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      • KCI등재

        『올리아나(Oleanna)』에 나타난 디스토피아(Dystopia) 연구

        조숙희,문정숙 중앙대학교 외국학연구소 2013 외국학연구 Vol.- No.25

        David Mamet’s writing style of rejecting any ethical lesson ironically gives a room to his readers and audiences to understand the complicated and sly subtext of his plays. In this study, we tried to investigate the co-relationship between the utopia and dystopia described in the reversed and fragmented educational arena of a university. At first, the professor is almost an omnipotent figure with power to the student who comes to beg for a better grade. However, the table turns and he becomes a prey to an intrigue where the student tries to make the best use of the professor’s misuse of words and the awkward behaviors which can be easily interpreted as an abuse of power to the powerless. In their ferocious struggle to get the power over each other, one can easily catch the horrible dystopian situation where no one wants to give in for the peace and compromise. Therefore, the true meaning of ‘Oleanna’, has disappeared and the ferocious version of dystopia prevails in this play.

      • KCI등재

        초발 급성 심근경색증 환자의 불확실성과 자가간호 역량 및 생리적 지표

        조숙희,전경숙 보건의료산업학회 2015 보건의료산업학회지 Vol.9 No.4

        Objectives : The aim of this study was to investigate the relationship among uncertainty, self-care agency and physiological index in acute myocardial infarction (AMI) patients who underwent primary percutaneous coronary intervention. Methods : A total of 196 patients who were admitted C National University Hospital from Oct 2014 to Jun 2015 participated in the study. Data were collected with a questionnaire, and the blood pressure, HgA1C, and lipid profile levels of the patients were acquired. Results : The mean age was 69.2 (±13.0) years, and 74 % of the patients were men. The mean score for uncertainty in illness was 48.7 (±8.8). The mean score for self-care agency was 73.3 (±13.4). Self-care agency showed a negative correlation with uncertainty (r=-.579, p<.001), age (r=-.732, p<.001), systolic blood pressure (r=-.265, p=.001) and HgA1C (r=-.293, p<.001). Conclusions : The results of this study can be used to develop a nursing program that prevents AMI and to improve the clinical prognosis of AMI patients.

      • HEVC 기반 고화질 지상파 양안식 3DTV 방송 시스템 기술

        조숙희,정세윤,이응돈,최진수,김진웅 에스케이텔레콤 (주) 2011 Telecommunications Review Vol.21 No.4

        지상파 양안식 3DTV 방송 서비스를 위해서는 기존 HDTV 방송 서비스 수신에 영향을 주지 않아야 하고 한 채널에 할당된 6MHz 대역폭 내에서 2D 방송의 품질을 크게 훼손시키지 않으면서 3D 방송신호를 전송해야 하는 요구사항을 만족시켜야 한다. 이를 위해 좌우 영상을 독립적인 신호로 취급하여 좌 영상은 기존 수신기가 수신할 수 있는MPEG-2 비디오 부호화 방식을 적용하고 우 영상은 MPEG-2 방식에 비해 4배의 압축 효율 개선을 목표로 하는HEVC(High-Efficiency Video Coding) 비디오 부호화 방식을 적용한 양안식 3DTV 비디오 부호화기를 제안하였다. 이때 서로 다른 규격의 부호화기 사용으로 인해 발생하는 서로 다른 부호화 지연을 해결하기 위해 좌우 영상 스트림간의 동기화가 가능하고 HDTV 서비스와의 역호환성을 보장할 수 있도록 3DTV 시그널링 정보를 제공하는 다중화기를구현하였다. 실험 결과 지상파 DTV 방송 시스템과 서비스 호환성을 제공하면서 기존 HDTV 화질 열화를 최소화하고고화질의 3DTV 서비스를 제공할 수 있음을 확인할 수 있었다.

      • KCI등재

        정의 구현과 치유의 상관관계: Julius Caesar와 Caesar Must Die 비교 연구

        조숙희 한국중세근세영문학회 2014 고전·르네상스 영문학 Vol.23 No.1

        One of the main themes of Shakespeare’s plays is justice; almost all of his tragedies deal with the issue through various perspectives. Julius Caesar is one of the cases because the crux of the play depends on Brutus’s real motivation of Caesar’s assassination: the execution of justice for his own country or the slaughter with his political ambition. This paper reinvestigates the issue through comparing Julius Caesar and Caesar Must Die--a recent film version of the play, focusing not on the main characters such as Brutus, Caesar and Antony but on the plebeians and the common citizens. In Julius Caesar, the plebeians want to experience catharsis through realizing justice in the society where they are nothing but parts of a big machine. However, they are deluded by Antony’s excellent oration and turn into mobs by killing innocent people and destroying the properties. The audience cannot feel any catharsis, watching them deteriorated into violent mobs; however, the citizens’ stigma as violent crowd can be moderated into the image of sensible people with genuine purpose of justice. Moreover, in Caesar Must Die, the plebeians are performed by the felonry who are imprisoned as the result of carrying out justice by law. Still, even the prisoners express their genuine and earnest need of bringing justice into the society. The audience of the film can feel multi-layered catharsis watching the therapeutic process both the prisoners and the audience of the performance experience through documentary recording of rehearsing Julius Caesar. In sum, Shakespeare provides a wonderful work of art that is malleable and adaptable to a wide variety of interpretations by different times and persons.

      • KCI등재

        『하계로 내려간 오르페우스』에 나타난 여정의 의미

        조숙희 21세기영어영문학회 2008 영어영문학21 Vol.21 No.1

        The majority of Tennessee Williams' characters are the fugitive heroes who try to escape from the real world because their purity, creativity, and vitality, and their strong yearning for freedom make them almost unable to conform to reality. They are, in some sense, the defeated, the alienated, and the rejected. However, they can be elevated to tragic heroes with Williams’ efforts to imbue his fugitive characters with mythic and symbolic images in many ways. Williams revised The Battle of Angels for seventeen years and released the new version under the name of Orpheus Descending. To know the reason why he had to struggle for such a long time with a play can be quite an interesting issue. In this essay, I want to analyze the new version of the play mainly through the paradigm of the namesake Greek myth, the Orpheus myth, and the myth of Jesus Christ, searching for the answer. In this re-written myth, Williams wanted to find a way of integrating the opposite values haunting him for life time: soul and body, art and artist, artistic world and real world, purity and corruption, and so on. His effort of seventeen years must have satisfied him more or less through the Orphic journey.

      • 캠퍼스에서 부르는 희망과 축복의 노래

        조숙희 한국지역사회연구소 2009 지역사회 Vol.60 No.-

        '스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.

      • KCI등재

        사회적 텍스트로 본 『스캔들 학교』

        조숙희 한국중세근세영문학회 2012 고전·르네상스 영문학 Vol.21 No.1

        The School for Scandal (1777) is Richard Sheridan’s representative play of the Restoration comedy, dealing with the process of producing scandals and distributing them to the public and thereby doing mischief to the innocent victims. Therefore, the characters are classified into two groups in the play: so called the students of the school of scandal, and the good people who fall victim to malicious scandals or stand far away from the harmful circle. In that respect, this play has been classified as an example of “sentimental comedy” of which main message is poetic justice. However, two important characters—Charles Surface and Mrs. Teazle—show some ambiguities which make it rather difficult to categorize them into good guys within the paradigm of traditional sentimental comedy. It is mainly because their behaviors—seemingly genuine and moral—can be interpreted as those derived from an ultimately mercenery and self-interested motivation. In the play, even good characters cannot be immune to the megatrend of new commercialism and consumerism of the society at that time. Therefore, one can better understand the loophole of the characterization of the play as a sentimental comedy, through reading the play as a social text that vividly shows the social trends of the English society in the late 18th century. The School for Scandal (1777) is Richard Sheridan’s representative play of the Restoration comedy, dealing with the process of producing scandals and distributing them to the public and thereby doing mischief to the innocent victims. Therefore, the characters are classified into two groups in the play: so called the students of the school of scandal, and the good people who fall victim to malicious scandals or stand far away from the harmful circle. In that respect, this play has been classified as an example of “sentimental comedy” of which main message is poetic justice. However, two important characters—Charles Surface and Mrs. Teazle—show some ambiguities which make it rather difficult to categorize them into good guys within the paradigm of traditional sentimental comedy. It is mainly because their behaviors—seemingly genuine and moral—can be interpreted as those derived from an ultimately mercenery and self-interested motivation. In the play, even good characters cannot be immune to the megatrend of new commercialism and consumerism of the society at that time. Therefore, one can better understand the loophole of the characterization of the play as a sentimental comedy, through reading the play as a social text that vividly shows the social trends of the English society in the late 18th century.

      • KCI우수등재
      • KCI등재

        A Study of the Matchseller in A Slight Ache

        조숙희 한국현대영미드라마학회 2004 현대영미드라마 Vol.17 No.1

        The majority of the Pinter canon includes an unexpected intruder. The intruder figure can be interpreted in many ways. From a Freudian psychoanalytic approach, the intruder may represent a son figure who wants to achieve his unfulfilled oedipal desire in the plays. One can also apply myth criticism with the old king and new king figure. With feminist approach, the woman intruder may attempt to reverse the hierarchy of the patriarchal household. Even with the various approaches, I still feel that there may be another way of explaining the role of the intruder: the intruder figure may, on some level, be eventually no other than the characters themselves, as their doubles. Here, the confrontation with the double reminds one of the myth of Narcissus. Just as Narcissus looks into his image on the water, the characters see themselves, reflected in the doubles.The main objective of this paper is to analyze the relationship between the Matchseller who is the intruder and the residents in A Slight Ache from the aspect of the double and narcissism and finally to better understand the seemingly bizarre ending of the play.In sum, Edward and Flora both have a narcissistic experience through their mirror, the Matchseller. While flora succeeds in transforming the mirror image for her own good, Edward fails to grasp the meaning of the mysterious intruder. When he rejects his own image as it is, there is no other way but to be conquered by the overwhelming otherness.

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