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.

Waiting for Godot의 시간

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

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.

흑인 여성 육체의 정치성

윤화영(Yoon, Hwa-Young) 부산대학교 인문학연구소 1998 코기토 Vol.52 No.-

반복의 미학가 Waiting for Godot

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

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.

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).

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.

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.

아도르노의 미학이론과 베케트 : ‘부정사유’와 ‘자율적 예술의 정치성

윤화영(Yoon Hwa-young) 한국현대영미드라마학회 2010 현대영미드라마 Vol.23 No.1

This essay tries to establish that the way of ‘negative thinking,’ one of Adorno’s primary concepts of his Critical Theory, runs through all the artistic endeavor of Beckett. Negative thinking, which refers to the unceasing labour of thought as a consistent “consciousness of the non-identity,” is required of the subject to bring the existing negativity, such as identificatory thinking and the domination of man and nature in capitalist society, to an end, In his aesthetic theory, Adorno discusses the character of ‘the new art’ in terms of the negative thinking because he requires the new art to undertake the social function of awakening the subject from the spell of the ‘administerd’ society. The second part of the paper is concerned to demonstrate the Beckettian negativity(negation of the existing negativity together with the evasion of any simple positivity such as meaning, center, any absolutes) as an all encompassing aesthetic principle. Specifically, the paper discusses prominent features of Beckett’s drama such as figure(Bild), darkness, silence, repetition, and the comic in terms of aesthetic negativity. The third part is conceived to provide a necessary follow up to the previous chapter. Here, I discuss the political nature of Beckett's autonomous(as monad) literature following Adorno’s position on the dialectic of the social and the in-itself of the artwork. Beckett’s literary asceticism is seen with relation to the fetish character of art and artwork as ‘absolute commodity,’ which functions as an antidote to reification and overly commercialized culture industry.