Realism과 小說

尹孝允 新羅大學校 1979 論文集 Vol.7 No.-

Traditionally the novel is said to have concerned itself with the representatin of real life. And we find literary critics who see the novel as a record of the process from appearance of the would to reality- to a recognition of the actual way of the world. At any rate, the novel seems to ahve an almost fatal relationship with realism. Realism, however, is a term very ambiguous and hard to define. To understand the term as used in literature, an attempt was first made to grasp the meaning to the world, real and reality. The second part of this paper examines realism as used in philosophy. Plato's conceptual realism was compared with philosophical nominalism of the Middle Ages. It was noted how Thomas Aquinas combinde these two opposing views of reality to give a listing influence on the western thoughts. Also, the changing views of reality from the common-sense school to modern linguistic philosophy were discussed with a view to preparing for the understanding of the similar development in the usage of literary realism. The following part traces realism as a literary movement in the 19th century France. It was pointed out, however, that realism as first used in literture was not a distinctive out, however, that realism as first used in literature was not distinctive literary school but a reactionary consciousness against the prevailing tastes of the ruling class in the second empire. Its distinctive features were later supplied by naturalism which was a second generation realism. Naturalism. emphasizing scientific techniques of observation and experiment, collapsed when the optimistic dream of science gave way to skepticism toward the end of the 19th century. The term 'realism' has proved to be such a useful word for the criticism of the novel that it refuses to die with naturalism. The fourth part deals with the idealistic realism in modern literature. The modern usage of the term is explored in connection with Henry James's 'intensity' and James Joyce's internal subjectivism. However, it should be noted that the contemporary realism does not reject exterior reality, which provides the novelist with a kind of springboard. This extended usage embracing both subjectivism and objectivism one risk: depriving the term of its meaning altogether. The realists' claim that they can reproduce real life is technically as well as philosophically impossible. The relationship between reality and the novel should not involve competition; the reality in the novel should not involve competition; the reality in the novel should be acknowledged as being different from the reality in every day life. For the world that the novelist deals with in his novel is the subjunctive conditional-he deals with imaginary events and characters for the sake of leading to a realistic view of human life. It is in this sense that all writers are realists.

Enrofloxacin과 colistin의 복합제(Enroco)의 아급성 독성시험

윤효인,김민규,박승춘,장범수,이내경,최양웅 충남대학교 수의과대학 동물의과학연구소 1997 動物醫科學硏究誌 Vol.5 No.-

The study was carried out to evaluate toxicity of enrofloxacin and colistin complex (Enroco) with a dose of 10 ㎎/㎏/day, 20 ㎎/㎏/day and 40 ㎎/㎏/day via oral administration for 3 weeks in ICR mice. All procedures of the test were performed by the established regulation of Korean National Institute of Safety Research (1994. 4. 14). Appearance, behavior, mortality and food consumption of treated groups were not affected during the experimental periods. No significant does-related changes of the combined antibacterials were found in urinalysis, eye examination, hematology, serum chemistry, and organ weight. No histopathological lesions were observed in both control and treatment groups. Our results strongly suggested that no toxic changes were found in mice treated orally with enrofloxacin-colistin complex for 3 weeks.

경주마에서 Naproxen 및 대사산물의 검출

윤효인,박승춘,이관복,김창식 충남대학교 수의과대학 동물의과학연구소 1994 動物醫科學硏究誌 Vol.1 No.-

Naproxen(NPX) was administrered to a throrougbred mare in a single oral does. Plasma and urine samples were collected from 1 hour to 144 hours after administration, at varying intervals. The alkali hydrolysis was used for the seperation of glucuronide from the conjugated naproxen and its metabolite in urine. Naproxen and its metabolite desmethylnaproxen (DesNPX) were extracted at pH 4.0 with DCM/ETHETR/HEXAN(1/1/1, v/v/v) and quantitated by HPLC with diode-array-detector. The wavelength of ultraviolet was 235, 254 and 264 nm. The qulification of NPX and DesNPX was performed by gas-chromatograph-mass spectrometry using DB-1 column. Silylation (BSTFA including 1% TMCS) before the analysis of the extracted residue with GC/MSD was carried out for the detection of this drug and its metabolite. The characteristic ions (m/e) of trimethyl Silyated NPX and DesNPX were 73, 185, 302 and 73, 243, 360, respectively.

버나드 맬라무드의 『두빈의 생애』 연구 : A Study of Bernard Malamud's Dubin's Lives 정체성의 추구를 중심으로

尹孝允 弘益大學校 東西文化硏究所 1998 東西文化硏究 Vol.6 No.-

Abstract The quest for identity is the theme of this novel about the Jewish-American biographer who examines minutely the lives of others. Although Jewishness is not an important factor, the Jewish elements are still related to this theme. For the hero comes to learn in the end to live the life of moral responsibility that encompasses the need of others, thus confirming the author's continuing concern about humanity. Possessing a number of selves, Dubin wants to embrace American ideals. His desire for an intimacy with nature is interpreted as the desire of constructing an American identity: Thoreau is the hero's mediated desire. Hard as he tries, however, he finds it difficult to acquire the self-reliant, spontaneous identity of the nature-lover who derives spiritual truth and renewal from his communion with the organic world. The biographer, while writing the life of D. H, Lawrence, tries to embrace different ideals of modem American mainstream ideology. He comes to know Fanny Bick, the hippie-styled girl embodying Dubin's desire according to Lawrence. The hero's meeting of Lawrence and Fanny represents 1970's sensibilities that emphasize the physical and feeling side of the modem man's identity. The Lawrentian persona as the young woman's lover, however, contrasts sharply with the personality of the English novelist and reveals the gap that separates the biographer's aspiration from the concealed Jewish identity. The novel is more the anatomy of a marriage than the story of a love affair as the relationship with Fanny causes him as much pain as pleasure. From the very beginning the biographer is torn between his self-glorification and his self-abasement. The ending affirms the hero's moral responsibility after the reconciliation of the different selves in him: Dubin no longer has the egoistical need to live more fully than the subjects of his biographies and acquires the courage to make difficult moral choices - between his wife, Kitty, and his lover, Fanny. It is true that the hero's psychic evolution is ambiguous because of the inconclusive ending. Dubin seems to enjoy the tension and the irresolution that comes from his mixed involvement with history and his immediate experiences. Still his quest for identity, ambivalent as it is, makes him especially complex, enigmatic and provocative among the Malamudian heroes.

의식의 미학으로 읽는 Vladimir Nabokov의 소설

尹孝允 弘益大學校 東西文化硏究所 1994 東西文化硏究 Vol.2 No.-

After the danger of a self-referential novel with its solipsist tendency is pointed out, each of Nabokov's novels in English is considered from the point of content. The conflict between the claim that there is nothing in his fiction but the beauty of form and the claim that his fiction concerns itself with serious content may be solved by the aesthetics of consciousness. Nabokov's fiction is essentially the reflection of the author's consciousness in three ways. First, his fiction making is interpreted as a means of escape from time on the part of a mortal being conscious of death. Second, the patterning and ordering in the structure of his fiction point to the author's conscious act. Third, there is still another kind of consciousness in that the author is conscious that he is conscious of the limiting time and he is doing the conscious act in his fiction-making. The last consciousness is what makes Nabokov rigorously distinguish life's contingent existence from art's inhuman privileges. It is from this consciousness that his novels got peculiar moral nature and it is for this that he may be called a novelist for whom human values always come first.

Nabokov의 Transparent Things 硏究

尹孝允 弘益大學校 1986 弘大論叢 Vol.18 No.1

Vladimir Nabokov(1899∼1977), "a Russian by birth, an exile by necessity, and an American by adoption," is sometimes called a decadant, a master stylist, or an illusionist. The purpose of this paper is to examine his novelistic techniques as found in his 16th novel, Transparent Things. An attempt is made to compare this novel with biographical works in terms of pattern-making which turns out to be his dominant concern as an artist. Sound patterns such as alliteration and assonance, puns, anagrams are extensively examined as well as parody, which is another form of pattern-making in a larger context. The possibility of explaining these aspects of his fiction from the viewpoint of Russian formalist tenets is entertained. His novels demand that the reader be wide awake to the various forms of pattern he has planted and to many themaitc "recurrences, correspondences, and coincidences" in the novels. The reader must be an active finder and maker of patterns himself to appreciate the novelist's artfulness in his magical artefice.

Lolita의 구조

尹孝允 弘益大學校 東西文化硏究所 1996 東西文化硏究 Vol.4 No.-

AbstractThe supreme degree of order and control in Vladimir Nabokov's writing does not allow Aoflf's to degenerate into a pornographic novel. The quality in his fiction which draws the reader's attention to its status self-consciously and systematically is explained in terms of'ostranenie'(defamiliarization) and foregrounding - the key concepts of Russian Formalism and the Prague school of linguistics.The paper attempts to examine the foregrounding effects in the novel according to the different layers of the literary work as expounded by Roman Ingarden. He distinguishes not only such linguistic strata of sounds, words and narrative units but also such non-linguistic stratum of "represented objects." Accordingly, the categories examined here include 1) the play on words which involves the author's neologisms, compound words, homonyms, puns, etc., 2) literary allusions which make use of the tension between surface and latent signification, 3) parodies intended to make the reader aware of the literariness of the fictional elements, 4) the authorial intrusion to call attention to the artifictatious nature of the text, 5) the laying bare of the novelistic devices that prevents the reader from empathizing with the fictive world, and 6) the patterning of motifs, the recurrence of which attests to the presence of the author's firm controlling hand.The final layer involves the fictional world represented by this novel. Its peculiar metaphysical quality is best examined by questioning the morality of Humbert's action. It is possible to draw both negative and positive interpretations for his actions. The ambiguity in tone and intention on the part of the author turns this novel into a diabolical humor, making the reader shift perspectives continually by undermining the bases for psychological and moral judgement. Lolita may belong to one of the early major postmodernist texts in that it is a polyphonically delightful and polymorphously perverse work playfully deconstructing everything from love to truth, and (rom knowledge to being. The supreme degree of order and control in Vladimir Nabokov's writing does not allow Lolita to degenerate into a pornographic novel. The quality in his fiction which draws the reader's attention to its status self-consciously and systematically is explained in terms of 'ostranenie' (defamiliarization) and foregrounding - the key concepts of Russian Formalism and the Prague School of linguistics. The paper attempts to examine the foregrounding effects in the novel according to the different layers of the literary work as expounded by Roman Ingarden. He distinguishes not only such linguistic strata of sounds, words and narrative units but also such non-linguistic stratum of "represented objects." Accordingly, the categories examined here include 1) the play on words which involves the author's neologisms, compound words, homonyms, puns, etc., 2) literary allusions which make use of the tension between surface and latent signification, 3) parodies intended to make the reader aware of the literariness of the fictional elements, 4) the authorial intrusion to call attention to the artifictatious nature of the text, 5) the laying bare of the novelistic devices that prevents the reader from empathizing with the fictive world, and 6) the patterning of motifs, the recurrence of which attests to the presence of the author's firm controlling hand. The final layer involves the fictional world represented by this novel. Its peculiar metaphysical quality is best examined by questioning the morality of Humbert's action. It is possible to draw both negative and positive interpretations for his actions. The ambiguity in tone and intention on the part of the author turns this novel into a diabolical humor, making the reader shift perspectives continually by undermining the bases for psychological and moral judgement. Lolita may belong to one of the early major postmodernist texts in that it is a polyphonically delightful and polymorphously perverse work playfully deconstructing everything from love to truth, and from knowledge to being.

새로운 Reality의 追求 : John Barth and the Contemporary American Novel John Barth와 最近의 美國小說

尹孝允 新羅大學校 1977 論文集 Vol.5 No.-

In contemporary American novels we find a tendency toward absurdity, surrealism, parody and silence. Faced with exhaustion of possibilities in their story-telling, the contemporary novelists give up the task of representing realities of the world they live in. Instead they try to create a new order in their writings. Their endeavor to find a new order in their surrealistic novels, in their ultra-realistic novels of non-realistic novels of non-fiction and in their parody novels is understood as a search for a new reality. Part One and Two examines the American society as seen through the eye of contemporary novelists-how they are concerned with the idea of entropy and how they have given up representing realities which they think are continually outdoing their talents. Modern 'traditional' writers are brought into contrast by noting how successfully they were able to transform the sentiment of lost values into a value of are. In Part Three and Four, John Barth's novels, The Floating Opera and The Giles Geas-Boy, and his literary essay, "The Literature of Exhaustion", are analyzed to see how he attempts to create a new reality by employing an intellectual dead end against itself. The French New Novelists are dealt with in this context. The release from the limiting powers of environmnt is dangerous for the novelist in that his novel tends to be a mere linguistic play and he is kept from confident participation in life. However, it seems certain that the contemporary American novelist has renounced the pretense of making his novel a mirror for life and pseudo-realistic documents.

Nabokov 소설의 언어적 패턴

尹孝允 弘益大學校 1991 弘大論叢 Vol.23 No.1

Nabokov's novels tend to draw the reader's attention to their status as artefact self-consciously and systematically. The language in them are foregrounded- that is, it has what the Russian formalist critics called "defamiliarization" effect. The foregrounding of language in his novels is best observed in various types of linguistic patterning that show the structure of his fiction. The paper analyzes Nabokov's verbal consciousness according to three types of linguistic patterning: 1)The use of puns that create semantic tension between manifest and latent meaning in phonetically similar words. 2)The use of allusions that convey to the reader additional cultural and literary significance. 3)The use of proper nouns that utilize puns, allusions and other patterning devices.

조기 위암의 림프절 전이 양상

윤효영 충북대학교 의과대학 충북대학교 의학연구소 1996 忠北醫大學術誌 Vol.6 No.2

진행성 위암에서 외과적 절제술중의 림프절 절제술에 대해서는 더 이상의 논란의 여지는 없으나 위절제술과 더불어 시행되는 광범위한 림프절 절제술은 수술후 자율 신경계의 손상, small capacity syndrome, dumping 증후군, 역류성 위염 등의 수술후 합병증 등이 문제가 되고 있어, 최근에는 조기 위암에서 축소 수술이 여러 병원에서 조심스럽게 논의되고 있다. (목적) 본 연구는 조기 위암에서 림프절 전이 양상을 규명하여 위축소 수술의 적응증을 알아보고자 하였다. (재료 및 방법) 1992년 9월부터 1995년 6월까지 충북대학교병원 외과에서 조기 위암으로 위아전 절제술 및 D2 이상의 림프절 곽청술을 시행한 49명의 환자를 대상으로 하여 병변의 위치, 심달도에 따른 림프절 전이 양상을 분석하였다. (결과) 총 49명 환자의 병변의 크기는 0.7-4.5cm까지 분포하였으며, 곽청된 림프절의 평균치는 29.9(범위 25-39)개였다. 심달도는 점막암이 20명, 점막하 암이 29명이었다. 점막암 환자중 병변의 위치에 상관없이 주변 림프절의 전이는 없었다. 점막하 암의 경우 병변이 위체부(n=10)에서 관찰될 때 10%(n=1)에서 림프절 전이가 발견되었으나 우위동맥을 포함한 위소만곡 주변의 림프절 전이는 관찰되지 않았다. 병변이 유문부에 위치하고 심달도가 점막하까지 침습한 경우에는 림프절 전이율은 21%(n=4)로 상대적으로 높은 전이율이 관찰되었다. (결론) 조기 위암이 웨체부에서 관찰되며 심달도가 점막에 국한된 경우에 소만곡부위 특히 우위동맥 주변의 림프절 전이는 드물 것으로 생각된다. 이 경우 주기적으로 추적 검사가 가능한 환자에서 내시경적 위절제술, 부분 위절제술 및 유문부 보존 위절제술 등의 축소 위절제술을 시도할 수 있겠다. Gastric surgeons routinely perform radical gastrectomy in patients with gastric cancer including more than D2 lymph node dissection. This approach is reasonable but it may increase morbidities such as ANS injury, small capacity syndrome, dumping syndrome and reflux gastritis. To diminish these operative morbidities and to secure a good quality of life after gastric operation, various methods of limited surgery for early gastric cancer(EGC) have evolved. To evaluate the pattern of lymph node metastasis according to depth of tumor invasion and location of tumor, we analysed 49 cases of EGC operated with more than D2 dissection from September 1992 to May 1995. Followings are our results. 1. Average number of lymph node dissection was 29.9(range 25-39). 2. There was no lymph node metastasis in mucosal cancers(n=20), 3. In submucosal cancers(n=29), the size, gross appearance and histologic classification of tumor were not predictive factors whether lymph node metastases take place or not 4. Tumors located in middle third of the stomach have less chance of lymph node metastasis than tumors located in antrum(10% vs 21%). 5. No metastasis was observed in either suprapyloric lymph node or the lesser curvature lymph node in EGC located in the middle third of the stomach.