모듈형 로켓 신기전K-22 설계 및 분석

김화영(Hwayoung Kim),조재현(Jaehyun Cho),김강현(Ganghyun Kim),김선민(Sunmin Kim),안지훈(Jihun An),이준우(Junu Lee),차승현(Seunghyeon Cha),채수언(Sueon Chae),김형민(Hyungmin Kim) 한국추진공학회 2022 한국추진공학회 학술대회논문집 Vol.2022 No.11

미야자키 하야오의 『센과 치히로의 행방불명』과 한국 전래동화 『심청전』의 비교연구

김화영(Kim, HwaYoung) 중앙대학교 일본연구소 2020 日本 硏究 Vol.0 No.52

Sen and Chihiro was made by Hayao Miyazaki, who is a master director in the Japanese Animation fields. It was released in Japan in 2001 and with the title of The Spiriting Away of Sen and Chihiro in Korea the following year. This movie received rave reviews from critics and won support and praise from various audiences thanks to the exquisite harmony of its heart-moving plots and music. This animation consists of a few stories, which are undergoing strange experiences based on the story that a young daughter saves her foolish parents. It is hugely interesting that the plot of the movie and Korean folk tale, Simcheongjeon are just alike. Chihiro’s experiences in Yuya are very similar to Simcheong’s in the underwater palace of the Sea God. Also, that the Water serves as a medium can be the similarity between two works. Through a comparative study of these two works, this thesis will redefine the works of Hayao Miyazaki.

한일 영화에 그려진 장의사 -『행복한 장의사』와 『굿바이』의 비교연구 -

김화영(Kim, HwaYoung) 동아시아일본학회 2021 일본문화연구 Vol.- No.79

장문일 감독의 행복한 장의사(2000)와 다키타 요지로(瀧田洋二郞) 감독의 굿바이(일본 원제: おくりびと)(2008)는 시골마을의 전통 장의를 통한 ‘삶과 죽음의 의미’라는 주제를 다루고 있다. 두 작품은 장의의 과정을 통하여 삶과 죽음의 의미에 대해 깨닫고 고인을 보내주는 방법을 알아가는 주제란 공통점이 있다. 또한 주인공이 도시에서 시골로 온 젊은이들이고, 장의를 우연히 시작한다. 서투르지만 마지막은 진정한 장의사로서 길을 걷게 된다는 구조적 유사성도 있다. 하지만 두 작품에서 장의에 대해 중점적으로 보여주는 장면과 전체적인 영화의 장르의 차이가 있고, 한국과 일본은 비슷한 문화와 종교를 가지고 있으면서도 비교되는 부분이 많다는 점도 존재한다. 예를 들면 『행복한 장의사』에서는 『굿바이』에는 없는 탐욕스런 인물을 배치함으로써 장의사는 돈과 관련되는 직업이 아니라 진실한 마음이 있어야 하는 직업인 것을 이야기한다. 두 영화에서 죽음은 다음 세상으로 나아가는 문이고 장의는 그것을 준비하고 배웅하는 일이라고 공통으로 말하고 있다. 그리고 죽음은 세상에서 가장 아름답고 고귀한 것이며 장의는 세상에서 가장 아름다운 직업이라는 것을 강조하고 있다. The Happy Funeral Director(2000) by a director, Mun-il Jang and DEPARTURES(Japaese: おくりびと)(2008) by a director, Takita Yojiro feature ‘the meaning of Life and Death’ through the traditional funeral ceremony in the rural village. Both movies have common themes of which they realize the meaning of life and death and learn to let go of their deceased ones through the funeral ceremony. Also, there is structural resemblance of young main characters who come to rural village and start the funeral service accidentally, but become true undertakers after all. There are differences between the two movies; genre and the way the funeral is decribed. Also, two movies have similar cultural and religious settings. For instance, there is a covetous character in The Happy Funeral Director that is not in DEPARTURES, which means that the undertaker is the job related to sincere mind and not money, emphasizing the value of undertakers. Both movies describe death as an another door to the next world, and funeral is for the preparation of it and also can be the send off ceremony of death. In these movies, death is the most beautiful and noble and as a profession, the undertaker is described as the most valuable.

선박 입출항 데이터 기반 항계 내 선박 배기가스 배출량 산정

김화영(Hwayoung Kim),부이 하이 당(Bui Hai Dang) 한국지능시스템학회 2020 한국지능시스템학회논문지 Vol.30 No.6

해상운송 중 선박에서 나오는 미세먼지 배출 규제가 지속적으로 강화되고 있다. 국제해사기구(IMO)에서는 2020년 1월부터 국제항해에 종사하는 일정 선박에 대하여 황함유량 0.5% m/m이하의 선박연료유 사용을 의무화 하였다. 그리고 이미 2019년 1월부터 선박의 온실가스 배출량 모니터링을 위해 총톤수 5천톤 이상 선박은 연료유 사용량을 의무적으로 보고하도록 하고 있다. 이와 함께 유럽, 북미, 아시아 지역을 중심으로 선박이 빈번히 입출항하는 항만구역을 포함한 배출통제해역(ECA, Emission Control Area)이 확대되고 있다. 화물 하역을 위해 항만에 입출항하는 선박은 다양한 데이터를 생성한다. 본 논문에서는 선박 입출항 정보를 분석하여 항계 내에서 선박으로부터 배출되는 배기가스 배출량을 산정하는 것이 연구의 목적이다. 선박 배기가스 산출 대상 항만은 광양항으로 하였고, 대상선박은 컨테이너선으로 하여 질소산화물(NOx), 황산화물(SOx), 탄화수소(HC), 미세먼지(PM10)를 산정하였다. Regulations on the emission of fine dust from ships are constantly being strengthened. From January 2020, the International Maritime Organization (IMO) mandated the use of fuel oil with a sulfur content of 0.5% m/m or less for certain ships engaged in international voyage. Also, since January 2019, it is mandatory for ships with a gross tonnage of 5,000 tons or more to report fuel oil consumption to monitor ships’ greenhouse gas emissions. Along with this, the Emission Control Area (ECA) is expanding, including port areas where ships frequently enter and depart, mainly in Europe, North America, and Asia. Ships entering and departing ports for cargo handling generate various data. In this paper, the purpose of the study is to analyze the ship entry and departure information and calculate the exhaust emission from the ship in the port area. The target port for the calculation of ships’ emission is Gwangyang port, and the target ship is limited to container ships. The emissions of nitrogen oxides (NOx), sulfur oxides (SOx), hydrocarbons (HC), and particulate matter of 10 microns in diameter (PM10) among pollutants discharged from ships were calculated.

영화에 그려진 ‘일본여성’의 이미지 -『게이샤의 추억』을 중심으로-

김화영(Kim, HwaYoung) 중앙대학교 일본연구소 2021 日本 硏究 Vol.- No.55

This study examines the images of Japanese women in film by analyzing the movie, Memoirs of a Geisha. The movie was originally written by a Japanese person, but the screenwriter and director were American. The original title was “Memories of Sayuri,” but it was changed to “Memoirs of a Geisha,” revealing a perspective on life from Sayuri’s perspective, but placed in a specific position called “Geisha.” This perspective can be clearly seen in the phrases and colors used to denote the heroine. Sayuri is compared to “water,” which symbolizes sexuality and the maternal aspects of women. The Mizuage ceremony emphasizes women’s sexuality. The maternal aspect is also connected with the image of water as it is connected with Sayuri’s sacrifice for men. Lastly, Memoirs of a Geisha and Sakuran both have female protagonists in the special position of geishas and courtesans, and they express the image of women through color. However, when Sayuri and Higurashi are beginning their lives, Higurashi is active, meaning that the red kimono refers to her passion, while gray color given to Sayuri represents the image of Japanese women westerners already have, such as sadness and sacrifice.

高麗 青銅香爐 二例

金和英(Kim Hwayoung) 한국미술사학회 1973 美術史學硏究 Vol.- No.118

內藏寺 遺蹟 遺物

金和英(Kim Hwayoung) 한국미술사학회 1972 美術史學硏究 Vol.- No.113·114

龍門山上元寺의 遺蹟 遺物

金和英(Kim Hwayoung) 한국미술사학회 1969 美術史學硏究 Vol.- No.103

영화『황진이』과 『사쿠란』 비교 연구

김화영(Kim, Hwayoung) 동북아시아문화학회 2020 동북아시아문화학회 국제학술대회 발표자료집 Vol.2020 No.10

『Hwang Jin-i』 is a story of a gisaeng in the Joseon Dynasty that has been reinterpreted through various media such as movies and dramas in Korea. It is a work that has been reinterpreted many times, and it can be said that it is one of the works that has solidified our image of gisaeng by acting by many writers and many actors. 『Sakuran』is a film based on Moyoko Anno"s manga, and debuted as a director by Mika Ninagawa, a famous photographer. Won the Best Music Award and the Best Art Award at the 31st Japan Academy Awards. This work deals with the story of a girl until she is sold to Yugwa and leaves Yugwa through gorgeous colors and direction, and presents a new interpretation different from the appearance of a young woman in most existing works. While Hwang Jin-i is a real character and works such as poetry still remain, Kiyoha in Sakuran is a fictional character, but the two works are special professional women whose protagonist is a gisaeng and a young woman. The personality of a female character that differentiates from the family is very similar. This study analyzes the similarities and differences between the two works, the gazes of gisaengs and young women in both countries, the change of gazes according to the times, and the reasons.

한국형 e-navigation 개발에서 소형어선 운항자의 서비스 니즈를 통한 개발방향에 관한 기초연구 - 인천광역시 강화지역 어선 사례를 중심으로 -

김화영(Kim, Hwayoung) 인천연구원 2014 도시연구 Vol.- No.8