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박신현(Park Shin-Hyun) 신영어영문학회 2011 신영어영문학 Vol.50 No.-
This paper explores the meaning of Tennessee Williams' The Night of the Iguana which reveals his critical change comparing with previous works. The playwriter suggests solutions to the isolated characters of previous plays. The solution which he shows in his plays is to understand others, values human relationship, and have and keep conversations in order to escape fear in the isolated world. He finally arrives at a optimistic conclusion comparing with previous pessimistic works which had bleak atmosphere, and reveals humanistic philanthropic world.
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성낙원(Nak Won Sung),정용일(Young Il Jeong),박신현(Shin Hyun Park) 한국자동차공학회 1986 오토저널 Vol.8 No.1
The purpose of this study is to develop an exhaust gas recirculation valve for reduction of the NOx emission of the gasoline engine.<br/> In this study the back pressure modulated (BPM) EGR system was developed and tested for the 1.6ℓ gasoline engine. By this system 50% of NOx emission was reduced at 7% EGR rate. Fuel consumption and CO emission were not affected by EGR but HC was increased up to the level of allowable limit. Overall operation was satisfactory. As a result of this study, the technics for developing EGR valve and adjusting the engine for EGR have been established.
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Park, Shin-hyun 이화여자대학교 이화인문과학원 2024 탈경계인문학 Vol.17 No.1
전통 미학에서 미적 경험의 주체는 인간에게 제한되었으며 비인간은 단지 감상의 객체로만 여겨졌다. 하지만 최근 사변적 실재론자들 사이에 비인간 역시 미적 경험을 할 수 있고 미적 감정의 주체가 될 수 있다는 주장이 활발하다. 스티븐 샤비로, 그레이엄 하먼, 티머시 모턴의 포스트휴먼 미학은 칸트의 인간중심적 미학을 극복하려 한다. 이러한 사상가들과 버지니아 울프에게 미적 경험은 인식론적 차원을 넘어 존재론적 차원에서 작동한다. 본고는 울프의 두 단편, 「거울속의 여인」(1929)과 「단단한 사물들」(1920) 안에서 모든 존재가 서로 미적으로 상호작용하며 미적 경험으로 형성되고 변화하는 양상을 탐색한다. 또한 미적 주체들로서 인간과 비인간, 생물과 무생물 사이의 경계들이 흐려지고 이러한 다양한 종의 미적 주체성이 여성의 참정권을 상징함으로써 남성중심주의와 인간중심주의를 전복시키는 양상을 고찰한다. In traditional aesthetics, the subject of aesthetic experience is limited to human beings, and nonhumans are seen as mere objects of appreciation. Recently, however, there has been a growing movement among scholars of speculative realism that questions Kant’s idea, arguing that nonhumans can also have aesthetic experiences and be the subject of aesthetic feelings. Kant’s human-centered interpretation of aesthetics is the most actively challenged and overcome by posthuman aesthetics of Steven Shaviro, Graham Harman, and Timothy Morton. For these thinkers and Virginia Woolf alike, aesthetic experiences operate on an ontological level, not just an epistemological one. Accordingly, this paper aims to explore how the existence of all beings, which interact aesthetically with each other, is forged and altered by their aesthetic experiences in Woolf’s two short stories, “The Lady in the Looking–Glass” (1929) and “Solid Objects” (1920). Additionally, it examines how the boundaries between human and nonhuman, animate and inanimate beings as aesthetic subjects are blurred, and at a deeper level, this aesthetic subjectivity of diverse species symbolizes women’s suffrage, thereby subverting both androcentrism and anthropocentrism. The aesthetic subjectivity of nonhumans and women is closely associated with their political agency, disrupting the society’s hierarchical structures.
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