지속의 시간과 비판 정신: 『나의 안토니아』와 『미국의 아들』에 나타난 시간과 저항

이준영 ( Jun Young Lee ) 한국근대영미소설학회 2020 근대 영미소설 Vol.27 No.3

This essay focuses on the concept of time represented in Willa Cather’s My Antonia and Richard Wright’s Native Son in order to address the ways in which we perceive and represent time in these novels envisage the main theme of the two novels: the resistance against social discrimination on the grounds of race, gender, and ethnicity. As a member of a newly-arrived immigrant family, Antonia Shimerda struggles to establish her home in the new but barren territory of the American Midwest, fighting against the anti-immigrant prejudice of American Society. Likewise, Bigger Thomas also tries to overcome the racial discrimination of 1930s American society and to find out the meaning of his tragic and depressed life. In their resistance against the prejudice and discrimination of early twentieth-century American society, the perception of time works as a key role since both Antonia and Bigger use their memories and reminiscences as productive means of their resistance. Therefore, this essay discusses the creative power of memory and reminiscence from the overall perspective of Henri Bergson’s duration of time. At first, this research discusses the usage of the creative power of time by Antonia and Bigger in the novel in terms of Georg Lukács’s “power of time.” Next, this study analyzes the resemblance between Deleuze’s idea of “time-image” and the images of time described in My Antonia and Native Son. Finally, this essay reviews the idea of time in those novels in light of Bergson’s idea of time as duration, relying on his discussion of time, matter, and image. This essay concludes that both Antonia and Bigger have recourse to the power of memory and reminiscences, empowered by the duration of time, for their resistance to social discrimination on the basis of gender, race, and ethnicity.

NECK CTA 검사에서 균등한 영상을 얻기 위한 적정 조영제량과 Duration time에 대한 연구

소지운(Ji Un So),이현성(Hyun Sung Lee),문주완(Ju Wan Mun),범희남(Hui Nam Bum) 대한CT영상기술학회 2016 대한CT영상기술학회지 Vol.18 No.2

목적 : NECK CTA 검사에서 적정조영제량과 Duration time으로 충경동맥과 내경정맥의 HU값을 측정하여 균등한 영상〈총경통맥(100 %), 내정정맥(50-80%) >을 얻고자 하였다. 대상 및 방법 : 2015년 12월부터 2016년 2월까지 NECK CTA 검사를 한 30건의 영상을 대상으로 조사하였다. Test bolus를 시행하여 Ascending aorta에 ROI를 설정하고 조영 Peak time을 조사한 결과 평균 20.56 초였다. 그 자료를 토대로 조영제 (요오드 함량 350)를 초당 3.5ml 속도로 70ml를 주입한 후 생리 식염수를 초당 3.5ml 속도로 50ml를 주입하였다. Auto bolus tracking 기법을 이용하여 HU값이 100HU가 되면 10초(Delay time) 후에 Cranio-caudal로 검사를 진행하였다. 총경동맥의 분기점인 C3-C4의 정계선에서 HU 값과 그 선상의 내경정맥의 HU값을 비교 평가하였다. 결과 : 총경동맥의 HU값과 내경정맥의 HU값을 비교 평가한 결과 총경동맥의 HU평균값은 435.03HU, 내경정맥의 HU평균값은 297.8HU이다. 경동맥과 내경정맥의 평균백분율은 100:68.79이다. 표준편차는 ±11.91 이다. 내경정맥의 50~80% 범위내의 비율은 83%(30명 중 25명) 이상을 차지하였다. 결론 : NECK CTA에서 적정조영제와 생리 식염수를 주입하여 20초의 Duration time과 10초의 Delay time으로 검사하면 총경동맥(100%)과 내경정맥(50~80%)의 음영이 적절하게 구분되며 더불어 인공물이 줄어든 쇄골하정맥의 영상을 얻을 수 있다. 나아가 적정의 조영제를 사용함으로써 환자의 부담감과 부작용을 줄일 수 있을 거라고 사료된다. 향후, NECK CTA 검사의 상관관계에 놓여있는 신체적 특성인자들을 고려한 조영제 주입 방법과 검사방법에 대한 연구가 진행되어야 한다. Purpose : we would like to know injection amount of contrast media and Duration time on NECK CTA through HU value reached the carotid artery and jugular vein. Materials and Methods : we investigated 30 people those who underwent NECK CTA From Dec. 2015 to Feb. 2016. We had performed Test bolus technique at ascending aorta. we know that average peak time of ROI in ascending aorta is 20.56 second. Based on this data, we set that Duration time is 20second. and we injected combination of contrast media (contained iodine 350) and saline (CM:70cc, 3, 5/sec :Saline:50cc, 3, 5/sec). When HU value of ROI reach to 100, scan was triggered in cranio-caudal direction after 10 seconds (Delay time) using Bolus tracking technique. it was compared with the HU value of common carotid artery at the level of C3-C4 (common carotid artery bifurcation) and internal jugular vein on same line. Result : The result of Mean HU value of common carotid artery is 435.03 HU and Mean HU value of internal juglar vein is 297.8 HU. The average percentage of the carotid artery and internal jugular vein is 100: 68.79. Standard deviation is ±11.91. Ratio in the range 50 to 80% of the internal jugular vein was accounted for more than 83%. Conclusion : When injected with the appropriate volume of contrast and Duration time (20sec) and Delay time (10sec) check, it is possible to obtain a uniform image in the common carotid artery (100%) and the internal jugular vein (50-80%)on NECK CTA. In addition, the imaging reduced artifacts in the subclavian vein. It is expected to be able to reduce the burden and side effects in patients By using a small amount of contrast Media. NECK CTA examination must be placed correlation on the physical characteristic factors. It is to be conducted further research on the contrast media injection protocol and san method.

Time-duration extended Hilbert transform superposition for the reliable time domain analysis of five-layered damped sandwich beams

Bae, S.H.,Cho, J.R.,Jeong, W.B. North-Holland 2014 Finite elements in analysis and design Vol.90 No.-

The direct time domain analysis of five-layered damped sandwich beams subject to impulse load using the discrete Hilbert transform may lead to the unstable growth in damped time responses owing to the incorrectness of Hilbert-transformed imaginary impulse force and the insufficient time duration of applied impulse force. To resolve this problem, a time domain analysis method making use of the Hilbert transform superposition and the time duration extension is introduced in this paper. The incorrect imaginary impulse force near the end of time period, which is caused by the fact that the discrete Hilbert transform using Fourier transform considers the impulse force as a periodic function, is resolved by dividing the external impulse force into a finite number of rectangular impulses. And, the sufficient time duration of applied impulse force is estimated by a Newton-Raphson-based iterative residual method. The validity of the present method is justified from the numerical experiment for analyzing the time response of five-layered damped sandwich beam.

신체적 작업 부하가 시간 인지에 미치는 영향

양대용,정의승 대한인간공학회 2022 大韓人間工學會誌 Vol.41 No.5

Objective: This study investigated an effect of a level of physical workload on individual's ability of time perception. Background: Having a low discrepancy between a clock time and perceived time indicates a good health condition. While previous studies have found an effect of mental workload on perceived time, no study had yet revealed a relationship between physical workload and time perception. Method: Thirty participants evaluated to assess the subjective physical workload of four different tasks using Borg Category Rating 10. They were, then, asked a perceived time spent on each task to calculate a time perception ratio to a clock time. Heart rate was also measured before and after each task to calculated change in heart rate. Results: A level of subjective workload, measured by Borg Category Rating 10 (CR 10), was highly correlated with a change in heart rate. Using the two measures of physical workload, we found a strong correlation between a level of physical workload and change in time perception ratio. Also, a level of physical workload, in terms of a change in heart rate and Borg CR 10, could significantly predict a change in time perception ratio with value of 0.552 and 0.534, respectively. Conclusion: When participants performed a task with a higher level of physical workload, they tended to think that "time flew". Application: The result of this study can be applied to determine an appropriate amount of physical workload of a task to lower a discrepancy between a clock time and perceived time.

『파도』에 나타난 시간과 파도 이미지

염경순 ( Kyong Soon Yom ) 한국비교문학회 2011 比較文學 Vol.54 No.-

This paper explores literary portrayals of time and wave-image in The Waves written by Virginia Woolf. Specifically, I apply Henri Bergson`s theories of time to the text so as to analyze the meaning of The Waves. Bergson`s idea of duration, memory, or of an eternal flux which precedes the categories of time and space, has a close resemblance to Woolf`s treatment of the fluid movement of time within the consciousness. Virginia Woolf looked for a new form which could overthrow the technique of conventional fiction. Woolf attempted to describe something existing beyond everyday consciousness, the idea of which is connected with Bergsonian ``duration``. In addition, Woolf begins to use time as a literary element, thereby reducing her development of plot and characterization. In The Waves, Woolf would write a book told only in psychological time within the minds of six individuals. She tends to see external or physical objects in terms of their subjective significance for her characters. But at the same time she uses a large number of images metaphorically in order to represent the consciousness of her characters. For instance, in the Waves Woolf uses color, and the different meanings which particular words have for each of her characters, as symbolic images to evoke the character`s consciousness and even to distinguish them from each other. Besides, the soliloquies in The Waves demonstrates a rhythmic, fluid psychic movement that is like the flux of sound waves. Ricoeur argues that literature stands outside time and yet that regaining the original impression means that the work of art has recovered life in the extratemporal moment. For Woolf, mental space is a constantly changing reality, or in other words resembles the character of Bergsonian duration. Woolf`s writing suggests the possibility of achieving the extratemporal ``recovery`` of lost time in mental space through the inspiration of works of art. Besides, what makes her writing notably modernist in its representations of time is its focus on the unique ways in which each subject constructs or reconstructs an external world, which is thus at least as mental and individual as it is material and universal.

『파도』에 나타난 시간과 파도 이미지

염경순 한국비교문학회 2011 比較文學 Vol.0 No.54

This paper explores literary portrayals of time and wave-image in The Waves written by Virginia Woolf. Specifically, I apply Henri Bergson's theories of time to the text so as to analyze the meaning of The Waves. Bergson's idea of duration, memory, or of an eternal flux which precedes the categories of time and space, has a close resemblance to Woolf's treatment of the fluid movement of time within the consciousness. Virginia Woolf looked for a new form which could overthrow the technique of conventional fiction. Woolf attempted to describe something existing beyond everyday consciousness, the idea of which is connected with Bergsonian 'duration'. In addition, Woolf begins to use time as a literary element, thereby reducing her development of plot and characterization. In The Waves, Woolf would write a book told only in psychological time within the minds of six individuals. She tends to see external or physical objects in terms of their subjective significance for her characters. But at the same time she uses a large number of images metaphorically in order to represent the consciousness of her characters. For instance, in the Waves Woolf uses color, and the different meanings which particular words have for each of her characters, as symbolic images to evoke the character's consciousness and even to distinguish them from each other. Besides, the soliloquies in The Waves demonstrates a rhythmic, fluid psychic movement that is like the flux of sound waves. Ricoeur argues that literature stands outside time and yet that regaining the original impression means that the work of art has recovered life in the extratemporal moment. For Woolf, mental space is a constantly changing reality, or in other words resembles the character of Bergsonian duration. Woolf's writing suggests the possibility of achieving the extratemporal 'recovery' of lost time in mental space through the inspiration of works of art. Besides, what makes her writing notably modernist in its representations of time is its focus on the unique ways in which each subject constructs or reconstructs an external world, which is thus at least as mental and individual as it is material and universal.

비디오 아트에서 시간과 기억 이미지 - 베르그손의 시간 개념을 중심으로 비디오 작품 사례분석 -

김현석 ( Kim Hyunsuk ),김효숙 ( Kim Hyosook ) 한국영상미디어협회 2016 예술과 미디어 Vol.15 No.4

비디오 아트는 현재를 지속시키거나 분열된 시점의 현재 그리고 사건 없는 시간자체를 보여줌으로써 영화와 달리 내러티브에 종속되지 않는 순수한 시간 그 자체를 드러내려 시도한다. 시간을 기록하고 변형하는 비디오 아트에서 현재와 시간의 본질에 관한 물음은 주요하게 다루어지고 있다. 비디오 초창기에는 기록과 동시에 투사되는 실시간성을 표현하는데 주력했다면 오늘날 비디오에서는 분열되고 해체되며 끊임없이 나타났다 사라짐을 반복하는 비결정적인 불특정한 시간성을 보여주는 이미지에 주목하고 있다. 특히 디지털 특성이 강화된 비디오 아트에서는 시간이 추상적인 리듬을 만들어 내는 주요 요인으로 작용하게 된다. 본 연구는 비디오 아트에서 변형되는 시간개념을 베르그손(Henri Bergson)의 지속을 통해 고찰하고자 한다. 베르그손에 의하면 시간은 지속되는 것으로 끊임없이 변화하고 있는 상태 그 자체를 의미한다. 그래서 현재는 이미 주어진 것이 아니라 계속적으로 생성되는 것이다. 또한 지속은 한 지점으로 분리되지 않는 과거, 현재 미래의 공존을 이루게 된다. 그래서 지나가버린 과거를 이루는 기억들이 현재와 함께 하고 있다. 이러한 기억과 시간에 관한 개념을 프랑스 비디오 아티스트인 로버트 카엔(Robert Cahen)과 미국출신의 미디어 아티스트인 제레미 블레이크(Jeremy Blake)의 디지털 비디오를 통해 분석하고자 한다. 로버트 카엔의 비디오에서 시간은 한 가지 감정으로 귀속되지 않는 여러 결의 감정의 상태가 얽혀있는 이미지로 표현된다. 그의 이미지들은 느린 시간 속에 과거와 또 그 이전의 과거가 겹쳐있는 채로 보여진다. 소멸하지 않는 기억 이미지들은 현재의 행동에 관여해 다양한 질적인 차이들을 생성해낸다. 또한 블레이크의 사진적 이미지들은 색면으로 전환되어가는 과정들을 드러낸다. 이야기의 서사를 해체하고 재구성하는 과정들에 관여하는 색면들의 리듬은 현실에서 기억으로 변환되어가는 과정을 보여준다. 두 예술가들의 비디오작품들은 하나의 이미지로 결정되지 않는 흘러가고 비결정적인 시간의 실재를 드러낸다. 현재가 흘러가며 하나의 색으로 전환되어 감각이미지로 변하는 과정 혹은 현재 속에 드러나는 고통, 기쁨, 슬픔 등의 다양한 질적 차이를 보이는 이미지들의 교차를 보여주기 위해 예술가들은 비디오의 이미지 중첩, 느린 시간, 서서히 사라지게 하는 전환 등을 사용한다. 그래서 보이지 않는 시간의 실재는 예술가의 손을 거쳐 지각할 수 있는 이미지로 생성된다. 이와 같이 비디오는 기계적인 지각을 통해 시간을 해체하고 재구성해 잠재적이고 유동적인 이미지들로 겹쳐져있는 실재를 시각화함으로써 자신만의 미학을 드러낸다. In Video Art, time represented by delay a moment or split up vision for dissemble story, not same as cinema. Problem of time and present is rational interest in video art. In the early video history, artistes focalized real-time for record time as it is. But Nowadays in video art, time represented as constantly repeat and temporal image. In particular, time in digital art realm became important feature for makes abstract rhythm. This study investigate the concept of time of Bergson for analysis video art, According to Bergson, time means the state itself which constantly changes. So the current is continuously generated, not already is given. And duration is co-existed with past, present, future that is not separated as a point. Past memories are not disappeared but conserved as potential images surrounding our present. To evaluate these memories and concept of duration, this paper analysis Robert Cahen`s video art and Jeremy Blake`s digital video art in terms of the time. In Cahen`s video art, the time is represented as images in various resolutions intertwined emotional state that does not belong in one feeling. His video shows overlapping images in the previous image with slow motion. Memories that do not decayed involve in present and create variety of qualitative differences. Blake makes photographic images to the color field by dissolving and switching original images. Rhythm of color shows process of dismantling and reconstructing the narrative of the story and convert real life to the memory. In slow time, artists makes image superimpose and gradually disappear by using digital conversion. So the real of invisible time thought figurative process becomes perceptible. Thus, video art reveals their own aesthetics by visualizing the reality that overlap with potential and flexible image thought mechanical perception.

설계강우의 지속시간 및 시간분포에 따른 배수개선 농경지 침수 영향 분석

전상민,강문성,김귀훈,이현지,강기호,유승환,최진용 한국농공학회 2022 한국농공학회논문집 Vol.64 No.2

The objective of this study was to analyze the effect of the duration and time distribution of probability rainfall on farmland inundation for the paddyfields in the drainage improvement project site. In this study, eight drainage improvement project sites were selected for inundation modeling. Hourlyrainfall data were collected, and 20- and 30-year frequency probability rainfalls were estimated for 14 different durations. Probability rainfalls weredistributed using Intensity-Duration-Frequency (IDF) and Huff time distribution methods. Design floods were calculated for 48 hr and critical duration,and IDF time distribution and Huff time distribution were used for 48 hr duration and critical duration, respectively. Inundation modeling was carriedout for each study district using 48 hr and critical duration rainfalls. The result showed that six of the eight districts had a larger flood discharge usingthe method of applying critical duration and Huff distribution. The results of inundation depth analysis showed similar trends to those of design floodcalculations. However, the inundation durations showed different tendencies from the inundation depth. The IDF time distribution is a distribution inwhich most of the rainfall is concentrated at the beginning of rainfall, and the theoretical background is unclear. It is considered desirable to applycritical duration and Huff time distribution to agricultural production infrastructure design standards in consideration of uniformity with other designstandards such as flood calculation standard guidelines.

베르그손 시간론의 재구성

변예은(Byun, Yae Eun) 서울대학교 철학사상연구소 2019 철학사상 Vol.71 No.-

앙리 베르그손(Henri Bergson)의 철학은 시간이 흐른다는 단순한 사실에서 출발하며, 시간 흐름의 내적인 구조를 밝히는 과정 속에서 그의 지속(durée) 이론은 다양한 갈래로 뻗어나간다. 이에 이 논문은 베르그손 철학 체계에서 발견되는 다양한 근거들을 통해 그 최초의 물음, 즉 시간의 흐름을 설명하는 것을 목표로 한다. 논의는 수직적이고 수평적인 두 방향에서 전개된다. 먼저 제시되는 것은, 시간적 종합이 지니는 내적 역량이 자신을 물질적 요소들로 표현하고 전개시키는 동시에, 이렇게 출현한 물질이 다시금 잠재성으로 되돌아와 이를 변양시키고 재촉발하는 수직적인 왕복운동이다. 이에 대한 논의는 지속이 곧 창조이자 발명이라는 베르그손 시간론의 대표적 테제를 보다 구체화 시켜줄 것이다. 이후 우리는 습관-기억과 꿈 속에서의 고유한 시간성에 대한 베르그손의 연구들로 넘어간다. 이로부터 베르그손 자신과 연구자들이 간과한 것과 달리 현행적 계열 위에서 펼쳐지는 물질적 운동의 고유한 시간성 또한 지속을 구성하는 필수적 요소임을 밝히는 것은 이 글의 주요 발견 중 하나를 이룬다. 이처럼 베르그손 철학에서 시간을 구성하는 것, 이는 정신의 수직적 축과 물질의 수평적 축이다. 논문의 마지막 장은 이상의 논의를 확대시켜 인간적 시간의 절대성에 의문을 제기하고, 우리세계 바깥에서 발견되는 물질의 다양한 조직화 양상과 함께, 인간적 시간을 뛰어넘는 또 다른 시간화의 가능성들을 제시하게 될 것이다. The philosophy of Henri Bergson departs from the simple fact that time flows, and it is in the process of investigating the internal structure of time that the theory of duration (durée) expands to various domains. This study, hence, aims to relocate in his very first question and reconstitute the passage of time through the sources found in the theory of duration. First of all, we describe duration as a sort of reciprocal crossover between the virtuality and the actuality corresponding to two dimensions of duration, by which the actual aspect produced by an inner force of synthesis in the virtual dimension affects and reactivates the virtuality in turn. This demonstration will serve as a detailed and concrete explanation of Bergson’s representative argument on time, namely the equality of time and creation or invention. On the other hand, the material movement unfolding upon an actual plan constitutes the other key factor in time, despite the fact that Bergson himself and other researchers are not clearly aware of this point, which therefore would be one of the main discoveries of this study. To sum up, this paper argues that there are two axes which constitute time as duration in Bergsonian philosophy, the vertical axis of spirit, and the horizontal one of matter. The last chapter of this paper will reveal the fundamental limits of perception and accordingly, the form of time appropriate for mankind, and present the possibility of other temporalizations beyond the human concept of time, in accordance with various organizations of matter.

베르그손의 순수지속을 바탕으로 한 도자조형 연구

천혜영(Cheon Hye young) 한국조형디자인학회 2015 조형디자인연구 Vol.18 No.1

본 논문의 목적은 도자조형의 장르적 개념을 재해석하고, 특히 그동안 공간예술 차원에서 논의되어 왔던 도자예술의 해석을 시간예술 차원에서의 논의할 수 있는지 그 가능성을 탐색하는 데 있다. 이를 위해 첫째. 도자예술의 공간에 대한 해석을 규명하였다. 공간에는 물리적 공간뿐만 아니라 심리적 공간도 있음을 사전적 의미를 통해 확인하고, 심리적 공간은 과거와 현재 그리고 미래의 시간을 포함하는 영역으로서 시간을 함의하고 있음을 추론하였다. 따라서 도자조형예술은 심리적 공간 내에서의 시간성을 바탕으로 도자 오브제를 통해 형상화되는 조형 예술의 한 부류라는 것을 알 수 있었다. 둘째, 시간성에 대한 논의를 다루었다. 베르그손이 등장하기 전까지 시간은 주로 물리적 대상으로 다루어졌다. 그러나 베르그손은 시간을 주관적 대상으로 전환하여 규명하였고 철학 및 문학 그리고 예술 분야에 큰 영향을 미쳤다. 그의 순수 지속적 시간론은 존재론과 인식론으로 논의된다. 순수지속의 시간은 과거와 현재 미래의 의식 내에서 기억으로 존재하며, 직관이라는 형식을 통해 과거와 현재 그리고 미래가 한데 뒤섞여 흐르는 시간으로 인식된다. 연구자는 의식과 기억으로 존재하고 직관으로 인식하는 그의 시간론을 토대로 작품활동을 해왔다. 이를 바탕삼아 도자예술의 시공간성을 규명하기 위해 연구자의 대표적인 작품 세 가지를 제시하여 분석하였다. 첫째, 베르그손의 의식 속의 시간을 <월인천강지곡> 으로 형상화하였다. 둘째, 기억으로 저장된 시간을 <7:12pm at dusk>으로 작품화 하였다. 셋째, 직관을 통한 시간의 인식작용을 <Between the lights>으로 표현하였다. 이와 같은 작품활동을 통해 시간예술로서의 도자조형예술의 확장 가능성을 규명하였다. The purpose of this study is to reinterpret the genre concept of ceramic sculpture, particularly aesthetic characteristics of which had been discussed at the artistic dimension of space in addition, to explore the possibility of whether that can discuss the position at the time art level. First, the researchers defined as the interpretations of space. That there are also psychological as well as physical space, space in space identified through the dictionary definition and a psychological space in the past, present and future, includes the time. That inferred. Therefore, the researcher could know that Ceramic sculpture is a part of the formative art based on the psychological place within the time. Next, the researcher examined an overview of time. Although the time had been mainly on physical objects, Bergson's theory appeared before, Bergson defined the time is subjective and that was influenced greatly to philosophy, literature and the art world. The theory of time as pure duration, epistemology and ontology to be discussed. Ontological time in pure duration, present to future memory from my consciousness. Pure duration is recognized through intuition thronged past, current and future and together. The researchers applies a consciousness, memory and intuition to be recognized as exist in his work had been working on the basis of the theory of time. Lastly, the researchers tried to identify the possibility with the researcher's works, which are treated in this part are the consciousness of time <Wolincheongangjigok>, the memory of time <7:12pm at dusk> and The cognition of time through intuition <Between the lights>. As examined above, the researchers did attempt an interpretation as an aesthetic point of view with the ceramic sculpture, applied Bergson's the theory of pure duration, an possibility of extension as a temporal Art in ceramic sculpture.