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Brendan C. O’Kelly 대한토목학회 2022 KSCE JOURNAL OF CIVIL ENGINEERING Vol.26 No.8
This discussion article provides commenting on the sections of the review paper by Ahmad et al. (the authors) concerning consistency limits determinations for peats and peaty soils, drawing on the writer’s experiences regarding the usefulness of liquid limit (LL) and plastic limit (PL) testing/results for these soils in explaining their geotechnical behaviors/properties. From the writer’s experience, despite being regularly specified in geotechnical engineering practice and used in research work, the conventional consistency limits tests generally do not produce physically meaningful results when testing peat soils, especially for more fibrous peats. Hence, the writer does not agree with the authors’ recommendations on consistency limits testing of peats; namely, they recommended that an utmost effort is needed to improve the quality and standard of the thread rolling test and the fall-cone test for consistency limits determinations of highly organic soils such as peat. Rather than grappling with various known inherent shortcomings of consistency limits testing for peats and other highly organic soils, a suggested way forward for assessing the likely geoengineering behavior/properties of these materials points to the routine measurement of a more useful suite of index tests; namely, their natural water content, organic content, fiber content, and humification (decomposition) level. In this discussion, the above aspects are explored in detail, including greater elaboration of the writer’s earlier research work in this area, which was touched on in the authors’ paper.
Finitude, Death, and Play in Faulkner`s As I Lay Dying
( Kelly S Walsh ) 미국소설학회(구 한국호손학회) 2012 미국소설 Vol.19 No.2
In his self-proclaimed tour de force, As I Lay Dying, William Faulkner reveals death to be a transformative force, one that, in its very opacity, constitutes a source of inconclusive and potentially endless mental play. Self-consciously aware that the human mind will never succeed in bridging the caesura between life and death, his novel nevertheless seeks to exhaust itself in attempting the venture. These confrontations between the human imagination and finitude rearticulate (the thinking of) living and dying as near-infinite play, while rendering death just as strange and remote as ever and closure just as elusive. And forced to think using a language in which "words dont ever fit even what they are trying to say at," the irrepressible human desire for wholeness and self-knowledge, along with the attempt to recuperate loss, is perpetually frustrated. Ultimately, Faulkner`s play is reflective of, or analogous to, Derrida`s notion of it, but without the "joyous affirmation" the philosopher draws from it. This play promises, as long as there are words, to defer transcendence or an overcoming that would reveal the limits of our finite condition. In As I Lay Dying, then, Faulkner conveys the suspicion that what remains of our capacity to reinvent the world might very well be play; nevertheless, as his example testifies, the ever-failing search for truth, origin, and plenitude will continue, interminably.
Bridging Disappointment: Pak T’aewo˘n’s Kubo and James Joyce’s Ulysses
( Kelly S. Walsh ) 서울대학교 규장각한국학연구원 2012 Seoul journal of Korean studies Vol.25 No.1
Although Pak T’aewo˘n expressed his appreciation for Ulysses and the “experimental nature of James Joyce’s writing” in a 1934 article, there have been relatively few critical attempts to bridge his 1934 novella, A Day in the Life of Kubo the Novelist (Soso˘lga Kubo Ssi u˘ i iril), and Joyce’s 1922 epic modernist novel. And most of these have been limited to discussions of their diurnal structures and the motif of the urban wanderer, or flaneur, in the modern colonial city. So while Pak does not emulate Ulysses’s radical formal experiments, I argue that his Kubo does reveal a kindred sensibility in its portrait of the artist as a young man struggling to find, amidst a seemingly infertile 1930s Seoul, “happiness,” or, in Stephen Dedalus’s terms, something like “the word known to all men.” To varying degrees, the search for it remains inconclusive in both modernist texts; nevertheless, much as Joyce does in Ulysses, Pak offers an affirmative vision in the tentative moment of his intelligent and sensitive hero from excessive solipsism towards authentic empathy for others. And in both texts, the development of a greater capacity to respect and affirm the other in her or his singularity is intimately allied with a reconceived relationship to the mother. Kubo’s odyssey thus reaches its apparently hopeful conclusion when he understands, as if for the first time, sadness and suffering in a lonely widow and “ignorant” barmaids. Unlike Stephen, who continues to grieve for his dead mother, paralyzed to a great extent by his guilt, Kubo realizes the opportunity to return home and comfort the mother who, with her “infinite love,” waits for him, night after night, sleepless and worried. And as he hastens home, determined to “write a truly good novel,” it seems that Kubo may have found a means to revitalize his life and his art. That is, much as Stephen Dedalus is an ironized, literary portrait of a younger James Joyce, Pak suggests that Kubo the novelist, equipped with the (self-)awareness and empathy lacking for much of the day, will now be able to write a story much like the one he has been the principle character of.
Virginia Woolf`s Figures of Loss
( Kelly S. Walsh ) 한국근대영미소설학회 2016 근대 영미소설 Vol.23 No.1
Virginia Woolf’s poetics of loss has long been recognized for its contradictory qualities, which make her elegiac works so singular, vital, and open-ended. Her “fiction-elegies” mourn for losses that are past and those that may come to pass; they register the “blows” of loss, both individual and collective, and aesthetically shape them; they use loss as a creative spur in the effort to overcome it and achieve some sort of wholeness. While this complex “grief work” is self-avowedly inconclusive, the consolations partial and temporary, there are, I contend, important, if equally provisional, triumphs at the level of style, through what I am calling Woolf’s figure-language of loss. Words will never be sufficient to recover what has been lost; however, by marshalling tropes, like metaphor and metonymy, imagery and anthropomorphism, into “companies,” Woolf’s figure-language, in intensified moments, pierces through the “cotton wool” of the “conventions of sorrow” and their prescribed forms and meanings. Throughout her major novels, these singular figure-languages both reopen wounds and feelingly contour our thoughts, such that, figuratively, we share in a more authentic response. Consoling and anti-consolatory, the force of this language lies in its capacity to wound, while provoking us to face loss openly, mindfully, and inventively.
NEW WOMAN, ROMANCE, AND RAILROADS: THE PARADOX OF COLONIAL MODERNITY
KELLY JEONG 계명대학교 한국학연구원 2007 Acta Koreana Vol.10 No.2
This article sees Korea’s colonial modernity as a set of paradoxes and provides a reading of it through the most symptomatic aspects of such modernity—the New Woman, ideals of romance, hypermasculinity of the colonial subject, and railroads. I examine texts by and about colonial intellectuals who were at the forefront of cultural and literary experience and production. My discussion shows that this literature reveals colonial Korea as an arena in which the old and the new intermingle and coexist, leading to new conceptions and practices of family and marriage. The New Woman and her male counterpart become recognizable cultural personae and compete against each other for the limited access to modernity especially through education and travel, the two major modes of gaining exposure to the changing world and its values. The New Woman becomes the human fallout of such competition, as Korea’s anti-colonial nationalism, a very much male-identified thought, provides an excuse to ignore women’s causes, even though they are intertwined with the causes of national sovereignty. Ultimately, what results is a split loyalty and double-identification among Korea’s colonial intellectuals, who fail to create a viable alternative to the Old that is dead and the New that is yet unborn.