• 비교문화연구
• /
• 제21권
• /
• pp.289-306
• /
• 2010

In Jamaica Kincaid's novel Lucy, the narrator grows up with the burden of colonial legacies embedded with Englands' imperial disciplinary projects, its language, educational institutions, discourses. Colonial education interpellates the narrator into a colonial subject through its multiple ideological discourses and systems. Teaching the literature of England is the most insidious form of the Empire's disciplinary colonial projects, more powerful than military enforcement: Its mode of operation is creating phantasy and instigating and planting desire for such phantasy. As Homi Bhabha aptly theorizes as colonial mimicry and ambivalence, the narrator as colonial subject grows up split and confused as an ambivalent subject, simultaneously mimicking and desiring for the phantasized England as real, while resisting and criticizing such up-bringing and mimetic desire. This paper explores Kincaid's rhetorical strategy of employing Wordsworth's poem, "I Wandered as a Lonely Cloud," especially her use of the flower "daffodil." Employing the concept of "daffodil gap" suggested by postcolonial critics, this paper closely examines two episodes involving the flower daffodil in the novel, one in a colonial classroom and the other in a garden in a new world and suggests that Kincaid accomplishes intertextual critique of colonial education and imperial projects.

• International journal of advanced smart convergence
• /
• 제7권4호
• /
• pp.154-160
• /
• 2018

Sometimes, literature therapy is done by literature question. Participants naturally get the effect of literature therapy depending on when and what questions we ask. This study aims to lead the discussion of Gosijo's literature physiology ignited by the question. Gosijo, the subject of the study, described the depressed present state of the poetic narrator in the first and second line. By the way, poetic narrator asked a question in the first phrase of the last line and led the action potential. And in the second phrase of the last line, the poetic narrator called the code of sadness and the sadness code came. We have plotted this as Emotion Codon. The result of Emotion Codon at this time was that the narrative of Gosijo ignites the literature therapy mechanism through sadness.

• 대한음성학회:학술대회논문집
• /
• 대한음성학회 2006년도 춘계 학술대회 발표논문집
• /
• pp.95-98
• /
• 2006

A prompter software is used, behind the camera, to scroll the script for a TV narrator. So far it has been manually operated by an assistant, who scrolls the caption following narrator's speech. Automating this procedure using a speech recognition technology has been investigated in this project. The developed auto-scrolling software was tested in offline and online, which shows performance good enough to replace an existing prompter software. This paper describes the whole development process and concerns to be cared.

• 한국콘텐츠학회논문지
• /
• 제14권2호
• /
• pp.72-83
• /
• 2014

영화의 소통 방식은 '말하기'가 아니라 '보여주기'이다. 이 과정에서 대상 재현의 주체를 대행할 카메라가 개입한다. 즉, 시점의 개념이 발생하는 것이다. 그러나 이 영화의 시점을 이해하기 위해서는 주체, 카메라, 초점대상에 대한 분석적 접근이 필요하다. 소설에서와는 달리 영화는 감독을 대행하여 카메라가 대상을 서술하기 때문에 이 카메라의 매개로 인하여 초점화의 개념 도입이 필요하다. 초점화 이론을 통해 영화를 바라보는 시선의 방향과 주체, 그리고 그 대상간의 관계를 규명하는 것은 단지 화면에 나타나는 모습만으로 시점을 분류하는 방식에 비해 더 명확한 기준을 제시할 수 있다. 또, 초점화 이론을 이용하면 영화를 조망하는 주체의 층위를 입체적으로 볼 수 있으며 초점화의 변화에 따른 효과 역시 기존 시점 이론에 비해 객관적으로 제시할 수 있는 이점이 있다. 따라서 영화에서의 초점화 이론은 기존 시점 이론에 대한 비판적인 접근으로서 유형화를 위한 새로운 기준을 제시한다. 본고는 이 문제를 주로 상정하여 영화분석을 위한 틀을 제시하고 그 유용성을 확인하고자 한다.

• 한국의류산업학회지
• /
• 제6권6호
• /
• pp.707-714
• /
• 2004

This study was carried out to research the actual condition of narrator models' wearing uniform, targeting on the narrator models who are being currently active and are from 19-year-old to 30-year-old. A poll was performed through visiting internet circles and spots, and the characteristic of objects, the form of uniform, attitude on uniform, dissatisfaction index on wearing uniform and preference index on wearing uniform were researched. It was carried out from August 18, 2003 to August 31, 2003. In order to perform this study, 161 questionnaires were used in all, and frequency analysis was implemented using SPSS 10.0. The objects of study were composed of female. Those who are from 21-year-old to 25-year-old accounted for 74.5%, and those who have career from 2 years to 3 years accounted for 75.5%. In respect to attitude on wearing uniform, affirmative answers, affirmative answers, such as a sense of belonging, a pride in activity and increase of efficiency, accounted for 68.8%. On the other hand, in respect to a harmonization between uniform and work, just the 39.8-percent showed affirmative reaction. Concerning the functionality of uniform, such as retaining warmth and ventilating, dissatisfaction index showed very high value; it is judged that it should be improved henceforth. Working postures were researched, following the order of standing posture and arm-using posture. In inconvenient actions, bending down and moving arms were orderly pointed out. With regard to the dissatisfaction of size, busts, the length of skirt and waist girth were orderly pointed out. Likewise, considering the parts of which room is required, bust, hip girth and waist girth were orderly pointed out. As to the points that should be bettered, design and functionality were orderly pointed out. In respect to materials of uniform, sweat-absorption material, light material and well-ventilated material were orderly suggested.

• 디지털융복합연구
• /
• 제15권4호
• /
• pp.395-403
• /
• 2017

20세기 연극의 주류였던 사실주의 연극에서는 보이지 않는 '제4의 벽'이 관객과 무대사이에 존재한다고 전제하였고 관객으로 하여금 극 중에 몰입하여 무대 위의 연극을 완전한 사실로 인식할 수 있도록 하는 것이 그 특징이었다. 당연히 극의 형식에서 극 중 몰입을 방해하는 요소들은 배제되었으나 당대 몇몇 작가들은 사실주의 극의 극 중 몰입을 방해하는 '나레이터'라는 형식을 도입하였다. 나레이터는 극의 흐름을 끊고 관객과 직접 소통하며 극의 내용을 부연 설명 하기도 하고, 관객으로 하여금 극에 직접 참여하도록 하거나 극의 결말을 예상하도록 유도하는 등의 역할을 하였다. 본 논문에서는 20세기 연극의 대표적 작가인 Thorton Wilder와 Arthur Miller의 작품 Our Town과 A View from the Bridge에 등장하는 나레이터를 통해 두 극을 비교 분석하였으며 두 작가는 나레이터라는 형식을 도입함으로써 관객으로 하여금 극의 있음직한 사실이 아닌 삶의 진실을 직시하도록 하고자 하였다.

• 비교문화연구
• /
• 제23권
• /
• pp.191-214
• /
• 2011

Today the company's brand sites are in tendency locating as a handy method to administrate company vision, value and image. So this study tried to examine the aspects of storytelling around Amore Pacific's brand site. To secure the discussion's centrality and concreteness, two issues are considered to be aimed in methodology. First, the menus of relevant site were examined to see if they are securing minimal narrative. This was an attempt to discuss the minimum narrativity that target text is supposed to possess, to objectify little more the term 'storytelling.' After considering the menus of relevant site through narratological ideas of Gerald Prince, the menus that satisfy the level of minimum narrative were hardly seen. Even 'OUR STORY', showing the intention of unraveling the vision and values within the company brand by stories, is not seemed to be reaching universal, objective storytelling. Second, pragmatic, reception theory were applied as another standard to judge storytelling possibilities of Amore Pacific's brand site. Roger C. Schank's script theory, being considered in the field of cognitive linguistics and cognitive psychology, became a handy tool for examining the interactions and its meaning between brand sites and its visitors. As a result, the relevant site could be seen as attempting storytelling following time sequence, through narrator kindly explaining 'visual image-event.' And it was conjecturable that, because of such function of narrator, visitors finishes storytelling in a personal shape by operating internal story based script. This study examined the level and methods of storytelling limited in online environment called as company brand site. But more studies are needed to be in progress, such as about the ways for company websites or brand sites to have an effective, continuous influence on potential consumers, narrator set-up ways suitable for character of subordinate menus, organizations of minimum narrative and so on.

• 영어영문학
• /
• 제55권6호
• /
• pp.993-1011
• /
• 2009

Generally, the parts narrated by Esther in Bleak House has been considered less convincing and reliable than those by the anonymous narrator for some problematic qualities in her character and narration. However, Esther's narrative shows Dickens' masterly depiction of emotional deprivation, the psychic consequences of the Victorian sexual repression on its victim. Therefore, to restore the reliability of Esther's narrative is the prerequisite for claiming its value as an appropriate locus of the meanings of the text. On the other hand, the anonymous narrator is not so omniscient as he has been regarded. As the chapters proceed, his omniscient power and authority is conspicuously weakened, and even transferred to other characters such as Esther and Mr. Bucket. This shows that the identity of the omniscient voice is unstable and that Dickens does not intend his voice to be the sole center of meanings of the text. In short, these two narratives are the necessary partners in imagining and understanding the society in its wholeness. Alternating and sometimes intersecting each other throughout the novel, these opposing viewpoints make us see the contradictory multi-leveledness of the Victorian society. The equality of them implies Dickens' notion that more than single unified voice is needed to portray ideological conflicts of his age.

• 영어영문학
• /
• 제56권6호
• /
• pp.1235-1253
• /
• 2010

Lucy Snowe, the heroine and narrator of Charlotte Brontë's Villette, has oftentimes been studied in terms of her silence. However, the critics' approach to Lucy's silence has been mostly negative as her silence has often been interpreted as an illustration of her sense of absence, powerlessness, unreliability, or mental deprivation. Lucy's silence, however, is complex in nature as the functions and meanings of her silence vary depending on when, why, and how silence is performed. This article particularly looks into the moments in which Lucy's silence generates multifarious meanings and resonances depending on the contexts in and the purpose for which it is exercised, such as a sense of wholeness, marginality, power and individuality. First of all, Lucy's silence about herself during the recount of her childhood days at Bretton implies the feeling of entirety and peacefulness where the identification of the "I" becomes unnecessary. Second, Lucy's silence in relation to Paulina at Bretton denotes her social marginality and powerlessness. Third, as an older self/narrator, Lucy chooses to be silent in order to exert power over the readers. And lastly, Lucy's conscious refusal to tell the readers what she already knows also serves to reveal her sense of individuality. Through the instances of Lucy Snowe's silence in Bronte's Villette, I demonstrate the possibility to reveal various aspects of one's self through silence.

• 인문언어
• /
• 제2권2호
• /
• pp.85-107
• /
• 2002

The word play on h(e)art-hunting has become a virtual commonplace in criticism of Chaucer′s Book of the Duchess. Less widely discussed is the third meaning of ME herte, "hurt." The "hart"/ "heart" pun is, however, only implicit in the poem, while the rhyme of "heart" and "hurt" in lines 883-84 makes clear the close association of the terms for Chaucer. Earlier commentators insisted that this was in fact an instance of rime riche or "identical rhyme," but if it is so it is striking that it is the unique instance of the rhyme in Chaucer, whose works are full of occasions for hurt hearts. The essay argues that this is, instead, an instance of near-rhyme and that the confusion in scribal spellings of ME hurten(with ′u,′ ′0,′ ′i,′ ′y,′ and ′e′ ) suggests uncertainties about its root vowel that modem linguistic study has not clarified completely. If the rhyme of herte ("hurt") with herte ("heart") is, however, established by these lines in BD, then it is probably reasonable to ask about all the occasions where characters in the poem are hurt by emotional or physical distress. In the cases of A1cyone and the Man in Blak, the hurt is revealed plainly as the death of a loved one, and Alcyone′s death and the Man in Blak′s return "homwarde" offer contrasting responses to the realization and acknowledgement of their loss. In the case of the Narrator, however, the exact nature of his "hurt" is nowhere made clear and the questions this Jack of clarity raises for the reader remain unanswered when the poem declares its "hert-huntyng" done. Further examination of the Narrator′s character and his role in the poem may reveal him to be a physician himself in need of healing, and this reading of his character may identify him as an ancestor as much of Chaucer′s Pardoner as of the Pilgrim Narrator of Canterbury Tales.