월리엄즈 극의 영화적 수법

박용목 경기대학교인문과학연구소영어영문학회 1999 경기영문학 Vol.5 No.-

Winesburg, Ohio와 Anderson의 藝術

박용목 경기대학교연구교류처 1985 論文集 Vol.17 No.1

Dos Passos의 U.S.A

박용목 경기대학교연구교류처 1984 論文集 Vol.15 No.1

John Millington Synge과 「Riders to the Sea」

朴容穆 新羅大學校 1981 論文集 Vol.10 No.-

Giving up his miscellaneous semiliterary life in Paris in compliance with the advice of Yeats, J,M.Synge sprint several months on the barren, treeless Aran Islands in all attempt to captivate the pure, wild human spirit in its natural state as it is depicted in old folk tales. He succeeded in capturing the Celtic spirit more vividly-than any other dramatist of the Irish Dramatic Movement by giving it a new dramatic form and a rich verbal expression. Riders to the Sea, produced by the Abbey Theatre in 1904, is a result of his four visits to the Aran Islands and is based primarily upon his observation of an actual incident in Inishmaan, the middle island of the Aran Islands. Although it is a short one-act play of thirty minutes, it contains, as a tragedy of classic simplicity, all the elements needed to produce a single dramatic effects by the artistic compression of about thirty years' history of a human being's strugg1e against nature, typified by a hostile ocean. In conveying superbly the hopeless fatalism of a bereaved mother facing the tremendous destructiveness fo the ocean which has drowned the last of her six sons, the dramatist evoked a mood of stoical acceptance that dignified the primitive humanity of the helpless survivor with an austerity and an intensity worthy of a Sophocles. And by creating a noble figure of stark, epic dignity which had not lost its hold on sturdy courage and the power of self-restraint in a peace that is close to emotional exhaustion, literally "calm of mind, all passion spent," he gives a humble fisherwoman the stature of a classical figure and also makes the work simple, poignant and massive in its effect. The motif of writing this tragic work is Synge's sense of loss at the end of his relationship with a lass of the Aran Island. This play sprang form the identification of his loss with the heavy loss of life among the Aran fishermen in the threatening ocean and with the mother's intense sense of losing all her six sons as well as her husband and her father-in law. When this sense of loss is dramatised in the sorrowful mood of resignation, it doesn't end as a mother's particular experience but aspires to universal proportions in the minds of the audience. As for his sense of language which is, I think, a core of his art, the simple and dignified language may be said to be an organic aspect of his tragic theme. However, he exalted so much his colloquial prose based on various forms of native speech or peasant idioms with their distinctive flavour to near poetry that he was called a poet in prose or a dramatist who had the imagination of a poet, and therefore, by combining a rich joy and vital reality in the beautiful cadence of the dialogues, he achieved the poetic collaboration of art and life. We can find similarities of the last moving scene with the protagonist's famous soliloquys and other symbolic echoes of this play in many other plays such as aul Green's The Last of Lowrise(1920) in America, Sean O'Casey's Juno and the Paycock(1924) in Ireland, Bretolt Brecht's Die Gewehre der Frau Carrar(1937) in Germany, and Yu Chi-jin's A Mud Hut(1932) and A Scene of the Village with the Willow Trees (1933) in Korea. These show us that in the artistic compression of this tragic masterpiece there are always some universal emotions that touch everybody's heartstrings across the ages and in all countries of the world and also provide us with immortal strength that snakes ell our minds a great purgation.

백합나무 노화과정의 생리생태적 특성 변화

박용목 청주대학교 2015 産業科學硏究 Vol.32 No.2

In order to assess changes of ecophysiological characteristics in the process of autumn leaf senescence chlorophyll content, photosynthetic rate and leaf mass per area (LMA) were studied in the south- and north-facing leaves of a tulip tree. The south-facing leaves showed higher light saturation point and maximum photosynthetic rate (Pmax), while those in north-facing leaves indicated lower values. In the process of senescence, however, south-facing leaves showed a rapid decline in Pmax and LMA compared with north-facing leaves. On the other hand, there was no difference in chlorophyll contents and chlorophyll a/b ratio between leaves irrespective of leaf orientation. These results indicate that tulip tree must has a wide range of plasticity which can develop sun- and shade-typed leaves temporarily depending on light conditions.

연구논문 : 형질전환 담배의 내건성 개선

박용목 ( Yong Mok Park ) 한국환경과학회 2016 한국환경과학회지 Vol.25 No.1

Leaf water and osmotic potential, chlorophyll content, photosynthetic rate, and electrolyte leakage were measured to evaluate tolerance to water stress in wild-type (WT) and transgenic tobacco plants (TR) expressing copper/zink superoxide dismutase (CuZnSOD) and ascorbate peroxidase (APX) in chloroplasts. Leaf water potential of both WT and TR plants decreased similarly under water stress condition. However, leaf osmotic potential of TR plants more negatively decreased in the process of dehydration, compared with WT plants, suggesting osmotic adjustment. Stomatal conductance (Gs) in WT plants markedly decreased from the Day 4 after withholding water, while that in TR plants retained relatively high values. Relatively low chlorophyll content and photosynthetic rate under water stress were shown in WT plants since 4^{th} day after treatment. In particular, damage indicated by electrolyte leakage during water stress was higher in WT plants than in TR plants. On the other hand, SOD and APX activity was remarkably higher in TR plants. These results indicate that transgenic tobacco plants expressing copper/zink superoxide dismutase (CuZnSOD) and ascorbate peroxidase (APX) in chloroplasts improve tolerance to water stress.

現代 美國演劇의 諸樣相

朴容穆 慶北專門大學 (영주경상전문대학) 1979 慶北專門大學 論文集 Vol.2 No.-

Since 0'Neill established a great American theatrical tradition in 1910's, the wonderful spirit of experimentalism that fluctuated from style to style has been a powerful driving force that has produced in succession a great number of talents such as Wilder, Rice, Williams, Miller, and many other recent pioneers who have contributed much to the making of current American theater, the characteristic of which is that the diverse and heterogeneous quality dominates almost every area of the theater: language, theme, structure, scenery, dramatic style, acting technique, etc. It is a commonplace of criticism that the modern theater, in general, have started from rejecting realism's basic tenet that the stage should be set to look like the mirror to the everyday world, that the characters should speak in a prose might hear on the street instead of speaking in blank verse, and that their motives and actions should be much like those we normally think we see daily under the pressure of scientific rationalism. From the time of Ibsen to the present, a large number of playwrights have constructed their plays on the premise that the function of drama is not to hold the mirror up to objective nature, ut rather to provide an image of the world, to express indirectly their sense of life and reality in a situation, to show it as it appears to their imagination rather than to their senses. Such innovating trend as this anti-realism and te protean quality of experimental theater began to take the great vertical rudder in the development of the modern Amrican theater, and it is a well known fact that the American theater has been strengtheneded developed by the influence of many new tides that have strongly down from Europe to the plays of many new American Playwrights-in methods, new styles such as expressionism, symbolism, surrealism, epictheatre, and eatre of the absurd, and in eories, many energetic innovators such as Stanislavsky, Brecht, Artaud, and Growtcwski. Many a born Playwright took part in the struggle of experimentalism over and over again, and built their own world of theatrical art. For example, the effcrt of T. Wilder who used the technique of alienation to develop an anti-illusory was succeeded by J. Gelber after about thirty years, and the method of Rice Who presented social drama through his expressionistic technique was culminated in A. Miller as the highest summit of spiritual tragedy. After the 2nd world war, under the influence of existentialism that man is an absurd creature loose in a universe empty of real meaning, there began a new theatrical movement, Anti-theatre, and along with it, the absurdists such as Albee, Gelber, Kopit came on the stage of American theater. They attempted to bring into relief the fundamental problems of human cxiestence-1oneliness, alienation, disorder, futulity, uneasiness, anxiousness, and the impossibility of communication-by way of tragicomedy of melodramatic farce. As one of the principal themes of modern drama, the inability of language to convey the full meanings desired by the speakers has been carried in large part by the characters struggle with the flat, realistic prose they most often speak. The theater doesn't provide a sharply focused image of man in seme crucial action but bring up a man's most fundamental hopes and fears. On a bare stage a man, who is not a person but a "charcter," stands trying with great effort to explain the truth of his nature to the audience, each isolated from the other and from a world they no longer understand. The frustration or isolation of man in a world where all his environment, including the very language he speaks, thwarts his efforts to express the fulness of his essential self, makes the characters spout open nonsense or stand mutely on stage as in the plays of Albec, and makes them, after all, the speechless dolls or lifeless robots lager than life-size that have no longer any force in the mind but only physically play the role of meaningless mechanical action as in the plays of Itallie. In attempting to reform the theater with a violent way almost unknown to their forerunners, current American drastic playwrights take the theater for the only means by which they can give vent to their anger and disgust, overcome their agony and despair. In trying to blame and accuse American society, which is strong in appearance but weak and loose in its internal disunion, with ruthless attacks and to interpret it on the stage in their own peculiar way, they seem to destory nervously and in a shocking manner a great number of images, values of the society and other transformations of theatrical subject matters such as political injustice, cultural decadence, social corruption, anti-war sentiment, racial discrimination, sex problems, and all sorts of violence, etc. In oter words, they may want to make essentially a social document growing out of the enthusiastic debunking mood of the period and then correct its errors in order to establish a new world view and a new value system. In this point of view, they might have two common desires, one is the desire which seems to find the truth hidden undcr the surface of the common reality, and the other one, to be trying to change the world by shocking the audience and by altering the crecd, and then to force the theater to be a truer mirror of our time. With these two desires They intend to transform the reality of American society and to reproduce it on the unpretentious naive stage, but since they can't convey any sense of their own reality by normal conventional instrunient, by words, they can't but rcject all the conventions of the past and break all the existing theatrical views. Some of the current American theatcrs blieve they can accomplish a street production without laywright, without any form of literture, without director without any convention of theatrical performance. We can infer from various facts that with them what is needed seems to be only te direct, empathic relatioinship between the actor and the spectator. Moreover, suggesting that the actor can perform a play without any make-up or any costume, that the bare stage doesn't need to have setting, curtain, lighting, or sound effects (these are formal and unessential elements, they think), some drastic avant-gardists of Off-Broadway and Off-Off-Broadway run to the open strcets out of the normal stage of conventional playhouse. They act as if the strcet were just their stage and passers-by v.-ere just Ihe spectators or in a sense the play-goers. Therefore today's American theater tries every possible means to attract the attention of audicnce from extreme to extreme, from one bizarre experiment to its opposite, and from one explanation of human nature to its reverse. To cite an extreme case, some are often driven to ingenuities inappropriate to the dramatic medium. Confused and chaotic as the result may be, they are the products of sincere efforts to create a new cocept of theater as an expression for interpreting and communicating life's experiences. And The most significant fact we can see in these aspects of the current American theater is that the theater can break the narrow boundary of its past convention and at any rate take a great step toward the boundless possibility of energetic newness, in whichever direction it is going on.

性과 宗敎의 神話的 接合 : Orpheus Descending에 나타난 고독의 상징적 이미지

朴容穆 단국대학교 영어영문학회 1988 Athenaeum Vol.- No.4

인간의 기계적 이미지: The adding machine의 표현주의

박용목 경기대학교연구교류처 2002 論文集 Vol.46 No.-

The seagull과 the notebook of trigorin의 비교

박용목 경기대학교연구교류처 2004 論文集 Vol.48 No.-