• English & American cultural studies
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• v.9 no.1
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• pp.51-70
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• 2009

For a long time Westerners have considered the Orient as unknown and mysterious, but Orientals soon came to be seen as weak and dependent, or feminine. The Oriental woman became a synecdoche for the Orient itself. We can find this theme in several British plays that deal with the Orient and Oriental women, including Shakespeare's Antony and Cleopatra and Dryden's All for Love. Both of these plays have Egypt as their setting and Cleopatra as a main character. For a better society, Shaw emphasizes the importance of education. In Caesar and Cleopatra, Shaw sees Egypt as a weak and dependent country which needs the help of Rome. Accordingly, he depicts Cleopatra as young and ignorant, needing to be educated in her role as a queen. Shaw finds possibilities for growth and independence in the Egyptians and Cleopatra, who recognize themselves as Egyptians and pursue their identity apart from the colonialization of Rome. Here the Egyptians attempt to resist and escape the oppression of Rome. Young, dependant and ignorant Cleopatra becomes independent and knowledgeable as the result of her education by Caesar and in the end she becomes a real Egyptian queen. According to Shaw, the Orient and women have the potential to develop themselves and ultimately to overcome the government of Western countries and men. In this play, Shaw emphasizes the potential of the Orient and women and the importance of education. Shaw thinks women can grow and develop through education. Especially through Cleopatra's growth, his thought can be applied for Oriental women as well as Western women. His thought is beyond the 19th century British society in which this play was written. Through this play, we can see Shaw's thought is not limited by race, time and place and also has universality to transcend everything.

• English & American cultural studies
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• v.13 no.1
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• pp.83-103
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• 2013

This paper focuses on the function of suicidal images in the history of art including literature. Death has been romanticized or repoliticized into an existential act of defiance and rebellion in literary works, so questions remain about the correlation between literary suicide and the essence of suicide. Although Jacques Ranciere insists that the order of art contrasts with the order of common people whose acts and gestures can express either their specific purposes nor the rationalities of their frustration, literary suicide reflects the outside life of readers. In fact, images of suicide produces the order of things about the real world. William Shakespeare's Hamlet handled two oppositional self-murder significantly. As Ron M. Brown pointed out, Hamlet, by choosing confrontation, seeks out an end which is voluntary, thus he avoids self-destruction and feels triumph of heroic fashion. Ophelia's self-chosen death stems from loss, frailty and the disintegration of reason, which demeans the act and diminishes her from the tragic to the pathetic(16). In the $19^{th}$ century, the resurrection of Ophelia acted as the context for later periods where life itself is fictionalized from the differing periods of network of signifier and texts. Finally, in Ophelia's case, fiction became life(Brown 285). Her suicidal image was fixed in the Victorian Culture whose visual discourse was strikingly similar to that of the men. Likewise, the ambiguities of the suicide became intertwined with the social, cultural issues of a certain period, and the paradigm of suicide was conformed to the changing needs of successive generations. However, if literary art understands that a European culture grappled with the almost impossible task and coming to terms with this strangest and most persistent of phenomena, it will be able to focus on of the multi-layered suicide by recognizing the inherent instability of the verbal sign which cannot reveal the design and grammar of truth.

• Journal of English Language & Literature
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• v.56 no.5
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• pp.947-971
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• 2010

Anna Letitia Barbauld's poem "Washing-Day" (1797) has sparked a variety of feminist critical endeavors over the past two decades. While many feminist literary critics try to salvage the poem as a successful tongue-in-cheek riposte directed at the male dominant literary world, more rigorous Marxist feminists accuse Barbauld of being limited by her own middle-class woman's view on women's domestic labor. Legitimate as they may be, these readings fail to elucidate Barbauld's place in a larger literary and intellectual discourse during the eighteenth century. In this paper I read "Washing-Day" as a woman's georgic, a genre or mode concerned with agricultural labor, the public value of which was highly recognized in eighteenth-century England. Alluding to canonical texts by writers like Shakespeare, Milton, and Pope, Barbauld's "loaded lines" in mock-heroic form create a space in which the women's domestic labor of washing interrupts men's daily routines and disrupts their poetic assumptions. While she makes women's work visible, Barbauld also addresses its quintessential nature. Women's work is affective labor; women have to labor physically and mentally to produce the desired domestic comfort. By allowing the image of the soap "bubble" to echo with many "bubbles" in other writers' texts, from the soap bubbles the narrator used to play with as a child to the hot-air balloon "bubble" of the Montgolfier brothers, Barbauld pleasantly equates work and day-dreaming, men's toil and children's play, and finally public, scientific, and recognized labor and private, domestic, and imaginative activities.

• Science of Emotion and Sensibility
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• v.11 no.4
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• pp.541-552
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• 2008

We cannot express emotions correctly with only speech because it is hard to estimate the kind, size, amount of emotions. Hamlet who is a protagonist in 'Hamlet' of Shakespeare has emotions which cannot be expressed within only speech because he is in various dramatic situations. So we supposed an artificial emotion, instead of expressing emotion with speech, expressing and visualizing current emotions with color and location. And we visualized emotions of characters in 'Hamlet' with the artificial emotion. We designed the artificial emotion to four steps considering peculiarities of emotion. First, the artificial emotion analyzes inputted emotional stimulus as relationship between causes and effects and analyzes its kinds and amounts. Second, we suppose Emotion Graph Unit to express generating, maintaining, decaying of analyzed one emotional stimuli which is outputted by first step, according to characteristic. Third, using Emotion Graph Unit, we suppose Emotion Graph that expresses continual same emotional stimulus. And we make Emotion Graph at each emotions, managing generation and decay of emotion individually. Last, we suppose Emotion Field can express current combined value of Emotion Graph according to co-relation of various emotions, and visualize current emotion by a color and a location in Emotion Field. We adjusted the artificial emotion to the play 'Hamlet' to test and visualize changes of emotion of Hamlet and his mother, Gertrude.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.307-344
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• 2010

Cultural Studies built on the critical mind of New Left exposes the relationship between culture and power, and investigates how this relationship develops the cultural convention. It has achieved the new perspective that could make us to think culture and art in terms of political correctness. However, the critical voices against the theoretical premises of Cultural Studies have been increased as its heyday in 1980s was nearly over. For instance, Terry Eagleton, a former Marxist literary critic, declared in 2003 that the golden age of cultural theory is long past. This essay, therefore, intends to show the weak foundations on which the approaches of cultural studies to theatre rest and to clarify the general problem of their introduction to theatre studies. The approach of cultural studies to theatre takes the form of 'top-down inquiry' as it applies a theory to a particular play or historical period. In other word, from the theory the writer moves to the particular case. The result is not an inquiry but rather a demonstration. This circularity can destroy the point of serious intellectual investigation as the theory dictates answers. The goal-oriented narrow viewpoint as a logical consequence of 'top-down inquiry' makes the researcher to favor the plays or the parts of a play that are proper to test a theory. As a result it loses the fair judgment on the artistic value of a play, and brings about the misinterpretation. The interpreter-oriented reading is the other defect of cultural studies as it disregards the inherent meaning of the text, distorting a play. The approach of cultural studies also consists of a conventionality as it arrives at a stereotyped interpretation by using certain conventions of reasoning and rhetoric. The cultural theories are fundamentally the 'outside theories' that seek to explain not theatre but the very broad features of society and politics. Consequently their application to theatre risks the destructive criticism, disregarding the inherent experience of theatre. Most of, if not all, cultural theories, furthermore, are proven to be lack of empirical basis. The alternative method to them is a 'cognitive science' that proves scientifically our mind being influenced by bodily experience. The application of cultural materialism to Shakespeare's is one of the cases that reveal the limits of cultural studies. Jonathan Dollimore and Water Cohen provide a kind of 'canonical study' in this application that is imitated by the succeeding researchers. As a result the interpretation of has been flooded with repetitive critical remarks, revealing the problem of 'top-down inquiry' and conventional reasoning. Cultural Studies is antipodal to theatre in some respect. It is interested chiefly in the social and political reality while theatre aims to create the fiction world. The theatre studies, therefore, may have to risk the danger of destroying its own base when it adopts cultural studies uncritically. The different stance between theatre and cultural theories also occurs from the opposition of humanism vs. antihumanism. We have to introduce cultural theories selectively and properly not to destroy the inherent experience and domain of theatre.

• Cross-Cultural Studies
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• v.50
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• pp.483-507
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• 2018

Shylock in Shakespeare's play, The Merchant of Venice has been considered as either a devilish villain, or as a victim who was persecuted unfairly by the Christian society in Venice. By focusing on the matter of the Other, which has been summarily overlooked in literary texts and the literary criticism, it is noted that the New Historical and Cultural criticism interpreted Shylock as the racial, religious, and economic Other in the Venetian society which at the time was dominated by Christian ideals. The purpose of this paper is to show how Shylock becomes an abjected Other, that is, the abject, based on Julia Kristeva's theory of abjection. According to Kristeva, an abjection is the process of expulsion of otherness from society, through which the subject or the nation tries to set up clear boundaries and establish a stable identity. Shylock is marginalized and abjected by the borders drawn by the Venetian Christian society, which in a strong sense tries to protect its identity and homogeneity by rejecting and excluding any unclean or improper otherness. The borders include the two visible borders like the Ghetto and the red hats worn by the Jews, and one invisible border in the religious and economic fields. By asking for one pound of Antonio's flesh when he can't pay back 3,000 ducats owed, Shylock tries to cross the border between Christians and Jews. Portia frustrates Shylock's desire to violate the border by presenting a different interpretation of the expression, 'one pound of flesh,' from Shylock's interpretation. And in doing so she expels him back to his original position of abject.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.223-230
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• 2019

This paper aims to derive the specificity of film music of Baz Luhrmann, a Hollywood film director, focusing on his representative works such as Dancing Heroes, Romeo and Juliet, and Moulin Rouge. Frist, Dancing Heroes captures various dance music genres through dynamic shooting techniques and shows trendy sensibility by using the main theme song 'Time after Time,' sung by the main character, Tina. Second, Romeo and Juliet, the original work of Shakespeare, keeps thier lines and stories while decorating gorgeous fashion and rock music in jukebox style. Also, it is harmonized with the most modern and trendy MTV-style video. Third, Moulin Rouge presents film music through the 'mix and match' method, which consists of jukebox-type trendy songs containing classical back stage musical and Bollywood musical images. In conclusion, the style of Baz Luhrmann has been reborn as a unique way of directing Buz Luhrmann's film music that it is expressed by connecting various juke box style music with amazing visual effect. Through director's style, it is possible to suggest the direction of various film music to the industries.

• Fashion & Textile Research Journal
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• v.6 no.1
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• pp.41-50
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• 2004

This research proposes the on-stage costumes for the play Hamlet of Shakespeare performed by Yunheedan Guhri Pae - the Street Theater Troupe. Stage costumes have an important role in displaying the characteristics of each characters to the audience and has big visual effects. However, in order to design the costumes in the object viewpoints of the audience, the survey on the images of the characters who had actually watched the performance was taken place and proposed the costume design according to the results of the survey. Hamlet a: This result was applied to propose a sweater in black color, black leather pants and vest. Hamlet b: This result was applied to propose hooded coat in purple in middle level of brightness and color spectrum and yellow coat. For free image, loose pants in blue and vest in the same color tone were proposed. Gertrude a: This result was applied to use purple (violet) with reddish tone to propose the formation of a dress applying tailored suit. Gertrude b: This result was applied to propose purple gown and the one-piece dress with black laces. Ophelia a: This result was applied to propose feminine white dress and cape in purple color tone. Ophelia b: This result was applied to propose dyed and weaved clothes. Through the surveys as above, the images of each character was driven in adjectives, and using the results driven from the brightness, coloration, and color, color images were proposed. Only one costume cannot make up for the stage costumes and because it exists as an element of stage production, it is true that costumes are limited in some areas. However, that limit can become the motive of the costume. There is a limit, which the designer cannot produce the costumes as he or she had designed but I believe it is the center of the on-stage customers to display the characteristics of the characters according to the given concept. The limit of this research is the fact that because the costumes were designed so they fit the conditions already given, thus it was difficult to regard the process of designing and producing the costume as a project done according to the interaction. And in the future, if it is possible, I wish for the joint research with the people responsible for stage art to take place as a practical stage art. It was possible to produce practical costume since they were produced for actual performance and the production of costumes considering the dance steps, line of flow, and acting, was able to reduce the trial and error on stage. Through this research, I felt that the understanding and smooth interaction on diverse other areas not limited to the costume design should be taken place and believe that this was a research that proposes new research method since there had been only a few previous research regarding the on-stage costumes for actual performances. Therefore, this research had depended on the surveys given to the audiences to endow objectivity, however, I wish this research can contribute to defining effective process and methods for the on-stage costumes with more active researches with diverse methods and in diverse areas. I am sorry that the costume production for all the characters and all the scenes in Hamlet couldn't be done due to many limitations. As the following research assignment, I am planning on designing the costumes for all the scenes.

• Journal of Global Scholars of Marketing Science
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• v.18 no.1
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• pp.1-31
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• 2008

Trust is central to human relationships, at all times and places. The importance of trust is fundamental in all areas of human life, not only in the area of business administration. 2,500 years ago in China, Confucius taught that the foundation of politics was the trust of the people, more important even than military strength or the supply of food. Shakespeare's play, "Much Ado about Nothing' is about trust and deception. These days, trust and transparency in a commercial organization's business culture form the basis of the 'social capital' by which that organization increases its productivity. A successful company raises productivity by the accumulation of social capital, derived from a trust relationship between business partners, and between the company and consumers. Trust is the crucial factor. At the national level, building trust determines a nation's competitiveness. For a company, long term trust relationships with customers are essential for its survival in a business environment of rapid change. Such relationships, based on trust, are important assets to ensure a company's competitive advantage, and need to be organic to that company's business culture. Because of this importance, trust relationships have been studied in diverse areas within business administration, and especially within marketing, where they form the basis of a successful relationship between producer and consumer. However, what has been lacking is a unified definition of trust. Research has been conducted on the basis of various definitions and models. The majority of researchers have not considered the multidimensional character of the concept of trust until now. Approaches based on a one dimensional model have undermined the value of research results. Furthermore, researchers have only considered trust and trustworthiness as a single component. The majority of research has explored the consequences of perceived trust for outcomes such as loyalty or cooperation, but has neglected the effects of trustworthiness upon the mechanisms of consumer trust. This study focuses on the dimension of trust from such a perspective. It seeks to verify the effect of trust on customer intentions by breaking it down into three separate components: 1) the salesperson, 2) the product/service, and 3) the company. The purposes of this paper are as follows: Firstly, we review the multidimensional nature of trust objects: the salesperson, the product/service, and the company. Secondly, we analyze the relationship between multidimensional trust and trustworthiness. Thirdly, we analyze the connection between trust and repeat purchase intentions for the maintenance of long term relationships. For these purposes the author has developed several hypotheses as follows: H1-1: The competence of a salesperson is positively associated with the trust given by the consumer to the salesperson. H1-2: The benevolence of a salesperson is positively associated with the trust given by the consumer to the salesperson. H2-1: The competence of product/service is positively associated with the trust given by the consumer to the product/service. H2-2: The benevolence of product/service is positively associated with the trust given by the consumer to the product/service. H3-1: The reputation of a company is positively associated with the trust given by the consumer to the company. H3-2: The physical environment of a company is positively associated with the trust given by the consumer to the company. H4-1: Trust in a salesperson is positively associated with repeat purchase intentions. H4-2: Trust in a product/service is positively associated with repeat purchase intentions. H4-3: Trust in a company is positively associated with repeat purchase intentions. The data was compiled from 366 questionnaires. 500 questionnaires were collected, but some of the data was considered unsuitable and inappropriate. The subjects of the survey were male and female customers purchasing products at department stores in Seoul, Daegu and Gyeongbuk. It was carried out between Oct. 25 and 29, 2007. The data was analyzed by frequency analysis using SPSS 12.0 and structural equation modeling using LISREL 8.7. The result of the overall model analysis is as follows: Chi-Square=445.497, d.f.=185, p-value=0.0, GFI=.901, RMSEA=.0617, NNFI=.986, NFI=.981, CFI=.989, AGFI=.864, RMR=.0872. The results of the overall model analysis were coherent. It was found that trust is a multi-dimensional construct, that each of the dimensions of trust are meaningful influences on customer's repurchase intention. Trust in a company may be the most relevant, while trust in a product/service and a salesperson may be less relevant to repurchase intentions. The effective factors in determining trust in a salesperson and a company's product/service were found to be competence and benevolence. Factors in determining trust in a company were its reputation and physical environment, and the relationship of each effective trust factor has been verified in this research. As a result, it was found that competence and benevolence have a meaningful influence on trust in a salesperson and in product/service. It was also found that a company's reputation influences the overall trust in the company significantly but a company's physical environment does not have much effect.