수평 및 수직 안와이소증의 생체계측학적 분석

강진성,한기환,홍영준 大韓成形外科學會 1996 Archives of Plastic Surgery Vol.23 No.4

Six cases of orbital dystopia, 4 females and 2 males, aged from 112 to 23 years, corrected by craniofacial osteotomies of the orbit are reported. Four patients were horizontal orbital dystopias (orbital hypertelorism), the one was a vertical orbital dystopia, and the other was a combined horizontal and vertical orbital dystopia. The orbital dystopia was congenital in 6 patients: a Crouzon disease, a Saethre-Chotzen syndrome(SCS), a cleidocranial dysostosis (CCD), a dermoid cyst, and a nasofrontal type and a nasoethmoidal type of meningoencephaloceles. All patients had "supernormal" interorbital distance except for a vertical orbital dystopia. Two patients had "supernormal" intercanthal distance. Two mild cases out of 4 horizontal orbital dystopias caused by meningoencephaloceles were corrected by a combined osteotomy of the medial and lateral orbital walls. Another mild case patient associated with SCS was corrected by medial translocation of the functional orbits. One vertical orbital dystopia associated with CCD was corrected by osteotomies of four walls of the orbit, allowing the left orbit to be moved downward. Another vertical orbital dystopia combined with orbital hypertelorism was corrected by both medial translocation of the functional orbits and shift of the right orbit simultaneously. All patients had medial canthopexy using transnasal wiring, and epicanthal correction was done in all patients except for 1 vertical dystopia. The average length of follow-up evaluation was 29.5 months. All patients had uneventful postoperative course except for 1 patient with Crouzon disease who received a reoperation due to an infection. Postoperatively, general appearances were satisfactory. The interorbital distance was returned to within normal range except for 1 patient who showed "subnormal" range. The Intercanthal distance was within normal range in all patients. Horizontal and vertical orbital dystopias were effectively corrected by various osteotomies of the orbital walls according to the degree of the dystopic orbit. However, in the case of severe horizontal orbital dystopia, the intercanthal distance was not reduced in relation to reduction fo interorbital distance.

안와이소: 변위에 따른 교정법의 결과 평가

손대구,김준형,한기환 大韓成形外科學會 1998 Archives of Plastic Surgery Vol.25 No.3

The management of orbital dystopia has ranged from camouflage procedure for minor deformity to vertical translocation of the displaced orbit for severe deformity. The purpose of this study is to provide a guideline for the selection of an appropriate surgical treatment according to the degree of the dystopia. Since 1989, 18 patients with orbital dystopia have been treated for all cosmetic reasons. There were 13 females and 5 males aged from 8 to 46 years (mean 18.8 years). Underlying pathology in our cases included traumatic (orbital floor and wall fractures and irradiation)(44%); congenital (cleidocranial dysostosis, dermoid cyst, facial clefts and idiopathic causes)(40%); and fibrous dysplasia(16%). In the coronal plane, thr orbital displacement ranged from 2 to 7 mm(mean 3.9 mm). Patients were grouped into severe(n=8), moderate(n=6), and mild(n=4) degree of dystopia. Orbital repositioning, such as vertical repositioning of the functional orbit, bone shaving, autogenous bone graft and alloplastic material implantation were performed in severe cases(>4 mm). Various eye leveling technique, such as autogenous bone onlay graft, alloplastic material implantation, medial and superior rotation of zygoma, and medial and lateral canthoplasties were performed in moderate (3 mm) and mild (< 2 mm) cases. The postoperative surgical result was assessed by ordinary scale method cephalometric analysis. There was no visual loss, infection, epilepsy, or asethetic complication. The preoperative findings of orbital dystopia were corrected or significantly improved following surgery in all patients after an average follow-up period of 59.2 months. The result of this study indicate that our method of surgical correction of vertical orbital dystopia according to the degree of the dystopia is resonably safe, rewarding and worthwhile to the patients.

디스토피아(dystopia)적 상상력과 현실 문제 인식 - 소설집 『미세먼지』를 중심으로

남진숙(Nam, Jin-Sook) 문학과환경학회 2022 문학과 환경 Vol.21 No.1

본고는 디스토피아와 현실의 세계가 기후변화, 그 중 미세먼지와 관련하여 어떻게 표상되어 나타나는지 연구한 논문이다. 이를 위해 5편의 소설로 구성된, 앤솔로지 소설집 『미세먼지』를 연구 텍스트로 삼았다. 이 소설의 전반적인 특징은 첫째 미래 세상에 대한 암울하고 공포스러움을 디스토피아의 상상력으로 표상한다. ‘미세먼지 변이인간’, ‘먼지의 신’, ‘청정복 없는 N계층’, ‘건물로 이어진 세계’ 등으로 미세먼지로 인한 죽음과 공포, 잃어버린 일상을 상징화 한다. 이는 디스토피아의 세계를 생태적 상상력을 통해 형상화하고 있으며, 미세먼지로 인한 대기오염의 심각성을 직간접적으로 드러낸다. 둘째 미래 세상을 그려내지만, 디스토피아 속에서 끊임없이 현재의 문제를 서사 안에 녹여내고 있다. 가령 취업이나 국가 간 갈등, 맞벌이, 사랑에 대한 고민 등과 같은 문제는 여전히 진행형이기 때문이다. 미세먼지가 인간 소외, 고독, 외로움 등을 가속화시키고 인간들의 관계성마저도 단절시키는 요인으로 작용한다. 이는 미세먼지 문제가 미래의 문제뿐만 아니라, 현재의 문제라는 점을 끊임없이 독자들에게 감각적으로 느끼도록 한다. 셋째 디스토피아의 세계에는 비극적이고 암울한 것만이 드러나는 것이 아니라, 인간이 기본적으로 추구하는 생명, 사랑, 자유 등이 형상화되어 있다. 따라서 완전한 유토피아도, 디스토피아의 세계도 이 소설에는 없다. 즉 절대적인 유토피아도, 디스토피아의 세계도 극단적으로 표상화하지 않는다. 이는 인간의 의지에 따라 달려있다는 점을 보여준다. 이처럼 미세먼지라는 한 가지 상징화된 소재를 통해, 직간접적인 경고와 희망을 보이면서 디스토피아와 현실의 경계를 넘나들고 있다. 또한 인간의 의지에 따라, 어떤 선택을 하는가에 따라 미세먼지라는 기후위기의 현재와 미래가 달라질 수 있음을 문학적 상상력을 통해 보여준다. 이처럼 소설 문학은 생태환경 문제를 독자로 하여금 자신의 삶과 연결 지어 인식하고 느끼게 하여 자연스럽게 실천으로 나갈 수 있도록 할 것이다. 본 연구는 최근에 창작된 SF 생태환경소설을 본격적인 연구의 대상으로 삼았다는 점에 의의가 있다. 또한 생태문학 연구의 범위를 확장해 나가고 있다는 점에서도 의미가 있다. This paper studies how fine dust represents dystopia and the real world in novel works in relation to climate change. For this purpose, the anthology novel collection 『Fine Dust』, composed of five novels was used as the research text. The overall characteristics of this novel are as follows. First, it represents the gloomy and horror of the future world with the imagination of dystopia. The “fine dust mutant,” “God of Dust,” “N-tier without air purifying suits,” and “the world leading to buildings” symbolize death, fear, and lost daily life caused by fine dust. It embodies the world of dystopia through ecological imagination, and directly or indirectly reveals the seriousness of air pollution. Second, it depicts the future world, but in a dystopia, the problems of the present are constantly melted into the narrative. This is because, for example, problems such as employment, conflicts between countries, dual income, and worries about love are still ongoing. Fine dust accelerates human alienation and loneliness, and acts as a factor that cuts off human relationships. This makes readers feel sensibly that the fine dust problem is not only a problem in the future but also a problem in the present. Third, in the dystopian world, not only tragic and gloomy things are revealed, but also life, love, and freedom that humans fundamentally pursue are embodied. Therefore, there is neither a perfect utopia nor a dystopian world in this novel. In other words, neither the absolute utopia nor the dystopian world is extremely represented. This shows that it depends on the human will. Through this one symbolized material, fine dust, it crosses the border between dystopia and reality, showing direct and indirect warnings and hopes. In addition, it shows through literary imagination that the present and future of the climate crisis called fine dust can be different depending on the human will and what choices they make. In this way, novel literature will allow the reader to recognize and feel environmental problems in connection with their own lives, so that they can naturally go into practice. This study is meaningful in that it took the recently created ecological science fiction novel as the subject of full-scale research. It is also meaningful in that the scope of ecological literature research is being expanded.

Wall-E and Star Trek Ⅸ: Insurrection: Romance Surviving Space Dystopia and Schopenhauer’s Voluntarism

( Geon-geun Lee ) 대한영어영문학회 2016 영어영문학연구 Vol.42 No.4

Science fiction films, since the release of Fritz Lang’s Metropolis in 1927, have consistently covered the topic of space dystopia based on the conflicts between the strong and the weak. Over time, the ruling classes in the movies are distinctive of using their advantage of scientific and technological weapons by giving superiority to material affluence and mechanical amenities rather than human love and natural environment. This condition can be interpreted as the confrontation between intellectualism and voluntarism. Arthur Schopenhauer, a remarkable pessimistic philosopher supporting voluntaristic metaphysics, insists that the will is before the reason as a governing principle of the world, which is more appropriate for observing the dystopian scenes of the films, such as WALL-E and Star Trek Ⅸ: Insurrection. This paper aims to discuss the two works from Schopenhauer’s angle so as to illuminate the relationship between human reason and will (or strengthened emotion) around the space dystopia. Through this analysis, the films share an ecological theme that humans’ body is an essential part of nature, and only love can save the deplorable world. On the other hand, the intellect is just a representational phenomenon of the will, which should be trained and controlled by romantic love following the nature’s law. (Chosun University)

Wall-E and Star Trek IX: Insurrection: Romance Surviving Space Dystopia and Schopenhauer’s Voluntarism

이건근 대한영어영문학회 2016 영어영문학연구 Vol.42 No.4

Lee, Geon-Geun. “Wall-E and Star Trek IX: Insurrection: Romance Surviving Space Dystopia and Schopenhauer’s Voluntarism.” Studies in English Language & Literature. 42.4 (2016): 91-113. Science fiction films, since the release of Fritz Lang’s Metropolis in 1927, have consistently covered the topic of space dystopia based on the conflicts between the strong and the weak. Over time, the ruling classes in the movies are distinctive of using their advantage of scientific and technological weapons by giving superiority to material affluence and mechanical amenities rather than human love and natural environment. This condition can be interpreted as the confrontation between intellectualism and voluntarism. Arthur Schopenhauer, a remarkable pessimistic philosopher supporting voluntaristic metaphysics, insists that the will is before the reason as a governing principle of the world, which is more appropriate for observing the dystopian scenes of the films, such as WALL-E and Star Trek Ⅸ: Insurrection. This paper aims to discuss the two works from Schopenhauer’s angle so as to illuminate the relationship between human reason and will (or strengthened emotion) around the space dystopia. Through this analysis, the films share an ecological theme that humans’ body is an essential part of nature, and only love can save the deplorable world. On the other hand, the intellect is just a representational phenomenon of the will, which should be trained and controlled by romantic love following the nature’s law. (Chosun University)

아파트 디스토피아를 다시 생각하기 : 박완서 소설에 나타난 아파트 표상의 해방적 전유와 거주하기의 상상력

유인혁 영남대학교 인문과학연구소 2023 人文硏究 Vol.- No.104

The purpose of this study is to critically revisit on discourses of ‘apartment dystopia’ in Korea through Park Wan-seo's novels. The term ‘apartment dystopia’ refers to the general perception of apartments as inhuman space. This critical discourse had the aspect of reinforcing the power of ‘the Apartment Republic’ rather than weakening it. This is because the powerful representation diminished the imagination of alternative lifestyle. However, Park does not simply depict characters who are oppressed by apartments, but also appropriate those negative attributes. In Standing Woman the placelessness of apartment's became beneficial conditions for women trying to escape a sexist community. Meanwhile, in Are You Still Dreaming, the apartment was a real estate rather than a place of authentic life. However, apartments served as an essential resource for people seeking economic independence. Here, the characters in Park's novels do not just passively adapt to the given environment, but can be seen as subjects who change the meaning and function of living space through ‘dwelling’. In summary, in Park’s novels, apartments were not just inhumane or oppressive spaces, but also spaces where negotiations with the majority took place. Here we can find the possibility of narrative overcoming it, not just reproducing apartment dystopia.

Dialectics of Utopia and Dystopia and Bio-politics in Never Let Me Go

Kim, Dae-Joong 강원대학교 인문과학연구소 2013 인문과학연구 Vol.0 No.36

본 논문은 일본계 영국 소설가인 카즈오 이시구로의 『날 떠나지 못하게 해줘』(Never Let Me Go)를 분석하였다. 『날 떠나지 못하게 해줘』는 SF 소설로서 기존의 장르의 관습에서 탈피하는 내러티브를 지니고 있으며 과거와 현재와 미래의 영국의 모습을 배경 삼아 현대사회 인간성의 위기에 대한 철학적 해석을 담은소설이다. 논문은 이 소설이 유토피아와 디스토피아의 변증법을 통해 자유와 진리의 의미를 탐색하고 있으며 ‘복제인간’을 일종의 철학적 은유로 사용하고 있다고 주장한다. 또한 이러한 변증법적 시공간 (크로노토페)과 ‘복제인간’이라는 공상물의 현실 속의 투입의 의의를 조르지오 아감벤의 존재윤리학과 생명-정치논의를 통해 해석해 보았다. 이러한 이론적 배경 하에 논문은 주인공이자 나레이터인 캐시가 어떻게 ‘신뢰할 수 없는 나레이터’가 되었는지를 분석하고 이 점이 어떻게 소설 속 크로노토페와 비판적 연관을 맺을 수 있는지를 유토피아와 디스토피아의 변증적 관계를 통해 파악하였다. 그리고 이를 통해 어떻게 소설이 현실을 반영하여 현대 사회 담론의 중심에 있는 ‘인류학 기계’와 생명-정치를 비판해내는 지를 논하였다. 더불어 논문의 마지막에 캐시의 실존적 선택이 어떻게 이러한 담론들과 기제들에 저항할 수 있는지 역시 논하였다. In this paper, I critically analyze Kazuo Ishiguro’s Never Let Me Go, a non-conventional science fiction with a backdrop of past, contemporary and future England. Ishiguro’s Never Let Me Go deconstructs the genre conventions of science fiction and expands its horizon to philosophical considerations of humanity and the ontological meaning of truth and freedom by using the dialectics of utopia and dystopia. It also regards the clone as a metaphor of potential humanity and debates its historical meaning. To substantialize argument and analysis, I employ Giorgio Agamben’s ethico-ontology as well as his critique on contemporary bio-politics. Viewing through this lens, I first explore how the narrative in the novel contradicts readers’ logical assumptions by turning Kathy, the clone narrator and protagonist, into an unreliable narrator. Next, I relate this contradiction to the chronotope of the novel, which is critically detached from and simultaneously eclipses the actual space and time. The chronotope embeds dialectics of utopia and dystopia via fictional mediation to illuminate the actual world. In turn, I argue that the novel critiques a hidden apparatus, so-called anthropological machine and its bio-political function to exclude non-humanity that results in massive violence against minorities in the actual history. In the end, this paper explore the meaning of Kathy’s ultimately ethical, existential choice that unfolds a true meaning of testimony.

유토피아와 디스토피아의 경계

전혜숙(Hyesook Jeon) 서양미술사학회 2014 서양미술사학회논문집 Vol.41 No.-

이 논문은 생명기술이 만들어낸 문화적 변화가 무엇인지, 혹은 그러한 기술을 둘러싸고 발생하는 문제들을 비판하는 바이오아티스트들의 작업이 무엇을 말하고 있는지 유토피아와 디스토피아라는 개념에 비추어 살펴보고 있다. 본 글은 현실의 부정적인 요소의 제거 혹은 없음을 열망하는 유토피아와, 부정적인 것을 과포화 상태로 갖고 있는 디스토피아가 항상 서로 맞물려있음을 주장함으로써, 유토피아 혹은 디스토피아가 모두 상상의 공간이지만, 모두 같은 현실에 대한 반응임에 주목한다. 또 과도한 독재정부, 감시와 언론통제, 억압받는 불행한 개인들로 묘사되어 온 디스토피아가 최근에 유전자 조작의 폐해와 두려움, 신자유주의 경제 및 자본과 손잡은 생명공학 기술이라는 새로운 양상으로 묘사되고 있음을 다룬다. 이러한 맥락에서 현재 활동하고 있는 많은 바이오아티스트들은 생명기술에 대한 찬반의 경계, 혹은 유전공학 기술이 가져오게 된 유토피아와 디스토피아 세계의 경계에 머물고 있지만, 생명기술 사용의 배후에 숨겨진 모순을 드러냄으로써 비판적인 입장을 취하는 바이오아티스트들도 있다. 그들은 기술결정론에 대항하는 미술적, 철학적 반응으로서 비판적인 아이러니를 택해, 아무리 선한 의도를 갖고 있다 하더라도 생명을 주관하고 통제하는 이데올로기 안에는 늘 부정적인 결과를 초래할지도 모르는 (생명) 권력의 모순이 존재함을 고발한다. 바이오아티스트들의 작업과 관련해 보더라도, 유토피아와 디스토피아는 동전의 양면과 같다. 생명과학기술의 미래가 질병 없는 세상을 위한 희망과 유토피아의 영역임과 동시에, 예측 못할 하이브리드의 공포와 동물희생이 만연한, 그러면서도 자본과 권력 내에서만 극대 효과를 얻게 되는 디스토피아의 영역을 포함하듯이, 생명기술을 다루는 바이오아트 또한 그러한 이중적 영역을 포함하는 것이 당연할 것이다. This study looks into bioart, which uses biotechnology itself positively or criticizes the issues that surround such technology. In this essay, I assert that utopia, which desires the removal or non-existence of negative elements of reality, and dystopia, which has negative elements in a supersaturated state, have always existed inter-locked with each other. While both utopia and dystopia are imaginary spaces, they both respond towards the same reality. Recently, fear towards the ills of genetic manipulation which has gotten out of hand, biotechnology which has joined hands with neoliberal economics and capital under the name of bio-industry, and an extreme gap between the poor and rich and class conflicts which necessarily follows, etc. are emerging as new perspectives of the dystopic. Most bioartists remain at the boundary between the approval and disapproval towards biotechnology or between the utopian and dystopian world brought on by genetic engineering technology. However, there are bioartists who reveal the hidden contradictions behind the use of biotechnology. They have selected critical irony as an artistic and philosophical response against technological determinism. They criticize the contradiction of bio-power which always has the possibility of triggering negative results within the ideology that oversees and controls life, however good intention the nation had for humans and global environment. By revealing the contradictions of the narratives that are prevalent in relation with biotechnology through their ‘wet hands’ and criticizing the controlled ideology within bio-intervention claimed by national power and bio-industry, these bioartists claim that the contradictions and ideology work as the basis of dystopia. The territory of biotechnology is the area of utopia and hope for a world without disease, but at the same time, it is also the area where fear of the unforeseeable hybridity exists, many animals are sacrificed for experiments, and a dystopia where extreme effect can only be attained within capital and power. Thus, bioart, which has biotechnology as its theme, also encompasses the dual meaning of the two areas and pursues a utopia, yet criticizes its other side, the dystopian world of contradictions.

디스토피아 이야기와 디스토피아적 전망― 마거릿 애트우드의 『시녀 이야기』

정정미 한국현대영어영문학회 2019 현대영어영문학 Vol.63 No.4

Margaret Atwood’s feminist dystopian fiction, The Handmaid’s Tale is narrated by the heroine, Offred, who becomes a handmaid in dystopian Gilead. As Gilead inherited pre-Gileadean ecological crises and the consequent widespread sterility, the patriarchal state adopts measures to pick and train fertile handmaids to reproduce children for the childless rulers according to Christian fundamentalism. Unlike other dystopian fictions, The Handmaid’s Tale situates the first-person narrator Offred to give testimony to women’s dystopian experiences in an engendered disastrous regime. Though exploited by the authoritarian power to restrict and confine her body and voice, she seeks to retain her own subjectivity through narrating her experiences in a resistant way. Appended to the narration is a concluding epilogue, in which the speaker of a historical conference reports on the tapes and tales of the handmaid and explains how her ‘item’ was reconstructed and rewritten to The Handmaid’s Tale. In “the Historical Notes”, set in 2195, the male historians still show intellectual elitism and sexist discriminative stance against women and a woman’s narration. We readers perceive that 2195 shares similarities with Gilead in some way, as the keynote speaker asserts that Gilead’s “genius was synthesis.” Atwood warns us the future dystopia is latent in the present and envisions her dystopian outlook in The Handmaid’s Tale.

상상할 수 없는 것을 상상하기: 마가렛 애트우드의 『인간종말보고서』

전소영 한국현대영미소설학회 2021 현대영미소설 Vol.28 No.1

Margaret Atwood's post-modern dystopian novel, Oryx and Crake shows difference of the form diverged not only from the traditional dystopian novel but also from the critical dystopia. In contrast to the traditional dystopian novel where a society represents failed utopia with closed ending, both utopian elements and dystopian characteristics are mixed in her novel. And the open-ended style in a type of transgressive utopian dystopia implies a utopian impulse toward a better future. Snowman, the last survivor and the narrator of the novel, sustains his existence telling his story after the unknown apocalyptic event transversing the boundaries between the past and the present. Although he tries to communicate with perfect post-human Crakers who are created by a scientist Crake, it is impossible because they don't have any common context in language. Crake tried to create eco-utopia with birth of post-human Crakers but the perfect utopian world excluding others has not accomplished yet even after the complete extinction of the mankind. Although the past described by a narrator, Jimmy was both a dystopian and an utopian society where everything is appraised by market value in compliance with insatiable modern society’s consumerism and advanced scientific technology, Margaret Atwood warns us against a dystopian future to come in her novel and makes us to consider a possibility of new mankind with a open ended form. After all, the utopian form she defines through her novel is not a kind of ideal destination but a process toward the better future and the dystopian society in her novel also shows an utopian impulse of the mankind.