• Journal of English Language & Literature
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• v.58 no.2
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• pp.189-215
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• 2012

This paper reads Mary Shelley's Frankenstein (1818) in light of the 18th-century understanding of 'sympathy' including those of Hume and Smith and also in light of what Michael Hardt in our century has called "affective labor." I argue that the imaginative capacity and "seeing" are crucial in understanding Smith's idea of 'sympathy.' By showing how the monster's ugliness precludes any human character from sympathizing with him, Mary Shelley exposes that Smith's idea of sympathy fails to maintain social harmony. Mary Shelley revises Smith's 'sympathy' and makes it more radical by suggesting that the active affective labor could bridge the epistemological distance lying between the agent concerned and the impartial spectator. I first read Smith's idea of sympathy as an imaginative capacity which is inevitably influenced by 'seeing' and visual perception. Then I analyze the scenes in which the creature in Frankenstein fails to acquire any human sympathy due to his ugliness, and show how the specular nature of 'sympathy' is disrupted when one party is visually ugly and deformed. I conclude that affective labor and active moral reflection on the part of the spectator need to be provided when the agent concerned is 'ugly' and thus challenges our habitual epistemological boundary. Shelley's re-evaluation of Smith's sympathy, thus, suggests that affective labor may not be something that women alone have to perform, but an ethical practice that concerns all human beings and that can transform the otherwise flawed human capacity for sympathy.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2006.05a
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• pp.158-164
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• 2006

Multiplex have many screen in one place and provide customer Multiple Entertainment Option. Today multiplex cinema is a new culture place for the public to approach most easily in Korea. It also gave a chance to recognize how important a popular culture place is. but it has a problem that this space wasn't designed for customer and don't have even a rest area for them as they focused only on economic growth. therefore, in this study, it point's the utilization of Service Areas problems and provide basic data of interior design for customer.

• Korean Institute of Interior Design Journal
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• no.38
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• pp.14-20
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• 2003

In 1923, El. Lissitzky designed ‘Proun Raum’ to realize his spatial experiment in paintings that are called 'Proun'. For this, Lissitzky taken Pome 'element' to construct his imaginary space that combine time with space. Especially, Quadrangle make an important role by the reason of its potential energy. In other words, alteration of its four corners turn Quadrangle to rectangle or square, etc, and describe some force, motion and location as itself. Analyzing 'Proun' and 'A and Pangeometry' that describes his spatial concept, spatial characteristics of 'Proun Raum' are comprehended, and the significance of spatial construction method in 'Proun Raum' are summarized as follows; occurrence of spectator's visual guide by elements, secession of afterimage, do-construction of the border.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.05a
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• pp.73-74
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• 2007

As the characteristics of national economy is getting more complicate, the value of exposition is regarded as of great importance day by day. The world's Products Exhibition in which our companies and organizations take part is held all abound world, we also held the international exposition and Products Exhibition. In foreign countries, there are a lot of special organizations relate with the exposition and Products Exhibition display, which play the role to coordinate and mediate the display. Display space of exhibition must achieve functional role that can accomplish communication with spectator as well as function as place that possess products of accumulative value. Therefore, we must establish effective communication exhibition plan by position and form of display space as well as property of Products Exhibition, display contents, exhibit program to achieve purpose of Products Exhibition. We will can grope contents and method for successful exhibit through Products Exhibition that is connected form and position of exhibit between exhibit space of such Products Exhibition and we may achieve purpose of Products Exhibition.

• Proceedings of the IEEK Conference
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• 1999.11a
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• pp.1085-1088
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• 1999

This paper presents a method for soccer scene analysis and coordinate transformation from scene to ground model using a priori knowledge. First, the ground and spectator regions are separated, and various objects are extracted from the separated ground region. Second, an affine model is used for mapping the object positions on the soccer image into the position on the ground model. Problems regarding holes arising from mapping processing are solved using inverse mapping instead of a usual interpolation method. Experiments are performed on a PC using about 100 RGB images acquired at 240＊640 resolution and 3∼5 frames per second.

• Journal of Information Technology Services
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• v.7 no.3
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• pp.87-95
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• 2008

The Law of effective building and operation for the information systems took effect at Dec. 2005. Every government and public agency have to build own enterprise architecture(EA), sometimes it's called the Information Technology Architecture(ITA), by this law. The Ministry of National Defense(MND) built the enterprise architecture(EA) during 2006. 12$\sim$2007. 11 by this law too. We knew the specific characters of the public sector thru the EA project. The public sector is less active than commercial sector and most members of the public sector are just looking on the project as a spectator. So the most of key for the success of EA is how to catch the Sponsorship and Participation of members. In this paper we propose the effective building methodology for the Enterprise Architecture of public agency applying the MND-EA. The other governments and public agencies can build own the EA easily by the proposed methodology.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2008.05a
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• pp.203-208
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• 2008

Installation art in 20th century shows an expanded trend as a result of material, time, or spatial expansion of subject, therefore subjects could be either materials or non-materials. This trend says that three elements-objet, space, and spectator-is inseparable essence of installation art. Nowadays, the borderline between installation art and everyday human life is getting indistinctive, and both Installation art and human life are becoming a part of another. By adapting the flexibility of installation art into the interior space, more interaction could happen, therefore, people will recognize spatial and visual character of Interior space as a visually satisfying Installed object. The main goal of this study is to understand changing of spatial composition in consequence of expressional variety as a result of dispersion of spatial elements. Especially, this study gives a fundamental ideas about private character of installations art in commercial spaces and expressional character of modern installations.

• Journal of Wellness
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• v.6 no.1
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• pp.51-61
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• 2011

The purpose of this study was to identify the component factors of professional sport team brand equity and to empirically examine factors composed of it's brand equity. The subjects of this study was the group that spectator professional sport game. For those sheet, judged to be insincere and to be unsuitable for the purpose of this study, and were missing questions excluded. SPSS 13.0 for window statistics package and AMOS 5.0 for window statistics package were used for data analysis. The goodness of the model was confirmed by data analysis and then the hypotheses testing were conducted. The findings are as follows: Firstly, brand associations(rivalry, commitment, play, socialization, success, history) have a significant effect on brand loyalty. But brand mark didn't have a significant effect on brand loyalty. Secondly, brand awareness(identification, internalization) have a significant effect on brand loyalty.

• Korean Journal of Materials Research
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• v.34 no.2
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• pp.79-84
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• 2024

Thin films of yttria-stabilized zirconia (YSZ) nanoparticles were prepared using a low-temperature deposition and crystallization process involving successive ionic layer adsorption and reaction (SILAR) or SILAR-Air spray Plus (SILAR-A+) methods, coupled with hydrothermal (175 ℃) and furnace (500 ℃) post-annealing. The annealed YSZ films resulted in crystalline products, and their phases of monoclinic, tetragonal, and cubic were categorized through X-ray diffraction analysis. The morphologies of the as-prepared films, fabricated by SILAR and SILAR-A+ processes, including hydrothermal dehydration and annealing, were characterized by the degree of surface cracking using scanning electron microscopy images. Additionally, the thicknesses of the YSZ thin films were compared by removing diffusion layers such as spectator anions and water accumulated during the air spray plus process. Crack-free YSZ thin films were successfully fabricated on glass substrates using the SILAR-A+ method, followed by hydrothermal and furnace annealing, making them suitable for application in solid oxide fuel cells.

• Cross-Cultural Studies
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• v.38
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• pp.29-63
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• 2015

This paper attempts to re-read Tennessee William's A Streetcar Named Desire from a non-Aristotelian perspective, particularly focusing on the audience performativity. In Chapter 6 of the Poetics, Aristotle says that tragedy has a final purpose or end (telos) and that is to inspire a catharsis (literally "purification") of pity and fear by means of representation and to give pleasure from experiencing their relief. However, a dramatic theoretician Augusto Boal argues that Aristotelian catharsis is not to get rid of pity and fear through their vehement discharge; rather, the basic function of catharsis is the purging of antisocial elements from the social body and the restoration of order because catharsis occurs when the spectator, terrified by the spectacle of the catastrophe, is purified of his "hamartia" which looks similar to the tragic flaw of the hero in the play. Thus, Boal asserts that Aristotle's coercive system of tragedy manipulates the emotions of the passive spectator. By contrast, in non-Aristotelian aesthetics, tragedy functions not as legitimation for a particular political configuration but as the performance of ethical acts-through which all the participants, including not only the actors but also the audience, communicate more actively about practical problems and actively work in order to make sense of themselves, others, and society. Here, the audience is required to restore and reinforce his/her capacity to think and to act; thus, an unquestioning, passive, indifferent attitude is not allowed. In these contexts, this paper explores how Tennessee William's A Streetcar Named Desire involves the audience in the responsibility for what occurs on the stage, in order to urge the audience's ethical judgements and responsible acts. This paper argues that what this play asks of us is not catharsis, the purging of pity and fear, but empathy toward the other's pain, beyond pity and fear, to carry out our responsibility of sharing in and caring for the other's suffering. That is to say that it will be an ethical way to "re-member" Blanche DuBoi-the iconic Williams victim "dis-membered" by traumatic memories and open wounds and is thus unable to complete her grieving and mourning-as one of us, not as the other. It will be the only way to remember right regarding her tragedy.