저온 공정의 Si을 이용한 PI 배향 막의 전기광학 특성 향상에 대한 연구

김대현,Kim, Dai-Hyun 한국전기전자재료학회 2013 전기전자재료학회논문지 Vol.26 No.9

Apart from the deposition of alignment layer, alignment process needs to be involved for alignment of liquid crystal (LC) molecules. To simplify manufacturing process, several method were used such as rubbing, ion-beam irradiation, UV irradiation, and lithography. But, eventually it needs another treatment for LC alignment. Here, we suggested Si induced polyimide (PI) alignment layer at low temperature. Using this method, we are able to eliminate the alignment process and found that the alignment and electro-optic performance are much better than that of the rubbed PI LC cells. Compared to the rubbed PI cells, the response time was decreased by 70% and C-V characteristics have hysteresis-free.

용액 공정 기반의 다중 적층된 HfO₂ 박막 상에서의 액정 배향

김대현,Kim, Dai-Hyun 한국전기전자재료학회 2013 전기전자재료학회논문지 Vol.26 No.11

Effect of multi-stacked layer (MSL), 0.1 mol (M) and 0.3 mol (M) hafnium oxide ($HfO_2$) alignment layers were fabricated via a solution-process for LCs orientation. The solutions were spin-coated and annealed in a furnace. MSL consists of three sub-layers using 0.1 M solution, mono-layer (ML) is composed of 0.3 M $HfO_2$ solution. Then ion-beam irradiation was treated with 1.8 keV for 2 min. $HfO_2$-based LC cells were investigated through photographs, pre-tilt angle using crystal rotation method, X-ray photoelectron spectroscopy (XPS) measurement, and surface roughness using atomic force microscopy(AFM) for their characteristic research. Good LC orientation characteristics were observed on MSL $HfO_2$ surface. The LC alignment mechanism on MSL $HfO_2$ and ML $HfO_2$ surfaces was attributed to van der Waals (VDW) interaction between the LC molecular and substrate surface.

그라핀 양자점을 도핑한 TN 셀의 고속 스위칭 특성

김대현,Kim, Dai-Hyun 한국전기전자재료학회 2014 전기전자재료학회논문지 Vol.27 No.2

In this study, we report the doping effect of graphene quantum dots (QDs) in nematic liquid crystal (NLC) system on rubbed polyimide (PI) surface. The good LC alignment and high thermal stability in QD-LC cell system on rubbed PI surfaces can be measured. Also, the low threshold voltage of QD-TN cell was observed about 2.77 V. The fast response time of 13.2 ms for QD-TN cell can be achieved. Finally, the good voltage holding ratio of QD-TN cell on rubbed PI surface was measured.

스타니슬랍스키 연구사 -국내 스타니슬랍스키 수용,번역,연구의 제 문제를 중심으로-

김대현 ( Dai Hyun Kim ) 한국연극학회 2010 한국연극학 Vol.0 No.40

Konstantin S. Stanislawski(1863-1938) is one of the great acting-teachers and directors. Especially his `System` influences this day like his period so many actors and directors in the world. In Korea, Stanislawski was introduced at first in 1920`s by Kim, Woojin, dramatist. After that time, his system was influenced fast everyone in the korean drama world. As a result, so many translations of his books and researches of his system are done until nowadays, but it is not perfect for the correct understanding of Stanislawski and his system. It seems to be several causes in this misunderstanding. And the purpose of this thesis is at first to observe historically the results of researches and translations on Stanislawski and his system in Korea and then to bring it in order according to characteristics. In this thesis are the process of reception observed dividing 4 periods. The first period is from the beginning to the liberation in 1945. The second is to 1980`s and the next is to the year 2000. And the final period is from that time to the present time. As a result are several characteristics found as followings: 1) translations of Stanislawski`s first book like other books, for example, Building a Character and Creating a Role, an Actor Prepares, are fast all secondhand translations, that means, man translated it not from russian direct but japanese or english. It caused man to misusing of terms and then misunderstanding on the system. 2) the researches on Stanislawski in are fast all concentrated on the book, an Actor Prepares, so this leads man to regard it as his whole acting system. On the other hand, thesisses which deal with his last and final acting technique, "the Method of the physical Action" are relatively not so much. As though man knows the last, man used to think that the system is developed systematically from the psychological technique to the physical action or the method of the physical action is only the way to understand of stanislawski`s acting method. The psychological method and the physical are not the divided, different acting technique, but pairs which are applied to different objects, that is, the actor himself and the role in texts. 3) the political aspects are not considered especially under the situation of Stalin`s social realism. This lack of the political context having relation with the system acts as a obstacle upon understanding the correct, whole his system. But so many thesises on this theme in other countries are so vivacious. For example, man can find subjects like "Stanislawski and Meyerhold", "means of Stanislawski`s method for theatres in the social context". There are also many interesting Questions related to the physical action. That is, is the physical action the final acting technique or the materialistic dialectical device to survive under the Stalin`s rule? Is there some interrelations between stanislawski`s physical action and Meyerhold`s biomechanics? In conclusion, the researches on Stanislwski and his system are not enough to understand correctly and overcome the system. We have to start the research again at least from the direct translation his books written russian in order to apply it in a new times.

장면연출의 시간과 공간의 조성 : 장면연출의 지향점과 리듬을 중심으로 Focused on the Rhythm and Goal of Scene-directing

김대현 ( Dai Hyun Kim ) 한국연극학회 2007 한국연극학 Vol.0 No.32

연극교육의 또 다른 지향점

김대현 ( Dai Hyun Kim ) 한국연극교육학회 2007 연극교육연구 Vol.13 No.-

배역창조와 "-되기" 그리고 "자감(自感)"

김대현 ( Dai Hyun Kim ) 한국연극교육학회 2008 연극교육연구 Vol.14 No.-

배우의 배역 창조에 있어서의 "행동"에 관한 연구 (4) -배우의 행동과 자의식을 중심으로-

김대현 ( Dai Hyun Kim ) 한국연극교육학회 2006 연극교육연구 Vol.12 No.-

논문 : 장면 연출과 행위 현장 -장면 연출의 추상성과 시뮬라시옹을 중심으로-

김대현 ( Dai Hyun Kim ) 한국연극교육학회 2013 연극교육연구 Vol.22 No.-

The goal of scene-directing is to represent a thing as it seems to be real. Because of this goal, the work of director is focused almost on the visualization. But some elements causes some changes in the function of the modern scene-directing. That is first of all the change of goal in the scene-directing. After the abandonment of a realistic representation have the director to choose owns methods in the scene-directing, that is, one between abstract or simulate a thing. The word ``abstraction`` means to delete something in a thing or abstract from it. As a result, there is represented a something distorted or ugly on the stage. By the simulation of the scene, it appears nothing changed on the stage, but a thing on the stage in not a real thing but a image, that is. ``Simulacres``. The abstraction of the scene is to make it ``plane``. That means technically to abandon of a perspective, a picture-frame stage and finally mimesis and empathy on the stage. We can see it clear in examples of the teatre of scene-direction of Oh, Tae-suk. In his scene-directing, we can find out nothing as a face-to-face dialogue and perspective setting that pursuit of empathy. The simulation of the scene means to indicate that the thing on the stage is not a real but a image or images of images. According to Gilles Deleuze, the modern society is the world of simulacres. Therefore, director`s scene-directing habe to present, not represent the copy of images, simulaces, on the stage. But simulation of the scene also has a negative aspects. The simulcres denies the being of the original. The spectator have to meet this empty image on the stage. And then the fact, the absence of the original, leads easily spectator to the pessimistic world view. By this means. The action-spot is very important in scene-directing. In the action-spot can the actor on the stage and the spectators in the house communicate each other, specially with ``liveliness``. There is not ``past`` nor ``future`` in the action-spot. There is only the living present, wether it is a simulacres or a abstraction. As a result, a director have to concentrate on the method, how to create and maintain its liveliness in the scene-directing.

"자감" 연구

김대현 ( Kim Dai-hyun ) 한국연극교육학회 2018 연극교육연구 Vol.32 No.-

Self-awareness is a key concept of the Stanislavsky‘s theory. His efforts to express the role of a living person on stage have been expressed as “experiencing a role” through the concept of self-awareness. However, if we look closely at his theory, Self-awareness is used as a means of experiencing a role and not always applied to the whole process of creating a role. In his role-building process, experiencing is a technique that is mainly used in the experience phase of “cognition -> experience -> implementation”. Through the sense of learning will experience the role as a living person. And this experience becomes a factor in bringing people to life more vividly during the performances. However, this experience / self-awareness is consciously used during the exercise, and roles, identification and emotions can feel unity through the mouth and should not be used on the stage like the practice. In other words, it is necessary to be a person who controls the character while the role of learning is being implemented on the stage. Self-awareness is a factor for the actor to clearly recognize his existence on the stage as he / she goes beyond the process of creating traditional roles. The postmodern drama and the post-drama, the realization of the character is not the goal, but the actor is the element that represents the presence of the actor on stage. Of course, in this case, the presence of an actor is obviously a person who is a collective that is combined with an actor and an actor, not an ordinary person.