가중나무로부터 식물생장억제물질 glycine betaine의 분리

윤미선(Misun Yun),최정섭(Jung Sup Choi),조남규(NamKyu Cho),한상섭(Sang-sub Han),김성문(Songmun Kim) 한국잡초학회 2021 Weed & Turfgrass Science Vol.10 No.4

가중나무를 2013년 전라북도 전주 인근 야산에서 수집하여 음건한 후 methanol(MeOH)로 추출하고, 감압농축건조한 추출물을 유채(Brassica napus L.)를 대상으로 in vitro에서 seed bioassay를 수행한 결과 식물생장을 50% 억제하는 식물생장억제값(GR50)은 739 μg g<SUP>-1</SUP>이었다. 식물생장을 억제하는 생리활성물질을 분리하기 위하여 MeOH 추출물을 hexane, CH₂Cl₂, EtOAc, butanol, H₂O로 순차분획하고 GR50을 조사한 결과 EtOAc 분획물의 억제효과가 가장 컸으며(561 μg g<SUP>-1</SUP>), EtOAc 분획물을 thin layer chromatography와 column chromatography로 5개의 분리물로 분리하고, 식물생장억제효과를 검정한 결과 EAC 분획물이 가장 높은 억제효과를 나타냈다(GR50 50 μg g<SUP>-1</SUP>). EAC 분리물을 gas chromatograph mass spectrometry로 분석한 결과 molecular ion (M+)이 m/z 117이고 fragmentaion은 m/z 116, 100, 72, 58이었다. EAC 분리물의 ¹H-NMR(nuclear magnetic resonance)분석결과 δ (ppm)에서 3.30 (9H, d, H-2, 3, 4), 3.85 (2H, s, H-1)에서 proteon signal을 확인하였으며, <SUP>13</SUP>C-NMR 분석결과 δ (ppm)은 52.39 (C-3, 3", 3""), 65.86 (C-2), 167.32 (C-1)에서 carbon signal을 확인하였다. GCMS, ¹H-NMR, <SUP>13</SUP>C-NMR의 분석결과 가중나무 EAC 분리물의 화학명은 1-carboxy-N,N,N-trimethyl이고, 일반명은 glycine betaine으로 확인되었다. Glycien betaie 화합물을 구입하여 유채(Brassica napus L.)를 대상으로 in vitro에서 seed bioassay를 수행한 결과 GR50값은 91 μg g<SUP>-1</SUP>으로 EAC 분리물의 GR50값과 유사하였다. Objective of this study is to discover new herbicide parent mother compound(s) from native plants in Korea. The leaves of Ailanthus altissima Swingle were collected in Jeonju, Jeollabukdo in 1995. The shade dried and powdered plant samples were extracted with methanol (MeOH). The methanol extract of A. altissima was subjected to in vitro seed bioassay on rapeseed (Brassica napus L.). The results indicated that the methanol extract significantly inhibited the germination of rapeseed with the GR50 (growth retardation 50%) value of 739 μg g<SUP>-1</SUP>. In order to isolate the bioactive substances that inhibit plant growth, the MeOH extract was sequentially fractionated with hexane, dichloromethane, ethyl acetate, butanol, and H₂O. Among them, the EtOAc fraction showed the lowest GR50 value (561 μg g<SUP>-1</SUP>) than other fractions. The EtOAc fraction was further fractionated on column chromatography, which showed 5 fractions (EAA-EAE) with good plant growth inhibitory effect. In these, the EAC fraction showed the highest inhibitory effect (GR50 at 50 μg g<SUP>-1</SUP>). The gas chromatography and mass spectrometry analysis of EAC fraction revealed that molecular ion (M<SUP>+</SUP>) was m/z 117 and fragment ions were m/z 116, 100, 72, and 58. Based on the results obtained from GC-MS, ¹H-NMR, and <SUP>13</SUP>C-NMR analyses, the EAC fraction was identified as 1-carboxy-N,N,N-trimethyl, and its common name was glycine betaine. The seed bioassay of glycine betain results revealed that the GR50 value was 91 μg g<SUP>-1</SUP>, which was comparable with the GR50 value of the EAC fraction of A. altissima.

19세기 영미 정기간행물 연구 : 문헌 연구에서 담론과 매체 연구로

윤미선 ( Yun Misun ) 영미문학연구회 2017 안과 밖 Vol.0 No.42

This paper offers a critical survey of scholarly studies of periodicals in the nineteenth and early twentieth centuries. Periodical publications dominated the production of literature and discourse in this period, both in America and in Britain and its colonies. This important area of long-nineteenth-century print culture, however, received scant scholarly attention until the mid-1960s. I will break down its development into three rough phases: the mid-1960s to 1970s; the 1980s and 90s; and 2000 to the present. The mid-1960s saw an urgent call for the establishment of archives of the nineteenth-century periodical, to further the historical and interdisciplinary study of literature in English. The 1970s witnessed the publication of important periodical directories. These included the invaluable Wellesley Index, which identified the legions of periodical authors who had published anonymously. The late 1980s witnessed a “theoretical turn” in archive-based periodical studies. Under the influences of Michel Foucault and Mikhail Bakhtin, the characteristics of authorship were redefined such that editors, publishers, and readers also came to be considered nodes of meaning-making that structured the discourse networks of the long-nineteenth century; and the polyphony of periodicals drew keener attention for what it revealed of conflicting social forces organized around gender, class, and race difference. At the turn of the new millennium, the global proliferation of digital media prompted a reappraisal of periodicals as a collective “genre” of print media, whose characteristic, periodical mode of production structured the rhythm of modern life. While recognizing the impetus and creative potential of the “media turn” in periodical studies, which assists in understanding the complexities of the mediation and remediation of texts, I criticize its tendency towards apolitical technologism. I propose a “thick reading” of periodical texts, relaunching the agenda of the “theoretical turn” of the 1980s, as an enriching parallel to the “thin reading” and “distant reading” that is more widely encouraged in periodical studies in the digital age.

키틀러와 데리다

윤미선(Misun Yun) 19세기영어권문학회 2019 19세기 영어권 문학 Vol.23 No.1

Friedrich Kittler, German media philosopher, argues in his Inscription Systems 1800/1900 (1985), that the long-held prestige of writing as a medium for communication was irrevocably lost during the nineteenth century; modern technical media, gramophone, film, and typewriter, were invented and spread. His argument is noteworthy for the studies of English literature as he takes Bram Stoker’s fiction Dracula (1896) as an example to reveal that historical transformation of the media environment. What I attempt in my article is to challenge Kittler from another media theoretical perspective, which I will derive from Jacques Derrida. I will focus on Derrida’s Given Time: 1. Counterfeit Money (1991) as a text to reveal his hitherto unclarified media theoretical view of literary production. I will show Derrida is a Kittlerian in that he suggests a certain historical specificity of the media conditions of Charles Baudelaire’s literature, which I name the “Inscription System 1850.” Here Derrida is concerned about the future the technical media will bring. I argue Derrida, however, unlike Kittler, is not deterministic because his idea of “arche-writing,” or différance, can be applied to any media beyond writing as a principle to effectuate their time—thus, space and world—creating role. With the theoretically clarified view of literature as media, I will reread Dracula not as a work to show the downfall of the writing’s prestige but as a work to reveal the pertinence of the arche-writing principle over different media systems. I will especially focus on the fact that Dracula was published according to the new production system of fiction established after 1895. Dracula incorporates heretofore prevalent narrative types which represent different narrative times, and thereby newly creates a ‘real-time’ narrative employing the technology of typewriter as a motif in the story and at the same time a catalyst for a new form of narrative.

1870년대 헨리 제임스의 영국 수용과 주간지 『런던』 - W. E. 헨리 써클의 개성주의, 『프랑스 시인과 소설가들』과 ‘미국’ 소설 -

윤미선 ( Yun Misun ) 세계문학비교학회(구 한국세계문학비교학회) 2020 世界文學比較硏究 Vol.71 No.-

본 연구는 1870년대 후반 영국의 비평 주간지로 그 존재가 잊혀진 『런던』(London, 1877-79)이 미국 소설가인 헨리 제임스(Henry James)를 누구보다 앞서 수용하고 그의 작품 세계에 영향을 끼친 과정을 탐구한다. 이 연구는 19세기 영미문학 생산에서 정기간행물이라는 매체와 이를 둘러 싼 담론 생산자들의 실천이 ‘문학’ 생산 과정에서 가지는 중요성을 널리 알리려는 연구의 일환으로, 『런던』이 독특한 이데올로기적, 미학적 실천을 통해 이후 영국 문학장이 자율적 가치를 지닌 영역으로 형성되는 과정에 큰 기여를 했다는 사실에 주목한다. ‘대항유미주의’(counter-aestheticism)적 입장이 그것이다. 제임스가 『런던』의 편집자 윌리엄 어니스트 헨리(William Ernest Henley)가 이끄는 비평가 그룹과 조우한 과정은 이들이 프랑스 문학과 소설 장르에 대한 전문성을 주장함으로써 직업적 저자 및 비평가로 정체성을 확립한 하나의 새로운 문필가 세대였음을 보여준다. 제임스의 비평집 『프랑스 시인과 소설가들』(1878)은 이 사실을 드러내는 중요한 증거로, 본 논문은 특히 제임스가 투르게네프와 발자크를 둘러싸고 헨리의 젠더 이분법적 소설관과 대립하며 자신의 리얼리즘론을 발전시켰다는 사실을 밝힌다. 결론적으로, 제임스는 기대주이자 통제의 대상이었던 ‘미국’ 소설가로서 『런던』비평가 그룹과의 경쟁 속에서 그의 초기 대표 소설들을 생산했음이 드러날 것이다. This study investigates the key role of the largely neglected Conservative weekly entitled London (1877-1879) in the British reception of the American novelist Henry James (1843-1916) in the late 1870s. The London’s editor William Ernest Henley (1849-1903) and contributors George Saintsbury (1845-1933), Andrew Lang (1844-1912), and Robert Louis Stevenson (1850-1894) belonged to a new generation of critics, like James himself, that professionalized ‘literary’ criticism as a realm distinguished from the more traditional, ‘general,’ Victorian periodical criticism. I argue that James’s rivalry with them catalyzed the production of the collection of criticism French Poets and Novelists as his first book published in London. The London critics were unusual in their attention to James for the publication of The American in the United States. However, in their gendered perspective of fiction that ultimately championed romance, James could be easily associated with aesthetes whom they found ‘feminine’ and second-rate in the lack of power in the narrative control and lack of strong individuality as the core of art. Henley showed a unique understanding of James regarding James’s Turgenev-style “impartiality” as a type of narrative mastery. Henley nevertheless also persuaded James to take on board the lesson of Balzac whom he found a genuine master among the realists for his empowering the narrative with a ‘masculine’ passion. Henley proposed, problematizing James’s authority on the European theme, that James should write a story about America to be truly masterful in his narrative world. James challenged the binary, ‘counter-aesthetic’ perspective of these London critics in his subsequent works. However, he did so by answering their demand for the “stronger” narrative by the uniquely engaged dramatization, beyond the expected measure and of the other gender, of the American character in the conflicts between the old and the new values whom Henley suggested James focus more on.

영국 모더니스트로서 예이츠의 탄생: W. E. 헨리의 『내셔널 옵저버』와 19세기말 영국 문학장

윤미선 ( Misun Yun ) 영미문학연구회 2018 영미문학연구 Vol.34 No.-

I attempt in this paper to reveal the profound influence the poet, critic, and editor William Ernest Henley (1849-1903) had on William Butler Yeats in the building of Yeats’s identity as an English Modernist. Yeats himself resisted acknowledging this influence in his Memoirs (1915-16) and Autobiographies (1927). This denial was part of Yeats’s myth-making of the Decadent poets of the Rhymers’ Club, which was necessary to develop further his own myth as a mature Modernist who had overcome the Rhymers’ solipsistic, jejune aestheticism. It was actually Henley’s ‘counter-aestheticism’ that provided logic for Yeats in his vision that mature art should not be in pursuit of mere beauty but power. By focusing on the critical weekly National Observer (1888-1897), which was first founded as the Scots Observer in Edinburgh and which Henley edited, I show that the ‘counter-aestheticism’ it promulgated in its ‘Literary’ section was intertwined with the ‘new’ Conservative elitism of its imperialist ‘Political’ section. This alloy formed the ground against which Yeats debuted in the British literary field; most of Yeats’s poems and prose works collected in Poems (1895) and in Celtic Twilight (1893) first appeared in that weekly. Through this weekly, Yeats was made an ‘Irish’ and Celtic poet whose poems could exemplify the ‘manly’ atavism which Henley saw as key to reviving the pan-‘English’ nation that was suffering from aesthetic and political decadence. The staunch Tory position of Henley as an opponent of Irish Home Rule remained a burden on Yeats so that Yeats would define the role of Henley as a mere editor of the journals where he happened to publish his works. The ‘masculine’ vitalist poetics of Henley’s own literary output, which emphasized the creative energy of poetical form and language, was, however, preserved in Yeats’s poems and ideas. Yeats’s poems in The Rose (1893), first published in the National Observer, receive special attention in relation to Henley’s The Song of Sword, and Other Verses (1892), which is noteworthy for its evolutionist sensibility of destruction and creation as well as its powerful images.

오래된 미래로서의 현대 예술

윤미선(Misun Yun) 19세기영어권문학회 2016 19세기 영어권 문학 Vol.20 No.1

In this paper I review the parallel structure of aesthetic ideas expounded in Walter Pater’s Studies in the History of the Renaissance (1873) and Jacques Rancière’s Aisthesis (2011). Significantly, Johann Joachim Winckelmann, German historian of art in classical antiquity of the 18th century, is a shared touchstone through which Pater and Rancière develop their aesthetics, a provisional end of the Renaissance for Pater and a distinct beginning of, for Rancière, what he has called the “aesthetic regime” of art. Both critical philosophers explain the importance of Winckelmann in a similar manner: Winckelmann, unlike usual classicists of his time, emphasized the dissociation of artworks from the historical contexts of their production and thus endowed art-perceivers with freedom in how to perceive them. I argue that, if read from the perspective of Rancière, Pater’s aestheticism reveals its political characteristics that defends radical democracy. If seen through the eyes of Pater, Rancière’s concept of the “aesthetic regime”, whose objective has been often misconstrued as constant innovation in the forms of art, can be clarified. My analysis will reveal that Pater and Rancière’s shared emphasis on the principle of perception and the structure of logics to endorse it results from the fact that both develop their defense of individual perception within Hegel’s historicist perspective of art. Both thinkers regard Winckelmann as a precursor to Hegel but with an emphasis upon the experience of individuals. In the Renaissance, Pater shows well that the ultimate value which the “aesthetic regime” defends in its denouncing any norm in creating and receiving art is a sense of freedom of individual being, confirmed with historical reflection.

19세기말의 장기 공황과 『드라큘라』의 정보자본주의 : 정보조직의 기술화와 단행본 서사의 재탄생

윤미선 ( Yun Misun ) 영미문학연구회 2021 안과 밖 Vol.- No.51

This paper proposes that the novel Dracula (1896) should be read as a response to the Long Depression that began in 1873 and ended in 1896, which contributed to the establishment of the so-called early Information Age geared by the capital's labor management innovation. It focuses especially on the format of the novel as a single-volume publication without any prior serialization: an innovative practice that departed from the then standard format of three-volume publications for the circulating library with serialization in monthly magazines. Such an innovation in the publishing industry was a part of the self-renewal of the industries under the pressure of the Depression. Bram Stoker, a manager of the middle-brow Lyceum Theatre and a hack author under the old system, inclined to the innovation and welcomed the new practice. Dracula is a story of the fight against the Long Depression by the middle class in crisis, who actively adopts the information technology to be competitive. It is a story of the early Information Age not just in that the increasingly popularized typewriter appears as the crucial medium to reveal the truth of Dracula: the Depression as a mixture of the rational and the irrational of capitalism. The novel also reflects the mechanism of Information Capitalism, since the value of the information created by the labor of cognition, communication and co-operation of plural agents, especially through the labor of the woman Mina Murray, is appropriated by one person in the making of the novel’s single-volume form. It is the editor of the story - supposedly the declared author of the book's postscript, Jonathan Harker, Mina's lawyer husband - who has the final authority over the narrative. He, not unlike Stoker, represents the patriarchal middle class that came to join successfully the reinforced capitalist force of the British Empire after the Depression, which was overcome with the aid of the information technology developed in order to manage labor.

『교외 소묘』의 리듬과 “우편적 무의식”: W. D. 하월즈의 사실주의와 1870년대 전환기의 『아틀랜틱 먼쓸리』

윤미선(Yun, Misun) 순천향대학교 인문학연구소 2019 순천향 인문과학논총 Vol.38 No.3

이 연구는 지금까지 경시되어 온 W. D. 하월즈의 여행기 『교외 소묘』를 논하는 것을 통해 미국 사실주의의 성립에 리듬 의식이 결부되어 있음에 주목한다. 삶을 구성하는 한 측면이자 소통을 위한 재현 형식의 구성적 요소 중 하나인 이 리듬은,『교외 소묘』의 경우, 특히 출판 매체였던 『아틀랜틱 먼쓸리』와의 관계 속에서 형성되었다. 본고는 그 과정을 밝힘으로써 하월즈의 사실주의는 당대의 변화하는 소통의 미디어적 조건, 즉 페니 우편 등으로 가속된 소통의 템포를 반영하는 동시에 이를 재구성하려는 “우편적 무의식”이었음을 드러낸다. This paper aims to clarify the involvement of what can be considered “rhythm” in the establishment of American realism by focusing on a hitherto neglected work by W. D. Howells, Suburban Sketches. I argue that this rhythm is both an aspect of represented life and a structuring element of the representational form. In the case of Suburban Sketches, it was primarily formed in relation to its periodical publishing medium, the Atlantic Monthly. By showing the layers of the interactions between that magazine and the text of Suburban Sketches, this study reveals that Howells’s realism was an attempt to produce an interstice for different speeds of life and communicative modes from the dominant ones which it partly affirms, too. I argue this was carried out in challenge of the changing media condition that saw the consolidation of the Penny Post and telegraph service at the turn of the 1870s.

『길 위 1번지』, AI 제임스의 소설 : 「소설의 기술」과 인공신경망 알고리즘의 글쓰기

윤미선 ( Yun Misun ) 영미문학연구회 2021 안과 밖 Vol.- No.50

This article explores the implications of 1 the Road (2018), a fiction produced by an artificial neural network, for the debate on machine creativity. Unlike most of the recent deeplearning writing programs, its creator Ross Goodwin traveled with this neural network machine from New York to New Orleans in a Cadillac equipped with a surveillance camera, a voice recognizer, and GPS. The AI thus had continuous feeds of fresh images and sounds, not unlike a novelist who hits the road searching for an experience. I argue that we can better understand this attempt of 1 the Road when discussed alongside Henry James’s realist notion of fiction in his essay “The Art of Fiction” (1884). Even though James is often considered an arch-humanist in his belief that fiction is an expression of the unique personality of a novelist, his idea of experience offers a way of understanding Goodwin’s machine as a creative writer. Its algorithmic operation―processing the new sense data via the CNN algorithm and producing the result as writing via the RNN algorithm―is strikingly similar to the workings of the novelist’s mind in James’s view. I do not argue that those sense data are unmediated, and this fact is reflected in the CNN’s algorithm that imitates the human mind. In fact, James asserts that sensory data are the result of mediated selection, which can only be seen through the final result, the writing itself. What I propose is that regardless of whether the machine has a so-called “consciousness,” its writing can affect the reader in similar ways as does a text written by a human being. As long as it works as a linguistic medium to relate the “experience,” which is the algorithmic process of selection and transcription, it is a creative writer.