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HIRASE Reita 한림대학교 일본학연구소 2015 翰林日本學 Vol.0 No.27
In Japan, “the Imperial portraits” which were representation of the modern nation -state promoted the spread of authority of the Emperor and penetrated with the bronze statues of Sontoku Ninomiya and Masashige Kusunoki into schools of the whole country. They contributed to the incarnation of Imperial ideas, hard work and loyalty through being prayed in the daily ritual. However, stored inside of the “Hoanden” in security matters, imperial portraits increasingly enhanced its invisibility. Statues of Ninomiya and Kusunoki which spread rapidly in the 1930s would be delivered in the early 1940s. On the other hand, the image of the person from enemy country functioned effectively as the media which bred hostility. The bronze statues installed in the street were expected to publicize the national direction, tame the people, and amplify power. But even the statue of great person which was able to express universal value continuously for a long term was rare, because it was produced based on personal sense of values. It may be said that the statues of the art exhibition kept existence most obstinate in art genres. In the limit of the freedom of expression, sculptors had continued to make the nude sculptures in the name of art since wartime to postwar. It is not easy to generalize a consciousness through images. The nation could only prevent the bronze statues from being raised too much by regulation. It could not even show leadership in art-world. Imperial portraits and those of enemy promoting hostility became intelligible and effective media in both popularization and the penetration. 日本において、近代国家権力の一つの表象である 「御真影」は天皇の権威普及を促進し、二宮尊徳像、楠木正成像と共に全国の学校に浸透、毎日儀式的に拝まれることを通じて、皇国観念や勤労、忠誠などへの意識の肉体化に寄与した。しかしセキュリティの問題で奉安殿に収納される御真影は益々その不可視性を高め、1930年代に急速に普及した尊徳像や楠木像は、1940年代初めに供出されることとなった。その一方で敵国人のイメージが敵愾心を醸成するメディアとして有効に機能した。 街頭に設置される銅像は、国家が進むべき方向を代表する人格を公にして、民衆を国家に馴致させ、権力を増幅する役目を期待された。しかし、偉人の像といえ、私的価値観に基づいて制作されるが故に時代の変化にさからえず、普遍的価値を長期に渡って継続的に表出し得た像は稀であった。 芸術展の彫像は美術の中で最もしぶとく命脈を保ったともいえるかもしれない。表現の自由度の限界はあれ、最後まで芸術性を担保に裸像を作り続け、そのまま戦後へと連続していく。 像を通じてある意識を普遍化させることは容易ではない。銅像では国家は規制により濫立を調整する程度の影響力に止まり、芸術でも指導性を発揮するに至らなかった。そのような中で、御真影、そして敵愾心を助長する敵のキャラクターは主旨も明確で、一般に理解しやすく普及度においても浸透度においても効果的なメディアであったということになるであろう。
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히라세레이타 ( Reita Hirase ) 한림대학교 일본학연구소 2015 翰林日本學 Vol.0 No.27
근대일본에서 국가권력을 표상하는 하나로 ‘어진영(御眞影)’은 니노미야 타카노리상(二宮尊德像), 구스노키 마사시게상(楠木正成像)과 함께 전국의 각 학교로 보급되어, 매일‘어진영’숭배하는 의식을 반복함으로써, 황국에 대한 관념과 근로, 충성에 대한 의식이 육체화될 수있도록 하는데 크게 기여하였다. 그러나, 안전상의 문제로 봉안전에 봉납되는‘어진영’은 점차 그 불가시성을 더하여, 1940년대 초엽에야 비로서 공출되었다. 한편, 적개심을 배양하는 미디어로써 적국의 이미지가 유효하게 작용하였다. 길거리에 설치되는 동상은 국가가 추진하는 방향을 대표하는 인격을 드러냄으로써, 민중을 국가에 길들이고 권력을 증폭하는 역할을 부여받았다. 그러나 위인의 동상이라고는 하나 개인적 가치관에 입각해 제작되어지기 때문에 시대의변화에 따라 보편적 가치를 오랫동안 지속하여 표출할 수 있는 동상은 극히 드물었다. 예술전에 출품된 동상은 미술 가운데서도 가장 오래도록 명맥을 유지한다고 할 수 있는데, 표현의 자유와 한계가 있다고는 하나 마지막까지 예술성을 담보로 나상(裸像)을 만들어 갔기에 전후로 이어질 수 있었다. 이처럼, 동상을 통해 일종의 의식을 보편화시키는 것은 쉽지 않다. 동상의 경우, 국가는 규제에 의해 난립을 조정하는 정도의 영향력에 그치고, 예술에서 그 지도성을 발휘하는 데까지는 이르지 못한다. 그러한 가운데 어진영, 그리고, 적개심을 조장하는 적의 캐릭터는 주지와 같이 명백하게, 일반에 이해되기 쉽도록 보급되어 일반에 침투되기 쉬운 효과적인 미디어였던 것이다. In Japan, “the Imperial portraits” which were representation of the modern nation -state promoted the spread of authority of the Emperor and penetrated with the bronze statues of Sontoku Ninomiya and Masashige Kusunoki into schools of the whole country. They contributed to the incarnation of Imperial ideas, hard work and loyalty through being prayed in the daily ritual. However, stored inside of the “Hoanden” in security matters, imperial portraits increasingly enhanced its invisibility. Statues of Ninomiya and Kusunoki which spread rapidly in the 1930s would be delivered in the early 1940s. On the other hand, the image of the person from enemy country functioned effectively as the media which bred hostility. The bronze statues installed in the street were expected to publicize the national direction, tame the people, and amplify power. But even the statue of great person which was able to express universal value continuously for a long term was rare, because it was produced based on personal sense of values. It may be said that the statues of the art exhibition kept existence most obstinate in art genres. In the limit of the freedom of expression, sculptors had continued to make the nude sculptures in the name of art since wartime to postwar. It is not easy to generalize a consciousness through images. The nation could only prevent the bronze statues from being raised too much by regulation. It could not even show leadership in art-world. Imperial portraits and those of enemy promoting hostility became intelligible and effective media in both popularization and the penetration.
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Polysilicon Thin Film Transistor Modelling: High Field Effects and Terminal Capacitances
Quinn, M.,Migliorato, P.,Tam, S.,Reita, C. 대한전자공학회 1993 ICVC : International Conference on VLSI and CAD Vol.3 No.1
The differences in behaviour between polysilicon and crystalline silicon field effect transistors make it impossible to use standard circuit simulators as design cools. Four terminal crystalline models cannot accurately describe the operation of polysilicon transistors which are .real three terminal devices, with no body or back gate present. For this reason the conventional MOSFET model is unable to cape with effects such as those caused by floating substrates. Furthermore due to the differing physical mechanisms dominating in these devices, effects considered second order in the treatment of crystalline MOSFETs, such as sub-threshold conduction, channel length modulation arid various field induced generation mechanisms play an important role in the electrical characteristics of polysilicon devices. Therefore a new approach is required when dealing with polysilicon Thin Film Transistors (TFTs).
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