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표현석,김성배,김상모,이창남,김상섭,김규석 대한건축학회 2004 대한건축학회 학술발표대회 논문집 - 계획계/구조계 Vol.24 No.1(구조계)
Connection is necessary element of every structure. Connection is important element to increase composition rate of composite beam. Welding joint has been used at composit beam-column connection. Welding joint's quality control is harder than high strength bolt's one. This study based on the experiments of 4 specimens by beam-column connection test. In this paper, we analyze behavior of composite beam-column connection through an experimental study and wish to present application possibility to TSC beam.
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표현석 21세기영어영문학회 2006 영어영문학21 Vol.19 No.1
This study is to investigate what makes a play be a theater itself from Beckett's play, Not I. There are usually four ingredients for a theater: play, space, character, audience. In order for a play to become a theater, therefore, the play has all the factors in it. As a performance based a play needs a stage(space), Not I has to satisfy the rest, that is, character and audience, to be a theater. Mouth in the text could hardly be described as an intact actor or just a prop because it is neither a human being nor an inanimate object. It is a facial organ simply. This dramatic method of Beckett smashes the traditional idea that a theater should employ a living body and rewrites what a character could be. In the light of Beckett's reduction-oriented view, it could be possibly said the character or sender is modified into a mouth, just one physical component, and that Mouth performs brilliantly its creator's famous phrase, ‘the obligation to express' through pouring words ceaselessly. Auditor who is listening attentively to Mouth without single word throughout the play on the down-right stage evidently represents audience. The presence of him should dedicate himself to not a reader who is reading a play at a table in a room, but an audience who is seeing a performance on a chair at a playhouse. He conducts two missions in the text. One is the counterpart paying attention to Mouth's words, and the other is an audience observing Mouth. As a result, Auditor fulfills multiple roles in the play, such as, character, receiver, seer, audience, so we can say that he is an implied audience in Not I. Furthermore, the multi-function trait given to him can be accomplished only on a stage. Since a theater without even an audience is never called a theater at all, Beckett has established the necessary and sufficient condition for a play to be a theater itself by exploiting an unusual device, Auditor, in Not I.
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표현석 ( Hyun Seok Pyo ) 한국드라마학회 2006 드라마연구 Vol.- No.24
This study is to investigate what makes a play be the theater itself from Beckett`s play, Not Ⅰ. There are usually four ingredients for the theater: play, space, character, audience. In order for a play to become the theater, therefore, the play has all the factors in it. As a performance based a play needs a stage(space), Not Ⅰ has to satisfy the rest, that is, character and audience, to be a theater. Mouth in the text could hardly be described as an intact or just a prop because it is neither a human being nor an inanimate object. It is a facial organ simply. This dramatic method of Beckett smashes the traditional idea that the theater should employ a living body and rewrites what a character could be. In the light of Beckett`s reduction-oriented view, it could be possibly said the character or sender is modified into a mouth, just one physical component, and that Mouth performs brilliantly its creator`s famous phrase, ``the obligation to express`` through pouring words ceaselessly. Auditor who is listening attentively to Mouth without single word throughout the play on the down-right stage evidently represents audience. The presence of him should dedicate himself to not a reader who is reading a play at a table in a room, but an audience who is seeing a performance on a chair at a playhouse. He conducts two missions in the text. One is the counterpart paying attention to Mouth`s words, and the other is an audience observing Mouth. As a result, Auditor fulfills multiple roles in the play, such as, character, receiver, seer, audience, so we can say that he is an implied audience in Not Ⅰ. Furthermore, the multi-function trait given to him can be accomplished only on a stage. Since theater without even an audience is never called the theater at all, Beckett has established the necessary and sufficient condition for a play to be the theater itself by exploiting an unusual device, Auditor, in Not Ⅰ. 본고는 베케트의〈난 아니야〉를 통해 어떻게 희곡이 곧 연극이 될 수 있는지를 탐조하는 것이다. 연극에는 희곡, 장소, 인물, 관객의 네 요소가 있다. 따라서 연극이 되기 위해서는 희곡은 이 요소들을 모두 가지고 있어야 한다. 희곡을 근거로 하는 공연은 무대(장소)가 필요하기 때문에〈난 아니야〉가 연극이 되기 위해서는 나머지 요소인 인물과 관객을 충족시켜야 한다. 텍스트에서 ``입``은 인간이나 무생물체가 아니기 때문에 본연의 배우 혹은 하나의 소도구로 묘사하기 어렵다. 입은 단지 얼굴의 일부 기관이다. 베케트의 이 같은 극작법은 살아있는 신체를 이용한다는 종래의 개념을 무너뜨리며 동시에 인물의 정의를 새롭게 정립한다. 베케트의 축소 지향적 연극관에 비추어 볼 때, 인물 혹은 발화자가 입이라는 하나의 신체 기관으로 변경되었으며, ``입``은 끊임없이 말을 쏟아냄으로써 베케트의 ``표현의 의무``를 훌륭하게 수행한다고 말할 수 있다. 극이 진행되는 동안 무대 한편에서 단 한마디도 하지 않은 채 ``입``의 말을 경청하고 있는 ``듣는 자``는 명백히 관객을 나타낸다. ``듣는 자``의 존재는 책상에 앉아 희곡을 읽는 독자가 아니라, 극장에서 공연을 보고 있는 관객을 위한 것이다. 그는 텍스트에서 두 가지의 역할을 한다. 즉, ``입``의 말에 집중하는 상대 배우이면서 ``입``을 바라보고 있는 관객이다. 결론적으로, ``듣는 자``는 작품에서 인물, 수신자, 보는 자, 관객 등 여러 가지 역할을 하고 있으며, 따라서 그는〈난 아니야〉에 내재된 관객이라 말할 수 있다. 더 나아가, 그에게 주어진 다양한 역할은 오로지 무대에서만이 이루어질 수 있다. 한 명의 관객도 없는 연극은 연극이라 불릴 수 없으므로 베케트는〈난 아니야〉에서 ``듣는 자``와 같은 독특한 장치를 사용하여 희곡이 연극이 될 수 있는 필요충분조건을 구축하였다고 할 수 있다.
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압축력이 작용하는 Dome 구조의 말뚝머리보강 효과에 관한 연구
김상섭,표현석 한국기술교육대학교 2004 論文集 Vol.10 No.2
There are many kinds of pile foundations that propagate structural loading to ground, by recently in most case steel pile is used. In the case of steel pile the structural behavior of pile cap which combined with spread footing is important. Three kinds of forces, vertical force, horizontal force and moment are acted on pile cap. In this paper consider that acting vertical forcepressure on pil cap. This study based on the experiments of 4 specimens by steel pile cap test. We would like to inspect the property of pile cap reinforcement composed of domed structure by experiment for vertical pressure of it and analysing the behavior with a computer program.
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T형 합성보의 Shear Connector 형태에 따른 전단내력 평가
이상업,표현석,김도훈,이창남,김상섭 대한건축학회 2003 대한건축학회 학술발표대회 논문집 - 계획계/구조계 Vol.23 No.2(구조계)
Stud connector has been used by shear connector of composite beam. Shear connector is important element to heighten composition rate of composite beam. This study based on the experiments of 15 specimens by Push-Out Test. In this paper, we analyze shear connector of other form instead of stud connector through an experimental study and wish to present application possibility to T-type Steel Composite beam.
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