노즐목에서의 대류 열전달계수 산출에 관한 연구(Ⅰ)

김유 충남대학교 공업교육연구소 1983 論文集 Vol.6 No.2(B)

Convective heat transfer coefficients at the nozzle throat were calculated from existing unsteady state exact solution and direct experimental temperature measurements. Results were compared to the prediction from Bartz's simple correlated equation and other experimental data. The test results well agreed with other experimental data except initial combustion phase. Bartz's prediction was considerably higher than experimental value. Temperature was measured with 8 thermocouples from four different depth of nozzle throat. Combustion material was composite of ammonium perchlorate, polybutadiene and 2% of aluminium.

N - Octadecane의 상변화 열전달현상에 관한 연구

김유,황태연,김기운,Kim, Y.,Hwang, T.Y.,Kim, K.W. 대한설비공학회 1989 설비공학 논문집 Vol.1 No.2

Experimental and numerical analysis were performed to investigate the heat transfer phenomena during phase change. N-octadecane were used as a phase change material and TRUMP computer code was used as a numerical tool. Also, two quarter segment of cylinder shape was chosen as a vessel to simulate to this research. The major contribution factor on the solidus surface movement was environmental temperature and the effect of roller gap and material initial temperature were insignificant. Experimental and numerical results were generally in good agreement and the effect of the mesh size ($22{\times}22$ and $33{\times}33$) was negligible.

우주과학연구 어디까지왔나-발사체

김유,Kim, Yu 한국과학기술단체총연합회 1987 과학과 기술 Vol.20 No.3

계급과 인종의 정치학: 데이빗 에드가의 Destiny

김유 한국현대영미드라마학회 2007 현대영미드라마 Vol.20 No.2

로이 윌리엄스의 Lift Of 와 Fallout에드러난 흑인 청소년의 재현

김유 한국현대영미드라마학회 2018 현대영미드라마 Vol.31 No.3

This paper explores Roy Williams’ complex representation of British black youth in two of his works, Lift Off (1999) and Fallout (2003). Williams, a leading contemporary British black dramatist, challenges the mainstream media’s stereotypical portrayals of black masculinity and black-on-black crime, which are largely based on the perception of urban black youth as hyper-sexualized, degenerate and criminal-minded. Unlike the first and the second generations of British black dramatists, who relied heavily upon ‘the migrant sensibilities’ or the binary opposition of white and black, Williams’ plays focus on a complex web of black identity, particularly the urban sensibilities of a third-generation of black youth in contemporary British multiculturalism. Dealing respectively with the stereotypes of black machismo and the public discourse on black-on-black violence, Life Off and Fallout swerve away from the representation based on fundamentally binary terms which have long characterized the racial relations between black and white. In both plays, the conflicts within black communities are critically examined and the notion of black solidarity is under scrutiny. Williams’ representation of black youth is closely related with the immediate and urgent social, economic issues such as racism, urban poverty, violence and gang culture. Establishing the links between black masculinity and crime impinging upon black youth culture, Williams contextualizes it in relation to the social structure. However, Williams’ black youth are not recounted as passive victims of white supremacy. They are also subject to criticism, being the active agents of criminal deeds and demonstrating the lack of any ethical awareness and moral responsibility. The representation of black youth in Life Of and Fallout challenges both the conservative discourse, which has defined black youth as a hotbed of crime and the well-meaning liberal discourse, which has attempted to posit them as mere victims of the repressive social system.

콰메 퀘이-아마의 Elmina’s Kitchen에 나타난 영국 흑인의 정체성 구축의 딜레마

김유 한국현대영미드라마학회 2019 현대영미드라마 Vol.32 No.3

This paper explores the dilemmas of forging alternative Black British identities in Kwame Kwei-Armah’s 2003 play, Elmina’s Kitchen. Kwei-Armah, the established Black British playwright, presents the intergenerational differences in the community of Afro-Caribbean immigrants in London, encouraging the audience to examine the dilemmas involved in creating a sustainable community within the mainstream white society. Elmina’s Kitchen centres on the predicament of Deli, a reformed ex-con who tries in vain to stop Ashley, his rebellious son, from joining a local gang. The final scene finds him helplessly watching Ashley being killed in the gang warfare. Ashley’s murder is avoidable, and the play is intended as a serious warning to young black males drawn rapidly into the inner-city black-on-black crime. However, the play moves beyond its moral framework as Deli’s dilemma comes to the foreground. As a second-generation immigrant, Deli swerves away from the established stereotype of ‘irresponsible’ and ‘deviant’ black fathers, challenging the mainstream audience’s prejudice against Black Britons. He is the only character that aspires to instill a positive sense of black identity for the third-generation black youth. He has to re-define ‘blackness’ as well as to combat political and economic impotence, the negative legacy of the first-generation. Without the benefit of African cultural heritage and rejecting the ‘rube boy’ culture, the Caribbean subculture based on repressive black masculinity, he sometimes comes close to internalizing the idealized white norms and values. Deli’s failure to save Ashley is both personal and generational. It demonstrates a dilemma associated with the situation of the second-generation immigrants forging viable black identities in the poverty of the mainstream black culture.

Top Boy에 드러난 공영주택단지와 흑인 공동체 재현

김유 한국현대영미드라마학회 2022 현대영미드라마 Vol.35 No.3

Council estates, the multi-storey tower blocks in Britain, were built in the early 20th century in order to improve housing affordability for the low-income inner-city working class. Throughout the post-war era, however, they have degenerated into the poorest and the most marginalized communities. Dominant media discourses which stigmatize council estates, highlight the sensational behaviors of the estates residents, eliminating their ‘quotidian’ experience and thus reducing the lived realities of the community to a dangerous, violent space. Top Boy, a British television drama series set in the housing estates of East London, moves beyond the generic conventions of crime drama and entails a piquant critique of the British society in the 21st century. The series focuses on the social inequalities and economic deprivation of the black community in the social welfare blind spots. This paper understands Top Boy as a challenge to the existing council estates discourses and evaluates the way the series attempts to represent the most underprivileged space in the interactions of class tension, racism and neo-liberalism. The paper examines the council estates as class-segregated and racialised space, focusing on cinematography in Top Boy. It also explores the way the quotidian experiences in the estates are reinstated through the narrative of Ra’Nell, a black teenager, and demonstrates how Top Boy revises the moralistic, behavioural aspects of the existing council estates discourses. Finally, the paper discloses how community solidarity in Top Boy challenges the established discourses which reduce the complex realities of the council estates to a simple tale of social dysfunction.

Dirty Pretty Things에 나타난 불법 이주민의 공간 재현

김유 한국현대영미드라마학회 2023 현대영미드라마 Vol.36 No.3

Unlike the legal and ‘normal’ immigrants who made a significant contribution to the post-war British economy, the so-called illegal (undocumented) immigrants in British political and social discourse have been portrayed as the criminals who sponge off welfare benefits and abuse Britain’s hospitality. They lacked “a narrative of entitlement” which the Commonwealth immigrants such as the Windrush generation devised and used for their fight against racism. Their prescribed criminality prevented them from being engaged in the demand for justice and recognition, and their invisibility was a symptom of their wider social and political exclusion. Stephen Frears’s Dirty Pretty Things, a 2002 British film set in contemporary London, aims to ‘visualize’ the invisible illegal immigrants through spatial representations and cinematic space. Defining London as a paradox and illegal immigrants as the unrecognized, unappreciated labor, Frears focuses on the hidden relations of capitalist exploitation within the global city. The oppressive relations of power, capital and space are represented through hierarchical division of space, the way the characters occupy space and move through it, and the motifs of the exchange and movement of dismembered body parts for organ trade and transplantation. This paper examines how Dirty Pretty Things represents illegal immigrants through spatial politics. Chapter II deals with spatial representation of illegal immigrants mainly through the camerawork capturing the dark side of London. This is subdivided into three parts; disrupting ‘tourist gaze’, representing migrant body through detour and invisibility, and linking the different spaces. Chapter III identifies racism, law and state power, and global capitalism as three main forces creating oppressive space for illegal immigrants, and finally, Chapter IV investigates the possibilities and limitations of resistance for the main characters in the film.

데이비드 그렉의 Dunsinane: Macbeth에 드러난 잉글랜드-스코틀랜드 관계의 재구성

김유 한국현대영미드라마학회 2024 현대영미드라마 Vol.37 No.3

David Greig’s Dunsinane, a sequel to Shakespeare’s Macbeth, captures the political and cultural feelings of Scottish independence in the 21st century. The critical tendency to link the play with a Scottish longing for independence has become more prominent with the pro-independence Scottish National Party’s landslide victory in the 2011 Scottish Parliament election. In contrast to the 2010 London premier, where Siward, the ‘tragic’ commander in the invading English army, had a monopoly on the audience’s sympathy, the focus completely shifted to the colonized Scottish characters in the Scottish productions in Edinburgh and Glasgow. Therefore, Dunsinane stands as a work urging for Scottish independence with an emphasis on the insurmountable cultural difference between Scotland and England. When the formidable and effective Scottish queen Gruoch, a dramatic reinvention of the character of Lady Macbeth, advises Siward to leave Scotland immediately, the play is no less than an indisputable metaphor for disengagement. It is Siward, a failed Englishman, who has to learn the steps in ‘a dance of leaving.’ With the growing divide between Scotland and England in mind, this paper argues that Dunsinane writes back to Shakespeare, challenging and rectifying the ideological bias in the representation of Scotland in Macbeth. For this purpose, it examines how Greig readjusts or subverts some of the premises, the central characters and linear narrative structure in the orignal play. The reconstruction of England-Scotland relationship in Dunsinane is investigated in three parts: Scottish landscape and politics, reinterpretation of Macbeth and Malcolm, and the relation between Gruoch and Siward.

유동층 연소로에서 열전달 특성에 관한 실질적 연구

김유,지평삼 대한기계학회 1990 대한기계학회 춘추학술대회 Vol.- No.-