부신성기 증후군에 대한 임상적 고찰

조흥근,민병갑 大韓泌尿器科學會 1984 Korean Journal of Urology Vol.25 No.5

Henry James의 The Sacred Fount에 나타난 예술가상

조흥근 서울대학교 2000 영학논집 Vol.24 No.-

전력분야 광전자응용 기술개발 현황 및 방향

조흥근,박병석,김영주 대한전기학회 1997 전기의 세계 Vol.46 No.12

지금까지 전력산업 분야에 광전자 기술을 적용하기 위한 일련의 연구사례와 개발현황에 대해 소개하고, 앞으로 전력분야에서의 광전자 기술 개발이 이루어져야 할 주요방향에 대해 기술하였다.

『사춘기』에 나타난 헨리 제임스의 사회비평

조흥근 21세기영어영문학회 2009 21세기영어영문학회 학술대회 Vol.2009 No.1

도덕과 미학 : 헨리 제임스의 『황금잔』 Henry James's The Golden Bowl

조흥근 한국현대영미소설학회 2003 현대영미소설 Vol.10 No.1

This paper aims at examining Henry James's attitude toward aestheticism in The Golden Bowl. Although most Jamesian critics have focused on Maggie Verver's re-establishment of moral order through her love and sacrifice, a more attentive reader can find out another current of the work, which is Maggie's aestheticisation of morality. Maggie Verver's moral and aesthetic education cannot be defined without her father's economic wealth and aesthetic ardour. Adam Verver's “aesthetic principle” is the frame or the window through which he looks out into the world. But his “aesthetic principle” is revealed as a reified sense of art and humanity, which is inherited by Maggie herself. Therefore, Adam and Maggie collect Prince Amerigo and Charlotte Stant as they do precious works of art in Europe. Now that this assumption is established, Maggie's endeavour to re-establish the collapsed moral order can be seen problematic, because her passion for “symmetry” and “form” goes almost beyond the border of aestheticism. She succeeds in correcting the immorality of Prince and Charlotte, but in which process she uses too much power of constant watch and manipulation to her victims. At the same time, her ardour for the perfect work of art is accompanied in this process. Thus, Maggie's endeavour can be defined as a process of aesthetic achievement by using human materials. The plot of the novel requires readers to follow and admit Maggie's works of correction in which James himself participate, but a more attentive reader can discern James's mild attitude toward aestheticism in this work.

헨리 제임스의 「정글의 야수」-삶에 대한 두려움-

조흥근 21세기영어영문학회 2009 영어영문학21 Vol.22 No.1

“The Beast in the Jungle” can be considered as a companion piece of “The Altar of the Dead” in that both tales are concerned partly with the English Decadence of the 1890s and partly with the classical modernism in the early twentieth century. The heroes in both tales make an escape from ‘everyday routines’ into their own particular inner world of imagination or fantasy in which they build a strong fortress of egotism or narcissism. John Marcher in “The Beast in the Jungle” makes a journey of “a great negative adventure” in his own world of fantasy, waiting for his own “exceptional” fate with May Bartram. But his journey ends with the nightmarish attack by “the beast in the jungle” representing his own final fate. The beast represents John Marcher himself who rejects May's true love and his own life. Thus, it can be said that this tale treats the existential themes of alienation and absurdity in the modern world.

『사춘기』에 나타난 헨리 제임스의 사회비평

조흥근 한국중앙영어영문학회 2009 영어영문학연구 Vol.51 No.1

This paper purports to discuss Henry James’s criticism of the Victorian society in the 1890s in The Awkward Age which is represented through the world of Buckingham Crescent, the world of a high-class society whose true wits are Mrs. Brookenham, Vanderbank, Mitchett, and the Duchess. Almost all the characters entering this world show openly or covertly their inclinations to get money. Mrs. Brookenham and the Duchess represent the cash-nexus or cash-and-carry relations dominating all the nooks and corners of the society in this work. They use all the intrigues and tactics in order to get their niece and daughter, Aggie and Nanda, married to the rich man, Mitchett. Therefore, these young girls are prepared for “consumption” in the marriage market. The major members of the “temple of analysis,” another name of the world of Buckingham Crescent, enjoy “freedom of talk”, “freedom of mind”, and “high intellectual detachment” through their indirect and imaginative talks and by avoiding vulgarities and emotional expressions. But their “high intellectual detachment” represents a trend of the English Decadence in the 1890s, whose creed is supported most noticeably by Vanderbank. Finally, their ‘high intellectual play’ brings about the coldness of their hearts, as is shown in Nathaniel Hawthorne’s “Ethan Brand”.

헨리 제임스의 비평문들에 나타난 도덕성 개념

조흥근 한국 헨리제임스 학회 2001 헨리 제임스 연구 Vol.- No.6

This paper has a purpose to discuss the concept of morality frequently used in Henry James's critical writings.Although some critics have tried to devalue henry James's achievement by pulling down him to 'an aesthete,'he has fought against aestheticism and aesthetes almost all his life on the basis of "criticism of life" in the Arnoldian sense.James's concept of morality as an important standard of his literary criticism is similar to that of Matthew Arnold.According to Arnold poetry or literature is "criticism of life" in the sense that "morality" or the question of "how to live"is at the core of all the great literary writings. James is willing to accept the Arnoldian sense of "criticism of life" and serious interest in life itself,which are expressed in the Jamesian terms of "morality " and "moral beauty "in literature. James's concept of morality and his critical standpoint on aestheticism are found distinctly in his critical writings on some aesthetes such as The'ophil Gautier,Charles Baudelaire,Gustav Flaubert,Charles Algernon Swinburne and Gabriele D'Annunzio.James's key point is that although these writers are trying to find the most picturesque and sophisticated style like a martyr of art they lack "morality " or "moral beauty" and serious interest in life. In "The Art of Fiction" James's concept of morality seems to be quite refined due to the influence of French realists. He seems to take the standpoint of French realists or aesthetes when he rejects Walter Besant's "conscious moral purpose" and suggests that art should be art.But james's real purpose in this writing lies in his suggestion that novelists should have a freedom of subjects in order to make the novels a great form of art, and the novels have a great duty to represent "felt life." Therefore,his standpoint in "The Art of Fiction" is still on the basis of the Arnoldian one. James does not proclaim 'art for art' in this writing, for he suggests that the morality of fiction lies in the quality of mind of writers. But james is attracted to aestheticism in his later phase,as is found in his critical writing,"Gabriele D'Annuzio"(1904). In this writing James shows an obscure attitude toward aestheticism. He still criticises D'Annunzio's lack of "morality" or "moral beauty", but he is greatly attracted to his aestheticism also. Therefore, James goes back a step from his earlier Arnoldian standpoint in his later phase.

<사춘기>에 나타난 사회비평

조흥근 한국중앙영어영문학회 2009 영어영문학연구 Vol.51 No.1

This paper purports to discuss Henry James’s criticism of the Victorian society in the 1890s in The Awkward Age which is represented through the world of Buckingham Crescent, the world of a high-class society whose true wits are Mrs. Brookenham, Vanderbank, Mitchett, and the Duchess. Almost all the characters entering this world show openly or covertly their inclinations to get money. Mrs. Brookenham and the Duchess represent the cash-nexus or cash-and-carry relations dominating all the nooks and corners of the society in this work. They use all the intrigues and tactics in order to get their niece and daughter, Aggie and Nanda, married to the rich man, Mitchett. Therefore, these young girls are prepared for “consumption” in the marriage market. The major members of the “temple of analysis,” another name of the world of Buckingham Crescent, enjoy “freedom of talk”, “freedom of mind”, and “high intellectual detachment” through their indirect and imaginative talks and by avoiding vulgarities and emotional expressions. But their “high intellectual detachment” represents a trend of the English Decadence in the 1890s, whose creed is supported most noticeably by Vanderbank. Finally, their ‘high intellectual play’ brings about the coldness of their hearts, as is shown in Nathaniel Hawthorne’s “Ethan Brand”.

『융단 속의 무늬』에 나타난 희극적 풍자와 삶과 예술의 전도

조흥근 ( Hung Kuhn Cho ) 21세기영어영문학회 2016 영어영문학21 Vol.29 No.1

“The Figure in the Carpet” has been considered as one of the most ambiguous tales of Henry James, and as a tale on the absence of absolute truth or absolute meaning. But, seen from the perspective of James’s consistent interests in the relation of life and art in his artist tales, it can be read as another variation of that relation, one that depicts an inversion of life and art. According to James himself, this tale was meant to criticize the lack of “analytic appreciation” and the “numbness of general sensibility” “in the Englishspeaking air.” Thus, in the story, three critics are lured and tested for their critical qualifications. They are meant to discover the “secret”-“the figure in the carpet”- of Hugh Vereker, a famous but unpopular writer. But they can’t achieve the goal because of their “limp curiosity,” and because, as critics who have abandoned their real lives and true human sympathy, they have a strong avidity for fame and success. The inversion of life and art is the natural result following from their quest for the “secret.” The anonymous first-person narrator is an especially cold, obsessed observer who inflicts violent injury on other people’s hearts and commits an ‘Unpardonable Sin’ like the scientist characters in Nathaniel Hawthorne’s tales.