Hawthorne의 작품속에 나타난 이상적 예술가

윤진구 한국강원영어영문학회 1984 영어영문학 Vol.- No.5

Hawthorne was a man who lived in both the world of events and the world of ideas, so his image of the artist took its form not only from the ideal conception of philosophy and art but from diverse models in real life. His view of the artist who himself appears in major or minor roles throughout his fiction was inseparable from this thought. It is plain that he regards the literary imagination in the light of Romantic principle. So he often viewed the aesthetic reality transcendentally. Then the fact is clear that the relationship between appearance and reality was a dramatic problem. He accepted the proposition that reality is spiritual rather than material fact. So, for him, it seems to have given assent to the superior reality of spiritual over material, because he seems to have felt that the act of artistic creation is man's most spiritual achievement. Therefore, an artist have to express the spiritual reality rather than earthly one. To express the spiritual reality, he needs imagination and vision. Especially eternal and spiritual beauty can be created through the imagination. Then, it needs to the artist to have a life that he breathes a visionary atmosphere, and treads upon the fantasies of poetic minds. Through this, the artist may convert what was earthly to spiritual gold. It may be said that artistic creation possesses life by the divine and lifegiving touch which bestows life upon the lifeless, because it absolved artist's own soul into itself. So a work of art is the representation of the intellect, the imagination, the human love, the strength, the faith, the sensibility, and the sod of the artist. Thus the ideal A&st can show high-Reality which is the True, the Beautiful, the spiritual Essence in Nature and Man shadowed in the things of earth. In his art-seeking life, to the artist whose pursuits are insulated from the common business of life, there often comes sensation of moral cold that makes the spirit shiver. It is not good for the artist to cherish a solitary ambition, and he should not be insulated from the mass of human kind. Because it makes the artist have a internal dehumanization and egocentric sterility. So, always, the artist has to possess the life-giving forces of love and companionship to keep the magnetic chain of human beings. The artist who has the quality mentioned above would be Hawthorne's ideal artist.

Clinical Significance of a High SARS-CoV-2 Viral Load in the Saliva

윤진구,Jung Yoon,송준영,윤수영,Chae-Seung Lim,Hye Seong,Ji Yun Noh,Hee Jin Cheong,Woo Joo Kim 대한의학회 2020 Journal of Korean medical science Vol.35 No.20

Background: Patients with coronavirus disease 2019 (COVID-19) can unknowingly spread the virus to several people during the early subclinical period. Methods: We evaluated the viral dynamics in various body fluid specimens, such as nasopharyngeal swab, oropharyngeal swab, saliva, sputum, and urine specimens, of two patients with COVID-19 from hospital day 1 to 9. Additional samples of the saliva were taken at 1 hour, 2 hours, and 4 hours after using a chlorhexidine mouthwash. The severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) viral load was determined by real-time reverse transcriptase polymerase chain reaction (rRT-PCR). Results: SARS-CoV-2 was detected from all the five specimens of both patients by rRT-PCR. The viral load was the highest in the nasopharynx (patient 1 = 8.41 log10 copies/mL; patient 2 = 7.49 log10 copies/mL), but it was also remarkably high in the saliva (patient 1 = 6.63 log10 copies/mL; patient 2 = 7.10 log10 copies/mL). SARS-CoV-2 was detected up to hospital day 6 (illness day 9 for patient 2) from the saliva of both patients. The viral load in the saliva decreased transiently for 2 hours after using the chlorhexidine mouthwash. Conclusion: SARS-CoV-2 viral load was consistently high in the saliva; it was relatively higher than that in the oropharynx during the early stage of COVID-19. Chlorhexidine mouthwash was effective in reducing the SARS-CoV-2 viral load in the saliva for a short-term period.

데이비드 린의 <위대한 유산>연구 -대중소설을 신화적 구성으로-

윤진구,전미숙 한국중앙영어영문학회 2012 영어영문학연구 Vol.54 No.4

A cinematic adaptation can be considered an interpretive reading of the original literary text, so filmmakers adapt the literary material to fit their own approach and thereby cast new light on the original. So codes of meaning in cinema are inextricably linked to the societies and culture that produce the film. This paper aims to analyze the structures of Charles Dickens’ Great Expectations (1861) and its film adaptation produced by David Lean in 1946 focusing on its aesthetics of mythic adaptation. Great Expectations was adapted into film many times. Among them David Lean’s is popularized as an excellent and well made film. First structure and plot of the original text is investigated and then film is examined on the basis of the transformations of characters and plot. Next the differences between them are examined. Many cardinal events and functions lost in process of transformation from novel to film are discussed for the mythic frames showing that cruel characters and behaviors are excluded for mythic adaptations. For the analysis of the film structures, mythic framework theories constructed by Campbell, Voytylla and Vogler are applied. Hero’s phases of growth (psychological journey) and hero’s physical journey are divided in three worlds: ordinary world (increased awareness, call to adventure, departure), special world (experiences in London: road of trials and ordeal), and ordinary world (reconciliation and return). For the mythic structures, Lean transformed the threatening beast-man Magwitch and cold hearted Miss Havisham and Estella into a sympathetic human beings in the final stage of Pip’s hero journey. They represent psychological, not physical, triumphs. Pip, the poor shivering waif, defies Miss Havisham, destroys the power of Satis House, and leads Estella into the sunlight. Pip is a model that combines both moral and practical wisdom as a hero. For these mythic frames Lean uses screen space to show Dickensian larger-than-lifeness hero. In short, Analysis of film adaptations is one means of bringing the “culture text” into collision with its source material to stimulate and renew our understanding of the initial written work. We might say that Lean’s mythic film text is born from this collision and gives him a great success, and it has been loved all over the world up to this day.

"암흑의 한가운데" - 의미의 불가결정성

윤진구 한국강원영어영문학회 1998 영어영문학 Vol.17 No.2

The intention of this paper is to demonstrate the 'undecidables' in Heart of Darkness which simultaneously asserts and denies the authority of its own rhetorical mode on the basis of the critical standpoints of the post-structuralists. It is often hard to pinpoint exactly what Conrad means. His prose seems somewhat hazy or misty. The more I read his texts, the more strongly I felt that Conrad himself regarded language, writing, and reference systems in much same way as the post-structural theorists. There is an insubstantiality at the core of much of his writing, and inner meanings are often obscure, missing, or deferred. The conception of the text as self-deconstructing ultimately subsumes the phenomenon of the critic as a bold deconstructor or the author as a wily self-deconstructor. The formula used here, for deconstructive reading, is to affirm total discontinuity and difference by the using system against itself. I tried to find a contradiction of its assertion. His statement is not a constative description and the content is entirely inconsistent with his statement. No factual data or foundation is given, so we do not know basis for his observations. Marlow is a simple narrator of facts provoked by his ethical presumption, but reality is not so, he passes gratuitous and biased judgement. Thus Marlow's text sounds like a terrible condemnation of Kurtz only by virtue of his choice of strong judgemental words, which have no justification. Many lacunas could be discovered in the text. Consequently, there were obviously very strong as well as weak critical misreadings, which are vital. So it is possible to say that all his literary texts are undecidable. At the same time it affords us the possibility of diversity of interpretation.

드넓은 사가소 바다 연구: ‘사가소 바다’의 순환구조와 서사의 순환구조

윤진구 한국중앙영어영문학회 2007 영어영문학연구 Vol.49 No.4

Caribbean-born writer Jean Rhys’s Wide Sargasso Sea tells the story of Antoinette Mason drawn from Jane Eyre. The aim of this paper is to investigate the relationship between the circular structure in currents of the ‘Sargasso Sea’ and the circular characteristics in the narrative structure of the text. At first, currents and reproduction of sargassum symbolize the life of Afro-Caribbeans who were forced to leave their homeland and driven into a foreign land. Its circularity of currents are related to the circularity of narrators and the anachronistic narrative structure of Wide Sargasso Sea. This polyphonic form not only provides the chance for readers to integrate various narratives and grasp the essential facts through it but contains the emphasis of meanings according to the plural point-of-views. On the other hand, these limited unreliable narrators create the uncertainty of vision and interpretation, resisting fixity and stable identifications, for the ‘opened’ narrative structure. Lastly, through Antoinette’s clairvoyant dream, she tells the story which is highly limited in the real world, so dream and reality are mixed and circulated. So Rhys named the title of her novel as Wide Sargasso Sea to suggest the circular structure of the novel as a metaphor.

Hawthorne 의 작품속에 나타난 이상적 예술가

윤진구 한국강원영어영문학회 1984 영어영문학 Vol.5 No.1

Hawthorne was a man who lived in both the world of events and the world of ideas, so his image of the artist took its form not only from the ideal conception of philosophy and art but from diverse models in real life. His view of the artist who himself appears in major or minor roles throughout his fiction was inseparable from this thought. It is plain that he regards the literary imagination in the light of Romantic principle. So he often viewed the aesthetic reality transcendentally. Then the fact is clear that the relationship between appearance and reality was a dramatic problem. He accepted the proposition that reality is spiritual rather than material fact. So, for him, it seems to have given assent to the superior reality of spiritual over material, because he seems to have felt that the act of artistic creation is man's most spiritual achievement. Therefore, an artist have to express the spiritual reality rather than earthly one. To express the spiritual reality, he needs imagination and vision. Especially eternal and spiritual beauty can be created through the imagination. Then, it needs to the artist to have a life that he breathes a visionary atmosphere, and treads upon the fantasies of poetic minds. Through this, the artist may convert what was earthly to spiritual gold. It may be said that artistic creation possesses life by the divine and life-giving touch which bestows life upon the lifeless, because it absolved artist's own soul into itself. So a work of art is the representation of the intellect, the imagination, the human love, the strength, the faith, the sensibility, and the soul of the artist. Thus the ideal Artist can show high Reality which is the True, the Beautiful, the spiritual Essence in Nature and Man shadowed in the things of earth. In his art-seeking life, to the artist whose pursuits are insulated from the common business of life, there often comes sensation of moral cold that makes the spirit shiver. It is not good for the artist to cherish a solitary ambition, and he should not be insulated from the mass of human kind. Because it makes the artist have a internal dehumanization and egocentric sterility. So, always, the artist has to possess the life-giving forces of love and companionship to keep the magnetic chain of human beings. The artist who has the quality mentioned above would be Hawthorne's ideal artist.

Campylobacter jejuni Bacteremia in a Liver Cirrhosis Patient and Review of Literature: A Case Study

윤진구,이샘나,현학준,최민주,전지호,정은주,강성휘,김지용,노지윤,최원석,송준영,정희진,김우주 대한감염학회 2017 Infection and Chemotherapy Vol.49 No.3

Campylobacter infection causes gastrointestinal symptoms such as abdominal pain or diarrhea. Occasionally, Campylobacter bacteremia affects immunocompromised patients; however, serious outcomes are known to be rare. Here, we present a case of a patient with Campylobacter bacteremia who had underlying liver cirrhosis. The patient had fever and diarrhea. These symptoms subsided after treatment with cefotaxime. Campylobacter jejuni was isolated in the blood culture after 10 days. In addition, previously reported cases of Campylobacter bacteremia in Asian countries were reviewed with respect to antimicrobial sensitivities.

Henry James의 서사시점이론 연구

윤진구 한국강원영어영문학회 1992 영어영문학 Vol.- No.11

James clearly devoted major attention to the selection of the right reflector whenever he set about writing a story. Thus the virtual self-effacement of the author was compensated for by elevation of the protagonist to the status and function of a viewpoint chatacter. Then the reader would have to see all the action of the story through this protagonist's eyes. So we readers come to react to certain events as this central character would react to them. The purpose of this study is to provide a detailed account of the point-of-view used as a technical device. So this study is concerned with providing a basic definition of the device of point-of-view and analyzing of its use in James's novels. After an introduction dealing with general characteristics of point-of-view in narrative, the subsequent part attempts to investigate the James's theory and treatment of point-of-view in his works. In part 3 and 4, to help the reader understand James's theories of novel and definitions of point-of-view easily, critics' views about James' s point-of-view theory, and the relationship of James's theory to the modern rhetoricians's theories are examined systematically.

Effect of solvent vapor on the morphology development of semicrystalline polymer thin film

윤진구,김재현,진왕철 한국고분자학회 2008 한국고분자학회 학술대회 연구논문 초록집 Vol.33 No.2

3차병원 중환자실 내 전향적 감사와 피드백을 통한 항생제 사용 중재 효과

윤진구,최하늘,김성란,조민희,최유정,남엘리엘,성혜,노지윤,정희진,김우주,송준영 건강보험심사평가원 2023 HIRA RESEARCH Vol.3 No.2

Background: The implementation of antibiotic stewardship program (ASP) has been encouraged in developed countries in response to increasing antibiotic resistance. However, the implementation of ASP has been limited owing to a lack of manpower and awareness. We aimed to analyze the effectiveness of prospective audit and feedback (PAF), one of the core strategies in ASP, by applying it to the intensive care units (ICUs). Methods: In this study, we applied PAF to the neurological/surgical ICUs of a tertiary hospital starting from March 1, 2023, we compared the data of 6 months before (from September 2022 to February 2023) and after (from March 2023 to August 2023) the implementation to assess the difference in antimicrobial use density (AUD) and the acquisition rates of antibiotic-resistant bacteria. Furthermore, we surveyed the satisfaction of PAF using a questionnaire. PAF was conducted twice a week during rounds by the ASP team, which consisted of an infectious disease specialist and one assistant. Results: Before and after the implementation of PAF, AUD showed a tendency to decrease in the classes of beta-lactam/beta-lactamase inhibitors, cephalosporins and glycopeptides, although the changes were not statistically significant. The acquisition rate of carbapenem-resistant Acinetobacter baumannii decreased slightly in the surgical ICU. Most participating interns and residents reported that PAF was clinically and educationally helpful in the survey. Conclusion: Implementing PAF twice a week in the neurological/surgical ICUs could reduce antibiotic usage and the acquisition rates of some resistant bacteria.