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박정상(Jung-Sang Park),박준태(Jun-Tae Park),김일권(Il-Kwon Kim),임삼진(Sam-Jin Lim) 한국철도학회 2013 한국철도학회 학술발표대회논문집 Vol.2013 No.11
철도교통사고(railroad traffic accidents)는 열차 또는 차량의 운전에 의해 발생되는 열차사고(train accident), 건널목사고(level-crossing accident), 교통사상사고(traffic death and injury)로 구분되며 장기간 지속적 감소추세를 보이고 있다. 철도산업정보센터의 철도사고 통계자료를 활용하여 열차사고와 건널목사고의 발생빈도를 비교해보면 1990 년대 90%이상, 2000 년대 80%이상 건널목 사고빈도의 점유율이 높은 것을 알 수 있다. 본 연구에서는 건널목사고의 시계열적 특성을 살펴보고 단기예측 및 계절적 특성에 대해 살펴보았다. 분석자료는 과거 20 년간 집계된 건널목 사고빈도자료를 이용하여 월별발생 빈도와 계절적 빈도자료로 활용하였다. 분석결과 사고빈도는 계절형발생 특성을 보이며, 단기적 큰 감소추세를 보이지 않는 것으로 나타났다. Railroad traffic accident consists of train accident, level-crossing accident, traffic death and injury accident caused by train or vehicle, and it is showing a continuous downward trend over a long period of time. As a result of the frequency comparison of train accidents and level-crossing accidents using the railway accident statistics data of Railway Industry Information Center, the share of train accident is over 90% in the 1990s and 80% in the 2000s more than the one of level-crossing accidents. In this study, we investigated time series characteristic and short-term prediction of railroad crossing, as well as seasonal characteristic. The analysis data has been accumulated over the past 20 years by using the frequency data of level-crossing accident, and was used as a frequency data per month and year. As a result of the analysis, the frequency of accident has the characteristics of the seasonal occurrence, and it doesn’t show the significant decreasing trend in a short-term.
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오광대와 들놀음 연구 : With Focus on Dialogue Analysis 대사 분석을 중심으로
정상박 東亞大學校 1983 東亞論叢 Vol.20 No.1
In South Kyongsang province of Korea, the traditional mask-dance drama called Ogwangdae (Five Actors) and another kind of mask-dance drama called Dulnorun(Field Play) are performed. Ogwangdae and Dulnorum have been considered the same kind by scholars. I have tried to grasp the reality and nature of the two mask-dance drama from larger segments to smaller ones respectively and comparing both. And I also attempt to settle the question of the distintive features of the two mask-dance drama. The results obtained from the study are as follows; 1. Ogwangdae is performed only on the western side of the Naktong River, and Dulnorum on the eastern side. The western and eastern sides of the river have different cultural backgrounds as they were, during the late Yi-dynasty, different provinces. The fact that Ogwangdae and Dulnorum have different sociocultural backgrounds supports the idea that the two can be divided into two different categories. The "Dul" in Dulnorum means "cultivated field", and the name Dulnorum originates from the agricultural rite performed in the field. The name Ogwangdae takes its origin from the play performed by five actors which constitutes Scene I of the present play; that is, Obang Sinjang-mu (the dance of the divine generals of the five directions). As the name Ogwangdae and Dulnorum have different origins, the two can be divided into two different kinds. 2. Ogwangdae and Dulnorum were compared through research and analysis of the events and plays done before and after the part of mask-dance drama. In Dulnorum, before the mask-dance drama, the performers pray to the spirits of village shrine, perform Kilnori (March of the performers), in which a fancy procession parades from the fields into the village, and dance Dotbegi-chumnori (Group dance of Dotbegi), in which the village people and players dance together in the village; after the mask-dance drama, they pray for the safety and well-being of the village while burning the masks. The structure of Dulnorum is such that they bring the guardian deity of the village along from the village shrine, invite the deity of agriculture through Kilnori, ask the God in the heaven to come down through Dotbegi-chumnori, perform a mask-dance so as to delight all the deities, and finally send them back by burning masks. 3. The mask-dance part in Dulnorum and Ogwangdae is composed of several scenes which are independent dramas with different themes. Even though the scenes seem to be haphazardly and superficially constructed, an ordered construction has been detected. In the typical construction, the scenes of ritual events are placed in the initial or final parts, while scenes full of dramatic action are placed in the middle. When this structure was transformed, the order of the scenes was not changed, but the scenes of ritual events in the initial or final parts were dropped. Many of the unchanged, typical kinds of scenes are found in Ogwangdae, but Kulnorum was transformed and has a reduced number of scenes. 4. The internal structure of each scene which can be regarded as an independent drama was analyzed. The analysis of the scenes of Malttugi-Yangban(Servant and Nobleman) and Halmi-Yonggam (Old Woman and Her Husband) which have the greatest number of dialogues and are most dramatic, shows that between the utterances of each character there is a close connection and a series of utterances are cut off with everybody dancing. If we consider a series of utterance as a unit, the relationship between the units can be said to be repetitive. And the construction of a larger meaning unit which comprises several of the above mentioned units shows some kind of cause and effect among events. The scenes of mask-dance dramas in South Kyongsang province have a similar construction and formula to each other, and it can be found out that there are close resemblances among Ogwangdaes and also among Dulnorums. 5. I investigated the manner of transmission of the dialogues. If an utterance of a character is short, it is either directive or interrogative; while, if it is long, there appears first a long set phrase describing the scenes of events or producing a dramatic atmosphere, and, after that, a short phrase appears which is either directive or interrogative. The initial parts of the dialogues have been well preserved and transmitted without change, but the latter parts have undergone changes and expressed the zeitgeist, social consciousness and aesthetic feeling of the players of the time. The changes in the dialogues are mostly due to the ignorance of the meanings of the phrases on the part of the players. And the changes were not arbitrary but were phonetically or semantically similar to the original expressions.
ScienceON
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