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아르투어 슈니츨러의 『윤무』 : 언어와 행동의 이중성: 모티브 분석을 통해 본 20세기 전환기의 비엔나 사회
김기선 ( Ki Son Kim ) 한국브레히트학회 2008 브레히트와 현대연극 Vol.0 No.18
Arthur Schnitzlers Reigen (Round Dance) is regarded as one of the most scandalous play ever written and played at the fin de siecle. It deals with sexual instinct on the stage, repeatedly in 10 scenes. The Schnitzler researches have seen the importance of Reigen in formal structure, which does not follow the traditional rules of Drama and builds a round circle, based on a change of persons from scene to scene, or in its contents: critics on Viennese society, erotic and psychoanalytic aspect, apocalyptic decadence, dance of the death, melancholy and depression of fin de sciecle etc. This paper stresses the formal structure of this play, pointing out the role of the language and motifs played in it. Motifs like darkness, anxiety, hurry, temperature, jealousy or pretended jealousy, fear of an intruder, convincing of being loved and hypocrisy are most frequently used. It reveals the hypocritical attitude of the characters in terms of sexual moral - an attitude the citizens of bourgeois society have as a habit. The criticism was made on the Viennese bourgeois society with its demanding ethics and moral of fin de sciecle which turned out as an illusory moral, and is kept only by language which stands in contradiction to the action. The investigation of motifs and languages of the character exposes the phenomenons of the Viennese bourgeois society of the turn of the century.
게를린트 라인스하겐의 『일요일의 아이들』 -소시민 사회의 일상생활 조명을 통한 파시즘 비판
김기선 ( Ki Son Kim ) 한국브레히트학회 2007 브레히트와 현대연극 Vol.16 No.-
This article focuses on the analysis of Sundays Children (Sonntagskinder) by Gerlind Reinshagen, the only women playwright of the seventies and eighties to be successful on the German stage which was hostile to the female playwrights and directors. By focusing on the everyday life of ordinary people in the Third Reich, the drama reveals the structure of ideological background and identity of fascistic German society. Reinshagen brings the role of housewives into focus, who were regarded as innocent of a crime during the Nazi era. She depicts the housewives of this era as one who functions consequently as an active supporter of the system by internalizing the slogans and ideology of the Third Reich without any critics, and by influencing the children through their socialization with the fascistic ideology. The children are forced to obtain the identity the system requires, and their languages and emotions are controlled, their dreams and fantasies are forbidden as abnormity. Reinshagen`s critics concentrate most of all on the opportunistic and pragmatic attitude of the people, who supported the NZ regime as a result of their political unconsciousness and opportunism. She criticizes that the smooth transition between Third Reich and the Postwar German society implies the outlook for the same materialism and the same pragmatic attitude of the people without any reflections or critics on their past.
김기선,손형민,김영민,탁철곤,박상석,임상경,하정석,정민정,이연정,Kim, Ki-Sun,Son, Hung-Min,Kim, Young-Min,Tak, Chul-Gon,Park, Sang-Seog,Lim, Sang-Kyung,Ha, Jeong-Seok,Jeong, Min-Jeong,Lee, Yun-Jung 대한임베디드공학회 2010 대한임베디드공학회논문지 Vol.5 No.2
색채선별기는 양질의 곡물 유통을 위해 불량곡물, 이물질을 선별하는 시스템이다. 기존의 색채 선별기는 PC기반 제어시스템으로서 비교적 고가이고 부피가 크며 현장 환경에서 기계적 충격이나 먼지등에 취약하다는 문제점을 가지고 있다. 본 논문에서는 이러한 문제점을 개선하기 위해 운영체제가 탑재된 임베디드 제어기 기반의 색채선별기를 제안한다. 색채선별기는 기본적으로 곡물의 유입량 및 속도를 조절해 주는 피터부, 곡물의 영상을 받아 이미지를 처리해 주는 카메라부, 카메라부에서 받은 정보를 이용해 양품과 불량품을 분리해 주는 이젝터부로 구성된다. 본 논문에서는 개발된 지능형 색채선별기용 ARM 프로세서 기반 임베디드 제어기의 하드웨어 구성, 피더부, 카메라부, 이젝터부 간의 통신프로토콜을 이용한 총괄관리 제어와 그래픽 사용자 인터페이스(GUI)를 소개한다.
크로노스와 문화콘텐츠 -괴테와 브레히트의 시 그리고 달리의 그림을 중심으로
김길웅 ( Gil Ung Kim ),김기선 ( Ki Son Kim ),조경태 ( Kyung Tae Cho ),이민용 ( Min Yong Lee ) 한국괴테학회 2009 괴테연구 Vol.0 No.22
Kronos, der Titan im griechischen Mythos, findet von alters her sehr oft seine Anwendung in der Kunst, da er eine komplexe Figur ist. Als jungster Sohn des Uranos und der Gaia entmannt er seinen Vater und wird er selbst von seinem Sohn, Zeus, gesturzt. Diese sich wiederholende Entthronung wird in der Kunst als Motiv des Vater-Sohn-Konfliktes angewendet. Kronos wird zweitens auch als Symbolfigur der Zeit gesehen, das im Griechischen die Zeit darstellt. Schließlich drittens wurde er nach der Niederlage beim Thronungskampf mit Zeus an die Kuste Latium geschickt und grundete das goldene Zeitalter und gilt somit drittens als Erntegott. In diesem Aufsatz wird aufgefuhrt, wie Kronos als Zeitgott in verschiedenen Zeiten in den Kunsten dargestellt sind. Im Gedicht An Schwager Kronos von Goethe handelt es sich um die linear fließende Zeit. Zeit burgt fur den Fortschritt, was das Wahrzeichen der beginnenden Moderne ist. Im Gedicht An Kronos von Brecht und in den Bildern von Dali wird Zeit verflucht. Beide Kunstler sehen die linear fließende Zeit als Ursache des Unglucks und Zerstorung, was damit zu erkl?ren ist, dass das 20. Jahrhundert das katastrophale Ende der Moderne bedeutet. Mit der Analyse der Figur Kronos in den Kunsten stellt sich heraus, wie eng die Vorstellung vom abstrakten Begriff der Zeit mit dem kulturellen Hintergrund verbunden ist.