워즈워스와 키츠의 루스: 성경의 루스 번역과 재구성

신경원 ( Kyung Won Shin ) 한국비교문학회 2010 比較文學 Vol.52 No.-

용매추출에 의한 소나무 ( Pinus densiflora L . ) 수간부에서의 Cd 이동성에 관한 연구

신경원(Kyung Won Shin),조남훈(Nam Hoon Cho),김정규(Jeong Gyu Kim) 한국산림과학회 2000 한국산림과학회지 Vol.89 No.1

In order to understand the chemical binding forms of Cd in terms of its binding strength in wood, the radial distribution of it through dendroanalysis and its different chemical fractions in trunk wood of mature red pine(Pinus densiflora L.) trees grown in a relatively unpolluted area, in Kangwon-Province, were examined. Total Cd concentration in stem wood was determined by dry digestion and H₂O and 0.01 M solutions of citric acid, malic acid, CaCl₂, MgCl₂, Na₂EDTA were used as extracting solutions for Cd. Extracting efficiencies of applied solutions were expressed as % of Cd concentration extracted by Na₂EDTA which extracted all Cd instead of Cd total concentration. Total concentration of Cd decreased from the innermost rings near pith towards the the outermost rings near cambium. Especially through the transition zone this tendency was observed clearly. H₂O was the least effective extractant of Cd, then extracting efficiency increased in the order MgCl₂$lt;CaCl₂$lt;Malic acid $lt; Citric acid $lt; Na₂EDTA (extracted all Cd). According to the radial position, extracting efficiency of Cd was ranging from 7 to 30% by H₂O and even from 60 to 95% by citric acid. The Cd extracting efficiencies of H₂O and organic acids increased continuously from the stem center to outermost annual rings, whereas salts showed somewhat different tendency, suddenly decreasing near the outermost ring. The results are discussed with regard to the different chemical binding forms of Cd and the mobility of Cd in wood and comparable with ones in previous studies on Pinus sylvestris and Quercus patraea. According to the results, usefulness of radial distribution pattern of Cd in pine tree trunks for retrosective biomonitoring is questioned.

코울리지와 스토커의 흡혈귀 이방인

신경원 ( Kyung Won Shin ) 근대영미소설학회 2009 근대 영미소설 Vol.16 No.1

데리다의 하이멘 경제와 이리가라이의 ' 타자의 타자 '

신경원(Kyung Won Shin) 한국영미문학페미니즘학회 2000 영미문학페미니즘 Vol.8 No.1

While Irigaray`s Marine Lover of Friedrich Nietzsche is an evident counterpart to Nietzsche, we witness, in a careful reading of it, not only the inversion of Nietzschean ideas but also those of Derrida`s, particularly those expounded in his Spurs. Derrida in Spurs criticizes Lacan`s phallogocentrism and tries to undo the oppositional logic of castration and anti-castration in Nietzsche. In this deconstructive project woman appears as the main trope, and during the process, woman`s body is exploited as an object to dissect. Derrida particularly chooses the hymen and the vagina as tropes for the undecidability of truth, the untruth of truth. Despite his proclamation that deconstruction means to debunk those concepts such as essence, identity, and the hierarchies and oppositions of the phallogocentric metaphysics, Derrida, through exploiting woman and woman`s body for the tropes figuring diffe´rance, does violence to woman. Irigaray mimes Derrida to criticize his dissemination without insemination. Arguing that all genealogy based on the hymeneal logic is a specular auto-gamy, she asserts that the Western metaphysical tradition has constantly tried to displace, transpose, transfer, metaphorize the hystera, the origin of life, to the end of life, the telos. In spite of his decontructive attempts to destabilize identity through diffe´rance and resist both transposition and the teleological tendency in metaphysics, Derrida appears very often chained up in/by this transposition of the hystera. The purpose of Irigaray`s strategic essentialism and mimesis in The Marine Lover of Friedrich Nietzsche as well as in her earlier works is not simply to deconstruct phallogocentrism as Derrida does. The ultimate goal of her project is to construct a female subject-position as the other of the other, not as the other of the same who still remains within the phallic economy. In order to construct a female subject-position, lrigaray risks the charge of being an essentialist by taking an extreme and opposite position, and in this tightly woven phallogocentric system, there is no alternative move but this.

사랑의 제국과 애러벨라의 광기: 샬롯 레넉스의 『여성 키호테』

신경원 ( Kyung Won Shin ) 근대 영미소설 학회 2007 근대 영미소설 Vol.14 No.2

스위프트의 『통 이야기』의 알레고리와 사실적 서술

신경원 ( Kyung Won Shin ) 근대 영미소설 학회 2010 근대 영미소설 Vol.17 No.1

『클라리사』에 나타난 로맨스, 사실주의, 반-로맨스 서술의 충돌과 공존

신경원 ( Kyung Won Shin ) 한국근대영미소설학회 2012 근대 영미소설 Vol.19 No.3

Approaching Samuel Richardson`s Clarissa as a locus of an warfare of discordant narratives and their subsequent co-existence, the paper explores how the realistic narrative predominantly used by Clarissa and the romantic and the anti-romantic narratives mainly used by Lovelace fiercely collide and then ultimately coexist in one textual body. Adopting Eagleton`s claim that Clarissa shows both the realistic and the allegorical and McKeon`s hypothesis regarding the origins of the novel, I argue in this paper that the oppositional narratives of Clarissa and Lovelace tend to expand to each other`s boundary, particularly after the rape, and come to coexist as ``one`` text that has to embrace heterogeneous narratives in it. Even after their death, their narratives still remain distinguishable as discordant voices, though mingled into ``one.`` The paper closely examines how the narratives of Clarissa and Lovelace go through changes after the rape; Clarissa`s narrative gradually move toward the spiritual romance in which she yearns for oneness with the divine being, while Lovelace discards his earlier romantic posture and moves toward the anti-romance in his narrative as well as actions. The interactive move in part resembles McKeonian claim regarding Richardson and Swift, particularly in his emphasis on the dialectic movement of diverse narratives, including traditional romance, realism, and the anti-romantic skepticism. The final text we get is, however, not a product of dialectical interactions but rather an accidental mingling of heterogeneous narratives, still circulating on the axis of romance till the end despite each writer`s persistent negation of it.

강성노조의 노조몰입 및 호전성 결정요인에 관한 연구

배성현 ( Sung Hyun Bae ),신경원 ( Kyung Won Shin ) 한국인적자원관리학회 2007 인적자원관리연구 Vol.14 No.S

지능형 소재기술이 결합된 자가치유 고분자 신기술 연구 동향

이준행 ( Jun Haeng Lee ),최서영 ( Seo Young Choi ),신경원 ( Kyung Won Shin ),양주호 ( Joo Ho Yang ),정재우 ( Jae Woo Chung ) 한국공업화학회 2017 공업화학전망 Vol.20 No.1

재료의 손상은 재료 자체의 물성과 기능의 손실을 야기하고 제품의 내구성과 성능 지속성에 막대한 영향을 미치는바, 손상을 억제함은 물론 재료가 지닌 구조와 기능에 대해 근원적 복구가 가능한 자가치유(self-healing) 재료가 만들어진다면 기존 산업 기술의 패러다임을 획기적으로 바꿀 수 있어 이에 대한 관심이 급증하고 있다. 현재까지 캡슐형 자가치유, 자극-응답형 자가치유, 동적결합형 자가치유 등 다양한 자가치유 고분자들이 개발되어 왔으나 치유과정 혹은 치유 후에 나타나는 각종 문제점들이 지적되고 있으며 기술적으로도 상당 부분 포화에 이른 상태이다. 최근 이러한 한계점을 극복하고자 단순히 자가치유 특성만 구현되는 고분자가 아니라 다양한 기능이 융합되어져 기존 자가 치유 시스템의 문제점을 보완하고 성능을 향상시킬 수 있는 자가치유 고분자를 개발하고자 많은 노력을 기울이고 있다. 이에 본 기고에서는 형상 기억, 자기집합 상분리, 손상 감지와 같은 지능형 소재 기술을 자가치유 고분자에 결합한 자가치유 고분자 신기술 연구 개발 동향에 대해 소개하고자 하며, 이를 통해 차세대 자가치유 고분자가 나아갈 방향에 대해 제시하고자 한다.

크리스테바의 『 지오토의 환희 』 : 색에 드러난 욕망 Desire in Color

신경원 한국영미문학페미니즘학회 1996 영미문학페미니즘 Vol.3 No.1

Kristeva has successfully established psychoanalysis as an effective tool for analyzing not only individual artists' psyche but cultural practices of diverse kinds including literary texts and paintings. This paper examines how her crucial psychoanalytic concepts, those of the semiotic and the symbolic, are applied to the works of the avant-garde artists, mainly focusing on her analysis of Giotto's Padua frescoes in her "Giotto's Joy." The avant-garde literature, maintains Kristeva, creates 'productive violence.' By destroying the fixed, homogeneous discourse, it practises a heterogeneous activity of expressing the instinctual, repressed drives into the symbolic code of signification. And this very heterogeneous process is, according to Kristeva, exactly what is happening in Giotto's paintings when he uses color to erupt the semiotic. Kristeva's primary concern in Giotto's paintings is, however, not the narrative signified of the frescoes which delivers the orthodox Christian message but the space filled with color. According to Kristeva, Giotto uses color, particularly that of blue, as an ultimate strategy of transgressing the given norms and customs of his time including Christianity and the contemporary narrative and pictorical traditions. Giotto's freedom in his pictorial practice also reveals the paradoxical process of liberation many artists go through; they seek freedom by traversing boundaries of the semiotic and the symbolic, but that freedom cannot be said a complete one but a relative escape from the symbolic order to the semiotic, the escape which can occur only within the realm of the symbolic. Due to her heavy reliance on Freudian and Lacanian psychoanalysis, many critics are quite unsparing in their critiques of Kristeva's rather conservative attitude toward it This paper then examines to what extent Kristeva's theory of the semiotic stays within the existing psychoanalytic framework by concentrating on her analysis of Giotto's jouissance through color.