제1차 국가하천 관리계획(2021~2025) 소개

장원재,박진원,임종성,Jang, Won-Jae,Park, Jin-Won,Im, Jong-Seong 한국수자원학회 2021 물과 미래(한국수자원학회지) Vol.54 No.10

자유수면 보정기법을 이용한 3차원 천수유동 수치모형

장원재,이승오,조용식,Jang. Won-Jae,Lee. Seung-Oh,Cho. Yong-Sik 한국방재학회 2007 한국방재학회 학술발표대회논문집 Vol.2007 No.1

A free-surface correction(FSC) method is presented to solve the 3-D shallow water equations. Using the mode splitting process, FSC method can simulate shallow water flows under the hydrostatic assumption. For the hydrostatic pressure calculation, the momentum equations are firstly discretized using a semi-implicit scheme over the vertical direction leading to the tri-diagonal matrix systems. A semi-implicit scheme has been adopted to reduce the numerical instability caused by relatively small vertical length scale compare to horizontal one. and, as the free surface correction step the final horizontal velocity fields are corrected after the final surface elevations are obtained. Finally, the vertical final velocity fields can be calculated from the continuity equation. The numerical model is applied to the calculation of the simulation of flow fields in a rectangular open channel with the tidal influence. The comparisons with the analytical solutions show overall good agreements between the numerical results and analytical solutions.

축구는 '지성의 적'이 아니다

장원재,Jang, Won-Jae 대한출판문화협회 2006 출판저널 Vol.367 No.-

축구: 문화상품화 전략 연구

장원재(Jang Won Jae) 한국스포츠사회학회 2003 한국스포츠사회학회 세미나 자료집 Vol.2003 No.12

제3주제 : 2002FIFA월드컵과 사회,문화발전 : 토론문 : 축구: 문화상품화 전략 연구

장원재 ( Jang Won Jae ) 한국스포츠사회학회 2003 2002FIFA월드컵 축구대회의 의의와 성과 Vol.- No.-

아일랜드 희곡의 수용과 문화적 오해 -로드 던세니의 명성과 작품세계를 중심으로

장원재 ( Won Jae Jang ) 국제어문학회 2004 국제어문 Vol.30 No.-

전통극과 사실주의

장원재(Jang, Won-jae) 한국외국어대학교 외국문학연구소 2005 외국문학연구 Vol.- No.21

The main purpose of this paper is to clarify the reason why the leaders of modern Korean theatre movement neglect to success or recreate the heritage of traditional Korean theatre. The traditional Korean theatre and performances is an important cultural asset which, in spite of their long history and popularity, lost the support of the Korean audience and was almost eradicated during the colonial period. Furthermore, during the period of the modern Korean theatre movement, traditional Korean performances were almost completely neglected by the members of the Korean intelligentsia who took the main role in the movement. They considered that there were no theatrical elements which would be either useful or suitable for the modern theatre. Consequently, there was no positive effort to keep the traditional Korean theatre and performances alive, either by reformation of their artistic form or preservation of their essential elements. This meant that Korean intellectuals' concept of modern theatre was totally new and that the development of the modern theatre movement was based on foreign theatre culture without any connection with traditional Korean theatre. The main reason was that the members of the Korean intelligentsia believed the Korean mask dance drama partly reflected the modern spirit of the time but that it was not a type of modern drama which could be used to suggest their ideas and intentions and promote socio-political thoughts. Korean intelligentsia considered there were three essential elements of modern drama. Firstly, modern drama had to find its theme in the reality of contemporary life. Secondly, the playwright had to consider the relationship between social conditions, the environment and human life. Thirdly, the playwright had to provide rational criticism or a progressive alternative idea. However, the principles of Korean mask dance drama were completely different from those of modern drama. There was an additional problems associated with the Korean mask dance drama which meant that the Korean intelligentsia regarded its form as far from the theatrical conventions of modern drama; the first was the role of the musicians and the audience and the second was the concept of theatrical space. The members of the Korean intelligentsia considered that this was an uncivilized theatrical convention which did not take into consideration basic scientific reality. They, therefore, found it impossible to give the modernized audience of the new generation a satisfactory explanation of the changing theatrical space using the principles and theatre conventions of the Korean mask dance drama. They valued it as a primitive theatrical convention rather than a unique and sophisticated theatrical style, and refused to accept it for their modernized performance.

DCGAN을 이용한 잡육에서의 바늘 검출

장원재 ( Won-jae Jang ),차윤석 ( Yun-seok Cha ),금예은 ( Ye-eun Keum ),이예진 ( Ye-jin Lee ),김정도 ( Jeong-do Kim ) 한국센서학회 2021 센서학회지 Vol.30 No.5

Usually, during slaughter, the meat is divided into large chunks by part after deboning. The meat chunks are inspected for the presence of needles with an X-ray scanner. Although needles in the meat chunks are easily detectable, they can also be found in trimmings and meat offals, where meat skins, fat chunks, and pieces of meat from different parts get agglomerated. Detection of needles in trimmings and meat offals becomes challenging because of many needle-like patterns that are detected by the X-ray scanner. This problem can be solved by learning the trimmings or meat offals using deep learning. However, it is not easy to collect a large number of learning patterns in trimmings or meat offals. In this study, we demonstrate the use of deep convolutional generative adversarial network (DCGAN) to create fake images of trimmings or meat offals and train them using a convolution neural network (CNN).

숀 오케이시(Sean O`Casey)와 유치진(柳致眞)의 영향관계 연구-유치진의 평문 「숀 오케이시와 나: 내가 사숙하는 내외 작가」를 중심으로

장원재 ( Jang Won-jae ) 국제어문학회 2004 국제어문 Vol.32 No.-

The main aim of this chapter is to clarify the cultural significance and impact of a Korean article concerning Irish drama and theatre that were written and published in 1935. Yoo, Chi-Jin`s `Sean O`Casey wa- Na: Naega Sasookhanun Naeoui Jakga (Sean O`Casey and I: The playwright who guided my way)` was one of the most significant articles for many reasons. At the start of the article, Yoo, did not hesitate to confess to Sean O`Casey`s influence on his plays. Considering Yoo, Chi-Jin was the central figure of the modern Korean theatre movement from the 1920s onward, it can therefore be said that O`Casey`s drama and his philosophy widely influenced the modern Korean theatre movement through Yoo, Chi-Jin, and this article providesclear evidence. Furthermore, Yoo, Chi-Jin regarded his plays as creative adaptations of O`Casey`s masterpieces rather than his own original work. He even revealed O`Casey`s influence on him more clearly by comparing the characters in his plays with those of O`Casey. The most significant point is that Yoo, Chi-Jin`s admiration for Sean O`Casey was not merely limited to his technical achievements but approached total intimacy with his work. In his autobiography, Yoo, confessed that he felt strong sympathy with O`Casey`s view of life, philosophy and even political ideology. Yoo, Chi-Jin found an ideal example of how to deal with nationalistic themes and how to dramatise a political creed in O`Casey`s drama. Despite its ceaseless effort, the modern Korean theatre movement in the early 1930s mainly appealed toa small group from the urban intelligentsia while not attracting the wide support the leaders had expected. Yoo, Chi-Jin accepted that the responsibility for this situation mainly belonged to the Korean dramatists who did not attract the audience through their drama. Yoo, Chi-Jin understood that most Korean dramatists had no concept of differentmethods of expression in the theatre such as acting, scenery and sound effects. This meant that theyput all their effort into writing plays and as a result the majority of the Korean dramatic texts were written without considering stage mechanisms. As a dramatist who had acting experience, Yoo, Chi-Jin emphasised the necessity of practical training for the Korean dramatists in order to produce successful drama. To Yoo, Chi-Jin, this was the most urgent task in the efforts to improve modern Korean theatre.

T. C. Murray’s Influence on Se-Deok Ham

장원재 ( Jang Won-jae ) 숭실대학교 인문과학연구소 2001 인문학연구 Vol.31 No.-

함세덕은 <문장>지 통권 2권9호 1940년 11월호에 단막극 <추석-일명 서글픈 재능>을 발표하였다. 이 작품은, 가족 구성, 등장인물간의 갈등구조, 연극적 에피소드의 전개 방법 등에서 아일랜드 극작가 머레이(T. C. Murray)의 1910년 작 < 장남의 권리(Birthright) >와의 상사성이 확인된다. 두 작품 모두 농부 부부와 두 아들이 주요 등장인물이며, 장남은 어머니와, 차남은 아버지와 정서적 유대가 끈끈하다는 공통점이 있다. 농장에서 나오는 수입만으로는 농부 부부와 장 성한 두 아들의 생계를 유지하는 것이 불가능하므로, 건실한 농사꾼인 둘째 아들은 고향을 떠나 새로운 삶을 찾으려 한다는 점도 흡사하다. 함세덕은 원작에 등장하는 여러가지 극적 요소의 연극적 기능을 변형하여 독창적인 작품세계를 구축하는데 성공하였다. 이 논문에서는 두 작품 공히 장남이 참여하는 운동 경기와 가축의 사고가 등장인물간의 갈등을 중폭시킨다는 점에 주목하고, 이의 비교를 통해 두 작품간의 차이점을 규명하고자 노력하였다. 이를 위하여 운동 경기(씨름과 헐링)가 작품 내에서 차지하는 비중 및 그 연극적 기능, <장남의 권리>에 나오는 말의 사사(射死)와 <서글픈 재능>의 소의 부상 모티프의 상이점 등을 비교 분석하였다. 나아가 원전에는 등장하지 않는 주제인 ‘지식인 장남(만표)의 사회적 부적응’이라는 모티프, 이에 이어지는 가족 전체의 체면 손상이라는 모티프를 고구하여 함세덕의 독창성을 다소 다른 각도에서 조명하였다. 결론적으로, 연극의 기본적 구조가 비슷하다는 점에 서 <서글픈 재능>은 <장남의 권리>로부터 다대한 영향을 받은 작품이라고 말 할 수 있다. 그러나, 함세덕의 <서글픈 재능>은 원작의 뼈대를 이식한 단순한 번안작품이 아니라, 번안을 통해 재창작으로 나아간 독창적인 작품이라는데 그 연극사/문학사적 의의가 있다.