68 research outputs found
An Analysis of Pastor Sunhee Gwark’s Sermons by Using Hermeneutic Methods of Practical Theology for Improving Sermon Paradigm
No full textThe purpose of this project is to analyze the sermons of Sunhee Gwark, the former senior pastor of So-Mang church, into hermeneutic methods of practical theology for improving sermon paradigm. The relationship between the world of Scripture and the world of audience was investigated and the world of audience was valued equally with the world of Scripture in sermon. In order to analyze Gwark\u27s sermons, the standards of evaluating sermon were provided. An improved sermon paradigm was suggested and the author wants this study to contribute to refreshing sermons to be balanced between the world of Scripture and that of audience
초음파 세포자극기
No full textAn apparatus for stimulating cell includes a cell culture chamber, a control device, and first and second exciters. The cell culture chamber includes cell and culture medium. The control device receives first and second exciting signals, and controls magnitudes and phases of the received first and second exciting signals so that a sound pressure level in a focused zone is higher than a sound pressure level in a zone other than the focused zone, and outputs first and second controlled exciting signals. The first and second exciters receive the first and second controlled exciting signals and excite the cell culture chamber
Contemporary art and the search for history—the emergence of the artist-historian
No full textFocusing on the concept of the artist-as-historian, this dissertation examines the work of four contemporary artists in a transnational context. In chapter one, I examine the representations of economic inequality and globalization (Allan Sekula, the United States); in chapter two, the racial memory and remnants of colonialism (Santu Mofokeng, South Africa); and in chapter three, the trauma of civil war and subsequent conflicts (Akram Zaatari, Lebanon and Chan-kyong Park, South Korea). My focus is on photographic projects—a photobook (Sekula), a private album (Mofokeng), and archives and films (Zaatari and Park)—that address key issues of underrepresented history at the end of the twentieth century.
Chapter one concentrates on how to make sense of the complex structure of Sekula’s Fish Story (1995) and suggests the concept of surface reading as an alternative to traditional, symptomatic reading and posits that some historical truths can be found by closely examining the surface of events or images. In Fish Story, photographs represent the surface of our globe, while the text reveals the narratives that have been complicated beneath that surface. I then analyze how three types of text—caption, description, and essay—interact with images.
Chapter two problematizes the historical position of the African subjects represented in Mofokeng’s The Black Photo Album—Look at Me: 1890–1950 (1997). I discuss the fluidity of identity and how that fluidity intersects with the process of modernization and historical experience of colonization in South Africans near the beginning of the twentieth century. As I focus on the mnemonic role of the textual components of the project, which evokes the sense of presence for the photographic figures, I also investigate the meaning of the term ambivalence and question how it is connected to Mofokeng’s means of “doing history.”
Chapter three begins with by investigating the terms parafiction and truthiness, and then discusses those terms—from hoax to plausibility, from less true to truer—in the context of Zaatari’s and Park’s works. To contextualize the fictional narratives employed by the two artists, I use the terms docu-fiction (for Zaatari) and imaginary-documenting (for Park) to designate the unique ways that the artists unite documenting and fiction. Ultimately, I investigate how their works evince that fiction—when coupled with a genealogical method and affect elements—can emancipate a history from its locally specified knowledge to engage with a wide range of international audience.
Throughout the dissertation, I assert that each artist discussed sheds light on the others by engaging different geographical boundaries (between the global, local, and regional), as well as creating different conceptual spaces (between the amnesic, mnemonic, and virtual spaces), where they can pursue history. Finally, throughout this dissertation, I look to Foucault as the theoretical armature for my own work, yet I am as much concerned with the limitations of his theory as I am with his insights. In this vein, the artists that I investigate here reveal in productive ways how we might think about history beyond Foucault’s relativism, skepticism, and cynicism.Submission published under a 24 month embargo labeled 'Closed Access', the embargo will last until 2019-05-01The student, Sunhee Jang, accepted the attached license on 2017-04-19 at 17:50.The student, Sunhee Jang, submitted this Dissertation for approval on 2017-04-19 at 18:15.This Dissertation was approved for publication on 2017-04-20 at 13:07.DSpace SAF Submission Ingestion Package generated from Vireo submission #10914 on 2017-08-10 at 14:31:52Made available in DSpace on 2017-08-10T19:52:13Z (GMT). No. of bitstreams: 2
JANG-DISSERTATION-2017.pdf: 10922213 bytes, checksum: 04acc138787100bc23260210cad77285 (MD5)
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Previous issue date: 2017-04-20Embargo set by: Colleen Fallaw for item 102658
Lift date: 2019-08-10T21:25:30Z
Reason: Author requested closed access (OA after 2yrs) in Vireo ETD systemLimited Restriction Lifted for Item 102658 on 2019-08-11T09:15:21Z
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