불포화 토양내에서 가스상 오존 이동특성에 대한 LNAPL과 토양수분의 영향

정해룡,최희철,Jung, Hae-Ryong,Choi, Hee-Chul 한국지하수토양환경학회 2005 지하수토양환경 Vol.10 No.6

Laboratory scale experiments were carried out to delineate the effects of liquid phases, such as soil water and light nonaqeous phase liquid (LNAPL) on the transport of gaseous ozone in unsaturated soil. Soil water enhanced the transport of ozone due to water film effect, which prevents direct reaction between soil particles and gaseous ozone, and increased water content reduced the breakthrough time of ozone because of increased average linear velocity and decreased air-water interface area. Diesel fuel as LNAPL also played a similar role with water film, so the breakthrough time of ozone in diesel-contaminated soil was significantly reduced compared with uncontaminated soil. Ozone breakthrough time was retarded with increased diesel concentration, however, because of high reactivity of diesel fuel with ozone. In unsaturated soil containing two liquids of soil water and LNAPL, the transport of ozone was mainly influenced by nonwetting fluid, diesel fuel in this study. 불포화 토양내에서 가스상 오존의 이동특성에 대한 토양수분과 Light non-aqueous phase liquid (LNAPL)의 영향을 알아보기 토양칼럼실험을 실시하였다 토양수분은 토양입자에 수막을 형성하여 가스상 오존과 토양입자의 직접적인 접촉을 방해하여 오존의 이동을 증가시키는 역할을 하였다. 토양수분이 증가할수록 불포화 토양내의 기-액 접촉면적 감소와 오존의 평균선형유속증가로 인해 오존의 이동속도가 증가하였다. LNAPL로 사용된 디젤유의 경우도 토양 표면에 막(Film)을 형성하여 가스상 오존의 이동을 증가시키는 역할을 하였다. 하지만, 토양 수분과는 반대로 디젤유 농도가 증가할수록 오존의 이동속도는 감소하였다. 토양수분과 LNAPL성분이 동시에 존재할 경우에는 토양입자에 Non-wetting유체로 작용하는 LNAPL에 의해 오존의 이동이 영향을 받는다는 것을 알 수 있었다

막분리에 의한 가정용 세탁폐수의 처리특성

정해룡(Hae Ryong Jung),서규태(Gyu Tae Seo),이현동(Hyun Dong Lee) 大韓環境工學會 1998 대한환경공학회지 Vol.20 No.9

유진 오닐의 『밤으로의 긴 여로(Long Day's Journey into Night)』 에 나타나는 모성성 연구

정해룡(Jung Hae Ryong) 부경대학교 인문사회과학연구소 2016 인문사회과학연구 Vol.17 No.1

유진 오닐의 밤으로의 긴 여로(Long Day's Journey into Night)는 자서전적인 작품으로 타이런(Tyrone) 가족의 비극을 그리고 있는 가정극이다. 이 비극의 중심에 있는 핵심적인 인물은 어머니 메리(Mary)이며, 남편과 두 아들 사이에 반목과 갈등으로 정신분열증 상태로 비극적 결말을 맞이한다. 많은 비평가들은 이 작품의 여주인공 메리에 대하여 부정적 시각으로 보고 있는데, 본 논문에서는 ‘모성성’(motherhood)이라는 남성 중심적 기준에서 이를 검토하면서 그녀의 정체성이 왜 분열되어 가는지 각 남성 인물들과의 관계를 통해 분석하고 있다. 또한 메리의 비극을 초래한 원인을 찾아가는 과정 속에서 가부장적인 모성 이미지가 강하게 작동하고 있음을 보여준다. 이 작품은 처음부터 끝까지 암울하고, 어두운 분위기 속에서 가족 간의 이해와 소통의 부족을 보여주면서 마지막 장면에서 정말 탈출구 없는 절망적인 여로를 보여주지만 비극적 결말만을 가지고 이 작품을 평가해서는 안된다. 이 작품의 의미를 제대로 파악하기 위해서는 작품 전체에 드러나는 등장인물들의 대사를 면밀히 살펴보아야한다. 남편 제임스가 과거의 잘못을 후회하면서 메리를 참아주려고 얼마나 애를 쓰는지, 큰아들 제이미가 에드먼드를 질투하면서도 동생에게 얼마나 진심을 다해 고백하는지, 혹은 작은아들 에드먼드가 아버지와 어머니, 형의 고백을 들어주면서 그들을 이해하려고 얼마나 노력하는지를 보아야 하는 것이다. 가족의 구성원 4명이 갈등과 반목 속에서 이해하고, 소통하려고 노력하는 모습 속에서 이 작품은 새로운 의미를 부여할 수 있으며, “깊은 연민과 이해, 용서” 속에서 희망의 메시지를 엿볼 수 있다. Eugene O’neill’s Long Day’s Journey into Night, written “with deep pity and understanding and forgiveness for all the four haunted Tyrones,” is an autobiographical work dealing with the torment of his own family. Each of the characters in the play is tied together not only by resentment, guilt, betrayal but also by compassion and love. It is around Mary Tyrone, the protagonist of the play that the most ambivalent feelings of both family and audience move. In his effort to work from a painful sense of grievance toward compassion, O’neill creates a richly complex portrait of Mary Tyrone as wife and mother. Mary is depicted as victim and victimizer. Many critics hold negative attitudes toward Mary because she is not able to play the role of the mirror of the motherhood required by the patriarchal society. But, the protagonist created by O’neill possesses the unique female conscience in the patriarchal society. In the remarkable final scene, Mary, carrying her old wedding gown symbolizing her lost ideals, lapses back into her past than she had ever been before. This scene suggests dark and troubling questions about the human condition. It seems that her withdrawal from her family into her past is final and hopeless. Yet, in order to assess the play rightly, we need to consider the efforts of the family members to understand and communicate each other even in the midst of their conflict and confrontation. Thus, as the play concludes there is more of a sense of hope than of desperation.

일방향 응고시킨 Al-Fe 계 합금에서 E6 공정상의 생성특성과 열적안정성

정해룡 (Hae Ryong Jung) 한국주조공학회 1999 한국주조공학회지 Vol.19 No.1

N/A Eutectic and off-eutectic Al-Fe alloys were unidirectionally solidified at the solidification rate of 1~50 ㎜/min under the temperature gradients 75~80˚C/㎝. The investigation has been carried out for the microstructural variation, phase transition, mechanical properties by means of detailed analyses of stress-strain, micro-Vickers hardness and scanning electron micrography. The thermal stability at elevated temperature has been studied on Al-Al_6Fe eutectic alloy held at 600˚C for 0~150 hours. When the solidification rate was Iess than 10㎜/min, the X-ray diffraction and EDS analysis showed the presence of Al_3Fe compound. As the solidification rate more than 20 ㎜/min, Al-Al_3Fe eutectic phase was transfered into Al-Al_6Fe eutectic phase. The mechanical properties of unidirectionally solidified off-eutectic Al-Fe alloy is better than those of unidirectionally solidified eutecic Al-Fe alloy Maximum ultimate tensile strength was obtained in Al-2.25% Fe alloy which was unidirectionally solidified at the solidification rate of 20 ㎜/min. The metastable Al-Al_6Fe phase was transferred into stable Al-Al_3Fe phase at 600˚C held for 150 hours. (Received November 11, 1998)

셰익스피어 『맥베스』의 영상화

정해룡(Jung, Hae Ryong) 새한영어영문학회 2016 새한영어영문학 Vol.58 No.4

This paper examines how Roman Polanski’s adaptation and transformation of Shakespeare’s Macbeth are carried out and aims to consider the implications of his interpretation transmitted to the audience. In Shakespeare’s play, many violent parts of the text are verbalized and not acted out on stage. But Polanski’s movie version shows scenes of brutality implied in the text with graphic violence. With regard to technical style, some asides and soliloquies are changed into inner monologues for the sake of psychological realism. He also changes the role of Ross, who is a relatively insignificant character in the play, and makes him an amoral, opportunistic person. The most significant difference between the original play and its adaptation by Polanski lies in the ending. The ending of Shakespeare’s tragedy leaves the audience with a positive feeling and indicates the restoration of legitimate order and political stability for Scotland’s future after Macbeth’s tyranny. However, Polanski defies this traditional interpretation of the original play. The conception of his movie is to dramatize at its heart not the reestablishment of order but unending power struggles. For this purpose he inserts the scene of a visit to the witches’ den by Donalbain. Through this epilogue Polanski demonstrates the idea that the role of evil is persistent and will never end. This scene completely undercuts the hopeful words uttered by Macduff that “the time is free.” Polanski’s version suggests that greed and violence may be a vicious, never-ending cycle. Thus, the ending of Polanski’s Macbeth leaves the audience with the sense of continued political unrest in Scotland. In conclusion, Polanski’s modern interpretation of Shakespeare’s Macbeth questions human nature and destiny, showing his pessimistic view of the modern world.

셰익스피어의 언어연구

정해룡(Hae-Ryong Jung) 새한영어영문학회 1999 새한영어영문학 Vol.41 No.1

셰익스피어와 인종편견의 문제

정해룡(Hae Ryong Jung) 한국셰익스피어학회 2002 셰익스피어 비평 Vol.38 No.4

존 웹스터의 사회비판 의식 -『말피 공작부인』을 중심으로

정해룡 ( Hae Ryong Jung ) 21세기영어영문학회 2014 영어영문학21 Vol.27 No.3

John Webster’s Duchess of Malfi addresses issues of corruption, female sexuality, marriage and social mobility by dramatizing a confrontation of values between the Duchess and her brothers, Ferdinand and the Cardinal. The play reflects Jacobean anxieties surrounding shifting economic, social and religious institutions during the transitional period of the early seventeenth England. Conflicts of this play come from the Duchess’s decision to disobey her brothers and to marry Antonio not her social equal. The Duchess acts according to her own desires, trespassing social norms of the period. Throughout the play the Duchess questions stereotypical views of women and the importance of class within patriarchal society. She defies traditional social and sexual hierarchies, challenging Jacobean society’s views regarding the representation of the female sexuality. The Duchess’s marriage with Antonio is presented in terms of harmony and mutuality, evoking Protestant companionate ideas of marriage. Much of the scholarly debate about the Duchess has centered on her sexuality. She is blamed for being irresponsible, overly passionate and too bold. However, Webster’s Duchess is neither lascivious, as her brothers have blamed, nor the paragon of chastity. She expresses her own sexuality in a healthy and natural manner. For his dramatic purpose Webster significantly modified his source, William Painter’s The Palace of Pleasure, where the Duchess is portrayed as a lusty widow, to show sympathy toward the Duchess. The Duchess is presented as a powerful woman with a dominant will and is portrayed as strong and independent to the moment of her death. But she ultimately fails to transcend any true boundaries created by the patriarchal society in which she lives. It’s important to note that Webster does not make the Duchess just a victim of male-dominated corrupt society. The play explores the possibility of societal change to overcome the oppression of ideologies within patriarchal society.

셰익스피어의 『오셀로』(Othello)에 나타난 ‘타자성’(Otherness) 연구

정해룡(Jung, Hae Ryong) 새한영어영문학회 2016 새한영어영문학 Vol.58 No.2

This paper aims to examine the problem of otherness in Othello, exploring how it was accepted or contained and controlled in Venetian society. It is impossible to read Othello without considering the issues of race, color and the dominant Elizabethan ideologies as they are presented in the play. The protagonist, Othello, is depicted as an ‘other’ or outsider, referred to as “The Moor” and other racial epithets from the beginning of the play. Othello finds himself in a society and culture that are highly antagonistic to him. Othello’s racial difference is never problematic in the white society, as he is a respected general in the service of Venice. But Othello’s blackness cannot be accepted and tolerated by Venetian society when he marries the white female Desdemona because their union is against the laws of nature. Iago, who is a representative of the white race, demonstrates how this miscegenation is threatening to the existing social order. Desdemona is also a victim of the racial prejudices prevalent in the white society. Othello’s anxiety about his blackness evokes a powerful ingredient in the tragedy. He attempts to fit into society around him to “act white” for assimilation with the white Venetian society. But his struggle to fit into Venetian society and his insecurities about his skin color cause conflict within his own mind. Thus, it is easy for Iago to play on these insecurities, precipitating the tragedy in the play. Ending with Othello’s own recognition of his alienation and otherness, the play shows that it is the political complicity of the ruling class in the Venetian society that brings about the tragedy of Othello and Desdemona.

셰익스피어의 일본화

정해룡(Jung, Hae-Ryong) 동북아시아문화학회 2015 동북아 문화연구 Vol.1 No.43