코드 구분기법에 따른 다중스레드 컴퓨터 구조의 성능 분석

육은정,황대준 成均館大學校 科學技術硏究所 1993 論文集 Vol.44 No.1

Increasing the run length of a thread is one of critical issues in maximizing the performance of a CPU featuring the instruction interleaving. This is because exploiting the temporal parallelism at full scale is indebted to finding longer code sequences which can be scheduled into a processor pipeline with no interruption. With this in mind, an efficient thread partitioning scheme for the multithreaded computer architecture is developed, in which vertical and horizontal merging are Schemes applied in sequence to pack more codes into a thread after basic partitiong over the single threaded codes generated by R3000 RISC compiler. The results from simulation runs on the benchmarks used in this experiment: LLL5, LLL6, LLL9 and LLLIO show that the Basic Patitening scheme has better performance over all the other ones compared to it.

“A Prototype of His Conception”: Shelley’s (Self-)Mothering in Alastor

육은정 신영어영문학회 2010 신영어영문학 Vol.46 No.-

Due to the presence of a precursor poet Wordsworth in the frame narrative and his invocation to “Mother” nature, Percy Bysshe Shelley’s Alastor seems to invite an oedipal reading. Alastor is a quintessentially Romantic quest narrative of a poet’s coming-of-age, granted, but I suggest a nonoedipal reading of the quest. This paper focuses on the controversial figure of the veiled maid in the poem, the object of the protagonist poet’s desire. Via Jacques Lacan’s concept of the mirror stage, I argue that the veiled maid is less a beloved than a form of an ideal self image, by identifying with which the poet aspires for an access to a self-constitutive identity uncontaminated by the paternal Law; that she, as the “prototype” of the poet’s “conception,” is not a mother figure as quite a few critics believe; and that it is Shelley himself, if anything, who “mothers” his own origin by way of conceiving/bearing this “prototype.” It sounds like-and is-a paradox, but it is an abling paradox, I believe, which is part of the liberating plot for nonoedipal and nonconfrontational self-making Shelley strove for throughout his poetic career.

Exorcism of Imagination: The Spots of Time Episodes in The Prelude

육은정 19세기영어권문학회 2010 19세기 영어권 문학 Vol.14 No.2

We usually take the “Spots of Time” episodes in The Prelude as “an item”: though composed of two episodes (which we respectively call the “First” and the “Second” spot), they always go together. Or do they? Starting from this question, this paper takes an up close and personal look of the Spots in its inception in 1798-1799 and subsequent revisions. I argue that they became a unit threaded by a continuous plot in the process of revisions, rather than from the beginning. As in other similarly visionary moments in The Prelude, the elements of fear and guilt discernable in the Spots of Time signals the peculiarly Wordsworthian sublime imagination at work on the one hand, and on the other, the pronounced sense of transgression and (apparently unwarranted) guilt on the part of Wordsworth. In a seeming paradox, the latter is put into service as a defense against the former: Wordsworth subliminally sets up a transgression in the form of an unruly metonym in the first Spot, and brings it to an oedipal resolution in the second Spot by submitting the metonym to the position of a guilty son and to chastisement. In the larger frame of The Prelude this setting up of oedipal guilt and its final resolution is part and partial of the psychological defense mechanism the poem sets against a homologous but distinct guilt and anxiety, the root of which I explored elsewhere. By closely following the contour of the oedipal movement in the Spots, however, we can gain a better and more detailed understanding of the entire complicated defense mechanism of The Prelude.

Sympathy with Power: Wordsworth and the Anxiety of the Sublime Imagination

육은정 19세기영어권문학회 2009 19세기 영어권 문학 Vol.13 No.1

Wordsworth's The Prelude, by his own profession, is about the growth of the poet's mind, especially the discipline of and by the faculty of Imagination. Yet he also betrays curious ambiguity towards his imagination: he embraces it, but at the same time manifests fear of, and retreat from, a total sympathy (or identification) with its sublime power. We may even say that The Prelude concludes with Wordsworth's relinquishing of his sublime imagination for the “mild grace” of the beautiful and its personification, Dorothy. Why does Wordsworth make this move? What makes him depict his forgoing of the possibility to become a second Milton as if it were a fortunate fall? This paper is an attempt to offer an explanation to this puzzling reservation of Wordsworth about the sublime power of his own Imagination. For this I turn to history—not the reified concept of History with the capital H of New Historicism, but the actually lived history, history in the good old Old Historicist sense if you will. In the course of it, I want to retrieve Wordsworth the man, a man swept into the vast historical theater of the French Revolution, a man who felt his disenchantment with the causes of the Revolution as a personal act of betrayal and apostasy and attempted to expiate it by repeatedly staging an Oedipal drama, in which he assumes the role of a guilty son and accepts chastisement, over and over again.

The Gipinian Picturesque:Landscape, Painting, and Aesthetics in the Eighteenth Century

육은정 영미문학연구회 2006 영미문학연구 Vol.11 No.-

Keats’s “This Living Hand” and the Negative Capability of Negative Capability

육은정 영미문학연구회 2015 영미문학연구 Vol.29 No.-

Keats’s tenet of negative capability, an ability and aspiration to negate one’s self by projecting into others’ thoughts, feelings, and even sensations through imaginative transference, has been held in high esteem not only as an aesthetic credo but also as self-effacing ideal befitting a gentle and humble poet, who kept his integrity and magnanimity in the face of ungenerous contemporary critics and personal hardships. In this paper, I would go against the grain and examine negative capability rather as a self-assertive, or even self-promoting gesture. I also emphasize on its derivative nature and see it as a variety of sympathy proffered by Adam Smith in The Theory of Moral Sentiments. Combined together, this approach to negative capability provide a useful backdrop against which I would discuss Keats’s enigmatic poem-fragment “This living hand” in all its sinister, or negative, potency. Part of a group of his last lyrics probably written to Fanny Brawne, this poem begins as a seemingly innocuous thought experiment of imagining the poet’s own death, but in its mere eight-line span turns into a haunting performance of “monumental self-assertion,” as one of its commentator puts it (Lipking 181): the titular hand reaches out and “grasp” the reader literally and metaphorically from beyond the grave, in order to exact the tribute of sympathy from the reader whom the speaker-poet forces to exchange places with him—a standard operation of Smithian sympathy, only in reverse order. By reading “This living hand” as an instance of aggression and not-so-benign coercion of sympathy, this paper also attempts to bring to the fore the latent vein of negativity in negative capability.

On Her Own: Reading Natasha Trethewey’s Bellocq’s Ophelia

육은정 한국현대영미시학회 2013 현대영미시연구 Vol.19 No.1

From her first collection of poems, Domestic Work, Natasha Trethewey has been engaged with photography, not only as the subject of her poems but also as a means of re-inscribing the identity lost or put under erasure of her African American ancestors. This restoration project comes into a full bloom in her second collection, Bellocq’s Ophelia. An imaginative reading of the series of portraiture of New Orleans prostitutes by an early twentieth-century photographer E. J. Bellocq, Bellocq’s Ophelia gives a name as well as a voice to an anonymous woman in the pictures, a woman subjected to multiple marginalization—an African American female sex worker, and of miscegenetic origin, to boot. In so doing, Trethewey also explores a way to move beyond the conventional bifurcation regarded inherent in photography as an apparatus of looking, namely that of the model/victim and the photographer/gazer.

조지 워싱턴 케이블의 그랑디심 일가 읽기: “브라-쿠페 이야기”를 중심으로

육은정 한국영미문화학회 2018 영미문화 Vol.18 No.4

This paper focuses on “The Story of Bras-Coupé” in George Washington Cable’s The Grandissimes (1880), a story to and around which Cable claimed the larger work was built. It tells of an African candio sold into slavery who, to the dismay of his white purchasers, refuses to work, strikes his master, and runs away to lead a life of a fugitive in the swamps. He is finally captured, whipped, and maimed, but not before he casts a powerful voodoo curse at his master and his plantation. He dies a heroic death, with the last words that he goes “To--Africa.” Cable once said that he “meant The Grandissimes as truly a political work as it ever has been called.” It is a political work in that Bras-Coupé’s personal rebellion is associated with much-feared slave revolts, especially the black revolution in San Domingue/Haiti. There is also Honoré f.m.c. (free man of color), one of the narrators of “The Story of Bras-Coupé” and a stand-in for the Freedmen in the postbellum United States, who nurses his own insurrectionary flame. Through these figures Cable makes a “terrible suggestion” that a black revolution is on the horizon unless whites would not mend their ways soon.

대구지역 치과 의료기관 종사자의 B형간염 예방접종 및 감염관리 실태

은정화 ( Jeong Hwa Eun ),배지영 ( Ji Young Bae ) 한국치위생학회 2005 한국치위생학회지 Vol.5 No.2

기술해설 : 불화수소산에 의한 손상과 내식 재료

은정철 ( Thomas Eun ) 한국부식방식학회(구 한국부식학회) 2014 부식과 방식 Vol.13 No.2