셰익스피어와 스펜서: 『비너스와 아도니스』

임성균(Sung-kyun Yim) 한국셰익스피어학회 2017 셰익스피어 비평 Vol.53 No.1

Although William Shakespeare is a great dramatist, it seems that he was eager to earn the reputations rather as a great poet. While he never cared to publish his own dramatic works, he carefully read and edited the manuscripts of his poetry to publish. In that respect, Venus and Adonis, published in 1593, is a significant work, for it is the first publication of Shakespeare. Shakespeare respected Edmund Spenser and his poetic achievements, which were well established in England after the publication of The Shepherdes Calendar and The Faerie Queene. At the same time, however, Shakespeare considered the elder poet as his competitor and tried to present himself as a better poet than or at least equal to Spenser. Venus and Adonis significantly manifests Spenser’s influences in the thematic allusions and in the portrayal of the goddess and the boy. This paper examines the text of Venus and Adonis in order to see where and how Shakespeare borrowed materials from Spenser, so as to understand the relationships between the two poets. Shakespeare’s manifestation of Venus may prove that he skillfully utilizes Spenser’s imagery and allusions in his work, but at the same time it reveals the poetic achievements of Shakespeare as an innovator and creator.

식도이완불능증 치료 후 발생하는 역류 연관 증상의 발생기전

임성균 ( Sung Kyun Yim ) 대한소화기학회 2021 대한소화기학회지 Vol.78 No.3

식도이완불능증은 상대적으로 드문 식도 질환으로서 하부식도괄약근의 이완장애와 연동운동 소실을 특징으로 한다. 식도이완불능증의 치료는 주로 적절히 이완되지 않는 하부식도괄약근을 손상시켜 식도위접합부를 약화하는 것을 목표로 한다. 따라서 치료 후에 역류 연관 증상이 나타날 수 있으며 시행한 치료 방법 및 연구에 따라 적게는 5% 정도에서 60%까지 보고되고 있다. 다만 이러한 환자들에서 역류 연관 증상, pH monitoring 결과 그리고 식도염의 정도는 잘 일치하지 않는 것으로 보고되고 있으며, 역류 증상이 실제역류로 인해 발생하는지 여부도 불명확하다. 또한 식도이완불능증의 치료 후 발생하는 역류 연관 증상은 위식도역류로 인한 것으로 보고 양성자펌프억제제(proton pump inhibitor, PPI)를 투여하는 경우가 많으나 효과 여부가 불확실하다. 결국 이러한 문제점은 식도이완불능증의 치료 후 발생하는 역류질환에 대한 기본적인 발생기전이 명확하게 해석되어 있지 않아 기인하는 것으로 생각할 수 있다. 이에 Ponds 등3은 이러한 환자들에서 식도기능, 산 노출정도, 산성화 패턴, 증상인지정도 및 식도염 정도를 분석해 발생기전을 명확히 하고자 하였다. 식도이완불능증 치료를 받은 후 6개월 이상 경과한 18세 이상의 외래 내원객들을 대상으로 총 40명이 포함되었다. 대상자들은 각각 Gastro-Esophageal Reflux Disease Questionnaire (GERDQ)를 통해 역류 증상정도를 파악하여 역류 증상이 있는 군(RS+, GERDQ ≥8, n=20)과 역류 증상이 없는 군(RS-, GERDQ <8, n=20)에 배정되었다. 대상자들이 받은 식도이완불능증 치료의 종류는 내시경적풍선확장술(endoscopic pneumodilation), laparoscopic Heller’s myotomy with Dor fundoplication, 경구내시경근절개술(peroral endoscopic myotomy, POEM)이었다. 이후 대상자들은 endo functional luminal imaging probe (EndoFLIP)를 이용하여 식도위경계부의 확장성과 식도 확장에 대한 인지 정도를 측정하고 고해상도 식도내압 검사(high-resolution manometry, HRM), acid perfusion test 그리고 prolonged combined HRM과 pH-impedance monitoring을 시행하였다. 이후 24시간 pH-impedance monitoring을 시행하고 다음날 바륨 식도조영술과 내시경을 시행하여 식도염 정도를 확인하였다. 연구 결과 RS+와 RS-는 24시간 pH-impedance상 총 acid exposure time에 큰 차이를 보이지 않았다. 그러나 acid fermentation (RS+, mean 6.6% [95% CI 2.96% to 10.2%] vs. RS-, 1.8% [95% CI -0.45% to 4.1%, p=0.03])과 acid reflux with delayed clearance (RS+, 6% [95% CI 0.94% to 11%] vs. RS-, 3.4% [95% CI -0.34% to 7.18%], p=0.051)는 RS+에서 높게 나타났다. 모든 RS+, RS- 대상자들에서 Symptom Index가 낮게 나와(<50%) 양 군 모두 역류증상이 산 자체와는 크게 연관성이 없는 모습을 보였다. 또한 RS+에서 RS-에 비해 산에 대해 매우 민감하게 반응하는 양상을 보였다. Heartburn 증상을 인지할 때까지의 시간이 더 짧았으며(RS+, 4 [2-6] vs. RS-, 30 [14-30] min, p<0.001) 더 심하게 증상을 느꼈다(RS+, 7 [4.8-9] vs. RS-, 0.5 [0-4.5] Visual Analogue Scale, p<0.001). 추가적으로 기계적 자극에 대해서도 더 민감하게 반응하였고(RS+, median 50 [38-70] mL vs. RS-, 70 [50-70] mL, p=0.03) 증상 인지 정도도 심하였다(RS+, median VAS 3 [1.1-7.4] vs. RS-, VAS 0 [0-2.8], p=0.03). 이외에 prolonged combined HRM과 pH-impedance monitoring, 내시경 상 관찰되는 식도염의 정도, HRM, 바륨 식도조영술 그리고 EndoFLIP 상 식도위경계부의 확장성 등은 큰 차이가 나지 않았다. 따라서 저자들은 치료받은 식도이완불능증 환자들에서 발생하는 역류 증상은 위식도역류에 의한 산의 역류 자체와는 관계 있는 경우가 더 적고, 산이나 기계적 자극에 대한 과민성이 많은 역할을 하는 것으로 결론지었다.

“초록 바다를 붉게 물들이며” : 『맥베스』에 나타난 피의 이미저리

임성균(Sung-kyun Yim) 한국셰익스피어학회 2005 셰익스피어 비평 Vol.41 No.1

As is every dramatic work of Shakespeare, Macbeth is particularly abundant in allusions, symbols, imagery, ambivalence, and equivocations, created by its language. The ideas of murder, crime, horror, punishment, which surround the work, are manifested themselves through the language spoken by the characters, rather than the visual means, including their actions. Perhaps, that is why Elizabethan audience used to say that they went "to hear the play" whereas modem theatre goers say that they go "to see the play." Although Macbeth is a play in which blood appears more frequently than any other Shakespearean plays, it displays just only one murder on stage-the murder of Macduff's son. All other murders, including that of Duncan and Banquo, are performed off stage, and thus, we must imagine the scenes through the descriptions of the reporters. Unlike, for example, Hamlet, which displays on stage the killings of five people, including Polonius, most deaths in Macbeth are portrayed through language, and therefore the murder and horror, the two major themes of the play, appear more powerfully and vividly in our minds. This paper is to examine blood imagery and its corollaries in Macbeth, so as to understand how the visual effects of the play may be achieved through language. Particular emphasis will be placed on the contrast between red and green, the colors of blood and of nature, and on another contrast between light and darkness. An imagery study, outdated to some people though, is still relevant to approaching Shakespeare, I believe, especially because Shakespearean plays are basically written in verse, which appeals to our ear rather than our eyes. The colors of red and green are opposed to each other in the play: if the color red signifies human blood, ambition, passion, and vice, the other color alludes to nature, nurture, harmony and goodness. The play is, in essence, a symbolic battle ground for the dichotomy of good and evil, manifested in physical nature and human blood.

중증 재생불량성빈혈 환자에서 발생한 폐렴막대균 췌장농양

임성균 ( Sung Kyun Yim ),이석 ( Seok Lee ),김인제 ( In Jae Kim ),장지원 ( Ji Won Jang ),정재석 ( Jae Seok Jeong ),유경보 ( Kyung Bo Yoo ),양희찬 ( Hee Chan Yang ),김선민 ( Seon Min Kim ),이태환 ( Tae Hwan Lee ),전소연 ( So Yeon J 전북대학교 의과학연구소 2012 全北醫大論文集 Vol.36 No.1

A 76-year-old woman with severe aplastic anemia was admitted because of a fever, chill and low blood pressure. She was diagnosed as aplastic anemia twelve years ago, and had been managed by supportive cares including transfusion. On admission, she complained of a mild fever up to 37.8℃ with a chill, generalized myalgia, and abdominal pain. A computed tomographic (CT) scan of the abdomen and pelvis showed abscesses in the head and tail of the pancreas. Cultures of the aspirated fluid from the tail abscess grew Klebsiella pneumoniae. Owing to the ultrasound-guided percutaneous drainage of the abscesses and aggressive antibiotic therapy, the abscesses were resolved. The present case demonstrated that pancreatic abscess which causes an abdominal pain may develop during sepsis in aplastic anemia, and that the abscess can be resolved by percutaneous drainage and treatment with antibiotics.

“Out, idle words”

Sung-kyun Yim(임성균) 한국셰익스피어학회 2018 셰익스피어 비평 Vol.54 No.1

Since Titus Livy had rendered the story of Lucrece in his The History of Rome, many writers, including Ovid, Augustin, and Chaucer, retold the story with their own emphasis and interpretations. Among these, Shakespeare’s The Rape of Lucrece is unique in that the poet provides lengthy and often considered an extravagant thinking process with its two protagonists, Tarquin and Lucrece. In fact, the significant part of the poem is constructed with Tarquin’s interior monologue on his struggle against his carnal desire for the chaste woman and, after his disappearance, Lucrece’s laments and agonies which ultimately lead to her final decision to kill herself. The rest is merely a description of events, following Livy’s History. In order to understand the meaning of the poem, therefore, it is crucial to apprehend why Shakespeare spends so much effort and space on revealing the minds of the two characters. In this paper I would examine the two protagonists, particularly the significances of their attitudes toward the dilemma each has to confront and argue that their minds and their ways of thinking are what make the poem a great human tragedy. I would also contend that whereas Tarquin, a prototype of villain-hero, is a victim of his own desire, Lucrece is neither an emblem of moral victory as some critics suggest nor a victim of socio-political setting of the work. Shakespeare manifests a tragedy that human beings who strive for desire and fame cannot escape in his longest poetic work “with some graver labor.”

“Number there in love was slain”

Sung-kyun Yim(임성균) 한국셰익스피어학회 2014 셰익스피어 비평 Vol.50 No.1

윌리엄 셰익스피어의 「불사조와 산비둘기」는 종종 영시 중에서 가장 난해한 작품 중 하나로 불린다. 따라서 많은 비평가들은 이 작품에 대해서 서로 다른 해석과 주장을 펼쳐왔다. 약강사음보라는 독특한 운율체계를 가지고 있는 이 작품은 사랑 때문에 함께 죽었기에 고귀한 사랑으로 영원히 이름을 남긴 이름 모를 연인들의 장례식을 다루고 있다. 작품에서 불사조는 사랑을 상징하며 산비둘기는 정절을 대변한다. 하지만 수많은 추측과 제안에도 불구하고 이 두 연인이 과연 누구인지는 여전히 신비에 싸여있다. 심지어 작품의 첫 번째 부분에 등장하는 새들의 정체에 관해서도 모두가 동의하는 해답은 아직도 나오지 않고 있다. 작품에 등장하는 불사조는 전통적인 인식과는 달리 여성이며 부활에 대한 명확한 약속이 유보된 채 죽고, 남성인 산비둘기는 그녀를 태우는 불꽃 안에서 함께 죽을 정도로 그녀를 흠모하고 있다. 두 연인은 죽음을 통해서 하나가 된다. 그들은 분명히 구분되는 두 개체임에도 본질적으로 하나라는 것이다. 그동안 신비하고 역설적인 구절-“하나의 본질에 두 이름이 있어” -에 대한 (기독교의 삼위일체를 포함한) 많은 철학적, 신학적 해석이 제시되었다. 하지만 동양철학, 특히 도교 사상을 통하여 작품의 핵심에 접근하는 것이 오히려 타당해 보인다. 본 논문은 작품 드러내는 문제점들이 무엇인가 확인하고 비평가들이 어떻게 이러한 문제들을 다루었는지 살펴보면서 그 중 일부에 대해서 필자의 의견을 제시함으로써 작품의 의미에 좀 더 가까이 접근해보고자 하는 시도이다.

리처드와 샤일록

임성균(Sung-kyun Yim) 한국셰익스피어학회 2013 셰익스피어 비평 Vol.49 No.1

This paper is to compare the two representative villains in Shakespeare, Richard in Richard III and Shylock in The Merchant of Venice, so that we could examine the characteristics of Shakespeare’s villain and further understand how the works become more meaningful though these villains’ attitudes and actions manifested in the play. Shakespeare’s characters defy one-dimensional categorization. While critics are constantly seeking a logical reduction to a single dimension of the characters, Shakespeare forces us to reconcile with the unexpected contradictions in his characters. The poet usually does not allow us to pin down the nature of his characters, and it is therefore always difficult to define a character as a stereotype. In Shakespearean drama, even an obvious stock figure often shows shades of different traits so as to reject a categorical definition. Shylock, for example, is an apparent miser figure, easily recognizable in many Renaissance plays; yet his character shows qualities that prevent us from calling him comfortably the same type of money-grubbers found in Marlowe or Jonson. Richard, a typical egocentric, Machiavellian villain whose behavior is thoroughly wicked and repulsive, nevertheless displays a certain grandeur or self-reliance, commonly found in a tragic hero, so that we create difficulty if we try to narrow down his character simply into a villain. However, the two villains significantly share a predator’s nature and similar appetite as they both struggle to devour what yearn for. And paradoxically, their final destruction provides the seeming victims with nutritions, so they are ultimately devoured by the forces stronger than themselves.

“신과 흡사한”

임성균(Sung-kyun Yim) 한국셰익스피어학회 2011 셰익스피어 비평 Vol.47 No.4

At the outset of The Faerie Queene Book 5, Edmund Spenser defines justice as “Most sacred vertue” and proclaims that he would display the power of the justice in the work. The kind of justice Artegall carries out, however, does not seem to fulfill the poet’s initial declaration, for the knight of justice somehow fails to achieve neither justice absolute, nor equity through his adventures. Furthermore, when confronted with an ultimate injustice manifested in the person of Radigund in Canto 5, the knight gives up his battle and yields himself to her slavery despite the fact that he dominates the battle. What kind of justice, then, Spenser would want to portray in the work? This paper is to examine different aspects of justice that Artegall carries out-or fails to achieve-in Book 5 of The Faerie Queene, so as to understand the poet"s idea of justice. Although critics argue that while displaying an absolute justice, Artegall lacks equity, another important aspect of justice, the earlier episodes do not show that the knight carries out the fair justice in terms of the weight of the crimes. Whereas his justice becomes quite harsh towards those who usurp the social, political, and religious stability of the poet’s time, he shows leniency to the individuals who commit personal crimes or who belong to the same society as himself. Thus, we may conclude that Spenser’s justice portrayed in the work is arguably misogynic, imperialistic, and on the side of British throne. However, if Artegall’s justice is clearly within “God’s providence,” which cannot be fully understood by human beings, he has to keep trying to fulfill the justice in spite of his own inability to achieve it, and perhaps this is the message Spenser sends through Artegall’s adventures.

“제왕의 교만함으로”

임성균(Sung-kyun Yim) 한국밀턴과근세영문학회 2012 중세근세영문학 Vol.22 No.1

This paper is to explore the possibility that Spenser’s Mutabilitie provides Milton with a model for his Satan. As a manifestation of pride and classical heroism, Milton’s Satan in Paradise Lost shares certain significant features with Spenser’s Mutabilitie in The Faerie Queene. Close examination of Mutabilitie’s personality and her action may enable us to conjecture that she might be, at least an important part of, Satan’s prototype. Not only in her ambition and audacity in obtaining what she desires, but also in her conviction that Jove, the king of gods, is not necessarily above herself, may we find the essence of Milton’s Satan in a different shape and context. They both are proud, ambitious, self-righteous, and deeply assured of their native right. Mutabilitie’s rise and fall yield striking similarities to those of Satan. Like Satan, she is self-contradictory. While presenting evidences that the entire universe moves within the principle of mutability, she neglects that she, too, is a part of that change. Satan shares her self-serving attitude towards the absolute and permanence. Thus, the more they strive for dominance, the faster do they approach their own doom, for they are ultimately part of the far greater providence ordained either by God or Nature.

UV/H₂O₂를 이용한 2,4-DCP의 산화에 NO₃^- 이온이 미치는 영향

박재한,이지영,안윤희,문태훈,임성균,고광백,Park, Jae Han,Lee, Ji Yong,Ahn, Yoon Hee,Moon, Tae Hoon,Yim, Sung Kyun,Ko, Kwang Baik 한국물환경학회 2007 한국물환경학회지 Vol.23 No.3

The Advanced Oxidation Process (AOP) is being increasingly used to oxidize complex organic constituents in treated effluents from domestic wastewater treatment plants. Generally, ${NO_3}^--N$ concentrations ranges between 5 and 8 mg/L for biologically well-treated effluents. However, nitrate ions, ${NO_3}^-$, affects on oxidation as not only a well-known strong absorber of UV light below 250 nm of wavelength but also as an OH radical scavenger. The objective of this study was to evaluate the AOP systems for degradation of 2,4-DCP, and to delineate the effect of nitrate ions on UV oxidation of 2,4-DCP by conducting a bench-scale operation at various reaction times and initial concentrations of $H_2O_2$. The experimental results indicated that 2,4-DCP could be completely oxidized by $UV/H_2O_2$ process with an initial $H_2O_2$ concentration of 20 mg/L at a retention time of 1.0 min or longer. Nitrate ions did not show any adverse effect on 2,4-DCP oxidation at this high $H_2O_2$ concentration, and the practical initial $H_2O_2$ concentration and reaction time for the 80% oxidation turned out to be 5 mg/L and 1.0 min, respectively.