경관급식 노인 환자의 영양공급실태와 영양상태 평가

윤화영,김혜경,Yoon, Hwa-Young,Kim, Hye-Kyeong 한국식품영양학회 2018 韓國食品營養學會誌 Vol.31 No.1

The purpose of this study is to examine the feeding and nutritional status of enteral tube-fed elderly patients. Subjects included 77 elderly hospitalized patients who had received enteral nutrition more than one week before admission. Medical records on admission and actual feeding volume were used to assess anthropometric, biochemical, and nutritional status. Most patients manifested disorders of the nervous system (93.5%) and the average duration of tube feeding was 13.9 months. The average feeding volume of formula was 1,107 mL per day and the mean ratios of calorie and protein (supplied vs. required) were 81.7% and 80.9%, respectively. At admission, 57.4% of the patients were malnourished according to the institutional criteria. Patients receiving less than 80% of the required calories were in worse nutritional status compared with those receiving more than 80% of the required calories. Body mass index, percent ideal body weight, serum albumin level and blood lipid levels (total cholesterol, HDL-cholesterol, triglyceride) were significantly lower in patients receiving less than 80% of the required calories. These results indicate the high prevalence of malnutrition and the need for increased attention and nutritional care of elderly patients undergoing long-term enteral nutrition.

아도르노와 베케트 - 『엔드게임』의 미메시스적 계기에 대하여

윤화영(Yoon Hwa-young) 한국비평이론학회 2007 비평과이론 Vol.12 No.2

  What quality of Beckett"s literature made Adorno have an idea to dedicate his entire Aesthetic Theory to Beckett? Earlier on, he also dedicated an extended study of Beckett"s play Endgame to Beckett. This paper tries to solve this enigma through close reading of Adorno"s Aesthetic Theory paying special attention to the concept of mimesis, one of his major aesthetic categories.<BR>  For Adorno, all authentic mimesis is that of utopia, Since the nature uncontaminated by nature-domination of instrumental reason does not exist any more, artworks can only point toward the possibility of a nature which "is not yet" by determinate negation of "what actually is", implying determinate criticisms on what is and has been. Artworks can only express this utopian negativity by a configuration of materials which already contain history sedimented within them.<BR>  In terms of practical theory of art, the ideal mimesis should pursue the nonsignificative language. Thus, for Adono, the expression of artworks is the non-subjective in the subject, or to put differently, art is the imitation of an objective expression remote from (subjective) psychology. Seen in this way Beckett"s Endgame does not copy any specific individual nor any specific historical event. The play conveys through expression what caused the decline and catastrophe of history and subject and yet, it does this not through the meaning of their dialogues. Rather, it acquires objectivity through non-discursive means such as regressive language, stage images and historical allegories. This kind of nonrepresentational affinities to the objective reality are dramatized and portrayed through the clownish subjects-characters who are not subjects-individuals but "the protohistory of subjectivity." Although Endgame is historically mediated, the expression, or the spirit that has guided the formal procedure of the construction, is far removed from the one that has inspired the official realism(Lukacs) or didactic literature(Brecht). The abstract quality of Beckettian mimesis proves the workings of material imagination of the author as well as an assimilation to the spell of objective reality which in their immediacy fail to articulate the essential(the truth content).

베케트의 『쿼드』: 광학적 기하학의 세계

윤화영(Hwa-young Yoon) 한국비평이론학회 2011 비평과이론 Vol.16 No.2

This paper explores the exact nature of “a relentless Spinozism” which Gilles Deleuze relates to Samuel Beckett’s late television drama. I find that the pervasive presence of Spinozism in Beckett’s oeuvre is much more substantial than any scholar has ever conjectured or attested. In this paper, I discuss Beckett’s Quad applying two related concepts of Spinoza: the spiritual automaton and the method of optical geometry. Unlike popular views on Beckett’s television drama which regard the images on the screen as direct projections of the mind’s eye, I discuss the camera-eye as an impersonal mind’s eye, a kind of spiritual automaton designed to accomplish the task of exhausting the possible. Tantamount to, or more deterritorialized than the usual amnesiac witnesses of Beckett’s other television drama, the camera-eye “equals to a combinatorial world.” In other words, the camera eye of Quad becomes the world through the process of combination. The most conspicuous intertextual area between Beckett and Spinoza can be found in their entirely radical, revolutionary vision of “a Life” to liberate life from all the oppressive and suffocating system of morality and paternal linguistic language. By inventing the scientific method of optical geometry, which enables them to see, through the impersonal lens projected by light, not only the compositional and fluctuating geometric structures common to all modes but also the illuminated essences, the light in itself and for itself. I analyze Quad exactly in these terms, that is, the geometric, virtual figures and lines as the common notions of the human animal and the central point, the danger zone E, as representing the exhausted space, never to be trodden by any people although it coexists and makes all the realization of an event possible.

페미니즘 연극의 방향 - 식수스의 『 도라의 초상 』 을 중심으로 -

윤화영(Hwa Young Yoon) 부산대학교 여성연구소 1995 여성학연구 Vol.6 No.1

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베르그송, 들뢰즈 그리고 베케트 문학의 '잠재태'(the Virtual) 혹은 '순수과거'의 시간

윤화영(Hwa-young Yoon) 한국비평이론학회 2005 비평과이론 Vol.10 No.2

In this essay I explore Bergson-Deleuze's philosophy of the virtual in conjunction with its literary implications. The ultimate aim of my argument is that Deleuze's essays on literature would be better appreciated if we understand his idea that literary works arise from and participate in the virtual, of which the most conspicuous and finished embodiment, as Deleuze obliquely suggests in his essay ""The Exhausted,"" is the case of Samuel Beckett. The 2nd part of my essay investigates the concept of the virtual in Bergson-Deleuze's philosophy. For Bergson the concept originates from the thinking of duration defined first as the virtual multiplicities. Then, he develops the idea further to include pure-recollection which preexists our perception. Bergson's discovery of pure past implicated in duration and pure-recollection enables Deleuze to systematize his own idea of time culminating in his founding work, Difference and Repetition, as the three synthesis of time. I discuss the intimacy between the second(pure past) and the third(the eternal recurrence) syntheses of time to solve the problem I met with when I tried to figure out why those literary works exploring the virtual(pure past), pure sensation or coexistence of differential elements, employ non-chronological time(the time of Aion) which Deleuze describes as the characteristic of the third syntheses of time. The concluding part of my essay is an explication of Deleuze's essay ""The Exhausted"" to prove that Beckett's oeuvre epitomizes the literature of the virtual. I consider the possibility of organizing the virtual elements Deleuze finds in certain literary works into a comprehensive theory of the literature of the virtual. The present essay deals with only 'the possible as an aesthetic category'(narration through inclusive disjunction) and 'the aesthetic figure or the fantastic decomposition of the self,' with the rest important elements and qualities such as language(poring holes in language plus 'foreign language') and ethical dimensions of literature yet to be discussed.

베케트의 『행복한 나날들』

윤화영(Hwa-young Yoon) 한국비평이론학회 2013 비평과이론 Vol.18 No.2

This paper analyzes Samuel Beckett's Happy Days in an attempt to find the serial features in its aesthetic composition which are able to be associated with the musical serialism practiced by various European composers from the 1920s onward. Both of them share in common the essentially mathematical and 'machinic' structural principles according to which a recurring series of ordered elements (a set, a row) are used with equal chance, so the lack of a musical or dramatic subject and a privileged moment gives a piece a radically different sort of unity from that of their artistic precedents. Since the notes or expressive dramatic elements belonging to a set are related only to one another, both of musical serialism and Beckett's theatrical serial technique may also be considered in terms of a philosophy of life which, in the words of Stockhausen, is "a spiritual and democratic attitude toward the world," that might be associated with the Deleuzean philosophy of immanence. Beckett's serialism is able to be read as an artistic choice for the transformation of the 'strangeness' that he sensed in the post war European world around him into an artistic form. It was a strange world in which the capability of "affect and being affected" had been drastically diminished by the prevalent commercialism and the habitual false conscious. In Happy Days that sense of strangeness is conveyed through a constant rhythm of interruption between the serial elements of various sets he predetermined. The rhythm of interruption is nothing less than the relations of movement and rest that expresses "the fluid structures that are transformed and deformed at variable speeds" as Deleuze puts it. It is a geometrical and universal structure or rhythm of life formed and deformed by all possible bodies of the world enveloping all the possible relations of movement and rest.

프루스트와 베케트 -베르그송-들뢰즈의 순수회상(pure recollection)을 중심으로

윤화영 ( Yoon Hwa-young ) 대한영어영문학회 2004 영어영문학연구 Vol.30 No.3

This article explores the intertextuality between literature and philosophy. Deleuze has utilized Bergson's discovery of the pure past to arrive at his own very creative time-image. Proust and Beckett have also been greatly influenced by Bergson's theory of memory in formulating their own idea of the relationship between memory and subjectivity. Deleuze, in turn, interprets and explores the literary world of both writers applying his ‘critical and clinical’ theory of literature the formulation of which attests to the Bergsonian ideas of difference and vitalism. After briefly introducing Begson's theory of pure recollection and Deleuzian metaphor of time, ie. the crystals of time, the article compares the literary and artistic style of Proust and Beckett. Deleuze finds the literary expression of a virtual past in Proust: Combray surges forth within the present taste of the madelaine. But that combray is itself a difference, not the Combray as experienced in the past, but an essence of Combray. In “The Exhausted” Deleuze discusses Beckett's image in terms of exhausting the possible. The article argues that the Beckettian ‘pure image’ in ...but the clouds... is a virtual(recollection) image which has never been present. It is a pure intensity, a difference, a ‘light’, a life above, which “appears in all its singularity, retaining nothing of the personal, nor of the rational, and ascending into the indefinite as into a celestial state.” < Pusan National University >

바디우와 베케트: ‘사건’의 주체와 시적 명명의 문학 - 『최악의 방향을 향하여』 를 중심으로 : 바디우와 베케트: ‘사건’의 주체와 시적 명명의 문학

윤화영(Hwa-young Yoon) 한국비평이론학회 2006 비평과이론 Vol.11 No.2

In this paper, I make an attempt to refute Andrew Gibson"s assertion that albeit Badiou"s reading of Beckett in terms of the major concepts of his own philosophy, the process of post-evental fidelity and subjectivation, which is crucial in Badiou"s ethics of the event, is entirely missing in Beckett"s works. My contention is that the place of the event in Worstward Ho, where the narrator, after the long ‘worstward’ process of "saying on", pronounces the latest ""nohow on,"" clearly demonstrates the nature of post-evental fidelity in Beckett. The fidelity here, the good in Beckett, consists in promising the ""on,"" while pronouncing the ""no,"" i.e., beginning the poetic naming of the event again without naming the unnamable. In other words, the whole text itself, which begins with the significant ""On,"" is an act of fidelity to this event which will happen at the end of the text. This is what Badiou himself refers to as a "futural" fidelity to an event. To prove this, I compare Badiou"s reading of Worstward Ho with that of Improvisation of a Faun by St?phane Mallarm?. In both writers the place and activity of the event is one and the same thing. After introducing the two types of events in Beckett, I discuss how the beauty and the good is achieved in the poetic naming of events in Beckett. Badiou notes that beauty surges forth when we understand that the path of words(the multiple) goes counter to the demand of the thought(the one). Beauty takes place when the poetic naming of events seizes thought at the edge of the void superimposing the multiple onto the void.

강박증의 집단인지행동치료의 효과

윤화영(Hwa Young Yoon),정승희(Seung Hee Jeong),신민섭(Min Sup Shin),김중술(Zoung Soul Kim),김명선(Myung Sun Kim),권준수(Jun Soo Kwon) 한국정신병리진단분류학회 2000 精神病理學 Vol.9 No.2

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탈식민주의와 베케트

윤화영(Hwa young Yoon) 한국영미어문학회 2014 영미어문학 Vol.- No.115

This essay attempts a kind of meta-commentary on the two major contributions to the Beckett studies within an Irish postcolonial framework: David Lloyd's "Writing in the Shit: Beckett, Nationalism and the Colonial Subject" that has been regarded as the first major study of Beckett's work from the postcolonial perspective and Conor Carville's chapter in his book, The Ends of Ireland, which aims a critical appraisal of Lloyd's essay. After summarizing Lloyd's work, this study then traces how Carville strategically deconstructs Lloyd's theoretical contradictions. In the concluding part, I suggest my own view that the study of postcolonial Beckett should open onto the more inclusive area of the politics of aesthetics.