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- 저자 : 김종환(Jonghwan Kim) (검색결과 84 건)
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김종환,고승희,배재성,Kim, Jonghwan,Ko, Seughee,Bae, Jaesung,Hwang, Jaihyuk 항공우주시스템공학회 2012 항공우주시스템공학회지 Vol.6 No.4
The morphing flap wing has different structure unliked general wing structure. The actuated chord length of the morphing flap was more longer than conventional wing flap. In this reason, morphing flap wing structure was important to bending moment by aerodynamic lift force. In this study, through the fluid-structure interaction using computational fluid dynamics and structure finite element analysis to apply that the morphing flap wing's static aeroelastic stability analysis.
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김종환(Jonghwan Kim),권진영(Jeanyoung Kwon) 한국셰익스피어학회 2004 셰익스피어 비평 Vol.40 No.2
Discourses of racial and gender difference were widely practiced throughout the Elizabethan and Jacobean period, and they have been highlighted as the central issue in Shakespeare's Antony and Cleopatra. The purpose of this paper is to discuss those discourses about Cleopatra, an Egyptian Queen, and Shakespeare's way of representation of racial and gender differences. This paper investigates both the stereotypes applied to characterizing Cleopatra and the historical backgrounds which made the stereotypes possible. Cleopatra is represented as a dangerous racial Other by the characters in the play. Philo, a Roman general, constantly verbalizes the discourse of a racial prejudice against Cleopatra. In the beginning of the play, he criticizes Antony who became "the bellows and the fan to cool a gipsy's lust" (1.1.9-10) and "a strumpet's fool" (1.1.13). Philo calls Cleopatra a lascivious "gipsy" who seduced a Roman hero, Antony, with dangerous sexuality. His generalization about the Egyptian woman as a whore or a witch is a prime example of racist discourse and misogynist discourse. Those discourses have operated on shaping the negative stereotypes of Cleopatra. Pompey calls Cleopatra a witch who ties up Antony with her witchcraft and "the charms of love" (2.1.20-21). According to Scarus, Antony is "a doting mallard" who flies after Cleopatra, a "ribaudred of Egypt" (3.10.20). Antony calls her "a morsel cold upon dead Caesar's trencher" (3.13.116-17), a "triple-turned whore" who has betrayed him (4.12.13), and "a false soul of Egypt" or an "enchanting queen" who has "a grave charm" (4.12.24-25). These expressions reveal the prejudice against the Egyptian woman. Shakespeare's Cleopatra is not simply his own artistic creation but a cultural construction which reflects the cultural prejudice about Cleopatra and Egyptian culture. Shakespeare was influenced by racial and gender discourses of his time. However, he was skeptical about those discourses; he did not fully agree with those dominant discourses. In the play, he reveals the negative image of the white male Roman hero, Antony, and presents Cleopatra's way of resistance against those discourses, revealing Cleopatra's "infinite variety" and theatricality with which she gains control over Antony.
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김종환(Jonghwan Kim) 한국셰익스피어학회 2016 셰익스피어 비평 Vol.52 No.4
Isabella is a problematic character in Shakespeare’s Measure for Measure. She has been described as an angel of mercy or a paragon of feminine virtue. However, her character is ambiguous. In particular, her silence in front of the Duke at the end of the play can not be easily understood. As Marcia Riefer points out, she changes from “an articulate, compassionate woman during her first encounter with Angelo, to a stunned, angry, defensive woman in her later confrontations with Angelo and with her imprisoned brother.” She ultimately becomes submissive to male authority represented by the Duke. Isabella is neither an angel of mercy nor a symbol of virtue; she is an ambiguous, arrogant, hypocritical, and cruel woman, representing incongruity between appearance and reality. She is the feminine counterpart of Angelo, who is arrogant and hypocritical. Furthermore, she represents a spiritual arrogance in her chastity and ferocity against her brother’s hope to live. Her ambivalent attitude toward Angelo should be critical. This paper explores Isabella’s ambiguous character and her dramatic function in the play. The meaning of this ambiguity will also be discussed.
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김종환(Jonghwan Kim) 한국셰익스피어학회 2013 셰익스피어 비평 Vol.49 No.2
The aim of this study is to examine the theme of appearance and reality in Hamlet. The authenticity of the ghost, Hamlet’s madness, Claudius’s hypocrisy, and the play within the play are devices to denote the discrepancy between appearance and reality. The metaphor of a theater plays an important role in the work to present the theme of appearance and reality. In the theatre, a player has to play an assumed role which is given to him. In Hamlet, the metaphors of clothing, masks, and makeup are closely related in the perspective that all of these hide and obscure reality. Hamlet sets the trap, the play within a play, to catch the conscience of Claudius, and Claudius stages a play, the so called fencing match, to kill Hamlet. They try to play their parts hiding their intentions. The ghost, the presence of absent existence, evokes the confusion of appearance and reality. If the ghost’s saying is true, the words of Claudius are false. Therefore, the ghost plays an important role in revealing reality in the play. Everything is questioned in the early part of the play, but the mystery surrounding the death of Hamlet’s father is revealed in the end. Then, the mask of hypocrisy that Claudius is wearing is uncovered, and the discrepancy between appearance and reality is finally resolved. In this article, the existence of the ghost and images of clothes, makeup, and masks will be discussed with special attention to the theme of appearance and reality. The denotation of the play within a play will be also discussed.
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김종환(Kim Jonghwan) 한국셰익스피어학회 2005 셰익스피어 비평 Vol.41 No.2
Critics in the neoclassical period criticized Shakespeare's use of degenerating expressions, vulgar words, bombasts and his excessive use of puns. Furthermore, they criticized Shakespeare's violation of the three unities and his lack of moral instruction or poetic justice. Their views of Shakespeare were limited by the neoclassical principles. Samuel Taylor Coleridge, the representative critic of Shakespeare in the romantic period, defended Shakespeare's disregard of the three unities, pointing out that it is a "willing suspension of disbelief for the moment, which constitutes poetic faith." He also defended Shakespeare's use of puns and quibbles, and his defence was based on his belief that playing with language is "a natural trait, in certain circumstances, which, in certain places, Shakespeare judiciously imitates." Coleridge's contribution to the understanding of Shakespeare lies in his theory of imagination and organic unity. In the Biographia Literaria Coleridge wrote: "a living body is of necessity an organized one,-and what is organization, but connection of parts to a whole, so that each part is at once end and means! …No work of true genius dare want its appropriate forms,… As it must not, so neither can it, be lawless! For it is even this that constitutes it genius-the power of acting creatively under laws of its own origination." This is Coleridge's praise of Shakespeare's genius and judgement to keep organic unity in his works. Coleridge considered Shakespeare's imagination as "the power by which one images or feeling is made to modify many others, and by a sort of fusion to force many into one." Coleridge believed in the power of imagination and a creative power which can combine many things into "one moment of thought to produce the ultimate end of human thought and human feeling, unity." Ben Jonson praised Shakespeare saying that "he was not of an age, but for all time." For Samuel Johnson, Shakespeare was the poet of nature who represented "a faithful mirror of manners and of life." John Dryden praised Shakespeare as a poet who had "the largest and most comprehensive soul." For Coleridge, Shakespeare was the "myriad-minded" genius who had "the inward eye of meditation." Likewise, Coleridge himself can be remembered as a critic who had "the most comprehensive soul" and "the inward eye" in the field of Shakespearean criticism.
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김종환(Jonghwan Kim) 한국셰익스피어학회 2006 셰익스피어 비평 Vol.42 No.3
The aim of this study is to examine Shakespeare's political attitude towards the populace presented in Julius Caesar and Coriolanus. Rome is a real background to both plays, but the plays are involved with the contemporary economic problems of the plebeian in England and the contemporary political conflict between the plebeian and the patrician. Shakespeare's attitude towards the populace is rather different in each play. In Julius Caesar, a play in the middle period of his theatrical career, the plebian are presented in the negative way. In Coriolanus, his later play written in 1608, the plebeian are presented more favorably than the irrational, unstable, fickle, and unreliable populace as in Julius Caesar. Conservative critics have argued that Shakespeare was not so negative when he depicted the plebeian as an individual, but he presented negative point of view on the populace when he depicted them as a mass; they are contemptible because of their irrationality and fickleness. They regarded Shakespeare as a conservative playwright who accepted the contemporary social hierarchy and its anti-popular myth. However, this is not true. Because Shakespeare's attitude towards the plebeian was dynamic rather than static, and it was presented as different aspects in different plays. To investigate Shakespeare's portrayal of the populace and his political attitude towards the plebeian, I will discuss the relationship between the plebeian and the patrician, the plebian and the tribune, and the patrician and the tribune in Julius Caesar and Coriolanus with a special reference to the socio-political contexts related with the plebeian. Shakespeare's modification of the source material, Plutarch's Lives, will also be examined.
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