• Journal of English Language & Literature
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• v.56 no.1
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• pp.79-101
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• 2010

In "The Animal That Therefore I Am (More to Follow)," Derrida notices that he is being watched by his cat. He becomes ashamed of being naked in front of his cat. The sense of shame is a response to being reduced to the level of an animal. He is ashamed of being as naked as an animal. His next move is, therefore, to cover his nakedness from the gaze of his cat. By contrast, he realizes, the animal is not self-conscious of being naked and so does not shield its nudity. In a truer sense, then, the cat is not naked. Humans do not see animals for what they really are but what they project on them. Whereas the gap between man and animal is clearly identified by Derrida's philosophical discourse, the possibility of going beyond the gap can be suggested by fantasy stories in children's literature. Children's literature in Britain arose in the eighteenth century with the revival of traditional fairy tales and growth of literary fairy tales. Romanticism in the early nineteenth century contributed to opening up a new horizon for the concept of the child, in which the child is no longer defined as the object to be tamed and childhood imagination is glorified as a powerful means to reach the higher state, the spiritual origin prior to separation of Man from the 'thing-in-itself.' In The Wind in the Willows, animals talk and behave like humans. The anthropomorphic figuration of animals can be understood as a result of the one-sided projection of anthropocentric perspectives on animals rather than an interaction between humans and animals. Significant contradictions also emerge in this story, however, as traits particular to animals are vividly delineated even as the main didactic theme of good triumphing over evil reflects an anthropocentric projection on animals. An attempt to capture the true characteristics of animals and locate them in the text constitutes a remarkable achievement in The Wind in the Willows. This can be evaluated as an important step toward a more ecopocentric perspective on animals which appears in later children's fantasies like Charlotte's Web.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1211-1234
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• 2010

Mule Bone (1931), Zora Neale Hurston's collaboration with Langston Hughes, has been credited as the 'first' attempted by African Americans to create black folk comedy. The proposed research is driven from a question to the recent scholarship's tacit consent on such historic importance imposed on the play. This paper suggests a possibility that De Turkey and De Law (1930), Hurston's edition of the collaboration work, could be the truly first attempt in the tradition of American black folk comedy. By illuminating a series of historical moments in which Hurston first expressed her dream for writing a real black folk comedy that would be a really new departure in the African American drama, then collaborated with Hughes on the dream play project, and eventually quit the collaborationship due to artistic dispute with Hughes, this paper explains why Hughes edition Mule Bone came to remain 'unfinished' and, more importantly, fall short of Hurston's original goal and expectation from the collaboration. On the other hand, this paper sheds light on the significance of often-ignored Hurston's edition De Turkey and De Law by demonstrating how this play, compared to Mule Bone, fulfills her original idea of black folk comedy in terms of contents and themes compared with Mule Bone. Adding to the knowledge about little known behind story related to the Mule Bone controversy and the subsequent birth of the two different editions of the Hurston-Hushes collaboration project, supplementing the dearth of the related research with a critical comparison of the two editions, and discussing the validity of Hurston's edition as the real sense of black folk comedy, this paper argues for the necessity of reconsidering the origin of the mentioned genre. This paper finally concludes that De Turkey and De Law, replacing Mule Bone, deserves a right to be truly the first American black folk comedy genre in the sense that it was completed and copyrighted three months earlier than Mule Bone and that, more importantly, it cherished the original aim and artistic vision of black folk comedy Hurston first planned and expected through the collaboration with Hughes.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.517-538
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• 2009

This study explores the possibility of finding intersections of commonness and differences between Mahasweta Devi's short stories, "The Hunt" and "Douloti the Bountiful" and Angela Carter's "Flesh and the Mirror" and "Master" in Fireworks. At appearance, Carter as a writer of Great Britains and Devi as a writer of India in postcolonial period do not seem to share any commonness. This study, however, tried to find "common differences," to quote Chandra Mohanty's terminology, as a basis of solidarity possible between these two different feminist writers. Another concept appropriated in this process of comparing Carter and Devi is Gayatri Spivak's 'planetary comparative literature,' which contends the necessity of critical regional studies and the study of Asian Literature in the study of English literature. Devi and Carter, despite their historical, geopolitical and racial differences, share commonness in depicting Asian or colonized women not only as the oppressed others but also as the subjects who show potential for resistance and independence. Carter portrays Japanese women as the colonized and oppressed others of Japanese society, even though Japan did not have any colonial history. Devi finds in the postcolonial Indian women both the oppressed in the interstice of colonial/postcolonial/patriarchal Indian history and the potential for resistance. Despite some limitation in her understanding of Asia, Carter shows her insight to accept Asia as a true origin of her self-knowledge and performativity of her woman's role. Despite their differences, these two writers use Freud's 'unheimlich' from the feminist point of view, in general. Devi's depiction of the heroine's dead body at the end of the story implicates the possibility of resistance through women's 'uncanny' bodies. Carter converts Freudian and negative connotation of woman's body into positive and comfortable 'home' as a starting point of her self knowledge.

• (The) Research of the performance art and culture
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• no.36
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• pp.751-781
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• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.

• Sim-seong Yeon-gu
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• v.27 no.1_2
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• pp.28-70
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• 2012

In Jungian psychology, creation myths regard as the story of unconscious and preconscious processes(projection of archaic identity) which describe not necessary the origin of our cosmos, but the origin of man's conscious awareness of the world. Therefore projections have nothing to do with matter itself but experience of one's own unconscious. Jung emphasizes importance to understand projection in individual's conscious experience rather than in philosophical doctrine. The purpose of this thesis is to explore unconscious process of creation myths with egg symbolism in clinical cases to present universal feature of Cosmic/alchemical egg. Psychologically, creation myths retold when human mind needs new order. Depending on the attitude of ego, it can be sudden expansion of consciousness or contamination of ego by unconscious. In this study, 'chaos(messa confusa)' in creation myths as archaic identity, experience of uroboros or infant, and nigredo state in alchemy. 'Separation of primordial parents' as beginning of consciousness refers to separatio operation in alchemical process. 'Light' as attainment of consciousness. Discussion of psychological meaning of egg starts with amplification which include the concept of cosmic/alchemical/philosophical egg. Egg symbolism in this study refers to emergence of egg, tapas/brooding of egg, and separation of egg. Emergence of egg as a state of preconscious totality, psychic wholeness conceived as the thing which came before the rise of ego consciousness. Discussion of conceptssuch as Shiva bindu, hiranyagharba, germ of gold, Tathāgatagarbha follows. 'Tapas/brooding of egg' as concentration of all psychic energy into one point for self reflection. Discussion includes The I Ching Hexagram 61, image of brooding egg identified with inner truth, Wonhyo's concept of jikwansasang, and Gnostic idea of Ennoia, introverted act of thinking, as well as the concept of 'Night Sea Journey'. 'Separation or hatching of egg' regarded as the idea of sudden illumination, Phanes, the shining God, and "sun-point," in alchemy. Birth of fledgling as birth of new personality. As a conclusion, psychological meaning of cosmic egg/creation myths is the story of separating from 'Not-I'(unconscious, object, undifferentiated) to 'I'(ego, subject, differentiated) which shares the same meaning as individuation process.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.460-479
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• 2007

When culture took large part in industrial area, every country has tried to utilize own cultural contents for educational or commercial purpose and the various cultures and histories are recognized as a main concept or subject so that a number of scholars who study history increase. In video game field, special characteristics of interface that audiences participate in the game to complete story-telling is considered as efficient material for learning process. As observed above, it is important to analyze the games that every country makes and export to the world in which the video games is understood as a play of human in general. This Paper has firstly analyzed the most favorite historical games developed in Korea, the USA, Japan, Taiwan and Germany from 1980 to 2005 and secondly, compared that wars and historical origin appears in game scenario, a world view and background story and finally after point out the preferable era and genre of the countries then propose the promising way of design for historical video games. In the process of analysis of a view and heroes in historical games, we compared the real persons, the real historical events and novel in which 11.8% only employed the real persons in 8 out of 68 games. Also the real history and background story are appeared in 37 games which is 54.4% of them. We discovered that the main material that is popular for each country is the historical backing rather than real persons where the favorite historical background is chosen at which they are proud of; 3-Throne era with strong ancient Gogurye for Korea, the 1st and 2nd World Wars and the Independence War for the USA, the tide of war around Middle age for Japan, ancient history of Europe for Germany. The favorite age for video games is Ancient times with 37 games for 54.4%, Middle Age with 7 games fer 10.3%, the prehistoric age with 5 games for 7.35%, remote age with 1 for 1.47%, while current historical games favor Ancient or Modern Age.

• Journal of Korean Classical Literature and Education
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• no.37
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• pp.253-281
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• 2018

The purpose of this paper is to analyze the meaning of of "Nikolai Garin - Mikhailovsky's the "Joseon tale". talks about the origins of the Joseon Dynasty and the Qing Dynasty. In this paper, we revealed the features of the form of "Otter Legend". And analyzed the confrontation between Nurhachi's family and Yi Seong-gye's family shown in the story. The result is as follows. is complex tale. The start of is 'the typr of Yaraeja'. Next is the story of Myoung-Dang. Myoung-Dang is deep in the water. also has anecdotes of Jeong, Chung-shin. rearranged at least three stories or more. transformed each type of stories, communing the different patterns of stories with different logic. The basic logic of the transformation was to maximize the confrontation between the NuruhachI and Yi Seong-gye clans, the origins of Manchuria and the Chosun Dynasty. As a result, the sacredness of Nurhachi's Family, the origin of the Qing Dynasty, was expanded. On the other hand, Yi Seong-gye s Family was less extraordinary than Nurhachi's Family. Also, the ability of the person is also inferior. This is not the yearning for the Qing Dynasty. This is because the Qing Dynasty and the Joseon have the same pedigree. shows that the Qing Dynasty's experiences should be shared since the Qing Dynasty was born of another clan of Joseon. This is a new perception of Qing Dynasty. This is similar to the interpretation that dragged the Qing Dynasty's history into the Joseon's ethnographic historical point of view.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.1
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• pp.55-64
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• 2022

This study aims to shed light on the cultural history of Hajodae(河趙臺) enjoyed by writers of the Joseon Dynasty by analyzing the origin and the contents of the landscape based on the literature materials of Hajodae in Yangyang(襄陽). The results of the study are as follows. First, Hajodae is a space that is said to have been visited by Ha Ryun(河崙) and Jo Jun(趙浚). However, since this story has not been confirmed in the literature, various opinions coexisted in history. Jo Wi-Han(趙緯韓) quoted the opinions of aged people who lived in Yangyang, saying that it could be Jo In-Byeok(趙仁壁), not Jo Jun(趙浚), and Jo Deok-Rin(趙德鄰) recorded it as "遐眺臺", which means "a stand for a distance view." There is a need to clearly present the origin of Hajodae by revealing the literary authority. Second, Hajodae was talked about as the best scenic site in Gwandong(關東) in the middle of the Joseon Dynasty. during the mid-Joseon Dynasty. The writers of the time mentioned Hajodae as one of the best scenic sites in Gwandong, which soon became a symbol of Yangyang. These records of Hajodae show a relatively decreasing trend entering the late Joseon Dynasty. It is believed to be the result of the slight degrading in the status of Hajodae as the Eight Views of Gwandong were established and Naksansa Temple(洛山寺) gained fame. Third, the writers of Joseon enjoyed the scenic sites through various landscapes of Hajodae. The open terrain on three sides allowed a sea view and provided an opportunity to develop a great spirit or to reflect on oneself. On the other hand, the strange rock formations and cliffs, which correspond to a close-up view, drew the attention of tourists, and the Rosa rugosa Thunb. blooming in the Hajodae area was enough to show a bizarre charm. This shows the various charms of Hajodae, suggesting that the management of such landscape is necessary. Fourth, a Chinese poem about Hajodae shows the spatial meaning of Hajodae. Looking into all sides of the Chinese poem about Hajodae, a case of unburdening one's mind on the landscape, and the aspect a person compared oneself to the natural landscape or projected one's consciousness onto it, and a case of recalling Ha Ryun and Jo Jun, illustrious retainers in the early Joseon Dynasty are confirmed. It can be seen that it results in the aspect of expressing one's impressions and looking back on history through the landscape.

• Cartoon and Animation Studies
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• s.37
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• pp.287-306
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• 2014

Human mind consists of what he or she knows, namely 'a portion of awareness', as well as of what he or she does not know, namely 'a portion of unawareness'.1) Self refers to both consciousness and unconsciousness, whereas self-growth seems to be an ability with which a human being appropriately faces with the hidden desire and resistance of unconsciousness for himself and maintains its balance and unification with consciousness harmoniously. On this account, examination on character's unconsciousness seems to be an important methodological means to prospect for the original looks of self, based on character's internal psychology, and to grasp the change and growth throughout the course. Study subjects, namely and , are quite similar in internal/external factors around the leading character. Two girl leading characters, who have nested in parental influences and boundaries, confront with unfamiliar circumstances under the abrupt absence of parents. In order to resist contradictory and irrational situations there and to restore all the things to its original places, both carry out a hard adventure. Interestingly, both characters are similar in their unconscious characteristics, but they take different channels for their journey, confronting attitudes and changes of internal self. The purpose of this study was to examine the concrete origin of two characters' unconsciousness and then comparatively analyze the role of leading character's unconsciousness in the drama and its effects on the whole work. Therefore, the author tried to prove such a hypothesis as the probability and persuasiveness of story could be found out through establishing a character of higher completion degree and connecting between situations and events that are most appropriate for character's internal unconscious psychology.

• Journal of the Korea Concrete Institute
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• v.19 no.5
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• pp.529-537
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• 2007

The purpose of this study is to discuss how strength and ductility of each system in low-rise reinforced concrete buildings composed of extremely brittle, shear and flexural failure lateral-load resisting systems have influence on seismic capacities of the overall system, which is based on nonlinear seismic response analyses of single-degree-of-freedom structural systems. In order to simulate the triple lateral-load resisting system, structures are idealized as a parallel combination of two modified origin-oriented hysteretic models and a degrading trilinear hysteretic model that fail primarily in extremely brittle, shear and flexure, respectively. Stiffness properties of three models are varied in terms of story shear coefficients, and structures are subjected to various ground motion components. By analyzing these systems, interaction curves of demand strengths of the triple system for various levels of ductility factors are finally derived for practical purposes. The result indicates that demand strength levels derived can be used as a basic information for seismic evaluation and design criteria of low-rise reinforced concrete buildings having the triple lateral-load resisting system.