Kicking Against the Pricks : The Vengeful Pursuit of Retribution In Melville's Moby Dick

Steven Reeder 새한영어영문학회 2006 새한영어영문학회 학술발표회 논문집 Vol.2006 No.10

Kicking Against the Pricks

Steven Reeder 19세기영어권문학회 2008 19세기 영어권 문학 Vol.12 No.1

Following in the footsteps of Nathanial Hawthorn, Herman Melville constructed Moby-Dick to be novel that worked on many different levels. To create Moby-Dick, Melville inverted the Biblical Jonah tale where instead of God pursuing a religious coward, a religious fanatic is pursuing God. As readers, we may not understand the “what” behind the strong wills of men and women; thus, we turn to religious allegory for answers. Yet the question we should be asking is not what is Ahab doing, but why is Ahab doing it? Archetypal criticism helps us answer the latter question, particularly through the four definitive myths outlined by Richard Hughes in The Lively Image. In the next section, I demonstrate how Melville nuances his allegory with the character of Ishmael, a sort of Everyman who becomes an ideal metaphor for tolerance and acceptance of unorthodox ideas. Mythologically, Ishmael represents the Orpheus myth, where he has the ability to enter the dark depth of life and return a changed man. Ahab then symbolizes those who lead with their head and not their heart. This is why the whale Moby Dick cannot be viewed as evil. Ahab is not trying to stamp out evil; he is trying to deny it within himself. Thus, he serves as a type for the Dionysos myth were madness and destruction consume those unable bridge their conscious and unconscious, id and ego. Melville furthers the metaphor of the white whale by making Moby Dick godlike, as an extension of its achromatic hide. The great whale is a manifestation of Hughes’s Christ myth as a symbol for humanity’s desire for that beyond the mundaneness of mortality. Finally, Starbuck fulfills the Narcissus myth, the latent desire of those who seek to only go backward instead of forward in their quest. Of all three characters, Ishmael is the most rounded. For he goes further than Starbuck on his inward journey and pulls back, when Ahab cannot.

Morally Chivalrous: Religious Irony in Sir Gawain and the Green Knight

( Steven Reeder ) 한국문학과종교학회 2008 문학과종교 Vol.13 No.3

Design for Youth Facility

Eric Reeder 한국청소년시설환경학회 2011 한국청소년시설환경학회 국제심포지엄 Vol.2011 No.1

Dracula as a Tragic Hero: The Illumination of Film on a Text

Steven Reeder 19세기영어권문학회 2006 19세기 영어권 문학 Vol.10 No.2

A Study of Los Angeles Public School Design in Identifying Community Improvement

Eric D. Reeder,Suh-Jun Park,Youngsuk Kim 대한건축학회 2016 Architectural research Vol.18 No.4

Architectural utility in Richard Neutra’s early twentieth century modern school design was paramount in progressively shaping salience of academic institutions, in part to move beyond neoclassical traditions in style based design. The intention being to address school and community through modern architectural solutions. Expanding on Neutra’s practice, the planning and design of new public schools in Los Angeles, are advocating the integration of institutional and public spaces. This research will document through qualitative analysis of institutional design within transitioning neighborhoods, a utilitarian approach that has become foundational for positive urban change. The focus of this research will reflect upon contemporary schools designed by DalyGenik Architecture, Coop Himmelblau and Michael Maltzen Architecture. Comparing with Neutra’s early modernist approach, the selected case studies will address material and spatial applications having redefined functional relationships of interior space, architectural envelope and an interconnected public realm. A dynamic peripheral condition in new school design has emerged with the elimination of decorative adornment, clarifying utilitarian intentions of institutional service to and the rejuvenation of public realms and community spaces.

논문 : 에덴 되찾기: 아르노프스키의 『샘』에 나타난 죽음공포의 정복

스티븐리더 ( Steven Reeder ) 한국문학과종교학회 2011 문학과종교 Vol.16 No.3

이 논문은 아르노프스키(Darren Aronofsky)의 신학적인 포스트모던 영화 『샘』(The Fountain)을 종교적이고도 과학적인 상징에 대한 원형적 접근을 통하여 다룬다. 이 영화는 그 자체가 신화와 성경에서 찾아볼 수 있는 것과 유사한 우화이다. 크레오(Tom Creo)는 현대 문명을 구체화한 인물로, 과학은 너무나 확실하고 자신의 재능을 지나치게 자부한 탓으로 삶이 실제로 무엇인가에 대한 목적을 상실하게 된다. 현대 생활은 질병을 물리치고, 수명을 연장하며, 우리의 존재를 현재에 확고하게 뿌리내리는 것에 주력해 오고 있다. 하지만 인간이 지구상에 존재하는 모든 생물체를 파멸할 수 있는 대량살상 무기를 만들어낸 것은 분명 아이러니이다. 죽음을 정복하고자 하는 탐구 과정에서 우리는 전 지구의 멸망을 초대하고 있는 것이다. 필자는 영웅주기의 분석을 통해 이 영화에 설정되어 있는 우화를 설명해 보고자 시도했다. 왜냐하면 이 영화의 힘은 집단의식이 개인의 정체성 추구와 융합되어 있는 점에서 찾아볼 수 있기 때문이다. 헨더슨에 의하면 개인의 페르소나는 인물은 사기꾼, 토끼, 붉은 뿔, 쌍둥이의 네 단계의 영웅주기로 요약될 수 있다. 『샘』은 이 4단계와 동일한 원형을 보여주지만, 이 원형이 일반적인 영화관객에게는 생소하기 때문에, 아르노프스키는 에덴동산과 생명의 나무의 이야기에 나오는 단계로 재해석한다. 그러나 에덴 전설이 인간의 기원과 신으로부터의 분리에 관한 이야기이기 때문에, 아르노프스키는 인간의 죽음을 우리 자신과 타자, 그리고 신과의 재결합으로 다루며, 낙원추방의 이야기를 거꾸로 바꾸어말한다. 마치 아담과 이브가 영적으로 진보하기 위해서는 에덴동산을 떠나야 하는 것처럼, 아담과 이브의 후손들도 그들이 다시 온전하게 되기 위해서는 에덴을 되찾아야만 하는 것이다. 영화는 인간 행복의 마지막 요소인 그림자를 다룬다. 자아(the ego)와 그림자는 서로 상충하는데, 영웅은 괴물을 무찌를 수도 있고, 희생자가 될 수도 있다. 영웅이 괴물을 스스로 물리칠 수 없을 때, 여성이 남성인 영웅을 구출한다. 그녀는 애니마(anima)이며, 남성 자아의 그림자에 해당하는 여성적 속성을 지닌다. 그래서 적당한 부적을 갖지 못한 영웅은 괴물을 무찌르기 위해서는 여성적 애니마로부터 도움을 받아야 한다. 삶을 충실하게 살아갈 수 있는 능력은 죽음, 혹은 미지의 세계를 수용하는 능력이기도 하지만, 현세에의 애착은 죽음을 받아들이기 어렵게 만든다. 현대사회는 정신적인 세계를 희생하고서 물리적인 세계를 정복해 왔기에, 이제 우리는 포스트모던 신학을 찾아서 물질적인 현대사회의 욕구와 갈망을 미지의 세계를 포착해내는 내면의 심리 세계와 균형을 맞출 필요가 있다. 그래야만 우리 인간이 파편화되기를 멈출 수 있을 것이다. This paper examines Darren Aronofsky`s postmodern theological film The Fountain through an archetypal approach to both religious and scientific symbols. The movie itself is an allegory similar to those encountered in myth and scripture and offers a ritualistic experience that takes the audience from one psychological state to another over the period of the film. Tom Creo becomes the incarnation of modern civilization. For him, science is so unquestionable, and he so confident of his talents that he loses the purpose to what life actually is. Modern life has been about defeating disease, lengthening the lifespan, and rooting ourselves firmly to this existence in the present. The irony is by doing so we have created weapons of mass destruction that could end all life on earth more thoroughly than any other extinction event in the past. In our pursuit to conquer death, we have invited whole scale annihilation of our planet in pursuit of truth. I have attempted to decipher the allegory established by this film through an analysis of the heroic cycle, for the films power is in merging group consciousness with the individual quest for identity. An individual`s persona can best be summed up in four stages as found in the heroic quest: the Trickster cycle; the Hare cycle; the Red Horn cycle; and the Twin cycle. The Trickster is the juvenile hero that does harm to others and to self in order to succeed. The Hare recreates civilizations after their destruction. The Red Horn hero undergoes great feats, usually through the aid of gods or talismans, to overcome the evil forces assailing the world. In the twins phase, two like minded individuals, or a hero of both the dark and light nature, eventually defeat all evil and overcome all obstacles held in their way, eventually becoming a monster to those they have saved. The only way to stop them and save the world is to sacrifice them. The Fountain deals with the same archetypes found in these four stages. Since they are mostly unfamiliar to the average moviegoer, Aronofsky opts to reinterpret the stages as found in the story of the Garden of Eden and the Tree of Life. However, since the Eden account is about our origins and separation from God, Aronofsky deals with our death as a reunification with ourselves, our other, and our God, and retells the story of the expulsion from Eden in reverse. Just as Adam and Eve have to exit the garden to progress spiritually, the inheritors of Adam and Eve must have a need to reclaim Eden if they are to be whole again. The movie deals with the final element to humanity`s well-being: the shadow. The ego and the shadow are at odds. The hero can defeat the monster or fall victim to it. When the hero cannot defeat the monster on his own, a woman enters the quest to rescue the male hero. She is the anima, the shadowy feminine side of the masculine ego. Thus, a hero without the proper talisman to defeat the monster must receive aid from the feminine anima in order to defeat it. The ability to live life to the fullest belongs in part to the ability to accept death, to accept the unknown for what it is. Modern society has conquered the physical world at the expense of the spiritual one. We need to find a postmodern theology that balances the very needs and wants of a material modern world with the inner psychological one required to grasp the unknown, so that we will cease to be fragmented.

메트로 익스포저

에릭 리더(Eric D. Reeder) 대한건축학회 2012 建築 Vol.56 No.7

A Toposequence of Soils in the Karst of West-Central Florida, U.S.A

Banker, Laura,Reeder, Philip,Brinkmann, Robert The Speleological Society 1995 Journal of the speleological society of korea Vol.42 No.2

An abundance of information is available regarding soil horizons and their characteristics. Several methods can be used to gather and analyze this information. Through the use of qualitative analysis in the field, and laboratory and statistical analysis, a soil can be compared and analyzed with a great deal of scrutiny. Four soil pits were excavated in Citrus County Florida and samples were collected from each master horizon. Through the use of qualitative and quantitative analysis these samples were compared and analyzed in order to identify unique, as well as homogeneous features. It was determined that the soil profile designated Old Pit was different than other profiles because of landscape position and variations in parent material. Landscape position (ie. slope position) also influenced the genesis and evolution of the soils in the other three profiles(Profile 1, 2 and 3).

Formation of CoAl layered double hydroxide on the boehmite surface and its role in tungstate sorption

Hur, Hyuck,Reeder, Richard J. Science Press 2018 JOURNAL OF ENVIRONMENTAL SCIENCES -BEIJING- Vol.65 No.-