James Joyce의 Ulysses와 Modernism

윤한욱 진주산업대학교 1992 論文集 Vol.31 No.-

This study has examined James Joyce's Ulysses and literal modernism. It is generally assumed that James Joyce is the most influential innovator of the novel as a leader of literary modernism in terms of its artistic form as well as its narrative technique and the choice of its materials. Joyce set about creating not only the minds of his characters but myths, language and methods of symbolism including Homeric parallel and correspondence. And these experiments attempted by Joyce who reveals new literary milieu and new modifications in technique for the novelist made him a great literary art. In the work and thought of Joyce we see even more clearly the complexity of thought which we now identify with the modern vision, and it is with the full development of this subject that this study will deal. As a crucial testing ground for new theories and techniques of modern fiction, his novel is considered a demonstration. Ulysses incorporates and displays most of the characteristics which have come to difine literary modernism, and it is with this novel that the study will mainly be concerned ; but it is hoped that in pursuing this course further light will be shead on modernism itself as well as Joyce's place in its development. Joyce's technique varies greatly but falls into certain general categories ; it presents the material in realistic, symbolic style. His multifarious fictional devices-the manipulation of naturalistic and symbolic, classic, and romantic mode : the impressionistic, expressionistic, surrealstic, and Dadaistic elements-are necessary to manifest the microcosm of the real world which Joyce presents in Ulysses

Ulysses의 내면구조

윤한욱 진주산업대학교 1996 論文集 Vol.35 No.-

This study has examined the inner sturcture of James Joyce's Ulysses. Since 1922, the year of the publication of Ulysses, Joyce has been acknowledged as the supreme innovator of modern fiction, the writer who gave the novel a new subject and a new style. The author of Ulysses is not a narrator describing a subject outside himself. He is a recorder of what is sometimes called "the stream of consciousness"-the haphazard progress of reflection, with all its paradoxes, irrelevancies, and abrupt shifts of interest. By this means Joyce made his characters the authors of his work while, as creator of both them and their thoughts, he viewed their actions down the long perspective of history and myth, imposing structure on what, at first, seems merely random. To create the structural pattern of his works which offers harmony, unity, and dialectical rhythm, Joyce employs various techniques and artistic strategies. A Portrail's structure is articulated by a complex of echoes, cross-references, repeated phrases, parallels, recurring images and symbols, which reinforce the theme of 'alienation' in this novel. The structure of the novel shows that Joyce is far beyond Stephen. In Ulysses, Joyce exploits more various techniques and artistic strategies than in his earlier works. By understanding the stylistic framework of discrete episodes within the text we can determine how Joyce formed a unified rhetorical strategy for the entire novel. Local repetition is used for thematic intensification and may affect us subliminally. The book's symbols and literary allusions deepen our sense of the incrustation of his text, its meticulously arranged and richly decorated surface. Selection, foregrounding, perspective, juxtaposition, interpolation, and other devices play as great a part in the transparent narrative at which Joyce aimed as they do in any other form of storytelling. Joyce could boast both of creating a new form of realism, and of ensuring his immortality by the mass of enigmas and puzzles he had put into the novel. The structure of Ulysses may give some trouble although, determinded, like theme, by the three characters, it falls naturally into three simple parts, the three great blocks of material with which Joyce built his book. However complex the setting, and whatever our consequent expectations, the action of Ulysses is not only simple but archetypal. Its structure, determined by character and theme, as we have noticed, is also determined by the cooperation of Homer. That there are correspondences with the Homeric epic of Odysseus is, of course not a controversial, since Joyce made this clear from the start. He chose Odysseus as the archetype of his hero, because he too is a kind of everyman. Thus The Odyssey provides a classical model for a writer attempting a modern writer by reason of its form. Joyce's uniqueness and complexity lie not in his themes or characters, nor in his basic methods of developing them but in his accepting the challenge of an olympian use of chosen methods.

Ulysses의 구조적 특징

윤한욱 진주산업대학교 1985 論文集 Vol.23 No.-

This study is attempted to analyze the inner and outer structural characteristics of James Joyce's Ulysses for the porpose of understanding Ulysses and James Joyce further Ulysses is one of the great books of our time and James Joyce is the most influential innovator of the novel as a leader of literary modernism. The riddling motifs of Ulysses ard complicated in turn by allusion, quotation and simple images or changed words. The subordinate patterns and relationships of Ulysses have importance largely because they elaborate the central mevement and structure and thus develop the applications of what might otherwise have seemed a parable for artists. Stephen and Bloom become representative of two types of human existence, two kinds of human nature and experience, two forms of human aspiration, endeavours and destiny. The schematic patterns, structures and allusions illustrate the universality of the theme of the interaction of opposed human needs-for isolation and for mutual aidfigured in the chance and apparently inconclusive encounter between two men on an ordinary day. Ulysses has an elaborate hidden structure,which no reader however attentive could possibly work our during his first reading. The best way of getting to know the inner and outer structure of Ulysses is to note in the margin the references to pages where pharses are repeated. The structure of Ulysses, determined by character and theme, as we have noticed, is also determined by the co-operation of Homer. The Structure of Ulysses may give some trouble although, determined like theme by the three characters, it falls naturally into three simple parts, the three great blocks of material with which Joyce built his work. However one certain and central characteristic of the structure was referred to by Joyce, in a letter written in 1915, when he said that he was engaged on a novel which is a continuation of A Portrait of the Artist and also fo Dubliners. To consider in what was Ulysses continues to earlier works would seem a practical step towards discovering the direction in which it proceeds beyond theme. It exhibits all of the structural characteristics I have been studying and can this serve to illustrate their working in some detail. This kind of structure, of course, is a function of Joyce's massive unwillingness to get on it and tell a simple linear tale. Here Ulysses involves dozens of allusive contents, and continually intersecting, modifing, qualifying and another. Joyce's uniqueness and complexity lie not in his themes or characters, nor in his basic methods of developing them but in his accepting the challenge of an olympian use of his chosen methods.

James Joyce의 A Portrait of the Artist as a Young Man에 나타난 감각적 경험과 상징성

윤한욱 진주산업대학교 1983 論文集 Vol.21 No.-

It is generally assumed that James Joyce is the most influential innovator of the novel as a leader of literary modernism. James Joyce set about creating not only the minds of his characters but myths, language and methods of symbolism. And these experiments attempted by joyce who reveals new literary milieu and new modifications in technique for the novelist made him a great literary artist. A Portrait of the Artist as a Young man is joyce's autobiographical novel which depicts the process of the spiritual growth and development of a young artist. This thesis is designed to study perceptional language and symbolism in Joyse' s A Portrait of the Artist as a Young man. Though A Portrait of the Artist as a Young man is a novel in which James Joyce tells his early days, it is a searchingly realistic picture of intense emotion and decisive spiritual development. Moreover, although Joyce took his stand as a rebel against Irish life and the Roman Catholic religion which dominate it, this novel shows how deeply his own mind had been influenced by both. In A Portrait of the Artist as a Young man Joycy is presenting everything from the viewpoint of a single particular character, Stephen Dedalus through inventiveness of perceptional language and symbols which the hero Stephen Dedalus feels, things and speaks. Thus Joyce has carried methods of symbolism. Throughout Joyce's work, the language with five senses are symbolically disposed. Smell is the means of discriminating empirical realities, sight correspond to the phantasm of oppression, hearing to the imaginative life. Touch and taste together are the modes of sex. In A Portrait of the Artist as a Young man Joyce also uses many words which have symbolic meanings and relationship with theme. Such language, in a sense, typifies the peculiar achievement of A Portrait of the Artist as a Young man that Joyce can cause patterns of words to make up the very moral texture of Stephen's mind and his spiritual growth to become an artist. His perceptional experiences and symbols appropriate to stephen Dedalus provide nor only the patterns of symbolism in Stephen Dedalus's private world but also Joyce's escape from his country, church and family.

Ulysses의 구조와 Homer의 引喩

윤한욱 진주산업대학교 1992 論文集 Vol.31 No.-

The purpose of allusion in a literary work is essentially the same as that of all other types of metaphor-the development and revelation of character, structure, and the theme-and, when skillfully used, it does all of these simultaneously. Joyce's use of allusion is distinguished from other author's not by its purposes, but by its extent and thoroughness. The riddling motifs of Ulysses are complicated in turn by allusion, quotation, and single images or changed words. The structure of Ulysses. determined by character and theme, as we have noticed, is also determined by the cooperation of Homer. The three parts of Ulysses, embodying Joyce's three characters, imitate the three parts of the Odyssey, as in a Portrait, Joyce used other parallels to support Daedalus, so in Ulysses he used other paralles to support Ulysses of these assistants, which work harmoniously together, the moat important are Jesus, Elijah, Moses, Dante, shakespeare, Hamlet, and Don Giovanni. The subordinate patterns and relationships of UIysses have importance largely because they elaborate the central movement and structure and thus develop the application of what might otherwise have seemed a parable for artists. The schematic patterns, structures and allusions illustrate the universality of the theme of the interaction of opposed human needs-for isolation and for mutual aid-figured in the chance and apparently inconclusive encounter between two men on an ordinary day. Ulysses has an elaborate hidden structure, which no reader howerer attentive could possibly work our during his first reading. The best way of getting to know struture of Ulysses is to note in the margin the references to pages where phrases are repeated. The structure of Ulysse, determined by character and theme, as we have noticed, is also determined by the cooperation of Homer. The structure of Ulysses may give some trouble although, determined like theme by the three characters, it falls naturally into three simple parts, the three great blocks of material with which Joyce built his work. Here Ulysses involves dozens of allusive contents, and continually intersecting, modifing, qualifying and another. Joyce's uniqueness and complexity lie not in his themes or characters, nor in his basic methods of developing them but in his accepting the challenge of an olympian use of his chosen methods.

Joyce의 Ulysses에 있어서 Homer의 引喩

윤한욱 진주산업대학교 1988 論文集 Vol.26 No.-

Ulysses is a book of life, a microcosm which is a small scale replica of the universe, and the methods which lead to an understanding of the latter will provide a solution of the obscurities in Ulysses. It is important to grasp the meaming of Ulysses, its symbolism and the significance of its leitmotifs will an understanding of its allusions which underlie the work. The purpose of allusion in a literary work is essentially the same as that of all other types of metaphor-the development and revelation of character, structure, and the theme-and, when skillfully used, it does all of these simultaneously. Joyce's use of allusion is distinguished from other author's not by its purposes, but by its extent and thoroughness. The riddling motifs of Ulysses are complicated in turn by allusion, quotation, and single images or changed words. The structure of Ulysses, determined by character and theme, as we have noticed, is also determined by the cooperation of Homer. The three parts of Ulysses, embodying Joyce's three characters, imitate the three parts of the Odyssey. as in a Portrait, Joyce used other parallels to support Daedalus, so in Ulysses he used other parallels to support Ulysses of these assistants, which work harmoniously together, the most important are Jesus, Elijah, Moses, Dante, Shakespeare, Hamlet, and Don Giovannni. The most overt pattern Joyce follows in Ulysses is, of course, that of the burlesque(parody) of Homer's Odyssey. It is conclusiuely established that Joyce did this deliberately and carefully. It is certain that his three main characters are patterned, in burlesque fashion, after the three main characters of the Odyssey : and that his novel is, like the epic, divided into three main parts. In fact, the more important allusions are the more apparent and, therefore, less in need of explication variety and flexibility are the characteristic qualities of Juyce's use of the Odyssey : the parallels vary in centerality, nature and function, according to be local needs in a chapter or the total shaping of the book in Odyssean character may find a counterpart in a Dubliner, an historical person, a philosophical concept an appetite, a moral, impediment or the earth itself. In other words, the parallel with the Odyssey, the mythic structure of Ulysses was more important to Joyce during the process of his composition than it is to the reader during the procession of our apprehension.

Yeats의 후기시에 나타난 초월적의미

윤한욱 진주산업대학교 1988 論文集 Vol.26 No.-

William Butler Yeats(1865~1936) was the last romantic poet of the end of century as well as a fore-runner of modern poetry of this century. One of the most marked characteristics on Yeats's poems is dualistic conflict. His poems seemed preoccupied with a great conflict. The world of his poems consists in the struggle between the inner world and the outer world of the poet's mind. So most of his poems are based upon the conflict of his consciousness between self and anti-self of the poet himself. Another characteristic is the aspect of transcendence, that is , if it is possible for a poet to have eternal life beyond time and space. Intensive conflict of life and transcendence seems intrinscially to constitute his poetic career. So the purpose of this study is to clarify the later aspects of the transcendence problem in accordance with the shift of Yeats's vision of reality. As he came to be involved in reality, Yeats felt the antinomy between the world of experience and the transcendence of it. Yeats set the soul and body as antithesis : the former as aspiring to transcend the world of experience, the latter as representing life. And next, Yeat's great desire to transcend reality continued through his last poems and developed into several different aspects. In Byzantium poems, Byzantium is a symbol of Amima Mundi and provides an imaginative locus in which the poet can attain the state of soul. The speaker in the poem, who figures as the poet's soul, 'dreaming back' until he reaches the moment of the choice between life and transcendence, and then 'dreaming forth'. This shows that Byzantium poems are not poems of ultimate transcendence, but of a poetic experience of a moment in which a soul confronts the choice between life and transcendence. The experience of 'dreaming back'and then ' dreaming forth' implies the poet's eventual choice the round of incarnation. In "the man and The Echo"and "Lapis Lazuli" for 'Tragic Gaiety', he believes accepting death with dignity is the only way not to be ruled by the world of mutability, and man can rule the world through his imagination is doing so. Eventually, conflict between two opposing values such as body and soul is resolved on the basis of his humanitarian attitude through which Yeats achieved 'Unity of Being' through the synthetic state of 'Tragic Gaiety'

젊은 예술가의 초상에 나타난 스티븐의 유아론적 소외

윤한욱 영미어문학회 1998 영미어문학연구 Vol.14 No.-

조이스의 작품에 나타난 스티븐 디덜러스의 유아론적 소외

윤한욱 진주산업대학교 1998 論文集 Vol.37 No.-

Joyce's main character in A Portrait of the Artist as a Young Man is Stephen Dadalus. In A Portrait as a young boy Stephen Dedalus conquers frustration and isolation from family, religion, nation, and society and realizes his fate as an artist. In this process the images of frustration, isolation, and ideal are presented very effectively to develop the theme of the spiritual growth of an artist. Stephen finds his identity as as artist in his conflict with surroundings, and his inner growth continues in the cycle of frustration and achievement. In this process his isolation becomes heavier in proportion to his bodies and spiritual growth. A Portrait's structure is articulated by a complex of echoes, cross-references, repeated phrases, parallels, recurring images and symbols, which reinforce the theme of 'alienation' in this novel. The structure of the novels shows that Joyce is far beyond Stephen. The theme of A Portrait, a young artist's alienation from his environment, it is explored and evaluated through three different styles and methods as Stephen Dedalus moves from childhood through boyhood into maturity. What has happened to Stephen is, of course, a progressive alienation from the life round him as he progressed in his imitiation into it and by the end of the novel, the alienation is complete. Joyce chose this significant form to suggest his solipsist's condition : for Joyce that alienation was both a personal need and a creative necessity.

악안면구강외과 환자의 전신 마취에 있어서 흡입 마취와 정맥 마취의 차이에 대한 임상적 고찰

김진,노홍섭,김일웅,이성호,윤한욱,Kim, Jin,Ro, Hong-sup,Kim, Il-woong,Lee, Sung-Ho,Yun, Han-ouk 대한악안면성형재건외과학회 1998 Maxillofacial Plastic Reconstructive Surgery Vol.20 No.4

Intravenous anesthesia was compared with inhalation anesthesia in 20 patients of oral and maxillofacial surgery. The patients were randomly assigned to study in two treatment groups. 20 patients were injected ketamine and propofol. 20 patients were administered Enflurane. The respond of patients consciousness and general recovery condition of the two groups were compared. Intravenous anesthesia group were awake significantly faster without complications such as nause, vomiting, and agitation after operation than inhalation anesthesia group. Full recovery time of intravenous anesthesia group was significantly 3 times less than inhalation anesthesia group. The authors conclude that intravenous anesthesia is a practical technique for oral and maxillofacial surgery patients undergoing and may be preferable to intravenous anesthesia because of the significantly short of recovery time without complications.