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차연 (差延)의 시학 : The Scarlet Letter 에 나타난 " A " 의 불확정적 유희
구은혜 한국호손학회 2000 미국소설 Vol.7 No.1
The propose of this paper is not to prapabe an additional interpretation of Hawdorne's The Scarlet letter but to explain its poetics by the employment of Jacques Derrida's did$quot;. Above all, Derrida's diffe´rance is a new word which incorporates two significations : $quot;to differ$quot; and $quot;to differ.$quot; is so called the space-time continuum in die context of meaning, and emphasizes a temporary appearance and the absence of transcendental signified 1n this light, words are the deferred presences of the things they mean, and their ring is guided in difference. In The Scarlet Later, the letter A's absolute reality is deferred in terms of Deirida's diffe´rance. Narrative of the text itself is developed by die traces of the letter $quot;A$quot;. At first, the $quot;A$quot; is introduced as a symbol of shame, but following Hester's transformation, the signified of the $quot;A$quot; multiply. The signifier $quot;A$quot; has many signified as traces, ranging from the negative $quot;adulteress$quot; to die mae positive $quot;art$quot;, $quot;able$quot;, $quot;adored$quot;, or, $quot;angel$quot;. The $quot;A$quot; apes an inexhaustible chain of substitutions (adulteress, anguish, angel, able, adored, autonomy, ambiguity, etc.). Thus die presence of determinate meaning is wader all the time, but exists only as a trace. These indeterminate signified of the letter $quot;A$quot; are the multiplicity of the voices that signify $quot;A$quot; for America. Finally die fiction ends with the tombstone's heraldic legend, $quot;On a FIELD, SABLE, THE LETTER A, GULES,$quot; which is actually not an ending at all. The indeterminate letter $quot;A$quot; exists only in different interpretations of the endless signification process. So a reader's to the teed is a result of Hawthorne's postmodern perception of reality, producing an inevitable indefinite interpretation. That is, the letter A, which is by design indeterminate, introduces diffe´rance as a necessary part of a reader's response.
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구은혜 한국현대영미소설학회 2002 현대영미소설 Vol.9 No.2
This paper investigates the poetics of indeterminacy in some of the representative works of British and American postmodernist fiction published during the period of the late 1960s: John Fowles’ The French Lieutenant’s Woman (1969), Thomas Pynchon’s The Crying of Lot 49 (1966), Donald Barthelme’s Snow White (1967) and his key stories like “The Balloon” (1968), “Robert Kennedy Saved from Drowning” (1968), and “Views of My Father Weeping” (1970), and Doris Lessing’s The Golden Notebook (1962). First, Fowles’ The French Lieutenant’s Woman displays fictionality and indeterminacy structuring the novel and thus strengthens the illusion of reality by presenting Sarah as mobility or fluidity of image, by employing authorial commentary and, above all, by giving three multiple endings. Next, Pynchon’s The Crying of Lot 49 provokes epistemological and ontological indeterminacy by having its characters experience fictional reality both pervading and controlling their daily lives. For example, Oedipa, the heroine of the novel, happens to know the existence of Tristero, an alternative organization for communication, and continues her paranoiac attempts throughout the text to unveil its reality only to find nothing but some of its traces in the form of textual signs concerning Tristero. She cannot even affirm the existence of Tristero, which, despite her persistent inquiry about it, fades into the gray zone between existence and non-existence. Both Oedipa and the reader are bewildered in the multiple realities and their provisionality they face in their pursuit. Lastly, Barthelme’s aforementioned works, which consist of a series of fragmentary little episodes, deal with the splintered world characteristic of postmodern image. In “The Balloon” the balloon is used as a device by which to inquire into the nature of indeterminate reality. The balloon ‘hanging there’ eludes fixed meanings, exists inviolate and indefinable, and retains its provisional play in the realm of liberal imagination. In “Robert Kennedy Saved from Drowning,” the reader is allowed to get the information about its central character named K. but never possesses a clear picture of his identity. Like the balloon, K. proves to be illusive, undefinable, and even indeterminate. This epistemological and ontological indeterminacy is much more evident in “Views of My Father Weeping.” Not surprisingly, the story’s narrator finds it difficult to relate the bits of contradictory evidence he discovers. He is not even sure that he can identify his father. Finally, the story ends with “Etc.” without arriving at any clear picture of his father’s death. All these works demonstrate a characteristic postmodern way of perceiving reality, a perception which amplifies provisional, temporal and eluding aspects of reality. They also show that reality is indeterminate and comes to us only through interpretation and an endless signification process. Finally these texts all based on the poetics of indeterminacy close up the fact that our reality is textualized and always mediated through the play of language.
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구은혜 국민대학교 어문학연구소 2000 語文學論叢 Vol.19 No.-
This paper investigates the poetics of indeterminacy in the key stories of Donald Barthelme, especially in "The Balloon," "Robert Kennedy Saved from Drowning," and "Views of My Father Weeping." Indeterminacy, the uncertainty of reality, is the most distinctive episteme in postmodernism. In his stories, Barthelme reveals his postmodern perception of reality, which amplifies provisional, temporal and eluding aspects of reality, and emphasizes indeterminate reality as existing only in different interpretations of the endless signification process. "The Balloon" presents a paradigm of the Barthelmeian art object. Barthelme uses the balloon as a tool inquiring into the nature of indeterminate reality. In the text, the apparent purposelessness of the balloon forces people to take a more practical approach to the balloon's presence. In the final joke of the story, it is revealed to be narrator's balloon. in term of "a spontaneous autobiographical disclosure," having to do with sexual deprivation. Barthelme's main interest, however, seems to be simply to add another interesting interpretation to the balloon hanging there. In "Robert Kennedy Saved from Drowning," the narrator records his observation about Robert Kennedy by describing episodes in his life. Through this, information about Kennedy can be gathered, but we never gain any final answers or real insights into the subject. Like "the Balloon," Kennedy proves more various, more mysterious, even indeterminate. This epistemological and ontological indeterminacy is much more evident in "Views of My Father Weeping." Particularly in "Views of My Father Weeping", the narrator explores of boundary between real and fantasy. Not surprisingly, the story's narrator finds it difficult to relate the bits of contradictory evidence he discovers. He is not even sure that he can identify his father. Finally, the story ends with "Etc." without arriving at any clear picture of his father's death. As in "Robert Kennedy Saved from Drowning", disconnected activities move toward the central event but can never resolve it. As a result of studying the poetics of indeterminacy in short stories of Barthelme, we can better understand how he deals with the fragmented shorter forms to meditate the splintered world which is characteristic postmodern image, and that his art responds to epistemological and ontological indeterminacy. That is, the reason Barthelme has stuck to the shorter forms may not at all be a failure of imagination, but a recognition that his type of prose works only in revealing indeterminate reality.
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구은혜 국민대학교 어문학연구소 2001 語文學論叢 Vol.20 No.-
This paper investigates the poetics of indeterminacy in Richard Brautigan's Trout Fishing in America. Trout Fishing in America offers a series of fragmentary little chapters depicting episodes concerned with Trout Fishing in America. In the course of the text, The Trout Fishing in America becomes a person, a place, an hotel, a nib, and a book itself. In short, Trout Fishing in America can be anything Brautigan wants it to be. The transformations of Trout Fishing in America presents a paradigm of the Brautigan's art object. Brautigan uses the trout as a tool inquiring into the nature of indeterminate reality. But Trout finally resists the absolute grasp and swims free. That is, Trout Fishing in America eludes fixed meanings, exists inviolate and indefinable, and retains its provisional play in the realm of liberal imagination. Finally, Brautigan abandons the quest for Trout Fishing in America, and plays with the words. He asks us to participate in his playful verbal travels for Trout Fishing in America. For Brautigan, at least, only the quest process itself, the continuing pursuit process for the intangible through the play of liberal imagination, holds lasting value.
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서열의 정치학: 영미 아동문학에 나타난 아동, 권력, 이데올로기
구은혜(Eun-Hye Koo) 19세기영어권문학회 2017 19세기 영어권 문학 Vol.21 No.1
This paper investigates images of the childhood, power, and ideology in some of the most successful children’s books of all time: Lewis Carroll’s Alice’s Adventures in Wonderland, Kenneth Grahame’s The Wind in the Willows, and A. A. Milne’s Winnie-the-Pooh and The House at Pooh Corner. We tend to assume that children’s literature creates worlds of naive and innocent childhood. However, the respective writers portray violent and hierarchical relationships between adults and children in and through the dominant culture. The adult(like) characters involved in the aforementioned stories politically exploit the ideology of hierarchy to justify their domination over the child(like) characters, and to satisfy their strong desire to manipulate children with their own authority. The moral of the stories is: a child’s duty is to keep to her or his own place, and not to leave it, and the beginning of wisdom for them is to recognize and to accept their limitations. The ideology of hierarchy in children’s literature reinforces inferior images of children and thus marginalizes them.
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임상연구 : 복강경하에 담낭절제술을 받는 환자에서 Propofol과 Remifentanil을 이용한 전 정맥마취와 Sevoflurane과 Alfentanil을 이용한 마취의 비교
구은혜 ( Eun Hye Koo ),김현정 ( Hyun Jung Kim ),김희주 ( Hee Zoo Kim ),오혜란 ( Hye Ran Oh ),이일옥 ( Il Ok Lee ),김난숙 ( Nan Sook Kim ),이미경 ( Mi Kyung Lee ) 대한마취과학회 2006 Korean Journal of Anesthesiology Vol.51 No.1
Background: The aim of this prospective, double-blind randomized study was to compare the clinical properties of sevoflurane-alfentanil with propofol-remifentanil anesthesia in patients undergoing a laparoscopic cholecystectomy. Methods: Forty patients (ASA physical status 1, 2) scheduled for elective surgery received total intravenous anesthesia (TIVA group) with remifentanil and propofol or sevoflurane-alfentanil. The TIVA group was induced with propofol 5μg/ml and remifentanil 4.5 ng/ml. The anesthesia was maintained with a continuous infusions of propofol 2.5μg/ml and remifentanil 3 ng/ml. The sevoflurane-alfentanil group was induced with alfentanil 15μg/kg and propofol 1.5 mg/kg IV. Maintenance was obtained with 2.0 vol% sevoflurane and a bolus of alfentanil 10μg/kg IV where needed. Results: There were no significant differences in the systolic and diastolic blood pressure and heart rate between the two groups. There were no significant differences in the time to eye opening, the time to extubation, post-anesthetic recovery room stay time and the incidence of postoperative nausea and vomiting between the two groups. Conclusions: Propofol-remifentanil (TIVA) and sevoflurane-alfentanil both provided satisfactory anesthesia for a laparoscopic cholecystectomy. (Korean J Anesthesiol 2006; 51: 24~8)
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