Pensky-Martens 장치를 이용한 Water+n-Butanol계의 인화점 측정 및 예측 방법

최용찬,한종근,김한돌,신용범,정세훈,이문선,윤준혁,류정열,김지용 한국화재소방학회 2003 한국화재소방학회 학술대회 논문집 Vol.2003 No.추계

문화 나치즘이란 무엇인가 -‘나치즘의 문화사’를 위한 이론적 구상

최용찬 문화사학회 2004 역사와 문화 Vol.9 No.-

히틀러국가의 내부 구조를 꿰뚫어 본 독일 현대사 연구의 걸작?

최용찬 한국독일사학회 2012 독일연구 Vol.- No.23

독일 파시즘의 문화적 기원 : <하얀 리본>에 나타난 근대 가족 문화의 폭력성

최용찬 湖西史學會 2012 역사와 담론 Vol.0 No.63

수전 캠벨 바톨레티, 손정숙 역, 『히틀러의 아이들』, (지식의풍경, 2008)

최용찬 한국독일사학회 2009 독일연구 Vol.- No.18

영화를 활용한 역사교육: <불을 찾아서>(1981)에 나타난 문화적 진화와 여성의 주체성을 중심으로

최용찬 한국역사교육학회 2014 역사교육연구 Vol.- No.19

This article has the main intention to think deeply about the proper way to teach (pre-)history with the film Quest for Fire(1981), centerin gespecially on the problem of the interrelation between the cultural evolution and its evolutional agency of the women. Until the year 1981, when the film was released, man believed that the man had almost acrucial role in the processes of the biological and cultural evolution. In this place one asks, how much reliable this conviction is? It can be marvelous that this film should give us a new imagination about the prehistoric times. As the film shows, the women had also played a great role in the process of the cultural evolution of the human being, i.e. various developments of the technical culture, the emotional culture, and the religious culture. On the one hand in the image of the main actress Ika making fire we can see an original version of a woman technician. One the other hand, we can find in her laughing image that the woman should play an important role in the process of the emotional evolution on the prehistoric periods. Especially this film provides some new interesting pictures about the sexuality culture and the emotional culture on the prehistoric times. Besides, the film shows that the religious culture should not be the exclusive things of the man. It is surprising that the film should give to the fearing women to invent primitive religions. Finally, we bring to a conclusion that the women also should play a definitely important role in the processing of the cultural evolution of the human being. 이 글은 영화를 활용한 역사 교육이 어떻게 진행되는 것이 바람직한지에 관한 문제를 오랫동안 천착한 역사 교육적 결과물이다. 장-자크 아노 감독의 <불을 찾아서>라는 영화는 보는 재미를 넘어 선사시대에 관한 고고학적 상상력을 갖게 만들기에 대단히 유용한 학습 도구이다. 이 글에서는 특히 영화 <불을 찾아서>에 나타난 문화적 진화와 여성의 주체성을 중심으로 영화를 활용한 역사교육을 위한 중요한 내용을 간추리려고 시도하였다. 우선 여자 주인공 이카의 불 피우는 모습을 통해 선사시대의 기술 문화의 진화 과정에서 여성들도 남성들과 마찬가지로 결정적인 역할을 담당하였을 것이라는 멋진 영화적 상상력과 대면하게 되었다. 나아가 웃고 있는 여자 주인공 이카의 모습을 통해 선사시대의 감정 문화의 발달 과정에서는 남성보다 오히려 여성이 진화의 주체로서 한층 더 결정적인 역할을 수행하였으리라는 확신을 갖게 되었다. 이 과정에서 특히 남녀 간의 사랑이라는 감정의 진화사에 있어서 여성도 마찬가지로 중요한 성적 욕망의 주체가 될 수 있었을 것이라는 매우 충격적인, 그러나 대단히 매혹적인 상상력의 진수를 맛볼 수 있었다. 적어도 이러한 여성 중심의 새로운 영화 읽기를 통해 선사시대에 관한 전연 새로운 시대상을 갖추게 되는 것이 이 영화를 활용한 역사 교육의 최대 효과라고 말할 수 있다.

고유경, 『독일사 깊이 읽기-독일 민족 기억의 장소를 찾아서』 (푸른역사, 2017)

최용찬 한국서양사학회 2017 西洋史論 Vol.0 No.134

세기말 비엔나의 링슈트라세 프로젝트와 근대 도시의 이미지 정치

최용찬 한국독일사학회 2011 독일연구 Vol.- No.21

There have been different views among the cultural historians about the historical status of the Ringstrasse Project in Fin-de-Siècle Vienna, even if this old and historical street was publicly considered as the most famous boulevard in the world cities. Usually the main position about the historical status of this urban development project can be divided into two stances. Firstly, it can be named as traditionalist, conservative and absolutist stance,secondly on the contrary as modernist, progressive and civilian position. These directly-opposed ideas have each different answers about the three important questions: Was the Emperor Franz Joseph I, as the proposer of the city development project, absolutist or reformist monarch? Was the basic character of the Ringstrasse Project as a road-widening project conservative or progressive scheme? Were the new public buildings on this street the architectural symbol of absolutist or civil politics? In my viewpoint, we don't have to think both sides separately, but we must consider them simultaneously in order to find proper answers. In this critical perspective, Chapter II takes the background of the Ringstrasse project and its main contents into consideration. Here the emperor Franz Joseph I cut a conspicuous figure as project initiator. As soon as he seized his political power, he ordered that his new government should positively contemplate the city development scheme which originally belonged to the urban reform project considering the city government and its municipal politics during the 1848’s revolution. Chapter III sheds new lights on the general planning of the Ringstrasse project and its realization process. In this analysis it is mainly stressed that the Ringstrasse project was not a short-term scheme but a long-term modern urbanization policy. Especially the Jews in Vienna actively engaged themselves on this urban project to buy up many parts of the building sites on the street. It simply provided more fodder for another attack on the viennese jews. Chapter Ⅳ puts emphasis on the public buildings on the street in oder to enunciate the urban image politics of modern Vienna through illuminating its symbolic characters. The public architectures were composed of three parts—Emperor Forum, Civil Forum, and Army Forum. These buildings respectively represented the empire politics and the civil politics, and the army politics not in harmony but in tension. In conclusion, the Ringstrasse project was the result of the unstable coexistence of tradition and modernity, conservation and progress, state and civil society in the late 19th century of Austria.

더욱 높이 雄飛하는 會誌

崔龍贊 대한사립학교장회(구 대한사립중고등학교장회) 1987 私學 Vol.40 No.-

나치독재의 ‘문화혁명’ 담론과 독일영화의 혁명화 프로젝트

최용찬 한국독일사학회 2007 독일연구 Vol.- No.13

During the so-called "total crisis" in the later phase of the Weimar republic the National Socialists declared publicly that only their Cultural Revolution(CR) could stop the collapse of the western civilization through the social and cultural reformation and renaissance, that they should construct the New People Community as a cultural utopia, Kulturvolksgemeinschaft under the Nationals Socialists' Reich. It was very interesting that their public declaration did not remain a political rhetoric, but was really put into practice after the seizure of the political power, so that it had a power to fabricate the reality differently. In this context it is important to raise questions: in which historical context was the National Socialists' Cultural Revolution discours come into being? What was the real order of their cultural revolution discours? How important did the Nazis consider the film revolution project? And which supports did the Nazis really act out to realize the cinema revolution project? Here I will reply shortly to these critical questions respectively. Firstly, the critical problem, how the Nazis appropriated the cultural crisis of the later Weimar republic, is examined. So it comes to a conclusion that the Nazis emphasized the inevitability of their cultural revolution especially in the face of the Weimar crisis. Secondly, it is natural that the order of the Nazis' cultural discours is illuminated by the deep observation on the German cinema revolution project, because the cinema revolution was the backbone of the Nazis' cultural revolution. Thirdly, it make clear how the movies circles, especially the cinema newspapers reacted against the revolution project of the German cinema. It is very valuable to keep an eye on this point, because their positive reaction was made full use as a pretext for its radical performance. As a result, this research will first of all help to analyze the cultural revolution discours of the conservatives, then to make a rough sketch the cinema revolution project as a main program of the cultural revolution of the Nazi dictatorship, and finally to redefine the nature of the Nazi dictatorship as a cultural dictatorship.