Earticle

본고는 강릉관노가면극과 진주오광대에 등장하는 여러 인물의 특성을 주체 라는 관점에서 고찰하였다. 강릉관노가면극과 진주오광대의 등장인물은 누구 이며, 그들의 성격은 어떠하며, 등장인물의 위상과 의미가 작품의 주제나 극적 양식과 어떤 연관을 맺는 지 등을 주체라는 관점에서 분석하였다. 강릉관노가면극과 진주오광대의 등장인물 중 정상과 변별되는 등장인물, 주류에 벗어나 있는 등장인물들이 어떻게 주류세계에 용납되고 그들의 신분적 조건, 생김새의 조건 등이 주체형성에 어떻게 작용하는 지를 고찰하면 탈놀이의 성격에 대한 또 다른 해석이 될 수 있으리라 본다. 탈놀이가 바라보는 세계가 언어이자 타자이고, 어떻게 바라보느냐 하는 관점이 주체의 핵심이라고 할 수 있겠다. 탈놀이의 경우 큰 질서 속에 포섭되는 작은 질서로 만족하지 않는다. 모든 인간의 주체를 동등한 가치로 설정하고 이를 작품의 근거로 하는 점에서 탈놀이 는 다른 예술장르에 못지 않은 보편적 미학을 갖는다고 볼 수 있다. 강릉관노가면극과 진주오광대는 어긋남의 미학을 보여준다. 이것은 극적 갈등을 부각시키는 요인이기도 하다. 연극성과 축제성 신성성이 하나가 된다. 그래야 상생, 화합, 축원의 의미가 살아나고 원형성이 복원된다. 우리의 전통연희가 그렇다. 주체성은 이처럼 연극성 축제성 신화성을 하나의 세계로 끌어들 이는 강력한 매개체이면서 주체자이다.

Among the characters, the characters related to the subject were classified into three types. The Jangjamari of Gangneung Gwanno Mask Play, the kidney of Jinju Ogwangdae, a doctor, a shaman, and Mushirumi are characters irrelevant to the subject. These characters are excluded from classification. The classification standard is to classify type A as a person who is not aware of the subject, type B as a person in the process of forming a subject, and type C as a person who has formed a subject. There are also characters who change from type B to type C according to the change in the character's behavior. In this case, it is included in both type B and type C. Type A includes Sisi Takttagi in Gangneung Gwanno Mask Drama, Yeonggam, Saengwon, Palseonnyeo, and Seoulaegi in Jinju Ogwangdae. Type B belongs to the Yangban in the Gangneung Gwanno Mask Play, and in Jinju Ogwangdae, lepers, Eodingi, and Sangjwa belong to this category. As for type C, Somae Gaksi in Gangneung Gwanno Mask Play belongs to this category, and Malttugi and Halmi belong to this category in Jinju Ogwangdae.

What is the essence of fashion? Gilles Lipovetsky claims that fashion as the original institution of history should not be left in the dark. In an attempt to capture its mechanism, he raises the following questions: how the fashion institution structured by the ephemeral and aesthetic fancy took place in the history; why the concept of fashion came into being chiefly and mostly in the West; how the age of reason and technicality came to be filled with unreason; and how we can explain the evolution of fashion developing into an almost perpetual system. Answering to these questions, Lipovetsky concludes that modern cultural values, the propensity for novelty and individualism among the rest, have played an important role in the history of fashion. I believe in the relevance and appropriateness of his analysis. Capitalizing on his theory of the birth and evolution of fashion, and applying the systems of fashion to various fields, I analyze the pragmatic concepts of fashion in terms of polyphony and irony. After a brief look at the conceptual rudiments of polyphony, I examine the theory of polyphony proposed by Ducrot, who defined it as a coexistence of the different voices of the enunciators. I then go into the theories of irony advanced by Ducrot and Kerbat- Orecchioni. While Ducrot thinks of irony as voices of opposition between the enunciators, Kerbat- Orecchioni considers it to be a discrepancy between the sentence meaning and its context. Applying the amalgamated concepts of irony and polyphony to the analysis of Lipovetzky's The Empire of the Ephemeral, I try to demonstrate how fashion represents various voices of modern values, stressing that the fashion institution and other disciplines can be best analyzed in light of the concept of irony characterizing the oppositions and the contradictions between the different voices.

This paper is aimed at analyzing the French Nominal Emphatic Constructions. In this study, we will draw the following conclusions with respect to the distributional properties in these constructions. First, the noun has to be determined, but the noun combined with not-defined quantifiers can not be emphasized neither by the “c'est...qui/que” structure, nor by the dislocation. In particular, emphatic NPs must be defined by the determination of nouns because the genitive NP is possible to be dislocated, only with determinants. Second, only the real complement can move in the “c'est...qui/que” structure. Third, when an NP forms an idiomatic expression, it can not be emphasized, but a contrastive meaning allows of emphatic constructions. Finally, the pronominal forms of nouns must be emphatic, and in case of dislocation, the pronominal elements must be properly selected in accordance with the features and functions of substantive NPs. Consequently, these types of analysis will be applied in the future study of emphatic constructions of prepositional phrases and other elements in a sentence.

We report a patient with traumatic atlanto-occipital dislocation who presented with dysphagia as the chief complaint. A 59-year-old man complained of swallowing difficulty for 2 months after trauma to the neck. On physical examination, there was atrophy of the right sternocleidomastoid and upper trapezius muscles, and the tongue was deviated to the right. In a videofluoroscopic swallowing study, penetration and aspiration were not seen, food residue remained in the right vallecula and pyriform sinus, and there was decreased motion of the soft palate, pharynx and larynx. Electromyography confirmed a right spinal accessory nerve lesion. Magnetic resonance imaging confirmed atlanto-occipital dislocation. Dysphagia in atlanto-occipital dislocation is induced by medullary compression and lower cranial nerve injury. Therefore, in survivors who are diagnosed with atlanto-occipital dislocation, any neurological symptoms should be carefully evaluated.

Lunate and perilunate dislocations are uncommon, but they have clinical importance because complications, such as median neuropathy and avascular necrosis of the lunate, can occur. Although early diagnosis enabling early surgical treatment is crucial for preventing long-term sequelae, these dislocations are frequently missed in the initial assessment. Imaging tools, such as plain radiography, magnetic resonance imaging, ultrasonography, and electrodiagnostic studies, have been used for diagnosis. The proper choice of initial evaluation tools is important for making an accurate early diagnosis. Here we present a case of lunate dislocation associated with median neuropathy in which ultrasonography, along with the electrodiagnostic study and plain radiography, played an important diagnostic role in detecting structural abnormalities. This case report reveals the complementary diagnostic role of ultrasonography in initial assessment and provides ultrasonographic images of lunate dislocation as a cause of median neuropathy.

Arytenoid cartilage dislocation is one of the most common mechanical causes of vocal fold immobility. The most common etiologies are intubation and external trauma, but its incidence is lower than 0.1%. Its symptoms include dysphonia, vocal fatigue, loss of vocal control, breathiness, odynophagia, dysphagia, dyspnea, and cough. Although there are some reports of arytenoid cartilage dislocation in adults, there are only few reports on its occurrence in children. It is particularly difficult to detect the symptoms of arytenoid cartilage dislocation in uncooperative pediatric patients with brain lesions without verbal output or voluntary expression. We report a case of arytenoid cartilage dislocation with incidental findings in a videofluoroscopic swallowing study performed to evaluate the swallowing function.

This paper discusses certain restrictions on the adnominal Right Dislocation (RD) in Korean. I suggest that the adnominal appendix tends to be associated with an overt host NP in the host clause, and that the association process is a processing-related one in nature, operating on the overt, surface form. The association process is further restricted by some factors such as closeness. In certain contexts, the workings of the factors give rise to the embedding effect, and when the factors become ineffective, the embedding effect is obviated/weakened. I also suggest that the association process is compatible with the ellipsis analysis since it applies to the surface form that results from the application of ellipsis. Due to the general processing mechanism, the overt host NP in the host clause is chosen over the elided/null NP in the appendix clause to lessen the processing load. I demonstrate that the ellipsis effect is observable in certain contexts.

Anterior shoulder dislocations are common in young athletes. The mechanism for the first or primary shoulder dislocation may involve a collision or a fall typically with the arm in an abducted and externally ro-tated position. The aim of this study was to design a physical rehabilita-tion program using the elastic band and resistive exercise to improve joint strength and range of motion in individuals diagnosed with a first-time shoulder dislocation. Twelve physically active males with a first-time acute shoulder dislocation were asked to volunteer. Participants began a physical rehabilitation program 2 weeks after the shoulder dis-location, which was confirmed by a referring physician. The rehabilita-tion program was 6 weeks in duration and required the participants to engage in progressive resistive loads/duration using elastic bands and weights 5 days per week. Pretest and posttest measures included shoulder strength and range of motion. All outcome measures were compared between the injured and uninjured shoulder, which served as the control condition in this study. There were statistically significant differences between the injured and uninjured shoulder for measures of strength and range of motion during pretests (P<0.01) but not post-tests (P<0.53). Finally, there were no differences between shoulders in regards to the volume measure suggesting that any changes in muscle atrophy or swelling were not detected. The physical rehabilitation pro-gram proposed in this study was effective at improving strength and range of motion in the injured shoulder as evidenced by the similarity in posttest values between the injured and uninjured shoulder.

The microstructural effects on the ultrasonic nonlinearity were investigated in isothermally degraded ferritic 2.25Cr-1Mo steel and low cycle fatigued copper. The variation in ultrasonic nonlinearity (${\beta}/{\beta}_0$) was interpreted as resulting from microstructural changes supported by the electron microscopy and X-ray diffraction, in addition to the mechanical test (Victor's hardness and ductile-brittle transition temperature). The ultrasonic nonlinearity of 2.25Cr-1Mo steel increased abruptly in the initial 1,000 h of degradation, and then changed little due to the coarsening of carbide and precipitation of stable $M_6C$ carbide during isothermal degradation. The ultrasonic nonlinearity of copper increased with the fatigue cycles due to the evolution of dislocation cell substructure.

오키나와는 훼손된 여성의 신체를 통해 미국의 폭력적인 지배와 점유를 고발해 왔고 전후 오키나와 문학 역시 오키나와와 미국의 불균형한 위계 관계를 다각적으로 재현해 왔다. 이 글에서는 마타요시 에이키의 몇 몇 작품에 주목하여 전후 오키나와에 관한 젠더 표상의 양상을 확인하고 동시에 그것을 전복시키거나 그로부터 탈주하는 예외적인 장면을 분석하고자 했다. 구체적으로 말하자면 그의 작품에서 여성의 신체는 이분법적인 점령 체제를 대변하는 도구로 단순히 동원되기보다 민족적, 인종적, 계급적, 성적 측면에서 폭력적인 지배자의 의지가 관철되지 못하는, 혹은 관철될 수 없는 틈새를 보이고 있다. 물론 마타요시 에이키 소설에서 재현된 또 다른 젠더적 상상력이 미국의 군사력에 의해 식민화된 오키나와의 공고한 현실을 당장에 타개해 줄 것이라고 기대하는 것은 아니다. 어쩌면 그것은 오키나와에 자행되어 왔던 폭력의 경험과 착취의 구조를 더욱 분명하게 폭로함으로써 오키나와가 여전히 완벽하게 전시 체제에 머물러 있다는 사실을 재확인시킬지도 모른다. 그럼에도 불구하고 마타요시 에이키의 소설을 재독하는 이유는 기존의 젠더 질서의 틈새에서 보이는 낯선 징후들을 통해 현재의 오키나와와 미국의 관계에 균열을 일으키고 교란하는 데에 얼마간의 실마리를 제공하기 때문일 것이다.

Okinawa has accused violent domination and occupation of the US through damaged female bodies and post󰠏war Okinawa literature also reproduced unbalanced hierarchical relationship between Okinawa and US in multi󰠏faceted ways. The purpose of this study is to investigate the aspects of gender representations regarding post󰠏war Okinawa in several of Matayoshi Eiki's works and, at the same time, to analyze exceptional scenes of subverting or escaping from them. Specifically speaking, female bodies in his novels show crevices where a violent ruler's volitions cannot be accomplished in terms of national, racial, hierarchical and sexual perspectives rather than being mobilized as tools that represent dichotomous occupational system. Of course, we do not expect that still another gender imagination reproduced in Matayoshi Eiki's novels will eliminate firm reality of Okinawa colonized by the US military power. Perhaps they may reconfirm the fact that Okinawa still perfectly remains in war basis by revealing experiences of violence and structure of exploitation which has been practiced in Okinawa. Nevertheless, the reason to read Matayoshi Eiki's novels again is that they provide a certain degree of clues in causing rupture in and disturbing the current relationship between Okinawa and the US through strange signs shown in the crevice of existing gender order.

This paper examines a number of Korean artists--Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc--working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style’s cutting edge cache in Korea. While their turn to abstraction was outdated from New York’s critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists’ struggle while caught between a dualistic framework such as Korea/U.S, East/ West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art’s legacy imposed upon them over the course of Korea’s tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.

아베 고보가 말하는 ‘변경’은 토착성을 가진 농경문화 혹은 대지로 대표되는고유한 것이 붕괴된 장소로, 이동 성을 가진 도시적인 장소이다. 아베는 이를이단성으로 대변되는 유태인적인 특성에 비유하며 국경이나 국가 에 대한 의식마저도 붕괴되어야 한다고 말한다. 국경에 관한 의식이 없는 장소인 ‘내부의변경=도시’로 망명을 하는 것을 동시대의식으로 인식한다. 국경에 대한 의식을버리고 비국민이나 질서파괴자와 같은 이단자의 입 장을 취하는 것이 ‘내부의변경’의 핵심인 것이다. 『상자 인간』에서 주변 사람들에게 기피 대상이자 사회부적응자와 같은 성격을 가진 상자 인간은 아베가 말 하는 유태인적인 특수성을 함유하고 있다. ‘상자’ 의 반전하는 공간성은 새롭게 소생하는 도시의 힘을 암시한 다. 내적 망명을 의도하는 아베 고보의 작가 의식이 반영되어 있다고 할 수 있는 것이다. 그리고아베의 유태인 계나 망명 작가에 대한 인식은 역사로서의 식민지주의에 대한저항감과 정통성을 강요하는 국민-됨에 대한 위 화감에서 기인하고 있다. 패전이후 일본으로 송환된 ‘귀환자’의 처지에서 느꼈던 아베의 탈국가적 방법은내부 의 변경을 향한 망명이라는 대항적 형태로서 발현되고 있는 것이다. 이상으로 본고에서는 귀속을 거부하고 국가로부터 이탈해 가는 아베 고보의사상적, 문학적 세계를 규명해 보 았다. 그리고 그의 ‘불온’한 상상력을 통해상대화하고 있는 국가관을 ‘외지 귀환파’의 탈경계적 관점에서 확인 해 볼 수있었다.

Abe Kobo’s works seem to represent the escape from country or community by the abolition of nationality, or by the repetition of destruction and resuscitation. This tendency, that is included the idea on self-identity, makes one feel the heretical vision, which includes aspects of transnational personality and transcendental attitudes. Therefore, I have tried to analyze the organizational relationship between his boundary recognition and the description in this paper, focusing mainly on The Box Man which has seemed his model for expressing his image of closed and isolated space. As seen in the reputation for his confronting the Japanese nationalism, Abe perhaps acquired this tendency through the experience of denationalization in Manchuria. There are various aspects of a borderless character in Abe’s works, which transcend not only the borders of the state but also ethnic- cultural boundaries. His transnational personality is related to the Creole vision which he attained in Manchuria where he saw stateless area. Abe emphasized the recreated world by expressing the Creole reconstruction in his The Creole Soul and The Ideology of the Desert. In these essays, he talked about the heretical vision as the new global terms, denying the governmental structure and national identity.

安部公房が語る｢辺境｣とは、土着性を帯びる農耕文化あるいは大地として代表され る固有なものが崩壊された場所であり、移動性をもつ都市的な場所である。安部はこ れを異端性を代表するユダヤ人的な特性に準え、国境や国家に対する意識さえも崩壊 すべきであると語る。国境に関する意識が存在しない場所の｢内なる辺境＝都市｣に亡 命を試みるのを同時代意識として認識する。国境に対する意識を捨て、非国民や秩序 破壊者のような異端者の立場を取ることこそが｢内なる辺境｣の核心である。 『箱男』では、周りの人々から忌避対象であり、社会不適応者という性格をもつ箱男 が、安部が語るユダヤ人的な特殊性を内包している。｢箱｣の反転する空間性は新しく 蘇生する都市の力を暗示する。内的亡命を意図する安部公房の作家意識が反映してい ると言えよう。そして安部のユダヤ人系や亡命作家に対する認識は、歴史としての植 民地主義に対する抵抗感や正当性を強いる｢国民たる｣ことに対する違和感によるもの である。敗戦以降、日本に送還された｢引揚者｣の立場から感じた安部の脱国家的な方 法は内部の辺境を目指す亡命という対抗的な形として表れている。 以上のように本稿では、帰属を拒んで国家から離脱していく安部公房の思想的、文 学的世界を究明した。そして彼の｢不穏｣な想像力を通して相対化されている国家イ メージを｢外地引揚派｣の脱境界的な観点から確認することができる。

The purpose of this study cares to investigate effect of shoulder stabilization exercise at the pain control, function and range of motion of shoulder girdle after surgery of shoulder dislocation patients. The subjects were 30 patients who operated on capsulorrhaphy surgery of shoulder dislocation patients. They were assigned by random sampling to an experimental group (n = 15) to which stabilization exercise was applied and a control group (n = 15) to which ordinary physical treatment was applied. To evaluate the degree of pain prior to and after the treatment, a 100 mm visual analogue scale (VAS) was used. The Constant–Murley Scale (CMS) and simple shoulder test (SST) was used to determine the function and condition of the shoulder joints of the subjects. To determine the range of motion, a Dartfish program was used. The results of comparison of the therapeutic effect in the experimental and control groups revealed significant differences in active abduction, SST, and power component of the CMS. The results suggest that shoulder stabilization exercise positively affects pain alleviation and functional recovery in shoulder dislocation patients.

Dislocations are often found at Shallow Trench Isolation (STI) process after repeated thermal cycles. The residual stress after STI process often leads defect like dislocation by post STI thermo-mechanical stress. Thermo-mechanical stress induced by STI process is difficult to remove perfectly by plastic deformation at previous thermal cycles. Embedded flash memory process is very weak in terms of post STI thermo-mechanical stress, because it requires more oxidation steps than other devices. Therefore, dislocation-free flash process should be optimized.

이 논문은 강권적 인간화 작업이 여성과 남성, 어른과 아이, 동양과 서양 등의 이분법적 대립구도를 위계화 하는 폭력성을 드러내려한다. 인간이란 개념의 보편성이 은폐한 서구 남성 백인 어른 엘리트 중심의 편향성을 폭로함으로써 남근 질서에 편입된 주체화 과정의 종속성을 문제시하는 것이다. 인간화 작업을 탈자연화하기 위해선 리비도의 산발적 흐름들의 정상화를 비판해야 한다. 이는 리비도의 흐름을 단선화, 경색화하는 것으로 강제적 이성애를 곧 욕망의 규범으로 보는 것이다. 이러한 리비도적 흐름들을 강제적으로 단일화하는 것을 비판하기 위해선 고아적 리비도 개념을 창출해야 한다. 고아적 리비도란 어머니, 아버지, 아이라는 삼자적 관계에 의해 정형화되지 않는 생산적, 실천적 리비도를 가리킨다. 왜냐하면 고아적 리비도란 물려주고 전수해야 할 어떠한 얼굴 형상도 전제로 하고 있지 않기 때문이다. 여기서 얼굴이란 영토화된 표면, 언어 체계에 의해 고착화된 이름과 자리의 질서인 것이다. 이러한 관점에서 얼굴 뜯어내기, 즉 인간이란 형상의 탈구는 동일성의 논리 안에 일원화된 얼굴을 부착시키는 강권적 언어 질서에 비해 덜 폭력적인 것임을 드러낼 것이다. 이러한 얼굴 형상의 탈구는 산발적 리비도적 흐름들이 다양한 성적 실천들을 향한 실험성과 사건성을 띄어 다각화되는 것이라 하겠다. 바로 이러한 얼굴 형상의 탈구란 탈 인간화 작업이 새로운 주체화 과정 모색이라는 비판적 실천으로 이어지게 되는 것이다.

Cet article consiste a deceler la violence de l’humanisation forcee qui re side dans la structure binaire hierarchisee entre femme et homme, enfant et adulte, orient et occident etc. La notion de l’humain qui semble dotee de l’universalite totalisante, s’avere en fait impartiale du fait que l’ordre de l’humain est un ordre mettant en valeur l’homme, adulte, occidental , elite. En outre, la modalite de subjectivation, ancree sur la preeminence de l’ordre phallique, devrait e?tre l’objet de la critique radicale. La de naturalisation du processus de l’humanisation forcee necessite d’abord la mise en examen critique de la normalisation de la libido. Parce que la normalisation de la libido n’est qu’une rigidification des flux libidinaux, afin d’imposer comme norme l’heterosexualite obligatoire. En ce sens, il faudrait forger la libido orpheline qui est degagee de la structure hie rarchique de la famille entre mere, pere, enfant. La libido orpheline est un flux libidinal producteur et createur, du fait de la non supposition d’une forme predeterminee du visage fige a transmettre ou a perpetuer. La visageite qui est une surface codee, est un ordre de nom -position. Dans cette perspective, la dislocation de la visageite consiste a montrer la violence de l’humanisation forcee fondee sur la logique de l’identite. Parce que cette devisageisation est une proliferation des pratiques sexuelles diverses et multiples qui sont dotees de l’evenementialite inventive. Cette devisageisation qui est un processus de la de shumanisation, serait une modalite inedite de la subjectivite qui critique radicalement la modalite subjugante de la subjectivation.