흑인 아담/백인 이브: 바라카(Baraka)극에 나타난 성(性)과 인종차별

이영희 ( Young Hee Rhee ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2004 世界文學比較硏究 Vol.11 No.-

닫힌 공간에서 열린 세계로 -샘 셰퍼드의 가족극을 중심으로-

이영희 ( Young Hee Rhee ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2007 世界文學比較硏究 Vol.18 No.-

Sam Shepard represents the voices of the white American low classes, who quest for their identity and fulfillment. Shepard`s characters are a stereotypical cast of American heroes: cowboys, rock stars, homesteaders, and mythical figures who face the psychological annihilation of identity. In order to find a real self-identity, each of them tries to find a new place by escaping from the world which now confines them. America is the world what Baudillard defines the hyper-real society in which images have the power over where the reality is absent. Especially the goals of mass-media such as Hollywood movies, television and magazine are to be hooked up to itself emphasizing their surface intensity and meaninglessness Shepard`s characters are helpless and paralyzed, and also are unable to distinguish between reality and fantasy. Shepard`s figure of ``the fatherhood`` living in his own fantasy world has a taste for alcohol and further, is addicted to drink. America as well as the past of America is produced items like Hollywood western movies without true or real stuff. Shepard tries to wake and shake the American audience who are indifferent to the others and the American past. All the characters on stage seem to have learned to live in a state of war and accept it as something quite normal. He reveals the history of blood and violence from the beginning of America such as killing and driving out Indians, oppressing African slaves and starting wars like Vietnam and Gulf Wars. Shepard makes the connection between war and male violence to prove its power and machismo as a successor to their father. In Shepard`s plays, blood relations hover like a curse over the sons` search for a true male identity. The only way to find an identity is to follow the role model of the father and the very identity can finally be accepted by the father as a worthy successor. To realize the reality of the American dream and the past, Shepard shows its most humble and terrible site of America and Americans. However, he strongly believes the hope for change by achieving the audiences` emotional movement and awakening. Shepard never gives up a promise of the future when the dark side of the reality in American history would be evaluated as a face of real America.

아프리카극의 세계화: 소잉카극에 나타난 상호텍스트 전략 : 희곡 "유리피데스의 바쿠스 여신도들"을 중심으로

이영희(Rhee Young-Hee) 한국아프리카학회 2005 한국아프리카학회지 Vol.21 No.-

The purpose of this research is to review Soyinka's dramatic strategy to reveal the universality of Nigerian Yoruba myth by adapting The Bacchae, the works of Euripides(BC 484-BC 406), the Greek ancient playwright. Soyinka's drama text The Bacchae of Euripides derived from the pre-exist text, Euripides' Bacchae can be classified as intertextual relations with Soyinka's The Bacchae of Euripides. There are changes in the characters and transformations of the text from Euripides' Bacchae to Soyinka's. In Soyinka's Bacchae, Dionysos, 'the god of wine and revenge' in the Greek myth is transformed into Ogun, 'the god of creation and destruction' in the Y oruba myth. While there are similarities between Ogun and Dionysos, however, Ogun also embodies Pentheus, the tyrant king of Thebe, who sacrifice his life for the new society. Ogun expresses principle of destruction but he also recreates from it. The power of Dionysos can be replaced by the will of the slaves who anticipates freedom in which they can free from violence and oppression. The leader of slaves, an old slave and slaves take important roles to search for the new perspectives in Soyinka's play. Ogun reflects the Yoruba cosmology representing the cycle of life and death with the unborn and the unknown stage, which Soyinka explains the 4th stage of Yoruba myth. Traditional Yoruba religion has been centered on a pantheon of gods called Orisha. The Yoruba religion does not have any evil gods. They are all balanced out by nature. Soyinka's intertextual strategy helps to understand the Y oruba world through the ancient Greek myth. He underlines "Africa and Europe live through their deities, free from prejudices of the old and united in the vibrant spirituality of a new world" in his essay Cross-Currents: Sango, Ogun Illumine Earth and Sky.

와써스틴 극에 나타난 여성세계

이영희 ( Young Hee Rhee ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2005 世界文學比較硏究 Vol.12 No.-

월레 소잉카(Wole Soyinka) 극에 나타난 전통과 현대성 : 희곡 『길』(The Road)을 중심으로

이영희(Rhee Young-Hee) 한국아프리카학회 2003 한국아프리카학회지 Vol.18 No.-

Wole Soyinka, the first African Novel Prize Winner in Literature (1986) has revealed his keen observation on the world-wide view of humankind through the African tradition and the modern historical environment. The Road, one of his critical-social plays, has depicted the death of human-nature and the death of social justice caused by the moral hazard of the social and religious power groups in Africa. The Professor, the allegoric figure in The Road(1965) cogently represents the people who perceive knowledge but use it for their own purpose by deceiving themselves as well as the others. The Road is the play concerning on the process from the self-deception to self-apprehension through the sacrifice of individual, the Professor's death. According to Yoruba cosmology death means destruction at same time creation which dissolves from human to divine essence. Soyinka's Yoruba traditional background provides the key to access to his play. Ogun, the Yoruba god of destruction and creation, shows us the dynamic circulation of the self-apprehension. Through Ogun's self-destructiveness, the evil-side of tradition and the past of Africa can be destroyed and must be reinterpreted of its present, the traditional mode of wisdom to deal with the realities of a changeful contemporary world. Soyinka is actively committed to support social justice and is deeply concerned on self-criticism especially not only of the traditional hegemony group who has abused their power and inherent orthodox but also of the new hegemony group who makes its social rule or system and misuses it for their own profits and purpose.

소잉카극의 민속가극 형식과 문화 혼종 양상

이영희(Rhee Young-hee) 한국외국어대학교 외국문학연구소 2006 외국문학연구 Vol.- No.23

Wole Soyinka's play Death and the King's Horseman depicts the conflicts between the African tradition and the Western ideology. Death and the King's Horseman, based on the real story at Oyo, one of the ancient Yoruba city in Nigeria 1946, is the play about the ritual suicide of the king's horseman after the Oyo King Siyenbola Oladigbolu's death. The British colonial officer Pilking, however, who was in charge at Oyo heard of Elesin's intention of committing suicide, so he ordered that the Horseman should be prevented from killing himself. When word of his father's arrest reached the Horseman's son, Olunde, he killed himself in place of Elesin in order to fulfill the needs of the ritual. Soyinka's main concern in Death and the King's Horseman is to dramatize, through Elesin, how death is deliberated by the community as a communal and social significance not by an individual loss itself. Pilking who is representative of the British Colony's law puts the pressure on the Oyo cultural tradition regarded as a barbaric custom. The colonization is exposed as the hibridity of the African/English language, of the Yoruba ritual music/the European music and of the Yoruba people/English/Muslim. Death and the King's Horseman reveals not only the external aspects of hibridity but also the causes, inequality and unilateral way of hibridity which results in massacre of people and cultural colonialism in Africa. For the strategic approach to enhance the contrasting sharpness of ideology between the Yoruba and Europeans, Soyinka uses the Yoruba folk opera which is consisted of the emergent hybrid of music, song and dance. The use of music, mime, oral poetry, masking and dance is as mediators of ideas and actions in the play. Especially music takes the role as generating a communal sense of cultural identity. Death and the King's Horseman raises the problem how can individual fulfill his will as well as cultural self-apprehension in the face of colonialism and Western global hegemony. Wole Soyinka's play Death and the King's Horseman depicts the conflicts between the African tradition and the Western ideology. Death and the King's Horseman, based on the real story at Oyo, one of the ancient Yoruba city in Nigeria 1946, is the play about the ritual suicide of the king's horseman after the Oyo King Siyenbola Oladigbolu's death. The British colonial officer Pilking, however, who was in charge at Oyo heard of Elesin's intention of committing suicide, so he ordered that the Horseman should be prevented from killing himself. When word of his father's arrest reached the Horseman's son, Olunde, he killed himself in place of Elesin in order to fulfill the needs of the ritual. Soyinka's main concern in Death and the King's Horseman is to dramatize, through Elesin, how death is deliberated by the community as a communal and social significance not by an individual loss itself. Pilking who is representative of the British Colony's law puts the pressure on the Oyo cultural tradition regarded as a barbaric custom. The colonization is exposed as the hibridity of the African/English language, of the Yoruba ritual music/the European music and of the Yoruba people/English/Muslim. Death and the King's Horseman reveals not only the external aspects of hibridity but also the causes, inequality and unilateral way of hibridity which results in massacre of people and cultural colonialism in Africa. For the strategic approach to enhance the contrasting sharpness of ideology between the Yoruba and Europeans, Soyinka uses the Yoruba folk opera which is consisted of the emergent hybrid of music, song and dance. The use of music, mime, oral poetry, masking and dance is as mediators of ideas and actions in the play. Especially music takes the role as generating a communal sense of cultural identity. Death and the King's Horseman raises the problem how can individual fulfill his will as well as cultural self-apprehension in the face of colonialism and Western global hegemony.

문학은 의학교육에서 어떤 역할을 할 수 있는가?

이영미(Young Mee Lee),이영희(Young Hee Rhee) 한국의학교육학회 2003 Korean journal of medical education Vol.15 No.2

온라인 국제 화상회의 개최에 의한 CO2 저감량 산출

이종명(Rhee, Jong-Myung),임동석(Lim, Dong-Seok),이영희(Lee, Young-Hee) 한국정보전자통신기술학회 2009 한국정보전자통신기술학회논문지 Vol.2 No.4

본 논문은 국제 전기 통신연합(ITU)이 온실가스 감축을 고려하여 실시한 온라인 국제 화상회의를 통하여 감축된 CO2량을 오프라인으로 수행되었다고 가정한 경우와 비교하여 산출하였다. 국제전기통신연합(ITU)이 주관하여 2009년 9월 서울에서 실시된 "The Power of ICTs to save The planet" 심포지엄은 CO2 배출 저감을 위하여 참가자들이 온라인을 통하여 원격으로 회의에 참석하도록 권유되었다. 원격 화상회의를 유도한 결과, 해외 참가자 46명과 국내 참가자 170명 중 16명이 원격 화상회의로 참석하였는데 이것은 약 94.7ton의 CO2 배출량 저감에 해당되는 것으로 산출되었다. 이번 국제 심포지엄은 탄소 저감차원에서 온라인과 오프라인으로 병행 실시되어 큰 이슈가 된 국제적인 첫 시도로서, 이러한 ITU의 움직임은 향후 다른 국제 심포지엄과 포럼 개최에 큰 영향을 미칠 것으로 판단된다. In this paper, the reduction amount of CO2 due to the virtual international video-conference organized by ITU in order to reduce the greenhouse gas (GHG) is calculated. The comparison is made with the case of off-line conference. In the symposium organized by ITU, "The power of ICTs to save The planet", held on September 2009 the participants were highly encouraged to attend the symposium through video-conferencing for the reduction of GHG. As a result, 46 foreign participants and 16 among 170 domestic participants have attended at virtual video-conference, which resulted in about 94.7 ton of CO2 emission reduction. This international symposium firstly tried in conjunction with online and off-line has drawn a big attention in the aspect of global warming. Definitely such ITU's trial will make significant impacts on the holding of other international symposiums and forums.

알루미늄 열처리공정을 위한 고속 열처리장치의 설계 제작 및 성능평가

李東燁(Dong-Youb Rhee),李英姬(Young-Hee Lee) 대한전기학회 1991 전기학회논문지 Vol.40 No.10

펄스전자석에 의한 자기이력곡선측정기

이용호(Yong-Ho Lee),신용돌(Yong-Dol Shin),이영희(Young-Hee Lee),이장로(Jang-Roh Rhee) 한국자기학회 1993 韓國磁氣學會誌 Vol.3 No.2

A pulsed electromagnet with silicon steel core driven by alternating current or oscillatory decaying current using capacitor discharging method for measuring magnetic hysteresis loops, magnetostriction and magnetic anisotropy of high coercivity magnetic sample is built. The general formuli for various characteristics of the electromagnet with given geometry of iron core and turns of copper wire are presented. Using these formuli, an electromagnet with 46 ㎜ × 32㎜ of core's cross section and 28㎜ of air-gap is designed and built, its magnetic field to current ratio of 20 mT / A is linear up to 0.49 T. Combining this electromagnet with an analog integrated fluxmeter, a magnetic hysteresis loop can be easily displayed major and minor loops of thin film or strip at once.