' 그로테스크 육체 ' : 니에바와 알모도바르의 그로테스크 리얼리즘 El realismo grotesco en las obras de Franciso nieva y Pedro Almodovar

임호준 한국서어서문학회 2000 스페인어문학 Vol.17 No.1

Desde nuestra perspectiva, Francisco Nieva y Pedro Almodo′var son los autores que muestran ma′s evidentemente el paradigma de la cultura carnavalesca de la Transicio′n espan￣ola. Siendo los sucesores contempora′neos de la tradicio′n carnavalesca en el arte espan￣ol, dos autores han creado las obras llenas de los rasgos carnavalescos : intere′s por lo material y lo corporal (el sexo y el cuerpo); intencio′n paro′dica ante lo alto, lo sublime y lo sagrado; predileccio′n por lo popular y lo marginal; aversio′n a lo dogma′tico, lo jera′rquico y lo oficial; apariencia deformada y grotesca; ideologi′a subversiva, etc. Entre estos rasgos carnavalescos, 'el cuerpo grotesco' es el concepto ma′s importante para explicar el mecanismo fundamental de las obras de ambos autores. El 'cuerpo grotesco' es el concepto utilizado por Bajti′n para explicar el mecanismo del realismo grotesco en obras carnavalescas como Gargantu′a y el Quijote. Segu′n el cri′tico ruso, el 'cuerpo grotesco' que destaca lo vulgar, lo material y lo corporal del cuerpo humano surte el efecto de degradar y materializar lo ideal, lo noble y lo abstracto. El 'cuerpo grotesco' es fundamentalmente anti-jera′rquico, ya que las partes y actos que Bajti′n destaca son tradicionalmente considerados 'inferiores' y 'vulgares'. Asi′, o′rganos como los genitales, la boca abierta, la barriga grasienta, el trasero, etc, y actos como copular, defecar, comer y beber, se reivindican frente a los o′rganos 'nobles' y 'prudentes' como la cabeza, el rostro y los ojos y sus correspondientes actos como pensar y observar. La obscenidad sexual, que siempre ha tenido un valor negativo en el decoro social, es elogiado por Bajti′n. En definitiva, el 'cuerpo grotesco' es anti-jera′rquico, anti-cla′sico, imperfecto, anormal, anti-este′tico y desproporcionado. El 'cuerpo grotesco' encontrado en las obras de ambos autores se convierte en un si′mbolo de la cultura 'extraoficial' en el peri′odo de la transicio′n y funciona como una exigencia de la reforma cultural en la sociedad espan￣ola. El estilo del dramaturgo y el cineasta, por ser fanta′stico, exagerado, ideolo′gico y grotesco, va contra el estilo naturalista. Valie′ndose de la estrategia carnava.lesca, se trata de una estrategia y un si′mbolo perfectamente premeditados para liquidar una e′poca y para plantear un nuevo paradigma socio-cultural que encaje con el de la cultura global posmoderna.

연소성 피부근염

임호준 한국의학사 1998 診斷과治療 Vol.18 No.2

소아의 전신성 홍반성낭창

임호준 한국의학사 1998 診斷과治療 Vol.18 No.1

훼손된 민족과 공고한 가부장: 전후 한국과 스페인 가족 멜로드라마의 사회적 무의식 - <밭고랑>(Surcos, 1950)과 <마부>(1961)를 중심으로 -

임호준 문학과영상학회 2016 문학과영상 Vol.17 No.3

Damaged Nation and Solid Patriarch: Social Unconscious in Korean and Spanish Family Melodrama of Postwar Period: Surcos (1951) and Horseman (1960) Korea and Spain share common historical trajectory in terms of suffering from civil war and rapid industrialization under the dictatorship. Immediately after civil war both Korean and Spanish societies were going through traumatic memories caused by fratricidal atrocities. This study investigates collective unconscious of two nations represented in postwar family melodrama, drawing on the theoretical framework of ‘family romance’ of Sigmund Freud and neo-Marxist perspective of melodrama. In the family melodrama of two countries, feudal patriarchs are irresistibly weakened because they are incompetent in adapting in industrialized society. However, they manage to succeed in recuperating their privileged positions and saving their families from danger, only leaving the patriarchal order unchanged. This happy ending implies that the collective unconscious of the people swept by fear and anxiety in postwar societies undoubtedly longs for peace and security. Thus, the prototype plot of postwar family melodrama with happy ending generates stylistic ‘excess’ and narrative disjuncture in which ideological manipulation is revealed. The most conspicuous and dangerous tendency of these family melodrama is the mythification of absent or old fashioned patriarchs. The suffering rendered by their failure and incompetency is often idealized as sacred or as heroic in the name of struggle for good against evil. Furthermore, their sacrifices produce pathos for spectators since they strive to rescue other family members from their frail morality. This mechanism easily extends to national level, leading to worship for national patriarch, that is, a dictator in a totalitarian society. In fact, the collective unconscious underlying in family melodramas can be a plausible explanation for the appearance of strong dictator in postwar Korea and Spain. In conclusion, postwar family melodrama in both countries becomes a text that uncovers hysterical ‘excess’ caused by the collision between reality and ideology under the surface of the peaceful resolution of family problems.

카니발의 광장 : 알모도바르 영화 속의 마드리드

임호준 부산외국어대학교 이베로아메리카연구소 2010 이베로아메리카 Vol.12 No.1

En realidad nÍngÚll otro cineasta espanol que Pedro Almodóvar ha centrado tan obsesivamente en Madrid. Casi todas sus obras se ocupan de la capital de Espana como espacio cinematográfico. Como uno de los protagonistas de La Movida, Almodóvar es un producto de Madrid de la Transición que dió luz a la nueva sociedad democrática. En principio, Madrid en las películas de Almodóvar se convierte en un espacio carnavalesco desde la perspectiva bajtiniana. EI critico ruso ha exaltado la plaza pública de los pueblos medievales europeos como el espacio carnavalesco en el que los contactos libres y familiares se realizan y el principio de lo corporal y lo material predomina. Para Bajtín, el carnaval es básicamente un rito político en el que el individuo parece dotado de una segunda vida que le permite establecer nuevas relaciones verdaderamente humanas con sus semejantes sin ninguna represión. Así que en el mundo carnavalesco todo lo sagrado, lo oficial y lo privilegiado se destronan, y en cambio lo grosero, lo extra-oficial y lo bajo se reivindican. Como los paIticipantes dei carnaval, los personajes de Almodóvar disfrutan de una segunda vida en un Madrid dei mundo al revés. Por otra palie, la representación carnavalesca de Madrid tiene una tradición rica y larga en el alie espano!. Entre muchos altistas Goya, Arniches, Valle-Inelán y Bunuel son los antecedentes destacados de esta tradición. Así pues se puede coneluir que la estética deI cine de Almodóvar está anelada en la tradición hispánica dei carnavalismo más bien que la estética global de la posmodernidad.

웰빙시대, 좋은 물이란?

임호준,Im, Ho-Jun 한국상하수도협회 2004 한국상하수도협회지 Vol.6 No.-

위암에 동반된 플러머 빈슨 증후군

임호준,김성은,박무인,박선자,문원,김재현,정경원,박정구 대한상부위장관ㆍ헬리코박터학회 2020 Korean Journal of Helicobacter Upper Gastrointesti Vol.20 No.2

Plummer-Vinson syndrome (PVS), also called sideropenic dysphagia or Paterson-Kelly syndrome, is a condition characterized by a triad of chronic iron-deficiency anemia, esophageal webs, and dysphagia. This syndrome is considered as a precancerous condition due to the occurrence of squamous cell carcinoma in the hypopharynx, upper esophagus and oral cavity. Although exact data on the prevalence of the syndrome are not evidently available, physicians need to recognize this rare syndrome. Most of the patients are elderly Caucasian women aged 40 to 70 years, but cases in children, adolescents, or men have also been described. At present, the prevalence of PVS is decreasing due to improvement in nutritional habits and intake of iron supplements. Therefore, the syndrome accompanied with gastric cancer is even more uncommon. We report a case of a 61-year-old woman with PVS who was diagnosed with gastric cancer and improved after treatment.

Performance Test of a Laboratory-Based Ambient Pressure X-ray Photoelectron Spectroscopy System at the Gwangju Institute of Science and Technology

임호준,유영석,김동우,고유빈,문봉진,Vincent Lehane 한국물리학회 2019 THE JOURNAL OF THE KOREAN PHYSICAL SOCIETY Vol.75 No.7

The performance test of a laboratory based ambient pressure X-ray photoelectron spectroscopy (AP-XPS) system at the Gwangju Institute of Science and Technology (GIST) was carried out. The system, consisted of a Scienta R4000 HiPP-3 electron analyzer and a monochromatized Al K$\alpha$ X-ray source, is designed to operate a gas pressure of up to 25 Torr. An Al polyimide X-ray window is used to isolate the X-ray source from the back-filled-type ambient pressure measurement chamber. Two modes of XPS operations were tested, a one-dimensional chemical imaging mode and a transmission mode. In the transmission mode, the lens voltage of analyzer was optimized for maximum detection of photo-excited electrons under elevated pressure condition, $i.e.$, a typical standard lens operation mode. On the other hand, in the imaging mode, spatial information on the outgoing electrons is conserved to generate a one-dimensional chemical image of surface being measured. The test of the imaging mode on a Au/Si reference sample showed a spatial resolution of $\sim$10 $\mu$m under an Ar gas pressure of 500 mTorr. With the superb design of the differential pump and the electron transfer optics, a good signal-to-noise ratio was obtained for the XPS core-level spectra at Ar gas pressure up to 1 Torr.

작가주의와 정치성: 훌리오 메뎀 영화의 바스크성

임호준 서울대학교 라틴아메리카연구소 2009 이베로아메리카硏究 Vol.20 No.2

Hoy en día el auteurism es un concepto ambiguo y problemático en el cine mundial. Sin embargo, en la tradición del cine español los autores cinematográficos se han definido con relativa facilidad por su compromiso socio-político bajo la dictadura franquista. Así pues los cineastas como Luis Berlanga, Juan Antonio Bardem, Carlos Saura, Víctor Erice se han considerado como los autores del cine español con poca discusión. Puede verse Julio Medem como el sucesor de esta tradición. Sus películas que giran entorno a los problemas del País Vasco han sido recibidas con cierta seriedad en el ámbito crítico intelectual. La descripción de Medem sobre la imagen vasca en su primera película, Vacas (1992), es superficialmente parecida a la del llamado “cine vasco” tradicional pero la perspectiva empleada está más bien opuesta al esencialismo vasco. El tema de lo vasco continúa en sus obras siguientes del carácter más comercial como La ardilla roja (1993) y Los amantes del círculo polar (1998). Con una dimensión política basada en el tema de lo vasco, estas obras adquirieron el color del cine de arte. Sin embargo, la obra posterior, el documental Pelota Vasca, la piel contra la piedra (2003) se convirtió en una obra muy controvertida y la mayoría de los críticos y el público a excepción de los vascos veían que Medem perdiera la neutralidad y emitiera su propio juicio sobre el asunto. El cineasta vasco, por lo tanto, se ha envuelto en una polémica perniciosa. Con esta trayectoria del director vasco, podemos concluir que la posición política del autor debe estar anclada con la consciencia de su tiempo.

한스 스타덴의 『진실한 이야기』(1554)에 대한 상이한 관점의 영화적 재현: <내 프랑스인은 얼마나 맛있었나>(1971)와 <한스 스타덴>(1999)

임호준 서울대학교 라틴아메리카연구소 2013 이베로아메리카硏究 Vol.24 No.3

Controversy over the historical practice of cannibalism by NativeAmericans is not limited to an anthropological issue. The cannibal discoursespread out among Europeans in the beginning of the conquest of America, asfor Europeans it became an excuse for the conquest and slavery of nativepeople, and for American Natives it was used to acknowledge their savageryand the reason for accepting the colonial domination. Especially Hans Staden’s1557 narrative of captivity with the cannibalistic Tupinamba of Brazil wasconsidered as an irrefutable evidence of cannibalism among American Nativesuntil the time when William Arens questioned the evidence by indicating theWestern obsession with cannibals in 1979. This article examines two versions ofcinematographic representation of Staden’s account. Nelson PereiraDos Santos’film, Como era gostoso omeu francês (HowTastywasmy Little Frenchman) (1971),which incorporated the late 1960’s tropicália aesthetic into a cinematographicidiom, presented scenes where an European captive finally finished to be eaten. As a liberal adaptation of Staden’s True Story, it adduces an anthropophagiccritique of European colonialism. In Luiz Alberto Pereira’s film, Hans Staden,although the director declared that he tried to remain as faithful as possible tothe original text, the ingenuous intention in fact results in ignoring ideologicalfilters and allegorical homiletics designed to demonstrate the Christiansuperiority. As a result, the film’s message reproduces conventional andEurocentric perspectives of Hans Staden’s text. 1979년 윌리엄 아렌스가 이의를 제기하기 전까지, 1557년 독일 말부르크에서 출판된 한스 스타덴의 『진실한 이야기』는 아메리카 원주민들의 식인풍습에 대한 결정적인 증언으로 작용했다. 떠도는 소문을 기록한 것이 아닌, 9개월 동안 투피남바족의 포로로 지내면서 자신이 직접 목격한 것을 서술한 것으로 여겨졌기 때문이다. 이 논문은 스타덴의 수기를 바탕으로 제작된 두 편의 영화를 검토하고 그것이 기반하고 있는 이데올로기적 관점을 분석하였다. 먼저, 브라질 모더니즘의 미학적·정치적 기반이 된 식인주의에 영감을 받아 1971년 넬슨 페레이라 두스상투스 감독이 만든 <내 프랑스인은 얼마나 맛있었나 Como era gostoso o meu frances>는 식인이 야만이라는 유럽인들의 관점을 뒤집어서, 오히려 식인을 축하하고 정체성화하고 있다. 그럼으로써 유럽의 식민주의에 대해 통렬한 비판을 수행하고 있다. 한편, 유럽인의 브라질 도착500주년을 맞아 제작된 루이스 알베르투 페레이라 감독의 <한스 스타덴 Hans Staden>(1999)은 원전에 충실하겠다는 감독의 의도대로 원주민들의 분장, 복장, 가옥, 풍습 등의 재현에서 스타덴의 수기를 성실하게 고증하고 있다. 물론 식인풍습의 재현 역시 원전에 묘사된 대로 많은시간을 할애하여 상세하게 재현하고 있다. 그러다보니 『진실한 이야기』가 내포하고 있는 유럽중심적인 시각을 그대로 재생산하는 우를 범하고 있다. 스타덴의 수기에 대해 여러 학자들이진실성을 의심하고 있는 상황에서 브라질에서 제작된 영화가 오히려 유럽인의 텍스트를 비호하고 있는 아이러니를 보여주고 있는 것이다.