Brushing History against the Grain : Victims in Irish Ekphrases

Yeonmin Kim 한국예이츠학회 2016 한국예이츠 저널 Vol.51 No.-

이 논문은 아일랜드 시인들이 역사가 낳은 희생자들을 기술하는 방식을 탐구하는 것에 목적을 둔다. 예술작품에서 영감을 얻어 시로 표현한 엑프래시스 장르 를 통해 이들은 민족의 공식적인 역사 이면에 잊혀진 이들을 되살리는 시도를 한다. 예이츠는 레이디 그레고리와 싱의 초상화로부터 영감을 받아 영국계-아일랜드인들이 아일랜드 사회를 지배하던 과거 전통을 이어받아 상상의 공동체를 건설한다. 예이츠가 희생자들을 통해 전통에 대한 자부심을 드러낸 것과는 달리, 히니는 공동체를 위해 희 생당한 이들을 기억하면서 자신의 죄책감을 표현하는데, 이는 당대 북아일랜드 사태를 떠올리게 했기 때문이다. 또한 예이츠는 지배계급 이데올로기를 반영하여 고정된 민족 정체성을 추구한 반면, 히니는 늪지에 관한 시에서 특정한 관점에 고정되지 않는 민족 정체성을 구상하고 있다. 현대시인 멀둔과 더컨은 희생자들의 이미지를 통해 국가권력 기관의 폭력성을 폭로한다. 멀둔은 정신병원에서 철저히 감시되는 한 개인을 그리고, 더컨은 한 개인의 사적 영역인 신체마저도 통제하는 국가사법 시스템을 비판한다. This paper aims at investigating the ways in which Irish poets portray victims in modern Irish history. In their ekphrases, they attempt to resuscitate the excluded from official national history. Yeats invents an imagined community of the Ascendancy in his reminiscence of Lady Gregory and Synge. Unlike Yeats’s pride in the victims who once established a great tradition of Ireland, Heaney expresses his guilty conscience as he depicts ancient victims sacrificed to their communities, which reminds him of contemporary sectarian violence, the Troubles. Whereas Yeats’s ideal nationhood reflects his aristocratic class ideology, Heaney’s, represented in his bog poems, aspires to open-ended national identity. Muldoon and Durcan indict oppressive state apparatuses through the images of victims. If Muldoon exposes how systematically an individual is surveilled in a state psychiatric hospital, Durcan criticizes the authoritative state juridical system that takes control of the private realm of one’s body.

의사결정트리 기법을 이용한 초분광 영상기반 벼 도열병 감염 판별 식생지수 선정

강정균 ( Jeong Gyun Kang ),박준우 ( Jun Woo Park ),김치호 ( Chi Ho Kim ),민이기 ( Yi Ki Min ),이호승 ( Ho Seung Lee ) 한국농업기계학회 2022 한국농업기계학회 학술발표논문집 Vol.27 No.2

최근 이상기후의 빈번한 발생으로 벼 도열병 등의 피해가 남부지방을 중심으로 급증하여 수확량 및 품질저하로 이어지고 있다. 따라서 AI, 딥러닝 기술들을 활용한 원격모니터링 기반의 병해 진단과 병증 부위에 농약을 정확하게 살포하기 위한 변량처방 기술 개발의 필요성이 증가하고 있다. 본 논문은 드론에 탑재된 초분광 카메라로 벼 도열병을 촬영하여 분광학적으로 병 감염 여부의 판별가능성을 확인하기 위해 수행되었다. 도열병이 발병한 전라북도 부안군 하서면 장신리의 농가포장(35°43'20.99N, 126°36'37.66E)에서 회전익 드론 (Metric 300, DJI, China)에 초분광 센서(microHSI 410 SHARK, Corning, USA)를 탑재하여 고도 25m, 촬영 속도 4m/s로 초분광 영상을 수집하였다. 영상분석 소프트웨어(ENVI 5.3, Exelis Visual Information, USA)를 이용하여 반사판(Gray scale 12%)으로 광 보정 후 3가지 영역(도열병 벼, 정상 벼, 토양)의 반사율로 18가지 식생지수를 산출하였다. 각각 식생지수로 산출된 도열병 벼(50개), 정상 벼(40개), 토양(40개) 데이터는 7:3, 5:5, 3:7의 Dataset(train:test) 비율로 의사결정트리 모델을 작성하였고 유의한 식생지수를 선정한 후 Overall accuracy(OA)와 Kappa coefficient(KC)로 분류 정확도를 평가하였다(R 4.2.1, The R Foundation, USA). 의사결정 트리를 생성한 결과 모든 Dataset에서 NDVI와 NDRE가 유의한 것으로 나타났으며 두 가지 식생지수를 이용하여 Dataset 7:3일 때 OA가 87%, Ka가 80%로 나타났고 5:5일 때 OA가 92%, KC가 88%, 3:7일 때 OA가 93%, KC가 90%로 나타났다. 모든 Dataset으로 모델을 만들었을 때 분류 가능성이 80% 이상으로 나타나 분류가 가능한 것으로 판단되었으며 추후 더 많은 데이터를 이용하면 분류 정확도의 신뢰도가 상승할 것으로 사료된다.

The Implosion of Irish Elegy: Paul Muldoon’s “The More a Man Has, the More a Man Wants”

( Yeonmin Kim ) 한국영어영문학회 2020 영어 영문학 Vol.66 No.3

The purpose of this study is to discuss Muldoon’s “The More a Man Has, the More a Man Wants” in terms of the implosion in the Irish elegy tradition. The poem comprises two points of rupture-the speaker and the victim-through which the poet problematizes the tradition of Irish elegy. Muldoon’s speaker differs from the conventional elegiac speaker in two ways. First, the speaker is suspicious enough to partly recognize his surroundings in contrast to the traditional lyric speaker; furthermore, his trope of the personification enables him to deromanticize the tradition of pastoral elegiac mourning. Second, the speaker distinguishes himself from modern melancholic elegists. In distancing himself from both the dead and the sites of viloence, the poet employs black humor, which enables him to lighten the ethical burden of writing poetry during the Troubles and to express a sense of embarrassment in the turbulent era when a conventional distinction between good and evil is no longer valid. The second point of rupture is the victim. As a postmodern antihero, the victim appears self-contradictory. He behaves as an ordinary human; however, he appears as an extraordinary figure superior to common people. The self-contradictory characteristics accompanied by his transvestism and the use of shibboleth make him different from modern antiheroes. The postmodern antihero also problematizes the borders between representation and reality. In ekphrastic stanzas, he hybridizes different contexts in leaping from one representation to another to creatively interpret the contemporary sectarian violence, whereby the Irish elegiac genre implodes.

Paul Muldoon’s Playful Elegiac Recollection: Dark Humor and Association Techniques

Yeonmin Kim 한국예이츠학회 2019 한국예이츠 저널 Vol.58 No.-

본 연구의 목적은 폴 멀둔의 시에 나타난 유희적인 비가풍 회상을 두 가지 방식, 즉 어두운 유머와 연상기법을 중심으로 고찰하는 것이다. 멀둔은 어두운 유머를 통해 당대의 존재론적, 역사적, 정치적 위기상황을 보여준다. 그는 심각한 멜랑 콜리 정서만을 유지하지는 않는데, 전통적인 비가에서처럼 화자가 주변 환경과 정서적 인 거리를 좁히지 않을 뿐만 아니라, 근대 비가에서처럼 멜랑콜리의 심연에 무력하게 빠지지도 않는다. 멀둔이 보여주는 멜랑콜리와 유머의 특이한 결합은 그가 선택한 미 묘한 단어, 암호말, 기표 유희 등의 연상기법을 통해 이뤄지고, 이는 대상과 상황 사이에 긴장을 일으켜 의미화 작용의 한계에 이른다. 멀둔은 20세기 후반 격동기를 애 도하면서 추적 가능한 애도의 감정들이 기표의 유희 속으로 급속히 표류하게 하여 충 격적인 역사로부터 유머러스한 거리를 유지한다. The purpose of this paper is to investigate Paul Muldoon’s playful elegiac recollection in two ways: his adoption of dark humor and his association techniques. As a dark humorist Muldoon reflects on desperate existential, historical, and political crises of the era; yet he does not simply remain as a serious melancholic, neither as a traditional elegist who emphatically narrows the distance between the environment in mourning and himself nor as a modern elegist who helplessly falls into a melancholic abyss. The anomalous mixture of the melancholic and the humorous is delivered through the poet’s nuanced word choices, shibboleth, and play of signifiers, all of the association techniques creating tension between objects and context, placed at the limit of signification. In lamenting the turbulent era, Muldoon maintains a humorous distance from the traumatic history, leaving traceable clues that instantly drift into the play of signifiers.

Returning to the Ruins: Transnational Nostalgia in Paul Yoon’s The Mountain

( Yeonmin Kim ) 한국영어영문학회 2021 영어 영문학 Vol.67 No.3

The purpose of this paper is to discuss the nostalgic longing in Paul Yoon’s The Mountain. Discourse on nostalgia in the late twentieth century has been neglected primarily because of its escapist mode and conservative tendencies. In borrowing from Svetlana Boym regarding the conceptual distinction between restorative nostalgia and reflective nostalgia, I will attempt to illuminate the world of transnational nostalgia in The Mountain in two ways. Unlike the restorative version of nostalgia that converges on revivalist ideology, Yoon’s nostalgia works as a space for negation and potentialities in which the author envisages transnational mnemonic solidarity among the displaced in the postwar period. First, Yoon’s nostalgia provides a space for negation, off from the regressive past and the teleological future on which nation-state ideology is constructed. Yoon diverts himself from the regressive past in demystifying the victim mentality that lurks in nation-state ideology. He also maintains a critical distance from the teleological goal of postwar states in a lyrical manner. His lyrical style builds the world of nostalgia in which the traumatic past of his characters is kept from political appropriation. Second, following the trajectories of the fragmented memories of the displaced, Yoon constructs a nostalgic space for potentialities. His nostalgia is directed toward an open future in the images of fragments and missing objects in ruins. Works of art, in particular, serve as the world of nostalgic potentialities, neither too particular nor too general, to envision the unrealized past.

Derek Mahon’s Poetry : Guilt, Poetic Responsibilities, and the Autonomy of Art

Yeonmin Kim 한국예이츠학회 2018 한국예이츠 저널 Vol.55 No.-

이 연구는 데렉 마혼의 시 세계가 역사에 대한 시인의 죄의식과 시인의 책임감을 거쳐 예술의 자율성에 대한 추구로 발전되었음을 고찰한다. 첫째, 마혼은 개신교도로서 북아일랜드 사태에 대한 죄책감을 경험하는데, 이것이 그의 시의 기저를 이룬다. 둘째, 이러한 죄책감에 기인하여 마혼은 아일랜드뿐만 아니라 세계 역사에서 희생된 이들에 대한 관심을 표현하며 시인으로서의 책무를 수행한다. 마지막으로, 마혼은 엑프래시스의 독특한 시적 형식과 빛의 이미지를 사용하여 초월성 및 예술의 자율성을 추구한다. This paper examines Derek Mahon’s search for the autonomy of art via his guilt about history and his poetic responsibility. First, Mahon expresses his guilty conscience over the historical strides of Northern Ireland. Agonized by a culprit sensibility, he even comes to censure himself as a poet who colludes in the sectarian violence of his time. Second, Mahon’s guilt directs him to his concern for victims. Mahon sympathetically responds not only to Irish citizens but also to those who have remained neglected and unknown in world histories. Third, Mahon seeks the autonomy of art. His longing for transcendence is represented in his scrupulous search for both poetic forms and images of light.

W. H. Auden’s Poetry: An Affirmation of the Affirmative Character of Art

( Yeonmin Kim ) 대한영어영문학회 2016 영어영문학연구 Vol.42 No.4

W. H. Auden left Britain for America in search of the autonomy of art unaffected by political ideologies; and at the same time he acknowledged the limitation of poetry, that is, the affirmative character of art, its frustrated realization of revolution in society. With his ambivalence toward art in mind, I will demonstrate how Auden searches for ways in which art works on society despite its limitations. First, Auden notices the problem of dishonesty in political poetry. Criticizing his own political poems published during the 1930s, he takes heed of a dramatized role of the poet as a public speaker during a political crisis. Second, Auden recognizes that art cannot change reality but can allow a revolutionary reformation of the social order only within the realm of art itself. Art delimits itself to the logic of the affirmative character of culture. Auden nonetheless shows that only if art retains its autonomy can it raise a critical voice against a society in which all individualities are sacrificed to collective ideology. The autonomy of art is the core of its social indictment. Last but not least, in his ekphrases, Auden alludes to the way art allows one to question one’s attitude toward the suffering of others. His ekphrases interrogate the guilty conscience of the onlooker. (Chonnam National University)

한국형발사체 연료-유압식 추력벡터제어 구동장치시스템 Seal Friction Test

송연민(Yeonmin Song),정호락(Ho-Lac Jung),민병주(Byeong-Joo Min),김해수(Hae-Su Kim),김대현(Dae-Hyun Kim),김상범(Sang-Beom Kim) 한국항공우주학회 2019 한국항공우주학회 학술발표회 논문집 Vol.2019 No.11

토마스 하디 시에 나타난 멜랑콜리 시학

김연민 ( Kim Yeonmin ) 대한영어영문학회 2016 영어영문학연구 Vol.42 No.1

This paper aims at reading Thomas Hardy’s poetry with the concept of melancholy. Behind the overwhelming images of a merciless God/Nature Hardy describes, which traditionally characterize him as a pessimist, many a loser in modern history appears in his poems. His major concern is human failures and its fleeting nature. His steady contemplation on all the vanishing reveals his poetic ground: a sense of melancholy. Hardy’s poetics of melancholy are discussed in two ways: a melancholy view of nature/history and his own use of allegory. In contrast to Romantic poets, who aspire to dialectical synthesis and a harmonious resolution of conflicts, based on teleological, progressive history, Hardy reveals the existence of those who fail and are forgotten, their wishes denied. Given that one who is a melancholic refuses any synthetic totality, with his consistent reflections on the transient, he considers history a decline. A melancholic thinker expresses through allegories the necessity of extinction of all beings. With his passionate concerns about the defeated, Hardy is thus a melancholic allegorizer. Mysterious animals in his poems appear as an allegory for the fleeting nature of human history. Unlike the symbolic usage of animals in Romanticism, Hardy’s allegories of deserted objects and animals uncover the fleeting feature of the world.**2(Chonnam National University)

Paul Muldoon’s Elegy: a Playful Melancholic Recollection

김연민 ( Yeonmin Kim ) 현대영미어문학회 2018 현대영미어문학회 추계학술대회 발표논문집 Vol.2018 No.-