Becoming Things in Kazuo Ishiguro’s Never Let Me Go

고영희 한국외국어대학교 영미연구소 2019 영미연구 Vol.47 No.-

Ishiguro’s objects in Never Let Me Go empower his objectified human clones, re-establishing their thing-status in a world that humans exploit them as non-humans. The objects, evokers and mediators of empathic feelings, seem to stake a claim to be more than consumables even once their use value is gone. Kathy’s music tape, for example, plays a pivotal role in calling up empathy in her and her friends, helping them develop reciprocal relationships with one another. In contrast, the same music fails to do so in their human counterparts like Madam. Indeed, through Kathy’s narrative, Ishiguro explores the meaning of objects beyond their use value. The question is existential for his clone characters who are objectified, both in body and soul, by the world. While being half-concealed from the students’ perception, their bodies are carefully watched and controlled, later for their organs to be harvested when need be. The aesthetic education at Hailsham further permits them to be smoothly incorporated into the biopolitical system. The educators hail the clones’ better treatment as beings who have souls just as much as any other humans. Yet the clones’ education reduces them to the aesthetic objects they produce. Internalizing the idea of their own existence as an instrument, the students perceive themselves as objects. The empathic power the surrounding objects render them, however, helps them refute such an idea and embrace their individual uniqueness. If they cannot escape from their doomed donation as objects, they become objects for commemoration after their deaths, as does Tommy in Kathy's narration.

일본 공대연구실 외국인 학생의 화행 사례 연구

고영희 한국언어연구학회 2015 언어학연구 Vol.20 No.1

컨텐츠 개발 전문 인력의 성과 관리 제도 연구:국내 주요 온라인 게임회사를 중심으로

고영희,이영민 한국문화경제학회 2011 문화경제연구 Vol.14 No.1

본 연구는 국내 주요 온라인 게임회사들의 게임 개발 인력에 대한 성과관리 사례를 통해 확대되고 있는 문화컨텐츠산업 및 융복합산업의 발전에 필요한 컨텐츠 개발 전문 인력을 위한 차별화되고 효율적인 성과관리 제도를 도출하고자 하는 목적을 가지고 있다. 대표적인 4개 업체들에 대한 연구분석결과 게임 개발 직군의 성과관리는 직무 특성을 고려하여 개발 외 직군 성과 관리와는 다르게 운영되고 있는 것으로 나타났다. 특히 게임 개발 인력의 성과 관리는 게임 개발의 최종 단계에서의 성과 관리 보다는 각 단계별로 점검 및 평가가 이루어지고 있었다. 각 게임의 장르별 그리고 개발실의 특성에 따라 성과 관리가 이루어지는 경우 개발 리더들에게 성과 관리를 위임하여 운영이 이루어진다는 것을 알 수 있었다. 또한 게임 개발 인력의 성과는 근무 연수 등의 업무 경력과 크게 비례하지 않기 때문에 성과 평가의 결과를 승진에 직접 반영하여 더 큰 기회를 부여함으로서 보다 우수한 게임 개발 인력을 선별하고 동기를 부여하여 성과를 향상시키는 전략을 도입하고 있었다. 게임 개발 업무는 강한 팀워크를 필요로 하는 반면 게임 개발 인력은 업무의 특성상 창의적이고 개인 업무에 집중하려는 성향을 가지고 있다. 이에따라 게임업체들은 성과 평가와 더불어 팀워크 등의 역량 평가를 함께 실시하여 부족한 역량에 대해 인지시켜주고 코칭 등을 통해 보완하는 방식으로 다양한 팀워크 향상전략을 도입하고 있었다.

Surveillance and Death in The Real Charlotte: A Foucauldian Reading

고영희 한국현대영미소설학회 2015 현대영미소설 Vol.22 No.2

This paper examines the ways in which Somerville and Ross’s Irish novel The Real Charlotte is engaged with the act of surveillance. Both Charlotte and Francie, the heroines of the novel, function as objects and instruments of disciplinary power under the surveillance system. Unlike Francie whose sexual appeal constantly makes her the object of the gaze, Charlotte’s ugliness impels her to choose the act of surveillance as a way of fulfilling her desires. Her performance as a quasi-doctor, for example, at the moments of others’ death (or illness), though momentarily, enables her to achieve what she desires. Charlotte’s success, however, like other successes, is limited in the power structure of the novel where power moves constantly and operates unexpectedly. Death in The Real Charlotte illuminates such a point. Even though it has helped Charlotte achieve her ambition to some extent, it deprives her not only of her most desired object but also of any further possibility of fulfilling it. Charlotte’s disclosing to Lambert of her plotting revenge against him, at the very moment of Francie’s unexpected death, precludes her from winning him when he is at long last available again. Furthermore, Charlotte, in place of Francie, becomes the object of the narrative surveillance. Unfolding its narrative in ways that reveal Charlotte’s real character via her tricks and manipulations, The Real Charlotte makes it clear that no one can be free from the operation of power.

済州語の言語伝達体系 -食文化と母系社会の言語伝達体系に関する研究-

고영희 한국언어연구학회 2017 언어학연구 Vol.22 No.3

In 2010, the Jeju dialect was registered as one of the Atlas of the World’s Languages in Danger. In this study, the delivery system of the Jeju dialect passed down from mothers to children in connection with the food culture on Jeju Island, identified as matrilineal. The results based on surveys and interviews are as follows: about 80.5% of the residents have enjoyed local dishes, about half of whom can cook these dishes. About 78.7% of them learned how to cook from their mothers or grandmothers on orally. However, with respect to the knowledge and understanding of Jeju dialect in cookware names and expressing the tastes, there was a huge discrepancy with age groups. Younger groups, i.e. teens and those in their 20s, displayed poor understanding of the language in terms of food life and cuisine and the number of words and phrases increased as the age increased. Clearly, Jeju dialect on food culture have hardly been passed down to the younger generations. Lastly, for the preservation of the Jeju dialect, we require various measures including: (1) supporting to families with 3 or more generations, (2) using Jeju dialect in daily lives more, and (3) using cookware names in Jeju dialect in elementary cafeterias.

Writing a New Script for Boys: Crisis and Recuperation of Masculinity in The Four Feathers

고영희 한국현대영미소설학회 2014 현대영미소설 Vol.21 No.3

This paper argues that A. E. W. Mason’s The Four Feathers displays ways in which Victorian masculinity is reconstructed when its old model can no longer be transmitted from the former generation. In their imperialist undertakings overseas, late Victorians, unlike their predecessors, suffered a series of defeats and subsequent mental anguish. Masculine ideology had been the main prop for the Empire, so it was inevitable for the Victorians and Edwardians to imagine a new masculinist script in ways that would allow them to incorporate and sublimate such experiences. The Four Feathers, suffused with the memory of defeats in the Sudan campaign, portrays the male protagonist Harry Feversham’s regaining his honor after his initial and ignominious retreat from the assigned course for men. As the old scenario of masculinity in the-Name-of-the-Father does not work anymore for the young generation, a new imagination was necessary for male subjects to construct their masculinity. Central to this process, of course, was role of women, as their assigned role of femininity both defines masculinity and inspires men to live up to social expectation of masculinity. Indeed, as a paragon of femininity, Ethne plays a decisive role in Harry’s redemption and Durrance’s reestablishment of masculinity. The Four Feathers, on the whole, is a rewriting of a dominant masculinist script through which the value of masculinity is redeemed and reestablished.

敎授一學習過程의 Feedback의 效果 檢證에 關한 硏究 : Minnis와 Shrable의 知的 水準分析 相互作用 模型을 通한 問答技術 訓練을 中心으로

高永喜 仁川敎育大學校 1972 論文集 Vol.7 No.2

敎授一學習 過程의 feedbabk이 敎搜一學習 方法을 改善하고 學生들의 學業成績을 높힐 수 있다는 假定下에 問答技術의 訓練과 그 效果 檢證으로 敎帥의 敎搜技術의 向上方案과 敎帥養成 및 現職敎帥을 再敎育위한 Program의 資料를 얻기 爲한 目的으로 Minnis과 Shrable의 問答過程 分析模型과 이를 우리나라 實情에 適合하도록 修正한 금 宗西의 模型을 通해서 問答技術을 訓練하였으며 本 硏究의 假說은 다음과 같다. <假說Ⅰ> 敎授一學習 過程에서 問答技術을 訓練받은 敎帥는 訓練받지 않은 敎帥보다 生産的 問答技術을 보일 것이다. <假說Ⅱ> 問答技術을 訓練받은 敎師의 學級 兒童의 學業成績은 訓練받지 않은 敎師의 學級 兒童의 學業成績보다 더 높을 것이다. 硏究方法은 實驗硏究로써 서울시내 「가級 國民學校 敎師 30名을 名 5名씩 無選標集하여 問答技術의 訓練을 쌓은 實驗集團과 訓練하지 않는 比較集團으로 두 集團間의 敎授技術(問答過程의 問答比, 推論 適用比, 水準 變化比, 學生 發言比)과 對象學級의 兒童들의 學業成就程度를 t 혹은 CR 檢證하였다. 硏究의 結果는 假說檢證으로 處理하였으며 그 結果는 다음과 같다. <假說Ⅰ>은 水準 變化比를 除外하고는 肯定되었다. ① 두 集團間의 問答比는 P<0.05로 5% 水準에서 實驗集團이 더 높았다. ② 두 集團間의 推論 適用比는 P<0.05로 5% 水準에서 實驗集團이 더 높았다. ③ 두 集團間의 水準 變化比는 差가 없었다. ④ 두 集團間의 學生 發言比는 P<0.02로 2% 수준에서 實驗集團이 더 높았다. <假說Ⅱ>는 全體, 社會, 自然科目에 있어서는 肯定되었으나 國語와 算數科目은 否定되었다. ① 두 集團間의 全體 社會 自然科目 學力檢査의 結果는 P<0.01로 1% 水準에서 퍽 意義있는 差로서 實驗集團이 더 높았다. ② 두 集團間의 國語 算數科 學力檢査의 結果는 差가 없었다.

Teleological Narrative and Silence: Anglo-Irish Perception of History in Elizabeth Bowen’s The Last September

고영희 한국영어영문학회 2019 영어 영문학 Vol.65 No.2

This essay explores the complicated working of silence in the narrative temporality of Elizabeth Bowen’s The Last September. In particular, this essay argues that the moments of Anglo-Irish silence, despite their attempt to freeze real time and suppress the movement of history, syncopate the novel’s ending – the demise of the Anglo-Irish visualized in the conflagration of the Big Houses. Looking back on the tumultuous period of Ireland in the early 1920s, Bowen writes her novel such that the past-ness of the events is self-evident. She could not free herself from the notion of linear and progressive history, as observed in Bowen’s Court as well as The Last September. The novel is thus designed to move toward the anticipated conflagration of the Big Houses in the ending. Such teleological narrative movement, however, is impeded by silence imposed by the Anglo-Irish whenever they need to articulate their identity and political position. The moments of silence in The Last September are those of Anglo-Irish equivocation and evasion, reflecting their deep-seated anxiety and fear of exposing themselves to the outside world. Wrapped in the illusion created by the Big House and living according to the tempo it generates, the Anglo-Irish have, at their peril, remained blind and deaf to the historical reality outside the Big House. This essay traces such social and psychological deadlock Bowen recorded and especially marked through their silence in The Last September. Only with such acknowledgement, she could restore and preserve their way of life in her art.

호알칼리성 미생물의 산업적 이용

고영희 한국미생물학회 1988 微生物과 産業 Vol.14 No.2

대부분의 생물은 온화한 환경조건 즉 중성부근의 pH, 30~37 .deg.C, 1 기압하에서 적당한 농도의 영양과 염류를 함유한 환경속에서 생활을 영위하고 있으나 하등생물인 미생물 중에는 특수환경 즉 강알칼리성 또는 강산성 pH, 고온, 고압하에서 생육하며 고농도의 염을 요구하는 것이 있다. 이러한 특수환경 미생물은 자신의 환경조건에 적응할 수 있도록 생체 system을 구성하기 위하여 독특한 효소나 물질을 생성하므로 이를 산업적으로 유용하게 이용할 수 있다. 여러가지 특수환경 미생물 중 여기서는 호알칼리성 미생물의 산업적 이용면을 간단히 기술하고자 한다.

Challenging Conventions: Exploring Cinematic Possibilities in Thomas Hardy’s The Return of the Native

고영희 19세기영어권문학회 2015 19세기 영어권 문학 Vol.19 No.2

Focusing on the character of Eustacia Vye in Thomas Hardy’s The Return of the Native, I trace the ways in which the author explores visual potentials of cinema in order to move beyond the limits of the social and literary conventions of his days. More specifically, I argue Eustacia’s attempt to escape from the oppressive reality to women parallels with her creator’s attempt to overcome the established convention and aesthetics of Victorian novel construction. Along with the critics who dub Hardy a cinematic novelist, I see cinematic techniques and experiments as a core quality that defines the novelist and his works. Embodying such a quality, Eustacia is at the center of Hardy’s visual experiment. Unlike other characters, she is introduced as a film actress and remains the main object of gaze throughout the novel. That unequal power relationship, implied in the term gaze, is mostly felt in the form of the primitiveness of the Egdon Heath to Eustacia. Being a woman, she is not able to move out from the heath unless she finds a man who can take her to another place. Believing Clym is such a man, Eustacia disguises herself as Turkish Knight for a murmur and attempts to take a glimpse at Clym, an attempt to steal male gaze and assume its symbolical power. Yet, as the role of the Turkish Knight (the one that was ultimately defeated by St. George) illuminates, her attempt ultimately fails, and Eustacia helplessly remains in the same social structure. Though succeeding in marrying Clym, the marriage further mires her into the oppressive reality as she is tied to the man half-blinded and unable to move anywhere. Her revolt is further punished as she meets death in the end. Hardy’s revolt to the literary convention, however, receives not the same result; his cinematic experiments become a source for the enduring power of the novel.