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토드 필립스의 Joker에 나타난 저항적 폭력: 신자유주의 해체를 통한 해방적 가족의 창조
강형민(Kang, Hyeong-min) 한국현대영미드라마학회 2020 현대영미드라마 Vol.33 No.3
Todd Phillips’ Joker dramatizes how neoliberalism imposes the oppression, exploitation, inequality and polarization on individuals and society through a symbolic family relations. In the film, two symbolic father figures—Thomas Wayne and Murray Franklin—represent the politico-economic establishment and the cultural establishment of neoliberalist system respectively. As the members of the ruling and privileged class of neoliberalism, these father figures do not pay attention to the dire hardship of the protagonist, Arthur Fleck, who represents the poor working class. Rather, they not just blatantly consolidate their power and privilege but also make fun of the wretched class in neoliberalism. In addition, the protagonist’s mother, Penny Fleck, also persecutes the protagonist not just by her irresponsibility as a mother but by her political ignorance. Under these abject circumstances, the protagonist comes to an understanding that he can find a way to resist against the established order of neoliberalism through the use of violence. At first, he uses violence to save himself from the imminent violent threat. However, through the use of violence, he can find his independence and manhood for the first time. At last, by killing the oppressive figures—two symbolic fathers and his mother—he emerges as the symbolic figure of resistance against the exploitation and oppression of neoliberalism. And through his violent resistance, the protagonist creates and unites the emancipatory family of the wretched people of the society against neoliberalism. Finally, the film suggests that only the continuous resistance against neoliberalism can stop the neoliberalist oppression and exploitation and ultimately drive people to find an alternative for survival and coexistence beyond neoliberalism.
아야드 악타르의 Disgraced에 나타난 9/11 이후 강화된 반 무슬림적 인종주의에 맞선 탈식민적 무슬림 정체성의 구축에 대한 연구
강형민(Kang, Hyeong-min) 한국현대영미드라마학회 2017 현대영미드라마 Vol.30 No.3
Since the 9/11 attacks, in the U.S., Islamophobia and discriminating racialization against Muslims and Southwest Asians have been reinforced. Ayard Akhtar, a Pakistani American playwright, in his Pulitzer Prize winning play Digraced, studies the reinforced anti-Muslimist racialization after the 9/11 attacks in the U.S. In the play, the two Pakistani American male characters, Amir and Abe, have at first tried to assimilate themselves to the mainstream American society and culture in order to evade the prejudice and discrimination against them from the mainstream American people. However, rather than successfully incorporating themselves into the mainstream American society and culture, they have been forced to stay out of the mainstream American society and culture and to live as religious and racial other in the U.S. because of the reinforced Islamophobia and racialization against Muslims and Southwest Asians in the U.S. since the 9/11 attacks. Therefore, given the fact that their assimilationist efforts have eventually failed, the two Pakistani American characters begin to understand that their current hardships are connected to their own colonial history. Thus, they come to realize the fact that if they want to fight back they must construct their true post-colonial identity, and rediscover their own religious and cultural values as Muslims. Overall, the play could work as a warning to the on-going trend of Islamophobia and racializaion against Muslims and Southwest Asians in the U.S.
Violence Enacted to Sever from the Colonial Past
Kang, Hyeong-min(강형민) 한국현대영미드라마학회 2018 현대영미드라마 Vol.31 No.1
The revolutionary philosopher, Frantz Fanon, has appealed to the African Americans since the 1960s with his emphasis on racial issues during their pursuit of liberation from colonization and Third World conditions. Most notably, Fanon’s advocacy of violence in the revolutionary process of decolonization has inspired black radicals and bolstered the inevitable use of violence in their fight against white America. Lorraine Hansberry was aware of the limits of non-violent resistance in the Civil Rights Movement led by the black middle class: her play, Les Blancs, supports the use of violence by connecting the historical realities in Africa of the late 1950s and early 1960s with those of her contemporary African Americans. Les Blancs successfully explores Fanonian themes of racial conflicts, exploitation of the oppressed, and pro-violence liberation movements that occur as a result of ensuing interpersonal (i.e., intraracial and interracial) and intrapersonal conflict. These turbulent confrontations and conflicts, whether external or internal, manifest in the play’s protagonist, Tshembe Matoseh, and his tribesmen in their struggle to liberate their people from the oppressive whites. Hansberry juxtaposes the position of her characters to demarcate the binaries of “white” versus “black” and “good” versus “evil.” Although the protagonist eventually uses violence to sever all ties with his colonial past in his tribe’s uprising against the colonialists, his character is presented in the inceptive stages of true revolutionary violence.
연속적 폭굉속도 측정 시스템을 이용한 테르밋 반응 혼합물의 연소전파속도 측정에 관한 연구
김민성 ( Min Seong Kim ),강형민 ( Hyeong Min Kang ),정상선 ( Sang Sun Jeong ),정윤영 ( Yun Yeong Jeong ),박훈 ( Hoon Park ),조상호 ( Sang Ho Cho ) 대한화약발파공학회 2015 화약발파 Vol.33 No.3
본 연구의 목적은 연속적 폭굉속도(VOD) 측정시스템을 이용하여 상용 테르밋 반응 혼합제의 연속적인 연소전파거동을 측정하기 위한 방법을 제안하기 위함이다. 두 종류의 상용 VOD 센서(VOD PROBEROD-OS, VOD PROBEROD-HS)와 자체개발한 VOD 센서(VOD PROBEROD-ES)를 기존 연속적 VOD 측정시스템에 적용하여 테르밋 반응과정에서 발생하는 연소전파속도(VOC)를 측정한 결과, 자체 개발한 VOD PROBEROD-ES 센서만 정상적인 연속적 연소전파거동을 보여주었다. 결과적으로, 철재튜브 내 장전된 테르밋 반응 혼합제는 기폭점으로부터 100mm 이내에서 약 200m/s의 연소전파속도를 보였으며, 100mm와 300mm 구간에서 급작스럽게 증가하여 음속의 2배에 가까운 VOC를 나타내었다. 그 이후 서서히 증가하여 최종적으로 800m/s까지 증가하는 경향을 보였다. 이러한 결과는 테르밋 반응 혼합제를 이용하여 정상적인 VOC나 위력을 기대하기 위해서는 철재 튜브 등으로 완전히 구속된 상태에 길이 300mm 이상 장전하여야 함을 의미한다. The objective of this study is to develop a method for monitoring continuously the combustion propagation behavior of commercial thermite reaction mixtures using conventional continuous VOD (velocity of detonation) system. In order to monitor the combustion front propagation with elapsed time during thermite reaction, the VOD system employs two types of commercial VOD probes and one self-made probe: VOD PROBEROD-OS, VOD PROBEROD-HS and VOD PROBEROD-ES, respectively. Among the probes, the only self made VOD PROBEROD-ES successfully demonstrates the velocity of combustion propagation (VOC) with elapsed time. It was found that VOC of the thermite reaction mixture inside a steel tube has been reached around 200m/s within 100mm distance from the ignition and dramatically increased up to about twice the speed of sound in the range between 100mm and 300mm distance. Finally the VOC reached up to around 800m/s. This results imply that it is necessary to use over 300mm long cartridge of thermite reaction mixture in order to achieve normal VOC of the mixture.