노테이션을 통한 사운드의 공간성 발현 연구

방정민,안성모 한국기초조형학회 2020 기초조형학연구 Vol.21 No.2

This study is set against the backdrop that notations serve as a universal medium for materializing intangible in two art areas, and the graphic notations noted here have the potential for the spatiality of sound to be expressed into architectural space. The purpose of the study is to reflect the active principle of the performer in the process of composing music based on quantitative figures in graphic notations, to form a new structure, and to reveal that the method of structural interpretation and form of composition can be transferred to the role of architectural drawing. The spatial view of music is derived through the technique and structure of the composition of graphic notations, in which the performer's active intervention has become possible. To allow the performer to view the music from a subjective and diverse perspective, the composer provided the performer with an accidental or uncertain structure and material for the musical piece, through which the player could view the music either two-dimensional or three-dimensional. Unlike traditional notations, the structure of graphic notations allows the performer to see the music again pointlessly, and the spatial characteristics of notation, in which how the structure is recombined in a plane, and the music is reproduced in three dimensions, appear. When analyzing the structure of Bernard Tschumi, Steven Holl, Daniel Libeskind, and Iannis Xenakis reconstructed into a three-dimensional space using the features of the graphic notation is shown here, the spatiality of the music expressed in the notation of the music appears in the real three-dimensional space as diverse as structure, accidental form, and the three-dimensional relationship of the viewer. By looking at these features, we were able to confirm that the graphic notations of abstract music expressed in quantitative ways could serve as architectural drawing and that two different art fields could expand through common media and emerge as the spatiality of music. 본 연구는 노테이션이 두 예술 분야에서 비물질을 물질화하는 공통된 매개의 역할을 하며, 여기서 주목한 그래픽 노테이션은 음악이 지닌 공간성이 건축 공간으로 발현될 수 있는 가능성을 지니고 있음에 주목한 것을 배경으로 한다. 연구의 목적은 그래픽 노테이션에서 음악을 정량적인 수치에 기반을두어 작곡하는 과정에 연주자의 적극적인 주관이 반영되어 새로운 구조를 형성하고, 구조적인 해석의방법과 작곡의 형태가 건축드로잉으로서의 역할로 전이될 수 있음을 밝힌다. 음악을 공간적으로 바라볼 수 있는 시각을 음악과 건축의 노테이션 재현 방법과 연주자의 적극적인 개입이 가능하게 된 그래픽 노테이션의 작곡 방법과 구조를 통해 도출한다. 연주자가 음악을 주관적이고 다양한 시각으로 바라보게 하기 위하여 작곡가는 우연적이거나 불확실한 구조와 악곡의 재료를 연주자에게 제공하였고, 정해지지 않은 구조를 통해 연주자는 음악을 평면적이거나 또는 입체적으로 바라볼 수 있었다. 기존의노테이션과 달리 그래픽 노테이션의 구조는 연주자가 음악을 다시점적으로 바라볼 수 있으며, 다변적으로 평면상에서 구조를 재조합하고, 음악이 입체적으로 재현된 노테이션이라는 공간적 특징들이 나타난다. 여기서 나타난 그래픽 노테이션의 특징들을 사용하여 입체적 공간으로 재구축한 베르나르 츄미, 스티븐 홀, 다니엘 리벤스킨드, 이안니스 크세나키스의 구조를 분석하였을 때, 음악의 노테이션에서 발현된 음악의 공간성이 실재 입체적 공간에 다각적인 구조, 우연적 형태, 관람자의 입체적 관계를지닌 공간이라는 특징들이 나타난다. 이러한 특징들을 보아 정량적인 방법으로 나타난 추상적인 음악의 그래픽 노테이션이 건축드로잉으로서의 역할을 할 수 있으며 서로 다른 두 예술 분야가 공통된 매개를 통해 확장되어 음악의 공간성으로 발현될 수 있음을 확인할 수 있었다.

이창래 소설,『네이티브 스피커(Native Speaker)』연구

방정민 한국비교문학회 2009 比較文學 Vol.0 No.48

In the novel "Native Speaker" by Lee, Chang-rae, the author aggressively deals with a minority race in the multi-cultural and multi-ethnic United States of America, especially the matters of identity disorder of the self and communications from which a minority race of Asian descent is currently suffering. However, the author doesn't deal with such a matter as simply personal one, but sublimates this into a macroscopic, universal matter. In short, the work "Native Speaker" bases its main theme[stream] on a subjective social awareness, such as the acceptance of a de-Occidental view of the world, de-Orientalism, and the acceptance of a multi-cultural prospect, and assumes the resistance to dominance discourse. In other words, this novel, through the Asian-Americans' re-definition of the English language and skepticism about an imperialistic attribute represented by English, forms a postcolonial discourse surmounting the despotism of the West-dominant discourse intrinsic in the frame of stability and convention represented by what is called 'WASP'[White Anglo-Saxon Protestant]. Hero, Henry in the work denies things Korean at first as a Korean-American, but he finally ended up affirming things Korean in the midst of trial and error. In this process, Henry finally arrived at a compromise with his father, wife Lilia and with himself above all things. Through this, he gradually regained his lost identity in multi-cultures and also tided over the problem of communications incurred by a language. postcolonial literature seeks compromise and convergence between a dominator and subject while dissolving and denying the colonialistic elements. The author of "Native Speaker" portrays the appearance of an individual immigrant who is positively seeking a way to a compromise without being limited to the role of a victim and batter any more by breaking away from the dichotomous composition of dominance & the subject; at this point, we can find out the significance of postcolonial literature. In addition, a multi-culture in postcolonialism takes on a character of ambivalence, hybridity, and diversity, whereas the work "Native Speaker" is showing the character of a multi-culture as it actually is. In short, linguistic, historical, cultural characteristics between Korea and America are mobilized in his work, which is blending and merging these two cultures. A language stipulates the existence of a human being and endows a human being with his identity as well as opens the way to communications between human beings. As suggested by its book title, 'Native Speaker' is dealing with an issue of a minority race, or an immigrant's identity in which the author addresses the process of cultural conflicts & assimilation and a compromise, but on the other hand, this work is flinging open the possibility of extending the range of discussions all the more by showing modern men's problems with communication, rupture with each other, and consciousness of alienation. In the novel "Native Speaker" by Lee, Chang-rae, the author aggressively deals with a minority race in the multi-cultural and multi-ethnic United States of America, especially the matters of identity disorder of the self and communications from which a minority race of Asian descent is currently suffering. However, the author doesn't deal with such a matter as simply personal one, but sublimates this into a macroscopic, universal matter. In short, the work "Native Speaker" bases its main theme[stream] on a subjective social awareness, such as the acceptance of a de-Occidental view of the world, de-Orientalism, and the acceptance of a multi-cultural prospect, and assumes the resistance to dominance discourse. In other words, this novel, through the Asian-Americans' re-definition of the English language and skepticism about an imperialistic attribute represented by English, forms a postcolonial discourse surmounting the despotism of the West-dominant discourse intrinsic in the frame of stability and convention represented by what is called 'WASP'[White Anglo-Saxon Protestant]. Hero, Henry in the work denies things Korean at first as a Korean-American, but he finally ended up affirming things Korean in the midst of trial and error. In this process, Henry finally arrived at a compromise with his father, wife Lilia and with himself above all things. Through this, he gradually regained his lost identity in multi-cultures and also tided over the problem of communications incurred by a language. postcolonial literature seeks compromise and convergence between a dominator and subject while dissolving and denying the colonialistic elements. The author of "Native Speaker" portrays the appearance of an individual immigrant who is positively seeking a way to a compromise without being limited to the role of a victim and batter any more by breaking away from the dichotomous composition of dominance & the subject; at this point, we can find out the significance of postcolonial literature. In addition, a multi-culture in postcolonialism takes on a character of ambivalence, hybridity, and diversity, whereas the work "Native Speaker" is showing the character of a multi-culture as it actually is. In short, linguistic, historical, cultural characteristics between Korea and America are mobilized in his work, which is blending and merging these two cultures. A language stipulates the existence of a human being and endows a human being with his identity as well as opens the way to communications between human beings. As suggested by its book title, 'Native Speaker' is dealing with an issue of a minority race, or an immigrant's identity in which the author addresses the process of cultural conflicts & assimilation and a compromise, but on the other hand, this work is flinging open the possibility of extending the range of discussions all the more by showing modern men's problems with communication, rupture with each other, and consciousness of alienation.

한강 소설, 「몽고반점」 연구 - 라캉의 욕망이론을 중심으로 에로티시즘과의 상관관계 연구

방정민 전남대학교 인문학연구소 2014 용봉인문논총 Vol.- No.45

「Mongolian Spot」is a story in which a male harbors an artistic, sexual desire to his sister-in-law with a mongolian spot even when she become an adult, which is prohibited in terms of moral and ethical absolutes, and at the end he comes up against the harsh reality of life. The story, taking an unconventional subject matter about a prohibited desire of a brother-in-law to a sister-in-law, is dealing with fundamental exploration on art and life. In response, this article is intending to investigate an artistic viewpoint of the 「Mongolian spot」. To achieve this, Lacans desire theory is taken as a basis. The sister-in-law, who is a vegetarian, pursues a fantastic desire that exists only in the imaginary(desire of world of fancy) represented from the Lacans desire theory. Her desire, which can be symbolized as a vegetable property, is determined as a longing for primitive purity and is acquired from objects of a flower and a body, what it means is to draw the flower on the body. Her desire in the imaginary is never to be permitted in the symbol(discipline of world of symbol). It is forced into judgement and punishment. The imaginary called the world of fancy is corresponded to a primitive area where nature before civilization existed, while the symbol called the world of symbol is corresponded to a cultural area where her incestuous emotional identification is broken and interrupted by her father or elder sister. The word ‘father’ indicates regulation and prohibition, it forces to remove a desire of a child(the sister-in-law), which longs for others(originally it indicates a mother, but herein it indicates the brother-in-law), named ‘Jouissance’. The removal can be found through a scene that the elder sister forces them both to enter a psychiatric hospital. In the story, relationship between Lacans desire and eroticism is mainly described by adopting a flower as a medium(expressed metaphorically). There is strong expression of eroticism through painting the flower on the body which perceives loss of identity and harboring an incestuous desire. Both of the Lacans desire and literary eroticism includes a others' concept as a necessity and does a death drive as a common denominator. The Lacans desire in Real thing(life of world of reality), like so the literary eroticism, has a close relationship with the death drive. Consequently, we can realize that the Lacans desire is an alternative expression for the eroticism, as well as a longing for life and a passion for death. At the end, desire of human mind is connected with desire to the Greek word ‘Eros’ and ‘Thanatos’. There is an irony caused from a situation that the desire is dependent upon others and is lacking in satisfaction to the last. Accordingly it cooperates to the extent of ‘Nothing(無)’. Because the desire in the real thing is generated from things and the things finally cooperate to the extent of ‘Nothing’. 「몽고반점」은 성년이 넘어서까지 몽고반점을 지니고 있는 처제를 향해 도덕적, 윤리적으로 금지된 예술적, 성적 욕망을 품고, 결국 차가운 현실의 끝으로 치닫는 한 남자의 이야기이다. 처제에 대한 형부의 금기시된 욕망이라는 다소 파격적인 소재를 바탕으로 예술과 삶에 대한 근원적인 탐구를 심도 있게 다루고 있다. 본고는 라캉의 욕망이론을 바탕으로「몽고반점」의 미의식을 살펴보았다. 처제는 채식주의자로 오로지 라캉이론에서 말하는 상상계에 존재하는 환상적 욕망을 꿈꾼다. 식물성으로 상징화되는 그녀의 욕망은 원시성의 순수함에 대한 욕망으로 몸과 꽃이라는 대상을 통해 획득되는데, 바로 몸에 꽃을 그리는 것이다. 처제의 상상계적 욕망은 상징계에선 허용될 수 없다. 심판당하고 처벌당한다. 상상계가 문명 이전의 자연의 영역이라면 상징계는 문화의 영역이다. 여기에서는 근친상간적 동일시가 깨어지고 아버지(언니)가 개입한다. 아버지의 이름은 법과 금지의 명령이며 타자(원래는 어머니, 여기서는 형부라 할 수 있다)의 욕망을 욕망하는 아이(처제)의 욕망-주이상스-을 거세시킨다. 언니가 둘을 정신병원에 보내는 장면이 그것이다. 소설에서 라캉의 욕망과 에로티시즘의 상관관계는 주로 꽃을 매개로 묘사(은유)되어 있다. 자아상실을 인지하는 몸에 꽃을 페인팅하고 근친상간적 욕망을 불태움으로써 강한 에로티시즘을 발하고 있다. 라캉의 욕망과 문학적 에로티시즘은 모두 타자의 개념을 필수로 하고 있으며 죽음충동이라는 공통분모를 가지고 있다. 라캉의 실재계에서의 욕망은 죽음충동과 밀접한 관계를 맺고 있는데, 문학적 의미의 에로티시즘도 결국 죽음충동과 연관되어 있다. 결국 라캉이 말하는 욕망은 에로티시즘의 다른 표현이고, 이것은 곧 삶에 대한 동경이자 죽음에 대한 열망임을 알 수 있다. 인간의 욕망은 결국 에로스와 타나토스를 욕망하는 것인 셈이다. 이 욕망은 타자의 것이므로 궁극적으로 충족될 수 없는 결여를 안고 있는 모순적인 욕망으로 무(無)이다. 바로 실재계에서의 욕망은 사물을 통해 생성되는데, 그 사물은 결국 무(nothing)이기 때문이다.

소설 「화장」과 영화 「화장」 비교 연구

방정민 동국대학교 한국문학연구소 2017 한국문학연구 Vol.0 No.55

“Hwajang” has a large narrative structure where death and life are contrasted. Chu Eun-ju is a character who implicates life․vitality․femininity․reason for existence, in opposition, his wife is a character who implicates death․extinction․non-femininity․non-existence. Those implications in the fiction are symbolic revelation on contrasting death with life in such a way as to treat personalities’ colors which individual characters may hold in the movie. In this process the explicit description of the fiction, which deals with a body getting closer to death, a body getting older and older, a body having young and beauty, is taken into more colorful visual images in the movie. The fiction “Hwajang” is progressed by a first person view of O Sang-mu. In treating inner confliction and affliction of him, it is deemed to be the most suitable person view. Notwithstanding to employ a first person view is almost impossible in movies which cannot avoid taking revelation. Discrepancy in person view makes necessarily images application to be conspicuous. That is to say, images application treating being living and being dying reaches ultimate contrast. By the reason it causes a little discrepancy in the narrative structure. The movie succeeded in enabling other characters activated besides O Sang-mu, subsequently it leads to effect as to let the theme more variety. Furthermore, there is a little discrepancy in both works in terms of theme consciousness, the fiction “Hwajang” is intended to observe life in a way of taking side with death, otherwise the movie “Hwajang”is intended to contain reason for existence which should be resuscitation from between life and death. 「화장」은 죽음과 삶의 대비라는 큰 틀을 서사 구조로 지니고 있다. 추은주가 삶․생명력․여성성․존재의미 등을 내포하고 있는 인물이라면 아내는 그 대척점인 죽음․소멸․비여성성․비존재 등을 내포하고 있는 인물이다. 소설 속 이런 의미는 영화에서 각 인물이 지닐 수 있는 색채를 통해서 죽음과 삶의 대비를 상징적으로 드러내고 있다. 이 과정에서 죽음에 가까운 몸, 늙어가는 노쇠한 몸과 젊고 화려한 몸에 대한 소설에서의 치밀한 묘사는 영화에서 시각적 이미지로 더욱 화려하게 그려지고 있다. 소설 「화장」은 오 상무의 1인칭 시점으로 전개된다. 오 상무의 갈등과 고뇌라는 내면을 섬세하게 다루기 위해 가장 적절한 시점이라 볼 수 있다. 그러나 보여주기 방식을 택할 수밖에 없는 영화는 1인칭 서술이 거의 불가능하다. 이러한 시점의 차이는 필연적으로 이미지의 활용을 두드러지게 만든다. 즉, 살아있는 것과 죽음에 이르는 것에 대한 이미지의 활용은 극단적으로 대비되는 것이다. 이로 인해 서사구조에서도 약간의 차이를 보이게 되는데, 영화는 오 상무 외에 다른 인물들의 생기 넘치는 캐릭터를 실현하였고 이것은 주제를 더욱 다양화하는 효과로 이어졌다. 이에 따라 주제의식에 있어서도 두 작품은 약간의 차이를 보이는데, 소설 「화장」은 죽음의 입장에서 삶을 관찰하고자 한 반면 영화 「화장」은 삶과 죽음 사이에서 다시 소생해야만 하는 인간 실존의 의미를 담은 것으로 보인다.

김명순 시의 신여성상 연구

방정민(Bang, Jeong-Min) 부경대학교 인문사회과학연구소 2010 인문사회과학연구 Vol.11 No.2

김명순은 최초의 신여성으로 엘렌 케이 사상을 반영한 시를 많이 썼다. 김명순은 자유연애를 봉건적인 사회제도의 저항으로, 그리고 억압받았던 여성의 자아를 발견하는 수단으로 생각했다. 김명순에게 자유연애는 불합리한 결혼제도를 타파하는 근대정신의 발로였으며 봉건적 사회제도의 해체를 통한 여성해방을 의미한다. 김명순 시에 나타난 어머니에 대한 향수는 유년시절 모성의 부재에서 비롯되었다. 모성을 충분히 경험하지 못한 김명순에게 어머니는 자신의 근원적 상처이자 향수로 자리 잡는다. 그는 근원적 고향을 모성에서 찾았고 현실이 힘들수록 어머니에 대한 향수와 모태에의 회귀본능을 노래하였다. 즉 모성과 어머니에 대한 향수는 근원적 안식처요 고향 같은 휴식처다. 김명순의 시가 1920년대 다른 신여성이나 신지식인들의 시에 비해 전혀 그 가치가 뒤떨어지지 않는 이유는 그의 시가 민족해방의식을 추구하고 있다는 점이다. 김명순은 신여성으로서 단순히 엘렌케이즘 사상을 수용하여 실천하는 데 그치지 않았다. 제국주의의 피해국민으로서, 문학가로서 제국주의 폐해에 저항하고 민족해방을 부르짖는 시를 많이 남김으로써 제국주의를 고발하지 않은 엘렌 케이사상의 한계를 넘어서고 있다. 따라서 김명순은 진정한 신여성 문학가이자 선각자이며, 그의 시는 새롭게 재조명되어야 한다. Kim Myung Soon was the first modern woman and many of her poems reflected the thought of Ellen Key. Kim Myung Soon regarded free love as a resistance to feudal social system and as a means of finding suppressed women’s self. For Kim Myung Soon, free love was manifestation of modern spirit that overthrows unreasonable marriage system and it meant the liberation of women by dissolving feudal social system. The nostalgia for mother represented in Kim Myung Soon's poetry started from the absence of motherhood in her childhood. For Kim Myung Soon who couldn't fully experience motherhood, the mother settled down as her original scar and nostalgia the found her original hometown in the motherhood, and as the reality got hard, she wrote poems of nostalgia for mother and horning instinct to motherhood. That is, the motherhood and nostalgia for mother were her original refuge and hometown-like resting place. The poetry of Kim Myung Soon doesn't fall behind the poetry of other modem women or new intellectuals in 1920s because her poetry pursued national liberation. As a modem woman, Kim Myung Soon didn't only accept and practice the thought of Ellen Key. As a victim and letters of imperialism, she wrote a lot of poems resisting to the harmful effect of imperialism and crying out for national liberation and therefore she could get over the limit of Ellen Key who didn't charge imperialism. Kim Myung Soon is therefore a true modem woman of letters and pioneer; her poetry should be newly reinterpreted.

일반논문 : 한강 소설,「몽고반점」 연구 -라캉의 욕망이론을 중심으로 에로티시즘과의 상관관계 연구

방정민 ( Jeong Min Bang ) 전남대학교 인문학연구소 2014 용봉인문논총 Vol.- No.45

「몽고반점」 은 성년이 넘어서까지 「몽고반점」을 지니고 있는 처제를 향해 도덕적, 윤리적으로 금지된 예술적, 성적 욕망을 품고, 결국 차가운 현실의 끝으로 치닫는 한 남자의 이야기이다. 처제에 대한 형부의 금기시된 욕망이라는 다소 파격적인 소재를 바탕으로 예술과 삶에 대한 근원적인 탐구를 심도 있게 다루고 있다. 본고는 라캉의 욕망이론을 바탕으로 「몽고반점」 의 미의식을 살펴보았다. 처제는 채식주의자로 오로지 라캉이론에서 말하는 상상계에 존재하는 환상적 욕망을 꿈꾼다. 식물성으로 상징화되는 그녀의 욕망은 원시성의 순수함에 대한 욕망으로 몸과 꽃이라는 대상을 통해 획득되는데, 바로 몸에 꽃을 그리는 것이다. 처제의 상상계적 욕망은 상징계에선 허용될 수 없다. 심판당하고 처벌당한다. 상상계가 문명 이전의 자연의 영역이라면 상징계는 문화의 영역이다. 여기에서는 근친상간적 동일시가 깨어지고 아버지(언니)가 개입한다. 아버지의 이름은 법과 금지의 명령이며 타자(원래는 어머니, 여기서는 형부라 할 수 있다)의 욕망을 욕망하는 아이(처제)의 욕망-주이상스-을 거세시킨다. 언니가 둘을 정신병원에 보내는 장면이 그것이다. 소설에서 라캉의 욕망과 에로티시즘의 상관관계는 주로 꽃을 매개로 묘사(은유)되어 있다. 자아상실을 인지하는 몸에 꽃을 페인팅하고 근친 상간적 욕망을 불태움으로써 강한 에로티시즘을 발하고 있다. 라캉의 욕망과 문학적 에로티시즘은 모두 타자의 개념을 필수로 하고 있으며 죽음충동이라는 공통분모를 가지고 있다. 라캉의 실재계에서의 욕망은 죽음충동과 밀접한 관계를 맺고 있는데, 문학적 의미의 에로티시즘도 결국 죽음충동과 연관되어 있다. 결국 라캉이 말하는 욕망은 에로티시즘의 다른 표현이고, 이것은 곧 삶에 대한 동경이자 죽음에 대한 열망임을 알수 있다. 인간의 욕망은 결국 에로스와 타나토스를 욕망하는 것인 셈이다. 이 욕망은 타자의 것이므로 궁극적으로 충족될 수 없는 결여를 안고 있는 모순적인 욕망으로 무(無)이다. 바로 실재계에서의 욕망은 사물을 통해 생성되는데, 그 사물은 결국 무(nothing)이기 때문이다. 「Mongolian Spot」 is a story in which a male harbors an artistic, sexual desire to his sister-in-law with a mongolian spot even when she become an adult, which is prohibited in terms of moral and ethical absolutes, and at the end he comes up against the harsh reality of life. The story, taking an unconventional subject matter about a prohibited desire of a brother-in-law to a sister-in-law, is dealing with fundamental exploration on art and life. In response, this article is intending to investigate an artistic viewpoint of the Mongolian spot . To achieve this, Lacans desire theory is taken as a basis. The sister-in-law, who is a vegetarian, pursues a fantastic desire that exists only in the imaginary(desire of world of fancy) represented from the Lacans desire theory. Her desire, which can be symbolized as a vegetable property, is determined as a longing for primitive purity and is acquired from objects of a flower and a body, what it means is to draw the flower on the body. Her desire in the imaginary is never to be permitted in the symbol(discipline of world of symbol). It is forced into judgement and punishment. The imaginary called the world of fancy is corresponded to a primitive area where nature before civilization existed, while the symbol called the world of symbol is corresponded to a cultural area where her incestuous emotional identification is broken and interrupted by her father or elder sister. The word ‘father’ indicates regulation and prohibition, it forces to remove a desire of a child(the sister-in-law), which longs for others(originally it indicates a mother, but herein it indicates the brother-in-law), named ‘Jouissance’. The removal can be found through a scene that the elder sister forces them both to enter a psychiatric hospital. In the story, relationship between Lacans desire and eroticism is mainly described by adopting a flower as a medium(expressed metaphorically). There is strong expression of eroticism through painting the flower on the body which perceives loss of identity and harboring an incestuous desire. Both of the Lacans desire and literary eroticism includes a others`` concept as a necessity and does a death drive as a common denominator. The Lacans desire in Real thing(life of world of reality), like so the literary eroticism, has a close relationship with the death drive. Consequently, we can realize that the Lacans desire is an alternative expression for the eroticism, as well as a longing for life and a passion for death. At the end, desire of human mind is connected with desire to the Greek word ‘Eros’ and ‘Thanatos’. There is an irony caused from a situation that the desire is dependent upon others and is lacking in satisfaction to the last. Accordingly it cooperates to the extent of ‘Nothing(無)’. Because the desire in the real thing is generated from things and the things finally cooperate to the extent of ‘Nothing’.

CFRP 구조 부재의 시뮬레이션 동적 거동에 관한 연구

방정민(Jung Min Bang),김정호(Jung Ho Kim),강현구(Hyun Goo Kang),김지훈(Ji Hoon Kim) 대한기계학회 2010 대한기계학회 춘추학술대회 Vol.2010 No.11

The structural members like transport machine are largely using shape or hollow steel member that has definite shape at present. Especially, structural members used vehicle support variously components and absorb impact energy to protect passenger when crash happen. The latest structural members are being developed in the lightest of light weight and stability because of these features. One of composite material, that is, CFRP has high specific strength and specific stiffness. It makes them attracted. In order to predict these fracture shape and energy absorb feature of CFRP members, there are many studies which are being progressed. But there are lots of differences between FEA Program and experiment. In this study, we do a impact simulation of CFRP square member using finite element analysis program Ls-Dyna in order to predict fracture shape and energy absorb feature of CFRP member. Also, we make square member shape of CFRP and do an impact experiment. After the experiment, we compare result of FEA Program with experiment result and consider fracture shape and energy absorb feature of CFRP members.

문학 : 이현화 희곡에 나타난 폭력과 에로티시즘 연구

방정민 ( Jeong Min Bang ) 대구가톨릭대학교 인문과학연구소 2011 인문과학연구 Vol.0 No.15

The most important characteristic of Lee Hyeon-Hwa`s plays is their violence and eroticism. Eroticism is closely related to violence, perversion and death, and Lee Hyeon-Hwa, in expressing such aggressive tendencies in his plays, instead of symbolizing in a beautiful and coincidental manner, did so in a blunt and violent manner. It can be argued that the aesthetics of such brutal violence and eroticism is intended to throw existential Questions on human existence and life themselves. It is also meant as resistance against fascist power in which even human sexuality is managed and controlled by the state. Fascist power always has, within itself, a sadistic and masochistic violence and an attribute of attempting to experience sexual climax by controlling others. As a way of resistance against such fascist power, Lee Hyeon-Hwa uses violence and eroticism. So, violence and eroticism in Lee Hyeon-Hwa`s plays function as a medium of establishing the identity of a divided individual or as that of social/historic purification. It attempts to restore human beings` natural purity by subverting human rationality, which has become mere instrument in a rationalized and industrialized society, and by awakening human sexual instinct. It also functions as criticism of the society`s contradictory structure oppressing human beings. Violence and eroticism appearing in Lee Hyeon-Hwa`s plays deal with individual human being`s existential issues, not just with expression of erotic love, and delivers complex messages which are social and political. Through intense eroticism, he attempted to challenge tradition, custom and taboo and, further, attack the fascist power. But, brutal violence and excessive sexual abuse against female body produces a result opposite to his intentions. A male-oriented perspective is still thrown to the female body and women themselves are completely controlled by men without securing their own sexual identities. The gender which has failed to become socially equal and independent is objectified and is still sexually submissive. Lee Hyeon-Hwa intensively projects images of such powerless individuals mostly onto women, and also places the responsibility of onlookers in history on the disadvantaged in society only. Lee Hyeon-Hwa, through violence and eroticism, showed resistance to human identity confusion, violence of the world and fascist power in a mechanized society. But, although women`s active sexuality was achieved, as such sexuality was not exercised discreetly, women`s sexuality ended up becoming an object of men`s sexual fantasy and, ironically, remained passive images to men. In this aspect, eroticism`s significance as social reform and resistance disappears and is emasculated by the rationale of commercial, capitalist culture, simply reproducing contemporary human beings` voyeurism. But, the fact that his disagreement with the history of oppression and tragedy committed in the name of reason was raised through the power of shocking and bizarre eroticism and completely strange forms of violence and sensuality also has to be seen as an achievement of Lee Hyeon-Hwa`s plays, which should not be ignored.

建築施工에 있어 地盤注入工法에 關한 硏究

李商雨,方正民 경기대학교부설 산업기술종합연구소 1985 산업기술종합연구소 논문집 Vol.1 No.-

Recently Pressure-grouting Method is used widely in building constructions, but the level of technique of this is not high than the others using in foundation construction. Grouting method has many problems in application, foundation designs because of the poor load-bearing capacity of soils. This paper aims to put mixture using in grouting to practical use and construct more economical buildings through making experiment of mixtures using in construction field.

이창래 소설, 『네이티브 스피커(Native Speaker)』 연구

방정민 ( Jeong Min Bang ) 한국비교문학회 2009 比較文學 Vol.48 No.-