High Strain Gradien 領域에 Straind의 測定

金東照 서울産業大學校 1982 논문집 Vol.17 No.1

Three gages of different length affixed above symmetrically situated points or stacked above a single point of a surface with high strain gradient, permit extrapolation of readings to the central point underneath the gages.

독일문학과 러시아문학 속 2차 세계대전에서 나타나는 이데올로기 대립 – 인종 이데올로기와 독트린 주입을 중심으로 -

김동조 중앙대학교 외국학연구소 2022 외국학연구 Vol.- No.59

In the interpretation of the role of the communist or National Socialist worldview, which are considered in this work, two "camps" emerge: authors who regard ideology as an external corpus outside of the fighting troops (portray the army as "free of ideology"), and those that assume a great influence of ideological factors on all areas of the war. In the novels examined, the protagonists blame "the others" for the abuse of soldiers, the so-called ideology mediators - "commissioners" or "Nazis". They are responsible for the losses and for the entire regime. In general, the National Socialist crimes go unmentioned in both the literary works of German and Russian authors. The historical fact that National Socialist Germany waged a war of conquest and annihilation against the Soviet Union motivated by power politics and race ideology does not find any literary resonance. The reasons for this are different: After the collapse of the Soviet Union, the Russian writers are concerned with settling accounts with their own regime and the crimes of their own leadership, as whose victims one portrays oneself; the German authors are concerned with family members. Although the East, Russia, was the main scene of the war, it remains a secondary scene of the crimes in the portrayal of German women writers. As a result, the war against the Soviet Union loses its special character. It is noticeable that even Russian authors do not mention the National Socialist racial ideology. This could be because there was no discussion of the ideological components of National Socialism in the Soviet Union and in post-Soviet Russia. The lack of preoccupation with the National Socialist ideology among the writers has its origins in the Soviet declaration of National Socialism as a "radical expression of capitalism", whereby the racial madness and anti-Bolshevism of the Nazis was ascribed to the "capitalists", which meant that the "common man" had all responsibility withdrawn. In none of the protagonists you can find the feeling of hatred towards the Germans, which is partly only possible by ignoring the Nazi ideology. A military solidarity community is being constructed under the motto "We were all victims of the war". This enables rapprochement with the former enemy and reconciliation; however, a real "work-up" cannot take place in this shortened way.

불멸의 과거로서의 기억- 지크프리트 렌츠의『침묵의 시간』을 중심으로

김동조 중앙대학교 외국학연구소 2021 외국학연구 Vol.- No.55

Memory was a central theme in many of the literary works of Siegfried Lenz, the famous postwar writer in Germany. In particular, the novel “Schweigeminute” is Lenz's later work, a novel about the past love between a young female teacher and an 18-year-old high school student, Christian, and a story about his personal memory. This work tries to shape the protagonist's memory at close quarters by analyzing the interplay between present and past and between the second and third person singular as well as the relationship between silence and intimacy in the novella and the relationship of the first-person narrator Christian interpreting about past love. Not only should the strong emotion of his love be expressed in the silence of memory, but the reliability of the ‘I-memory’ should also be called into question. It is to be explained how the past past becomes immortal past through memory.

집단적 기억과 여성의 시각 - 작자 미상의 『베를린의 한 여인』을 중심으로

김동조,김종수 한국독어독문학교육학회 2016 獨語敎育 Vol.67 No.67

본 연구에서 다루게 될 작자 미상의 『베를린의 한 여인. 1945년 4월 22일부터 6월 22일까지 일기형식의 수기 Eine Frau in Berlin. Tagebuch-Aufzeichnungen vom 22. April bis 22. Juni 1945』는 2차 세계대전 종전 후 구소련이 점령한 베를린에서 소련군들이 독일 여성들을 성폭행하고 생존을 위해 성매매에 나서야 했던, 냉전시기의 한 독일 여성의 비참한 기억을 토대로 하고 있다. 종전 후 70여년이 지난 시점에서 이 작품은 영화화되는 등 최근 독일 내에서 주목을 받고 있다. 하지만 아쉽게도 이 작품과 관련해서 아직까지 국내에서는 선행연구가 전무한 실정이다. 기억을 전달하는 틀로서의 문학 텍스트의 역할을 고려하면서 본 연구는 다음과 같은 목표에 초점을 맞출 것이다. 우선 개인적인 여성의 관점에서 과거를 회상하며 서술할 때 이 여인의 시각이 전쟁 혹은 전쟁의 도시 베를린에 대한 독일인들의 집단적 기억에서 지금까지는 잘 드러나지 않았던 부분을 어떻게 묘사하고 있는지 고찰할 것이다. 더 나아가 이 여인이 전시 상황의 베를린의 일상과 비인간적인 면들을 어떤 식으로 묘사하고 있고 전후 독일사회에서 지금까지 일반적이었던, 편협한, 집단적 과거극복 양상을 비판하면서 어떠한 시각과 서술방식을 선택하고 있는지 살펴볼 것이다. 왜냐하면 기억은 당연하고 자명한 것이 아니라 개인과 그 사회 간의 역동적인 소통 과정의 산물이기 때문이다. Ziel dieser Arbeit ist es, zu überprüfen, auf welcher Weise die subjektive weibliche Perspektive, aus der rückblickend erzählt wird, einen blinden Fleck deutscher Erinnerung an den Krieg bzw. die Kriegsstadt Berlin aufarbeitet und damit publikumswirksam die einseitige Vergangenheitsbewältigung kritisiert. Dieses Werk nimmt eine kritische Haltung gegenüber dem normierten, deutschen Erinnerungsdiskurs ein. Die Intention des Textes geht dahin, den Schwerpunkt auf eine weibliche Kollektiverfahrung zu legen sowie die bis dato männliche Chronik zur Situation in Berlin durch eine Darstellung aus weiblicher Perspektive sukzessiv zu differenzieren. Dass der Text als literarisiertes Tagebuch in der Ich-Perspektive vorliegt, ist provokativ. Vor allem die unübliche Darstellungsweise, eine Protagonistin, die - anstelle sich als Leittragende der Opferperspektive zu bemühen - den Zeitläufen gleichmütig begegnet und sich zugleich für ein weibliches Kollektiv erinnern will, eröffnet eine neue Sichtweise in Bezug auf den Zweiten Weltkrieg. Diese weibliche Perspektive schreibt das institutionalisierte Palimpsest der Kriegsstadt Berlin, die als obligatorischer Gedächtnisort herausgestellt wird, um. Die Anonyma konstatiert eine Umkehr der geschlechtlichen Rollenverteilung. Ihr Fazit lautet, dass sich trotz der unmenschlichen Verhältnisse das weibliche gegenüber dem männlichen Geschlecht als überlegen erwiesen habe.

지크프리트 렌츠의 초기 장편소설의 시대와 사회 비판

김동조 한국독어독문학교육학회 2013 獨語敎育 Vol.56 No.-

Die Sprache der Romane von Lenz ist eine ruhige, gedämpfte Sprache,die sich von der provozierend grellen Ausdrucksweise eines Teils derliterarischen Avantgarde in der BRD deutlich abhebt. Ohne sichwirklichkeitsfremden Illusionen über die Wirkungsmöglichkeiten derLiteratur hinzugeben, plädiert Lenz für ein gemäßigtes sozialesEngagement des Schriftstellers und nimmt für seine eigenen Romane inAnspruch, dass sie sich mit den bestehenden gesellschaftskritischenKonflikten beschäftigen: Der Schriftsteller handelt, indem er etwasaufdeckt, eine gemeinsame Not, gemeinsame Leidenschaften, Hoffnungen,Freuden, eine Bedrohung, die alle betrifft. Das Schreiben bei Lenz wird zu einer pädagogischen Veranstaltung, inderen Verlauf die erstarrten Konventionen und Vorurteile des Lesersunmerklich, d.h. ohne Zuhilfenahme lautstarker Provokationen,unterwandert und in Frage gestellt werden sollen. Die Erzählweise derRomane von Lenz hat das Ziel, zwischen Autor und Leser einen Paktherzustellen und Solidarität zu erzielen. Erst aufgrund dieser Solidaritätglaubt Lenz an eine mögliche Veränderung bestehender Verhältnisse. Seinefrühen Romane zeigen, in welcher Weise der Autor bewusstseinsänderndauf den Leser wirkt. Er führt ganz gewöhnliche Missstände vor Augen,die zunächst zur Reflexion aufrufen, dann aber ein Handeln verlangen. Es gehört zu den Grundüberzeugungen von Lenz, dass eine sinnvolleKritik an den Bedingungen der eigenen Umwelt ohne die Berücksichtigunghistorischer Perspektiven nicht möglich ist. So hat er das gebrochene Demokratieverständnis der westdeutschen Konsumgesellschaft, die sich inden fünfziger und sechziger Jahren fast ausschließlich auf die Sicherstellungeines reibungslosen Ablaufs der Wirtschaftsprozesse konzentrierte,wiederholt mit der Neigung in Verbindung gebracht, die Verbrechen derNazizeit totzuschweigen oder zu verharmlosen. Die frühen Romanen von Lenz schildern die mangelnde Bereitschaft zueiner kritischen Aufarbeitung der in der Vergangenheit gemachten Fehlerund Versäumnisse. Mit seinen Werken erhebt Lenz den Anspruch auf eineernsthafte Auseinandersetzung mit den von vielen Deutschen verdrängtenRealitäten der nationalsozialistische Diktatur.

Interactive Media Art based on Bio-mimesis for the Ecosystem

김동조,이상화 차세대컨버전스정보서비스학회 2019 디지털예술공학멀티미디어논문지 Vol.6 No.1

Ecosystem is composed of the considerably diversified living organisms. Those living organisms have their own movements distinctively and individually. Their movements keep evolving through the interaction with environment performed to survive and reproduce. The living organisms also have evolved through optimization process occurring over a long period of time from generation to generation. In studying phenomena or structures appearing in this process, the studies on bio-mimesis are essentially required. Since a research on bio-mimesis is based on an analysis for structures and functions of a living organism, new technological development is required to be promoted with aid of the cutting-edge technologies. A morphology based expansion for ecosystem is under development in a wide variety of fields ranging from Velcro to bio-mimetic robot. There are the studies being conducted focusing on movements of the living organisms as well as structures and functions of their appearances. It can be seen from a recent case study on an analysis of movement of underwater creatures for the purpose of reducing resistance in water or air. This process is also being researched in media art field. In this study, the interactive media art works that were produced by imitating various movements of living organisms occurring at ecosystem are investigated. The aim of this study is to explore characteristics of the interactions presented in those art works.

빛의 잔상을 활용한 라이트아트 작품구현

김동조 차세대컨버전스정보서비스학회 2016 차세대컨버전스정보서비스기술논문지 Vol.5 No.1

The development of the external form in light art is conspicuous indebting to the development of the tip materials which uses light. Various artistic activities utilizing an optical fiber and LED element have been stretched over with many unusual events, and the optical fiber is grouping for expansion regarding its scopes by utilizing it as wearable display, illumination of diverse methods, and artistic work especially. Among such utilization of optical fiber, light is used as an expansion of space and time nature in light art. Specially, it plays sufficient roles of being able to lead discussions about immaterial space. Light and space art are evoking psychological stimulus of people while drawing visual operation and illusion effect to audiences at the same time. Light art makes the expansion of space by using light, explains the third, fourth spacial concepts, and lets consider new concept on it as well. This study attempts to inquiry into expansion of spatial configuration so as to formulate expansion of space by using afterimage of rotating light that equips with formative elements, and implementing work to which real movement of kinetic element is added through the movement of light source itself, and then doing formative expression on the afterimage of light. 빛을 사용하는 첨단소재의 개발과 함께 라이트아트는 그 외형의 발전이 두드러지고 있다. 광섬유와 LED소자를 활용한 다양한 예술 활동들이 다채롭게 펼쳐지고 있으며, 특히 광섬유는 웨어러블 디스플레이와 다양한 방식의 조명 및 예술 작품으로서의 활용으로 그 영역에 대한 확장을 모색하고 있다. 이러한 광섬유의 활용 중 라이트 아트에서는 빛을 공간의 확장과 시간성으로 사용되고 있다. 특히나 비물질적 공간에 대한 논의를 이끌어내기에 충분한 역할을 하고 있다. 빛과 공간예술은 관객으로 하여금 시각적 작용과 착시적 효과를 동시에 이끌어내며 사람들의 심리적 자극을 일으키고 있다. 라이트 아트는 빛을 사용하여 공간의 확장을 만들어내며 관객에게는 제 3, 4의 공간개념을 설명하고 이에 대한 새로운 개념 또한 고찰토록 한다. 본 논문에서는 조형적 요소를 갖추고 있는 회전하는 빛의 잔상을 사용하여 공간의 확장을 표현하고 광원 자체의 움직임으로 키네틱적 요소인 실제적 움직임을 가미한 작품을 구현하였다. 이를 통해 빛의 잔상을 조형적으로 표현하여 공간구성에 대한 확장을 고찰하고자 한다.

Schizencephaly(분열뇌증)환자에 있어 구음 장애 치험 1례

김동조,공경환,경혁수,Kim, Dong-Jo,Gong, Gyeong-Hwan,Kyung, Hyuk-Su 대한한방내과학회 2004 大韓韓方內科學會誌 Vol.25 No.4

Schizencephaly is a form of the porencephaly in which there is a cystic cavity in the cerebral hemispheres. Schizencephaly is a congenital disease which consist of clefts that extend through the entire hemisphere from the ependymal lining of the lateral ventricles to the pial covering of the cortex. The etiology and the pathogenesis of this malady are not clearly estalilished. Typical symtoms is seizures, mental retardation, spastic tetraplegia and blindness. A case of schizencephaly which was treated through methods of the Oriental Medicine, and that met with good results, is reported.

고대 이집트의 종교

김동조 명지대학교 창조과학연구소 2002 창조과학논문집 Vol.5 No.-

고대 이집트인들은 최고신을 정점으로 하여 그 밑으로 수많은 하위 신들이 자리하고 있다고 믿는 제신 통합주의적인 종교관을 견지하고 있었다. 고대 이집트인들은 현생의 풍요로움이 그대로 사후에도 지속될 것이라고 믿었으며, 사후에도 영혼이 육체에 거한다고 믿었다. 그러므로 육체를 보존하기 위해 미이라를 만들고, 영원히 부서지지 않을 거처를 마련하기 위해 피라미드를 건축하였다. 그러나 이러한 종교관이 세우러이 흐르면서 점차 운명에 대한 체념으로 바뀌어 갔고, 이집트인들의 의식속에는 죽음의 의식들과 타계로 옮겨갈 때의 위험한 상황들에 대한 두려움이 자리를 잡아갔다. 고대 이집트의 종교적 흐름을 시대별로 살펴보면, 전통적으로 아몬레신이 최고 신이고 민족신으로 자리하였고 아마르나 시대동안 잠시나마 아톤신이 그 자리를 차지하였다. 한편 고대 이집트의 종교에서 우리는 구약성서의 종교와 유사한 점들을 적지 않게 발견할 수 있다. 그러나 앞에서 살펴본 바와 같이 윌리암 스티빙은 구약성서의 종교가 고대 이집트 종교의 영향을 받았을 가능성을 부인하고 있다. 이에 대해서는 보다 심도 있게 연구가 필요하다고 생각한다.

독일 문화정책의 이상적 기대와 실제 현실에 대한 개관

김동조 중앙대학교 외국학연구소 2020 외국학연구 Vol.- No.53

Up until the 1970s, Germany's cultural policy stood primarily for "cultural care": for example, the entertainment of theaters, museums or opera houses. With the "New Cultural Policy", participation became the focus. Leading goals such as "cultural democracy", "civil rights culture" and "culture for all" rely on the participation of all citizens. Cultural policy as social policy had to get rid of the elitist - an expanded concept of culture no longer only to stand for literature and art, but also for lifestyles, values ​​and beliefs. At local and state level, cultural policy is mostly a distribution policy. No urban stage in the Federal Republic could hold its own on the "market". Accordingly, more culture means more costs. At the same time, art thrives on the ideal of being able to develop free of interests. In addition to visitor orientation, the demand today includes, among other things, a new organizational culture for public cultural companies, the consideration of the actors as "knowledge employees", the development of multidimensional cultural financing or the formation of creative alliances. That is all correct and necessary, but it also remains to be warned against pushing too hard an adaptation of market action, too harshly throwing overboard the principles of a cultural area that is also cumbersome and mortgage-laden. Cultural management and cultural policy remain related, a relationship that has to be balanced again and again. The scarcity of public funds also leads to concrete problems of cultural funding: the majority of the funds are tied up for institutions such as municipal museums; these often have too tight administrative budgets and lose innovative strength and scientific value; More and more third-party funders such as foundations, but now also the federal government, are increasingly raising expectations regarding the content of local cultural businesses, which are forcing them into a conflict between legal entities and funding backdrop.