상호텍스트의 메아리로서 시

서혜련 又石大學校 語學硏究所 1996 語文學硏究 Vol.1 No.-

This essay explores the poetic text as a network of intertextual relationships and examines the concept of intertextuality in the light of a vertical aspect and a horizontal aspect. The notion that has shown the literary text to be a tissue of signs has been revealed by semiotics. so that when a sign is transferred from one system to another or is at least. linked up with another sign belonging to another system. semantic values accumulate at the point of intersection of the two systems. It allows us to understand how functions can be built up at single points and how semantic units can change on roles so that what is a signified on one plane can become the signifier of another signified on another. The study of this polysemic versatility of a single sign increases our capacity to penetrate the semantics of a literary text. Also we should examine poetic texts not as a natural result of expression-the garb of thought-but rather as an integral part of a communicative process. The literary communication requires the interaction of two participants. usually called an author and a reader. This perspective invites us to explore an area of the incorporation of heterogeneous literary texts in the text under study. Particularly stimulating work along these lines has been done by Jan Mukarˇovsky´. Yuri Lotman. Roland Barthes. Jonathan Culler. Julia Kristiva. Laureant Jenny, and Michael Riffaterre, etc.

토마스 하디 시의 풍경 : 반닷불이의 반짝임

서혜련 신영어영문학회 1999 신영어영문학회 학술발표회 자료집 Vol.1999 No.2

루이스 보건의 불안과 우울의 시학 그리고 「메두사」 읽기

서혜련 대한영어영문학회 2019 영어영문학연구 Vol.45 No.3

Many critics analyze not only Louise Bogan’s poetic forms and technique such as compression, purity of diction, ellipses, indirection, ambivalence, disruption of expected syntax, seemingly discordant images and traditional metrics but also her perspective toward intimate material and events of her life and approach. Though there are formal and symbolic structures in her poems, they cannot be separated from emotional entanglement, intimate psychological events of her life and ambivalent prejudice that a female poet has to face. Throughout her poetry, criticism, autobiography and letters Bogan shows that her unique experience of gender, her experiences as a female poet and her mother-daughter relationship are huge resources of creativity, vitality and impetus of her poetry. She emphasizes controlled, impersonal and self-effacing style through symbolic and metaphorical ways. This study explores her poetics of anxiety and depression throughout female experiences, cultural prejudice against women poets, and relations between mother and daughter, and examines her poem, “Medusa” that portrays the psychological landscape of Bogan’s poetry.

토마스 하디 시의 비극적 색채의 소극적 아름다움

서혜련 세계문학비교학회 2000 世界文學比較硏究 Vol.3 No.-

Hardy had a keen insight into the tragic substance of human life. There lay in his fictions and poems a pessimistic aspect of view connected with the uneasy and gloomy conditions of modem society-alienation, anxiety, agitation, desperation, terror of death and frustration common to modem generations, Hardy illustrates the fatality not only in his novels but also in his poems. The association of a given emotion with particular visual memories in "Neutral Tones" is impressive. In the poem 'The Convergence of the Twain", the Immanent Will has welded together the "paths coincident" of the iceberg and the Titanic. We might expect the more typically Hardyesque sense that man finds himself in a universe that is always and terribly threatening and is here manifested in the sea, mythologized as the Immanent Will. He wrote many poems in which he took firm positions on religious and cosmological questions, poems such as "Hap," "God-Forgotten," "Before Life and After," and "New Year's Eve ." In employing the Nature motif in his works, Hardy used it with affection and understanding. He shares Wordsworth's primitivism to some degree and finds in nature sources of beauty, resigned wisdom, and sympathy. But at the same time he rejects the Wordsworthian hopes and writes to expose them. The result is a natural world completely Hardy's own, composed of grays, bleakness, emptiness, chilling winds and rain, yellowing leaves, and mutely suffering creatures, with signs everywhere of dreariness, ominous threat, and blight. Hardy's versification is calculated and manipulated for expressive function rather than for smoothness and harmony. His use of poetic and antique words and phrases brings about an effect not of artificiality but of spontaneity. In addition to the frequent intricacy of the stanzaic forms, Hardy makes much use of run-ons, rich punctuation and medial pauses and brings out the dramatic development and fluctuation of feeling. We can admit that his works were strongly colored by tragic aspects of fatalism and desperate resignation. But an attempt to evaluate Hardy as a writer must be made in terms of the creation of a better world on the bases of his intention and arguments. It is needless to say that Hardy is a great poet of modem English literature, presenting the appeal of the first-hand experience and feeling caught from life rather than literature.

쉬클로프스키의 낯설게 하기

서혜련 又石大學校 語學硏究所 1999 語文學硏究 Vol.3 No.-

The Russian Formalists attacked previous scholarship and defended aggressively the narrow limits they imposed upon literary study. The formal method grew out of a struggle for a science of literature that would be both independent and factual. The establishment of a specific and factual literary science was basic to the organization of the formal method. They had to show that the perception of form results from special artistic techniques which force the reader to experience the form. Shklovsky's "Art as Technique." presenting its own manifesto of the Formalist method. offered a perspective for the concrete analysis of form. Theories of defamiliarization base themselves upon the assumption the realm of art perceptual evidence is often overridden by that we know such that we end up with familiar stereotypes instead of knowledge constructed from the concrete information given to us by our senses. Accoding to Shklovsky, art exists to make one recover the sensation of life to make one feel things, to make the stone stony. The purpose of art is to impart sensation of things not as they are know but they are perceived and to create a special perception of the object. The technique art is to make objects "unfamiliar," to make forms difficult, increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. The term foregrounding represents a development of the concept of defamiliarization which builds on 'figure-ground' theories developed by researchers into perception. Nowadays foregrounding and defamiliarization are often used interchangeably. Both concept are related to the view that 'poetic language' is to be sharply distinguished from other forms of language. According to Jan Mukarovsky, the function of poetic language consists in the maximum of foregrounding of the utterance. In poetic language, foregrounding achieves maximum intensity to the extent of pushing communication into the background as the objective of expression and of being used for its own sake.

융복합시대에 디지털문화와 시의 효용성 연구

서혜련,김경순 한국디지털정책학회 2018 디지털융복합연구 Vol.16 No.1

The purpose of this paper is to explore the characteristics of a digital culture, its negative effects, especially automatism of perception, a poetic strategy against automatism of perception and the utility of poetry including the therapeutic function of poetry. The new technologies offer us various experience, great opportunities and rosy future by freeing us from boring and laborious tasks, and difficult decisions. Through the excessive and habitual use of new technologies, we may become too dependent on machines, losing our thinking abilities, sensibility, perception and creativity. Therefore, we need poetry to recover the sensation of life and make us feel things. Reading poetry allows us to look into someone else’s soul and cultivate the ability to empathize. As a healing fountain, poetry leads us to a way for a change of heart, a recovery of psychic health and universal love through perfect communion in ourselves and in society. Furthermore we need a systematic and in-depth study of digital poetry as well as traditional poetry. 이 연구의 목적은 디지털문화에 잠재한 폐해들 중 하나인 지각의 자동화에 대한 대응전략으로서 지각의 자동화 현상에 대한 시의 지각의 낯설게 하기 효과, 시의 치료적 기능과 시적 장치로서 은유 등을 포함한 시의 효용성을 고찰하는 것이다. 따라서 이 연구는 디지털 문화의 속성과 그 폐해, 특히 디지털문화의 부정적인 영향인 지각의 자동화현상의 원인과 결과를 분석하고 시는 이에 대한 해결책으로서 유용한 도구가 될 수 있는지를 분석하였다. 디지털시대의 급격한 기술혁신의 결과 우리는 다양한 경험과 많은 기회를 얻게 되고 장밋빛 미래를 전망한다. 그러나 우리는 인공지능과 디지털기기에 대한 무의식적이고 습관적인 의존으로 지각의 자동화의 위험에 빠질 수 있다. 시는 사물들을 낯설게 하며 형식을 까다롭게 하여 지각의 자동화를 막고 상상력, 문학능력과 창의성을 증진시킨다. 또한 시의 치료적 기능은 새로운 경험을 하며 공감능력을 키우게 하고 때로는 상처 받은 마음에 위안과 평화를 주어 정신건강을 회복하게 한다. 전통적인 시뿐만 아니라 디지털융합기술로 탄생한 하이퍼텍스트시 등을 포함한 다양한 형태의 다지털시에 대해 앞으로 체계적이고 심도 있는 분석과 연구가 필요하다.

Ultraviolet Spectrophotometry에 의한 Vinylpyrrole과 Pyrrole imine 유도체의 Electron Delocalizability에 미치는 치환체의 영향

裵鮮建,柳珙植,徐惠蓮 群山大學校自然科學硏究所 1989 自然科學硏究 Vol.4 No.-

Substituent effects on the electron delocalizability of derivatives of vinylpyrrole and pyrrole imine have been examined in MeOH solution by ultraviolet spectrophotometry. The effects did not appear to be additive, but longer wavelength shift due to conjugation and electron withdrowing group. Specially, the significant difference in ?? for derivatives of pyrrole imine was seem to be caused by the conjugation effect and the position of the substituents.

W. H. 오든의 「W. B. 예이츠를 추모하며」 : 1930년대 시인의 초상 A Portrait of the Poet in the 1930s

서혜련 又石大學校 1995 論文集 Vol.17 No.-

W. H. Auden was a major English poet in the 1930s. Auden's early poetry is much concerned with a diagnosis and portrayal of the ills of his country such as economic depression, unemployment, poverty and spiritual desiccation. The influence of the turmoil of the thirties on Auden's poetry caused an enormous inflow of new impressions, insights and ideas. which he met with an ever-increasing curiosity. He brilliantly transformed the modish talk of the thirties into a highly varied poetic styles and forms. Auden's poetry in the thirties records a series of exploratory voyages from England to Iceland, Spain, China, across Europe, finally to America. As a solution to the constriction of the present age, Auden proposes, not a political ideology, but the idea of the community tied by love. He is always not searching for a Marxist paradise, but for "new styles of architecture, a change of heart", a recovery of psychic health in themselves and in society. Finally Auden prays for grace to "show an affirming flame" in the darkness surrounding the world. He ended the era of The Waste Land, and opened the new way for new many different kinds of poetry. Through response to Eliot, Auden made the lyrical and personal voice available to poets writing about contemporary ideas, social issues, and topical events.

루이스 보건(Louise Bogan)의 시학과 「여자들」(“Women”)

서혜련 ( Seo Hae-ryen ) 대한영어영문학회 2004 영어영문학연구 Vol.30 No.2

In her poetry, Louise Bogan transcended cultural limitations of gender as she struggled for artistic control and personal maturity. During the twenties and thirties, conflicting images of women grew in response to contradictory discourses of gender. Therefore both thematically and stylistically, her poetry must be understood in terms of her unique experience of gender. This study explores the specific gender ideology of Bogan's time and examines the ways in which she engaged that set of cultural assumptions in her criticism and poetry. It also points out other factors such as class and artistic temperament important to an understanding of her work. Within this context, it presents a feminist reading of Bogan which avoids reducing her to a patriarchal cripple. Bogan's ambivalence about feminine nature informed her views on women's poetry and its marginal position in the literary scene. The voice in “Women” totally internalizes the enemy and turns on her own feminine self. The poem's unrelieved bitterness toward gender epitomizes the worst kind of isolation, extending to encompass both the outward and inward world. Bogan's style is plain, terse, bare to the point of austerity. She depicts with severe economy, with reticence and by implication and her images are objective. As a female poet who reflects human situation truly, she transforms human sufferings into vast resources of poetic energy and miracle of art. Her poetry is a record of her progress as a poet and person. < Woosuk University >

타발식 기계식 쇼트 피닝에서의 가공 진행방향 영역 중첩에 의한 커버리지 예측에 관한 DEM 해석

서혜련(Hyeryeon Seo),박준영(Junyoung Park) 대한기계학회 2020 대한기계학회 춘추학술대회 Vol.2020 No.11