Responses to ethanol-related behaviors following administration of alcohol-tolerant lactic acid bacteria in mice

Misun Yun,Namhee Kim,Young Seo Jang,Hee Eun Jo,Choi Ga Hee,Ha Eun Jo,Hak-Jong Choi 한국산업식품공학회 2023 학술대회 및 심포지엄 Vol.2023 No.04

What Piketty Knew (But Dared Not Ask Henry James): Fin-de-Siecle American Capitalism and Queer Resistance in The Ambassadors

( Misun Yun ) 한국영미문학페미니즘학회 2017 영미문학페미니즘 Vol.25 No.1

Thomas Piketty has cited Henry James in his globally influential Capital in the Twenty-First Century (2013), arguing that he represents in his novels the social reality of nineteenth-century rentier capitalism. Drawing attention to this analysis, I raise in this paper two questions: 1) Is the historical reality of James`s America towards the turn of the twentieth century, as Piketty assumes, a variant on a similar reality in Austen and Balzac`s Europe? 2) Is realist fiction a source reservoir of economic reality per se in the given historical era? To defend fiction`s power to creatively represent social reality, and, specifically, James`s unique success in capturing the particular economic reality of fin-de-siecle America, I focus upon The Ambassadors (1903). Fredric Jameson has persistently denied James a true historical awareness, arguing that James`s falsely enlarged technique of point of view leads to an avoidance of the material reality of his time. Opposing Jameson, I argue that James`s choice to narrow the diegetic world of the novel to the limited experience of the novel`s hero, Lambert Strether, aptly represents the reality of American capitalism at the time a system which was, if we correct Piketty`s undifferentiated idea of rentier capitalism by a rigorous distinction of its phases, at that moment transforming itself from industrial capitalism to financial capitalism. Strether, who in many particulars transgresses hegemonic masculinity, provides the perfect lens for examining the complexly gendered reality of this transformation. I introduce Gustave Flaubert`s L`Education sentimentale as a model text through which we can understand how James imagined the conflict between the dominating logic of economic production and the resisting logic of cultural production in the Bourdieusian sense: though the middle-aged Strether is a loser in the practical sense, James makes him a true hero. I argue that James challenges the pervasive logic of turn-of-the-century American capitalism and its protean appropriation of established gender and social roles by proposing an alternative modernity based upon queer resistance.

The Lesson of Pater: “The Child in the House” and Narrative Portrait as a Form for Commemoration in The Portrait of a Lady

Misun Yun 19세기영어권문학회 2021 19세기 영어권 문학 Vol.25 No.1

This paper explores the neglected influence of Walter Pater on Henry James, especially the ways in which Pater’s autobiographical short story, “Imaginary Portraits, I: The Child in the House,” helped shape James’s distinct form of narrative portrait as exemplified in The Portrait of a Lady and elsewhere. While James shares with Pater the idea of narrative portrait as a form to actively invite the reader to reflect on the subject, his form is distinct from Pater’s in that it gestures towards the possibility of re-envisioning what is portrayed, through the act of reading as commemoration. In contrast, Pater’s form entices the reader to accept the portrayed vision as what has passed through time, and also as what has been subsumed in the act of reflective reading. Contrary to the common belief that he denied the dimension of the ethical in art, Pater, in his narrative portrait, embodies the vision of Bildung—the ultimate union of an individual with the world, whether it is a character in the narrative or the reader—and thereby offers a profoundly ethical vision of the aesthetic. I propose that in The Portrait James problematized precisely this German-influenced ethico-aesthetic vision of Pater: a vision which was also shared among the Macmillan circle of critics with whom James associated when he serialized the novel in Macmillan’s Magazine.

Alcohol-lowering effect of alcohol-tolerant lactic acid bacteria ingestion in rats

Misun Yun,Hyo Kyeong Park,Namhee Kim,Young Seo Jang,Hee Eun Jo,Hak-Jong Choi 한국산업식품공학회 2022 학술대회 및 심포지엄 Vol.2022 No.11

키틀러와 데리다

윤미선(Misun Yun) 19세기영어권문학회 2019 19세기 영어권 문학 Vol.23 No.1

Friedrich Kittler, German media philosopher, argues in his Inscription Systems 1800/1900 (1985), that the long-held prestige of writing as a medium for communication was irrevocably lost during the nineteenth century; modern technical media, gramophone, film, and typewriter, were invented and spread. His argument is noteworthy for the studies of English literature as he takes Bram Stoker’s fiction Dracula (1896) as an example to reveal that historical transformation of the media environment. What I attempt in my article is to challenge Kittler from another media theoretical perspective, which I will derive from Jacques Derrida. I will focus on Derrida’s Given Time: 1. Counterfeit Money (1991) as a text to reveal his hitherto unclarified media theoretical view of literary production. I will show Derrida is a Kittlerian in that he suggests a certain historical specificity of the media conditions of Charles Baudelaire’s literature, which I name the “Inscription System 1850.” Here Derrida is concerned about the future the technical media will bring. I argue Derrida, however, unlike Kittler, is not deterministic because his idea of “arche-writing,” or différance, can be applied to any media beyond writing as a principle to effectuate their time—thus, space and world—creating role. With the theoretically clarified view of literature as media, I will reread Dracula not as a work to show the downfall of the writing’s prestige but as a work to reveal the pertinence of the arche-writing principle over different media systems. I will especially focus on the fact that Dracula was published according to the new production system of fiction established after 1895. Dracula incorporates heretofore prevalent narrative types which represent different narrative times, and thereby newly creates a ‘real-time’ narrative employing the technology of typewriter as a motif in the story and at the same time a catalyst for a new form of narrative.

『길 위 1번지』, AI 제임스의 소설 : 「소설의 기술」과 인공신경망 알고리즘의 글쓰기

윤미선 ( Yun Misun ) 영미문학연구회 2021 안과 밖 Vol.- No.50

This article explores the implications of 1 the Road (2018), a fiction produced by an artificial neural network, for the debate on machine creativity. Unlike most of the recent deeplearning writing programs, its creator Ross Goodwin traveled with this neural network machine from New York to New Orleans in a Cadillac equipped with a surveillance camera, a voice recognizer, and GPS. The AI thus had continuous feeds of fresh images and sounds, not unlike a novelist who hits the road searching for an experience. I argue that we can better understand this attempt of 1 the Road when discussed alongside Henry James’s realist notion of fiction in his essay “The Art of Fiction” (1884). Even though James is often considered an arch-humanist in his belief that fiction is an expression of the unique personality of a novelist, his idea of experience offers a way of understanding Goodwin’s machine as a creative writer. Its algorithmic operation―processing the new sense data via the CNN algorithm and producing the result as writing via the RNN algorithm―is strikingly similar to the workings of the novelist’s mind in James’s view. I do not argue that those sense data are unmediated, and this fact is reflected in the CNN’s algorithm that imitates the human mind. In fact, James asserts that sensory data are the result of mediated selection, which can only be seen through the final result, the writing itself. What I propose is that regardless of whether the machine has a so-called “consciousness,” its writing can affect the reader in similar ways as does a text written by a human being. As long as it works as a linguistic medium to relate the “experience,” which is the algorithmic process of selection and transcription, it is a creative writer.

19세기 영미 정기간행물 연구 : 문헌 연구에서 담론과 매체 연구로

윤미선 ( Yun Misun ) 영미문학연구회 2017 안과 밖 Vol.0 No.42

This paper offers a critical survey of scholarly studies of periodicals in the nineteenth and early twentieth centuries. Periodical publications dominated the production of literature and discourse in this period, both in America and in Britain and its colonies. This important area of long-nineteenth-century print culture, however, received scant scholarly attention until the mid-1960s. I will break down its development into three rough phases: the mid-1960s to 1970s; the 1980s and 90s; and 2000 to the present. The mid-1960s saw an urgent call for the establishment of archives of the nineteenth-century periodical, to further the historical and interdisciplinary study of literature in English. The 1970s witnessed the publication of important periodical directories. These included the invaluable Wellesley Index, which identified the legions of periodical authors who had published anonymously. The late 1980s witnessed a “theoretical turn” in archive-based periodical studies. Under the influences of Michel Foucault and Mikhail Bakhtin, the characteristics of authorship were redefined such that editors, publishers, and readers also came to be considered nodes of meaning-making that structured the discourse networks of the long-nineteenth century; and the polyphony of periodicals drew keener attention for what it revealed of conflicting social forces organized around gender, class, and race difference. At the turn of the new millennium, the global proliferation of digital media prompted a reappraisal of periodicals as a collective “genre” of print media, whose characteristic, periodical mode of production structured the rhythm of modern life. While recognizing the impetus and creative potential of the “media turn” in periodical studies, which assists in understanding the complexities of the mediation and remediation of texts, I criticize its tendency towards apolitical technologism. I propose a “thick reading” of periodical texts, relaunching the agenda of the “theoretical turn” of the 1980s, as an enriching parallel to the “thin reading” and “distant reading” that is more widely encouraged in periodical studies in the digital age.

19세기말의 장기 공황과 『드라큘라』의 정보자본주의 : 정보조직의 기술화와 단행본 서사의 재탄생

윤미선 ( Yun Misun ) 영미문학연구회 2021 안과 밖 Vol.- No.51

This paper proposes that the novel Dracula (1896) should be read as a response to the Long Depression that began in 1873 and ended in 1896, which contributed to the establishment of the so-called early Information Age geared by the capital's labor management innovation. It focuses especially on the format of the novel as a single-volume publication without any prior serialization: an innovative practice that departed from the then standard format of three-volume publications for the circulating library with serialization in monthly magazines. Such an innovation in the publishing industry was a part of the self-renewal of the industries under the pressure of the Depression. Bram Stoker, a manager of the middle-brow Lyceum Theatre and a hack author under the old system, inclined to the innovation and welcomed the new practice. Dracula is a story of the fight against the Long Depression by the middle class in crisis, who actively adopts the information technology to be competitive. It is a story of the early Information Age not just in that the increasingly popularized typewriter appears as the crucial medium to reveal the truth of Dracula: the Depression as a mixture of the rational and the irrational of capitalism. The novel also reflects the mechanism of Information Capitalism, since the value of the information created by the labor of cognition, communication and co-operation of plural agents, especially through the labor of the woman Mina Murray, is appropriated by one person in the making of the novel’s single-volume form. It is the editor of the story - supposedly the declared author of the book's postscript, Jonathan Harker, Mina's lawyer husband - who has the final authority over the narrative. He, not unlike Stoker, represents the patriarchal middle class that came to join successfully the reinforced capitalist force of the British Empire after the Depression, which was overcome with the aid of the information technology developed in order to manage labor.

1870년대 헨리 제임스의 영국 수용과 주간지 『런던』 - W. E. 헨리 써클의 개성주의, 『프랑스 시인과 소설가들』과 ‘미국’ 소설 -

윤미선 ( Yun Misun ) 세계문학비교학회(구 한국세계문학비교학회) 2020 世界文學比較硏究 Vol.71 No.-

본 연구는 1870년대 후반 영국의 비평 주간지로 그 존재가 잊혀진 『런던』(London, 1877-79)이 미국 소설가인 헨리 제임스(Henry James)를 누구보다 앞서 수용하고 그의 작품 세계에 영향을 끼친 과정을 탐구한다. 이 연구는 19세기 영미문학 생산에서 정기간행물이라는 매체와 이를 둘러 싼 담론 생산자들의 실천이 ‘문학’ 생산 과정에서 가지는 중요성을 널리 알리려는 연구의 일환으로, 『런던』이 독특한 이데올로기적, 미학적 실천을 통해 이후 영국 문학장이 자율적 가치를 지닌 영역으로 형성되는 과정에 큰 기여를 했다는 사실에 주목한다. ‘대항유미주의’(counter-aestheticism)적 입장이 그것이다. 제임스가 『런던』의 편집자 윌리엄 어니스트 헨리(William Ernest Henley)가 이끄는 비평가 그룹과 조우한 과정은 이들이 프랑스 문학과 소설 장르에 대한 전문성을 주장함으로써 직업적 저자 및 비평가로 정체성을 확립한 하나의 새로운 문필가 세대였음을 보여준다. 제임스의 비평집 『프랑스 시인과 소설가들』(1878)은 이 사실을 드러내는 중요한 증거로, 본 논문은 특히 제임스가 투르게네프와 발자크를 둘러싸고 헨리의 젠더 이분법적 소설관과 대립하며 자신의 리얼리즘론을 발전시켰다는 사실을 밝힌다. 결론적으로, 제임스는 기대주이자 통제의 대상이었던 ‘미국’ 소설가로서 『런던』비평가 그룹과의 경쟁 속에서 그의 초기 대표 소설들을 생산했음이 드러날 것이다. This study investigates the key role of the largely neglected Conservative weekly entitled London (1877-1879) in the British reception of the American novelist Henry James (1843-1916) in the late 1870s. The London’s editor William Ernest Henley (1849-1903) and contributors George Saintsbury (1845-1933), Andrew Lang (1844-1912), and Robert Louis Stevenson (1850-1894) belonged to a new generation of critics, like James himself, that professionalized ‘literary’ criticism as a realm distinguished from the more traditional, ‘general,’ Victorian periodical criticism. I argue that James’s rivalry with them catalyzed the production of the collection of criticism French Poets and Novelists as his first book published in London. The London critics were unusual in their attention to James for the publication of The American in the United States. However, in their gendered perspective of fiction that ultimately championed romance, James could be easily associated with aesthetes whom they found ‘feminine’ and second-rate in the lack of power in the narrative control and lack of strong individuality as the core of art. Henley showed a unique understanding of James regarding James’s Turgenev-style “impartiality” as a type of narrative mastery. Henley nevertheless also persuaded James to take on board the lesson of Balzac whom he found a genuine master among the realists for his empowering the narrative with a ‘masculine’ passion. Henley proposed, problematizing James’s authority on the European theme, that James should write a story about America to be truly masterful in his narrative world. James challenged the binary, ‘counter-aesthetic’ perspective of these London critics in his subsequent works. However, he did so by answering their demand for the “stronger” narrative by the uniquely engaged dramatization, beyond the expected measure and of the other gender, of the American character in the conflicts between the old and the new values whom Henley suggested James focus more on.

『교외 소묘』의 리듬과 “우편적 무의식”: W. D. 하월즈의 사실주의와 1870년대 전환기의 『아틀랜틱 먼쓸리』

윤미선(Yun, Misun) 순천향대학교 인문학연구소 2019 순천향 인문과학논총 Vol.38 No.3

이 연구는 지금까지 경시되어 온 W. D. 하월즈의 여행기 『교외 소묘』를 논하는 것을 통해 미국 사실주의의 성립에 리듬 의식이 결부되어 있음에 주목한다. 삶을 구성하는 한 측면이자 소통을 위한 재현 형식의 구성적 요소 중 하나인 이 리듬은,『교외 소묘』의 경우, 특히 출판 매체였던 『아틀랜틱 먼쓸리』와의 관계 속에서 형성되었다. 본고는 그 과정을 밝힘으로써 하월즈의 사실주의는 당대의 변화하는 소통의 미디어적 조건, 즉 페니 우편 등으로 가속된 소통의 템포를 반영하는 동시에 이를 재구성하려는 “우편적 무의식”이었음을 드러낸다. This paper aims to clarify the involvement of what can be considered “rhythm” in the establishment of American realism by focusing on a hitherto neglected work by W. D. Howells, Suburban Sketches. I argue that this rhythm is both an aspect of represented life and a structuring element of the representational form. In the case of Suburban Sketches, it was primarily formed in relation to its periodical publishing medium, the Atlantic Monthly. By showing the layers of the interactions between that magazine and the text of Suburban Sketches, this study reveals that Howells’s realism was an attempt to produce an interstice for different speeds of life and communicative modes from the dominant ones which it partly affirms, too. I argue this was carried out in challenge of the changing media condition that saw the consolidation of the Penny Post and telegraph service at the turn of the 1870s.