• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.5-29
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• 2002

This study was to analyze the social identity described in the dress of the American novelist Pearl S. Buck's (1892-1973) major works. A novelist pursues varying and refined expressions in an effort to convey to readers the character' identities of his or her own creation. In particular, Pearl S, Buck was a great writer who was awarded the Novel Literature Prize, and since her work The Good Earth recorded a world-wide bestseller, she might well be called a popular novelist. She depicted well her characters' identities from divers viewpoints with her unique delicacy and realistic expressions. For this study, the following seven works which are considered to feature the dresses for character's identity well were selected out of her 85 works: The Good Earth (1931), Sons(1932), The Mother (1934), A Housed Divided (1935), The Hidden Flower (1952), Love and the Morning Calm (1953) and Letter from Peking (1957). For an analytical tool, the content analysis method was used. In order to systematically review the social identity described in the dress individuals' identity were classified into the following categories based on the identity theories: Social identity were divided into ① age identity ② sex, gender identity ③ economic identity ④ occupational identity ⑤ political identity ⑥ religious identity ⑦ kinship identity ⑧ regional identity. The characters' age identity, sex, gender identity, economic identity, occupational identity, political identity, religious identity, kinship identity, regional identity were depicted by their dresses and physical features. All in all, it is hoped that this study would provided important cues to the understanding of the other party's identity through his or her dresses in mutual relationship: It is believed that this study would be useful because they are arranged through the analysis of the dresses featured in the great writer's works using a consistent framework of analysis.

• English & American cultural studies
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• v.17 no.1
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• pp.129-162
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• 2017

Ruth Ozeki(Japanese-American female novelist)?s recent novel, A Tale for the Time Being (2013) draws our attention because the fiction shows very interesting fictional experiments, especially in terms of post-humanism. Indeed, the novel is not a science fiction at all which has been, and still is, the typical fictional field employed in the discussion for the transhumanism and posthumanism. It also does not include any cybogs, robots, or aliens which provoke the posthumanism-related issues like mind/body, human/nonhuman, nature/culture relations. Indeed, it seems "merely" represent realistic day-to-day lives of ordinary people living in contemporary Japan and Canada, and in very minute and particular details at that. Indeed, the central action of the main characters of the novel seems very traditional, that is on the one hand writing a diary by a teenage girl who is counting the days and weeks before her suicide and on the other hand reading it by a female novelist who happens to find her diary several years later. Nevertheless, I would like to suggest that underneath this traditional narrative surface are simmering post-humanist and post-anthropocentric worldviews beyond liberal Humanism which takes human beings to be exceptional against human or non-human others. Not only in narrative contents and characterizations but also through narrative structure and strategies, the novel enacts post-humanist and post-anthropocentric worldviews which are interestingly drawn from both age-old Buddhist ideas and modern eco-philosophy and quantum physics. I would like to stress that what triggers the author's fictional experiments helping our rethinking and redefining "what human beings are" and "what the relation between humans and nonhumans" is not merely intellectual interests but her keen and passionate response to the heart-breaking pains and sufferings of human and nonhuman beings caused by the contemporary natural-artificial catastrophes and techno-scientific predicaments.

• Lingua Humanitatis
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• v.2 no.1
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• pp.175-212
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• 2002

This paper centers on the erstwhile novelist Kim Seung-ok with a focus not only on his watershed works of the 1960s, but also on his lesser-known works of the 1970s as well as on the circumstances and possible reasons for his decision to quit writing in the 1980s. His works from the 60s address certain basic human contradictions and are in this respect timeless, and these same works are also firmly grounded in their larger socio-cultural contexts of 1960s Korea. This article attempts to place the word firmly here sous rature. In new critical terms, the Kim's settings can not be understood as anything but Korea, in the then and now. This characteristic is shared, however, with highly ideological literature that at times seems to want to beat the reader over the head with the problems and author-sponsored solutions of then and now. In order to understand Kim's paradoxical position in Korean literary history, one must view his works from within the context of the debate between pure and engagement literature.

• Journal of English Language & Literature
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• v.64 no.4
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• pp.601-616
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• 2018

This article explores the ways Charles Dickens's roles as novelist and journal editor overlapped and influenced one another in the serial publication of A Tale of Two Cities (1859) and complicates recent historicist readings, which situate the novel in relation to the Indian Mutiny (1857-59), by calling attention to a double imperial logic used to construct British subjectivity not only against forms of Eastern Otherness but, moreover, against forms of Southern Otherness associated with the European South, especially Italy. Analyzing Dickens's historical representation of the French Revolution in relation to its contemporary international political context, this essay examines how the novel's serial publication draws upon political discourse from contemporary articles on the Second Italian War of Independence (1859-61) appearing concurrently in Dickens's journal, All the Year Round. Orientalism circulates simultaneously in the novel as a distant and exotic as well as a provincial and parochial representation of racial and cultural Otherness.

• Cross-Cultural Studies
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• v.20
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• pp.225-240
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• 2010

Soon after joining the Canadian Confederation in 1867, the province of Quebec adopted the phrase Je me souviens ("As I recall") as its 'national' motto, although many Qu?b?cois do not remember today what they were supposed to memorize, as collective subject, when their government voted this motion. My thesis is that contrary to other countries which have a strong sense of history based on a secular tradition, this process was more complicated in Quebec - as if a collective memory loss lied at the heart of it's history. Through a rereading of Hubert Aquin's cult novel, Trou de m?moire (in its English translation Blackout), first published in 1968, I try to illustrate this paradox and to emphasize the heuristic functions of memory blanks, gaps and lapses in certain postmodern narratives, after the historical breakdown of "the great narratives" (Lyotard). In this perspective, the example of Quebec, through the voice of one of its more gifted yet controversial novelist, can be seen as emblematic of what happens when the mnemonic impossibility of rewriting history opens up new possibilities for writing fiction.

• Journal of the Korean Society for Library and Information Science
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• v.46 no.2
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• pp.157-174
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• 2012

This study tries to describe personal name access point control ontology for the American novelist Mark Twain using RDF/OWL axiom to control access point based on the ontology. The Axiom used in this study are disjoint with class, domain and range, property cardinality, inverse functional property, individual and literal data property. As a result, in the ontology environment we can accept various access points as equal access points exclusive of authority heading and heading concept. It can successfully describe Mark Twain's personal name access point control ontology and display using the OntoGraf.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.5
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• pp.691-700
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• 2009

"Lolita," a novel by a Russian-American novelist, Vladimir Nabokov, has been the center of controversy since its first publication in 1955. As it gained wide fame across culture, it has exercised a great influence, altered or developed to diverse forms. Lolita, the title of the novel as well as the heroine's name, now takes a significant part in our society through all cultures and is used as various meanings and symbols. The purpose of this study is to reanalyze and reinterpret the current use of Lolita based on the characteristics initially portrayed in Nabokov's novel. The traits of the heroine were categorized into purity, seductiveness, and dualism and the commercial use of each in the mass media and fashion in Korea was closely examined. First, purity was interpreted as the archetypal image of a 12-year-old girl, while seductiveness was construed to involve temptation and enticement, ultimately leading a man astray. The dualism of an under-aged sexualized nymphet delineated in the novel as a poor little girl as well as a depraved temptress was stated as another trait of Lolita.

• Acta Via Serica
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• v.4 no.1
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• pp.71-86
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• 2019

Transnational exchange has been an inseparable part of both the ancient and modern Silk Road. This paper shows how Rumi (1207-1273), a famous Persian Sufi poet, travels along the Silk Road in the $21^{st}$ century. With the birth of a Rumi phenomenon in the West, Silk Road artists have rediscovered and adapted him for different purposes. Elif Shafak, the Turkish-British novelist and women's rights activist, espouses feminist beliefs in her bestseller, The Forty Rules of Love (2010). Benefiting from the views of feminist theorists like Woolf, de Beauvoir and Friedan, this paper reveals how Shafak appropriates Rumi for her feminist purposes. Forty Rules of Love's protagonist, Ella Rubinstein is analyzed, compared and contrasted with her former literary counterparts Pinhan and Zeliha, heroines of Shafak's previous novels. By adapting Rumi's definition of equality, Shafak shows how egalitarianism must pervade the relationship between women and men. The adaptation of Rumi's ideas regarding the equality of sexes finds a different dimension when Shafak reveals that all humanity possesses femininity and masculinity at the same time. By means of ideas prevalent in the ancient Silk Road, the five classical elements theory, and the yin and yang principle, Shafak portrays unity within contradictions. It is concluded that although individuals might belong to different typologies of the five symbolic elements of nature, they can at the same time complement one another's inharmonious personalities peacefully. The process of integration of female and male sexes can be expedited by opening up one's heart to a universal love.

• Journal of Fashion Business
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• v.3 no.2
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• pp.59-66
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• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.

• Lingua Humanitatis
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• v.1 no.2
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• pp.91-104
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• 2001

Ford Madox Ford, the early twentieth-century writer most famous for his novel The Good Soldier, perceived his "business in life [as an] ... attempt to discover and to try to let you see where you stand." With this grand purpose in mind, Ford disregarded distinctions of genre in his prolific output of what we would consider novels, memoirs, literary criticism, travel writing, and history. Claiming that "the Novelist ... [is a] historian of his own time," Ford sought his own version of the "truth," a truth that was more faithful to his own subjective impressions than to verifiable "fact." Among these works that depict his age are a series of "memoirs" or "reminiscences," works published from the 1910s to the 1930s which carry out his Impressionistic purpose. What lies behind these memoirs is Ford′s view that his own individual history can be understood as his contemporary society′s collective history. This article explores Ford′s experimentation with boundaries of fact and fiction, and history and narrative, as he employs and expands the memoir form. In particular, 1 focus on two works, Memories and Impressions (1911) and It Was the Nightingale (1933), and Ford′s techniques in these memoirs, such as 1) the adoption of fictional personae from which to comment on his society at large and 2) the use of emblematic "parables" to encapsulate larger lessons of life within the minutiae of existence. Current theorists on the memoir form share interests in these questions of genre and of the social role of the memoir Nancy Miller, for instance, terms the memoir "the record of an experience in search of a community." This article engages these current discussions of the memoir genre by examining Ford′s early twentieth-century examples as innovative experiments that play with the boundaries between fiction and history, and personal impressions and collective truth.