레이먼드 카버의 단편소설에 나타난 닫힌 의식세계와 열린 의식세계의 대비

손동철 ( Dong Chul Son ) 21세기영어영문학회 2015 영어영문학21 Vol.28 No.2

This paper aims at examining Carver``s short stories in terms of two contrasting attitudes to life, represented by closed consciousness and open consciousness. Characters with closed consciousness in Carver``s earlier stories reveal a gloomy outlook on life; characters with open consciousness in his later stories show a positive attitude to life. The study also discusses the short story of “Feathers,” focusing on contrasting character traits of two married couples. Closed consciousness is bespoken by Carver``s main characters who feel lost and frustrated, as in the short stories “Pastoral,” “Will You Please Be Quiet, Please?” and “What We Talk about When We Talk about Love.” However, an example of open consciousness is best shown in the contrast between “Bath” and its revised lengthy version, “A Small Good Thing”; the shorter version vocalizes the mental state of a panic-stricken mother contemplating her son``s impending death, whereas the revised one stresses the positive attitude of a mother who gets ready to start life without her son, overcoming her grief. An analysis of “Feathers” focuses on the contrasting lifestyles and thinking of two couples: Jack and Fan, and Bud and Olla. Jack and Fran with their closed consciousness are most interested in enjoying their present comfort, neither wanting any nuisance in their marriage nor attempting to achieve anything. Nevertheless, this couple decides to have a baby when they get seduced by the happy life of Bud and Olla despite their indescribably ugly son and his intimidating playmate peacock. Ultimately Fran and Jack, who have never been aware of parental roles and responsibility, get perplexed and lose their way in child-raising. By contrast, Olla and Bud with their open consciousness are characterized by their future-oriented goal setting. The life stories of Olla``s childhood as well as her first and second marriages are recapitulated by her peacock (an emblem of her pursuit of happiness) and by her old plaster-of-Paris cast of crooked and jagged teeth (a reminder of what she was then and what she is thankful for now). Unlike Fran and Jack, Olla and Bud take lessons from the past and project their present conditions into the future. In “Feathers” Carver uses the unhappy couple with no perspective on life as a foil for the happy couple who plans their life and sets goals for a better life.

이동망의 채널할당과 작업 스케줄링 관련 모델 및 성능분석

손동철,김동현,류충상,Son, Dong-Cheul,Kim, Dong-Hyun,Ryu, Chung-Sang 한국전자통신학회 2008 한국전자통신학회 논문지 Vol.3 No.1

CDMA 이동망 환경에서는 한정된 자원을 효율적으로 사용하여 멀티미디어 서비스 요구에 따른 무선 트래픽 채널을 할당하는 기법은 무선이라는 특수 환경으로 인해 제약을 받을 수밖에 없다. 이동망의 기지국의 경우 여러 무선 가입자 보드로부터 요구되는 서비스별 트래픽 요구에 대한 채널 할당과 이에 대한 메인보드에서 처리해야 하는 작업 스케줄링은 무선과 CPU라는 서로 다른 환경을 잘 매핑하는 과제를 안고 있다. 본 논문에서는 음성과 데이터 호를 동시에 서비스하는 셀룰러 시스템에서 멀티미디어 서비스 트래픽 특성을 고려한 주파수할당과 작업 스케줄링이라는 두 가지 요소를 접목할 때 적합한 작업 스케줄링 방식을 제안한다. It is important matter that inflect well allocated frequency resource in cellular network and is still more serious element in environment that provide multimedia services. This paper describes model and algorithm that increase two elements that is frequency allocation and job scheduling that consider multimedia service traffic special quality by emphasis that do mapping present in CDMA cellular system. We proposed the model cpomposed three parts (channel allocation algorithm, mapping algorithm using genetic algorithm and scheduling algorithm) and simulation results.

ISDN 서비스를 위한 가입자 - 망 접속시스팀

손동철,김경택,정헌창,Son, Dong-Cheol,Kim, Gyeong-Taek,Jeong, Heon-Chang 한국전자통신연구원 1987 전자통신 Vol.9 No.4

종합정보통신망(ISDN)의 가입자-망간 인터페이스에서 "2B+D" 채널로 144kbps의 전송속도로 음성 및 비음성 서비스를 제공하는 가입자-망 접속시스팀에 관해 언급하였다. 또한 시스팀을 구성하고 있는 장치들과 각 장치의 기본기능 및 D-채널 프로토콜에 관해 기술하였다.

대학 영어성취도와 고교 영어성취도의 상관관계

손동철(Son Dongchul) 한국외국어교육학회 2004 Foreign languages education Vol.11 No.1

This study is aimed to identify how college freshman English achievement correlates to two factors of high school English achievement: high school academic records of English and CSAT English scores. The subjects were 160 freshmen who enrolled in ‘English Conversation 1’ in their first semester and ‘English Conversation 2’ in their second. Of 160 students, 143 students, the regular admission group, were admitted to the university based on their high school academic records and CSAT scores, while the remaining 17 students, the early admission group, were admitted based only on their high school academic records. The subjects’college English achievements were divided into two categories: one was class preparation (including participation, attendance, and assignments), and the other was exams including the midterm, basically a listening test, and the final, composed of writing and grammar tests. Results showed that the regular admission group’s college English achievement correlated closely with the group’s CSAT English scores and high school academic records of English while there was a lack of correlation between the early admission group’s college English achievement and its high school academic records of English.

ISDN D channel Layer 3 의 Basic Service에 대한 설계, 구현 및 테스트

손동철(Dong Cheul Son),한지문(Chi Moon Han),임주환(Chu Hwan Yim),정선종(Seon Jong Chung) 대한전자공학회 1986 대한전자공학회 학술대회 Vol.1986 No.12

King Lear : An Example of Dramatic Juxtaposotion of the Worlds of Romance and Tragedy

Son Dongchul(손동철) 한국셰익스피어학회 2001 셰익스피어 비평 Vol.37 No.3

셰익스피어는 비극마다 새로운 극작술을 실험했듯이,<리어왕>에서 가장 두드러진 점은 리어의 비극 세계와 에드가의 로망스 세계가 대비되는 구조에 있다. 이 대비 구조를 분석하는 접근 방법은 중세 기사문학의 패턴을 차용히여 작품의 비극성을 강조하는 극작가의 의도를 밝히는데 그 목적이 있다. 따라서 논문의 첫 부분은 <리어왕>에 나타난 로망스의 특징을 파악하는 데 초점을 맞춘다. 로망스의 기본 구조는 선과 악의 도덕적 대립이다. 정직한 코딜리아와 사악한 두 언니 고너릴, 리건의 대립이나 적자 에드가와 그의 자리를 노리며 권력에 대한 탐욕을 키우는 서자 에드먼드의 대립이 갈등의 축을 이루듯이, 로망스에선 미덕을 갖춘 남녀 주인공은 이상적 인물로 그려지고 악한은 그들의 앞길을 방해하는 인물로 등장한다. 이와 같은 도덕적 대립과 갈등이 각기 다른 이야기에서 출발하는 것은 <리어 왕>이 중세 기사문학이나 도덕극에서 흔히 보는 이중 플롯을 택하고 있기 때문이다. 이 이중 플롯의 근간은 리어에 관한 중심 플롯에 글로스터의 이야기가 부차적인 플롯으로 병렬된 구조에 있다. 그러나 이 이중 플롯은 엄격한 병렬 구조라기보다 리어의 가족 이야기에 글로스터 집안의 이야기가 접목되는 구성이다. 이러한 구성 속에서, 에드가와 글로스터의 동반여행이나 에드먼드와 고너릴, 리건의 음모 는 관념 중심의 리어 이야기에 연극적 행위의 풍요함을 더하는 한편, 글로스터의 비극은 리어 이야기의 비극성을 증가시키는 효과를 낳는다. 이 논문의 첫 부분이 <리어왕>에 나타난 로망스 문학의 특징을, 예를 들어, 바다괴물의 상징성, 주인공과 악한의 유형 등을 인물의 극적 기능과 연관지어 예시 한다면, 둘째 부분은 로망스와 비극의 대비 구조에서 리어 이야기의 비극성이 심화되는 그 극적 효과를 분석하는 데 스포트라이트를 맞춘다.

읽기 연극(Readers Theatre)을 활용한 영어 학습 방법

손동철 ( Dong Chul Son ) 글로벌영어교육학회 1998 Studies in English education Vol.3 No.2

Stepped-Sleeve Dipole을 사용한 SPA(Switched Parasitic Array)특성

손동철(Son Dong Cheol),최학근(Choi Hak Geun),이규대(Lee Kyu Tae),김재형(Kim Jae Hyung),조성철(Cho Seong Cheol) 한국통신학회 2014 한국통신학회 학술대회논문집 Vol.2014 No.1

카버의 『내가 전화를 거는 곳』과 런던의 『불 피우기』에 나타난 목표의식과 실천의지에 대한 비교 연구

손동철(Dongchul Son) 한국동서비교문학학회 2017 동서 비교문학저널 Vol.0 No.41

Raymond Carver’s “Where I’m Calling From” is a story about the first-person narrator, an unnamed alcoholic in a rehabilitation facility. This paper aims at showing a positive perspective on life of the narrator, analyzing the author’s intention to allude to Jack London’s The Call of the Wild, a novel about a wolf-dog who recovers his wild nature and returns to nature, and “To Build a Fire,” a short story about an unnamed protagonist called ‘the man’ who, in his travel on the frozen Yukon land, freezes to death as he fails to build a fire. The analysis of Carver’s creative purpose mainly focuses on comparing the unnamed narrator’s determination to recover from his uncontrolled alcoholism with the unnamed man’s attempt to build his second fire with his frozen, uncontrolled hands. Inasmuch as the man in London’s story fails to survive, his tremendous willpower to survive is quite memorable; the narrator in Carver’s story, who denied his own alcoholism and his girlfriend’s possible cancer, ultimately confronts these fears and refusals, which cease to paralyze him. Even though Carver’s story is open-ended, the narrator’s changed attitude towards life suggests a hopeful, but not promising, future.

에디파의 탐구와 두 개의 미국

손동철 ( Dong Chul Son ) 한국영미문화학회 2009 영미문화 Vol.9 No.1

As Oedipa Mass, the heroine of Thomas Pynchon`s The Crying of Lot 49, is apparently associated with Oedipus, the hero in Sophocles` tragedy, this paper aims to show some of their similarities in quest theme and plot development as well as in the use of dramatic irony. Oedipus the King opens with a priest`s pleas to relieve the Theban people from a plague and the king`s promise to rid its cause by avenging the murder of the former king, as told by the oracle. Lot 49 begins as a Los Angeles law firm informs Oedipa that she is named as the executrix in her former lover Inverarity`s will to sort out the mogul`s estate. Ironically, however, Oedipus` investigation reveals himself to be the very cause of the national disaster, the murderer for whom he searched. Likewise, Oedipa starts her inquiry dedicating herself to make sense out of what Inverarity had left behind, only to find that the legacy was America. Sophocles and Pynchon both employ dramatic irony to provide a controlling principle for plot development in their works. In Oedipus the King, Sophocles creates mounting tension as well as distance between the reader`s knowledge and the protagonist`s ignorance, compressing the play`s action into the moment that Oedipus discovers his real identity. For dramatic irony, however, Pynchon tends to work through authorial comments and utilize allegorical meanings of the characters` names, directing his novel at illuminating Oedipa`s discovery of Inverarity`s legacy as well as the meaning of Tristero, an underground postal service system. Unlike Oedipus the King that proceeds on a single line of action, Lot 49 develops in esoteric, multi-layered allusions and intricately-interrelated double strains involving Oedipa`s roles as executrix and quester. At the end of Sophocles` tragedy, Oedipus stabs his eyes and decides to live in exile, realizing that, blinded, he begot his children through his mother; Oedipa comes to a painful realization that she allowed her former lover to create death-orienting America without her diversity and moral system in old times. As Oedipa now discovers herself through her search for Tristero, her tragic spirit lies in her determination to confront her binary choices between two Americas: transcendence or entropy, the Tristero possibility or Inverarity`s America. Ultimately, Oedipa tries to find who will be the bidder for the Tristero forged stamps designated as lot 49, awaiting the auctioneer`s cry and the "crying" of a new-born America.