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손영희,Shon Y.H. 대한간호협회 1979 대한간호 Vol.103 No.-
A total of 116 pediatric burn patients under the age of 7 who were admitted in General Surgery department of The National Medical Center during the past 5 years, from January 1974 to December 1978 were clinically reviewed. The abstracted results of this s
손영희 한국영미문학페미니즘학회 2020 영미문학페미니즘 Vol.28 No.1
Christabel’s Silence and Lesbian Vampire Abstract YoungheeSon In this paper, I argue that in Coleridge’s “Christabel,” Christabel’s silence conceals repressed lesbian sexual desires and fear of patriarchal authority and that Geraldine, a lesbian vampire, leads Christabel to confront the causes of her silence. Geraldine represents Mother Nature as opposed to the Law of the Father, a product of Sir Leoline’s hysteria and impulsive rage. While Geraldine liberates Christabel’s lesbian sexual desires, her temptation triggers Sir Leoline’s estrangement from his daughter, frees him from his mourning for his dead wife, and restores libido to his sterile life. As Christabel’s surrogate mother, Geraldine reveals that repressive patriarchal laws have brought about her silence and paves the way for her breaking it. Since Geraldine is implied to be Christabel’s alter ego and claims to be a daughter of Lord Roland, a brotherly figure to Sir Leoline, she is implicitly Sir Leoline’s daughter and niece. Thus Geraldine’s unorthodox sexual relationships with Christabel and Sir Leoline violate patriarchal order. Geraldine’s role as the principle of eros and her threat to orthodox sexuality and patriarchal order are consistent with the theme of vampire literature which became popular in the latter half of the nineteenth century. 영문 초록 참조
매리 린 브락트의 『하얀 국화』에 나타난 공감적 상상력과 타자 윤리
손영희 새한영어영문학회 2022 새한영어영문학 Vol.64 No.3
Mary Lynn Bracht’s White Chrysanthemum is her debut novel that focuses on the female victims of Japan’s wartime sexual slavery and national violence of the Jeju 4·3 incident. Bracht criticizes that most war narratives are male-oriented stories without women’s memories and voices about war. She strives to break the silence on the plight of Korean comfort women, bring back their memories, and fill the hole in the war narratives through two female protagonists in the novel. Therefore, this paper aims to examine how the lives of female victims in the novel are erased and forgotten from the relationship between war and women’s bodies, seek ways to restore their lives, and heal the wounds through face-to-face discourse. In addition, it analyzes the cause of self-centered violence that ignores the suffering others as a problem of empathy and attempts to postulate face-to-face conversations as a prerequisite for ethical empathy.
손영희 19세기영어권문학회 2022 19세기 영어권 문학 Vol.26 No.2
In Edith Wharton’s The House of Mirth, Lawrence Selden notices Lily Bart’s immobile body on three occasions and imagines that she is a disembodied aesthetic object. However, in the performance of tableaux vivants, most of the audience believe that Lily displays herself as a human merchandise to be exchanged for men’s wealth in accordance with the marriage customs of the high society. Selden’s envisioning of Lily as the ideal of the republic of the spirit is influenced by the contemporary art, particularly the Pre-Raphaelite painters who often idealized dying or unmoving women as spiritual beings. Lily struggles between her need to marry a wealthy man and her distaste for the snobbish marriage custom. While Selden wants Lily to break away from the high society, he ignores her financial troubles and distances himself from her when she is embroiled in scandals. Lily’s death is part of the conventions of art and literature that require fallen women to pay the price through death as a prerequisite for their purgation. Only when Lily becomes a tableau mort is Selden able to reconcile himself with her. However, Selden remains ignorant of the sacrifices she has made to defend his honor. For the tableau vivant, Lily chooses the portrait of Mrs. Joanna Lloyd by Joshua Reynolds. Contrary to Selden’s imagination, Lily stands proud and full of vitality in the tableau vivant and refuses to become a human merchandise traded in marriage as well as an aesthetic object idealized for Selden’s republic of the spirit.