• American Studies
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• v.44 no.2
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• pp.193-210
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• 2021

Theresa Hak Kyung Cha's Dictée proliferates with many pronouns. Whether the various subjects invoked in Dictée refer to a single common figure remains ambiguous. By paying close attention to the ambiguity of narrative voice, this essay examines how the creation of narrative ambiguity in Dictée is closely linked to the author's employment of the second person voice. This essay particularly attends to how Cha explores the narrative possibilities of the second person voice in the text's "Calliope/Epic Poetry" section in order to reflect upon experiences of exile and migration on a transnational scale. Through the intimacy and narrative ambiguity of the second person voice, Cha is able to create an epic on migration that is not only transnational in scope, but also invites the reader to engage with the self-alienating aspects of exilic and immigrant life in an unusually intimate yet powerful manner.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.2
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• pp.12-27
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• 2003

The purpose of this study is to look for an environmental design method based on open narrative structure, and to promote various experiences and interpretations of space through user's engagements. That is to say, the designer does not lead specific events through separate Boning but using the continuous open composition users are provided with margins for their imaginations. Spatial formulation through open narrative structure gives us various thoughts and it plays an important role in making a sequential space. Like an abstract painting, it is a complex story making or arranging a montage of images containing stories that elicit the reader's engagement through diverse interpretations. Like this, open composition exists in an ambiguous state and it is possible to interpret unfinished‘evolving work’within it. Utilizing open narrative structure, this study attempts to apply the idea of sequencing and open composition in the case of designing Arirang Culture Park. Open composition should induce various engagements by users and could be a medium which organically connects nature, culture and people. The spatial strategies of‘ambiguity’ and‘transparency’are like a bundle of complex and heterogeneous factors. Finally, the study focuses on the ‘integration’of the main ideas that compose multilayered space. ‘Voidness’and‘thickening’are also used for spatial strategies in open narrative structure. As alternative plans for undecided programs of the space, the voidness can be a strategic design program with flexibility about changes of futures. Also, thickening can be a strategic design program for functional reinforcement of the space, for the dramatic effects and for the generation of incidental events. Although both voidness and thickening seem paradoxical, we can see they are similar in the way that both focus on various spatial uses and by how they do not function as one-to-one correspondence, but as multiple correspondences. Therefore, open narrative structure is possible to apply in designing space and it can be an alternative design strategy for inducing multiple interpretations of space.

• English Language & Literature Teaching
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• v.16 no.4
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• pp.185-200
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• 2010

Nathaniel Hawthorne seems to realize the reader's role in bringing his creation of fiction to completion. Almost all of Hawthorne's prefaces may be considered in terms of their contribution to the writer's narrative strategy. When he refers to the audience in the prefatory essay, "The Custom-House" and other prefaces to his major works as "the Reader," Hawthorne is establishing a mutual complicity that will continue throughout the following narratives. According to this rhetorical alliance, the writer's obligation is to get the story into the reader's imagination by any means possible, while the reader's share is to believe the story as much as possible while it is being told. The ultimate issue is thus not whether any event actually happened as Hawthorne reports it but whether readers are willing to grant the event credence while they are reading. Hawthorne's relationship with his audience is not congenial. In his prefaces, Hawthorne sometimes reveals a narrator who evades a fixed identity. The introduction of an unreliable narrator helps illuminate the unresolved, elusive ambiguity in Hawthorne's stories. Hawthorne seeks to make his narrative ambiguous frequently utilizing the very same indeterminacy so often cherished by poststructuralists. No critical term may be more firmly associated with the works of Hawthorne than ambiguity. Looking for new readers with more fresh eyes, Hawthorne's narratives always remain open to reinterpretation. After all, Hawthorne's prefaces (sometimes including unreliable narrators) help him become one of the most frustrating and fascinating novelists.

• Korean Institute of Interior Design Journal
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• v.14 no.4 s.51
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• pp.27-34
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• 2005

One of the most famous designers of our age, Philippe Starck designed eight hotels among fan Schrager's of which hotels are not so big but have huge popularity all around the world located in major cities such as New York, London, Miami, L.A., and San Francisco. These hotels have brought significant influence particularly to the aspects of their recent fashion and strategies in Boutique hotels. Therefore, this paper intends to examine the space composition and design methods by analyzing the eight hotel projects by him. The research started with reviewing his design background first and analyzed the characteristic of his designs of above hotels. The analysis results were arranged from the aspects of narrative spatial configuration and dramatic presentation. From the aspect of narrative spatial configuration, the hotels by Philippe Starck mainly consisted of 1) boundaries and gateways, 2) spaces of passage, 3) center spaces, and 4) the spaces surrounding the center spaces. For the latter's aspects, it was found that various design methods such as 1) objectification, 2) intended ambiguity, 3) depaysement 4) eclectic hybrid, 5) distortions of scale, and 6) sensuous clues were employed. A study on the hotels by tan Schrager, which owe their big success to the emotional design of Philippe Starck's, not only widens the understanding of his design world, but also serves to the appreciation of today's hotel marketing strategies and design.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.130-146
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• 2017

This study focuses on the Mise-en-abyme theories of Lucien $D{\ddot{a}}llenbach$, and presents research methodology to analyze the modern cinema costume in a new view. Inherent aesthetic values of the costume code shown in the film are as follows. First, esthetics value shown is the analogic code through the maximization of factual realism by directing target. Mise-en-abyme placed in this film plays the role of costume codes, and highlights the subject by presenting specifically targeted realistic icons to maximize the realism of the movie. Second, Mise-en-abyme is deployed to the explicit text through costumes code is placed as Displaced code arrangements. In other words, each of the characters is a signifier. Symbolizing a historical era is the device that represents a self-reflective signifier. Third, paradoxically reflected by the overlapped expansion of virtual reality and the self-referential characteristics and are subject to reflect the thinking of the author. Costumes code placed in Mise-en-abyme is expressed in costumes positioned to maximize the realism in the film as described above, and implies narratives and self-reflective mediating tools that symbolism can be seen that the paradoxical metaphor for the reality and the future. In addition, through the metaphor of visual narrative is allegorical representation Mise-en-abyme with ambiguity, and it is a concrete text that can be realized in a variety of creative storytelling methods and image delivery methods of modern fashion. This study confirmed that this costumes to take the point of view of emotional $Mise-en-sc{\grave{e}}ne$ in the process of completing the film's themes and cinematic devices by identifying the roles and aesthetic value of code costumes as the core subjects that make up the narrative of the film.

• Korean Journal of Cognitive Science
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• v.2 no.2
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• pp.405-428
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• 1990

Language has a social function to communicate information. Linguists have gradually paid their attention to the function of language since the nineteen sixties, especially to the relationship of form, meaning and the function. The relationship could be more clearly grasped through disciyrse-based analysis than through sentence-based analysis. Many researches were centered on the discourse functional notion of topic. In the early 1970's the subject was defined as the grammatiocalized topic the topic as a discrete single constituent of the clause. In the late 1970's several lingusts including Givon suggerted that the topic was not an atomic, disctete entity, and that the clause could have more than one topic. The purpose of the present study is, following Givon, to study grammatical coding devices of topic and to measure the relative topic continuity/discontinuity of participant argu, ents in Korean narratives. By so doing, I would like to shed some light on effective ways of communicating information. The grammatical coding devices analyzed are the following eight structures: zero-anaphora, personal pronous, demonstrative pronouns, names, noun phrases following demonstratives, noun phrases following possessives, definite noun phrases and indefinite referentials. The narrative studied for the count was taken from the KoreanCIA chief's Testiomny:Revolution and Idol by Hyung Wook Kim. It was chosen because it was assumed that Kim's purpose in the novel was to tell a true story, which would not distort the natural use of language for literary effect. The measures taken in the analysis wre those of 'lookback', 'persistence', ambiguity'. The first of these, 'lookback', is a measure of the size of gap between the previous occurrence of a referent and its current occurence in the clause. The meausure of persistence, which is a measure of the speaker's topocal intent, reflects the topic's importance in the discourse. The third measure is a measure of ambiguity. This is necessary for assessing the disruptive effects that other topics within five previous clauses may have on topic identification. The more other topics are present within five previous clauses, the more difficult is the task of correct identification of a topic. The results of the present study show that the humanness of entities is the most powerful factior in topic continutiy in narrative discourse. The semantic roles of human arguments in narrative discourse tend to be agents or experiences. Since agents and experiences have high topicality in discourse, human entities clearly become clausal or discoursal topics. The results also show that the grammatical devices signal varying degrees of topic continuity discontinuity in continuous discourse. The more continuous a topic argument is, the less it is coded. For example, personal pronouns have the most continutiy and indefinite referentials have the least continutiy. The study strongly shows that topic continuity discontinutiy is controlled not only by grammatical devices available in the language but by socio-cultural factors and writer's intentions.

• English Language & Literature Teaching
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• v.17 no.3
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• pp.1-25
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• 2011

This research primarily aimed to investigate proficient and less proficient EFL readers' awareness and experiences about learning to read and reading in English. The secondary purpose was to explore the participants' reading strategies, and to discover how the genres of English texts influence their reading processing behaviors. The participants consisted of four college students in engineering aged 21-25 years. Three data sources were employed: questionnaires, interviews, and think-alouds. The findings revealed that: (1) the proficient EFL readers judged themselves to be good readers, while the less proficient EFL readers judged themselves to be fair readers; (2) unknown vocabulary was perceived to be the major impediment to reading comprehension; the think-aloud data, however, demonstrated that unknown vocabulary did not significantly interfere with their reading comprehension; (3) regardless of the genre of the text, the participants employed similar reading strategies; (4) the participants were more likely to tolerate ambiguity and predict the content when reading the narrative text than the expository text; (5) there was no set of strategies that distinguished proficient EFL readers from less proficient EFL readers; and (6) when identifying problems, the proficient EFL readers used fix-up strategies more effectively and were better able to provide satisfactory solutions than their counterparts. Pedagogical implications for EFL reading instruction are discussed.

• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.379-389
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• 2019

Fashion brands have traditionally conveyed emotions through brand image and images such as fashion photos; however, fashion films play an important role in conveying emotion to consumers due to changes that have resulted from the development of digital technology. This study investigates haptic perceptions in fashion films based on Laura Marks' theory. The study concurrently conducted literature and case studies. Haptic and is a condition of touching an object without actually touching it. Marks describes haptic theory as an embodied perception of physical effects that occur as images affect the body. Haptic perceptions that cause a sense of touching when looking at a fashion film can be understood as a formality embodied in the body of the object and spectator created by the object and spectator's clothing experience. Our bodies and apparel can be seen as being perceived and imprinted in our bodies by constantly experiencing and maintaining relationships in an inseparable relationship. Thus, when we look at fashion films, the haptic image invites feeling embodied in our body and provide a haptic perception. As a result, factors for the haptic perception in fashion film are ambiguity of images, fetish image, and non-narrative. Fashion companies are expected to make active use of haptic elements as an era of artificial intelligence arrives and the size of the e-commerce market grows.

• The Journal of the Korea Contents Association
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• v.21 no.4
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• pp.734-743
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• 2021

TV drama , aired on JTBC in 2018, used several fictional and linguistic clues on the murder case. It effectively delayed the process of inferring the perpetrator by utilizing 'ambiguity' and 'trap', which enabled the double interpretation of the the main character's diaglogue and action. This delay could be made by employment of genre hybrid, cognitive process and knowledge of viewers about typical romance plot and mystery plot in TV drama. In other words, could be evaluated as a special genre hybrid case that disturbs viewers' perception of genre in that the correct reasoning process began from the point that overturned the viewer's expectation about typical romance genre dramas in which male main characters mostly devoted to love. The complicating mystery structure shown in is against the opinion that the traditional mystery structure is difficult to succeed in TV dramas. Also, from the perspective of hybrid genre, it is different from the usual mechanical combination of two different plots. These characteristics in are worth to highly evaluated.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.2
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• pp.37-51
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• 2016

Modern optical mechanisms slanted toward Ocular-centrism have neglected diverse functions of vision, judged objects in abstract and binary perspectives, and organized spaces accordingly, there by neglecting the function of eyes groping objects. Recently, various experiences have been induced through communication with other senses by the complex perception beyond the binary perception system of vision. Haptic perception is dynamic vision that induces accompanying bodily experiences through interaction among the various senses; it recognizes the characteristics of material properties and various sensitive stimulations of human beings. This study elaborates on the major features of haptic perception by examining the theoretical background of this concept, which stimulates the active experience of the subject and determines how characteristics of haptic perception are displayed in picturesque gardens. In order to identify the major features of haptic perception, this study examines how Adolf Hildebrand's theory of vision is developed, expanded, and reinterpreted by Alois Riegl, Wilhelm Worringer, Walter Benjamin, Maurice Merleau Ponty, and Gilles Deleuze in the histories of philosophy and aesthetics. Based thereon, the core differences in haptic perception models and visual perception models are analyzed, and the features of haptic perception are identified. Then, classical gardens are set for visual perception and picturesque gardens are set for haptic perception so that the features from haptic perception identified previously are projected onto the picturesque gardens. The research results drawn from this study regarding features of haptic perception presented in picturesque gardens are as follows. The core differences of haptic perception in contrast to visual perception can be summarized as ambiguity and obscureness of boundaries, generation of dynamic perspectives, induction of motility by indefinite circulation, and strangeness and sublime beauty by the impossibility of perception. In picturesque gardens, the ambiguity and obscureness of boundaries are presented in the irregularity and asymmetric elements of planes and the rejection of a single view, and the generation of dynamic perspectives results from the adoption of narrative structure and overlapping of spaces through the creation of complete views, medium range views, and distant views, which the existing gardens lack. Thus, the scene composition technique is reproduced. The induction of motility by indefinite circulation is created by branching circulation, and strangeness and sublime beauty are presented through the use of various elements and the adoption of 'roughness', 'irregularity', and 'ruins' in the gardens.