미국희곡의 한국이식과정에 관한 연구

신정옥 한국연극학회 1985 한국연극학 Vol.2 No.1

잠을 팔은 Macbeth

申定玉 이화여자대학교 대학원 1956 硏究論叢 Vol.1 No.-

柳致眞에게 미친 愛蘭劇의 影響 : 韓國 近代劇에 미친 歐美劇의 影響에 관한 硏究 其Ⅰ Study of Euro-American Theater's Influence on Modern Korean Theater(Ⅰ)

申定玉 명지대학교 1976 明大論文集 Vol.9 No.-

The theatrical arts of Korea are largely divided into two categories. One is traditional theater and the other modern theater. While traditional theater was spontaneously produced and developed under the influence of Chinese drama, modern theater was introduced by way of Japan and developed under the influence of Western and Japanese theaters. The modern theater of Korea was developed in the early years of the present century when the country opened its doors to the Western world after many centuries as a "Hermit Kingdom." It is also divided into two categories-the Shin Pa drama developed in 1911 and the new drama in 1920. The Shin Pa drama was but an imitation of the Japanese Shin Pa drama, but the new drama was under strong influence of the realistic drama developed by Andre Antoine and Henrik Ibsen in Europe during the latter half of the 19th century, which drama found its way to Korea through Japan at the time. It was Hyun Chul and Kim Wu-jin who first brought Western realistic drama to Korea in the new drama movement of the 1920's aimed at proper development in the country of theatrical art after the European drama of the late 19th and early 20th centuries, rejecting the Shin Pa drama which was but a copy of the low-grade melodrama of the Japanese Shin Pa drama. Yoo Chi-jin, alias Tongnang, opened up this new drama movement and he himself presented dramas in an effort to develop realistic drama in the 1930's. Yoo Chi-jin was under stronger influence of Irish theater than anybody else at the time. Especially the theatrical ideas and techniques of John Millington Synge and Sean O'Casey had a great influence on his early works. Yoo said that he learned the idea and technique of drama from these two great Irish Playwrights. He was influenced by Synge's plot formation and nihilism, as we can see in his works, such as "A Donkey" and "A Cave." From O'Casey he learned theatrical techniques and the way of presenting characters. But it is Yoo's originality that his characters are not resistant. Because Yoo attempted to present the life of his time in a condensed form of social realities at the time, his characters had no power to resist the outside pressure. As a result, unlike the strongly resistant characters of O'Casey, Yoo's characters are fragile and passive. This appears to have resulted from his weak personality as an artist, not from social situation and morality of the time. While O'Casey pursued what may be resistant realism, Yoo failed to have a keen sense of historical situation, while attempting to introduce the realistic drama of Europe mechanically and graphically to the country. Accordingly, he simply represented realities mechanically and graphically in his works. So it can be said that he was more influenced by O'Casey's style of drama than his idea of drama. In conclusion, Yoo Chi-jin was influenced by Synge and O'Casey of Ireland, a country which had a historical situation similar to that of Korea in Yoo's days. But he was unable to present the realities of his days elaborately on the stage, unlike Synge and O'Casey. So his works had the seed of realism but he failed to let this seed develop into flowers in his works. This is the first part of a study of the influence of Euro-American theaters on the modern theater of Korea.

英國劇의 韓國移植過程에 관한 硏究 : 韓國近代劇에 미친 毆美劇의 影響에 관한 硏究 其 7 The Influence of Western Drama Upon Modern Korean Drama(7)

申定玉 명지대학교 1985 明大論文集 Vol.16 No.-

It seems that the modern theatrical history of Korea is closely connected with the process of inducting Western drama, which, since its introduction into Korea in the 1920's has had a powerful influence upon domestic stage and played a significant part for its further originative development. However, it is scarecely an exaggeration to say that Western drama was indiscriminately received by way of Japan in terms of its literary thoughts and trends. It is therefore that the-then dramatic tendency in Korea chiefly hinged upon foreign theatrical influences mainly from Japan. In its initial stage, the induction of Western drama appears to reflect the sociocultural background of the times when Korean people were under Japanese colonial rule. In this respect, it is only natural that the protest-minded western playwrights and their plays were popular among Korean dramatic circles. This paper aims to trace how British drama was transferred to Korea and what influence it had on the Korean theatre as well as its audience. Since the induction of shakespeare was already examined in this journal as a separate thesis, this paper places its focus on modern British dramatists and their works. In chapter Ⅱ. the induction of British drama in the first half of the 20th century was discussed in the light of its performance on stage. In Chapter Ⅲ. the translation of British drama and criticism is dealt with. In Chapter Ⅳ. the study on the British drama is examined, which falls into two phases----the simple introduction and the full-scale study. A variety of data available for this study elicits following conclusions. 1. At the enlightenment period some eminent British playwrights were introduced with the famous epigrams from their works. In 1923, G.B.Shaw's one-act play How he Lied to Her Hushand was put on the stage by Towol-hoe, a student troupe. 2. Since then, professional dramatic companies represented several British plays which later took on among student troupes. In the 1920's, however, only G.B.shaw's play were staged with other British dramatists almost absolutely neglected. 3. In the 1930's other British plays including Galsworthy's Justice were played on stage with the advent of full-scale, professional dramatic companies such as 'Keug-yesul-yonku-hoe' (Drama Research Society). This implies that British drama was actively staged in the 1930's, thus having a profound influence upon the domestic stage. 4. It is noteworthy that the British plays performed were selected to express national sentiments, an shown in Shaw's Saint Joan and Galsworth's Justice. It was by no means an accident that Shaw's plays of social reform had a strong appeal to the Korean dramatic circles. 5. In the 1940's British plays were hardly represented with a few exceptions by the student troupes. 6. British plays began to be translated from the 1920's when Oscar Wilde's Salome and Shaw's How He Lied to her Husband in translation were carried in such literary megazines as 'Kaebyuk' and "Hae-oe-munhak', The translation was most active in the 1930's, but the complete version of British drama was out of the question due to the lack of British drama experts along with the poor conditions of publishing industry. It was also true immediately after the Liberation in 1945. 7. Viewed in this context, the induction of British drama was carried out in a superficial and limited manner. But the introduction of British plays through numerous critical essays was relatively active even in the 1920's. Woo-jin Kim who studied English Literature in Japan announced various critical essays on the modern British dramatists with specific consideration given to G.B.Shaw. 8.G.B.Shaw and Galsworthy, both Nobel Prize winners in the late 1920's and early 1930's respectively drew particular attention from Korean critics. 9. Among the critics who introduced British playwrights and their plays in the 1920's and 30's were In-sup Chung, Jin-sup Kim and Kwang-sup Kim. All of them studied English or German Literature in Japan. 10. In the 1940's the study on British drama was also on the decline as Japanes militarists were in severe confrontation with English-speaking nations in its lastditch fight. The study on the English Literature was an obvious but covert taboo. 11. As the 1950's sets in, universities and colleges installed the English Literature Department and naturally offered English Drama course. The academic thesis on G.B.Shaw, Galsworthy and T.S.Eliot, though small in number, began to come out with matured quality. It is true that British drama, as mentioned above, was inducted in a superficial and limited manner despite seemingly active import of British art and culture. However, it is beyond doubt that it has ahd a profound influence upon the development of modern Korean drama.

新劇 初期에 있어서의 리얼리즘劇의 移植(Ⅰ) : 1920,30年代의 입센 受容을 中心으로

申定玉 명지대학교 1979 明大論文集 Vol.12 No.-

근시교정을 위한 엑시머 레이저 수술의 九學的 해석

신정옥 인제대학교 1994 仁濟論叢 Vol.10 No.2

본 연구에서는 유한요소법을 이용하여 근시 교정을 위한 엑시머 레이저 수술의 역학적 모델을 제시하였다. 엑시머 레이저 수술에는 여러가지 복합적인 요소가 상호 작용하여 그 결과에 영향을 미치고 있으나, 본 연구에서는 역학적인 요소를 선택하여 그것들이 수술의 결과에 미치는 영향을 분석하고자 하였다. 유한 요소해석에 우선되는 중요한 요소는 대상체의 물성치인데, 각막의 물성적 성질은 인체 내의 다른 soft tissue들과 마찬가지로 비선형의 성질을 가지고 있다. 따라서 본 연구에서는 비선형의 성질을 사용하였다. 그 외의 역학적 요소로서는 수술의 면적, 안압, 수술의 깊이, 수술전 각막의 두께, 등을 생각할 수 있다. 따라서 각 역학적 요소의 변화에 따른 근시의 교정 정도를 고찰하였다. 연구 결과는 임상 결과와 정성적인 일치를 보였으며, 상달부분 정량적으로도 일치를 보였다. 따라서 본 연구에서는 유한 요소의 인상에 대한 적용 가능성을 입증 할 수가 있었다. 근시 혹은 난시의 교정을 위한 각막굴절 수술의 원리를 역학적 견지에서 고찰해 보면 각막의 형상을 변형시켜서 안구가 원하는 만큼의 빛을 굴절 시킬 수 있도록 하는 것이다. 따라서 굴절수술에서 빛의 굴절에 관여하는 요소들을 추출하여 각 요소의 변화에 따른 수술의 결과를 분석하는 것은 지난 수 십년간 축적된 임상결과를 보다 체계적으로 분류, 정리할 수가 있음은 물론이고 앞으로의 수술에도 보다 과학적인 방법을 제시할 수가 있음을 뜻하게 된다. 각막굴절 수술에는 여러가지가 있으나 현재 보편화되어 있는 것으로는 방사상 각막 절제술과 엑시머 레이저 각막 연마술이 있다. 본 연구에서는 국내외적으로 그 간편성과 효과면에서 그 효용도를 인정 받고 있는 엑시머 레이저 수술에 관여되는 여러 역학적 요소들이 수술의 전과에 미치는 영향을 분석하고 이에 따른 역학적 모델 설정의 가능성을 제시하는 데 그 주안점을 두었다. 만족스러운 수술 결과를 위해서는 이에 관여되는 여러가지의 복잡한 인자들이 조화롭게 상호작용하여야 한다. 여러가지의 인자를 분류해 보면, 생리학적 인자, 역학적 인자, 그리고 시술자의 숙련도, 등을 들 수있다. 역학적 인자로는 각막의 물리적 성질, 수술 부위의 크기와 깊이, 안압, 수술전의 각막의 두께와 형상, 등을 들 수가 있다. 전술한 바와 같이 본 연구에서는 이들의 변화에 따른 수술후 각막의 변형된 형상을 고찰하여 빛의 굴절 변화를 예측하였다. 여러가지 인자의 변화에 따른 각막의 변형은 경우의 수가 많고, 더구나 각막의 복잡한 물성치, 기하학적 형상을 모두 고려하여 하나의 수식으로 표현하기란 수학적으로는 불가능하다. 따라서 본 논문에서는 수치해석의 일종인 유한 요소법을 이용하였다. 유한요소법은 그 용어가 설명하는 바, 해석하고자 하는 물체를 유한개의 작은 요소로 분할하여, 각 요소에서의 변형 현상을 물체의 기본 성질과 처해진 환경(구속 조건)에 의거하여 해석함으로써, 긍극적으로 대상체 전체의 변화를 고찰하는 것이다. 이 방법은 공학 분야에서는 수십 년간 널리 사용되어 왔고, 이미 그 효용도와 정확성이 입증되고 있다. 대표적인 유한 요소법의 장점은 어떤 물체 고유의 물리적 성질이 확인되면, 해석하고자 하는 대상체의 형상과 외부 환경의 변화에 관계없이 해석이 가능하다는 것이다. This study proposed a mechanical model of the excimer laser photorefractive keratectomy(PRK) for myopia patients using finite element method. The outcomes of the surgery depends on many factors, which are also dependent on each other. In this study, same mechanical factors are selected and the effects of the selelcted factors on the surgical results were analyzed. One of the important factors in the finite element analysis is the mechanical properties of the object. The representative characteristic of the human cornea is that it shows highly nonlinear property in the stress-strain relationship like most soft tissues in the human body. Therefore, the nonliear property was adopted in this study. Other important mechanical properties which affect the outcomes of the surgery are : a preoperative thickness, intraocular pressure, diameter of ablation zone and the depth of ablation. With various changes of those mechanical factors, the outcomes of the surgery were predicted using the finite element method. The results show the qualitative agreement with clinical outcomes also promising agreement quantitatively. Therefore, this study shows a potential of the finite element method in clinical application of excimer laser PRK. Key Words : Finite Element Method. Mechanical Model, Mechanical Properties Department of Medical Engineering, Inje University

東西近代劇에 나타난 女人像

신정옥 명지대학교 인문과학연구소 1994 인문과학연구논총 Vol.12 No.-

셰익스피어의 韓國移植過程에 관한 硏究(上) : 韓國近代劇에 미친 歐美劇의 影響에 관한 硏究 基 4

申定玉 명지대학교 1983 明大論文集 Vol.14 No.-

中南歐演劇의 韓國受容에 관한 硏究 : 韓國近代劇에 미친 歐美劇의 影響에 관한 硏究(14)

申定玉 명지대학교 인문과학연구소 1994 인문과학연구논총 Vol.11 No.-

愛蘭劇의 韓國移植過程에 관한 硏究 : 韓國近代劇에 미친 歐美劇의 影響에 관한 硏究 其 5

申定玉 명지대학교 1984 明大論文集 Vol.15 No.-