• Proceedings of the Korea Society of Design Studies Conference
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• 1998.05a
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• pp.1-2
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• 1998

• Journal of English Language & Literature
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• v.57 no.2
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• pp.265-284
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• 2011

This paper examines how Sedgwick makes a political allegory of founding the nation in domestic terms in The Linwoods (1835). Set in the Revolutionary period, The Linwoods is a historical fiction reconstructed by the writer in order to diagnose currently controversial issues. In this aspect, Sedgwick's interest in history is genealogical in Foucaudian sense. Foucault's genealogical method provides a way of recuperating a part of history hidden, submerged, obliterated by the official history. Seen in a genealogical perspective, the story of the Linwoods can be viewed as a political allegory in order to explore political conflicts of Sedgwick's own day. Faced with the threat of national disunion presented in the Nullification Crisis of sectional conflicts and divisions, Sedgwick attempts to provide a fictional solution to the first serious challenge to the U. S. Constitution. Going back to the times around the American Revolution, Sedgwick emphasizes how strenuously the American Constitution of America was formed as the outcome of the war against the tyranny of Britain, and how the Union was made on the basis of the cooperation between the States. By posing a contrast of political positions between family members, Sedgwick imagines a family/nation that allows diverse political positions. The conclusion of a diversity of marriages between man and woman who agree to be united after overcoming their differences in political affiliations seems to show her conservative proclivity to support the Union. However, by emphasizing the principles of freedom and equality represented by the significant role of Isabella and Rose, an African-American slave, in the victory of the American Revolution, Sedgwick also supports the spirit of the Jacksonian American democracy.

• English & American cultural studies
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• v.14 no.1
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• pp.193-218
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• 2014

This essay explores Congreve's last play The way of the World in terms of English new identity of the gentry represented by Mirabell in political, social and historical context of the Bloodless Revolution. Particularly, this essay focuses on behavioral differences between Mirabell and Fainall as characters who manage a certain type of acceptable Englishness through their heir. The acceptable Englishness separates what the differences are between two rakes from the outside of normative principle. The Way of the World reflects Lockean republican ideology in personal and familial relationships. Mirabell as a heroic rake represents new expectations for Englishmen who rejects absolute sovereign contrasted by Fainall's foreign tyrannical ways of domesticity. The Foreignness of Fainall's in the play is displaced by corollary change in the new model of English identity exemplified by Mirabell. Through the play, Congreve tends to satirize repressive morality of Hobbesian extremism and emphasizes the Revolution settlement based on consent sand trust instead. Mirabell's normative will harmonizes individual desire for happiness with social demand. In a sense Congreve's The Way of the World is a play reaching typical Restoration ending of intrigue and conspiracy through two rakes's interaction. Accordingly, this essay tries to show what separates the heroic rake from tyrannical libertine through their way of love, money, compromise and negotiation, which is their way of life.

• English & American cultural studies
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• v.18 no.4
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• pp.65-102
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• 2018

This paper focuses on "The Story of $Bras-Coup{\acute{e}}$" in George Washington Cable's The Grandissimes (1880), a story to and around which Cable claimed the larger work was built. It tells of an African candio sold into slavery who, to the dismay of his white purchasers, refuses to work, strikes his master, and runs away to lead a life of a fugitive in the swamps. He is finally captured, whipped, and maimed, but not before he casts a powerful voodoo curse at his master and his plantation. He dies a heroic death, with the last words that he goes "To--Africa." Cable once said that he "meant The Grandissimes as truly a political work as it ever has been called." It is a political work in that $Bras-Coup{\acute{e}}^{\prime}s$ personal rebellion is associated with much-feared slave revolts, especially the black revolution in San Domingue/Haiti. There is also $Honor{\acute{e}}$ f.m.c. (free man of color), one of the narrators of "The Story of $Bras-Coup{\acute{e}}$" and a stand-in for the Freedmen in the postbellum United States, who nurses his own insurrectionary flame. Through these figures Cable makes a "terrible suggestion" that a black revolution is on the horizon unless whites would not mend their ways soon.

• Lingua Humanitatis
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• v.8
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• pp.175-198
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• 2006

Quite a few historiographers of language science have measured the applicability of the term 'revolution' toward the line of work initiated by Chomsky, with the conclusion to the positive or negative effect as the case may be. This paper starts out with a brief review of this issue, with an interim conclusion that, while Chomskyan linguistics may be regarded as revolutionary in certain aspects, terms like 'revolution' and 'paradigm' are hardly applicable here in the way they were originally intended by Thomas Kuhn. It can be said, nontechnically, that the model of theory under discussion is at once 'revolutionary' and 'evolutionary' - in the sense that revolutions in linguistics have not resulted in abrupt loss of continuity with past 'paradigms', if there were any such. Chomsky's theory of language plays the same role of consolidation and refinement of structuralism that, say, the neogrmmarians played in their day. It has continued some fundamental traits of its predecessor, recovered others, and unwittingly rediscovered still others. But this is not the main thrust of the present paper. For, even if Chomskyan theory were to be looked upon as straightforwardly 'revolutionary', that revolution has not been a felicitous one. Some critic (Pieter A. M. Seuren, to be specific) goes as far as to say that "largely as a result of Chomsky's actions, linguistics is now sociologically in a very unhealthy state $\cdots$ to the point even of threatening to make that whole school of linguistics intellectually irrelevant." Besides, under the present state of language science that strikes one as typical of what Kuhn has characterized as "pre-paradigmatic" insecurity and disharmony, an unhealthy situation might take place if we were to think of the theoretical disagreements as conflicts between 'incommensurable' viewpoints-between 'rival paradigms' as it were-thereby avoiding or evading rational discussion. Another danger concerns the bandwagon effect, with linguists prematurely boarding each novel theory seemingly destined for popularity, for fear of being left clinging to an outdated 'paradigm.' Here lies another reason why the notion of 'revolution', Kuhnian or not, might as well be put aside, in the historiography of linguistics at the least.

• Journal of the military operations research society of Korea
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• v.22 no.2
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• pp.1-17
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• 1996

Sun Tzu once clarified that "One who knows the enemy and knows himself will not be endangered in a hundred engagements, " while Clausewitz explained that "A victory will be guaranteed for one who can overcome 'fog and friction' at a battlefield." Now the U.S. is striving hard to develop an American version of RMA (Revolution in Military Affairs)/MTR (Military Technical Revolution) by utilizing its rapidly emerging information technology in the information age. The U.S. firmly believes that its RMA/MTR with less defense expenditure can provide all combat players in the battlespace with "dominant battle awareness, " by which no nation will be able to challenge U.S. military superiority. In this paper, the recent efforts of the U.S. Armed Forces on RMA/MTR will be briefly introduced, some lessons and expertises from the U.S. RMA/MTR are extracted, and, in this regard, several suggestions are provided for the progress of the ROK Armed Forces.gress of the ROK Armed Forces.

• English & American cultural studies
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• v.18 no.2
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• pp.1-26
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• 2018

This paper aims to examine the performativity of street politics through Suffragette. The movie exposes the bloody violence of Britain government and shows the militant suffragettes and their resistance against it. It also deals with history and 'story'of labor class suffragettes for political rights. The paper shows how the movie is re-born as an indexical art and the street politics makes the plural performativity. Most of all, it reads the difference between the government's violence wielded as a power to suppress the suffragettes and bring them to their knees, and the suffragettes's violence having the resistant and emancipated revolution. We can realize that the suffragettes used the mode of visibility to expose its incompetence and make their emancipated violence into the indexical force. And we can see the variations of street politics from the acts of Davison, Maud, and Violet.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 2000.06a
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• pp.35-49
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• 2000

Over the past ten years we have wethnessed a revolution in metalcutting in the field of High Speed Machining. As machining speeds continue to increase, particularly spindle RPM, forces created by unbalance in the spindle, cutting tool, and toolholder require close attaention. It has been observed that these forces, if left uncompensated, can results in poor surface finish, loss of tool life, and spindle bearing failure. The sources of this unbalance needs to be identified and elimated in order to create a smooth, vibration free condition and allow the machine tool and its spindle to operate properly.

• The Research Journal of the Costume Culture
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• v.4 no.3
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• pp.427-445
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• 1996

According as the fashion at the latter half part of the 20th century is diversified and made into high-class gradually, it is demanding the individuality of each one. Especially, since the beginning of 1980s, fashion came to represent the restoration mood in a modern style because of the popularization of post-modernism. And with this, it came to result in the reappearance of minimalism which was one of anti-culture in 1960s. In this study, this researcher grasped the appearance background, concept and structural concept of minimalism, and tried to study the influence that he minimalism had on fashion in the flow of fashion over the first half period of the 20th century. Minimalism is the fine art trend of American characteristic which quicked by the meeting of European culture and American culture, according as the new avant-grade art of Europe moved to America after World War II Minimalism which appeared, refusing the mechanisation, industrialization and mass production of America and the falsehood of consciousness and sensitivity under existing system remained obscure by the pop art which is the commercial fine art of same period, but it came to expand the domain of work possibility of modern fine art, and it became the basis of appearance of post-modernism. Minimalism has 4 kinds of structural features which are nonside nature, repetitiousness and environment nature with 3 dimensional feature which is issue nature. Minimalism is appearing in the exfcellent and future-oriented fashon of Andre Kureju t the time of 1960 well. Then science revolution and minimalism aroused the mini-revolution, and they made the compact radio in electric home appliances and the miniskirt in fashion appear. The features of minimal fashion as Retro '60' which appeared in the decedent mood with the 21st century just before on are as follows: First, the are the pursuit of concise plastic line. Second, it is the use of high tech material Third, the miniaturization in size amy be enumerated. Minimal fashion will appear s the positive confrontation from of mankind as the optimistic viewpoint about feature in the situation hat environment was destroyed and the resources were exhausted.

• English & American cultural studies
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• v.18 no.2
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• pp.51-78
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• 2018

To put it simply, thing theory is a study of meaningful capacities of materiality. Although T. S. Eliot regarded pathetic fallacy as the bad example of objective correlatives in his modernism poetry theory, it is clear that many objects in literary works reflect diverse human desires. Among many, Victorian sensation novels are the most distinct genre where the various paraphernalia in them indicate the distorted and exaggerated greed of the industrial revolution era. Whereas the male protagonists are usually related with the norms objects of authority such as portrait and locket, the female characters' connection with cosmetics and white dress shows their oppressed and fragile position in the patriarchal and hierarchical society. In the (post)modern society, the ambiguity of things has grown rapidly due to the increasing discrepancy between objects and things. In special, the new journalism and the psychological realism novels often reveal the post-truth phenomenon because consumerized audience depend more upon the attraction and affect than the mere evidence and facts. For the individual, according to object relations theory, these alternative facts are rather internalized into their mind as the internal object when they are motivated by the non/contact with primary caregivers in their childhood. The dominant material imagery in (post)modern fiction becomes the site of resistance because of their reconstructed and extended meaning. The object relations theory and thing theory can be effectively used to uncover the complicated meanings of desired objects by using the human-object's meaningful relations and early mental images that are secretly alive still in the present.