• 영어영문학
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• 제58권6호
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• pp.1119-1142
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• 2012

This article examines how Cuban-American writer Cristina García interweaves all possible experiences of Cubans through Dreaming in Cuban in terms of Bakhtin's concepts of heteroglosssia, hybridization, and the chronotope. In so doing, it reaffirms the applicability of these concepts as tools for interpreting speech genres while reevaluating and reexamining the novel in terms of Bakhtinian narratology. García identifies a sociopolitical cacophony in both America and Cuba from an open-minded perspective, striving to maintain a balance between them despite undesirable experiences with her patriotic mother and individuals in the Miami community where she worked as a journalist. In practice, she projects sociopolitical ideas onto her heroines' depictions, representing their consciousnesses in a process of interaction with others. In particular, García allows her three generations of heroines, Celia del Pino, her daughters Lourdes and Felicia, and her granddaughter Pilar Puente to live as staunchly political figures. In this way, García creates a unique novelistic situation by opposing or juxtaposing all aspects of her heroines and pitting them in a dynamic interaction with their environments. As they repeatedly tease, contradict, refute, and do battle with each other, her heroines expose various problems with the sociopolitical ideologies in both the Cuban and American contexts. García succeeds in her attempt by introducing Bakhtin's model of the "becoming" hero and depicting her heroines in dynamic interaction without her own interference. In particular, the devouring inner monologues of Pilar and her Cuban aunt Felicia are presented as the products of their extraordinarily developed self-consciousnesses, through which García attempts a multilateral approach of showing, rather than telling, her heroines' interactive inner worlds as well as introducing sociopolitical contexts. Generic factors such as epistles, diary entries, and ads copy are hybridized into Celia's and Lourdes' stories, serving the heroines' interactive contexts while filling in the many narrative gaps that result from the approach to Cuban and American history. The Bakhtinian perspective permits the interpretation that this generic hybridization enables García to cover narrative gaps resulting from the expansion of chronotopes.

• 영어영문학
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• 제57권6호
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• pp.1089-1109
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• 2011

In an attempt to demonstrate in context of Nietzsche's "overman" (ubermensch) and Heidegger's "Being-in-the-World" (Dasein) the collective human efforts to overcome humanism in crisis, I will provide the ground for the poetics of overcoming, the ground which are based upon the double movements of transhumanism and transnationalism. For this purpose, I will turn to the theories of two distinctive poets who reveal and disreveal their truths about the subjecthood or the subjectivity in terms of overcoming: Christopher Dewdney for posthuman transhumanity and Dionisio D. Martinez for transnational cultural contamination Transhumanism represented by Christopher Dewdney manifests an interfusion of outside and inside, thereby collapsing the boundary between the mind and the world, and provides a breakthrough from the limitedly defined mind to the transhuman perspective of overcoming by using terminalogy and techniques from science and technology. The emerging transhumanism reflects the growing interdependence between humans and bio technologies, and suggests a potential improvement of human beings. The main argument of transhumanism is that we humans can and should continue to develop in all possible directions, by overcoming our human limitations by shedding the body and having the disembodied consciousness which will liberate our mind. Kwame Anthony Appiah's "cultural contamination" is another form of overcoming as well as a way to otherness, a counter-ideal of cultural purity which sustains authentic culture, reversing the traditional binary opposition between enriching authenticity and threatening hybridization. Dionisio Martinez's poetry sublimates the negative side of Appiah's concept of contamination, by redeeming the value of the Appiah's list of the ideal of contamination such as hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, a bit of this and a bit of that is how newness enters the world. When a poetic subject is doubly exiled and doubly homeless away from his/her native homeland and home of native language, one has no more identification with the authentic culture of both home and away, but rather anticipates a new identity as a transnational subject to cross the bridge beyond cultural authenticity and to enter into the field of cultural contamination.

• Asian Pacific Journal of Cancer Prevention
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• 제13권9호
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• pp.4745-4749
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• 2012

The diagnosis of malignant mesothelioma (MM) remains a clinical challenge and the fluorescence in situ hybridization (FISH) assay has been reported to be one promising tool. The present meta-analysis aimed to establish the overall diagnostic accuracy of FISH for diagnosing MM. After a systematic review of English language studies, the sensitivity, specificity and other measures of accuracy of FISH in the diagnosis of MM were pooled using random-effects models. Summary receiver operating characteristic curves were applied to summarize overall test performance. Nine studies met our inclusion criteria, the pooled sensitivity and specificity for FISH for diagnosing MM being 0.72 (95% CI 0.67-0.76) and 1.00 (95% CI 0.98-1.00), respectively. The positive likelihood ratio was 34.5 (95% CI 14.5-82.10), the negative likelihood ratio was 0.24 (95% CI 0.16-0.36), and the diagnostic odds ratio was 204.9 (95% CI 76.8-546.6), the area under the curve being 0.99. Our data suggest that the FISH assay is likely to be a useful diagnostic tool for confirming MM. However, considering the limited studies and patients included, further large scale studies are needed to confirm these findings.

• 영미문화
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• 제14권2호
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• pp.159-183
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• 2014

This thesis aims to explore another possibility of comparative literature in the light of translation. Comparative literature has been criticized for its Eurocentrism to attempt to assimilate all differences from other cultures and national literatures into the frame of the Western. On the other hand, it has been haunted by the anxiety of "unhomliness", which means it doesn't have a stable and definable terrain as an independent disciplinary. However, it can offer the possibility to overcome its limitation and thematize in- betweenness of diverse terrains due to its fluid and ambiguous position and identity of discipline. When it deals with the issue of in-betweenness, 'the Untranslatable' can be an helpful apparatus to analyze comparative literature through translation theories. Along with the recent change in the study of comparative literature under the influence of transnationalism and hybridization, the role of translation which has been disregarded for a long time is being reevaluated. Translation functions to transfer literary works beyond boundaries of languages, whereas it visualizes incommensurable differences through the failure of finding ultimate equivalences between languages and arriving at one single meaning. The existence of the untranslatable suggests that the attempt to totalize differences is unfeasible, thereby makes comparison unending. Salman Rushdie's Shalimar the Clown can be an appropriate instance that the untranslatable was used as a literary technique to show unreducible alterity of non-Western language and culture.

• 한국엔터테인먼트산업학회논문지
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• 제13권8호
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• pp.267-280
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• 2019

K-Pop은 세계 각지로부터 유입된 다양한 음악적 요소의 창조적 혼합과 절충을 시도함으로써 한류 콘텐츠의 일부에서 한류의 주역으로 확장되었다. K-Pop의 혼종적인 모습은 음악 장르뿐 아니라 K-Pop 노랫말의 언어선택과 발음법에서도 나타난다. K-Pop 음악 속 노랫말 발음의 혼종 현상, 즉, 노랫말의 딕션 퓨전 현상은 해외 진출을 위한 전략적 방안이 아니라 한국 대중음악사적 흐름 속에서 자연스럽게 형성된 것이다. 1992년 서태지와 아이들의 등장으로 대중음악의 흐름이 발라드에서 댄스음악으로 전환·정착되고, 3년 뒤 힙합 댄스음악인 'Come Back Home'의 성공으로 힙합음악의 잠재적 경쟁력을 확인한 재미교포들의 한국 대중음악시장 진출은 현재 K-Pop 노랫말의 이중언어 사용과 한국어 노랫말의 딕션 퓨전 현상의 기원이 됨을 주장한다. 따라서 논자는 90년대 후반, 재미교포 출신 힙합가수들의 노랫말 속 이중언어 발음체계를 파악하기 위해 한국어와 영어의 발음체계를 알아보고, 재미교포들의 서투른 한국어 노랫말 딕션이 지속적으로 허용 되고, 활용될 수 있었던 요인을 한국어 발음체계를 통해 밝히고자 한다. 또한 K-Pop에서 나타나는 한국어 노랫말의 영어식 딕션법을 90년대 후반의 재미교포 출신 힙합가수들의 한국어 노랫말 딕션법과 비교함으로써 이 둘의 연관성을 밝히고자 한다. 이 연구는 K-Pop 한국어 노랫말에서 나타나는 딕션 퓨전 현상의 요인을 한국 대중음악사적 흐름 속에서 밝히고, 90년대 이중언어 사용자의 노랫말 딕션 비교를 통하여 규명하였다는 점에서 의의가 있으며, 신한류의 지속화를 위해 K-Pop 노랫말의 딕션에 대한 연구가 여러 분야에 걸쳐 이루어지기를 바란다.

• 한국조경학회지
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• 제36권6호
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• pp.1-11
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• 2009

본 연구는 현대조경의 추상유형에 관한 연구로서 현대조경의 탈장르적 경향과 건축, 조경, 예술 장르간의 하이브리드화에 의해 현대조경의 형태나 예술성은 과거의 픽쳐레스크식의 조경이 표현할 수 없었던 많은 부분들을 표현해 내고 있다. 이러한 영향으로 인해 현대의 조경은 한편의 거대한 추상예술을 보는 듯하고, 그 난해함은 정도를 더하고 있어 일반대중들 뿐만 아니라 전문 조경가들조차도 추상적 현대조경에 대한 해석이 분분하고 정확한 이해나 해석에 어려움을 토로하고 있어 현대조경의 추상성에 대한 연구가 제기되고 있다. 이에 본 연구는 조경, 건축, 미술 등 여러 다양한 예술분야에서 예술의 창작원리로 작용되어온 '추상성'에 대해 근본적인 탐구를 하여 추상에 대한 이론정립, 추상성 변천과정, 추상성의 현대적 의미를 파악하여, 조경학적 시각으로 각 예술분야와의 연계성을 밝히고 현대조경작가와 작품에서 표현되어 나타나는 추상형태, 추상언어, 추상특징을 추출해봄으로써 현대추상조경의 진리를 파악하고자 하였다. 본 연구를 통하여 현대조경의 추상유형은 다음과 같이 세 가지로 구분할 수 있다. $\cdot$연역적 추상조경(inductive abstract)은 논리적 과정에 의하지 않고 직관적이고 선험적인 정신성, 그리고 초월적 관념 표상을 의미하며 예술가의 내면의 세계 즉, 다시 말해서 외부 대상이 없이 예술가 자신의 관념이나 마음 속을 그리고자 하여 대상의 재현이 아닌 작가 내면의 표현 또는 표출되는 것이다. $\cdot$귀납적 추상조경(deductive abstract)은 전통적 사실주의에 입각하여 대상을 객관적 사실에 대해 지적이고 논리적인 사상(捨象)의 과정을 거쳐서 대상을 단순화하거나 왜곡, 과장, 확대된 논리적 조형성을 표현한다. $\cdot$복합적 추상조경(complex abstract)은 연역적 추상조경과 귀납적 추상조경이 복합적으로 나타난다. 이상으로 살펴본 바와 같이 현대조경의 추상유형에 관한 연구는 추상조경작품에 대한 가치를 재평가하는 계기가 될 수 있고 현대의 추상조경작품에 대한 이해를 높이며, 미래의 조경에 더욱 긍정적으로 작용할 것이다. 따라서 보다 심도 있는 연구와 이의 근본이 되는 추상성에 대한 연구는 앞으로도 지속되어야 한다.