윌리엄 워즈워스와 테드 휴즈 시의 설강화와 수선화 생태적 이미지 비교 연구

성창규 한국동서비교문학학회 2023 동서 비교문학저널 Vol.- No.66

The paper endeavors to conduct a comparative analysis of the floral poetry of William Wordsworth and Ted Hughes within an ecological framework. Wordsworth’s poetic treatment of the ephemeral beauty of the snowdrop stands out as a poignant exploration of the transient nature of existence—a humble acknowledgment of the relentless pace of change within the world. In “To a Snowdrop,” Wordsworth assumes the role of a contemplative observer, quietly and humbly reflecting on the fleeting beauty and inexorable passage of time. Hughes, in contrast, imparts a feminine quality to the snowdrop by analogizing its survival amidst harsh winter conditions to the resilience displayed by animals. This struggle for survival is framed as a universal ecological order, wherein both flora and fauna pursue their own distinct ends. Wordsworth’s “Daffodils” elucidates the symbiotic relationship between nature and memory in the Romantic poetic tradition, illustrating how these components are transmuted into vivid imagery. Communing with nature, as depicted by Wordsworth, is posited as an antidote to melancholy, solitude, or discontent, offering a wellspring of joy, solace, and the potential for rejuvenation through the act of observing, contemplating, awakening to, and embracing nature without forfeiting one’s innocence. In Hughes’s works, such as “Daffodils” and “Narcissi,” the ecological exploration of the daffodil extends into realms encompassing mythology, war, science, and recollections of his wife, Sylvia Plath. Hughes’s later poem, “Daffodils,” in Birthday Letters, serves as a representation of their divergent poetic realms—a symbolic pair of lost wedding scissors. “Perfect Light” offers a photographic portrayal of daffodils, Plath, and their children in a state of pristine innocence. However, analogous to Hughes’s other animal-themed poems reflecting the harsh and violent realities of the natural world, the painful and tumultuous realities of the marital union appear to have dissipated in the process of crafting an ostensibly perfect poetic world.

두 개내 신경장낭종의 자기공명영상소견 : 1예 보고 및 문헌 고찰

성창규 대한영상의학회 1998 대한영상의학회지 Vol.38 No.5

Neurenteric cyst is an extremely rare developmental cyst of the central nervous system. It is lined with intestinal epithelium and is usually found in the subarachnoid space of the cervical and thoracic spine. We report a case of intracranial neurenteric cyst in a 40-year-old man, and describe the MRI findings. This modality showed a large cyst, ventral to the pons and extending bilaterally to the cerebellopontine angles and craniovertebral junction ; its signal was hyperintense on both T1-and T2-weighted images and there is no enhancement on postcontrast T1-weighted images.

진행성위암의 자기공명영상 : T1 강조 FLASH, T2 강조 TSE 및 TrueFISP 영상간의 비교

성창규 대한영상의학회 1998 대한영상의학회지 Vol.39 No.6

Purpose : To compare the usefulness of three MR sequences for the depiction and staging of advanced gastriccancer (AGC). Materials and Methods : MR imaging was performed in 20 patients in whom AGC was proven by endoscopy.Axial scans with T1-weighted fast low-angle shot (FLASH), T2-weighted turbo spin-echo (TSE), and true fast imagingwith steady state precession (TrueFISP) MR sequences were obtained. We measured the signal-to-noise ratio (S/N) ofgastric cancer and signal difference-to-noise ratio (SD/N) between cancer and intraluminal fluid, cancer and thepancreas, and cancer and perigastric fat in each MR sequence. We also graded lesion conspicuity (poor, fair, orgood), and the degree of serosal invasion in each sequence. All results were correlated with histopathologicfindings. Results : TrueFISP was superior to FLASH or TSE in lesion conspicuity, and showed the highest value ofSD/N between cancer and intraluminal fluid. FLASH showed the highest value of SD/N between cancer and thepancreas, and cancer and perigastric fat. The accuracy of T-staging of AGC with MRI was 75% using FLASH, 70% usingTrueFISP, and 60% using TSE. FLASH sequence understaged in three cases(15%) and overstaged in two (10%). In Usingthe TrueFISP sequence, six cases(30%) were overstaged. Conclusion : TrueFISP showed the best lesion conspicuity,but tended to overstage the lesion. T1-weighted FLASH sequence showed the highest value of SD/N on theextraluminal side of the gastric wall, and was better than T2-weighted TSE or TrueFISP for T-staging of AGC.

셰이머스 히니 시에 나타난 4원소의 유기적 결합

성창규 한국예이츠학회 2013 한국예이츠 저널 Vol.42 No.-

셰이머스 히니는 여러 편의 시에서 물, 불, 공기, 흙이라는 4원소의 속성을 드러내고 있다. 물과 흙의 시인이라는 평을 듣는 그는 각 원소의 물질적 속성과 원형을 탐구하며, 이는 바슐라르의 물질적 상상력과 결부될 수 있다. 물질적 상상력은 4원소의 속성을 근원적이고 지속적으로 탐구하여 시적 이미지를 변형하고 재구성하는 것으로 형식적 상상력과 대비된다. 히니 시의 4원소 결합은 경작지나 아일랜드의 고유한 지명의 호수가 등에서 나타나는 일상에서부터 신화의 이미지를 차용한 늪이나 다른 유적지에 이르기까지 다양한 공간에서 나타난다. 또한 흙을 기반으로 공기나 물의 이미지가 특정 공간에서 다른 공간으로 이동하면서 새롭게 결합하고 공존한다. 두 개 이상의 원소 이미지가 발생하고 역사적 사실과 변증법적으로 결합하는 지점은 히니의 유년 시절과 신화적인 이미지와 역사적 사실 그리고 다시 돌아와 새롭게 깨닫는 익숙한 공간이라는 시적 여정과 맞물려 있다. The purpose of this study is to investigate Seamus Heaney’s poetic texts in terms of the material imagination and spatial and archetypical images of Gaston Bachelard’s poetics. Material imagination is that a poet dreams, imagines, and perceives four elements, such as fire, water, air, and earth. Unlike formal imagination, it is original and continuous; it transforms and recreates images through dynamic elements’ properties. Heaney extends images of fire, water, and air on the basis of earthly images as we see Bachelard’s analysis of the poetic images. Fire is intense and volatile, with which image Irish historical accidents are associated. And it has an original image like a Greek myth of Prometheus. Water is silent and feminine, with which image Irish daily and productive spaces are associated. And like a well, dark and heavy water denotes Irish mythical etymology as compared with the symbols of English light and sky. Air has attributes of flight and fall. He also uses in his poetry various other dynamical images, such as birds, fishing gut, and abyss.

폴 오스터의 『유리의 도시』: 순수 자유 시간을 찾아서

성창규 동국대학교 영어권문화연구소 2022 영어권문화연구 Vol.15 No.3

The purpose of this paper is to analyze the identity of Quinn, the main character of Auster’s City of Glass from the perspective of Deleuze’s affect theory. The relationship between Quinn and Stillman Sr., which began with a phone call asking Quinn to track down Stillman Sr., takes the form of a anti-detective novel, breaking away from conventions such as simple detective novels, and shows the changing aspects of Quinn’s identity in the process. In particular, Quinn, who has lost his wife and son and has lost the meaning of life, hides behind the pseudonym Wilson and Work, the main character of a detective story, and goes to a new world through a relationship with Stillman Sr. Deleuze’s affect expresses the increase and decrease of the ability to act in the relationship between things and human beings. Quinn shows changes in his body and consciousness through meeting Stillman Sr. and coming into contact with the things that make up the city of New York. As a result, through the affect between people and things, Quinn entered into the world of time that Masumi says is 0.5 seconds. This world is a moment of affect and is also a category of dehumanization of humans in a rupture between nature and culture, non-existence and existence, and body and spirit. In this respect, losing the existence of Quinn is not just disappearing, but an expansion into that world.

<헤어질 결심>에 나타난 대립적 이분법과 아이러니와 번역

성창규 한국동서비교문학학회 2023 동서 비교문학저널 Vol.- No.63

The paper examines the notion of irony and its literary effects, and then considers the opposite dichotomy of the film, Decision to Leave, which is a mountain and sea story between a man and a woman, in terms of characters, objects, props, settings, and OST. It also analyzes the paradoxes and ironies that arise from the fissure between the opposing dichotomies in the film’s framework, lines, and plot. Director Park Chan-wook expands irony from a lowly, playful device to a metaphorical and paradoxical relationship between language and situation, and between author and reader, as opposed to viewing art as a heavy and serious theory like American writers in new criticism, including T. S. Eliot. The tensions, paradoxes, and contradictions that emerge from the signifier and the signified of various individuals and objects “finally” disclose the fateful inconsistency of human existence and seem to balance the two opposing elements. Due to their dichotomous properties, the Korean words “coincidence” and “upright” have a paradoxical impact, and materials such as whiskey and jellyfish appear to contribute to this effect. The contrast between red, which represents death, violence, and separation, and blue-green, which represents love, interest, and meeting, also plays a part in the film’s atmosphere. As the film is divided into its first and second sections, it can be compared to several opposing groups, such as mountains and seas, Seorae and Haejun, Suwan and Yeonsu, and Ki Dosu and Im Hoshin, thereby creating structural irony. Rather than simply being placed in a dualistic opposition, Decision to Leave elaborately discloses the truth paradoxically by combining opposing elements in a single object or expression, such as Park’s reference to it being both an investigation and a romance simultaneously. The director and screenwriter appear to meticulously arrange characters, materials, setting, and dialogue, resulting in a dense and substantial film. .

영미시에 나타난 날개의 시학과 새 이미저리의 메타분석

성창규 한국동서비교문학학회 2020 동서 비교문학저널 Vol.0 No.53

This study is the epistemological mapping and meta-analysis of British-English poems in light of the theory of four elements, poetic imagination and phenomenology of images by Gaston Bachelard. Starting from the image of the air, which emphasizes the dynamism of the image among the four elements of water, fire, air and soil, the image of flying animals such as larks, seagulls, crows, hawks and eagles, the representative materials of the rise and fall of the air in poems are analyzed. By setting up indexes such as brightness and darkness, weightiness and lightness, past and present, dream and reality in each bird, the study discusses the level of images appearing in poetry and present their meanings, and tries to read new and macroscopic English poetry. What Bachelard sought is a feast and harmony of birds, sometimes dynamically and sometimes still, in various dichotomous indicators, resulting in the balance of the world and the poetry of love.

Ireland 다원 민족주의 : Seamus Heaney 시 연구

성창규 동국대학교 대학원 2001 東院論集 Vol.14 No.-

This purpose of this paper is to explore the Irish national pluralism of Seamus Heaney as an Irish poet. The goal of national pluralism is to overcome national and religious conflicts between England and Ireland and to accept the co-existence and diversity of both nations and cultures. Unlike cultural separation from England through emphasizing Irish mythology or tradition, national pluralism accepts the reality that both cultures coexist as they are. Heaney's thoughts were contrary to the political ideals of Irish nationalists and also were blamed for avoiding national sufferings. But, Heaney rejected the exclusive solidarity and violence for poetic autonomy and individual moral consciousness that went beyond his skepticism about poems and nationalism .Namely, for mourning the individual sacrificed by the ideal of nationalist groups, he expressed resistance to totalitarian nationalism in his poems. By choosing autonomy and lyric poetry above history and reality, Heaney pursued a cultural revival that could correct people's minds. Moreover, Heaney transformed daily experiences and memories into fantastic miracles. That is, he unified the dual valuations - realistic aspect and transcendent aspect - on the basis of poetic imagination, recognizing individual and community, life and death and daily and wonder as a continuous world. Especially, according to "Terminus", Heaney played a role as his own arbitrator. By perceiving the ambivalence of things all the time, he established the tradition of new pluralism excluding historical sufferings. Through the process of thorough self-verification and poetic skepticism, he did away with national group values, discovered the daily miracle, so recognized the prodigy of lives, and could further "democratic pluralism" through his imagination.

저작근공간 감염의 자기공명영상 소견

성창규 대한영상의학회 1998 대한영상의학회지 Vol.39 No.4

예이츠의 시에 나타난 새 이미지의 알레고리, 인유 그리고 상징

성창규 한국예이츠학회 2020 한국예이츠 저널 Vol.63 No.-

예이츠의 새가 등장하는 시에서 그의 시간관과 역사관을 우리는 엿볼 수 있다. 그의 신비주의, 아일랜드의 전설, 신화 및 민담 등의 소재로 예이츠는 그만 의 독특한 상징주의를 시 작품에 녹아낸다. 통상 상징의 대조적 개념으로 이해되는 알 레고리는 교훈적이거나 풍자적인 또는 의인화된 이미지와 뜻으로만 국한되는 경향이 있는데, 예이츠의 상징을 알레고리의 요소로도 접근할 수 있다. 특히 신화와 고고학적 이미지로 예이츠 시에 등장하는 백조와 매를 이해할 수 있고 예언적이고 불멸의 성질 을 지닌 공작과 수탉의 이미지도 살펴볼 수 있다. 상승과 하강 그리고 공중과 비행을 나타내는 대부분의 영시와는 달리 예이츠는 가이어와 큰 수레바퀴라는 자기만의 독특 한 역사성과 신비주의와 함께 신화적 요소의 인유법을 통해 시 세계를 구축한다. 이 과정은 특정 이미지를 끊임없이 또 다르게 말하는 알레고리로 사유하여 다양한 상징 의 결과물을 내놓는다. Using Yeats’s mysticism, Irish legends, myths, and folktales, he incorporates his own distinctive symbolism into his poetry. Allegory, usually understood as a contrasting concept of symbols, tends to be limited to didactic, satirical, or personified images and meanings, but his bird poems have allegorical elements. I understand the swan and falcon in his poetry are used and become mythical and archaeological images, and also regard the images of peacocks and cocks as prophetic and immortal qualities. Unlike much of English poetry representing the rise and fall, or aerial images, Yeats builds a poetic world through his own unique historic perspective and mysticism of the Gyres and the Great Wheel, as well as the mythical elements. This process results in various symbols: while a particular image is being used as an allegory, it speaks another thing consistently.