http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 김보현 ( Kim Bohyun ) (검색결과 38 건)
- 무료
- 기관 내 무료
- 유료
-
-
김보현(Bohyun Kim) 한국비평이론학회 2009 비평과이론 Vol.14 No.2
The purpose of this paper is to throw a light on the striking similarities between Mallarmé's writing and Derrida's. The beginning part of the present paper makes the following points: how Derrida rescues Mallarmé from Jean-Pierre Richard whose reading Mallarmé has been established as a most excellent criticism of Mallarmé, and how and why in the latter half part of Dissemination Derrida quarrels with Richard. Further how such contention has not ended, and how Malcolm Bowie repeats richard's evasions and represses the important facet of Mallaremé's white poetics, exactly in the same way as Richard does. Then, this paper demonstrates the various evidences that Derrida is profoundly inspired and indebted by Mallarmé: Derrida borrows his most important signifiers from Mallarmés: pli(fold), écarte(square/cut off), and glas(glass/mirror), hymen and dissemination are only a few of many. Most important, Derrida repeats the dissemination of white(blanc/blank), a singular strategy of poetics which Mallarmé consummates with tour de force, and Derrida with a sleight of hand, by grafting his white writing on Mallarmé's. The characteristics of a white writing are clarified: the syncategorematic terms which resist nominalisation comes to the fore in a way that any thematic criticism would find difficult to read by the exploitation of possible play between different syntactic values of the same word, or words which sound the same. In other words, the differential syntactic values or syntactical differences dominate the semantics, whereby the traditional thematicism loses its ground, and the binary oppositions are confused and debunked, while their white writing resides still within the frame of language, and still between all the oppositions: metaphor vs mytonymy, signifier vs signified, presentation vs representation and so on. Finally the present paper addresses the purpose of white writing. It is to reach out ot a place(space) or It(ça, not sa) which cannot be represented now, but which will be and which is to come, but has not come yet. The preliminary task of a white writing is to remove all the possible obstacles to this coming(événement à venir). The most resilient bar which blocks such coming is what Derrida calls "a machine of Hegelian dialectics." Derrida recalls over and over again that this is almost impossible to erase out, for it being so deeply implemented, and at the same time, being omnipresent in the Western discourses of humanities. Such attempt to realize the utterly impossible is indeed a folly or madness, yet it is perturbingly ethical in every respect.
-
김보현 ( Kim Bohyun ) 한국기호학회 2018 기호학연구 Vol.55 No.-
이 일기에는 1636년 12월 병자호란이 발발하여 피란를 떠나는 시점부터 피란지에서의 생활, 서울로 귀환한 후 남편과의 생활이 기록되어 있다. 본 연구는 텍스트에서 대상이 기술대상과 대상에 대한 화자의 태도를 분석함으로써 『병자일기』가 비극적 경험을 의미화하는 방식을 구명하고자 하였다. 이에 2장에서는 『병자일기』에 기술된 내용을 분류하고, 3장에서는 기술대상에 대한 화자의 시간 인식, 화자의 유형, 기술 방식을 비교하였다. 그 결과 『병자일기』 속의 시간을 과거와 현재라는 개념적 시간, 사적이거나 공적시간인 관계적 시간, 일상과 비일상이라는 경험적 시간으로 나눌 수 있었다. 이 시간들은 현재의 일상·비일상적 시간, 공적 시간을 기술하는 화자와 과거의 비일상적 시간과 사적 시간을 기술하는 화자로 재통합된다. 또한 동종화자는 일상적 시간과 공적 시간을 기록적으로 보여주고, 이종화자는 주기적 시간과 사적 시간을 서술적으로 형상화 한다. 이러한 논의는 『병자일기』를 역사와 개인의 비일상적 시간들이 역사와 개인의 일상적 시간 속에 구현된 텍스트임을 보여준다. Byungjailgi is a diary written by Nampyeong Cho, from 63 to 67 years old, 3 years and 8 months. The contents of the diary consist of the journeys to escape from the Byeongjahoran, her life in the evacuation site, and her life with her husband after returning to Seoul. I want to see the processes by which Byungjailgi means some tragic experiences, by analyzing how the objects are described in the text and the speaker's attitude toward them. In Chapter 2, I categorized the contents of Byungjailgi, and In Chapter 3, I compared the speaker's perception of time, the speaker's type, and the speaker's method of expression. As a result, the times of the text could be divided into conceptual (past and present), relative (private or public), and empirical (routine or non-routine). These times are integrated into two speakers, one describes the current routine, current non-routine, and public time, and another describes the past non-routine and personal times. Among these speakers, the homogeneous speaker records daily and public time, while the heterogeneous speaker describes periodic and private time. This discussion shows that Byungjailgi is a text in which the non-routine time of history and individual is implemented in the routine time of history and individual.
-
-
귀여움을 활용한 지능형 소셜로봇의 디자인 가이드라인 연구
김보현(Bohyun Kim),최용순(Yongsoon Choi) 한국HCI학회 2018 한국HCI학회 학술대회 Vol.2018 No.1
최근 지능형 소셜 로봇에 대한 IT 업계의 관심이 커지고 있다. 본 연구에서는 지능형 소셜 로봇이 인간과 감정을 교류하는 파트너로서 자리매김하기 위하여 로봇과 인간 사이의 심리적 거리감을 줄이고 보다 쉽게 친밀감을 가질 수 있는 방법 중 아기 도식을 통한 디자인 가이드라인을 제안하고자 한다. 이를 위하여 지능형 소셜 로봇에 적용 가능한 형태적 요소를 샘플링하고 이를 토대로 사용자 설문조사를 진행하였다.
-
김보현(Bohyun Kim) 한국비평이론학회 2008 비평과이론 Vol.13 No.2
Feu la cendre, the philosophical prose poem of Jacques Derrida, is an excellent example of Derrida's deconstructive poematics. It demonstrates the multifaceted implications of the cinder, confronting the concepts of a dead past and a dead end. This form avoids the analytical snarls and snares that result when writing depends on the binary opposition of the dialectical Cogito. In fact Derrida actually primes and then baits the dialectic by relying neither on a single typology, nor on synchronic or diachronic time. The cinders in the poem evoke an immediate image, a grey powder, hot or cold, and summon the important cinders appearing in the discourses of other thinkers, notably Nietzsche, Beckett, Jabès, to name only a few, but eventually empty out the previous allusions of the ashes, and delay what the ash there represents. In this way the cinder behaves exactly like Derrida's différance, alluding to the previous signifier of ashes, and simultaneously dispersing them, thus indefinitely delaying the signified of the cinder, while persisting to reach out to Nothing or to the Cinder, which is unlocatable, and unnameable, yet exists everywhere, and at the same time nowhere. Thus Derrida's cinder is again, as Derrida confesses, a dream, or a legend about the Impossible. The implications of cinder in Feu la cendre thicken and extend endlessly until the inundation of allusions of the cinders overwhelms and disrupts any definable context of the cinder. Finally the cinder turns out nothing but the function of bottomless and abysmal intertextuality, or the play of differences which was once regarded as the center. So the cinder there is empty, as a few pages of the poem are blank(blanc). These white pages are open to respond most sensitively to the future or an entirely Other which cannot be programmed nor reached now but eventually will come, thus waiting to be written by another Derrida or another Nietzsche to come.
-
김보현(Bohyun Kim),정소영(Soyoung Jung),최헌종(Honzong Choi),이성진(Sungjin Lee),장진영(Jinyoung Jang) (사)한국CDE학회 2011 한국CDE학회 논문집 Vol.16 No.6
The collaboration hub has been developed since 2004 as an online collaboration space, which supports the various collaborative works amongst small and medium enterprises using information sharing, collaboration project management, and project history management. Because of the change of manufacturing environment and rapid development of information technologies, it should be evolved from the existing version called Collaboration Hub 1.0. Recently, a lot of manufacturing enterprises know the importance of business process management(BPM) and start to introduce BPM systems. Our research group has developed the new version of Collaboration Hub 1.0 called Collaboration Hub 2.0 which contains the BPM concept, the consistent product data management, and the specialized functions overcoming the various variation of manufacturing. This study scrutinizes the meaning and role of the Collaboration Hub 2.0 and introduces an application study of it to the value chain of automobile module development consisted of a leading company and subcontractors. The case study covers the definition, execution and monitoring of collaboration process, the specialized functions overcoming the manufacturing variation and the key performance index of collaboration business.
-
김보현(Bohyun Kim) 한국비평이론학회 2007 비평과이론 Vol.12 No.2
Derrida briefly comments that he feels so close to Beckett that he cannot even respond to the singularity of Beckett"s idiom, nor deconstruct Beckett"s ‘unnamable’ Cogito. Yet the comparative study in depth on Beckett and Derrida is extremely scarce, and the systematic comparison on their strategic writings to escape the logocentric frame does not even exist.<BR> This paper detects where arises a point of profound affinity and absolute proximity when they both try to render in their writings the silence assumed as being lost in the logocentric discourses and binary system. For this task, the present paper proceeds as follows: first, Beckett and Derrida have a double attitude toward language. Second, taking their such stances as a point of departure and the basis of this paper, it addresses that both Beckett and Derrida use the language and the binary opposition only to erase them. Third, they both turn to the style and the rhythm of their singular languages in order to evade the grid of binary oppositions, in turn outwitting and casting aside all the conceptual frames. Fourth, they both do the infinite word-play, mingling with a verbal buffoonery, in order to dismantle the meaning generated and protected by the binary structure. Such "linguistic potlatch" is not the kind of word-play that the New Critics once cherished and practiced. Quite the contrary, it jolts and destablizes the polysemy couched in the semantic frame. Lastly the silence that both Beckett and Derrida opt for is still a different language, or a different verbal art, gained after a rigorous and subtle play against the logocentric language in the quardrilateral space, that is, in the grid of language. Beckett once again with his legendary humility describes the silence he tries to tease into his writing as a "pell-mell babel of silence" "which is not silence." Then such silence is not, of course, the "phenomenologial voice" that Husserl and many other major philosophers seek after so desperately, nor, despite the strong temptations and many daring attempts by the critics, the kind of a silence presupposed by the various oriental sages, associated with the pre-Cogito or pre-expressive Cogito completely immune from language.
-
-
ScienceON연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
