데이터 마이닝 기반의인디음악 추천 서비스 플랫폼 개발

최재민,강인욱,김태윤,신준호,최재민,한지영 대한산업공학회 2015 대한산업공학회 추계학술대회논문집 Vol.2015 No.11

John Bunyan as a Dissenter: A Study of Dissenting Literature in the Restoration

최재민 한국중세근세영문학회 2014 중세르네상스 영문학 Vol.22 No.1

Only in recent years, Dissenters in the Restoration have been receiving overdue attention, consequently challenging the conventional view of Restoration literature as a prelude for the age of Neo-classicism that would blossom in the works of Alexander Pope. While criticizing the linear historiography of Restoration literature and the often overemphasized role of royal courts in it, this article attempts to focus on and describe the cooperative aspects between Bunyan and his sympathetic companions, a group of Dissenters who influenced or helped Bunyan to gather his thoughts and publish them in print. The mutual relationship between Bunyan and his publishers such as Francis Smith, George Larkin and Nathaniel Ponder is described in detail not only to show how closely and within what circumstances Bunyan worked with these Dissenting publishers but also to illustrate another way of portraying Bunyan’s authorship and time period.

Death, Noise, and (Un)plotting in Don DeLillo’s White Noise

최재민 서울대학교 미국학연구소 2015 미국학 Vol.38 No.2

Critics have approached the pervasive images of Death in Don DeLillo’s White Noise primarily from an existential point of view, emphasizing its links to the alienation and dehumanizing aspects of postmodern life in today’s United Sates. This paper attempts to provide an alternative reading of White Noise by configuring the theme of death within the larger frame of science discourses. This paper observes that the disruption of the story line functions like noise from outside of the system. This new way of reading White Noise offers another possibility of understanding otherwise seemingly discrete and separate episodes and events from the story into a more coherent whole. What has become evident from this reading is that DeLillo attempts to deconstruct the binary oppositions of death and life as well as of noise and meaning in his own original way, not simply in a puny mimicry of Derridian deconstruction.

Writing Early Modern London: A study on the spatial negotiation of Whitney’s Sweet Nosegay and other London Poems

최재민 한국고전중세르네상스영문학회 2014 중세근세영문학 Vol.24 No.1

This paper examines the sociopolitical circumstances preconditioning Isabella Whitney's Sweet Nosegay, especially in the context of spatial restrictions on Renaissance women, and discusses the ways in which Whitney subverts such restrictions on her through a literal and imaginary excursion into London civic space. In oder to illustrate Whitney's extraordinary mobility and copious knowledge of London, this paper also devotes much of its pages to a critical comparison between “Her Will to London,” Whitney's major poetic achievement in Sweet Nosegay, and other contemporary (male) humanists' poetic works. This comparison has made it clear that Whitney embraces London and its everyday commercial activities as they are, without false presumptions and without subordinating them to “nobler” aesthetic judgement or moral values, unlike what Ben Jonson and John Denham did in their London poems.

청교도주의와 1642년 극장폐쇄령

최재민 한국고전중세르네상스영문학회 2011 중세근세영문학 Vol.21 No.2

The closing of public theaters by the order of parliament in 1642has often been cited one of the most visible historical examples that signify the culmination of Puritans’ anti-theatrical movement over the decades. Contesting this conventional understanding of the 1642 order, this paper revisits the historical contexts of the year to reveal that the order should be better viewed as part of the efforts of the authorities to put growing explosive political situations in the approaching shadow of the civil war under control. To discredit the traditional view of the order (the view that the order was primarily fuelled by Puritans’ long-standing repugnance against stage-playing), the paper includes several examples in which the Puritan power during the civil wars and the Interregnum took advantage of theatrical performances for their political gains. What is evident through this study, then, is that the Puritan authorities during the middle of the seventeenth century were more flexible and experimental with theatrical events and activities than they have been depicted in the standard accounts of drama history.

Gendering of the Blazon: A case study of Isabella Whitney’s and Aemilia Lanyer’s poems

최재민 한국중세근세영문학회 2016 중세르네상스 영문학 Vol.24 No.1

This paper attempts to reveal the gender politics behind early modern sonneteers’ blazoning of the female body and to discuss how Lanyer and Whitney as women poets appropriated the male-centered literary form in their respective poetic works. By blazoning London’s streets and vendors, Whitney displays her rich knowledge of London and stresses her willing mind to share the (imaginative) wealth of London with her possible patrons and the public. A desire to strengthen an emotional bond with readers through the act of blazoning is also evident in Lanyer’s religious poems. In her poetic world, Lanyer deploys the blazon to put the body of Jesus Christ under the gaze of female mourners at the crucifixion, and by means of her feministic vision to turn it into a communion among Christian community exclusively of females. Both Whitney’s and Lanyer’s blazoning thus exemplifies how creative women poets can be in the appropriation of male-centered literary conventions to the extent of offering an alternative model free from individualistic and male biases. More theoretically put, they showed another possible development of the blazon as a trope by choosing to deploy it to serve for the mutual and good-will based friendship with their readers, instead of using it as a triumphant moment of their literary achievements as the male counterparts often did in th

존슨의 『펜스허스트에게』 와 랜여의 『쿠컴의 묘사』 비교: 작가의식과 성 정체성을 중심으로

최재민 한국고전중세르네상스영문학회 2012 중세근세영문학 Vol.22 No.2

The scholarly interests in Ben Jonson’s country house poem “To Penshurst” has been revitalized since the recent discovery of Aemilia Lanyer’s country house poem, “The Description of Cookham”. Despite the growing debates about the gender differences not only of the two authors but also of the patrons these poems were dedicated to, not much has been explored as to the ways in which both Jonson and Lanyer empower their writing selves through the multi-layered discursive negotiations between themselves as authors and their patrons as dedicatees. I argue that Jonson and Lanyer choose different strategies of self-fashioning their authorships largely because Jonson around the time of publishing “To Penshurst” had been already firmly established as a primary court writer, whereas Lanyer was testing waters for her new venture into commercial books, a public arena mostly dominated by men in early modern times. To bolster his authorship, Jonson in “The Forest,” a collection of poems where “To Penshurst” originally appeared, carefully selects the patrons to be praised and presents himself as having been in mutual, not one-sided, relationship with his patrons. On the other hand, Lanyer takes fully advantage of religious discourse and devotional lyrics traditionally more open to women, thereby successfully turning her poems, penned by a plain woman like herself, into the glorious examples of God’s grace and love.

『천로역정』과 비국교도

최재민 21세기영어영문학회 2017 21세기영어영문학회 학술대회 Vol.2017 No.03

Paper Bullets and the Crisis of the Symbolic Order: A Study of English Civil War Prose

최재민 21세기영어영문학회 2019 영어영문학21 Vol.32 No.3

By showcasing and analyzing three separate texts from the English Civil War (The King’s Cabinet Opened; Eikon Basilike; A Fiery Flying Roll), this paper explores how the radical shift of print culture after the collapse of state censorship reflected on and strengthened the crisis of the symbolic order in the domains of politics. The King’s Cabinet Opened exemplifies the Parliament’s new approach to the use of print. By sending King Charles’ private documents and letters to print, the Parliament attempted to turn public sentiments against King Charles, thereby finding a more effective way of undermining his authority and power. Eikon Basilike is a sort of counter attack on the part of King Charles to justify his kingship by using the same print media with a view of an emerging readership constituted of common people. King Charles used Eikon Basilike as a prop to shine his final performance at the stage of Whitehall to complete his self-fashioning as a martyr. A Fiery Flying Roll, the third piece under examination, tells us that the exploitation of print to weaken the symbolic power of established authority was not limited to disagreements between elite groups. Against Coppe’s apocalyptic vision announced clearly in the pamphlet speaks the fact that print was now embraced even among socially and politically marginalized groups to challenge the basic premises of hierarchical society that had hitherto suppressed their utopian dreams. In conclusion, these writings are the landmarks attesting to a dramatic increase in the use of print as a deconstructive force to subvert the established order and power, anticipating the arrival of post-modern cultural practices of the late 20th century.

Cartography and Early Modern Literature

최재민 미래영어영문학회 2021 미래영어영문학회 학술대회 자료집 Vol.2021 No.7