http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
박정오(Jung Oh Park) 한국영미문학페미니즘학회 2000 영미문학페미니즘 Vol.8 No.1
It is not difficult to find the desirous male gaze observing the female body in the universe of William Faulkner. The study on the relation between male gaze and female body will shed light on Faulkner`s obscure view regarding women. The body within the dominant Western intellectual tradition seems to have been regarded as the site of unruly passions that might disrupt the pursuit of truth. Also, the identification of women with the body is a familiar idea. While the eye or gaze is deeply related with the mind and spirit, body or touching is constantly associated with the feminine. What has mattered to feminism is the cultural take-up of the mind/body split, and the enduring association of the devalued term with the feminine. Feminists such as Irigaray insist that rather the multiplicity and fluidity of the female body can subvert male discourse and patriarchal structure. The male-subject / female-object dichotomy relatively outstands in Faulkner`s early period but gradually female characters connected with running water or blood flow throughout the texts. The agonizing faun, a recurring autobiographic figure in Faulkner`s poems, just watches the attractive body of the nymph without the fulfillment of his desire. Also, this pattern is repeated in Faulkner`s early novels through the agonizing male characters observing the `epicene` girls. But different from these early faun-like characters, many voyeurs of Faulkner - Quentin Compson, Horace Benbow, Darl Bundren etc. - do not accord with the author himself. Faulkner reveals that their views on women have serious problems and these flaws result from Southern patriarchy. Moreover, Faulkner sometimes succeeds in creating female subjects who, in powerful and creative ways, disrupt patriarchal structures. Addie in As 1 Lay Dying and Charlotte in The Wild Palms are powerful and ubiquitous presences throughout the texts. At the same time, enormous flooding is so dominant that flooding and femininity, we presume, may merge in both works. Flooding deeply related to the fluidity of female body or female desire has in itself the subversive power to exceed boundaries of patriarchal order and Western culture based on the superiority of the mind and logic. Faulkner`s male gaze as a writer gains maturity to the extent of melting totally into the fluidity of the female subjects.
The Dying Hero and The Nostalgia of Childhood in William Faulkner`s Early Novels
박정오 ( Jung Oh Park ) 한국현대영미소설학회 2014 현대영미소설 Vol.21 No.1
At the core of Faulkner`s works, produced between 1926 and 1931, we find the dying hero. Donald Mahon, Addie Bundren are dying heroes who consistently evoke a sentiment of death within the reader, whereas Bayard Sartoris and Quentin Compson are the heroes who irresistibly walk the path towards death. These dying heroes evoke mythical dying gods like the “Fisher king” in the legend of Graal or such as the ones of the numerous dying and revived deities in primitive fertility rituals. Furthermore the mythical model of the dying hero can be applied to the life of the individual. The death and resurrection of the mythical figures can be considered like the mythopoetical consideration of the process of individuation. This is to say that death and rebirth of the vegetal divinities can be compared to the initiatory rite of the individual. Therefore, Faulkner`s dying heroes can be viewed as a reflection of an exaggerated infantile personality·a childish self that must be sacrificed, within the author`s unconscious. With the dying hero, we can observe Faulkner`s obsession with childhood: he seems to be haunted by the nostalgia of youth during this period. For Faulkner, the retreat towards childhood is the only refuge left for the frustrated men; but this gesture only reinforces the darkness of twilight. The dying hero and the nostalgia for childhood, repetitive leitmotifs of his early era, can be interpreted to project the author`s anguish with the process of discovery of his own identity as a writer. The dying heroes as well as the obsessive childhood memories are stepping stones to the broader and more complicated scope of Faulkner`s later works.
박정오(Jung-Oh Park),황도삼(Do-Sam Hwang) 한국정보과학회 2000 한국정보과학회 학술발표논문집 Vol.27 No.1B
현재, 과학기술, 정치, 사회, 문화의 급격한 변화와 발전에 따라, 전문분야마다 새로운 전문용어가 빈번히 생성되거나 소멸되고 있다. 이러한 전문용어를 포함한 문서를 정확히 해석하기 위해서는 전문용어 전자사전이 필요하다. 전문용어 전자사전을 개발하는데는 수시로 생성되는 전문용어 표제어를 정확히 추출하는 것이 무엇보다 중요하다. 본 논문에서는 이러한 전문용어 표제어를 컴퓨터를 이용하여 추출하는 시스템을 개발하였다. 기본적으로는 기존의 전문용어가 사용된 특정어구를 이용하여 전문용어를 추출한다. 또한, 전문용어의 어절 패턴을 이용하여 후보 전문용어를 추출한 후, 전문용어를 구성할 수 있는 단어의 위치정보를 이용하여 전문용어를 추출하는 방법을 제안한다. 기존 전문용어 사전에 없는 단어에 대해서는 시소러스를 이용하여 유사 단어의 위치정보를 이용하는 방법을 이용하였다.
``낭만적 거짓``, 예술, 그리고 상업주의: 포크너의 『야생 종려나무/예루살렘, 내 너를 잊는다면』
박정오 ( Jung Oh Park ) 한국현대영미소설학회 2012 현대영미소설 Vol.19 No.2
The Wild Palms, written as Faulkner was working as an established screenwriter in Hollywood, contains Faulkner`s poignant awareness of the commercialization of art and popular culture within a capitalist society. The main characters, Charlotte and the Tall Convict depicted in two contrapuntal stories, find their ideal role models in cheap romances and dime-store Westerns like Emma Bovary. In order to understand their desire mechanism, "romantic deceit (mensonge romantique in french)," the theory of Rene Girard, can be helpful; as much as the desires of the individual person seem autonomous, they are always suggested by a mediator or a mediated object. Charlotte and Harry who sacrificed everything for love managed to both earn a living and keep their love by sculpting the popular figures and writing pulp fiction. Their ``pure`` love is not only mediated by cheap romances, but also supported by the money earned from popular art and pulp. Therefore, there is no clear cut line between pure love (art) and popular commercialism, or high and low culture. This study also explores the metaphor of a prison as a captor of human life. The original title If I Forget Thee, Jerusalem comes from the Psalm; it is an admonition to remember freedom and the past even in the state of Babylonian captivity. The relation between captivity and freedom, one of the principal themes of this novel, is seen in the multiple meanings of the prison metaphor; from a prison named society to the one called money without which, even the purest love can not be sustained in a capitalist society. This novel is a sort of a turning point for the modernist Faulkner; from his Hollywood experience, he recognized the resistless flood of commercial popular culture and had a premonition of the postmodernism era in which the limit of pure art and popular culture would blur.