 있었다. 또한 그는 쓰기, 그리기, 연주하기, 감상하기, 명상하기, 걷기 등과 함께하는 다매체적인 삶을 살았다. 둘째, 연구자는 헤세와 그의 작품을 활용한 문학치료 콘텐츠를 조현병 환자들에게 적용해 보았다. 임상에서 활용한 매체는 헤세의 작품 속에서 추출한 것이었다. 참여자들은 헤세의 작품에 대해 정서적 공감을 할 수 있었으며 나아가 참여자들간의 상호공감나누기도 가능하였다. 헤세가 보여주는 다매체적인 특성과 활용방법은 현대인의 정신건강을 증진하고 병리적인 문제를 치유하기 위해서 중요한 인문학적 자원이 될 것이다.

• 영어영문학
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• 제58권5호
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• pp.859-880
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• 2012

This paper aims at analyzing Robert Southey's Thalaba the Destroyer in relation to cultural colonialism of the British Romantic period and investigating the ways in which this text portrays the Other through its literary representation of the East. Especially, this paper attempts to show that the Oriental world constructed in Southey's text reveals the imperial subject's self-conscious awareness of its unstable relation with the unknown Other. For this purpose, this paper attends to the formal aspects of Thalaba the Destroyer, examining the process by which the reader's generic expectations about the "epic" undergo complex revisions and frustrations through reading this text. The epic elements contained in Thalaba the Detroyer include the battle between good and evil and the hero's moral epiphany arising from his struggle against malicious enemies. Yet, Thalaba the Destroyer constantly destabilizes the distinction between self and other by leading the reader to recognize the uncomfortable similarity between the poem's tyrannical figures and imperialistic monarchs in the Western civilization. Thus, when the hero enacts a revolution against despotism, the resistant power points not only to the imagined false kingdom within the text, but to the core of the real Empire that seeks to construct its own "garden" in the global scene. In addition, Southey's "panoramic" description of Oriental objects and stories in his footnotes lacks a framing perspective, erasing and de-stabilizing subject/object distinctions. In these footnotes, he exposes his profound attraction to the culture of "Other" and also conveys his aspiration to transforming Eastern myths and stories into profitable literary texts. Southey's attitude to the East in the footnotes appears to be partially grounded upon the interest of mercantile capitalists of the West, who need to discover potential commodities. Yet, simultaneously, he reveals a sense of moral hesitation about his own desire for the materiality of the East, along with deep anxiety arising from the fear of punishment.

• 한국문헌정보학회지
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• 제51권3호
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• pp.83-108
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• 2017

도서관은 독자에게 독서정보를 제공하여야 할 의무와 책임이 있는 대표적 기관이며, 사서는 독자에게 도서에 관한 정보를 제공하기 위하여 아낌없는 상담과 조언을 할 수 있어야 한다. 독자들의 그림책에 관심이 높아지면서 도서관과 사서는 훌륭한 그림책은 어떤 것인지? 유사한 종류의 다양한 도서 중 어떤 것을 선택할 것인지? 등의 도서 선택과 독서에 도움을 줄 수 있는 그림책 서평을 정기적이고 지속적으로 작성 제공하여 독자들의 독서정보를 지원할 수 있어야 한다. 문학과 예술의 복합장르인 그림책 서평을 작성하기 위하여서는 내용소개는 물론 시각 텍스트에 관한 문학적 상징성 등의 해설적인 정보를 제공할 수 있어야 한다. 이를 위하여 사서는 작가의 사상과 철학을 이미지로 형상화한 심층적인 의미를 읽을 수 있는 시각적 문식성을 갖추어야 한다. 이에 옛 이야기 "빨간모자"를 다룬 두 작가의 그림책을 비교 분석하여 그림책 서평 작성 시 참고하여야 할 시각적 텍스트에 관한 이해를 돕고자 하였다.

• 영어영문학
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• 제57권1호
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• pp.107-127
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• 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.

• 대한예방한의학회지
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• 제26권3호
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• pp.59-71
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• 2022

Objective : This study examines the historical changes of Ssangwha-'tang', traditional restorative medicine, to a type of tea in tea rooms(Da-bang) named Ssangwha-'cha' in the modern era in South Korea. The goal is to understand how traditional Korean medical culture has been related to the food culture of everyday life. Method : We analyzed traditional medical texts, newspaper articles and advertisements, literary works, and folk song lyrics in which Ssangwha-tang and Ssangwha-cha are mentioned. Results : Ssangwha-tang used to be mentioned as a medicine to tonify 'Yang' energy(Bo-yang) in traditional medical texts from the late Goryeo dynasty to the mid-Joseon dynasty. Since the late Joseon dynasty, it has also been prescribed for cold, as the tonifying method(Bo-beop) gradually prevailed from the royal family to the public. Since then, Ssangwha-tang has been more popular with the public, with the emergence of the patent medicine(Mae-yak) market since the Opening port period and the Colonial period. As the number of Da-bang sharply increased nationwide amid the period of the country's liberation, Ssangwha-tang has been included in the Da-bang menu served as Ssangwha-cha, corresponding to the increasing demands of the public and government policy that tends to favor traditional beverages over coffee. Conclusion : The historical process in which Sssangwha-tang, a type of herbal medicine, became also considered as tea, Ssangwha-cha, provides an example of how Korean traditional medical culture emphasizing the tonification of the body is interconnected with the daily lives of the public and food culture.