• Journal of English Language & Literature
• /
• v.64 no.4
• /
• pp.629-649
• /
• 2018

To date, one of the prevailing criticisms of Daniel Defoe's Robinson Crusoe has seen the adventure novel as a celebration of the rise of mercantile capitalism and the beginnings of colonialism. From this point of view, the Englishman has often been interpreted as an early embodiment of the concept of the sovereign economic subject. Prominent social critics who took up this interpretation have included Karl Marx, Max Weber, and Jean-Jacques Rousseau. Within literary studies proper, the work of Ian Watt offered perhaps the earliest version of this point of view of the novel. Influenced by both Weber and Rousseau, Ian Watt argued that Defoe's wandering protagonist embodies the rise of economic individualism. More recent criticism has tended to challenge this dominant interpretation by laying greater stress on such countervailing factors as Crusoe's mental uncertainty and inner conflict. Drawing inspiration from Fredric Jameson's diagnosis of the ills of late capitalism, this paper analyzes the ways in which Defoe's hero, rather than championing modern rationality, can in fact be seen as suffering from many forms of emotional psychosis. Robinson Crusoe can, after all, be better viewed as a contradictory multi-layered text that, despite its outward valorization of economic individualism, portrays its hero as a victim of negative capitalistic forces, a hero driven by his desire to possess but haunted by a fear of loss, a hero who flaunts inflated feelings of self-worth even as he reveals deflated notions of material insecurity and mental persecution.

• Cross-Cultural Studies
• /
• v.31
• /
• pp.65-94
• /
• 2013

San-he-ming-zhu-bao-jian-quan-zhuan(三合明珠寶劍全傳), this work is characterized as follows: First of all, San-he-ming-zhu- bao-jian-quan-zhuan's charaters appear equally, the readers feels familiar. this work is formed a universal consensus. Ordinary people must empathize about xia-yi(俠義) and retribution, this work was well represented. Because the readers would have liked to this story. It was an intimate relationship between China and the Joseon Dynasty(朝鮮) all the way, The Joseon Dynasty imported books and the products of civilization. High official, official interpreter, woman loves the classic Chinese novel. The classic Chinese novel was transcribed, published, translated into a book. San-he-ming-zhu-bao-jian-quan-zhuan were introduced in the Joseon Dynasty, Sungkyunkwan(成均館) University holds one version. This work is being compromised, many missing words. Domestic holdings are rare. San-he-ming-zhu-bao-jian-quan-zhuan is a novel of chivalry, the character are classified into the chivalry, negative hero, person of affection, fantastic figure. This work is centered around Majun(馬俊). Maluanying(馬鸞英) is the heroin, seen as the classic case of overcoming adversity. Quzhongcheng(屈忠成) is the prime minister, negative figure, he fight with the chivalry, was defeated at the end. Liuxu(柳絮) is person of affection, overcoming adversity, marries the two lady, has a heroic side. Fantastic figure is more enriching the contents of the work, is Buddhist and Taoist figure, serves as the positive and the negative role. San-he-ming-zhu-bao-jian-quan-zhuan is a similar assessment on Zheng-chunyuan(爭春園)'s character and plot, But Liuxu's love story is strengthened. Therefore, continued research is needed for this work.

• Journal of Digital Convergence
• /
• v.18 no.12
• /
• pp.571-576
• /
• 2020

When a user visits a specific site through various devices, the hero image located in the main area that can be viewed without scrolling includes multiple slides and has various carousel navigation patterns. While there is a negative perception that the carousel design does not receive the user's choice due to the hidden slide, it can be seen that its usefulness can vary depending on the user's context. In addition, the navigation pattern of the carousel design is the factor that has the greatest influence on the user experience. The left and right arrow navigation pattern, the bottom pagination navigation pattern, the accordion type navigation pattern, the thumbnail type navigation pattern, the divided slide type navigation pattern, and the last. It could be divided into six types of left and right slide navigation patterns.

• Sim-seong Yeon-gu
• /
• v.25 no.2
• /
• pp.194-223
• /
• 2010

I tried here to interpret german fairy tale "Three Dogs" from the aspect of analytical psychology. A poor young shepherd will be 'hero'accidently while wandering the world to find good luck. When he was exhausted and frustrated in wandering life, a stranger appeared before him. A stranger offered barter. So he exchanged three sheep with three black dogs which a stranger had. One dog can bring the food. Another dog can tear everything. The last one can break even steel and iron. After that, shepherd led a satisfactory wandering life. On the way, he met a sad princess who should sacrifice herself for the piece of the country to the dragon which swallows a young girl yearly. But the strong black dog which tears everything, killed the dragon and saved the princess from the sacrifice. After that, a young shepherd promised princess to come back to her after three years of wandering life. In the meanwhile a horse driver played hero false. But the princess couldn't reveal the truth because of the threat of horse driver. Three years later, the young shepherd appeared in the castle. But the true hero was caught in the prison and finally cried out the strongest dog and succeeded in escaping from the prison. And with help of another dog which bring food to him, he could meet the princess and finally married her. So they lived happy life for a long time. But he remembered the poor younger sister. So he wanted to live together with her. After that, three dogs left him with saying, they stayed to see whether he shares his good fortune with his younger sister. Then they turned into birds and disappeared in the air. In this fairy tale can we find many important symbols. With the amplification of symbols and the interpretation of this fairy tale in terms of Jung's analytical psychology, I tried to find the meaning of individuation process in this fairy tale. Hero kills the dragon which could symbolize negative mother archetype. After overcoming the negative mother complex, he could get princess which could be expressive of Anima. This marriage could symbolize coniunctio oppositorum, an important process in individuation. Each fairy tale tells us the individuation process in a different way. And the fairy tale works always in our mind with plain, simple, pure, crystal like nature. Through it can we take precious treasure like wisdom for life.

• Journal of the Daesoon Academy of Sciences
• /
• v.32
• /
• pp.201-236
• /
• 2019

Heroes are the subjects who discover hope and provide people with courage and wisdom. At the same time, heroes have been known to renovate individuals and even societies on various dimensions throughout history. In recent times, a new academic field called 'heroism science' has emerged, leading to an era which focuses on their positive social functions and roles as reflected by war heroes from ancient times to ordinary civic heroes. However, attention is rarely paid to the ways in which their heroic acts have sometimes resulted in ethical problems such as the exertion of negative influences or the degradation of morality. Specifically speaking, people affected by the acts of heroes include not only beneficiaries but also specific subjects who could be considered victims. In a broad sense, the results caused by heroic acts could have an influence on harmony and unity in societies, the hero's nation, or even the entirety of the universe, and this is often overlooked. Given these realities, this study aims to understand how heroic acts simultaneously imply a positive side wherein cosmic restoration or reform are practiced and a negative side which carries out the destruction of life or the birth new disorders. In other words, the limitations of heroism is also worth consideration. To conduct this study, research on heroes will be comprehensively studied from various academic perspectives through previous documents on this subject. Western concepts that relate to heroes and heroic acts will be also illustrated. Reflections on Jeungsanist Thought, Korean heroes, and the limitation of heroes in the Former World will also be elucidated. Lastly, this study will discuss an authentic heroic figure that can be held up as an exemplary role model.

• Transactions of the Korean Society of Mechanical Engineers
• /
• v.12 no.2
• /
• pp.328-337
• /
• 1988

Experimental study was carried out to investigate the combustion characteristics of the hero-valved pulsating combustor with maximum operating capacity of 56kW. The pressure, the ion current, and the temperature fluctuations were simultaneously measured and statistically analyzed to identify the combustion process, the reignition and the mixing process of the reactants. It was found that the pulse combustion process was intermittent and the reignition of the reactants was caused by a direct contact and rapid mixing with the previous hot residuals. The analysis of the measured data indicated that the combustion process consisted of there stages in the combustion chamber; the preheating of the reactants in the vicinity of the air inlet pipe, the explosive combustion in the central region and the afterburning in the vicinity of the tailpipe. Wile the inflow of the fresh air occurred during the negative period of the pressure in the mechanical valved system, it occurred during the rising period of the pressure in the aero-valved system.

• Cross-Cultural Studies
• /
• v.37
• /
• pp.51-79
• /
• 2014

Seriously depressed by the failure in the first performance of his own drama ${\ll}$The Government Inspector${\gg}$, N. Gogol sought out a space, Italy, which is obviously a turning point for the writer. Here in Italy, the writer could be able to explore an essential foundation for the national identity as well as self-identification of Russian traditional culture, all of which have already been epitomized in the Renaissance period in Italy. The city Rome itself provided Gogol with its grandness and harmonious perfectness, influencing something 'spiritual being' upon the writer. The work under discussion, "Rome," is thus created through these literary circumstances. Though it is made under the different title as "Annuntiata" and it delivers a love story between lovers, the story lines gradually turned into a fiction about the city, Rome. In comparison with city Paris, Gogol himself presents a negative view of the French metropolitan, saying that it is nothing but a by-product of the 19th century civilization. Interestingly enough, Rome for Gogol is totally different; it is the place of sublimity, that is a locus of harmonious, holy, and eternal city. Likewise, this pattern can be said of another description on the two contradictory cities: Paris and Rome. Again, Gogol fully pictures the city Paris as centripetal and Rome as centrifugal, in which the main protagonist makes the reader indulge in his own world. Throughout the story the writer tells us a transformation experienced by his character, and the work ends with an open denouement. Like Jerusalem, Rome is the city of resurrection for Gogol. Yet, this kind of possibility of transformation in the story is exposed to the hero, and it arguably depends on the extent to which he explores the readiness for encountering of 'eternity' in this "eternal city."

• Cartoon and Animation Studies
• /
• s.39
• /
• pp.215-231
• /
• 2015

The Cultural Revolution in the history of Chinese animation hinder the development of the initial animation, and after a negative assessment instrument provided the cause is to become sluggish growth of the Chinese animation. So this time animation are things that are the subject of academic research studies or analysis has been depreciating almost uniformly without evaluation. However, of all the cultural and artistic creation it is developing in its own specific historical conditions and has the aesthetic results. This paper puts the primary purpose is to hold in consideration the aesthetic principles that led to cultural and artistic creativity and objective perspective the achievements the Chinese animation of the time period of the Cultural Revolution. Cultural Revolution is avoided to the previous period in accordance with the socialist ideology of Mao Ze-dong(毛澤東) sikindaneun highlight the culture of the proletariat and placed our goal to create a new class culture. Therefore, cultural and artistic creation of this period is often inconsistent with this part of our aesthetic principles generally accepted character has a non- elitist and anti properties. Best drama is a creative one hand as a model to implement the principles of aesthetics, art and culture Cultural Revolution period kkophimyeo reference for understanding the aesthetic principles that animated the Chinese Cultural Revolution period of orientation. This paper has San Tu Chu(三突出), Hong Guang Liang(紅光亮), and Gao Da Quan(高大全) at the time of the Cultural Revolution aesthetic principles are reflected in how the concrete work, the Cultural Revolution when the animation is how to accommodate these aesthetic principles and placed emphasis on comparative studies on best pole and correlation of the Cultural Revolution when the Chinese animation to ensure that adaptation in own way. First, after analyzing whether the aesthetic principles of focusing on the similarities of the best pole time of the Cultural Revolution and China, and how to implement animation in the works, these aesthetic principles according to the analysis of positive and negative influence on the creation of Chinese animation It was described as neutral. The detailed analysis and comparative study courses were trying to access in two significant aspects of the characters and scenes directing. In terms of character animation of the Cultural Revolution in China when a young boy or girl, emphasis should emphasize the health tinged with red lips and cheek blush to highlight the desired Gong Nong Bing(工農兵) shape as the main character and smooth texture and sophisticated highlights the glittering feeling to the touch, it was confirmed focused hayeoteum to implement the principle of 'Hong Guang Liang', highlighting the brilliant colors with a clean, bright colors. Highlighting a number of protagoniste compared to the antagonist in the animated scene of the Cultural Revolution a few times in terms of production and, among a number of protagoniste also emphasizes the outstanding hero figure, "yet three outstanding heroes heroic figures also emphasize the leading figures among the the director of the extrusion step-by-step approach "('San Tu Chu')was used. In addition, the hero figure is generally high and low angle by directing a large and perfect aesthetic appearance was to faithfully implement the principle of 'high-charged'('Gao Da Quan').

• The Journal of Industrial Distribution & Business
• /
• v.10 no.9
• /
• pp.25-36
• /
• 2019

Purpose - Consumers have memories of their past time that they have not experienced. So consumers want to experience the past time and get pleasure through historical contents such as movies or dramas. This is because the re-created the past time sets the identity of the consumers who live today, and in the process, it give consumers emotional comfort. Consumers do not remember and sympathize with all of their historical time. In general, consumers remember the time that their communities are proud of. As s result, historical content is seen as a hero, and through that, consumers can check their identity. Also consumers experience positive emotions such as self-esteem, gratitude and pride through identification with heroes. That is, through historical contents, consumers can identify themselves and replace the current negative emotions with positive ones. Therefore, this study presents narrative identity and historical nostalgia that can affect positive evaluation of historical contents and suggest the factors the can induce such effects. This study was conducted to explain what the consumption effect of historical content is from a marketing perspective and what constitutes a component of historical content as a factor driving this effect. Research design, data, and methodology - This study has developed a questionnaire with 8 Hypotheses. The Films ('Masquerade(2012)', 'Roaring Current(2014)', 'Assassination(2015)', 'The Age of Shadow(2016)') and dramas('Six Flying Dragon(2015-2016)', 'Mr. Sunshine(2018-2019)') were used as experimental contents. 268 college students participated in this empirical study, and structural equation model was used to verify hypotheses. Results - Frist, narrative identity affects positive evaluation of historical contents. Nostalgia affect positive evaluation of historical contents. and narrative identity affects positive response of historical nostalgia. Second, character act relevance, circumstance similarity, and character attractiveness have positive influence upon response of narrative identity. Lastly, empathy for story and vividness of representation have also positive influence upon response of historical nostalgia. Conclusion - This study contributes to the theoretical and managemental development of historical contents. This study shows that narrative identity and historical nostalgia are important for success of historical contents. In order for historical content to be successful, it must manage elements of character act relevance, circumstance similarity, and character attractiveness, empathy for story and vividness of representation.

• Restorative Dentistry and Endodontics
• /
• v.27 no.6
• /
• pp.577-586
• /
• 2002

The purpose of this in vitro study was to compare the effects of root canal cleanness following two Ni-Ti rotary instruments with different rake angle. Thirty-six sound, extracted human premolars with single root were randomly divided into three groups. The used rotary instruments were HEROShaper (Group 1, Micro-Mega, Besancon, France, n=12) and ProFile (Group 2, Maillefer, Ballaigues, Switzerland, n=12). Control group (n=12) was only extirpated with barbed broach (Mani, Matsutani Seisakusho Co., Japan) Group 1 & 2 teeth were prepared to a #40/.04 taper at the apex followed by 1 mm using crown-down technique. After canal preparation and frequent irrigation with 5.25% sodium hypochlorite, the roots split longitudinally into a bucco-lingual direction. Root halves were cross-sectioned in apical third portion again. All root specimens were processed for SEM investigation and photographed. Separate evaluations by one endodontist were undertaken for smear layer on prepared walls with a five score-index for each using reference photograph in root halves. The penetration depth of smear layer into dentinal tubules was also estimated in the other halves. Following results were obtained: 1. Smear layer was observed on all the prepared walls with two experimental groups except control group. 2. Smear layer characteristics in two experimental groups; 1) HEROShaper group showed snowy, dusty appearance and were shown open dentinal tubuli on the prepared walls of almost specimens, and the thickness of smear layer covering onto dentinal surfaces was within 1-2 ${\mu}m$ in a few specimens. 2) ProFile group showed shiny, burnished appearance and complete root canal wall covered by a homogenous smear layer with no open dentinal tubuli in all specimens. The penetration of smear layer into dentinal tubules was found in all specimens and the thickness was at 2-4 ${\mu}m$ in all specimens. These results demonstrated that a completely clean root canal could not be achieved regardless of positive or negative rake angle, which is in accordance with the majority of previous studies on root canal cleanliness In conclusion, through irrigation with antibacterial solutions or chelating agents is recommended to remove the smear layer on prepared canal wall in spite of Ni-Ti instrumentation.