OLGA and OLGIM Stages as Risk Factors of Metachronous Gastric Cancer

나윤숙,조수정,김보경,김상균 대한내과학회 2022 대한내과학회 추계학술발표논문집 Vol.2022 No.2

발관 후 발생한 음압성 폐부종(2예)과 폐출혈(1예)-증례 보고-

나윤숙,김치효,한종인,김동연 대한중환자의학회 2010 Acute and Critical Care Vol.25 No.2

Negative pressure pulmonary edema (NPPE) is a rare complication of acute airway obstruction which develops after endotracheal extubation. The proposed mechanism is generation of very low negative pressure during laryngospasm by inspiratory efforts, which leads to alveolar exudation and hemorrhage. The diagnosis of NPPE is confirmed by clinical findings of tachypnea, pink prothy sputum in the endotracheal tube, hypoxemia on arterial blood gas analysis, and distinctive radiologic findings. NPPE is usually self-limited within 48 hours when diagnosed early and treated appropriately. We report three patients who recovered from NPPE without complications.

The Eternal Enigma: Mutuality of Self and Society in Demian and Dangling Man

나윤숙 한국동서비교문학학회 2005 동서 비교문학저널 Vol.0 No.13

Hermann Hesse and Saul Bellow search for the autonomy of self in a harmonious relationship with society. Their common belief in the ultimate meaningfulness of life is an antidote to the dismal contemporary view of human relationships. Especially, the enigmatic relationship between the inner self and the society outside, as embodied in Hesse’s Demian (1919) and Bellow’s Dangling Man (1944), is a key to solving the modern individual’s alienations as well as to examining the novels’ artistic worlds. The purpose of this paper is not only to make some thematic comparisons between Demian and Dangling Man but also to establish each novel as a human quest for the solution to an eternal enigma: the mutuality of self and the world. Since both Hesse and Bellow are interested in the establishment of an authentic self and the reason for social commitment, I will support my thematic approach to Demian and Dangling Man by grounding it in Martin Buber's Between Man and Man (1948) and I and Thou (1958). Buber's basic theme is that the recovery of personal meaning is really possible through involvement with the things and beings of the world, not by withdrawing from society. Overall, both Demian and Dangling Man concern themselves with the protagonist’srelationship to society, focusing mainly on attitudes toward the mutuality of the personal and public world, which is ultimately based on humanity and love.

Dicte: Translation, Dictation and Postcolonialism

나윤숙 한국동서비교문학학회 2004 동서 비교문학저널 Vol.0 No.11

Lacking a common quality to make a comparison, mutual understanding of cultures is confronted with incommensurability. Ironically, as a result, we become alert to make an utmost effort to comprehend formidable differences, and to communicate with each other better. The act of translation, whether literal or cultural, is not just necessary but required to co-exist, creating a new space to accommodate those differences. It is true that, in the process of writing, postcolonial writers encounter contradictory differences in and between spaces, and feel helpless to reconcile the differences. Among other postcolonial feminist texts, Theresa Hak Kyung Cha’s Dictée (1982) is an exemplary, yet experimental work. Throughout Dictée, Cha tries to create the postcolonial narrative form while constructing her identity as a Korean American woman, which cannot be defined as a single defined subject. The fragmented sentences of deliberate mistranslation and faithful dictation demonstrate that Cha, as a postcolonial and multilingual feminist writer, has more options to create new meanings in the space. Cha's dislocated position, therefore, is not to be considered as displacement but as a constructive site for a positive relocation across national languages and cultures.

레비나스의 윤리학과 예술론

나윤숙 한국문학과종교학회 2012 문학과종교 Vol.17 No.3

버나드 말라무드의 『수선공』에 나타난 야콥의 삶: 호모 사케르와 주권 권력의 관계

나윤숙 한국문학과종교학회 2015 문학과종교 Vol.20 No.4

호모 사케르는 정치적인 삶을 뜻하는 ‘비오스’(bios)가 박탈된 “단순한 자연 생명”(zoe)으로 면책 살인이 가능하나 희생 제물로 바쳐질 수 없는 “생명”을 지 칭한다. 아감벤에 따르면, 호모 사케르를 배제된 존재로 포함하면서 주권의 실 제적인 효력은 발생하는데, 주권 권력은 벌거벗은 생명을 생산해 내는 지점에서 기원하고 호모 사케르라는 “예외”는 “비 식별역”으로만 설명이 가능하다. 본 논 문은 이러한 아감벤의 기본 논지를 중심으로, 버나드 말라무드의 장편 소설 수 선공에서 몰락해 가는 러시아 절대 왕권이 야콥을 ‘벌거벗은 삶,’ 즉 호모 사 케르로 생산하는 과정과 그가 결국 어떤 정치적 주체로 재탄생 하는지를 고찰 한다. 수선공에서 권력은 그 자체로 본래적 힘이 있는 실체라기보다 호모 사 케르와 같은 예외를 생산해냄으로써 권력을 생산, 유지한다는 사실이 여지없이 드러난다. 야콥이 자신의 논리적 사고체계가 송두리째 해체되는 고통을 경험하 며 부조리한 현실을 비 식별역의 차원에서 사유한 후 도달한 지점이 바로 자혜 와 체휼인 것은 의미심장하다. 주권권력의 ‘나’를 향한 야욕이 불의의 원인인 반면, 야콥의 ‘타인’을 향한 자혜가 정의를 가능하게 하는 시작임을 알 수 있다. Homo sacer can be killed but not sacrificed because homicide laws are not applicable to him/her, and s/he is not worthy enough to be offered in sacrificial rituals. Sovereign power, Giorgio Agamben argues, establishes itself through the production of homo sacer, and the exclusive inclusion of homo sacer can be explained in terms of “a zone of indistinction.” This article examines Bernard Malamud’s The Fixer in which the protagonist, Yakov, under the rule of the last Russian Tsar, experiences a “naked life” in the prison, and has become a new political subject. Having experienced the absurdity of reality, Yakov has realized that what makes humans human are charity and compassion. It is significant that while injustice originates from the sovereign power whose source is its egotistical production of homo sacer, justice starts with Yakov’s, one of “the miserables,” charity and compassion for others.

「여기 서서 다림질 하고 있지요」에 나타난 침묵

나윤숙 한국현대영미소설학회 2019 현대영미소설 Vol.26 No.3

While areas defined by language are regarded as revealed realities, those, which do not have linguistic signs, become ‘non-realities,’ left as silent. This represents that language cannot fully capture human experience, suggesting that the reality, defined in language, may not be a total truth. Silence is not equal to absence. Rather, silence functions as a resistance to language by breaking through the (im)possibility of language, and (re)creates reality by actively participating in the production of meaning. Tillie Olsen in “I Stand Here Ironing” does not stop at exposing the “unnaturalness” of silence, but rather takes over the realm of silence. Emily’s silence, caused by socio-structural alienation, is transformed into creative pantomime. Emily is born again as an artist by breaking through the past memories of hers and the narrator’s through pantomime, and creating ‘the other’ reality in the space of silence. Emily’s active choice of silence shows that, rather than giving up the language itself, she can imagine reality beyond the existing language. Emily’s artistic creation, pantomime, could not be completed without “eyes to see” (10) it. Only when readers are able to ‘see’ the words of the Emilys they meet in their daily lives, does “the other” reality become “the given.”

영미소설 교육과 타자와의 입장 바꾸기

나윤숙(Younsook Na) 한국영미문학교육학회 2007 영미문학교육 Vol.11 No.1

  It is good that in the area of English literature, such terms as sex, race, and class have been discussed enough to challenge traditional humanists, and as a result, socio-politically speaking, minor groups have come to reclaim their lost voice to some extent. However, it does not necessarily mean that we have to discard the premise: Human beings can share universal human nature.<BR>  Through a case study of teaching four novels--Dubliners, To the Lighthouse, The Assistant, and The Joy Luck Club--this paper shows how the revised humanistic teaching philosophy affects the content of the course, and ultimately helps students have a balanced perspective in a postmodern world.<BR>  Reading English novels, Korean students can have a great opportunity to experience--regardless of sex, race, and class--how humans can share universal human nature as well as how humans vary according to their background. Furthermore, when teachers provide students with a learning environment, which is reciprocal and communicative, the students will learn how to live together with and for "others" with a responsibility for the community as a whole. This should be the fundamental goal for teaching English fiction to Korean students.

The Adventures of Harriet Simmons Waggoner in “Leaving the Yellow House”

나윤숙 ( Youn Sook Na ) 한국영미문화학회 2004 영미문화 Vol.4 No.1

영문학 정전과 페다고지

나윤숙(Younsook Na) 한국영미문학교육학회 2009 영미문학교육 Vol.13 No.1

A literary canon does not consist of a fixed set of rules, but is always subject to revision. Since socio-political power-mostly white, middle-class male-influences the formation of canons, minority writers, in one way or another, tend to be excluded in spite of their literary excellence per se. Tillie Olsen is one of those writers who have not received deserved praise because of the unfair criteria. Inevitably, an issue of canon is closely related to teaching methodology, and a fossilized canon can produce outmoded pedagogy, and vice versa. Based on personal experiences in teaching Olsen's "I Stand Here Ironing" and "Tell Me a Riddle," this paper reviews various responses from the students, both American and Korean. Whereas American students enjoy interactions with the other students as well as the teacher in the classroom, Korean students, in general, show a reserved attitude toward class activities. However, regardless of their backgrounds, both students appreciate Olsen's stories and her vision as a realistic idealist: people suffer in reality, yet they never lose hope in the future. The ultimate purpose of writing this paper is, in fact, to introduce Olsen to Korean readers. Even though Olsen isn't known as a major writer yet, literary scholars as well as the general reading public have taken notice of her work, due to feminists' efforts to unearth women writers, in the last twenty years. However, in Korea where anti-communist sentiment has been dominant, a socialist writer like Olsen has been a taboo. Olsen deserves more attention in that while she depicts the particular lives of less privileged people, she never sentimentalizes them, but instead successfully shows us the meaning of universal human dignity.