Generalized Plane Xanthoma Associated with Monoclonal Gammopathy of Unknown Significance

홍승현,김동준,오칠환,양재승,성해준 대한피부과학회 1997 Annals of Dermatology Vol.9 No.1

Generalized plane xanthoma is less common and usually involves the eyelids, lateral side of the neck, upper trunk, and extremities. Lesions, however, may appear on any portion of the body. Cutaneous xanthomas may occur in hyperlipidemic and in normolipidemic states. Generalized normolipidemic plane xanthoma is often associated with multiple myeloma, other reticulo-endothelial malignancies and monoclonal gammopathy with unknown significance(MGUS). We wish to report two cases of generalized plane xanthoma associated with IgG monoclonal gammopathy of unknown significance.

『南齊書』 「五行志」 譯註 1

洪承賢 중국사학회 2022 中國史硏究 Vol.- No.136

한국인 학습자의 프랑스어 텍스트 읽기 양상:안구운동 추적기(oculométrie)를 활용한 연구

홍승현,박동열 한국외국어교육학회 2016 Foreign languages education Vol.23 No.3

Taking the cognitive psychology approach, this study sought to investigate the aspect of Korean learners’ French text reading. Especially, it examined the readers’ eye movements (i.e., fixation and saccade) recorded by the eye-tracker. To this end, 14 Korean students of the French language at the language level of A2 and B1 or even higher, and three Frenches participated in the experiment. The results showed that when reading, the learners’ eyeballs did not follow the text but moved irregularly (i.e., ‘saccade’). The six major results were observed: (1) decoding a word in a syllable unit; (2) more fixation on grammatical words of Korean learners compared to French speakers; (3) reading repeatedly with numerous regressions; (4) irregularity of the duration of fixation; (5) numerous fixed points of long gaze duration; and (6) diversity of reading strategies. This suggest that readers pay a lot of attention when they process words, sentence structure, etc. Therefore, it is necessary to instruct Korean learners of French to reconcile spelling and phoneme as well as to reduce the learners’ anxiety towards French texts. Cette recherche, s’inscrivant dans le domaine de la psychologie cognitive, a pour objet de mieux connaître la lecture de textes français chez des lecteurs coréens. Nous avons étudié en particulier les mouvements oculaires (fixation et saccade) des lecteurs, enregistrés à l’aide de l’oculométrie. Pour ce faire, nous avons mené une expérimentation auprès de 14 coréens, étudiants du français, de niveau A2, B1, voire plus, et de 3 français. Le résultat nous a montré que la lecture ne se fait pas de façon linéaire, mais de manière saccadée. En outre, six phénomènes sont particulièrement observés chez les coréens: (1) décodage en syllabique d’un mot; (2) fixation attribuée plus fréquemment aux mots grammaticaux par rapport aux français; (3) lecture répétitive venant des saccades régressives; (4) irrégularité de la durée de fixation; (5) nombreuses fixations de longue durée; et (6) diversité des tactiques de lecture. Ces phénomènes montrent que les lecteurs ont attribué beaucoup d'attention aux traitements des mots, des structures de phrase, etc. Par conséquent, il est nécessaire d’enseigner la correspondance entre graphie et phonie et de supprimer une attitude craintive à l'égard des textes français, chez les apprenants coréens.

흑연 분포 및 온도변화에 따른 다양한 연필심들의 전기적?구조적 특성 비교 분석

홍승현,박완규 한국물리학회 2006 새물리 Vol.52 No.5

This letter reports the electrical and the structural properties of various pencil leads, which are mainly composed of a mixture of graphite and ceramic clay materials, at room temperature (RT) and at low temperatures (LT). The used pencil leads were H, 2H, 3H, 4H, 5H, 6H, HB, B, 2B, 3B, 4B, 5B, 6B, 7B, and 8B. Scanning electron microscopy (SEM) measurements were performed to investigate the structural properties of the pencil leads and to study the mutual relation between the electrical and the structrual properties of each pencil lead. The resisitivity of H-type pencil lead (HPL) increased with increasing HPL number, providing the increase in the composite amount of ceramic clay at RT. In addtion, the increased resitivity of the HPL was accompanied by an increase of hardness, which was due to the presence of a large amount of ceramic clay in the HPL. However, the resistivity of B-type pencil lead (BPL) decreased with the increasing BPL number BPL up to 5B and then suddendly increased at 7B and 8B. This behavior was associated with large amounts of grahite in BPL up to 5B. The increasing amount of graphite in BPL also corresponded to the soft mechanical property of the BPL. At LT, all of the pencil leads exhibited slightly increased resistivtiy, indicating that each pencil basically had an insulating property, even though each pencil contained a conducting graphite material. All SEM images clearly diplayed that all the pencil leads had much larger amounts of clay in the compositions. 본 논문은 흑연과 세라믹 점토의 주성분으로 구성된 다양한 연필심 (H, 2H, 3H, 4H, 5H, 6H, HB, B, 2B, 3B, 4B, 5B, 6B, 7B, 8B)들의 전기적 특성을 상온 및 저온에서 측정하였다. 또한 scanning electron microscopy (SEM) 장치를 사용하여 연필심들의 구조 분석을 하였으며, 이를 통하여 각 연필심들의 전기적 $\cdot$ 구조적 특성들을 비교 분석하였다. 상온에서 H형 연필심들은 번호가 증가할수록 규칙적으로 비저항이 증가하였으며, 이는 번호가 증가할수록 점토의 비율이 더욱 많아져서 비저항의 값이 증가하는 것으로 판단된다. 또한 점토 양이 증가할수록 H형의 연필심들이 B형보다 매우 단단하다는 것을 알 수 있다. 그러나 B형 연필심들은 B에서 5B까지는 번호가 클수록 비저항이 작아지다가 7B과 8B에서 갑자기 비저항이 매우 커지는 경향을 보여주고 있다. 이는 B형 연필심은 5B까지는 번호가 클수록 점토 양이 적어지고 전도 특성이 좋은 흑연의 양이 증가하는 것으로 판단된다. 또한 B형 연필심은 H형 연필심보다 흑연양의 증가로 인하여 무르고 진한 특성을 가지게 된다. 저온에서는 모든 연필심들이 상온에서 보다 비저항 값이 증가 하는 현상을 보여주고 있는데 이는 모든 연필심들이 어는 정도 절연체와 비슷한 성질을 갖는 것으로 생각되며, 이러한 특성은 SEM 분석을 통하여 모든 연필심들이 상대적으로 흑연보다 점토의 양이 많이 존재하는 것으로 판단된다.

캐서린 맨스필드의 「희열」과 존 스타인벡의 「국화」: 억압된 욕망과 좌절된 여성 정체성

홍승현 미래영어영문학회 2018 영어영문학 Vol.23 No.3

Both “Bliss” and “The Chrysanthemums” examine the psychology and sexuality of the self-repressive female characters who must somehow express themselves meaningfully. One of themes of their stories is frustration stemming from the protagonist's unfulfilled desire. Bertha embodies “a rare, rare fiddle shut up in a case” in “Bliss,” and Elisa is portrayed as the great valley like “a closed pot” in “The Chrysanthemums.” These two images, starting points of my contention, are remarkably insightful portraits which represent the repression of womanhood. While on the surface the stories outline the happiness of two housewives, their covert subtexts center on female protagonists’ personal muddle and psychological confusion. The significance of the pear tree and chrysanthemums as the central symbols must be analyzed for their implications for the character of Bertha and Elisa. As these central symbols serve as the medium to Fulton and the tinker, the overt sexual nuances are undeniable. The animal image of the story needs to be to explained because several associations between animals and characters are part of a larger pattern in each story. While Mansfield puts the animal motif in her story into animalistic desire and sensuality, all animals in Steinbeck's story are oppressed, trapped, much as is Elisa's case. There are similar sexual climaxes between in “Bliss” and “The Chrysanthemums.” It seems likely that looking at the blooming pear tree, Bertha and Fulton are linked by what they have shared. Bertha's bliss and her feelings toward Fulton seem to be erotic. Likewise, Elisa's passionate speech to the tinker, which seems to relate planting instincts to sexual awareness, is counted as sexual climax. Elisa believes the tinker also share her feeling of bliss. At the end of each story, Bertha and Elisa are jolted from their complacent life; their blissful satisfaction with Fulton and tinker are shattered. On the threshold of initiatory awareness, they are awakened to ugly human duplicity, entering an adult realm of experience.

프랑스어 텍스트 의미 (재)구축 과정에서 한국인 독자들의 읽기/독해 전략에 관하여 : 장르 식별을 중심으로

홍승현 한국프랑스어문교육학회 2009 프랑스어문교육 Vol.30 No.-

Si la lecture linéaire et la traduction dans la langue maternelle sont des approches de textes à déconseiller en classe de langue étrangère, alors le rôle du genre textuel et de sa reconnaissance au cours de la lecture, nous le prouveront. En effet, celui-ci étant conçu comme une forme de collaboration entre le scripteur et le lecteur, il prévoit, guide et oriente la lecture/compréhension écrite et il forme, par conséquent, un contrat (ou pacte) de lecture chez les lecteurs. M. Souchon affirme que les apprenants de langues étrangères ont déjà acquis à divers degrés une compétence textuelle dans leur langue maternelle à travers le processus de socialisation scripturale ainsi structuré : - la socialisation au niveau du code graphique; - la socialisation liée à la fréquentation des discours écrits; - la socialisation en relation avec l'expérience des textes. Les savoirs, la culture et les expériences de textes acquis grâce à ce processus permettent en effet au lecteur, de définir ce qu'est le genre textuel et ses différentes caractéristiques. On appelle cette phase la socialisation textuelle. La compétence textuelle d'un lecteur varie donc selon des paramètres individuels, culturels et sociaux. Elle n'est pas figée, elle se développe à partir des phénomènes textuels et des phénomènes discursifs rencontrés au cours de la lecture. Pour montrer de quelle façon les lecteurs-apprenants coréens approchent les textes français à partir de leur compétence textuelle liée au genre textuel, nous présentons les résultats d'une enqête effectuée sur la lecture de <<Les fiancés de la plage>> de Michel Tournier, pour le texte littéraire, et de <<La montée du chômage provoque une grave crise sociale en Corée du Sud>> extrait du Monde, pour le texte non littéraire. D'après notre observation, le genre textuel est un élément indispensable et primordial dont ils ont tenu compte dans le processus de lecture/compréhension de textes français. La reconnaissance du genre leur a permis de faire appel immédiatement aux représentations et aux savoirs liés à la textualité, puis de mettre en place leurs différentes stratégies de lecture/compréhension écrite. Plus précisément, dans le cas de l'opposition binaire entre texte littéraire et texte non littéraire, définis l'un par la subjectivité et l'autre par l'objectivité, des différentes stratégies de compréhension écrite ont été mises en oeuvre par les apprenants. Tenant compte de ces résultats, nous mettrons l'accent sur l'utilisation en classe, de textes français authentiques, et ce, dès les premiers apprentissages, ainsi que sur un éventuel transfert des représentations et des savoirs liés à la textualité, précédemment acquis par les apprenants dans leur langue maternelle.

『南齊書』 「五行志」 譯註 2

홍승현 중국사학회 2022 中國史硏究 Vol.- No.139

본 譯註의 대상은 『南齊書』 「五行志」 중 ‘火-視’·‘思心’ 項目이다. 北京, 中華書局, 1997년판 표점본을 사용하였으며, 쪽 수로는 pp.374~380에 해당한다. 다루는 災異는 火不炎上, 草妖, 羽蟲之蘖, 赤眚赤祥, 恒風, 山崩, 雷電, 地震이다.

실비아 플라스의 「라자로 부인」에 대한 라깡적인 접근

홍승현 한국외국어대학교 외국문학연구소 2008 외국문학연구 Vol.- No.32

이 논문의 목적은 실비아 플라스의 시 「라자로 부인」을 자끄 라깡의 이론을 통해 분석하는 데에 있다. 라깡의 “상상계”, 즉 “거울단계”에서 주체는 내면세계(Innenwelt)와 주위세계(Umwelt) 사이에 어떤 관계를 수립해야 하는데 여기서 자아동일시(identification)와 자기소외(alienation)의 변증법적 현상이 수반된다. 왜냐하면 거울단계는 통일된 신체를 획득한다는 점에서 긍정적이지만 지금까지의 경험과는 이질적이므로 주체는 소외를 느끼기 때문이다. 뿐만 아니라 이 과정에서 주체는 통합된 실체를 즉각적으로 획득하지는 못하므로 거세, 공격적인 환상, 몸이 파편화되는 절단, 잡아먹히는 공상 등의 파편화된 신체의 여러 시각적 이미지를 통해 “공격성”(aggressivity)을 드러내게 된다. 본 논문의 II장은 이러한 라깡의 “거울단계”와 “공격성”의 증상이라는 관점에서 상징계를 극복하지 못한 플라스 시의 전체적 구조를 살펴본다. 플라스는 라깡의 “상상계”(Imaginary Order)의 초기 단계와 유사한 자기만의 공간에 안주하려 했으나 필연적으로 “상징계”(Symbolic Order)의 위협에 직면하고 두 세계간의 갈등 해소를 광기로써 표출하게 된다. 의식적 담론과 마찬가지로 무의식의 형성물들은 말하고 있는 것과는 다른 어떤 것을 말하며 이것은 언어와 동일한 “은유”와 “환유”에 의해서 조절된다. 라깡은 이 두 언어학의 기제가 무의식의 일차 과정이 이루어지는 기본 양식과 동일하다고 하였다. 이 논문의 III장에서 이 논의를 적용시켜 「라자로 부인」에 나타난 은유와 환유를 추적한다. 첫째 “증상은 은유이다”의 견지에서 플라스의 증상인 자살은 죽어서 부활하고 싶다는 그녀의 욕망이 응축된 “Lazarus”를 은유로 표출한다. 둘째“욕망은 환유이다”라는 명제에서 말하는 주체의 진리 즉 욕망에 도달할 때까지의 광기에 가까운 “환유적 의미화 사슬”(metonymical signifying chain)이 순환하면서 의미를 이동시키는 비논리적인 경로를 분석한다. 결론적으로, 플라스에게 시를 쓰는 행위는 사회가 용납하지 않는 광기를 허용해 주면서 참을 수 없는 내적 고통을 비워주는 “구술치료”(talking cure)의 매개체였음을 입증하고자 한다. Sylvia Plath's poem, “Lady Lazarus,” I believe, is an especially interesting test case for Jacques Lacan's theory. According to Lacanian principle, the normative subject is supposed to come at last under the authority of the Symbolic order during the Oedipal passage. Without this insertion into the Symbolic, the subject may suffer from psychosis. In Plath's case, however, she does not seem to be able to resolve the conflicts between the Imaginary and the Symbolic. Her hyper-sensitivity, tension and madness persist along with her poetry. Locked into Lacan's Imaginary order, Plath, in her poems, shows aggressive reactions -- Lacan's own word, “aggressivity,” often metaphorized in various symptoms such as hysteria, phobia, obsession, impotence, inhibition, anxiety, selfpunishment, or perversion. The aim of this essay, then, is to demonstrate that Plath's desire is woven through with the continuously felt tension between the Innenwelt and the Umwelt. I hope to explore the poet's unconscious through the workings of “metaphor” and “metonymy,” since metaphor and metonymy glide perpetually at the surface of language and control the functions of meaning in the unconscious. The symptom, in Lacan's view, is a metaphor and desire is a metonymy. In “Lady Lazarus,” I would argue that the signifier, “Lazarus” may be construed as a metaphor of Plath's unconscious truth, in which Plath's desire suggests her yearning for rebirth. Accordingly, Plath's unconscious desire for renewal leads her to commit a suicide. In the meantime, “Lady Lazarus” shows how desire is deployed through metonymic signifying chains, such as linen, body, material objects, and red hair. Plath's desire is constantly deferred through metonymy, until Plath's repressed, true desire is finally liberated. In this context, I want to show how Plath's works, as “talking cure,” are an emptying out of unbearable inner conflict.

윌라 캐더의『 잃어버린 부인 』과 로버트 월러의 『 매디슨 카운티의 다리 』: 미국 중서부의 탈도덕적 마담 보봐리

홍승현 미국소설학회 2014 미국소설 Vol.21 No.2

In the conventional adultery novels, silence, isolation, and eventual self-destruction are the ultimate prices paid for such heroines who committed adultery as Emma Bovary, Anna Karenina, and Edna Pontellier. However, unlike those novels, the affairs of adultery in Willa Cather’s A Lost Lady and Robert James Waller’s The Bridges of Madison County seem to be portrayed as not much of grave violation against moral and social standards. Therefore, this paper aims at analyzing the tolerant portrayals of adultery in the two novels of Cather and Waller. The geographical settings of A Lost Lady and The Bridges of Madison County are in the Midwest, and Nebraska is a neighborhood state of Iowa. Since Cather glorifies the heroine Marian as an aesthetic ideal, her adultery is not causing a serious scandal but hurting the mind of Niel who romanticized her. The Bridges of Madison County also exempts the four-day lasting adultery from moral judgement, lauding the heart-breaking love between its heroine and hero. Most of all, in the novels, the adulterous affairs of the female protagonists do not destroy their families. Although both Marian and Francesca are unfaithful wives, they do not undermine the boundary of marriage and family, being dedicated until the death of their husband. The image of Marian in the memory of Niel as an immaculate, harmonious, and aesthetic ideal has been hampered; however, as years go by, Niel regains his long lost lady Mrs Forester. Although Michael and Carolyn, Francesca’s grown up children, are surprised by their mother’s extramarital affair, they finally understand her past, feeling sympathy to their mother’s sacrifice for family. In the two novels, adultery is not treated as a tarnished flaw to the lives of the heroines. Through the protection of Marian by the male characters who acquiesce her mistakes, Cather treats her illicit love affair leniently and weakens the moral judgement of the reader. On the other hand, Waller also hampers the moral intervention of the reader by way of showing Francesca’s tough decision to keep her love only in pure memory. Therefore, giving more weight to Cather’s novel, this paper is to analyze the novels in terms of the way how the moral judgement on the adultery featured in both A Lost Lady and The Bridges of Madison County can be suspended.

William Shakespeare's King Lear and Akira Kurosawa's Ran: Adaptation or Distortion

홍승현 한국영미문학교육학회 2015 영미문학교육 Vol.19 No.2

Shakespeare’s King Lear has repeatedly experienced severe textual abridgments and mutilations more than any other plays, as Nahum Tate’s version represented. However, in modern times, the absurdist interpretations of the play accept the whole text of King Lear as a play of the “grotesque” without textual abridgments and mutilations. Therefore, in our century, if a director tries to recreate King Lear into a movie or a stage performance, he should be conscious of its stage and textual history in his interpretation on the original play. Moreover, if the director comes from cultural areas alien to the western tradition, the range of his choice is so inconceivably wider that he must overcome certain complex problems. When a Japanese director, Akira Kurosawa made the film version of King Lear in 1985, which was titled as Ran, he also was not an exception. Additionally, since the motion picture is an artistic form born in the modern era, Kurosawa must solve the problem of how King Lear can be assimilated not only into an alien culture but into an alien art form as well. By bestowing an historical background on the original play, Kurosawa made Ran surpass the supposed improbability of the original King Lear, while his version of King Lear could keep the absurdist and nihilistic adaptation of recent criticism at a certain respectable distance. Kurosawa’s Ran is comparatively successful in deciphering and adapting the dramatic codes of King Lear in terms of the historical and cultural context of Japan without losing the essential philosophy and poetic sentiments of the original play. Any literary work in adaptation should undergo twofold simultaneous processes at once: one is the process of alienation from the native ground and the other, that of naturalization in an adopted culture. Therefore, Kurosawa’s cultural and historical challenge of transfiguring Shakespeare’s King Lear into a Japanese historical drama Ran may give us a valuable opportunity of rethinking the cultural transplantation in literature.