T.Williams의 희비극적 인물의 생존을 위한 기표적 언어전략 : Camino Real, A Streetcar Named Desire, The Glass Menagerie를 중심으로

이봉환 진주산업대학교 1998 論文集 Vol.37 No.-

This thesis studies signifiant linguistic strategies for major tragicomic characters' survival in Tennessee Williams' expressionistic plays, such experimental metatheatres as Camino Real, A Streetcar Named Desire, The Glass Menagerie. These anti-realistic dramas search for the meaningless illusionary reality of instable signifiant existences disseminating endlessly in the plastic stage like an improvised confusing wordplay. Williams' absurd expressionistic dramas continuously produce tragicomic dissonant characters deconstructing themselves or deconstructed compulsively by the opposite in the course of constructing illogical linguistic universe for confirming their survival without dying. Such self-deconstructive ambiguous characters may be kilroy, Blanche, Amanda, that are mostly defiant romantics brought face to face with the compulsive fact of death as they find themselves abandoned in a dusty space from which there appears to be no escape. Almost traditional approaching methods to Williams' experimental dramas have been concentrated on the unavoidable conflicts between illusionary past and real world, tragic results derived from the phenomenological collision. Lots of critics and readers divide Williams' major heroes and heroines into realists and idealists, who seem to blindly lead comfortable lives in their favorite space in two different directions. The critics as well as Williams' stubborn characters don't recognize the limits and contradictions of western metaphysical philosophy, based on such binary oppositions as reason/emotion, reality/illusion, nature/civilization, speech/writing, normality/madness, philosophy/ literature, author/reader, soul/body. That's why they have mainly attempted to find the reason of characters' tragedy in conflicting structures and plots, to emphasize spontaneous adaptation to the real world as an abstract alternative for survival. This extreme binary attitudes on life and universe make both characters and readers regard their own favorite chosen elements as only important values in life and theratre, expel blindly the opposite onew without exception. In this negative biased atmosphere that counterpart's existential meanings aren't recognized in the new strange world, plastic capacious major characters can't but undergo repetitive self-deconstructive course. They are principally Nietzashe's dionysian comedians that will not surrender themselves to desperate despair, don't neglect the other's obstinate identity though they continuously experience linguistic violence and visual threat. Most of illusionary, nonsensical comic heroes and heroines in expressionistic, absurd metatheatres repeat superficial signifiant wordplay in order to protect their made-up illogical world of traces and dissemination from Jacques Derrida. Kilroy, Blanche and Amanda challenge and overcome the rival's intentional attack with signifiant wordplay, joke, exaggeration, wit, imaginative fancy, transformation, and so on. They get away from Foucault's real world by Derrida's deconstructive linguistic strategy. Different from weak silence and primitive performance of semiotic illusionary characters in the absurd metatheatres, they sustain their hope and dream in the face of evidence of fatuity by the opposite cunning trick. Although such comic in exhaustible comedians as Kilroy, Blanche and Amanda know their dangerous existential conditions in the manipulative power of Foucault's system, they like to make up their own fictional illusionary context clinging to the liberating power of carnival. Such self-conscious rhetoricians continuously construct and deconstruct new signifiant writings and play spaces by the end of opposite's violence in the real theatrical stage. Don Quixote's disseminating signifiant fragment, Kilroy in Camino Real defends preserves his illusionary clownlike identity against Gutman's highly controlled power system. As Foucault defines in his series of poststructual books as Discipline and Punish, Power and Knowledge, The Birtb of the Clinic, Madness and Civilization, modern leaders isolate and confine idealistic mad men/women in charity hospital, prison in order to keep their absolute power. In Kilroy's self deconstructive course in Camino Real, he destroys solid metaphysical binary structure of Gutman's authority combined with ideology and knowledge, awaken unreal signal characters with various non-linguistic means and linguistic discourse strategy at a time. Like Jones, Yank, Marco, Hickey, Zero, Dodge, Halie, Vince in the expressionistic, absurd, hyper realistic metatheatres of O'Neill, Rice, Shepard, Kilroy is an attractive rebellious comedian to have a free command of creative imaginative wordplay with wit, joke, fancy. Blanche and Amanda also use freely ambiguous, pluralistic linguistic strategy to protect their obstinate imaginative illusion. Although both recognize well the limits of their instable signifiant past traces, they look away or overcome ideological power of the real world without surrendering their own places to the opposite's. It is certain that Blanche and Amanda aren't such tragic pathetic characters as spectators and readers feel in heroines' deconstructive course. They maybe experience desperate conflicts with Stanley and Tom, but they make continuous efforts to persuade counterparts of their strange double identity, to tempt the opposite into their imaginative fragmentary world. It is not unreliable hypocrisy but source of Nietzsche's pleasant life that they have showed and danced at the violent, retrospective stage. It is ironical parody that they adhere to consistent resistance, tragicomic linguistic strategy in their deconstructive course, but the opposite party don't show any spiritual, intellectual ascension at the same time. Like Kilroy, Blanche and Amanda are signifiant tragicomic comedians, that can write a now plastic carnival stage with imagination, fancy, joke, wit, wordplay, intuition, silence, monologue, exaggeration. They aren't nihilistic negativist, but pleasant positivist that can play freely, survive endlessly in the dark civilized shade.

The Adding Machine에 나타난 지적 가벼움의 패러디

이봉환 진주산업대학교 2000 論文集 Vol.39 No.-

This thesis studies how light man's consciousness and mind are in the modern society, and how he/she has been completely organized by the fast changing rules of modern civilization based on only economic and materialistic profits. Elmer Rice, in his famous expressionistic drama of The Adding Machine, points out such a serious problem that human beings try to comply with their organizations not only to take success opportunities but also to survive themselves in the actual world. Rice uses various expressionistic techniques that Strindberg and O'Neill enjoyed doing to emphasize man's existential dangerous situation depreciated by machine. It is remarkable that Rice, like Swift and Rabelais, suggests the revival of man's free will and unlimited imagination as the methods to resolve human spiritual paralysis.

WWW를 이용한 전자과제 처리 시스템 개발

이봉환 大田大學校 産業技術硏究所 1997 산업기술연구소 論文集 Vol.8 No.1

본 논문에서는 대학의 연구자들로부터 과제제안서를 인터넷을 이용하여 처리하는 시스템을 개발하였다. 인터넷에 접속되어 있는 연구자 단말, 연구과 호스트 및 과제 수여재단의 호스트 사이에 제안서를 네트워크를 통하여 전송하고 제안서 검토, 결재, 평가 등의 업무도 온라인으로 처리한다. 연구자는 단말에 Web 브라우저와 제안서 작성을 위한 워드 프로세서를 설치하고 대학 및 과제수여재단에서는 과제 처리를 위하여 Web 서버 및 홈페이지를 구축한다. 연구자는 과제수여재단의 Web 서버에 접속하여 표준서식 파일을 다운로드하여 제안서를 작성한다. 연구자가 작성한 제안서를 대학의 연구과 Web 서버에 접속하여 인증 절차를 거친 후 과제를 업로드 할 수 있도록 CGI(Common Gateway Interface) 프로그래밍을 하였다. 또한 연구과에서 연구자들로부터 접수된 과제 제안서들을 일목요연하게 열람할 수 있는 기능 및 다운로드하여 검토할 수 있는 기능을 구현하였다. 검토가 종료된 과제는 대학 내의 결재권자에게 송부되고 결재를 요청하는 전자메일을 보내게 된다. 과제 결재를 요청 받은 결재권자는 충분한 보안장치를 거쳐 결재 후 해당 제안서를 연구과로 넘겨주게 되고 연구과에서는 과제수여재단의 Web 서버에 접속하여 여러 과제를 한꺼번에 업로드 시킨다. 과제수여재단의 Web 서버에는 각 대학에서 접수되는 과제를 기관별로 분리하여 열람할 수 있는 기능을 구현하였고 검토가 종료된 과제의 평가를 위하여 평가 위원을 위촉하여 평가를 의뢰하고 평가 결과를 과제수여재단의 서버에 직접 입력할 수 있는 기능을 구현하였다. 이러한 과제처리 시스템은 연구과제를 공모하는 모든 기관의 효율적인 업무처리를 위하여 활용될 수 있다. This paper presents a proposal processing system which can transmit and receive research proposals using the Internet. The system is composed of three parts : principal investigator's terminal, host computer of university's proposal processing department, and host computer of research foundation. The key functions of the system include file download, upload, directory listing, and authentication among principal investigator's terminal, Web server at the university, and Web server at the research foundation. A Netscape Web browser is to be installed at researcher's terminal while a Web server and home page for proposal processing have been constructed at university's host computer. This Web server can receive proposal from principal investigators and provides file listing and authentication. CGI(Common Gateway Interface) programming techniques have been used to deal with these jobs. A separate Web server was constructed at the host computer of the research foundation to receive proposals electronically from universities. Personnel at the research foundation can retrieve the incoming proposals and send them to the preassigned reviews to evaluate the proposals. The reviewers can access the Web server at the research foundation and input scores of the evaluated proposals. The final scores from all reviewers are automatically summed up and averaged. The implemented system can be utilized as a proposal processing system of national research foundations.

해체주의적 놀이공간으로서의 메타연극

이봉환 진주산업대학교 1999 산업과학기술연구소보 Vol.- No.6

This thesis studies the possibility of deconstructive metatheatre as a playspace in Pirandello`s Six Characters in Search of an Author and Beckett`s Waiting For Godot. Pirandello seems to be interested in the problems between reality and illusion, realism and anti-realism in life or theatre. He has made efforts to deconstruct the thick wall that lies in the realistic play derived from Plato and Aristotle, as well as the deep difference between life and theatre, actor and character, a text and a work, author and spectator. He uses such several techniques as signifiant wordplay, transformation, telegraphic word, position change, linguistic violence, pantomime, silence to deconstruct all theatrical obstacles for a shocking pleasant improvised performance. As he doesn`t regard real world and theatre as an organic complete unity full of absolute meanings but a plastic pluralistic playspace of disbelief and struggle, he searches for a new writing method based on Strindberg`s expressionism, Breton`s surrealism, and Artaud`s cruel ritualism. Although his experimental dark comedy, Six Characters in Search of an Author may be a mixture of tragic and comic, fantastic and realistic, it must be the beginning of anti-realistic performance followed into poststructual super-realistic theatre of Shepard and Mamet. Its intertexuality and signifiant wordplay connect itself with Derrida`s and Barthes` new creative writing based on Nietzschee`s pleasant aesthetics, that destroyed the binary linguistic system of western metaphysical philosophy. Influenced by Strindberg, Pirandello, Artaud, Breton, Sartre, Camus, and joyce, Beckett sings the song that life is a meaningless and monotonous performance of endlessly repeated routine. To suggest the debasement of metaphysical linguistic philosophy and the consequent breakdown of communication between inactive weak men organized by Rousseau`s and Descartes` reasonal philosophy, Beckett uses such linguistic tricks as word game, pun, allusion reminded of Williams` and O`Neill`s clownish black comedians that describe signifiant linguistic play for survival. Beckett deconstructs traditional concepts of realistic drama, as well as mechanical human relationships brought forth by formalistic structuralism or semiotics. His representative expressionistic absurd work, Waiting for Godot deals with the important dark problem of lingulsitic paralysis in majour signifiant signs(characters) that are psychically isolated from one another despite physical proximity. Trying to give spectators and characters the alternative to relieve them in entropy of linguistic stagnation, Beckett creates a stubborn comedian who can have a free command of word game with spiritual composure and pleasant aesthetics. Vladimir repeatedly talks to Estragon who gradually turns weak in the dramatic processing, to survive together in the dark negative situations. Although he may not be such active imaginative poet as William`s or O`Neill`s powerful insane clowns, Vladimir doesn`t stop his disseminating actions and meaningless signifiant wordplay like differance of traces in the black space that nothing happens.

윌리엄스의 대위적 무대공간

이봉환 진주산업대학교 산업과학기술연구소 2007 산업과학기술연구소보 Vol.- No.14

This thesis studies the contrapuntal stage structure based on significant linguistic strategies for major tragicomic characters' survival in Tennessee Williams' expressionistic plays, such experimental metatheatres as Camino Real, A Streetcar Named Desire, The Glass Menagerie. These anti-realistic dramas search for the meaningless illusionary reality of instable signifiant existences disseminating endlessly in the plastic contrapuntal stage like an improvised confusing wordplay. Williams' absurd expressionistic dramas continuously produce tragicomic dissonant characters deconstructing themselves or deconstructed compulsively by the opposite in the course of constructing illogical linguistic universe for confirming their survival without dying. Such self-deconstructive ambiguous characters may be Kilroy, Blanche, Amanda, that are mostly defiant romantics brought face to face with the compulsive fact of death as they find themselves abandoned in a dusty contrapuntal stage space from which there appears to be no escape.

생기적 대화주의와 직관적 자유인의 복원: 느릅나무 밑의 욕망과 매장된 아이를 중심으로

이봉환 현대영미어문학회 2021 현대영미어문학 Vol.39 No.3

Such meta-theatrical dramas as Desire under the Elms and Buried Child principally show the inner confliction of paranoiac delusional disorder and obsession derived from incest, Oedipus complex, and Lacanian imaginary’s mirror stage. Both of these literary works destroy the illusion and fabrication of the American family myth and success dream based on the patriarchal system and Christian logocentric authority. They disclose the political duplicity and distortion of American culture, which has divided the invisible dichotomous border between sexuality genders, reality and simulacre, races, consumer classes, and signifier and signified. These expressionistic, absurd, and hyper-realistic meta-dramas show the paradox, tragicomedy, irony, violence, regression, subversion, sexual perversion, aphasia, and frequent slip of tongue in the recirculing stage of multilevel structures confused with past and present. .

하둡 환경을 이용한 타자 역학 기반 사용자 인증

이봉환 大田大學校 産業技術硏究所 2006 論文集 Vol.31 No.1

본 논문에서는 지속적으로 변화하는 사용자의 키스트로크 다이나믹스 데이터를 이용하여 사용자 인증성공률을 향상시키기 위해 대용량의 키스트로크 다이나믹스 데이터 처리가 가능하도록 하둡 환경과 연동하는 방법을 제안하였다. 사용자의 키스트로크 다이나믹스 데이터가 점진적으로 변화하여 새로운 타자패턴을 입력하고 다시 학습을 시켜야 한다는 점을 해결하기 위해 Windows API를 이용하여 지속적으로 들어오는 사용자의 키스트로크 다이나믹스 데이터를 수집하고, 휴리스틱을 이용한 전처리 과정을 통해 데이터를 처리하였다. 이 데이터를 Flume을 통해 하둡에 저장하였으며, 수집된 키스트로크 다이나믹스 값의 평균값과 표준편차를 이용하여 시간 경과에 따른 오인식율을 하둡 환경과 그렇지 않은 환경을 비교하여 결과값을 도출하였고 이를 통해 하둡 환경을 연동하는 것이 보다 효율적임을 실험적으로 검증하였다.

u-Healthcare 시스템을 위한 RBAC-WS

이봉환,조현숙,Lee, Bong-Hwan,Cho, Hyun-Sug 한국정보처리학회 2010 정보처리학회논문지 C : 정보통신,정보보안 Vol.17 No.2

IT 기술의 발달에 힘입어 환자들의 위치에 상관없이 편리하게 진료가 가능한 유비쿼터스 헬스케어시스템이 개발되고 있다. 그러나 사용자의 수가 급증하고 다른 병원의 의사나 연구원 또는 환자의 가족들에게 의료 정보를 공개하도록 의료법이 개정되면서 사용자 관리와 프라이버시 침해라는 문제가 발생하였다. 이러한 문제를 해결하기 위하여 본 논문에서는 역할 기반 접근제어 모델에 기반한 사용자 접근 모델은 제안한다. RBAC 모델은 효율적인 사용자 관리 및 접근 제어를 제공하지만, 악의를 가진 사용자가 권한이 있는 역할을 가지고 정보를 유출하고자 할 경우 막을 방법이 없다. 이러한 RBAC의 취약점을 보완하기 위하여 "working status" 파라미터를 역할 속성과 연동하는 RBAC-WS 모델을 제안하였다. 역할에 working 속성을 연동함으로써 허가를 받은 사용자라 하더라도 업무 외 접근을 원천적으로 봉쇄함으로서 내부자에 의한 정보유출 문제를 해결하였다. 또한 RBAC을 위한 함수를 개발하여 도메인이 서로 다른 헬스케어 시스템에서도 유용하게 사용될 수 있도록 하였으며, RBAC-WS 모델의 기능 분석을 위하여 Healthcare 시스템 중 널리 사용되는 PACS에 적용하였다. Information technology is being applied to the development of ubiquitous healthcare system, which provides both efficient patient care and convenient treatment regardless of patient's location. However, the increasing number of users and medical information give rise to the problem of user management and the infringement of privacy. In order to address this problem we propose a user access scheme based on the RBAC (Role Based Access Control) model. The preceding trust management model for Grid security, FAS(Federation Agent Server), was analyzed and extended to provide supplementary functions for role-based access control in u-Healthcare system. The RBAC model provides efficient user management and access control, but very vulnerable in case when one with valid role tries to leak confidential inner medical information. In order to resolve this problem, a RBAC-WS (Work Status with RBAC) model has been additionally developed which allows only qualified staffs to access the system while on duty. Th proposed RBAC and RBAC-WS model have been merged together and applied to the PACS (Picture Archiving and Communication System).

21세기의 교실에서 외 2편

이봉환 심미안 2011 문학들 Vol.- No.26

안개 낀 칠산 앞바다 저녁 불빛 외 1편

이봉환 심미안 2014 문학들 Vol.- No.35