반복의 미학가 Waiting for Godot

윤화영(Hwayoung Yoon) 한국현대영미드라마학회 2000 현대영미드라마 Vol.- No.13

Waiting for Godot의 시간

윤화영(Yoon, Hwayoung) 한국현대영미드라마학회 2012 현대영미드라마 Vol.25 No.3

세계의 그림자 더블유(W)

윤화영(Yoon, Hwayoung) 한국비평이론학회 2010 비평과이론 Vol.15 No.2

This paper analyzes Samuel Beckett's late stage drama Rockaby exploring the intertextual area between the literature of Beckett and the philosophy of Leibniz and Deleuze. Beckett's interest in Leibniz is a well established fact and in his letter to his friend he even describes his brand of solipsism as "baroque." In this paper I try first to prove the proximity of W and V, the lone figure on stage and her incorporeal voice, to Murphy, the famous Beckettian monadic character par excellence in his early novel Murphy. Then, I discuss that the post-subjective theme and rhetoric-aesthetics of deterritorialization working in Rockaby are the result or the effects of Leibniz-Deleuzean theory of monadology turned into nomadology. I find the parallel concepts of various stage elements such as the 'dark background' and the objet-like still figure(monad) in Leibniz's monadology. Thanks to the rare clarification made by Beckett as to the source of the force initiating the to and fro movement of the rocking chair, I could prove that it is the impersonal memory of the world, the common horizon of all monads, that V narrates from in the space of windowless monad. Seen in this light, it is natural that W fails to find 'another like herself' in the outer world, since, in terms of monadology, "I can constitute an objective Nature to which the other in me belongs. W becomes her (m)other in the mother rocker only to become the world. Last of all, I discuss the aesthetic quality of Beckett's drama applying Deleuze's concepts of deterritorialization and exhausting the possible. The painted objet quality of the figure, the indefinite space and the in-between time of the stage, together with the sonorous music composed through 'boring holes' on the surface of language as well as familiar conventions of the dramatic genre, all of these, stripped of subjectivity and departing from the powerful territorial music of the mother, elevate the drama to the state of the Song of the Earth, a Dionysian ritornello.

베케트의 . . . but the clouds . . . 에 대한 들뢰즈적 읽기 : 비전, 오디션, 그리고 예술의 절대적 탈영토화

윤화영(Yoon Hwayoung) 한국현대영미드라마학회 2007 현대영미드라마 Vol.20 No.2

In this essay I make an attempt to read Samuel Beckett's television drama . . . but the clouds . . . through the Deleuzian theories of art and literature. My main concern in the present reading of Beckett in the light of the Deleuzian concept of Art lies in tracing and proving the line of flight in the play which marks a unique place among Beckett's oeuvre in terms of its configuration of aesthetic assemblage: to juxtapose ephemeral image and impersonalized voice which is prerecorded. My purpose is to illuminate the nature of Beckett's so called "the matter of fundamental sound", the statement which has perplexed me ever since I first met with it, together with the nature and method of the writer's lifelong project of 'boring holes on the surface of language" as he professed to Axel Kaun as a young writer. In the main part of this article I analyze the play as the process of absolute deterritorialization which can be rendered visible and audible only in the form of art and music. Tracing and recognizing the trajectory of becoming, I draw the conclusion that . . . but the clouds . . . shares the same immanent singularity with cosmic ritornello(refrain) that opens itself to the cosmic forces. As an abstract machine, the play, effacing all the foundation for subjectivation and memory, explores the possible assemblage to bore holes on the surface of language. Subsequently, the closed up image of 'a woman', reduced to only mouth and eyes, is freed from the white wall(signification)/black hole(subjectivity) system through the elimination of the contouring shape and body. Also, although her moving lips recite a few words from Yeat's poem, it is the disembodied voice of M that we hear on TV screen. The intensity of the image first expressed through dissipation, "the fall, the pure intensity" as Deleuze calls it, is now enhanced through making the sound inaudible and followed by the voice of M/Camera. In the final scene of the play, the image dissipates together with the visual and auditive images of nature evoked in the poem, the bird's sleepy cry and "but the clouds of the sky". The Deleuzian Vision and Audition(sound) can be heard and seen only in this Void, ie., when words gone. The sobriety of Beckett's medium that we can witness in this play is essential for the absolute deterritorialization in art.

한영 자막의 스파팅 결정 요인 연구 -발화 분석을 중심으로-

김은아 ( Euna Kim ),윤화영 ( Hwayoung Yoon ) 건국대학교 동화와번역연구소 2016 동화와 번역 Vol.31 No.-

본 연구의 목적은 스파팅 유형 분석과 스파팅 결정 요인 분석에 있다. 선정된 분석 텍스트는 한국 법정 영화 4편으로 『7번방의 선물(2012)』, 『변호인(2013)』, 『부러진 화살(2011)』, 『도가니(2011)』이다. ST 대사와 TT 자막을 추출하여 ST 대사가 어떠한 유형으로 스파팅 되었는지 발화 기준을 토대로 분석하였다. 스파팅 유형은 ‘단일 발화 단일 배치’, ‘단일 발화 분할 배치’, ‘복합 발화 통합 배치’, ‘발화 삭제’, ‘예외’로 확인되었다. 또한, 스파팅 결정 요인은 실제 영상 번역가들의 설문 조사를 통해 ‘대화 호흡’, ‘화면 전환’, ‘내레이션 전개’의 세 가지로 확인되었다. 본 연구는 기술적인 면에서 번역가의 역할을 정의할 필요성을 가지고 스파팅의 유형과 스파팅 결정 요인을 살펴본 것으로 영상 번역 연구의 범위를 확장시키는데 의의가 있다. 그러나, 선정된 데이터가 한국 영화에 제한되어 있어 스파팅 기준 확립을 위해서는 추후의 연구가 더욱 필요하다. The aim of this study is to identify the pattern of spotting as well as the determining factors in spotting. The data selected was the four korean law films subtitles, which are 『Miracle in Cell No.7(2012)』, 『The Attorney(2013)』, 『Unbowed(2011)』, and 『Silenced(2011)』. Their ST dialogues and TT subtitles were extracted and compared to find out how the ST dialogues have been segmented or combined in TT subtitles in terms of speech units of ST. The identified patterns of spotting were ‘single speech unit in single subtitle’, ‘single speech unit in segmented subtitles’, ‘multiple speech units in single subtitle’, ‘speech unit deleted’, ‘miscellaneous’. Then, the determining factors for spotting were ascertained by conducting the questionnaire survey from experienced subtitle translators. The result showed three determining spotting factors were ‘speech breath’, ‘scene movement’, and ‘narration development’. This study will be a significant endeavor in expanding research area in audiovisual translation in terms of technical ability of translators. The data were limited to Korean films, which in itself also needs a further research to build the certain criteria on spotting.

한국의 갯녹음 실태 연구

유혜민(Hyemin Yoo),박지연(Jiyeon Park),송예슬(Yeseul Song),이은정(Eunjeong Lee),강송이(Songyi Kang),김주효(Juhyo Kim),박민지(Minji Park),변유진(Yujin Byun),성희원(Huiwon Sung),오현경(Hyunkyoung Oh),윤화영(Hwayoung Yoon),이수현(Suhyeon L 성신여자대학교 한국지리연구소 2016 應用地理 Vol.- No.33

최근 한국뿐만 아니라 해외에서도 갯녹음 현상, 즉 석회 성분의 해조류로 바다가 뒤덮이는 현상이 증가하고 있다. 이에 관한 원인은 명확히 밝혀지지 않았으며, 이 현상은 바다 환경에 막대한 영향을 끼치고 변화를 일으킨다. 따라서 본 연구는 선행 연구 자료 검토와 분석을 토대로 갯녹음의 원인을 물리적, 화학적, 생태학적 측면에서 분석하였다. 또한 기사 및 논문을 토대로 2000년 이후부터의 갯녹음 피해 사례를 분석하였고, 대표적인 피해 사례는 마을 어장 면적의 축소 및 어획량 감소로 나타났다. 갯녹음 관련 정책을 알아보기 위하여 국내 기관 정책과 해외 정책, 특히 일본의 사례 및 국가 간 협력사례를 살펴보며 갯녹음 완화를 위한 방향에 대해 고찰하였다. The coralline flat phenomenon that ocean is covered by limy seaweed grows in the world as well as in korea. The cause of this phenomenon has not been determined yet. It is expected that it would affect and cause change of the ocean environment. Therefore this study investigated the causes in terms of physical, chemical and ecological view by examining prospective studies. And damages of the coralline flat is analyzed with articles and theses published after 2000. The representative examples of damages are decrease of fisheries area and fish catch. To investigate policies of the phenomenon, this study examines domestic policies, overseas policies especially Japan and cooperation of asia countries. Through this study, the direction for relieving the phenomenon have been considered.