http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 송재일 ( Chae Il Song ) (검색결과 8 건)
- 무료
- 기관 내 무료
- 유료
-
마당극 <땅풀이>와 호주 원주민극 <브랜 누 대>의 탈식민성 고찰
송재일(Song Chae-il) 어문연구학회 2004 어문연구 Vol.45 No.-
This article is a comparative study of Korean Madang-geuk (Yard drama) <Ttangpuri> (by Hwang Seok-yeong, 1980) and Australian Aboriginal drama <Bran Nue Dae>(by Jimmy Chi and Kuckles, 1991). This research is conducted from the viewpoint of post-colonialism, analysing how to react actively against the invasion of foreign conqueror and the domestic inequalities and injustice. Madang-geuk and Aboriginal Drama took place at each different place and situation. They are not each interchange and solidarity. But, <Ttangpuri> and <Bran Nue Dae> are each individuality, as well as which are common feature. Korean citizens had been oppressed by dictators, and at them same time, super powers such as USA and Japan had advanced to affect South Korea by supporting the Korean despotic regimes and taking their economic profits in the 1970s-1980s. At that time, <Ttangpuri>, which began to stage in the form of Madang-geuk, participated in the active resistance of such various forms of oppression. In the Australia, the movement and struggle for Aboriginal land rights took place 1966, which rear in the 1970s-1980s. <Bran Nue Dae>’s narrative focus on the Aboriginal search for a physical and spiritual homeland highlights a common concern of indigenous peoples uprooted by colonial settlement. The Aboriginal quest for cultural renewal is inevitably linked to a demand for land rights. <Ttangpuri> and <Bran Nue Dae> is an active resistant play which resists neo-colonialism, in the consideration of the specific nature of the third world. In this plays, the writers points out that the indigenous people in Jeju-do(island) and homeland are uprooted by losing their land to the outsider capitalists, which was the source of their survival and is attached to their identity. In <Ttangpuri>, although Hwang Seok-yeong acknowledges the cultural hybridity accelerated by Westernization, he takes an ambivalent attitude, by resisting and overcoming the dependency which is embedded in the people. And Aboriginal playwriter Jimmy Chi search for identity of aborigines by hybridity and overcoming self-disrupion in <Bran Nue Dae>.
-
송재일 ( Song Chae-il ) 한국문학이론과 비평학회 2018 한국문학이론과 비평 Vol.80 No.-
이 논문은 1960년대 희곡이 사월혁명을 어떻게 수용하고, 대응하는가의 양상을 고찰하는데 목적을 두었다. 1960년대 한국 희곡사에서 사월혁명을 다룬 작품은 그리 많지 않다. 1960년대 희곡의 사월혁명에 대한 대응방식은 허약했다. 그러나 사월혁명의 정신적 가치는 1960년대뿐만 아니라 그 이후에도 소재 차원을 넘어 지속적으로 희곡 작품 속에 녹아들었다. 사월혁명의 가치는 5·16군사쿠데타 이후에도 재생산되어 군사독재 정권에 대한 대항 세력의 토대가 되었다. 「大王은 죽기를 거부했다」(이근삼, 1960), 「껍질이 째지는 아픔 없이는」(차범석, 1960), 「終着地」(하유상, 1961) 등은 사월혁명을 직간접적으로 배경으로 삼고 있다. 이 작품들은 이승만 정권의 장기집권 야욕과 독재 국가의 부패와 타락을 희곡화하였다. 이 작품들은 권력만 좇아 끊임없이 변절하는 정치에 저항 또는 분노를 표출하거나 하층민들의 애환을 통하여 사월혁명 직후 우리 사회의 혼란스러움을 무대화하였다. 그러나 이 작품들은 연극 미학적 성과를 거두기도 했지만, 사월혁명이라는 역사적 사건을 세대 담론에 가두거나 관념론적으로 처리하여 부패하고 부조리한 정치 현실에 대한 비판을 약화시키는 결과를 낳았다. 「第十八 共和國」(이근삼, 1965), 「목이 긴 두 사람의 對話」(박조열, 1966)와 「觀光地帶」(박조열, 1969), 「망나니」(윤대성, 1969) 등은 군사 독재 정권하에서도 사월혁명의 정신적 가치를 희곡화하였다. 이들 작품이 민주주의의 열망, 당대 정치 현실에 대한 풍자, 지배층에 대한 저항, 통일 문제 등 다양한 담론으로 사월혁명의 정신적 가치가 재생산되었다. 이 작품들이 1960년대 중·후반기에 창작되었음을 상기할 때, 독재정권의 현실 논리에서 사월혁명의 정신적 가치를 무대 위에 올리기는 그리 녹록치 않았다. The purpose of this paper is to study how to accept and respond to the April Revolution in 1960s dramas. There are not many works dealing with the April Revolution in 1960s Korean dramas. The way the 1960s dramas responded to the April revolution was fragile. However, the spiritual value of the April Revolution continued to penetrate dramas even after the 1960s not only as a material but beyond. The discourse of the April Revolution was reproduced after the military coup of 5·16, and became the basis of the opposition to the military dictatorship. “The Great refused to die”(Lee Keun-sam, 1960), “Without the pain of peeling”(Cha Bumseok, 1960), and “The final destination”(Ha Yoo-sang, 1961), “An aftertaste”(Park Dong-hwa, 1962) are based on the April Revolution. These works set the stage for the long-term dominance of the Rhee regime and the corruption of the dictatorship. These works portray resistance or anger against the politics that is constantly changing according to the power, or stage the chaos of our society shortly after the April Revolution through the lower classes’ joys and sorrows. However, these works have resulted in weakening the criticism of the corrupt and absurd political reality by locking up the historical event, April Revolution, in generation discourse or dealing it ideologically. “18th Republic”(Lee Keun-sam, 1966), “The Tourist Zone”(Park Jo-youl, 1969), and “An executioer”(Yoon Dae-sung, 1969) dramatized the mental value of the April Revolution under the military dictatorship. These works reproduced the value of the April Revolution spirit with various discourses such as the desire for democracy, satire about the current political reality, resistance to the ruling class, and the issue of unification. Nonetheless, these works have a sense of being a ‘compromised play’. Considering that these works were created in the middle and late 1960s, it would not have been easy to show the mental value of the April Revolution on stage in the reality of the dictatorship regime.
-
송재일(Song Chae-il) 어문연구학회 2017 어문연구 Vol.93 No.-
이논문은카자흐스탄고려인의희곡에한국고전을어떻게수용했으며, 그의미는무엇인지를 고찰하는데 목적을 두었다. 카자흐스탄 고려인의 공연에 수용된 고전은 <춘향전>,<심청전>, <흥부전>, <별주부전>, <홍길동전>, <옥루몽>, <양반전>, <배비장전> 등 다양하다. 이들 작품이 강제 이주 초기에는 원래 작품이 가졌던 주제나 의미에 어느 정도 충실했다. 그러나개작을거듭하면서당성과인민성이강조되어야좋은작품이고, 또한그렇게창작해야한다는주장에따라고려인작가들은 우리고전작품을 당성과인민성에 충실하도록개작, 각색하여공연하였다. 더구나순응과체념을넘어고려인스스로소련당의이념을 희곡창작과공연에적극적이었다. 이처럼연극공연에서고려인작가들이소련의진정한공민이되기 위해 문학 강령과 이념성에 충실히 따르고자 하는 강박적인 모습을 보였다. 그렇다고해서그들이민족정체성을버리고온전히소련공민으로서의정체성을가지려했다고보기는어렵다. 소련이 개방되기전까지중앙아시아고려인들에게1937년강제이주에 대한 저항은 금기의 영역이었다. 고려인들은 소련 당국에 의해 철저히 감시를 당 했으며, 많은 고려인 지식인들이 처형을 당했다. 그래서 우선은 고려인들은 체제에 순응하고 체념해야 했다. 고려인들은 이러한 상황에서 벗어나기 위해서는 체제에 순응함으로써 자신들의 애국심을 증명하고자 했다. 그래서 고려인 극작가들도 우리 고전을 변용할수밖에 없었다고 판단된다. 고려인들은 러시아어 또는 정착하고 있는 카자흐스탄의 언어, 모국어 등을 뒤섞어 사용하고 있다. 그럼에도 불구하고 우리 고전을 수용하여 모국어로 공연하는 것은 한민족의 가치인민족정체성을회복하려는무대화작업이다. 이러한고려인들의무대작업은심층적으로 지배 담론이나 권력 구조에 대항하는 공연의 문화적 저항을 표현한 것이라 할 수 있다. The purpose of this paper is to examine how the Korean classics were embraced and what their meanings were in performances of Kareisky in Kazakhstan during the 1930s and 1980s. Various classics are involved inKareisky’s performances in Kazakhstan such as <Chunhyangjeon>, <Shimchungjeon>, <Heungbujeon>, <Hong Gilbangjeon>,<Byeoljubujein>, <Oknumong>, <Yangbangjeon>, <Baebijangjeon>. In the early days of forced migration, these works remained somewhat faithful to the theme or meaning of the original work. However, as adaptation of the works were repeated, ideology and People s Empire were emphasized. Kareisky artists have adapted Korean classics in order to be faithful to the welfare and the people, according to the claim that this results in good work, and that works should be created this way. Moreover, beyond conformity and resignation, Kareisky themselves were active in the creating performances with the Soviet party ideology. Like this the Kareisky artists showed an obsession to faithfully follow the literary program and ideology in performances, to become true citizens of the Soviet Union. It is hard to see, however, that they abandoned their national identity and intended to have a full identity as Soviet citizens. Before the opening of the Soviet Union, the forced migration in 1937 was a subject of desire of violation and fear which may be caused from it. The Soviet authorities thoroughly monitored the Kareisky and many Kareisky intellectuals were executed. So for the meantime the Kareisky had to adapt to the system and resign. To escape this fear, the Kareisky sought to prove their patriotism by thoroughly conforming to the system. So Kareisky dramatists had no choice but to change our classics. Kareisky used Russian, the language of Kazakhstan where they settled and mother tongue as their language. Despite the many languages they use, performing in their native language can be seen as an active stage work to restore national identity, which is the value of the Korean people. The stage work of these Kareisky expressed in depth the cultural resistance of performances against the dominant discourse or the power structure.
-
마당극 < 땅풀이 >와 호주 원주민극 <브랜 누대 >의 탈식민성
송재일 ( Chae Il Song ) 한국드라마학회 2004 드라마연구 Vol.- No.22
This article is a comparative study of Korean Madang-geuk < Yard drama > < Ttangpuri > (by Hwang Seok-yeong, 1980) and Australian Aborigianal drama< Bran Nue Dae >(by Jimmy Chi and Kuckies, 1991). This research is conducted from the viewpoint of post-coloniaIism, analysing how to react actively against the invasion of foreign conqueror and the domestic inequalities and injustice. Madang-geuk and Aboriginal Drama took place at each different place and situation. They are not each interchange and solidarity. But, < Ttangpuri > and < Bran Nue Dae > are each individuality, as well as which are common feature. Korean citizens had been oppressed by dictators, and at them same time, super powers such as USA and Japan had advanced to affect South Korea by supporting the Korean despotic regimes and taking their economic profits in the 1970s-1980s. At thar time, < Ttangpuri >, which began to stage in the form of Madang-geuk, participated in the active resistance of such various forms of oppression. In the Australia, the movement and struggle for Aboriginal land rights took place 1966, which rear in the 1970s-1980s. < Bran Nue Dae >`s narrative focus on the Aboriginal search for a physical and spiritual homeland highlights a common concern of indigenous peoples uprooted by colonial settlement. The Aboriginal quest for cultural renewal is inevitably linked to a demand for land rights. < Ttangpuri > and < Bran Nue Dae > is an active resistant play which resists neo-colonialism, in the consideration of the specific nature of the third world. In this plays, the writers points out that the indigenous people in Jeju-do(island) and homeland are uprooted by losing their land to the outsider capitalists, which was the source of their survival and is attached to their identity. In < Ttangpuri >, although Hwang Seok-yeong acknowledges the cultural hybridity accelerated by Westernization, he takes an ambivalent attitude, by resisting and overcoming me dependency which is embedded in the people. And Aboriginal playwriter Jimmy Chi search for identity of aborigines by hybridity and overcoming self-disrupion in < Bran Nue Dae >.
-
조한상(Han-Sang Jo),이상철(Sangchul Lee),송재일(Chae-Il Song) 한국항공우주학회 2007 韓國航空宇宙學會誌 Vol.35 No.8
본 논문에서는 공대지 무장의 무장투하정확도에 대한 해석기법을 제시하였다. 항공기의 전투효과도(Combat Effectiveness)를 평가하는데 있어 중요한 요인인 공격능력(Lethality)은 공대지 무장투하정확도 개선능력에 좌우된다, 항공기 초기 설계단계부터 최종 검증단계까지 무장투하정확도에 영향을 미치는 요소들을 기술하였으며 각 요소들을 무장투하정확도에 반영하는 기법과 정량적으로 평가하는 방안을 제시하였다. 무장투하정확도 분석은 Bias error를 영으로 가정하고 Random error에 의한 투하오차만을 분석 대상으로 하였다. In this paper, we propose an accuracy analysis method for air-to-ground weapon delivery. The lethality, which is one of the most important factor to evaluate combat effectiveness of a fighter, depends on the capability to improve the accuracy of the conventional weapon delivery. We present error elements which affect the error analysis for air-to-ground weapon delivery from the initial design phase to the final validation phase. And we introduce an accuracy analysis method to reflect the error elements and to evaluate them quantitatively. We assume zero bias-error and consider random error for the weapon delivery accuracy analysis.
-
-
-
KCI
스콜라연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
