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( Hee Jun Kim ),( Sang Gyune Kim ),( Jung Hwan Park ),( Sae Hwan Lee ),( Young Seok Kim ),( Soung Won Jeong ),( Jae Young Jang ),( Hong Soo Kim ),( Gab Jin Cheon ),( Ji Sung Lee ),( Boosung Kim ) 대한내과학회 2014 대한내과학회 추계학술발표논문집 Vol.2014 No.1
Background: About two thirds of cirrhotic patients who are admitted to the hospital accompany ascites. We have little knowledge of appropriate markers to predict the response to diuretic therapy. The objectives of this study is to evaluate whether Doppler parameters of portal hemodynamics can predict the change of ascites after administration of diuretics. Methods: Among 496 subjects who took ultrasonography (USG) and Doppler previously, patients who had antiviral treatment and incomplete laboratory data were excluded. Total 114 patients whose ascites was observed in USG were included in the analysis. Theywere classifi ed into 2 groups; improved group consisted of 58 patients who had ascites initially and improved during follow-up period, and 56 patients in non-improved group didn`t get the improvement of their ascites. We compared between improved group and non-improved group by Doppler parameters and clinical parameters. Results: When comparing group non-improved to improved group, univariate logistic regression analysis showed the diameter of hepatic vein (OR, 0.555; 95% CI, 0.380- 0. 811; p=0.002), damping index (OR, 5.091; 95% CI, 1.251-20.723 ; p=0.023) were statistically significant. When adjusted by Child-Pugh class, multivariable analysis identified that the diameter of hepatic vein (OR, 0.582; 95% CI, 0.389-0.869 ; p=0.008) were statistically signifi cant again, though the damping index was higher in non-improved patients than improved patients, but not statistically signifi cant (OR, 3.264; 95% CI, 0.751-14.19 ; p=0.115). Conclusions: The greater diameter of hepatic vein and the lower damping index are associated with the improvement of ascites in cirrhotic patients after taking diuretics.
( Boosung Kim ) 한국영미문학페미니즘학회 2018 영미문학페미니즘 Vol.26 No.1
While the influence of Virginia Woolf’s writing on Eudora Welty’s fiction has been touched upon briefly, and occasionally fully examined, by several critics, no critical attention has been drawn to the two writers’ highly similar creation of outsider characters. This essay proposes that Welty’s portrayal of Miss Eckhart in her short story cycle The Golden Apples (1949) can be read as a response to Woolf’s depiction of Miss Kilman in Mrs Dalloway (1925). Both characters are depicted as German spinster tutors who have an intense homoerotic desire for their pupils and are ostracized by society. Against the backdrop of the early 1920s, both texts let us take a glance at how an interwar society marginalizes an outsider in tandem with the rise of anti-German sentiment in England and the United States. Particularly, by comparing the two characters’ outsiderness marked by their class, gender, sexuality, physicality, and ethnicity/nationality, this essay attempts to show how the two writers’ treatment of them helps us configure the ways in which space intervenes in the (re)production of individual identities. While Miss Kilman’s shopping excursion designates her as a lesbian flaneur and epitomizes the department store’s function as a heterosexing, pseudo-public space, Miss Eckhart’s piano recital represents her agency as an artist who works to transform domestic space into an alternative public sphere for children and women in a small town in rural Mississippi. A kinship between Woolf and Welty established through their similar characters encourages us not only to interrogate the position of outsiderness predicated upon the dialectics between difference and sameness, but to problematize normative, exclusive, and heterogeneous locales functioning in society.
( Boosung Kim ) 한국영어영문학회 2019 영어 영문학 Vol.65 No.1
The advent of cinema at the dawn of the twentieth century profoundly ruptured the nineteenth-century notion of spectatorship as a constituent of bourgeois male subjectivity by allowing marginalized social groups such as working-class women, child vagrants, and rural people to have access to a new public sphere. This paper focuses on the British modernist writer Dorothy Richardson’s film writing, which appeared in the avant-garde literary magazine Close Up (1927-1933), to show how the silent cinema spectatorship in the 1920s challenged gendered, class-bound notions of spectatorship. In particular, this paper explores the representation of spec-tatorial practices in her film writing and the ramifications of a particular mode of perception she valorizes: contemplation. Throughout the column she wrote for Close Up, Richardson, writing from the perspective of one of the spectators seated in a movie theatre, committed herself to theorizing spectator subjectivity in the early sound era. By taking up a position similar to that of the nineteenth-century male urban investigator, Richardson revises the dominant imaginative mappings of London through her discussion of the spaces of the movie theaters and the demographic makeup of the cinema audience. Challenging dominant views on cinematic perception, Richardson associates absorptive, contemplative modes of perception with plebeian spectatorship to highlight the cinema’s therapeutic, emancipatory function for the underprivileged. Richardson also contends that silent films, when accompanied by simple piano music and performed in a small, garage-like movie theater, should be the norm to secure and nurture contemplation.
( Boosung Kim ) 한국근대영미소설학회 2018 근대영미소설 Vol.25 No.1
H. G. Wells’s 1904 story “The Country of the Blind,” in which a Western explorer happens upon a village in an isolated valley where all the citizens are blind, produces multiple effects by reversing the hegemony of normalcy. Following the protagonist Nunez’s cognitive path, the reader experiences the uncanny that can be summed up as “cognitive estrangement” and “estranged familiarity.” Encountering something familiar yet strange in this otherworldly setting, the readers sense something has long been repressed in the process of constructing normalcy keeps returning. The blind townspeople’s way of treating Nunez’s eyes questions the ideas of disability in nineteenth-century Britain and suggests alternative ways of thinking about the abnormal by exposing how blindness has been conceived in society. Blindness in this story also brings the hegemony of vision to the front and functions to unravel it as Nunez’s failed project of enlightenment to educate the townspeople debunks ocularcentrism associated with the project of enlightenment in Western Europe. Depicting Nunez’s downgraded status in the valley, the story undermines vision’s firm connection with the notions pertinent to the Enlightenment such as knowledge, power, and freedom. The story encourages readers to question the hegemony of normalcy constructed in their own society and to reconcile between estrangement and familiarity.
On Being Fashionably Incorrect: Woman’s Film, Fashion, and Stella Dallas
( Boosung Kim ) 한국영미문학페미니즘학회 2018 영미문학페미니즘 Vol.26 No.3
Despite the Wall Street crash of 1929 and the Great Depression that followed, the decade of the 1930s in America was an unprecedentedly productive time for Hollywood, and the woman’s film, which depicts the life of an adult female protagonist and is designed to appeal mostly to female spectators, was one of the flourishing genres that survived the Great Depression. While scholars have viewed classical Hollywood cinema as an ideological apparatus, representing dominant ways of seeing the world and reinforcing hegemonic views, this essay proposes Hollywood films as a version of modernism that is not exclusive, arcane, and anti-modern, but inclusive, mass-produced, and highly susceptible to the experience of modernity. Drawing on Miriam Hansen’s notion of vernacular modernism marked by texts’ susceptibility to reflect and confront the constitutive ambivalence of modernity, this essay focuses on the woman’s film and fashion in tandem and examines how in the woman’s film fashion is represented through the female protagonists’ costumes and circulated in the form of a discourse. This essay argues that the woman’s film of the 1930s tends to associate the heroine’s experiences of modernity involving fashion and glamour with the themes of class rise and acquiring manners, and that in case of maternal melodrama, as manifested in King Vidor’s 1937 film Stella Dallas, the pattern is inverted. That is, the heroine’s sartorial practices do not necessarily lead to her class rise, but bespeaks her subversive individuality immune from ideological views on fashion.
김부성(Boosung Kim),윤정주(Jeongjoo Yun),장준우(Junwoo Jang),김영광(Youngkwang Kim) 한국자동차공학회 2009 한국자동차공학회 학술대회 및 전시회 Vol.2009 No.11
This paper presents a design of AMT(automated manual transmission) system applied to the commercial hybrid vehicle. AMT system is based on the manual transmission and consists of clutch actuator, gear-shifting actuator, TCU and shift lever. AMT system has advantages about fuel consumption and driving convenience because the gear shifting is performed by the AMT system automatically like an automatic transmission. In this paper, it is analyzed that the requirements of AMT system and the components are designed and producted.
김부성(Kim, Boosung) 한국외국어대학교 영미연구소 2020 영미연구 Vol.48 No.-
이 논문은 버지니아 울프의 장편 에세이 『3기니』(1938)를 1930년대 영국의 다큐멘터리 운동이라는 역사적 맥락 안에서 조명한다. 영국 다큐멘터리 운동은 허구와 인위적인 것들에 대항하여 사실이 갖는 가치에 집중하는 담론 생산의 장이었으며, 특히 이 운동의 리더인 존 그리어슨은 다큐멘터리 영화를 “사실을 창조적으로 다루는 작업”이라 정의하였다. 20년대 울프가 허구보다 사실을 열등하게 보는 경향이 있었던 반면, 30년대 들어 울프는 사실에 가까워지고자 했다. 울프는 『3기니』에서 전기, 자서전, 신문기사, 보도사진 등의 다큐멘트를 예술을 위한 날 것의 재료로 다루며 상이한 사실들의 병치를 통해 새로운 사실을 변증법적으로 도출해낸다. 또한 영국의 오래된 참고서인 『휘태커 연감』을 자신이 수집한 사실들을 돋보이게 하는 장치로 사용한다. 마지막으로, 울프는 사진과 사실을 동일시하며 두 종류의 사진군을 하나는 이미지를 통해, 다른 하나는 텍스트를 통해 제시한 다음 에세이의 말미에서 이 둘을 상상적으로 합성함으로써 반전주의적, 페미니스트적 메시지를 역설한다. 이렇게 『3기니』는 울프의 30년대 다큐멘터리, 즉 “사실을 창조적으로 다루는 작업”으로 재정의될 수 있다. This paper reads Virginia Woolf’s 1938 political essay Three Guineas against the backdrop of the British Documentary Movement. In the 1930s, John Grierson, the leader of the movement, defined documentary film as “creative treatment of actuality” and explored its possibilities as a political means by filming working class individuals. Other commentators actively involved in producing the discourse on documentary by valuing fact rather than fiction. In Three Guineas, Woolf associates facts with the class she calls “the daughters of educated men.” In her using a variety of documents such as biographies, autobiographies, newspaper articles, and journalistic photographs, she treats them as the raw material for her art and juxtaposes them to reveal the differences between men and women to the extent that the juxtaposition serves as a dialectics for a synthetic conclusion. In particular, she uses Whitaker’s Almanack for a foil for facts. Equating photographs with facts, she superimposes snapshots of British male authority figures and atrocity photographs taken during the Spanish Civil War to express her antiwar message. In this way, Three Guineas can be redefined as Woolf’s “creative treatment of actuality” that is highly responsive to the documentary film culture of the 1930s.
플롯 없는 소설: 도로시 리차드슨의 『순례』에 나타난 지루함과 모더니스트 독자
김부성 ( Boosung Kim ) 한국영미문학페미니즘학회 2017 영미문학페미니즘 Vol.25 No.2
Dorothy Richardson`s thirteen-volume novel Pilgrimage presents a single woman`s life as a continuous process without offering any traditional sense of resolution or ending. With its emphasis on detail and with its use of unpunctuated prose, the novel gained the reputation of being unreadable and was criticized for generating boredom. Drawing attention to its serial form and style, this essay investigates how Richardson`s literary experiment constructs a new type of reading subject whose relation to textual space should be different from that of the nineteenth-century readers. In her pursuit of serial form in depicting the portrait of an artist as a young woman, Richardson thematizes boredom as integral to her feminist strategies to express critical dissent from dominant narratives of gender. Through her essay “About Punctuation,” her preface to Pilgrimage, and scenes of reading in the novel, Richardson argues that “feminine prose” distinguished from nineteenth-century masculine realism should be properly unpunctuated to the extent that one`s reading speed must be encumbered so that readers can question norms implicated in standard punctuation. Promoting “the slow, attentive reading” by using experimental punctuation and detail, Richardson`s prose style highlights readers` creative collaboration and allows readers to experience non-homogenous temporalities and spatialities. Richardson`s aesthetics of slowness serves to constitute modernist readers, who were required to adopt a new reading strategy to overcome boredom while encountering unreadable texts and to appreciate aesthetic values of new modes of writing though active participation in textual production.