거리와 거리두기 : dans l'oeuvre de Francis Ponge

허정아 연세대학교 인문과학연구소 1994 人文科學 Vol.72 No.-

Qu'est-ce que l'e´criture? Au coeur de cette question, nous entrevoyons l'une des cle´s qui nous me´nerait a、 une re´ponse parmi d'autres; celle de la distance. La distance entre le monde et e moi, entre choses et mots (ce qui rele´ve de la proble´matique de la mime´sis dans la repre´sentation litte´raire), est a` la fois ce qui est a` l'origine de l'indicible et ce qui rend paradoxalement possible l'e´criture poe´tique. Elle est aussi la cle´ particulie、rement importante qui met en mouvements l'e´criture dans l'oeuvre de Francis Ponge. Dans l'acte de fabrication de l'objet poe´tique, se cre´e, en premier lieu, une sorte de lutte dualiste pour une saisie entre la chose, dont la pre´sence cause une pe´trification, et l'e´criture qui tente de relever le de´fi devant la fascianation ou la terreur. Cette lutte dualiste se traduit ensuite sous une autre forme. L'e´criture se meut pour trouver un e´quilible. Le mouvement de rapprochement vers l'origine provoquant paradoxe et tension, cre´e des moments d'e´quilibre dans la vibration qui s'engendre par une mai^trise de tension. Il existe ainsi dans un moment de l'e´quilibre tendu et mai^trise´, un grand attachement du sujet au corps premier par le travail de l'e´criture sur l'objet. A la suite de la tentative pour saisir l'impossible pre´sence de la chose par le pouvoir du faire verbal, l'e´criture engendre une saisie qui n'est autre que la mort ou la disparition de l'objet. Le questionnement central est de savoir comment combiner la prise de l'objet et sa liberte´. Ce serait un quesionnement sur la place qu'occupe l'objet "poe´tique" dans l'espace d'e´criture. Ainsi les moments de tension se mettent en charnie、re avec un moment de de´tente. Il s'agit d'un mouvement de de´-prise: la distansiation dans la proximite´. Dans cette distanciation, il y a donc l'accord de la part de l'objet et en me^me temps de dessaisissement du sujet lui-me^me. Ce dessaisissement sera pousse´ juspu´au point ou` l'auteur se de´tache de l'objet et de la forme me^me qui en re´sulte.

朝鮮後期 男子 裝身具에 關한 硏究

허정아 又石大學校 1996 論文集 Vol.18 No.-

This study is deep sematical investigation about tie kinds & the shapes of the ornaments for men used in the end of Chosun (about from 1700 to 1850) through the genre pictures and the other pictures kept in national museum From this study. we can get the esthetic sense and esthetic symbol of the people those who lived in that time. Wearing ornaments for everyday life was not governed by nation power but by social customs. And these can be divided by these kinds of series, i. e., Libja, Keon, Sushik, Libshik, Dae and Hae, etc. Ⅰ am dealing its shapes, materials, way of use in Section Ⅲ. Section Ⅳ is a symbolic investigation for those ornaments in which we can see the times, the culture, the customs and the way of thinking. Most of ornaments used in the end of Chosun didn't aim purely to decorate, instead, the people of that times added some kinds of decoration sense to the object having practical and functional propensity and through this procedure, they got the esthetical satisfaction. As its example, there is Libja, Keon and Dushik..Libshik (Mangkeon, Tangkeon, Donggot, Pungiam, Kwanja, etc). In these kinds of decoration for head. its shapes and wearing figures formed everyday life style of those days and showed us their Confucian totalitarian mind. As the Confucian ideas came to be whole social basic thinking, the shapes, the kinds, and the print of ornaments discriminated between upper and lower class. In addition to that, because that period was consisted of each social class, it occurred variously that a phenomenon of using high-quality and expensive raw materials for higher class. There were Hoeja and Kwanja which divided the materials up to 'Pum' class, and also were Pungjam and Ibyoung which indicated the level of class with the way of use in raw materials. Therefore, through these ornaments, we can see the fact that these kinds of ornaments played the symbolic role that showed and indicated the promotion in class 'Sunbi, scholar', In the end of Chosun, lower class who made big fortune by doing practical science, started to mimick the upper class ornaments. So, upper class, in order to defend this kind of propensity and to differenciate from lower class, started to effort to have and keep their own ornaments. Those efforts were resulted in the various kinds of shapes of ornaments. Its representative example is the change of the shapes in 'Kat'. Through the shapes and the print of the ornaments which had symbolic meaning, i.e. 'Ui, a symbolic thing or meaning earned by experience', 'Sadaebu, the man of noble birth' wanted to show symbolically their mental desire of hope. In the shape of Kwanja or at the edge of Heuklib and in the print of some part of Yangtae, etc. we can see these ornaments having 'Ui'.

약물 치료에 반응이 없는 안구건조증 환자의 눈꺼풀경계부상피병변 평가

허정아,우인호,엄영섭,강수연,김효명,송종석 대한안과학회 2018 대한안과학회지 Vol.59 No.8

Purpose: We evaluated the effects of lid wiper epitheliopathy on the clinical manifestations of dry eye in patients refractory to conventional medical treatment. Methods: Forty-six patients (46 eyes) completed the subjective Ocular Surface Disease Index (OSDI), and we obtained objective measures including the tear break-up time (TBUT), the National Eye Institute (NEI) corneal staining score, tear osmolarity, and lid wiper epitheliopathy as revealed on photographs taken using a yellow filter after fluorescein instillation. The images were graded using the Korb B protocol. Results: The mean OSDI score was 48.06 ± 21.19; 34 patients (73.9%) were had scores ≥33. Lid wiper epitheliopathy was evident in 41 (89.1%), and the epitheliopathy grade and OSDI score were correlated (r = 0.56, p < 0.01). The NEI score was also positively correlated with the OSDI score (r = 0.54, p < 0.01), but the mean value was low (1.59 ± 2.13). The OSDI score did not correlate significantly with either the TBUT or tear osmolarity (r = –0.16, p = 0.279; r = 0.16, p = 0.298, respectively). Conclusions: Lid wiper epitheliopathy was present in about 90% of patients with dry eye who visited our tertiary hospital, and a significant correlation was evident between the epitheliopathy grade and the OSDI score. 목적: 약물 치료에 반응이 없는 안구건조증 환자에서 임상 소견과 눈꺼풀경계부상피병변(lid wiper epitheliopathy)을 평가한 후 각 검사 수치 간의 상관성을 알아보고자 하였다. 대상과 방법: 46명(46안)의 환자를 대상으로 후향적으로 연구를 진행하였다. 환자는 자각적 검사인 안구표면질환지수(Ocular Surface Disease Index, OSDI) 점수와, 타각적 검사인 눈물막파괴시간, 각막형광염색(National Eye Institute score), 눈물막 삼투압, 눈꺼풀경계부상피병변을 평가하고, 각 지표 간의 상관성을 알아보기 위해 회귀 분석(simple and multiple linear regression test)을 시행하였다. 결과: 평균 OSDI 점수는 48.06 ± 21.19점이었고, 이 중 중증에 해당하는 33점 이상의 환자가 34명(73.9%)이었다. 평균 각막형광염색점수는 1.59 ± 2.13으로 높지 않았다. 평균 눈물막 삼투압은 298.15 ± 12.83 mOsm/L였고, 300 mOsm/L 이상은 18명(39.1%), 308 mOsm/L 이상은 6명(13.04%)이었다. 윗눈꺼풀에 눈꺼풀경계부상피병변을 보이는 환자는 41명(89.1%)으로 높은 비율을 차지하였으며, 평균 점수는 2.27 ± 0.91이었다. 각 지표 간의 상관성을 분석한 결과 OSDI 점수는 각막형광염색 점수와 양의 상관관계를 보였고(r=0.54, p<0.01), 눈꺼풀경계부상피병변 점수도 양의 상관관계를 보였다(r=0.56, p<0.01). OSDI 점수와 눈물막파괴시간, 눈물막 삼투압은 유의한 상관관계를 보이지 않았다(r=-0.16, p=0.279; r=0.16, p=0.298). 결론: 상급종합병원에 내원한 초진 안구건조증 환자에서 눈꺼풀경계부상피병변을 보이는 경우가 약 90% 정도였으며 눈꺼풀경계부상피병변 점수와 OSDI 점수 간에 유의한 상관관계가 있었다.

후기 구조주의적 관점에서 본 영화 이미지의 자기 반조성

허정아 서울대학교 예술문화연구소 1998 예술문화연구 Vol.8 No.-

L'une des tendances les plus marque´es de l'art moderne est l'auto-re´flexivite´. C'est la tendance selon laquelle faisant des re´flexions sur ses propres moyens de cre´ation et ses conditions de production, l'art se refle`te. Cette tendance trouve, en fait, sa racine dans la crise de la re´pre´sentation. L'acte de l'art ne consiste pas a` repre´senter le monde exte´rieur. Une fois produit par des moyens artistiques, ce n'est plus la copie du mode`le re´el, mais bien un monde d'art tout autonome. Pousse´e par cette tendance, se manifeste aujourd'hui un mode de production qui n'a rien a` voir aver le mode`le re´el. C'est un mode dont la base est tout a` fait fictive et artificielle. C'est ce qu'on appelle $lt;simulacre$gt;. Le cine´ma n'est pas exclu de cette tendance d'auto-re´flexivite´. Etant lie´ directement a` des images visuelles, le cine´ma cherche la nouvelle expressivite´ dans l'image me^me. Prenant en conside´ration cette tendance, notre e´tude proce´de a` voir des effets du me´canisme auto-re´flexif qui s'appelle $lt;la raise en abyme$gt; et a` cerner les traits esthetiques de l'image auto-re´flexive: discontinuite´ et rupture, de´territorialisation, fiction, surimpression.

『Signe´ponge』 : Derrida와 Ponge 텍스트 이해와 번역

허정아 연세대학교 출판부 2004 번역문학 Vol.5 No.-

대통령직무대행 , 교통부 장관 , 제헌의원 허정 회고록

허정 한국해사문제연구소 2002 (月刊)海洋韓國 Vol.340 No.-

후기 구조주의적 관점에서 본 영화 이미지의 자기 반조성

허정아 서울대학교 예술문화연구소 1998 예술문화연구 Vol.8 No.-

성대 기능 이상 1례

허정아,최희경,손창희,안영민 대한소아청소년과학회 2004 Clinical and Experimental Pediatrics (CEP) Vol.47 No.5

Vocal cord dysfunction is a recently described entity in which paradoxical adduction of the vocal cords produces airflow obstruction at the level of the larynx. Recurrent wheezing results, which may imitate asthma. Inspiratory closure of the cords can also cause stridor, commonly misdiagnosed as an upper airway obstruction of undefined cause. The acute presentation is often dramatic and has led to inappropriate treatment, including intubation, tracheotomy, or high doses of steroids. We present the case of a 9 yr old boy with allergic rhinitis who was referred to us for the evaluation of wheezing and dyspnea which did not respond to asthma management. Pulmonary function tests had abnormal inspiratory phases and laryngoscopy revealed typical adduction of the vocal cord during inspiration. Psychological tests suggested anxiety and tension with repressed aggression. There have been no further episodes, possibly due to counseling and education of relaxed throat breathing as well as avoidance of inhaled medication 저자들은 천식으로 오인하여 천식 치료를 하였으나 잘 반응하지 않았던 9세 남아에서 특징적인 유량곡선을 보이고 후두 내시경으로 확진된 1례를 경험하여 우리나라 소아 첫 증례로 보고하는 바이다.

기계와 속도를 통해 본 아방가르드 미학

허정아 한국미학회 2008 美學 Vol.54 No.-

The Avant-garde movement was the first time for machine and art to meet in art history, and it is appraised to be the historical event for velocity to fundamentally transform art. In this context, the present study examines Avant-garde aesthetics in the 20th century from the perspective of machine and speed. By applying speed, which was the most significant cultural keyword at the turning point of the century, to formative arts, Avant-garde artists endeavored to express motion on stationary paintings. As a result, Avant-garde aesthetics distinguished itself from traditional artistic concepts and became the leading trend in modern art. The Avant-garde aesthetics which was derived by machine and velocity show the following four characteristics. First of all, Avant-garde art dismantled the conventional ways of reconstruction and generated the process toward abstract art. Abstract art is also associated with research on motion, which was prevalent in the 19 century, and the development of visual machine that was attempted to capture motion. Secondly, speed in Avant-garde art dismantles perspective drawing and develops a new system of modern aesthetics by adapting multi-point perspective on paintings. Perspective drawing is a modern perspective that fixes an object by observing from only one point. In contrast, multi-point perspective is a method of observing from diverse angles, which characterizes Avant-garde as the art of public society. Next, as speed transcends the limits of the space of paintings and directly affects the human body, this combination of body and machine becomes a crucial phenomenon in Avant-garde aesthetics. A number of works manifest the mechanical body and even depict the body as a mechanical component. The belief in machines at that time lies in the background of this phenomenon. Finally, by triggering the dissension between form and content, machines made Avant-garde art reject consistent meaning. Only mechanical lines, geometrical forms and mechanical shapes exist in the paintings, and no narrative structure is found. Also, an artist's individuality is enfeebled in a ready-made product which regards itself as art. Therefore, Avant-garde art developed it unique aesthetics in its association with scientific technology that was rapidly expanding at that time, and advanced in modern arts.

영화 이미지의 두 가지 유형 분석 : 들뢰즈의 < 운동 - 이미지 > 와 < 시간 - 이미지 > 를 중심으로

허정아 한국불어불문학회 2000 불어불문학연구 Vol.44 No.2

Les ouvrages de Deleuze sur le cine´ma sont consacre´s a` la classification des images et signes. Il nous propose deux re´gimes de l'image ; un re´gime qu'on pourrait appeler l'image-mouvement et un autre qui est l'image-temps. Ces deux images repre´sentent en effet les caracte´ristiques dominantes du cine´ma classique et du cine´ma moderne. L'image-mouvement, qu'on peut observer la plupart des cas dans le cine´ma classique, proce`de par coupures rationnelles et s'enchai^ne par 'les liens sensori-moteurs', ce qui repre´sente le temps indirectement. Par contre. l'image-temps qui caracte´rise le cine´ma moderne ne s'enchai^ne plus par des coupures rationnelles mais par des coupures irrationnelles et des re´-enchai^nements. Dans ce mode d'image, le temps n'est plus subordonne´ au mouvement, mais c'est le mouvement qui se subordonne au temps. Et la situation optique et sonore pure se substitue a` la situation sensori-motrice. Au demeurant l'image-temps pre´sente directement le temps, et cette pre´sentatian directe permet au cine´ma de mettre en rapport avec le mental et l'imagination. Ainsi l'image-temps re´alise la possibilite´ cre´ative du cine´ma au dela` des limites de l'image cine´matographique qui est base´e sur des images de la re´alite´.