클라우드 기반 방송콘텐츠 제작 및 서비스 패러다임 변화

조숙희,정세윤,임성창,김종호,이대열,최진수,Cho, S.H,Jeong, S.Y.,Lim, S.C.,Kim, J.H.,Lee, D.Y.,Choi, J.S. 한국전자통신연구원 2014 전자통신동향분석 Vol.29 No.3

차세대 방송서비스로 대두되고 있는 UHDTV(Ultra High Definition TV) 및 3DTV 등 실감방송서비스의 성공적인 도입과 기존 HDTV 방송기술의 고도화를 위하여 저비용 고효율의 방송콘텐츠 제작 및 서비스기술을 확보하는 것이 요구된다. 최근 들어 IT 자원의 사용 및 유지 관리비용의 절감을 목적으로 클라우드 컴퓨팅 서비스를 이용하는 응용분야가 확대되고 있으며, 방송산업분야에서도 콘텐츠 제작 및 서비스에 클라우드 컴퓨팅을 이용하는 사례가 점차 늘어나고 있다. 따라서, 본고에서는 클라우드 컴퓨팅의 기본적인 개념에 대하여 알아 보고, 기존 방송콘텐츠 제작 및 서비스에 대한 현황과 클라우드 컴퓨팅 기술도입에 따른 제작 및 서비스 패러다임의 변화를 살펴본다.

포스트모던 역사 담론과 The Death of the Last Black Man in the Whole Entire World

조숙희(Cho Sookhee) 한국현대영미드라마학회 2010 현대영미드라마 Vol.23 No.2

This essay examines Suzan Lori Parks's The Death of the Last Black Man in the Whole Entire World through the theory of post-modernism in history. It is well known that the majority of Parks's drama deals with history. She usually takes a historical event and then tries to deconstruct it on the premise that the historical event was distorted by the powerful entity, especially that the history and narrative of black slaves in the past were subsided, erased, eliminated, and distorted so much by the whites. Parks's skeptical and even negative attitude toward the written history of the blacks is similar to that of some historians who advocate the postmodern view for the history as a whole. The scholars argue that written records of history do not reflect "history proper" but reveal the "metahistory" which is nothing but a fiction made by the historians who were heavily influenced by their time and situation. When one investigates Parks's play, The Death of the Last Black Man in the Whole Entire World, with postmodern point of view, one can better understand Parks's intention to display a chaotic and amorphous field on the stage, to deconstruct and rewrite the established version of history out of it, and to make the audience engaged in the process of rewriting the history of human beings--especially of the black people.

초등학교 방과후 컴퓨터 강사의 초상: 컴퓨터 수업 경험에 관한 질적 연구

조숙희 ( Sook Hee Cho ),전영국 ( Young Cook Jun ) 한국초등교육학회 2013 초등교육연구 Vol.26 No.4

이 연구의 목적은 초등학교 방과후 컴퓨터 강사가 학생을 가르치는 경험을 통하여 겪게 되는 갈등과 어려움 등과 관련된 주관적 느낌을 질적으로 탐구하는데 있다. 이를 위하여 10여년의 경력을 가진 초등학교 방과후 강사 1명을 대상으로 2013년 1월부터 2월까지 심층면담을 3회 실시하여 인물 사례 연구를 수행하였다. 본 연구에서 우리는 전사 자료를 코딩한 결과에 따라 시간흐름표와 주요 내용을 투사한 맵을 작성하였고 연구참여자(향기 선생님)가 생생하게 들려주는 목소리를 통해 내면의 세계를 조망한 후에 초상화 기법에 터하여 입체적인 묘사를 시도하였다. 이 초상 글쓰기는 향기 선생님이 교직을 선택하게 된 동기, 아이들을 처음 가르쳤을 때의 느낌, 신임 강사로서 수업에서 겪는 어려움을 통하여 보다 나은 방과후 컴퓨터 강사가 되고자 하는 고차적 양상을 보여준다. 이 사례 연구를 통하여 우리는 향기 선생님이 컴퓨터 방과후 강사로서 겪는 직업적 갈등과 자신의 정체성에 대한 고민을 통합적으로 묘사하였다. This paper aims at exploring how an elementary after-school teacher reveals her inner professional development career as she reacts to her inner dilemma and difficulties associated with the relationships among school kids, teachers and parents while teaching computer in an elementary classroom. The single after-school computer teacher was selected and three in-depth interviews were arranged between Jan and Feb in 2013. We first worked out a timeline and map in order to grasp her major strands so that we were able to depict her inner aspects as a whole in terms of portraiture. The portrait illustrates several aspects such as motivation to become a computer teacher, teaching experiences as a novice teacher, personal growth, feeling difficulties faced in a computer classroom as she struggles to overcome such hurdles to become a better person. Also this case describes the conflicts between herself and the kids, difficulties of having nice relationships with troublesome kids as well as parents, outer factors associated with school organization as a temporary teacher. All of these wholistic picture reveal her inner vocational dilemma and sufferings regarding her identity as an after-school computer teacher.

『끝이 좋으면 모두 좋다』에 나타나는 민담의 요소 연구

조숙희(Sookhee Cho) 한국셰익스피어학회 2010 셰익스피어 비평 Vol.46 No.3

All’s Well That Ends Well has been classified as one of the problem plays written by William Shakespeare. A problem play generally deals with moral dilemmas and problematic social issues without satisfactory denouement; its seemingly happy ending does not satisfy the audience because the wrapping-up process is rather artificial and often far-fetched. While All’s Well That Ends Well has not often been performed on the stage, Helena, the heroine of the play has collected hottest attentions from the critics so far in that she is a revolting woman character who defies the conventions of the Renaissance Age. She decides to be a desiring subject instead of a desired object; moreover, she does not hesitate to overcome the almost impossible barriers laid by the patriarchal system. Still, Helena’s problem alone cannot explain the problematic quality of the play. If one categorizes the play as a folklore and analyzes the play into the narratemes defined by Vladimir Propp, he or she can easily discover the fact that the play lacks some important narratemes related with the villain, along with the mission incomplete. Paroles or Bertram do not perform a traditional role of villain and Helena fails to perform the task; thereby, the play fails to satisfy the audience’s ultimate need of poetic justice. Therefore, when the play is analyzed within the paradigm of Propp’s narratemes, one can better understand the mysterious features of the problematic play, All’s Well That Ends Well.

「리어왕」에 나타나는 노인문제

조숙희(Sookhee Cho) 한국셰익스피어학회 2012 셰익스피어 비평 Vol.48 No.3

The majority of King Lear criticism has focused on the religious message of the play, considering King Lear as a scapegoat in a religiously depraved society. On the other hand, many others pointed out that the play describes the conflict between the decaying aristocracy and the rising bourgeois, or the strife between the traditional feudalism and the upcoming individualism. The main purpose of this essay is to return to the basic story line of the play, to trace the relationship between King Lear and the two daughters within the paradigm of the elderly and the caregiver, and finally to add another perspective in understanding the play. The number of elderly people has been rapidly increased throughout the world, due to the improvement of living condition including medical technology and sciences. Naturally, the phenomenon has been connected to the issue of elder care because more often than not elderly people should get support from their families and relatives. On the contrary, the caregivers’ sense of responsibility to the elderly has been sharply diminished, due to the tough living conditions and radical change of culture and tradition. As a result, the issue of inadequate care of the elderly becomes a critical social issue of modern society. It is interesting that the world of King Lear exactly delineates the issue in the Renaissance version. If one reads King Lear within the issue of elder care, King Lear is considered as an elder person who needs help from his daughters, and the daughters as caregivers who abuse and neglect their father out of the heavy stress of caregiving. In the process, the theory of social exchange helps understanding the problematic relationship in King Lear’s family.

The Orestes Myth and the Double in Eugene O’Neill’s The Iceman Cometh

Cho, Sookhee(조숙희) 한국현대영미드라마학회 2003 현대영미드라마 Vol.16 No.1

『유리 동물원』의 사회비평적 요소 고찰

조숙희(Cho Sookhee) 한국현대영미드라마학회 2009 현대영미드라마 Vol.22 No.3

It is generally accepted that Tennessee Williams’ dramatic world is limited to the personal and sexual arena, disregarding the social issues. However, Williams himself continuously insisted that he is a revolutionist, and that the majority of his work deals with social issues in one way or other. It is also true that some critics have supported the author’s contention, analyzing his works with a view of social criticism. The main purpose of this essay is to add another viewpoint in Williams’s feature as a social critic by investigating the characters in The Glass Menagerie. For the purpose, I try to examine The Glass Menagerie within the paradigm of “one dimensional man” coined by Herbert Marcuse. By the term, Marcuse describes the public who are subordinated and subsumed by the totality of the ideology represented through the industrialization and the culture industry. The characters in The Glass Menagerie are internalized and manipulated by the invisible but dominant power system that wants them to remain as a necessary lower part of the society. For the purpose, the system dazzles the public with the false vision and transforms them into the “one dimensionalmen.” Therefore, the helpless fugitiveness of the characters of the play is underlined by the conspiracy to make them follow the social ideology, and their failure to feel even the necessity of breaking the subjugation leads to a bitter criticism on the society armed with technology which deliberately and insistently stamps down individuals. In sum, The Glass Menagerie effectively shows Williams’s feature as a consistent social critic.

『이단자』에 나타난 진리와 이데올로기의 상관관계 연구

조숙희 ( Cho Sookhee ) 대한영어영문학회 2010 영어영문학연구 Vol.36 No.3

David Williamson, the most representative playwright in Australia, tries to dramatize one of the most famous controversies of anthropology, the debate between Margaret Mead and Derek Freeman on the most decisive factor of human nature: heredity or environment. The two scholars had tried to find an answer to the question, “What is the ultimate nature of humankind?” through their academic research. Interestingly, however, their attitudes and behaviors in the text reveal that they were heavily influenced by the needs of the specific time and social ideology which is opposed to their own opinions. In that sense, this play ironically shows that the academic truth is closely related with the non-academic circumstances surrounding the scholars. In other words, the play tells us that the production of truth is heavily accommodated to the power and ideology of the specific time and situation. (Chung-Ang University)

Hirst as a Narcissistic Hero in Pinter's No Man's Land

Cho Sookhee(조숙희) 한국현대영미드라마학회 2005 현대영미드라마 Vol.18 No.1

Water by the Spoonful: 불협화음이 만들어내는 변주곡

조숙희(Sookhee Cho) 한국아메리카학회 2017 美國學論集 Vol.49 No.2

Water by the Spoonful (2011) is the second play in the trilogy written by Quiara Alegría Hudes, along with Elliot, a Soldier’s Fugue (2007) and The Happiest Song Plays Last (2013). The playwright explains the play as “an imaginative play about the search for meaning by a returning Iraq war veteran.” For the purpose, Hudes divides the stage into the two different worlds: reality and online space. The world of reality is centered on Elliott, an Iraq war veteran who suffers from trauma caused not only by the war experience but also by his unhappy early childhood. Likewise, the online space administered by Odessa is filled with social outcasts who try to escape from drug addiction. Still, the two different worlds of this play are common by the fact that they pursue the goal of healing by achieving harmony through dissonance, as John Coltrane’s song, A Love Supreme suggests.