Cardiac Rehabilitation Program using Smartphone

Heewon Chung(정희원),Hoon Ko(고훈),Jinseok Lee(이진석) 대한전기학회 2016 대한전기학회 학술대회 논문집 Vol.2016 No.2

It is not easy for cardiac rehabilitation patients to exercise themselves at home after hospital discharge. In this paper, we show that using a smartphone automatically guides the exercise for cardiac rehabilitation patients. We introduced the cardiac rehabilitation application on a smartphone, and investigated the feasibility by evaluating the heart rate estimation performance during exercise.

접촉 공간과 몸에 새겨진 기억 : 팔레스타인 작가 가싼 카나파니와 모나 하툼의 경우

정희원 ( Chung Heewon ) 영미문학연구회 2020 안과 밖 Vol.0 No.49

This paper discusses the ways in which a Palestine novelist Ghassan Kanafani and a Palestine artist Mona Hatoum represent the traumatic experiences of diaspora and (absence of) the Palestine nation in their works. Being displaced from their own ancestral native territory, Kanafani and Hatoum recapture the traumatic memory inscribed in diasporic bodies and skin in different ways. This paper first looks at Kanafani’s novels, Returning to Haifa (1969) and Men in the Sun (1963), including Tawfiq Salih’s filmed production of The Dupes (1972) based on Men in the Sun, in order to examine how the novels embody the trauma of Nakba in the year 1948 and how they use the theme of masculinity to narrate diasporic bodies and their experiences of loss and shame. Exploring the theme of bodies, entrails, and skin in Kanafani’s novels and corporeality of memory in his narratives, this paper then analyzes Hatoum’s early videos and performance including Measures of Distance (1988) and The Negotiating Table (1983) in order to sketch out how the artist inscribes the public/political geography of contact zone unto her private body signified as the place overlaid with intimate traumatic memory and histories of the Palestine nation. Finally, this paper finishes with some brief comments on the relationship between epistolary styles and the theme of exile in Kanafani’s early works and Hatoum’s Measures of Distance.

패트릭 킬러의 <런던>과 도시 유토피아

정희원 ( Chung Heewon ) 한국비교문학회 2017 比較文學 Vol.0 No.72

패트릭 킬러(Patrick Keiller)의 <런던>(London, 1994)은 <공간 속의 로빈슨>(Robinson in Space, 1997), <폐허 속의 로빈슨>(Robinson in Ruins, 2010)과 함께 흔히 `로빈슨` 삼부작으로 불리는 장편 시리즈의 중요한 시발점이 되는 작품이다. 이 논문에서는 도시공간의 불평등과 이를 낳는 사회구조에 대한 비판을 통해 도시유토피아를 지향하는 텍스트로서 <런던>을 읽고자 한다. 이 글에서는 영화의 피사체로서 1992년 영국 총선 전후의 암울한 도시풍경이 전달하는 사회적 의미와 역사적 배경에 관심을 갖되, 다음과 같은 요소를 모두 고려함으로써 <런던>을 정치적 선언화하는 편향성으로부터 거리를 두려 한다. 첫째는 도시공간을 재현하는 매체로서 영화가 세계와 맺는 관계에 대한 킬러의 깊은 자의식이다. 이에 본문의 첫 장에서는 매체 비평가로서 킬러가 개진하는 도시와 공간, 영화론에 대해 살펴본 후 이를 통해 <런던>이 발휘하는 사회비판적 힘이 작품의 미학적 성취와 불가분의 관계에 놓여 있음을 설명해보고자 한다. 두 번째로는 에세이 영화로서의 장르적 특징에 주목하는 방식이다. 전통적 다큐멘터리 장르의 특징인 시점과 문제의식의 사회성·공동성을 갖는 동시에 지극히 개인적인 미적 주체로 여전히 성립하는 `에세이`적 주체의 특징이 <런던>의 재현 방식과 맞물리는 양상에 대해 살펴볼 것이다. 또한 런던 도시풍경의 `표면`들을 연속해서 담아내고 있는 영화에서 이 불가해한 표면들이야말로 언론 매체나 여타 권력의 시선을 통해 매개되지 않은 런던의 진실에 다름 아님을 주장함으로써 이 작품에서 도시공간을 비판적으로 해석하고 재현하는 독특한 성취를 논해 보려 한다. Patrick Keiller`s London(1994), the first film in his “Robinson” trilogy of London, Robison in Space(1997), and Robinson in Ruins(2010), can be defined as a psychogeographical journey through London, recounted by narration of Robinson`s friend. This paper reads the film as a text towards an urban utopia through the critical representations of inequalities in urban spaces and of the social structure that begets the “problem of London.” The paper firstly concerns the film`s social criticism of the age around the UK General Election of 1992, and then it moves to the film`s formal achievement as the essay film: convergence of subjective representations and production of temporary social subjectivity garnered from shared experiences of the audience. Reading the “surfaces” of the film`s urban landscapes as the metonymy of the inexplicable surfaces of the urban society of London, this study defines London as the text liberating fragments in which “thought`s utopian vision” is made possible.

쇼팽의 녹턴들에서 나타나는 장단조혼용 기법 연구

정희원 ( Heewon Chung ) 연세대학교 음악연구소 2016 음악이론포럼 Vol.23 No.2

본 논문은 쇼팽의 단조 조성의 녹턴에서 사용되는 장단조혼용 기법에 관한 연구이다. 쇼팽의 단 조 조성 녹턴들에서 마지막 화음의 변화는 단지 으뜸화음을 장3화음으로 바꾼 일시적인 변화라기보 다는 작품 전체의 단조 조성이 점차 분해 또는 변형된 결과로 장조가 나타나는 것으로 해석할 수 있다. 이러한 경우 마지막 부분은 흔히 “피카르디 3도”라고 불리는 차용화음의 한 종류를 넘어서는 보다 확대된 장단조혼용 기법이 사용된 것으로 보는 것이 정확할 것이다. 본문에서는 쇼팽의 녹턴 에서 이 기법이 사용될 때 다음과 같은 특징이 나타난다는 점을 논의한다. 먼저 원조인 단조 부분 내에서 병행장조의 이명동음조나 반음계 진행 등이 나타남으로써 원조로부터의 분리 또는 변형이 일어난다. 둘째, 첫 번째 혹은 중간 부분에서 나타난 반음계적 음들은 반복 부분(reprise)에서 새로 운 조성을 확립하거나 강조하는 요소로서 더욱 중요하게 취급된다. 본 연구에서는 쇼팽의 녹턴 중 네 곡을 분석하면서 이 작품들에서 앞서 언급한 두 가지 요소가 각기 어떤 고유한 방식으로 나타나 는지 고찰한다. In this paper, I aim to explore the range of creative responses to the question of mode mixture seen in the Nocturnes of Chopin. Chopin`s Nocturnes show diverse types of the major-mode ending which might be characterized as a transformation or dissolution of the previous minor mode. I argue that Chopin uses an expanded treatment that seems to act beyond what is typically associated with “Picardy third,” as followings: 1) A certain kind of detachment, dissolution, or transformation from the initial minor key takes place within the bounds of tonal continuity; 2) In this process, chromatic notes or chords in the first or middle section function importantly in the reprise. Analyzing four works among Chopin`s Nocturnes, I examine that these works use major-minor duality not in all in the same manner, but as a site of creative invention that works itself out differently in different pieces.

이란 여성작가의 한 계보 포루그 파로흐자드에서 쉬린 네샤트까지

정희원 ( Chung Heewon ) 영미문학연구회 2022 안과 밖 Vol.- No.53

This paper traces a genealogy of modern Iranian female artists, from a poet and filmmaker Forugh Farrokhzād to a novelist Shahrnush Parsipur and a visual artist Shirin Neshat. Despite of their disparare preferences for media of writing, photography, and moving images, the three artists who share national and gender identities have addressed and problematized the politics of Iranian society and the regulation of Islamic femininity. Parsipur and Neshat have been greatly influenced by Farrokhzād’s transgressive poems beyond Islamic gender norms, and they explicitly inscribe Farrokhzād’s influence in their artistic creations. Among the plethora of criticisms on the three artists, especially on Neshat, this study seeks to contextualize the critical approaches on each artist so far, mainly focusing on their construction of (collective) Iranian female subjectivity based on their common use of allegory and representations of gardens. Farrokhzād’s poem “I Feel Sorry for the Garden” will be evaluated as recurring motifs in Parsipur’s Women without Men (1989), and Neshat’s feature-length film based on this novel. In order to do so, this article critically revisits Fredric Jameson’s thesis on national allegory and maps out a counter-allegorical register that recognizes Iranian women subjects as “people to come.”

고전주의 소나타형식의 발전부에서 나타나는 거짓재현의 다양한 양상들

정희원(Heewon Chung),송세라(Se-Ra Song),안소영(So-Yung Ahn) 한국서양음악학회 2023 서양음악학 Vol.26 No.2

본 연구는 하이든, 모차르트, 베토벤의 작품 중 발전부에서 거짓재현이 등장하는 소나타형식의 곡들을 대상으로 하여 이 작품들에서 나타나는 거짓재현의 다양한 양상을 살펴본다. 무엇보다도 본 연구자들은 발전부에서 나타나는 거짓재현이 발전부와 재현부의 단락적 구분에 영향을 미친다는 점에 주목하여 거짓재현의 양상에 따라 소나타형식이 2부분적 관점에서 점차 3부분의 구조로 파악될 수 있음을 작품 예를 통해 제시하고자 하였다. 이에 따라 발전부에서 거짓재현이 출현하는 지점과 조성 및 형태를 살펴볼 뿐 아니라 재현부 직전의 딸림화음의 강도를 거짓재현 앞의 딸림화음과 비교하고, 이러한 분석과정을 통해 빈 악파의 소나타형식 악곡에서 발전부와 재현부의 구분이 점차 명확해지는 변화를 고찰한다. 본 연구는 소나타형식에 관한 논의에서 상대적으로 적게 논의되어 온 발전부를 음악 실제에 기대어 보다 구체적으로 살펴보고, 빈 악파의 소나타형식 악곡에서 나타나는 발전부의 다양한 스펙트럼을 보여준다는 점에서 의의를 갖는다. This study examines the works in sonata form by Haydn, Mozart, and Beethoven in which false recapitulation occurs in the development section, and discusses various aspects of false recapitulation in these works. We note that the false recapitulation in the development section affects the sectional division of the development and the recapitulation, and suggest through musical works that the sonata form can gradually be understood as a three-part structure from a two-part structure depending on the features of false recapitulation. Accordingly, this study not only explores the location, key, and melodic and harmonic design of the false recapitulation in the development section, but also compares the intensity of the dominant chord before the recapitulation with the dominant chord before the false recapitulation. Through this process, we investigate how the sectional demarcation between the development and recapitulation sections gradually becomes distinct in the works in sonata form by the first Viennese School. This research sheds light on the development section, which has been relatively less well studied, in relation to musical practice, and contributes to the discussion of the diverse spectrum of development sections in the works in sonata form by the Viennese School.

쇼팽의 ≪녹턴 Bb단조, Op. 9, No. 1≫에서 나타나는 확장된 반음 관계

정희원 ( Heewon Chung ) 연세대학교 음악연구소 2023 음악이론포럼 Vol.30 No.1

본 논문은 쇼팽의 음악에서 자주 나타나는 반음계적 어법 중 조성적·모티브적 반음관계가 어떻게 확장되어 사용되는지 ≪녹턴 Bb단조≫를 중심으로 살펴보고자 한다. 본문에서는 먼저 이 녹턴의 중간 부분에서 나타나는 반음 관계의 조성에 초점을 맞추어 이러한 진행이 야기하는 조성적 혼란과 음도 변환에 대해 논의한다. 또한 반음 관계를 3도 관계 전조와 비교함으로써 쇼팽의 음악에서 나타나는 반음 관계가 지니는 독특한 특징을 구체적으로 살펴본다. 또한 ≪녹턴 Bb단조≫에서 이러한 반음 관계는 조성 관계뿐 아니라 모티브적 디자인과도 밀접하게 연관되어 있다는 점에 주목하여 작곡가가 반음모티브를 단지 음악의 표면적 효과뿐 아니라 작품 전체에 수반된 음고 구조의 요소로 어떻게 사용하고 있는지 분석한다. This paper examines Chopin’s chromatic harmony and voice leading, which produce modulations to remote tonal regions, by exploring his use of semitonal relationships. Chopin’s Nocturne in Bb minor, Op. 9, No. 1 shows a semitonal modulations that uses a subtle change of scale-degree function between î and □ and involves an unusual voice-leading event. By discussing tonal disorientation in a local context and retrospective tonal reintegration which the semitonal modulation arouses and comparing semitonal relations to third relations, this paper explores the distinctive characteristics of semitonal relationships which help account for the individuality of Chopin’s approach to chromaticism and his compositional style. Semitonal modulations also resonate with other musical parameters such as motives and large-scale pitch structuring. Analyzing Chopin’s Nocturne in Bb Minor, this study stylistically attunes to the many different roles that semitonal relationships may play in a work’s tonal and motivic organization.

쇼팽의 스케르초 Op. 31의 조성과 모티브 변화에 관한 분석 연구

정희원 ( Heewon Chung ) 서울대학교 음악이론연구 2015 음악이론연구 Vol.25 No.-

Tonal derivation or dissolution has been regards as a trait of music by a number of nineteenth-century pieces. Among them, this study examines tonal and motivic structure of Chopin`s Second Scherzo, Op. 31, which features directional tonality. In examining this scherzo, I will take a starting point of analyses of this work by Schenker (1979) and Krebs (1991) and compare them, since this work requires a multiple analytical point of view in terms of tonal structure. Based on their analyses, I will proceed to discuss tonal relationships of each section, focusing on Chopin`s choice of A major for the middle section. While a Db-major reading relates Bb minor and A major as VI and bVI, the semitone relationship between these two keys suggests a possible underlying Bb-minor reading as well. Furthermore, a large-scale connection between them is supported by the semitone motives evolved throughout the scherzo. The semitone motives are arranged in such a manner as to intensify the change of tonal direction from Bb minor to Db major.

길먼의 『누런 벽지』에 나타난 고딕 가정 공간과 고딕 주체성

정희원(Heewon Chung) 19세기영어권문학회 2018 19세기 영어권 문학 Vol.22 No.1

This paper reads Charlotte Perkins Gilman’s famous short story “The Yellow Wall-paper” as a fiction of gothic domestic space that constructs the female gothic subject. Since Gilbert and Gubar’s groundbreaking study on the relationship between the architectural space and the female subject, Gilman’s novel has been acclaimed as the exemplar female gothic fiction of the turn of the century. Rather than reading Gilman’s fiction as a female bildungsroman that tends to focus on the liberation of repressed female desire, this study emphasizes how gothic space writes on the subjectivity of the narrator and constructs its textuality. Using Eve Kosofsky Sedgwick’s theory of gothic space and Eric Savoy’s theorization of American gothic, this paper pays attention to the way the wall(paper) as the metonymy of the house builds the narrator’s consciousness, while she projects herself onto it and, simultaneously, is inscribed by it as gothic subjectivity. Thus this study attempts to map and remap the spatiality represented in the novel in the tradition of the female gothic and American gothic.

음악 속의 음악: 쇼팽의 음악에서 나타나는 액자 형식

정희원 ( Chung Heewon ) 서울대학교 음악이론연구 2019 음악이론연구 Vol.33 No.-

This study attempts to describe the temporal and spatial aspects of music as a part of the storytelling in the frame narrative structure to present a new approach to listening to music. The study examines the music of Frederic Chopin, an early 19th-century composer, as an example to illustrate the compositional technique that causes the movements to different time and space. I argue that the modulations to remote tonal areas in Chopin’s music not only show originality as an formal element of music, but also act as a medium of transformation that induces changes in time and space. In particular, the modulations between the third-related or semitone-related keys tend to generate a sense of distance from the home key to switch scenes for the listeners. Therefore, this is an analytical study on the pieces in which the new tonal area appears in the middle of the piece in an unusual way. In particular, it focuses on what are the mediators at the points of transition to a new key and return to the original key. First of all, I analyzes Chopin’s Mazurka in C major Op. 24, No. 2, the Nocturne in Bb major, Op. 9, No. 1, and the Nocturne in G Minor Op. 15, No. 3, and then explore Chopin’s Prelude in C# minor, Op. 45 more thoroughly, focusing on how a modulation to the distant key appears in a unique way, Finally, I argue that, as an new approach to chromaticism, the process of modulating to a new key and returning to original key leads the listeners to another time and space, using Schenkerian analysis and narrative analysis.