Pamela의 現代的 解釋

尹孝允 同德女子大學校 1982 同大論叢 Vol.12 No.1

복층형 대형할인점 후방시설의 평면구성 체계에 관한 연구

함정도,윤효윤 서울산업대학교 산업대학원 2000 大學院論文集 Vol.7 No.-

This study aimed to present the plan of organization for improvement of productivity in multi-storied discount store's back room. To achieve the objective, drawings and documents were surveyed and analysed, which were concerned five multi-storied discount stores situated in new cities of capital region. The conclusions were drawn as follows. 1. Back room should be situated in opposite side of the entrance to sales-area and the ways in and out for customer and goods' vehicles should be separated each other. 2. It is recommended that the loading space & overground storage be the first floor. 3. Staff zone including office should be separated from sales-area story and situated on Parking area. Also, staff's circulation must be arranged for the shape of U or count-U for convenient operation and transfer.

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.

블라디머 나보코프 소설의 설화 방식에 의한 전경화(前景化)

尹孝允 弘益大學校 人文科學硏究所 1998 人文科學 Vol.6 No.-

Vladimir Nabokov's novels are said to draw attention to their status as artifacts self-consciously and systematically. This is explained as the foregrounding on the linguistic dimension rather than on the referential dimension. The linguistic dimension may include the stratum of sounds in a literary work and that of meaning-units, that is, words in the text, as well as that of schematized aspects by which characters, actions and ideas in the novel reveal themselves. The paper concentrates on the schematized aspects of Nabokov's fiction, examining the foregrounding nature of the author's narrative devices. Parody is studied as the first of the narrative devices Nabokov uses to foreground the text on the narrative level. A repetition with difference to disturb the reader's perception of a given text, parody is an important concept in the contemporary self-conscious metafiction. It is noted that the author uses it not only on the level of outworn narrative techniques and themes but also on the level of literary genres and forms. The next section examines authorial intrusion as a device drawing attention to the novel as an artifact. The third section deals with the laying bare of narrative devices in connection with Nabokov's parenthetical method of description. The narrative techniques of skaz and retardation are also related to the concept of foregrounding in this section. The patterning of themes forms the last section of this paper. This is about the recurrences, correspondences and coincidences of various elements in his novels that make the reader conscious of the controlling hand. All these devices examined in the four sections help break the effect of fictional verisimilitude.

Sons and Lovers의 비평적 수용

윤효윤 弘益大學校 東西文化硏究所 2001 東西文化硏究 Vol.9 No.-

It is interesting that the early reviews and interpretations of Sons and Lovers fully anticipated the diverse approaches to the work according to different schools of criticism in the 20th century. most of the early reviewers, suspecting the novel to be based on the writer's actual experiences, commented on the realistic rendering of the life in a mining village around the turn of the 20th-century Britain. The psychological approach, represented in this paper by A. Kuttner and F. Kermode, seeks to interpret the relation between the hero and the female characters in terms of Oedipus Complex as explained by Freud. Kermode, however, puts more emphasis on the aspect of a distinctive cultual event to explain the psychical disorder. Technique and artistry in a work of art are very important concepts to the formalist critics. While M. Schorer takes issue with a discrepancy in the themes and point-of-view in the novel, Julian Moynahan finds the three different formal orders enrich one another. The Marxist approach concentrates on the disturbing social truths of the author's time in his novel. According to Scott Sanders, however, Lawrence was unconscious of the impact of society on the individual. G. Holderness, interpreting this novel, emphasizes on the social, rather than the individual, experience as a source of value. Feminist criticism has been severe on Lawrence. Kate Millett was frankly political: she attacked Lawrence for representing male domination as an inevitable condition, while H. Simpson tried to be more objective in giving a historical contest to the author and feminism in his time. The critics of the last section doubt about the book's claim of realist objectivity. If L. Martz is interested in the way in which Miriam emerges from a narrative told primarily from the hero's point-of-view, Diane Bonds has more interest in interpreting the subtexts revealed through contradictions and evasion. They both show the poststructuralist concern with the instability of the language as attested in the recent Lawrence criticism.

構造主義 接近方式에 依한 詩의 特性 考察

尹孝允 同德女子大學校 1983 同大論叢 Vol.13 No.1

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.

나보코프의《창백한 불》연구 : 로티의 자유주의 아이러니스트 해석 Richard Rorty's Liberal Ironist Interpretation

윤효윤 弘益大學校 人文科學硏究所 2004 人文科學 Vol.12 No.-

Criticized for the formal qualities in place of the moral content in his novels, Nabokov once said that a reappraiser would declare that he was a rigid moralist. Indeed in 1989 with his celebrated book on the Liberal Ironist, Richard Rorty came and declared Nabokov's novels to be more effective in producing better citizens for a democratic society than moral treatises, narrative media being the most useful vehicles of moral education at present. Following Judith Shklar's definition of a liberal, Rorty argues the suggestion "as little cruelty as possible" is simply a good basis for a modem society. Nabokov is then recognized as a liberal because he speaks out against cruelty. In interpreting Pale Fire Rorty writes the lake where the rejected Hazel drowns herself, rather than the fantastical mountains the King crosses in to exile, is "the central topographical center" of the novel. By this, he says, Nabokov asserts that the reader's sympathy should be with the sufferers rather than with charmers like Kinbote, as the novelist's own pursuit of private perfection does not necessarily lead to tenderness in human relation. This is Rorty reading Nabokov against Nabokov, mediated by pragmatism. He argues the relation between Kinbote and Shade is not simply oppositional but dialectical; Nabokov was interested in making himself and his readers better by increasing the intensity of the dialectical exchanges between two sides of his and our natures-the side that exults in beauty and in the fantasies to which beauty gives rise, and the side that is ravaged by the suffering of the helpless. Rorty may be interpreted as coming to respond to what Kinbote says towards the end of the novel about turning up yet on other campus. It is then possible that Rorty as Kinbote returned was created as an dead-end designed to thwart future critics reading the author into the book. Rorty's criticism of 'aesthetic bliss' may as well be interpreted other than the author's personal myth, as art gives the reader directly, not after the programmed lapses, the moments of moral effect by the education of the senses in sharpening the sensibilities and promoting the self-inspection of others.