• English & American cultural studies
• /
• v.14 no.1
• /
• pp.95-116
• /
• 2014

Paul Auster's The Locked Room, the third novel of The New York Trilogy, has been examined by many critics in terms of anti-detective fiction or postmodernism. However, this paper focuses upon how the author adopts and utilizes some key elements of the traditional detective novel and its literary tradition. Mystery storytelling is one of Auster's literary strategies and the theme of the double is another. For his novel Auster explores the theme of the double as in Poe's "William Wilson." In The Locked Room, the narrator "I" is described as a shadow of his childhood friend Fanshawe. After Fanshawe's disappearance "I" becomes a literary agent for his friend, and becomes a husband of his friend's wife and a father of his friend's child. Searching for information to write a biography of his friend, he realizes that his friend has always been living inside his skull condemned to a mystical solitude. When Fanshawe appears in the narrator's mind as an image of the door of a locked room, the locked room is also a metaphor for the closed consciousness of the narrator. In his strategy of mystery storytelling, Auster employs the quest of detective fiction as well as the irony of Oedipus the King, where the criminal pursued by the king turns out to be himself. The Locked Room starts with the mystery of Fanshawe's disappearance, and as the novel develops, the narrator pursues numerous clues about his biographical subject like a private eye. Ironically, however, he finds that the ghost of Fanshawe has always been with him and that this is inevitable. As the narrator resolves to quit his life as a double, he contrives to name a strange man Fanshawe as if he tries to turn his biographical subject into a fictional character in the same way Fanshawe has controlled the narrator like a character in Fanshawe's novel. Beaten by the fictional Fanshawe and recovering from a near-death experience, the narrator prepares for his final showdown with Fanshawe. The transcendence of his existence as a double is epitomized by his act to tear off the red notebook handed to him by Fanshawe, which confusingly delivers a message that a life is doomed to be a failure. The narrator's act to cut off Fanshawe's influence bespeaks his breaking out of his locked consciousness and a new start for his life with his own identity.

• Proceedings of the KSRS Conference
• /
• 2003.11a
• /
• pp.369-371
• /
• 2003

This paper attempts to study the evolution of the Solar System including the earth through various existing hypotheses and the occurrence of earthquakes on the earth. From the analysis of the various theories it can be inferred that the Mystery regarding evolution of Solar System is a complex problem which requires continuos research. The occurrence of the earthquake is also affected by the earth's rotation, which produces Centrifugal Force, which together with convection current causes plate displacement resulting in earthquakes. The extent of displacement varies with the size and density of the plates.

• International Journal of Railway
• /
• v.5 no.3
• /
• pp.114-116
• /
• 2012

The technology of high-temperature superconductive (HTSC) maglev trains has become mature and ready for a commercial use ten years after its first prototype was made by Jiasu Wang and Suyu Wang. However, an appropriate roadmap in applying it to the market is crucial for its success because superconductivity mystery remains veiled and public safety concern may prevent it from being used.

• Journal of Sericultural and Entomological Science
• /
• v.24 no.1
• /
• pp.5-18
• /
• 1982

Since thousands of years ago, silk has been treasured as much as diamond and pearl. It is because silk has its unique aroma which no man made fiber can equal to. People in any part of the world can not enjoy a really rich living or a bright frame of mind without wearing silk. This means the silk is only silk. Mystery of silk and mysterious quality of silk come from the fact that it is a protein fiber produced by the living insect, namely, the silkworm. (omitted)

• The Journal of Korean Medical History
• /
• v.14 no.2
• /
• pp.45-57
• /
• 2001

Started to get over the political difficulties, Juhee put his heart into solving the mystery of "I-Chingchamdonggye", and the final answer he got was right this. In his coordinate ideology system, he positioned "I-Chingchamdonggye", in other word Dan. No, actually he reconfirmed the uprightness of his ideology system through "I-Chingchamdonggye" and Dan. Justness of Juhee's scholarship which was accused to be false study is ascertained even in trifling Dan and the classics of Dan. The fruit seems to be "I-Chingchamdonggyegoi".

• Journal of the Chungcheong Mathematical Society
• /
• v.27 no.4
• /
• pp.635-641
• /
• 2014

The existence and the regularity of the particle trajectory flow X(x, t) along a velocity field u on $\mathbb{R}^n$ are discussed under the BMO-blow-up condition: $${\int}_{0}^{T}{\parallel}{\omega}({\tau}){\parallel}_{BMO}d{\tau}<{\infty}$$ of the vorticity ${\omega}{\equiv}{\nabla}{\times}u$. A comment on our result related with the mystery of turbulence is presented.

• The Bulletin of The Korean Astronomical Society
• /
• v.45 no.1
• /
• pp.69.1-69.1
• /
• 2020

While Dark Energy is one of the explanations for the accelerating expansion of the Universe, its nature remains a mystery. The standard (flat) ΛCDM model is consistent with cosmological observations: type Ia Supernova, BAO, CMB, and so on. However, the analysis of observations assuming a model, model-dependent approach, is likely to bias the results towards the assumed model. In this poster, I will introduce model-independent approach with Gaussian process and the application of Gaussian process regression to reconstruct the equation of state of dark energy.

• The Journal of the Korea Contents Association
• /
• v.13 no.10
• /
• pp.160-169
• /
• 2013

The materials used in the title sequence connotes a style & a content of film comprehensively. Therefore, the effect of emotional expression can be changed according to what materials are selected. Thus, the materials of which 42 title sequences are collected for the last 10 years are classified, and the category of materiality & material degree are defined with the semiotic rectangle. To investigate intensity of the material degree, the survey was done. As a result of the survey, the intensity was classified into 3 levels of material degree. The category of materiality used according to the genre of film was analyzed. As a result of the analysis, the materiality was selected according to the content regardless of genre, but there's any difference in the material degree. The intense material degree was used in a thriller and an SF mystery genre, and the medium one was used in the general genre, but, above all, drama and action genre. The weak one was used in a variety of genre, but specifically horror, SF mystery genre. It is significant that this study suggested the expression method in accordance with selection of materials in producing a title sequence to visualize film symbolically.

• Korean Journal of Logic
• /
• v.22 no.2
• /
• pp.253-290
• /
• 2019

Wittgenstein presents so-called picture theory in the Tractatus Logico-Philosophicus. What is, then, the point of the picture theory? What are the philosophical problems which the picture theory tries to solve? In this paper, I will endeavor to show that the object of a picture is different from the sense of a picture, that the representing relation is different from the projective relation, that picture theory is applied to composite propositions as well as elementary propositions and that on the one hand the basic problems that picture theory tries to solve are problem of theory of meaning and that of theory of truth, but on the other hand the more important problem is what Wittgenstein calls "the mystery of negation." From these discussions, we can see that it is not correct at all to interpret that the picture theory in the Tractatus Logico-Philosophicus is nothing but an analogy which does not have a significant content.

• Journal of English Language & Literature
• /
• v.56 no.2
• /
• pp.329-356
• /
• 2010

Coleridge's fame as a poet rests on the achievement of the mystery poems, "The Anceint Mariner," "Kubla Khan," and "Christabel." Coleridge's achievement in "Christabel" goes far beyond what previous critics have imagined. Coleridge is one of a handful of great writers who are included as representatives of androgyny. Throughout his life, Coleridge was accustomed to point out feminine qualities within himself. "Christabel" exemplifies the kind of writing contemporary feminist theories call l'écriture féminine. L'écriture féminine is not necessarily the creation of women but may rather be the works of those who refuse to identify with the father and the laws of paternal discourse. "Christabel" becomes Coleridge's most daring symbolic story. "Christabel" appears in its full significance as a vehicle for some profound insights into the dynamics of relationships between men and women, fathers and daughters. Through her deformity, Geraldine is actually the casualty of her father's hatred of women, and is the embodiment of all its anti-virtual aspects. The poem shows no bitterness against women, only compassion and remorse. Coleridge is sympathetically presenting Christabel's suffering as a woman at the hands of an overmastering man. Also, "Christabel" demonstrates woman power as well. In fact, the one person whose tales have any real effect within this narrative is the ambiguous Geraldine. Geraldine excels at story-telling, at making words act for her. Perhaps, despite the appearance of the surface, in which men hold all the cards, it is in fact women, or the feminine, so necessary to procreation and creativity, who hold sway here. This apparent dominion of the feminine derives at least partly from Coleridge's use of the conventions of that feminine genre, the Gothic romance. L'écriture féminine is a concept defined by its divergence from a dominant cultural norm. One may speculate that the fragmentary state of "Christabel" and "Kubla Khan" is in fact congruent with this mode of writing. If these poems imply a theoretical écriture féminine, they are by definition "incomplete," for completeness is a standard of patriarchal language and culture. More perplexing even than the other "mystery poems," "Christabel" is the true fragment of the three.