重電機器製品輸出의 現況과 展望

지주현(池珠賢) 대한전기학회 1981 대한전기학회 학술대회 논문집 Vol.1981 No.7

김춘수 시의 심리기제

지주현 전남대학교 한국어문학연구소 2005 전남대학교 한국어문학연구소 학술지 어문논총 Vol.- No.16

나희덕 시에 나타난 생태여성주의적 특성

지주현 한국문학이론과비평학회 2011 한국문학이론과 비평 Vol.52 No.-

This thesis looked at Na Hee-deok’s poetic world from a perspective of ecofeminism. Basically, poems of Na Hee-deok are feminine poetry which is aware of contradiction of patriarchy. Also, her poetic world forms an inseparable relation with ecofeminism in that it follows the logic of body based on various senses while using specific experiences in nature as the motif in her poems. To begin with, her poetic world finds that life of human beings is composed of pains in essence. And those pains are working under the influence of patriarchy which is a firm, realistic base. In the first chapter of the body, a poetic narrator advances toward the level of affirming the pains and having an affinity for them while admitting the fact that pains are a vehicle of being aware of the world. In addition, while she undergoes a process of narrowing the distance from the pains, they become daily companions, forming part of life and self. However, the suffering and symptoms which pains trigger for the subject do not just go away only because the narrator forms partnership relations with the pains. Chapter 3 shows how the narrator deals with pains and heal them. When the pains come from the reality of society, the narrator’s response to them takes on the aspect of not confronting them directly, yet not giving up or getting indifferent to those pains. And this attitude presents itself as extreme perseverance close to the character of plants which waits in silence until things turn around. On the other hand, when the pains result from existential problems of an individual, the narrator embraces the situation entirely and at the same time she heals herself. Even traditional perseverant femininity is sensed in the narrator who constantly endures the pains until they heal up while sticking it out through the self-healing time. Also, the narrator, who has succeeded in self-healing, at last obtains the power to embrace and heal others and help the growth of them. And in this situation the narrator willingly dedicates herself to self-realization of others. The following Chapter 4 shows that the next move of the narrator, who has healed herself and brought up others, unites with other objects in nature and then becomes the third being. This ecological unity occurs between a natural object and another natural object or between a natural object and a human being. Involving fantastic tendency, the unity of self and others is invested with cosmic mystery and full of vitality. It is marvelous to see two different beings that already have been healed create a synergy effect and belong to each other. Those in the state of creation beyond the unity enjoy the original cosmic harmony and at the same time present themselves as transcendentalia with creativity and the ability of completing a well-rounded person.

오정희 소설의 트라우마와 치유

지주현 한국문학이론과비평학회 2009 한국문학이론과 비평 Vol.45 No.-

This study regarded that the individuality of Jeong-Heui Oh's Novels is the trauma and the effective expression of it. Trauma is the mental external wound left after particular experience and frequently shows itself with various symptoms without being properly recognized by the subject. The core of trauma shown in Jeong-Heui Oh's Novels is the topic of 'death' with the background of Korean War. Texts present, centering around the experience of death, peripheral traumas like the absence of father, the poverty and lack, the alien and female life as the weak. Symptoms of characters include the bulimia, kleptomania and pretending to be dead that 'I', the heroine of 「The garden in childhood」, shows, the behavior of 'I' that keep stealing into her own space in 「The Chinese street」 and the repetitive leaving home and smoking by 'Eun-Su Choi' in 「The spirit of wind」. There are about three formal aspects of text to represent trauma and derivative symptoms effectively. First, the subject beard unrest and illogicality in communication that was expressed in the form of omission and inner monologue. The inner monologue represents the isolated language that was not expressed out. Second, free indirect speech was used. The free indirect speech helps deliver the delicate psychology of trauma situation where the voices of the narrator and the speaker overlap. Lastly, the trauma experience in the past overlaps discontinuously into the present conversation. The eternal object of novels is the effective healing about symptoms. Each text accomplishes the healing method in suitable patterns.

부품의 계열화와 신뢰성

지주현 대한전기협회 1982 대한전기협회지 Vol.- No.62

김선태 시세계의 정한과 치유 방식

지주현 한국지역문학회 2013 한국지역문학연구 Vol.2 No.2

본 논문은 김선태 시세계를 원형적인 정한과 절실한 그리움의 문제로부터 접근하여 이에 대한 치유책을 찾아가는 과정으로 바라보았다. 본론의 첫 번째 장이 개인 차원의 전통적인 애환을 서정 본연의 방식으로 그려냈다면, 두 번째 장에서는 이러한 정서의 객관적 변용을 꾀하면서 서술적 서정의 면모를 보여준다. 이 범주의 첫 유형은 현실 세계에서의 갈등을 최대한 부각시키는데 이때 화자는 사건의 전달자 역할을 하면서 지극히 객관적인 시선을 드러낸다. 또 다른 유형을 보면 앞의 경우에서와 같이 이야기가 전경화되고 나레이션은 후경화되지만, 설화적 시공간을 바탕으로 하여 옛날이야기와 같은 시편들을 형상화한다. 갈등이 희화화되고 해학미를 담보하게 되는 것도 이 유형의 특징이다. 서술적 서정성을 표방한 마지막 유형에서는 나레이션이 전경화되는 대신 이야기가 후경화되며 세계와 대상에 대한 관조적 성찰의 측면이 부각되고 있다. 이때 화자는 세계에의 동일시의 태도를 취하면서 시적 대상에 대하여 진지한 묘사와 숙고를 아끼지 않는다. 본론의 마지막 장에서는 주관적인 전통 서정 혹은 객관적인 서술적 서정의 방식을 통해 살펴본 정서적 갈등의 문제에 대한 해법을 제시한다. 즉 복잡다단한 시대를 살아가는 현대인인 동시에 섬세한 정서의 파장을 지닌 해안지역민으로서의 화자들은 자연의 세계를 통한 마음의 치유를 모색하고 있다. 이 시세계에서 구체적인 치유책으로 기능하는 자연의 속성은 각고의 둥글어짐과 꽉찬 고요이다. 본 논고에서는 이 두 속성을 묶어 ‘둥근 고요’라 표현하였는데, 이것이 해안적 배경과도 상관관계를 보인다는 점에서 김선태 시세계가 해안 생태시의 효과를 드러낸다고도 할 수 있을 것이다. The poetic world of Kim Seon-tae takes place in the beautiful sea of the southern provinces. The first chapter sees various pains of life symbolized through the image of the water calmly dissolved in the poems. This poetic world not only represents the traditional lyricism as the reserved ego displays the virtue of endurance while it keeps the longing, affection, and resentment toward a unspecified subject, but also reveals a variety of unique emotion of the coast. The second chapter shows objective change of the emotion by borrowing narrative lyricism and story structure. This was realized in three types. The first type emphasizes how the narrator gives great prominence to the conflict while conveying the events in the proximity. The second type suggests the situations before and after the conflict instead of the direct situation of the conflict as though they are in the past. It foregrounds the story and brings the narration to the background as in the preceding aspect, but the narrator hovers between fictional time and space and creates a mysterious mood around the sea. These narrative poems caricature the conflict through the narrative time and space and also realizes the beauty of humor. Lastly, the third type of poem tends to depict the subject based on contemplation and in-depth introspection. This type of work brings the story to the background and the narration, foreground, and the narrator gives a deep thought to the complicated meaning of life and the world of truth. However, it was the character of the nature not the matters related with the human attributes that the narrator found as the answer to the existent pains. He suggests the ‘round’ form which is found in the natural subjects and the ‘calm’ which seems empty but holds tension inside in a balanced way. By interpreting the affection and resentment as well as longing in the aspects of traditional lyricism or narrative lyricism through the coast of the quiet and mellow southern provinces, the poetic world of Kim Seon-tae provided readers with a cure, ‘Round Calm’, for a number of conflicts in life and the most artistic poems of the south coast.

전류응력이 고탄소강의 미세조직에 미치는 영향

지주현,이태근 서울産業大學校 2005 논문집 Vol.54 No.1

잔류응력은 재료에 부하되는 응력 패턴에 따라 구조물에 상이한 영향을 미친다. 특히 쇼트피닝 처리는 압축잔류응력에 많은 영향을 받고 있다. 이러한 잔류응력을 정확히 모니터링 할 수 있다면 실기 부품의 안전성 유지와 보수기간 및 잔존수명 예측에 유용하게 사용할 수 있다. 본 논문은 쇼트피닝에 의한 잔류응력과 미세조직 변화를 실험적으로 관찰하였다. 쇼트피닝 투사속도가 증가함에 따라 변형층의 두께가 증가하였다. 경도 및 압축잔류응력은 표면에서 깊이 방향으로 증가하였고, 내부에 형성된 압축 잔류응력의 깊이와 유사하게 감소하였다. 투사속도가 증가함에 따라 압축 잔류응력과 을력분포는 증가하게 되고, 입자 크기는 미세화 하였고 침상의 Bainite 조직이 발달 함에 따라 경도값도 증가하였다. Residual stress gives different impact on the microstructures according to the stress pattern loaded to materials, and it is useful for the prediction of safety maintenance, maintenance period and residual life of parts for practical training. This paper studied the changes of the residual stress and microstructure of SK-5M high carbon steel by applying shot peening. As shot ball speed of shot peening increases, the thickness of deformation layer has increased. Hardness and compressive residual stress increased vertically from surface. As compressive residual stress and its distribution increased, grain size became refined and Bainite structure of bed increased hardness.

중전기기의 수출동향과 전망

지주현 대한전기협회 1983 대한전기협회지 Vol.- No.82

은유적 시각으로 본 백석 시세계

지주현 한국문학이론과비평학회 2009 한국문학이론과 비평 Vol.42 No.-

In a sense, text is a huge metaphor. In Baek Seok's world of poetry, this metaphor earnestly desires both the restoration of forfeiture and the realization of recovery. Under this premise, this paper aims to verify how the metaphorical variation, which generalize the world of poetry, can be weaved and refracted. The small metaphor toward larger metaphor, which is also referred to as 'the recovery of the lost' begins from the horizontal attempt which calls the circumference targets. To begin with, his works shows the poverty and alienation in the colonial period. Then the reality based inquistiveness densely suggests trivial cultural elements. His attempt to specifically poeticize not only the necessities of life and old customs but also the characteristic Korean lifestyle, is the product of an intention to recognize the identification as a Korean rather than the simple preference of the culture. The second metaphor in 'the recovery of the lost' is the verical seeking after truth tied up with historical imagination. This is a vertical intention to recover the prototype of the poetry breaking from the horizontal attachment to the cultural objects. As the place which the roots are in touch with, is the ground of one nation, these types of poetry intensively illuminate the grounds of ethnic life. Throughout this, the place of history and the meaning of space is symbolized as either a positive place feeling or an unaccustomed space feeling. On the other hand, the desire to find the 'roots' shows the process of searching the meaning of the roots in combination with the essay-style which is more suitable in the solemn speculation. In this process, the speaker jumps into the past relying on the primitive memory of the sensorium. In other words, the chemical response coming from the encounter of the sense of the speaker and the material subjects becomes the devise which awakes the poetic memories in the unconciousness. Although the journey of the root-finding gives the consolation, the conclusion was the recognition that more and more powers should get collected to recover the present which is full of the lost. This is the third small metaphor. Now the speaker represents the ardent interest to the neighbors who go through the hardships in the colonial period. The compassion and sympathy are expressed as a far-reaching affection transmitting himself to the poor people and the trivial nature. The will of the poet Baek Seok, who looked squarely the things to be recovered in the difficult era, is still regarded as beautiful.

오규원 시에 나타난 아이러니의 양상

지주현 ( Ju Hyun Jee ) 한국문학연구학회 2013 현대문학의 연구 Vol.0 No.49

본 논문은 오규원의 시세계에 나타난 아이러니에 관한 연구이다. 아이 러니를 작품 일부의 수사적 특성이라 본 선행 연구들과 달리 이 글에서는 아이러니가 전 시세계를 지지하는 기본 원리인 것으로 파악하였다. 이 시 세계에서 아이러니는 단지 수사법으로서만 그 역할을 수행하는 것이 아 니라 일종의 세계관으로서 독특한 기능을 보이고 있다. 본문 첫 번째 장에서는 화자가 세계에 대하여 지니는 본질적인 인식과 태도가 허무에 천착해 있음을 드러내고자 하였다. 인간 관계를 포함한 모 든 세상사가 화자의 기대대로 존재하지 못하는 현실은 허무를 배태하고, 그럼에도 불구하고 허무의 현실을 딛고 일어서야 하는 화자에게 이는 문 제 인식의 시발점이 된다. 이어지는 두 번째 장에서 화자는 만연한 허무의 자각으로부터 벗어나 현실 세계에서의 문제들을 대면하여 곱씹는 모습이다. 그런데 현실을 구 성하는 대부분의 상황과 문제들은 이중성을 띤 채로 존재하고 있다. 여기 서는 일이나 관계 등의 현실적 문제가 모든 측면에서 안심할 수 있다고 판 단하는 그 순간, 신뢰할 수 없는 것으로 뒤바뀌고 마는 현대 사회의 모순 들이 양면성과 이중적 어조를 통한 아이러니적 세계관으로 표상됨을 본다. 마지막으로 세 번째 장에서는 세계관으로서의 의미보다는 구체적인 작 품 안에서 수사적 기능을 띠고 드러나는 아이러니의 사용이 집중적으로 논의된다. 전통적인 아이러니의 수사가 보여주듯이 이 장에서는 겉으로 드러난 거짓인 알라존의 언어와 행간에 숨은 진의인 에이론의 언어가 길 항작용을 이루면서 세계에 대한 부정과 비판 의식을 드러낸다. 결과적으로 오규원 시세계는 아이러니의 효과를 통해 현대 사회를 다 채롭게 조망하고 보다 긍정적인 현실 세계를 모색하는 데 기여하고 있는 것으로 여겨진다. This research is on the irony appeared on the world of Kyu-Won Oh`s poems. While these previous studies that considered irony as the rhetorical characteristics of partial work, this research seized that irony is the basic principle that supports the whole world of poems. In this world of poems, irony does not perform its role only as rhetoric but also shows its special function as a sort of world-view. The first chapter in this research intended to show that the essential recognition and attitude of speaker about the world are impractical. The reality in which all the worldly affairs including human relation are not existed by the expectation of speaker origins the futility, but it becomes a starting point of problem recognition for the speaker that should wake up from the vain reality. In the next second chapter, the speaker is out of rampant vanity and facing with problems of real world. However, most of situation problem composing the reality are existed with its dualism. Here, at the moment that the real problem of work or relation can be stable in every aspect, the contradiction of modern society that is changed as something no reliable are expressed as ironic world-view through duality and dual tone. Finally, in the chapter 3 the use of irony appeared with rhetoric function in detailed work more than its meaning as world-view is intensively discussed. As the traditional rhetoric of irony shows, this chapter, where the language of Alazon, the untruth externally appeared, and the language of Eiron , the truth hidden in space between lines become antagonist, shows negative and critic consciousness of the world. As a result, the world of Kyu-Won Oh`s poems is considered to make colorful view of modern society through the effect of irony and to grope the real world more positive.