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      • KCI등재

        Discussion of “Physio-Chemical Properties, Consolidation, and Stabilization of Tropical Peat Soil Using Traditional Soil Additives – A State of the Art Literature Review” by Afnan Ahmada, Muslich Hartadi Sutantoa, Mohammed Ali Mohammed Al-Bareda, Indr

        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.

      • KCI등재

        이중언어작가 혼돈의 조율 -베케트, 워드싯 그리고 형식의 이슈들

        ( Kelly S Walsh ) 한국비교문학회 2013 比較文學 Vol.0 No.59

        조르주 뒤뛰 (Georges Duthuit) 와의 대화에서 사무엘 베케트는 그의 예술적 정언명령이 표현할 대상도, 수단도 없으며, 표현의 가능성이나 힘도 욕망도 없이, 표현해야할 의무와 더불어 지속되는 어떤 것으로 묘사하고 있다. 주요 작품들을 불어로 쓴 아일랜드 태생의 베케트는 자신의 작품을 추후 영어로 번역하며 모국어와 고국을 스스로 박탈함과 동시에 강박적으로 그것으로 회귀하고자 하는 경향을 보여준다. 이러한 미적 감수성과 작품의 이중적 존재와 더불어 그는 자신의 것이자 자신의 것이 아니기도 한 독특하고, 낯선 미지의 목소리를 창출해낸다. 따라서 우리가 그의 작품을 모던하고 트랜스내셔널하다고 말할 때, 그것은 바로 그러한 특성이 패러독스이자 아포리임을 받아들이는 것을 의미한다. 요컨대 그의 주인공들은 점점 한갖 글쓰는 목소리들로 격하되어, 마침 그들이 언어와 의미의 혼돈 속에 빠져있을 때에 뿌리상실과 이해불가능성의 첨예한 감각을 표현하는 것이다. 그러한 목소리들이 무관심으로부터 벗어나고자 혼돈을 조율하려 시도하고 또 실패하면서, 그것들은 불가피하게 - 문법 속의 신과 더불어, 의미를 부여할 종결에 대한 믿음이 없는 - 하나의 긴 문장임이 드러난다. <무(無)를 위한 텍스트들> 과 <어떤가요> 와 같은 작품들은 무능과 실패의 독특하고 역동적인 미학을 실행시키면 서구문명의 잔해와 화석으로부터 일관된 정체성을 형성하는 일의 실패들을 그리고 있다. 완성되지도 종결되지도, 그렇다고 무(無)를 성취하지도 못하면서 목소리들은 결국에는 그것들을 지지하는 혼돈에 더 많은 워드싯을 더하면서 지속된다. 이러한 패러독스에서 베케트가 이끌어내는 결코 잠재울 수 없을 듯한 에너지를 통해 우리는 단지 혼돈 속에 머무는 것에서 어떤 고통스러운 감동과 찬탄을 발견하게 된다.

      • SCOPUSKCI등재

        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.

      • KCI등재후보

        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.

      • SCOPUSKCI등재
      • SCIESCOPUSKCI등재

        Extremozymes: A Potential Source for Industrial Applications

        ( Kelly Dumorne ),( David Camacho Cordova ),( Marcia Astorga-elo ),( Prabhaharan Renganathan ) 한국미생물 · 생명공학회 2017 Journal of microbiology and biotechnology Vol.27 No.4

        Extremophilic microorganisms have established a diversity of molecular strategies in order to survive in extreme conditions. Biocatalysts isolated by these organisms are termed extremozymes, and possess extraordinary properties of salt allowance, thermostability, and cold adaptivity. Extremozymes are very resistant to extreme conditions owing to their great solidity, and they pose new opportunities for biocatalysis and biotransformations, as well as for the development of the economy and new line of research, through their application. Thermophilic proteins, piezophilic proteins, acidophilic proteins, and halophilic proteins have been studied during the last few years. Amylases, proteases, lipases, pullulanases, cellulases, chitinases, xylanases, pectinases, isomerases, esterases, and dehydrogenases have great potential application for biotechnology, such as in agricultural, chemical, biomedical, and biotechnological processes. The study of extremozymes and their main applications have emerged during recent years.

      • KCI등재

        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.

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