문학과 영화의 만남

허정아 연세대학교 출판부 2002 번역문학 Vol.4 No.-

거리와 거리두기 : dans l'oeuvre de Francis Ponge

허정아 연세대학교 인문과학연구소 1994 人文科學 Vol.72 No.-

Qu'est-ce que l'e´criture? Au coeur de cette question, nous entrevoyons l'une des cle´s qui nous me´nerait a、 une re´ponse parmi d'autres; celle de la distance. La distance entre le monde et e moi, entre choses et mots (ce qui rele´ve de la proble´matique de la mime´sis dans la repre´sentation litte´raire), est a` la fois ce qui est a` l'origine de l'indicible et ce qui rend paradoxalement possible l'e´criture poe´tique. Elle est aussi la cle´ particulie、rement importante qui met en mouvements l'e´criture dans l'oeuvre de Francis Ponge. Dans l'acte de fabrication de l'objet poe´tique, se cre´e, en premier lieu, une sorte de lutte dualiste pour une saisie entre la chose, dont la pre´sence cause une pe´trification, et l'e´criture qui tente de relever le de´fi devant la fascianation ou la terreur. Cette lutte dualiste se traduit ensuite sous une autre forme. L'e´criture se meut pour trouver un e´quilible. Le mouvement de rapprochement vers l'origine provoquant paradoxe et tension, cre´e des moments d'e´quilibre dans la vibration qui s'engendre par une mai^trise de tension. Il existe ainsi dans un moment de l'e´quilibre tendu et mai^trise´, un grand attachement du sujet au corps premier par le travail de l'e´criture sur l'objet. A la suite de la tentative pour saisir l'impossible pre´sence de la chose par le pouvoir du faire verbal, l'e´criture engendre une saisie qui n'est autre que la mort ou la disparition de l'objet. Le questionnement central est de savoir comment combiner la prise de l'objet et sa liberte´. Ce serait un quesionnement sur la place qu'occupe l'objet "poe´tique" dans l'espace d'e´criture. Ainsi les moments de tension se mettent en charnie、re avec un moment de de´tente. Il s'agit d'un mouvement de de´-prise: la distansiation dans la proximite´. Dans cette distanciation, il y a donc l'accord de la part de l'objet et en me^me temps de dessaisissement du sujet lui-me^me. Ce dessaisissement sera pousse´ juspu´au point ou` l'auteur se de´tache de l'objet et de la forme me^me qui en re´sulte.

후기 구조주의적 관점에서 본 영화 이미지의 자기 반조성

허정아 서울대학교 예술문화연구소 1998 예술문화연구 Vol.8 No.-

L'une des tendances les plus marque´es de l'art moderne est l'auto-re´flexivite´. C'est la tendance selon laquelle faisant des re´flexions sur ses propres moyens de cre´ation et ses conditions de production, l'art se refle`te. Cette tendance trouve, en fait, sa racine dans la crise de la re´pre´sentation. L'acte de l'art ne consiste pas a` repre´senter le monde exte´rieur. Une fois produit par des moyens artistiques, ce n'est plus la copie du mode`le re´el, mais bien un monde d'art tout autonome. Pousse´e par cette tendance, se manifeste aujourd'hui un mode de production qui n'a rien a` voir aver le mode`le re´el. C'est un mode dont la base est tout a` fait fictive et artificielle. C'est ce qu'on appelle $lt;simulacre$gt;. Le cine´ma n'est pas exclu de cette tendance d'auto-re´flexivite´. Etant lie´ directement a` des images visuelles, le cine´ma cherche la nouvelle expressivite´ dans l'image me^me. Prenant en conside´ration cette tendance, notre e´tude proce´de a` voir des effets du me´canisme auto-re´flexif qui s'appelle $lt;la raise en abyme$gt; et a` cerner les traits esthetiques de l'image auto-re´flexive: discontinuite´ et rupture, de´territorialisation, fiction, surimpression.

『Signe´ponge』 : Derrida와 Ponge 텍스트 이해와 번역

허정아 연세대학교 출판부 2004 번역문학 Vol.5 No.-

적정 수시조사 시기 산정 방법론

허정아,이상협,조용성,김용석 한국ITS학회 2010 한국ITS학회 학술대회 Vol.2010 No.1

朝鮮後期 男子 裝身具에 關한 硏究

허정아 又石大學校 1996 論文集 Vol.18 No.-

This study is deep sematical investigation about tie kinds & the shapes of the ornaments for men used in the end of Chosun (about from 1700 to 1850) through the genre pictures and the other pictures kept in national museum From this study. we can get the esthetic sense and esthetic symbol of the people those who lived in that time. Wearing ornaments for everyday life was not governed by nation power but by social customs. And these can be divided by these kinds of series, i. e., Libja, Keon, Sushik, Libshik, Dae and Hae, etc. Ⅰ am dealing its shapes, materials, way of use in Section Ⅲ. Section Ⅳ is a symbolic investigation for those ornaments in which we can see the times, the culture, the customs and the way of thinking. Most of ornaments used in the end of Chosun didn't aim purely to decorate, instead, the people of that times added some kinds of decoration sense to the object having practical and functional propensity and through this procedure, they got the esthetical satisfaction. As its example, there is Libja, Keon and Dushik..Libshik (Mangkeon, Tangkeon, Donggot, Pungiam, Kwanja, etc). In these kinds of decoration for head. its shapes and wearing figures formed everyday life style of those days and showed us their Confucian totalitarian mind. As the Confucian ideas came to be whole social basic thinking, the shapes, the kinds, and the print of ornaments discriminated between upper and lower class. In addition to that, because that period was consisted of each social class, it occurred variously that a phenomenon of using high-quality and expensive raw materials for higher class. There were Hoeja and Kwanja which divided the materials up to 'Pum' class, and also were Pungjam and Ibyoung which indicated the level of class with the way of use in raw materials. Therefore, through these ornaments, we can see the fact that these kinds of ornaments played the symbolic role that showed and indicated the promotion in class 'Sunbi, scholar', In the end of Chosun, lower class who made big fortune by doing practical science, started to mimick the upper class ornaments. So, upper class, in order to defend this kind of propensity and to differenciate from lower class, started to effort to have and keep their own ornaments. Those efforts were resulted in the various kinds of shapes of ornaments. Its representative example is the change of the shapes in 'Kat'. Through the shapes and the print of the ornaments which had symbolic meaning, i.e. 'Ui, a symbolic thing or meaning earned by experience', 'Sadaebu, the man of noble birth' wanted to show symbolically their mental desire of hope. In the shape of Kwanja or at the edge of Heuklib and in the print of some part of Yangtae, etc. we can see these ornaments having 'Ui'.

후기 구조주의적 관점에서 본 영화 이미지의 자기 반조성

허정아 서울대학교 예술문화연구소 1998 예술문화연구 Vol.8 No.-

기계와 속도를 통해 본 아방가르드 미학

허정아 한국미학회 2008 美學 Vol.54 No.-

The Avant-garde movement was the first time for machine and art to meet in art history, and it is appraised to be the historical event for velocity to fundamentally transform art. In this context, the present study examines Avant-garde aesthetics in the 20th century from the perspective of machine and speed. By applying speed, which was the most significant cultural keyword at the turning point of the century, to formative arts, Avant-garde artists endeavored to express motion on stationary paintings. As a result, Avant-garde aesthetics distinguished itself from traditional artistic concepts and became the leading trend in modern art. The Avant-garde aesthetics which was derived by machine and velocity show the following four characteristics. First of all, Avant-garde art dismantled the conventional ways of reconstruction and generated the process toward abstract art. Abstract art is also associated with research on motion, which was prevalent in the 19 century, and the development of visual machine that was attempted to capture motion. Secondly, speed in Avant-garde art dismantles perspective drawing and develops a new system of modern aesthetics by adapting multi-point perspective on paintings. Perspective drawing is a modern perspective that fixes an object by observing from only one point. In contrast, multi-point perspective is a method of observing from diverse angles, which characterizes Avant-garde as the art of public society. Next, as speed transcends the limits of the space of paintings and directly affects the human body, this combination of body and machine becomes a crucial phenomenon in Avant-garde aesthetics. A number of works manifest the mechanical body and even depict the body as a mechanical component. The belief in machines at that time lies in the background of this phenomenon. Finally, by triggering the dissension between form and content, machines made Avant-garde art reject consistent meaning. Only mechanical lines, geometrical forms and mechanical shapes exist in the paintings, and no narrative structure is found. Also, an artist's individuality is enfeebled in a ready-made product which regards itself as art. Therefore, Avant-garde art developed it unique aesthetics in its association with scientific technology that was rapidly expanding at that time, and advanced in modern arts.

영화 이미지의 두 가지 유형 분석 : 들뢰즈의 < 운동 - 이미지 > 와 < 시간 - 이미지 > 를 중심으로

허정아 한국불어불문학회 2000 불어불문학연구 Vol.44 No.2

Les ouvrages de Deleuze sur le cine´ma sont consacre´s a` la classification des images et signes. Il nous propose deux re´gimes de l'image ; un re´gime qu'on pourrait appeler l'image-mouvement et un autre qui est l'image-temps. Ces deux images repre´sentent en effet les caracte´ristiques dominantes du cine´ma classique et du cine´ma moderne. L'image-mouvement, qu'on peut observer la plupart des cas dans le cine´ma classique, proce`de par coupures rationnelles et s'enchai^ne par 'les liens sensori-moteurs', ce qui repre´sente le temps indirectement. Par contre. l'image-temps qui caracte´rise le cine´ma moderne ne s'enchai^ne plus par des coupures rationnelles mais par des coupures irrationnelles et des re´-enchai^nements. Dans ce mode d'image, le temps n'est plus subordonne´ au mouvement, mais c'est le mouvement qui se subordonne au temps. Et la situation optique et sonore pure se substitue a` la situation sensori-motrice. Au demeurant l'image-temps pre´sente directement le temps, et cette pre´sentatian directe permet au cine´ma de mettre en rapport avec le mental et l'imagination. Ainsi l'image-temps re´alise la possibilite´ cre´ative du cine´ma au dela` des limites de l'image cine´matographique qui est base´e sur des images de la re´alite´.

순환계 : 일반연재 ; 심장초음파의 기본view와 측정방법을 이해한다.

허정아 대한임상병리사협회 2011 임상생리검사학회 발표자료집 Vol.2011 No.-

배경(Background) 심장초음파 검사는 환자에게 해가 거의 없으며, 여러 번 반복측정이 가능하여 심장질환의 초기 진단 및 경과관찰 시 매우 중요한 역할을 한다. 따라서 심장초음파검사의 기본 view를 이해하고 그 측정 방법을 정확히 알아야 한다. 이에 ASE(American society echocardiography)의 guideline 을 중심으로 chamber quantification을 설명하고자 한다. 방법(Methods) 심장초음파 검사에서 일반적으로 진행되어지는 기본view를 이해하고 기본측정방법 중 특히 심장의 좌심실과 우심실, 좌심방, 우심방 측정 방법을 2005년 ASE에 게시된 recommendation for chamber Quantification을 기준으로 하였다. 첫번째로 Left ventricular dimension, Volume, wall thickness를 M-mode와 2-D에서 확인 측정한다. 이때 국소적 벽운동의 이상유무를 여러 기본view에서 확인하여 그 값의 정확성을 올리도록 한다. 그로 인해 좌심실의 수축기능을 정확히 평가할 수 있다. 또한 ASE guideline에서 얻어진 기본값과 삼성서울병원에서 사용되어지는 값을 제시한다. 두번째로 Right ventricular dimension, wall thickness, Right ventricular outflow tract 측정방법을 이해하여 그로 인해 얻어지는 정보를 확인한다. 세번째는 그외 Left atrium dimension과 volume측정방법, right atrium, aortic root, Inferior vena cava 측정방법을 제시한다. 고찰(Discussion) 빠르고 정확하게 심장질환을 진단하는 방법으로 심장초음파 검사는 매우 유용한 검사법이다. 또한 반복검사를 시행함으로써 경과상황에 따른 변화를 파악하여 진단 및 치료에 큰 도움을 주고 있다. 따라서 심초음파 검사에서의 기본view와 측정 방법은 정형화 되어 있어야 하며 검사자는 그 방법을 숙지하고 있어야 한다. 더불어 최신지견에 항상 귀 기울여야 할 것이다.