銀行의 컴퓨터犯罪 豫防을 爲한 EDP 內部統制 評價 專門家 시스템 開發에 關한 硏究

노용선 亞洲大學校 大學院 1993 국내석사

2차원 모형을 이용한 저수지 퇴사량 예측

노용선 충북대학교 2007 국내석사

The Sediment deposits in rivers and reservoirs are major components interfering with the useful function of the reservoirs, and clogging the inlet port at water intakes in rivers and erosion of pump impellers. Therefore, an accurate estimation method of sediment deposition is requisite to the efficient water resources investigation, planning and management. * A thesis for the degree of Master of Engineering in August, 2007. The objective of this paper is to forecasting of reservoir sedime nt deposition using two dimension model(SMS). The proposed procedure has been applied to Unmun reservoir in GyeongSangBukDo. The RUSLE model showed that reservoirs volume decreased after 50 years 2,084.09×106 m3 and after 100 years 2,196.65×106 m3 which is plan flood level elevation reservoir. The two dimension model showed that reservoirs volume decreased after 50 years 2,227.41×106 m3 and after 100 years 2,121.47×106 m3 which is plan flood level elevation reservoir. The results of this application showed that the use of two dimension model was very effective for the sediment deposits throughout the reservoir.

일일드라마에 나타난 서사구조와 이데올로기에 관한 연구

노용선 전북대학교 대학원 2007 국내석사

일일드라마의 특성상 한국사회의 전통적인 가족의 일상성과 평범성을 본 논문은 다룬다. 이런 가족의 집단의식은 권력을 재생산하며 '이데올로기화' 텔레비전 드라마가 대중문화 콘텐츠로, 현실의 재현이 주는 사회적 맥락은 대중의 요구에 따라 일일드라마는 조금씩 변화된다. 즉, 한국사회의 가족이라는 보수적 공동체는 권력의 훈육적 구조를 가지고 있어서 끊임없이 재생산 및 구조화를 하지만 시대의 변화에 따라 변화된다. This study is designed to take a look at how the daily routines and collective consciousness of families shown in daily dramas on TV are changed and operated in our society. Since daily dramas deal with the subject of families in terms of their forms and characteristics, they are believed to embody the reality of Korean society whose traditional structure is being constantly challenged and transformed. This is what this paper seeks to cover. This study focuses on the following four dramas with the aid of an integrative analysis and a binominal-conflict analysis: Even if it is windy(1995), I miss you(1998), Mermaid(2003), Stand firm, Geumsun(2005). An ideological analysis was made on the basis of the binominal conflict of the dramas, and the social implications of the daily dramas were analyzed. To begin with, the integrative analysis reveals that vested rights are exercised in the families and that governance ideologies are subjected to descriptive strategics. The characters, characterized by success and failure on the basis of capitalist logics, are at loggerhead with patriarchal tradition and outside-family identity. In addition, obscure descriptive strategics and changes in the rules of genders keep their stable balance by strengthening their structures in a relative way. The dramas contrast the families' vested forces, or their stable fifties, with the children's twenties faced with love and marriage. It is believed that the married couples in their thirties don't get over their realistic problems. The dramas suggest that the consolidation of the capitalistic patriarchal system will solve all the problems. The characters, mainly consisting of women, are shown to try to tide over their trouble and to seek to get over the order or custom of the tradition. However, the traditional group owning wealth and power keeps the total structure of the dramas in balance, and is treated as the entity with ideal desire for possession. In addition, the women take little interest in power, trying to get out of the dominant hegemony by means of sticking to the system and regulations. Since power stems from the traditional patriarchal heads of the families, the female characters are seen to conform to the power of patriarchal ideologies. With the exception of the program 'Even if it is windy,' the female characters are at odd with those around them, which means that the women only are confronted with extreme circumstances. And the only solution lies in marrying 'their Princes Charming' and they have to be placed under a lot of repression and control before marriage by capitalistic patriarchs, capitalistic traditional families and forces with vested power. Research problem Ⅱ analyses binominal-conflict concepts: families are in confrontation with outside-family identity, whereas ideal and traditional families stay secure, regarding wealth, power, position and other capitalistic values as the symbols of success. The compliant characters consider the reproduction and maintenance of power as a stable mechanism. Defaminized women create confrontation and conflict everywhere, disrupting order. The above drama only depicts a traditional female image. The ideological analysis of research problem Ⅲ has it that family ideologies do much harm to alternative families. Families in conflict with the established order are made peripheral and family disintegration, adultery, and family reproduction are used as sources for the satisfaction of male desire. This means that the family ideologies in our society don't sound healthy. This research indicates that the governance ideologies or patriarchal ideologies revealed in the four daily dramas look invincible and impregnable in our society and that the dramas seem to display the existence of unchangeable and inexhaustible emotional and physical forces in Korean society regardless of the subjects that the dramas want to convey to the viewers.

텔레비전드라마의 제작시스템과 생산자문화에 관한 연구 : -텔레비전 드라마PD의 심층인터뷰를 중심으로-

노용선 전북대학교 일반대학원 2015 국내박사

Television dramas are facing a variety of changes due to rapid environmental changes. Their entrance into the free market competition has accelerated drama commercialization, and the government's policy conditions have advocated drama commercialization. The vertical monopoly by terrestrial broadcasting stations was broken down, and channel operators such as cables and general programming channels emerged. Television dramas have secured the diversity of meeting viewers through new platforms and are used as more various tools than the tool to sell "national sentiments" in the past after the introduction of market capital in drama production. The advancements in science and technology have influenced their value shift to complex cultural products including copyright, PPL and advertising. This study raised three questions to discuss how the production system of television dramas was changing in such an environment and what the culture of drama producers was like. First, it would discuss how the production elements were selected and decided until a television drama was on the air. Second, it would discuss the human relations and operation of the production elements surrounding television dramas. Third, it would discuss the identity of drama producers exposed to the changed environment and the perceptions of television dramas. The study employed two approaches to analyze those three research topics. One of them was the participant observation of television dramas at a drama production site to check drama producers' communication, relationships with the production staff, and production culture. The other was an in-depth interview with 14 drama producers including broadcasting stations' producers, outsourcing production companies' producers, and freelance producers. The study was thus able to investigate the production system and culture of television dramas with a focus on drama producers in-depth. The analysis results of Research Questions 1 were as follows: the process of selecting and deciding the production elements in the drama production system was a core "mechanism." Star drama writers have become the men of higher power in those changes to the drama market and acquired the selection and decision authority on the back of high support from capital. Those changes were made possible because writers' creativity secured popular appeal in the developmental history of television dramas in the nation. The decision-making structure of broadcasting stations, on the other hand, was under control in terms of direction opportunities and planning functions of drama producers. There were such methods of control as "lineup," "embedment," and "replacement" practice. "Lineup" was a word to express the human relations-based passive direction behavior of drama producers rather than their creativity. "Replacement" was a practice derived from the limitations of the production system and an abnormal form of drama producer selection. Drama producers would be selected only one month before the television dramas were on the air because the right negotiations and interests between the broadcasting stations and outsourcing production companies were in an unofficial human network. The "embedment" practice would involve dealings with rewards such as outcomes once an unofficial relationship was formed with a person above. That way of dealing guarantees easiness and convenience in the drama production conditions. The current structure makes it difficult for the broadcasting stations to discard the old practice culture when selecting drama production elements with the expansion of the drama market. That is, private contracts mainly through human relations and experiential relationships are made in drama production. The "organization right" of broadcasting stations serves as a means of power rather than competition and quality improvement. Business capital's aggressive attacks at the drama market have exerted huge influences on the drama production environment. Business capital especially got the drama planning authority, which is considered as a "rough sketch" of television dramas, from the broadcasting stations and then combined it vertically according to its taste and commercialized it actively, thus innovating the distribution method. Business capital eventually reorganized the drama production system at an alarming rate. The most noteworthy were the ways the broadcasting stations reacted to it. They managed the division and specialization of the production system through middle managers such as CPs and got to select and decide the essential drama production elements. As the reaction strategies of the broadcasting stations were combined with the profit-seeking methods of business capital, a distortion phenomenon happened in the drama market. The one-act drama that was investigated through participant observation had an independent form in the television production system. Drama producers granted meanings to the independent system, saying it was the value system that television dramas should seek after. Considering that television drama producers are under such core elements as writers and actors in the hierarchy after the commercialization of dramas, one-act dramas are like an archetype of drama production culture as far as they are concerned. It is the only drama production system to guarantee their autonomy and creativity regardless of the commercialization of dramas. In Research Question 2, the study discussed the network and relations of television drama producers and the operation of the producers' network in the drama production system. The findings were summarized as follows: The broadcasting station organizations in charge of television drama production have continued to change their constitution according to the changing media environment and reform their organization for the homogenization of content. The organization operation method, which used to be fixed as a traditional feature along with the establishment of a broadcasting station, got to involve competition and discussion in the common market of "drama industry" with a similar form among the market entrance conditions and production methods. Broadcasting staff members participating in drama production were subject to an asymmetrical manpower supply system and unfair supply. There was a clear hierarchical order between the production staff and broadcasting stations' producers, who had internalized confrontations and conflicts. Since the choice right of broadcasting station employees could determine the rewards and promotions of the production staff members, unofficial human relations worked in an important manner. Entering the multi-channel era and the competition with complex media corporations, the broadcasting stations make organized responses to uncertain market changes and do strategic organization planning to improve their management income and expenditure. Business capital makes active use of element combinations in the outsourcing market and depends on stable paths. Business capital's element combinations and the broadcasting stations' reinforced organization rights are their countermeasures to increase predictability in the uncertain market environment. In South Korea, one should depend on a human network to produce a television drama. That is, it all starts with relation setting between exclusive and independent producers and complicated expert groups. An unofficial network was in operation in the drama organization. As the drama market expanded, the middle managers such as CPs and EPs got to make a decision on such core elements as drama writers and actors, and drama producers, directors of photography, and assistant directors got to choose the production staff. Such an internal order led to an unofficial selection practice such as acquaintance relations. Drama producers resisted their unofficial hierarchical relations with middle managers and, at the same time, were under the control of middle managers in an unofficial network. The "control and check" method led to the lineup of middle managers with the decision-making authority for drama organization rights and the active operation of unofficial human relations, which were made possible because of control on the conditions of direction opportunities and planning functions. In Research Question 3, the study discussed the identity of television drama producers. The findings were summarized as follows: Media capital made the political relations and external environmental conditions supporting industrialization favorable to it through continuous business expansion, and such a supporting foundation worked to hold a dominant position in choice and decision. The resulting core production elements caused the drama production costs to rise with psychology of expectation expressed as gambling mentality. The emotional structure like familism became a production practice, and patterns proven to guarantee stable ratings made often appearances. As the work format of drama producers shifted from independent job performance to a common mission of the organization, they were subject to the intervention and management of middle manager. While their emotional community formed around their communication broken down, their unofficial human network with middle manager became reinforced. There was no proper performance and reward system in the drama organizations of terrestrial broadcasting stations in the free competition market. Since there were no accountability provisions on the failure of a drama and no reward provisions on the success of a drama, they did not run a creative and challenging competition system. The authority and positions of drama producers were considered to be replaceable with the industrialization of dramas and accordingly reduced. The value conversion of drama producers in the drama market can be discussed in two aspects: first, as business capital evaluated the production elements in value, there was a shift of power in the order of writers, actors, and producers. With the commercialization of dramas, there were frequent class struggles among them. Secondly, there was a shift of power within drama producers. Drama producers regard drama production as a creative act as popular cultural artists and want to perform independent functions by controlling the drama production process holistically. They, at the same time, maintain that they should practice signification as the subjects to produce a television drama, which is in line with their positive attitude toward the commercialization of dramas. They also argue that they should play the roles of "journalist" to convey messages to the public through television dramas. Their arguments reflect considerable confusion in their roles and responsibilities. The old drama producers that engaged in public service cultural movements are gradually disappearing, and today's drama producers are adapting to the patterns and tastes of popular culture consumers. In the old production system, drama producers created dramas to cultivate and heighten the national sentiment. Even if it is too difficult to support the argument, one cannot say that there has been no emotional exchange based on the creative art and literary works of television dramas. While the arguments of drama producers are supported, there is no denying that television dramas have been used as a "tool" of drama commercialization by the broadcasting stations due to the industrialization of dramas. In another aspect, there is a move toward the structure of television dramas not being planned and produced by the broadcasting stations and drama producers. When drama producers recognized that their unique roles were a part of the core production elements of the drama fever in the South Korean society, there was a mixture of their psychological resistance and compliance in front of changes to the drama production system. It is also true that it is difficult to tolerate an awkward term of "popular cultural professional artist" in the current environment. The present study actively discussed the production system to see drama producers in front of changes to the media environment. As the production system gradually changes in its form and structure, the fixed production culture of drama producers is fading away. If drama producers had wanted to have political or social influences, their drama production culture would have been more flexible. The study proposes that their professional soundness and uniqueness should remain intact rather than supporting their arguments.

한국 다문화사회 언어교육 및 지역사회통역지원의 발전을 위한 제언

노용선 이화여자대학교 통역번역대학원 2012 국내석사

在全球化发展的潮流中, 韩国社会正在以极快的步伐向多元文化社会迈进。随着国际交流的增加和世界经济结构的重组,跨国婚姻家庭迅猛增加,外籍务工人员和国籍归还者等外国人越来越多的加入到韩国社会中来。 这些出身外籍的韩国社会新成员们, 在融入学校生活及社会生活时,面临到了以语言交流为代表的种种问题,不管是对当事人,还是对韩国社会整体的建设性发展来说,这些问题都是挑战性课题。 本研究主要分析了多元文化社会中,与语言教育及社区口译这两种语言政策有关的韩国社会现状及政策方向。笔者以前人研究为理论依据,收集了最近多元文化社会语言教育的案例,并对此进行了研究分析。第一章介绍了研究背景、研究方法、研究目标、并对用语进行了整理。 第二章主要分析了韩国多元文化社会和多元文化语言教育现状。作为多元文化社会的新成员,应当通过韩国语教育和母语教育,积极适应韩国社会。并且认识到处于两种语言交汇点这件事本身就是一种财富,并以此作为机会,谋求发展。 同时,现有的韩国社会成员,也应当参与到多元文化语言教育中,扩大与社会新成员的交流。 创造学习外来语言和文化的机会,为此,笔者对加入韩国社会新成员的人口、国籍,学历水平等信息进行了统计整理,并对教育现场进行了考察,提出了改善意见。 本研究在第三章里对社区口译进行了研究分析。韩国政府为了促进社会融合,于2008年12月发布了 ”第一批外国人政策,在此政策中,首次提到了关于提供口译服务的内容,本研究意图通过此政策,摸索社区口译在多元文化社会移民过程中的真正含义,探寻政策发展方向。因此,笔者对当今政策施行初期阶段的有关教育案例进行了调查和分析,进而论述了多元文化社会成员活用为社区口译人才的可能性,以及引进教育和审查体系的必要性。 比韩国提早进入多元文化社会的欧洲、加拿大、澳大利亚、日本、台湾等国,通过孜孜不倦的努力,建立了以多元文化社会成员为对象的语言教育模型,并创造了能够让社会新老成员相互融合适应的环境。本研究对上述教育实例进行了研究,指出了韩国社会应当学习的部分。 最后,笔者以前文的调查及分析为基础,对研究结果进行了综合整理,并对韩国多元文化社会的语言教育及社区发展提出了建议。 在全球化发展的潮流中, 韩国社会正在以极快的步伐向多元文化社会迈进。随着国际交流的增加和世界经济结构的重组,跨国婚姻家庭迅猛增加,外籍务工人员和国籍归还者等外国人越来越多的加入到韩国社会中来。 这些出身外籍的韩国社会新成员们, 在融入学校生活及社会生活时,面临到了以语言交流为代表的种种问题,不管是对当事人,还是对韩国社会整体的建设性发展来说,这些问题都是挑战性课题。 本研究主要分析了多元文化社会中,与语言教育及社区口译这两种语言政策有关的韩国社会现状及政策方向。笔者以前人研究为理论依据,收集了最近多元文化社会语言教育的案例,并对此进行了研究分析。第一章介绍了研究背景、研究方法、研究目标、并对用语进行了整理。 第二章主要分析了韩国多元文化社会和多元文化语言教育现状。作为多元文化社会的新成员,应当通过韩国语教育和母语教育,积极适应韩国社会。并且认识到处于两种语言交汇点这件事本身就是一种财富,并以此作为机会,谋求发展。 同时,现有的韩国社会成员,也应当参与到多元文化语言教育中,扩大与社会新成员的交流。 创造学习外来语言和文化的机会,为此,笔者对加入韩国社会新成员的人口、国籍,学历水平等信息进行了统计整理,并对教育现场进行了考察,提出了改善意见。 本研究在第三章里对社区口译进行了研究分析。韩国政府为了促进社会融合,于2008年12月发布了 ”第一批外国人政策,在此政策中,首次提到了关于提供口译服务的内容,本研究意图通过此政策,摸索社区口译在多元文化社会移民过程中的真正含义,探寻政策发展方向。因此,笔者对当今政策施行初期阶段的有关教育案例进行了调查和分析,进而论述了多元文化社会成员活用为社区口译人才的可能性,以及引进教育和审查体系的必要性。 比韩国提早进入多元文化社会的欧洲、加拿大、澳大利亚、日本、台湾等国,通过孜孜不倦的努力,建立了以多元文化社会成员为对象的语言教育模型,并创造了能够让社会新老成员相互融合适应的环境。本研究对上述教育实例进行了研究,指出了韩国社会应当学习的部分。 最后,笔者以前文的调查及分析为基础,对研究结果进行了综合整理,并对韩国多元文化社会的语言教育及社区发展提出了建议。 최근 한국사회는 빠른 속도로 다문화 사회로 이행하고 있다. 국제교류의 증가와 세계적인 경제구조 재편으로 국제결혼가정이 늘어나고 있으며 외국인 노동자의 유입과 국적귀화자 등 외국인의 한국사회 유입이 증가하고 있다. 한국사회 유입된 외국출신의 새로운 구성원들은 학교생활과 사회생활 적응에 있어서 언어소통을 비롯한 많은 문제를 겪게 되고, 사회적응에 문제가 생길 경우 이는 비단 구성원 당사자 뿐 아니라 전체 사회의 건설적인 발전에 도전과제가 될 것이다. 본 연구는 다문화사회를 위한 두 가지 언어정책, 즉 언어교육과 지역사회통역(community interpretation)에 관한 한국사회의 현황과 정책방향을 다루었다. 1장에서는 한국사회에 유입된 다문화가정 구성원의 인구와, 국적분포, 학력수준 등의 정보를 통계를 통해 정리하였으며, 현재 진행 중인 다문화언어교육현장을 점검하여 개선점을 분석하였다. 2장에서는 지역사회통역문제를 다루었다. 한국은 사회통합을 위하여 2008년 12월 ‘제1차 외국인 정책‘ 발표하였고 가운데 처음으로 통역서비스 제공에 관한 내용을 다루었다. 이를 통해 다문화사회 이주과정에서의 지역사회통역의 구체적 의미와 정책적 방향을 모색하고, 현재 시행초기단계인 관련 교육사례를 조사하여 분석하였다. 한국보다 일찌감치 다문화사회를 경험한 유럽과 캐나다, 호주, 일본, 대만 등의 국가에서는 그동안 끊임없는 시도를 통해 다문화사회 구성원의 언어교육 모델을 마련하였으며, 이를 통해 기존의 구성원과 새로운 구성원이 적응할 수 있는 환경을 마련하였다. 상술한 국가들의 언어교육사례를 점검하고 우리 사회가 배워가야 할 부분을 정리하였다. 마지막 장에서는 앞장의 조사와 분석을 토대로 하여 연구결과를 종합적으로 정리하였으며 한국의 다문화사회 언어교육과 커뮤니티 사회의 발전을 위한 제언을 정리하였다.