Frank Norris 소설에 나타난 도덕적인 문제

尹鍾基 안성산업대학교 1992 論文集 Vol.24 No.-

Frank Norris concentrated his attention on the story itself to avoid the stigma of the tractarian in his own work, preferring to let the moral implications sleep in discreetly. He was convinced that the job of a novelist was to create an effect, to paint a picture which would give the impression of truth. To achieve his effects in his fiction. Norris utilized symbols, employing individuals as well as material objects to extend his moral message. He desired to make fiction contribute to the welfare of man. In the Octopus and The Pit Norris attempted to employ a natural symbolism to sustain both novels, but his prime success in the employment of a symbol came in McTeague. here was an opportunity for the novelists to attack greed, with gold as the encompassing symbol. The only apparent flaw in th McTeague symbolism was Norris' possible abuse of gold in the golden colors. His symbolic effects. however, were achieved through repetition, serving foremost to embellish the story. Norris wanted his readers to adopt his own moral attitudes as they read his novels. He even went a step further along the moral route, suggesting that only writers who led an exemplary life themselves could write novels fit for society. Norris' moral fevor does intrude into the books sufficiently to ruin his objectivity. Perhaps he had not realized that a materialistic world demanded a different set of moral values from the one he was accustomed to.

Emma_와 Middlemach_의 비교 연구 : 주제를 중심으로

윤종기 안성산업대학교 1983 論文集 Vol.15 No.-

Recently, critics have shown an increasing interest in the novels of Jane Austen and George Eliot, expecially in the former's supreme novel Emma and the latter's representative on Middle-march. They have liked to discuss the comparative aspects of the two novels, both of which revolve around the marriages of heroines, Emma and Dorothea respectively. The heroines of both, young woman as intelligence and enery and beauty, live in small communities, which were different in points of social subtions and ethics. In both communities, however, people are alike liable to suffer from a conflict between self-deception and self-knowledge, which are inclined toward social comedy rather than toward tragedy. Their self-deception provides them with a way to self-knowledge and reconciliation in the long run. In is easy to see that both Emma and Middlemarch are products of the early and middle nineteenth century. The heroines of the two novels suffer from the characteristic constraints of their age and social class. despite the similarity in the social atmosphere of the stories, they differ in their shaping plots. Emma is focussed on the heroine emma as the center from which all the relationships of the characters emerge. Emma is present in nearly every scene, domination the action of the story. all the subplots are not only related to her character but developed along the line of her action. On the other hand, Middlemarch does not focus on one character but upon characters. In a sense, the novel has several centers around which the action of the story turns. But the interseaving of the strands becomes clearer and clearer by degrees. In fact, the theme of the novel is concerned with self-deception and self-awakening or reconciliation like that of Emma. In Middlemarch, chief characters exert themselves in their search for their self-knowledge and their meaningful like in their society. My aim in this thesis is thus examine the comparative aspects, the differences and liknenesses, of the two supreme novels Emma and Middlemarch of the early and middly nineteenth century woman writers. Expecially, I will concentrate on the themes and structures of the novels together with their characteristic styles.

Brighton Rock : Pinkie의 구원의 추적 Pinkie' Pursuit of Salvation

윤종기 안성산업대학교 1995 論文集 Vol.27 No.-

When Greene set out to write Brighton Rock(1938), his intention was to come up with a plain detective novel, not the theological thriller it turned to be. Then two ebents shook Greene out of this position the assault against religion by the socialists in Mexico and attack by France against Repulican Spain. Now Greene had to admit that, given the nature of the present world, it was no longer possible, at least not for him, to place religion and contemporary existence in difference compartments. From then on, Greene would always be concerned with this subject. The story is set in motion when Pinkie Brown, a seventeen year old hoodlum, and his gang decide to kill Fred Hale because th later's act of betrayed has led to the death of Kite, the previous leader of the mob. As the book starts to unfold, it becomes apparent that the major struggle is not between the forces of society and crime but between god and evil. Looking at the structure of the action Brighton Rock, one would tend to atree that Pinkie seems clearly destined for damnation. Within him there always exists the fearful realization that he is on the read to hell but that there remains an omnipresent possibility of theological salvation. This intense religous conviction is something that sets him apart from a host of characters with whom we are forced to compare him. What really matters in Greene's world is whether or not this characters experience a change of heart ; and this happens to Pinkie, slow and reluctant the process, most clearly in his relations with Rose. Consequently, when we see Pinkie during his last moments on earth, it is not at all certain that he is about to enter hell. Yet it's obvious that Greene actually wants us undergo a real struggle. The challenge to do this happen to be most extreme in the case of Pinkie Brown.

Grabam Greene의 The Power and the Glory에 관한 고찰 : Plot와 Character를 중심으로

尹鍾基 안성산업대학교 1985 論文集 Vol.17 No.-

Graham Greene's strength as a novelist lies in his mastery of the technical skills writing. He is able to tell a story well. Although he uses the hunter-hunted plot pattern repeatedly, his narrative ability keeps the stories from becoming repetitutions. The plots are airersified enough in detail to keep them interesting, and the precise pacing of this presentation, the addition of plot complications, and the occurrance of chance happenings are effectively blended to build tension. Many of the situations Greene presents in his thematic plots are attempts to picture and explain life and the human condition as Greene's view of the world is a pessimistic. Although he conceives of man as having the potential for goodness or evil within himself, the evil and the indifferent characters predominate in the novels. Many of the concepts Greene forms from his view of the world are valid. His contrast of good, right, evil, and wrong emphasizes not only the differences existing between goodness and morality but also the differences between superficial piety and true goodness. He attempts to show the weaknesses of human beings are also valid concepts based on human experience and human behavior. The characters Greene presents are limited and often unrealistic. Greene is able in the presentation of the characteristics he wishes the characters to have but he often serifices character in an effort to present ideas. Although Greene's position seems defensible because he presents his characters (in a way) - his characters in a way that will emphasize his ideas, the realism of his characters is in part, destroyed ; and this destroys the reality of the picture of the world that he This study of Greene's The Power and the Glory is concerned not only with his religious themes but also with the mothods of characterization, the structuring of the plot, the importance of setting and description, and the point of view from which the novel is written.

고강도콘크리트 강도추정식 제안 및 현장적용성 평가에 관한 연구 ( A Study on the Proposal of Strength Presumption Equation and Evaluation of Practical Application of High Strength Concrete )

윤종기,조봉석,이종호,장종호,최세진,김무한 대한건축학회 2002 대한건축학회 학술발표대회 논문집 - 계획계/구조계 Vol.22 No.2

Moby Dick 에 나타난 Ahab의 부조리성

윤종기 안성산업대학교 1994 論文集 Vol.26 No.-

The purpose of this paper is to show how Herman Melville's Ahab in Moby Dick prefigures the absurd hero of Albert Camus. Casmus states that the universe is irrational and that man is rational. The resulting conflict between the two produces a moment of consciousness. Man realizes that death makes life meaningless. Realizing his own individual mortality, the absurd man revolts against the injustices of the universe. His revolt sustains the conflict and his lucid vision of the absurd. The absurd hero triumphs over the irrational universe by defining his own fate. Herman Melville's Ahab experiences, the moment of consciousness when Moby Dick, the emblem of the irrational, sweeps off his leg. Ahab revolts against this injustice by seeking out this symbol of the irrational, attempting to destroy it, Similar to Camus's Sisyphus, Ahab suffers anquish in his isolation. His perception produces a hatred for death and a passion for life. Ahab defies the insignificance of man by revolting against and unconquerable universe. By defining his own fate, Ahab triumphs in his defeat by defiantly bearing the burden of reality.

Ezra Pound 의 Imagism 詩論

尹鍾基 안성산업대학교 1982 論文集 Vol.14 No.-

Pound가 내세운 Imagism의 시론의 핵심은 “시를 산문처럼 쓰자”는 것인데, 이런 점에서 볼 때 그의 시론은 Ford Madox Ford (1873 - 1939)의 시론에 크게 힘입었다고 할 수 있다. 즉, Imagism 시론이 시인의 감정을 독자에게 정확하게 전달하기 위해서는 시를 산문처럼 써야 한다고 주장하고 있는 것은 이미 Ford에 의해 주창된 것이라고 Pound는 보고 있다. 다시 말해서 Pound가 현대시의 선구자로 치고 있는 Ford는 현대 영시단에서 최초로 “시의 산문화”를 주창했으며, 그는 시에 있어서 산문의 전통 위에 선 명료성과 정확성을 주장했던 것이다. 따라서 그는 주제면에 있어 현실생활과 동떨어진 것들을 막연하고 고운 말로 보고(report)할 것이 아니라, 시대와 밀 된 것들을 일상용어로써 표현해야 한다고 하였다. 그리고 이러한 소위 “시와 산물의 안협”의 이론은 Pound에 이르러 새로운 시관으로 나타났다.

고강도콘크리트의 압축강도 추정을 위한 N형 및 M형 슈미트해머의 적용성에 관한 연구

윤종기,이종호,장종호,김재환,김용로,최세진,김무한 한국구조물진단유지관리학회 2002 한국구조물진단학회 학술발표회논문집 Vol.- No.-

Emma와 Middlemarch의 비교 연구 : 희극과 비극의 주제를 중심으로

尹鍾基 안성산업대학교 1984 論文集 Vol.16 No.-

In this thesis I am much indebted the ideas of several critics who have helped me to see the ways in which comedy and tragedy can be defined and analyzed. They have constructed a model for comedy, drawn from the work of them, which I shall attampt to apply to Emma, and indirectly to Middlemarch. The model begins with two assuption: that comedy action is not concerned with moral questions, that suspends moral judgement; and that comedy is interested in social types rather than in induviduals. Preceeding on these two assumptions, the critics find five elements commonly existing in comedy. Comedy must see the victory of human wit over accidents and chance; comedy acts as a release; comedy occurs whenever we perceive a continuation of habit, custom law beyond what is apprepriate; comedy arises whenever the reader sees that an apparent behavior is not, in fact, a reality, so that incongruity arises; and comedy brings social catharsis. According to all results of analysis, Emma is a comedy. If we add up all the ways in which Middlemarch is not a comedy, then we conclude that we have a tragedy. Although Emma is a comedy and Middlemarch clearly is not, the characters of both novels share qualities. Hurbris is one such trait. It is quite obvious that Emma's pride and self-delusion are at least equal to Dorothea's. Further, the characters share a quality of blindness, of imperviousness to the real needs and desires of others; due to the purpose of the author and the tenor of the work, this kindness leads to comedy in one novel and tradegy in the other, So Emma is blind to the true state of Harriet's heart, with disastrous but comic results, Dorothea and Casaubon are caught in a tragic web of misunderstanding and blindness to each other's needs, a web which only Dorothea really recognizes and attempts to change. What all this means, I fee, is that comedy and tragedy are different not so much in ingredients a I emphasis and point of view.

건식 제조방식에 의해 생산된 재생 잔 골재의 품질 및 모르타르 특성에 관한 실험적 연구

윤종기(Yoon, Jong-Kee),장재봉(Jang, Jea-Bong),송민섭(Song, Min-Seob),나철성(Na, Chul-Soung),장종호(Jang, Jong-Ho),김무한(Kim, Moo-Han) 한국콘크리트학회 2003 한국콘크리트학회 학술대회 논문집 Vol.2003 No.5