• 정보관리학회지
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• 제32권1호
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• pp.227-243
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• 2015

본 논문의 목적은 논문초록의 일인칭 대명사 사용 실태에 대한 수량적 고찰이다. 총 9개국 (중국, 독일, 인도, 일본, 한국, 프랑스, 스페인, 영국, 미국)의 네 가지 분야 (화학, 컴퓨터 과학, 사회 과학, 의학)에서 약 144,400개의 논문을 출력하여 수량적 사용빈도수를 분석하고 검토하였다. 이러한 연구를 통해 세계적으로 학계의 저자들이 보여주는 일인칭 대명사의 수량적 활용도를 보고하였다. 더 나아가 이러한 결과는 논문초록에서 일인칭 대명사 사용을 기피하는 저자들의 입장과는 달리 일반적으로 흔하게 사용되는 실태를 보여주고 있다. 이 연구의 의미는 일인칭 대명사에 대한 사용을 수량적 사용도로 측정하여 고찰하였다는 점이다. 또한 이를 근거로 학자들이 초록을 작성할 때 일인칭 대명사 사용에 대한 의견을 개진하기 앞서 사용 실태를 우선적으로 인정해야 할 필요성을 제시해준다는 것이다.

• 영어영문학
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• 제57권2호
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• pp.191-215
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• 2011

This paper aims at investigating Dorothy Wordsworth's later conversation poetry, which has not been the focus of critical discussions on her literary works. While many critics have been emphasizing Dorothy Wordsworth's journals and the tendency of self-effacement in her prose, this paper argues that her later poetry often reveals acute self-consciousness about the circumstances that condition this self-annihilation and searches for a creative way to endorse her own identity. In "Lines Intended for My Niece's Album," she expresses anxiety and uncertainty about the inclusion of her poetic piece in Dora Wordsworth's album, which contains poems by prominent male writers of the contemporary period. "Irregular Verses" presents Dorothy Wordsworth's self-conscious narrative of her girlhood and shows how her own ambition to become a "Poet" has been stifled by external circumstances, including the ideology that instills the idea of proper womanhood into aspiring girls. While these poems examine contemporary gender discourse and the frustrated poethood resulting from it, other poems activate conversations with William Wordsworth's poems and thereby provide a revisionary re-writing of her brother's texts. For example, in "Lines Addressed to Joanna H." Dorothy Wordsworth becomes "a woman addressed who herself addresses others." Her scrupulous approach to her own addressee refuses to subordinate the other to the self's will, and through this revision of "Tintern Abbey," Dorothy Wordsworth vicariously liberates her own self confined in her brother's poems. "Thoughts on My Sick-Bed," which echoes "Tintern Abbey" through borrowed phrases and direct address to William Wordsworth, foregrounds her own poetic identity in the form of the first-person pronoun "I." Dorothy Wordsworth's continual illness during this period of her life paradoxically allows her the time for personal reflection formerly denied to her in her busy life constantly occupied by physical and spiritual labor for others. Instead of earning satisfaction from the subsumption of her creative energy under William Wordsworth's poetical endeavor, Dorothy Wordsworth finally starts to affirm her own poetic identity that can properly express her inner vision and artistic talent. Although this final affirmation remains largely incomplete due to her later mental collapse bordering on madness, it powerfully conveys the hidden literary aspiration of the formerly frustrated female poet.

• 영어영문학
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• 제55권1호
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• pp.177-198
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• 2009

How are we approach the fourteenth chapter of Ulysses known as 'The Oxen of the Sun' in this globalized age of hyper-theorization? My paper argues that examining the wide reverberations set off by Derrida's comment in "Ulysses Gramophone"-"Everything has already happened to us with Ulysses"-in relation to the central textual theme of cosmopolitanism may provide a reading that not only pays due respect to the critical legacy of the early structuralist interpretations but equally takes into account the political sensibilities of our time. The neologism 'chaosmopolitanism,'in fact, serves as that very critical measure designed to bridge the gap separating the long tradition of Western Eurocentric discourse on cosmopolitanism on the one hand and the geopolitical background conditioning its discursive possibility, namely, the chaotic condition of international colonialism on the other, whose exemplary, and exemplarily creative, fusion bears none other name than Ulysses. But the idea of chaosmopolitanism gains its conceptual leverage on yet another, no less pivotal register, for, just as with Derrida's first-person plural pronoun, the trope leads us to reflect on our own situatedness in the East Asian region in light of Joyce's unabashedly universalist vision, whose over-arching textual purview nonetheless leaves the space called the Far East in the singular position of virtual exclusion. What does it then mean to enjoy Joyce's "chaffering allincluding most farraginous chronicle" in light of our East Asian perspective? To this second question, my inquiry turns to the dual theme of enjoyment and debt as they are problematized by Stephen Dedalus' telegram to Mulligan, which reads, "the sentimentalist is he who would enjoy without incurring the immense debtorship for a thing done." Itself a quotation from George Meredith's novel The Ordeal of Richard Feverel, the transcribed message invites us to reconsider the scrupulous endeavor underwriting Joyce's signatory gusto, but at the same time forcing us to confront and reassess our own debt to the problematic heritage known as Western literature or, to borrow Derrida's expression, Abrahamic language.