소음환경에 대한 근속연수별 작업자의 주관적 반응분석

이동춘,황규성,이임순 한국산업경영시스템학회 1989 한국산업경영시스템학회지 Vol.12 No.20

Reinforcement of Hegemony through Satire in The Knight of the Burning Pestle and A Midsummer Night’s Dream

이동춘,이충은 한국영미어문학회 2009 영미어문학 Vol.- No.93

This thesis examines the social and political functions of the theater in the Jacobean drama, Francis Beaumont’s The Knight of the Burning Pestle in relation to William Shakespeare’s A Midsummer Night’s Dream. Analyzing Beaumont’s satiric play in terms of the social context of the Jacobean era suggests that the play seeks for a theatrical way in which the conventional authority can be reaffirmed. In terms of employing child actors in his play, Beaumont, as a hard-core proponent of the status quo, aims not only to exert his power and authority over his domain, but to solidify his position of literary dominance. In addition, Beaumont uses the issues of gender and class to reaffirm a typical social hierarchy. Beaumont's farcical language reflects the fear of English upper class against the emerging merchant class as well as against the unruly women. In a word, the theatrical parody employed in Beaumont's play carries an ideological function of reinforcing the existing authority and order. At first sight, the way in which Beaumont uses satire in The Knight of the Burning Pestle looks like his own creation. However, he is greatly influenced by his contemporary, William Shakespeare. Beaumont absorbs and modifies the literary structure and the devices of Shakespeare’s romantic comedy, A Midsummer Night's Dream, and then gradually develops his own style through which he strengthens the political and social hierarchy effectively. Throughout the Renaissance period, the relationship between drama and the Crown was unavoidably reflected in theatrical productions. Though they pursue their political intentions in different ways, Shakespeare and Beaumont commonly appear to reproduce the social interests that the Renaissance English upper class wanted to sustain. This thesis examines the social and political functions of the theater in the Jacobean drama, Francis Beaumont’s The Knight of the Burning Pestle in relation to William Shakespeare’s A Midsummer Night’s Dream. Analyzing Beaumont’s satiric play in terms of the social context of the Jacobean era suggests that the play seeks for a theatrical way in which the conventional authority can be reaffirmed. In terms of employing child actors in his play, Beaumont, as a hard-core proponent of the status quo, aims not only to exert his power and authority over his domain, but to solidify his position of literary dominance. In addition, Beaumont uses the issues of gender and class to reaffirm a typical social hierarchy. Beaumont's farcical language reflects the fear of English upper class against the emerging merchant class as well as against the unruly women. In a word, the theatrical parody employed in Beaumont's play carries an ideological function of reinforcing the existing authority and order. At first sight, the way in which Beaumont uses satire in The Knight of the Burning Pestle looks like his own creation. However, he is greatly influenced by his contemporary, William Shakespeare. Beaumont absorbs and modifies the literary structure and the devices of Shakespeare’s romantic comedy, A Midsummer Night's Dream, and then gradually develops his own style through which he strengthens the political and social hierarchy effectively. Throughout the Renaissance period, the relationship between drama and the Crown was unavoidably reflected in theatrical productions. Though they pursue their political intentions in different ways, Shakespeare and Beaumont commonly appear to reproduce the social interests that the Renaissance English upper class wanted to sustain.

[취임사] 학회의 국제적 위상을 드높이고 외연을 확장하는 한 해로

이동춘 전력전자학회 2019 전력전자학회지 Vol.24 No.1

한국의 탈춤과 중세후기 영국의 사이클 드라마 -카니발 관점에서 본 문화적 구조와 현상-

이동춘 대구대학교 다문화사회정책연구소 2020 현대사회와 다문화 Vol.10 No.3

Korean Mask Dance has some similarities with the Medieval Cycle Plays, in particular with the Wakefield Master’s Plays, in terms of the carnival. The comic and even topsy-turvy atmosphere is created by the carnivaleque characters and their behaviors in these plays. The audience together with players actively participates in the play and serves to increase its dramatic effects. As in the Cycle Plays, the dialogues of the Mask Dance are full of touches of witticism and punning that comically convey the sorrows and grievances of the masses to the audience and effectively satirize the official religious authorities and the nobility in public. In spite of the topsy-turvy atmosphere of the plays, the carnivalesque elements and atmosphere deeply embedded in the Eastern and Western ultimately plays help to solve the social conflicts between the ruling class and the ruled and eventually to make the social and political system more solid and cohesive.

무기계, 건설 폐기물처리 및 자원화 : 소각장 비산재의 고형화 및 안정화에 관한 연구

이동춘,황현욱,강동욱,강보미,김소연,김지훈,김영주 한국폐기물자원순환학회(구 한국폐기물학회) 2009 한국폐기물자원순환학회 추계학술발표논문집 Vol.2009 No.1

초서의 궁정풍 사랑(courtly love) : 「시골유지의 이야기」(The Franklin’s Tale)를 중심으로

이동춘 신영어영문학회 2012 신영어영문학 Vol.52 No.-

Courtly love refers to a set of ideas about love that was commonly influential on the literature and cultures of the middle ages. Nearly all of Chaucer’s tales deal in some way with courtly love and courtly codes of conduct. Chaucer’s tales are awash with courtly lovers, courtly love language, courtly love situations and actions, and allusions to the love that can be recognized as courtly. In spite of the pervasiveness and outward trappings of courtly love, however, it is not easy to figure out what Chaucer’s attitude toward courtly love is, because Chaucer sways his thought on or avoids his direct statement on courtly love. It is only through the indirect and subtle ways that Chaucer reveals the fictitiousness and the falsehood of courtly love in his tales like The Franklin’s Tale and The Merchant’s Tale. Chaucer didn’t look upon courtly love in his tales as a viable way of expressing what occurs in the human heart. He seems to have regarded the courtly behaviors and the codes of courtly conduct as anything other than dangerous, even sham or pretense. In no tales did Chaucer ask us to consider courtly love seriously, but he simply employs the conventions of courtly love as some sort of ‘play’ or ‘game’ for his creation of the poetic works.

농형 유도발전기를 이용한 계통연계형 가변속 풍력발전시스템

이동춘,김형균,석줄기 전력전자학회 2004 전력전자학회 논문지 Vol.9 No.4

This paper proposes a variable speed control scheme of grid-connected wind power generation systems using cage-type induction generators. The induction generator is operated in indirect vector control mode, where the d-axis current controls the excitation level and the q-axis current controls the generator torque, by which the speed of the induction generator is controlled according to the variation of the wind speed in order to produce the maximum output power. The generated power flows into the utility grid through the back-to-back PWM converter. The line-side converter controls the dc link voltage by the q-axis current control and can control the line-side power factor by the d-axis current control. Experimental results are shown to verify the validity of the proposed scheme. 본 논문에서는 농형유도발전기를 이용한 계통연계형 풍력발전시스템의 가변속제어 기법이 제안된다. 농형유도발전기는 간접벡터제어 방식으로 동작되는데 d-축 전류에 의해 여자가 제어되고 q-축 전류에 토크가 제어된다. 이 토크제어에 의해 발전기는 풍속의 변화에 대해서 항상 최대전력을 발생하도록 가변속 제어된다. 발전된 전력은 back-to-back PWM 컨버터에 의해 계통으로 공급된다. 계통측 컨버터는 q-축 전류 제어에 의해 직류링크 전압을 제어하고 d-축 전류 제어에 의해 계통측 역률을 제어할 수 있다. 제안된 기법은 M-G세트로 구성된 터빈시뮬레이터를 이용하여 실험적으로 검증된다.

중국의 지방자치제도에 관한 연구 : 흑룡강성의 대외 개방정책을 중심으로

이동춘 호남정치학회 1996 호남정치학회보 Vol.8 No.-

「기사의 이야기」: 형식(Forms), 부조화(Incongruities) 및 초서의 의도

이동춘 한국중세근세영문학회 2008 중세르네상스 영문학 Vol.16 No.1

The Knight's Tale has often been cited as a representative example of conventional or formal style. This formalism is characterized not only by the use of rhetoric and a high style of writing but also by the use of a classical setting and the patterns and correspondences found in the Latin works. In addition, the idea of correspondence between gods and men is properly developed in the tale, and this yields an ordered, symmetrical set of characters. Considering the ordering of forms and patterns along with the prominent presentation in Theseus' sermon of the order of Nature, it is not exaggerating to assume that the Knight's Tale is in some way about order. However, when more closely examined, the Knight's Tale seems to be more about disorder than order. It is through his careful manipulation of artistic patterns or forms that the narrator attempts to show the vision of order and harmony in the ideal world of chivalry. However, the poet-Chaucer tries to strip the artificiality of the Knight's unearthly idealism and to reveal the impossibility of keeping order in real life. By adding his realistic perspective against the Knight's idealism, Chaucer in the tale leads us to doubt the Knight's optimistic belief in the orderly working of universe. Chaucer places the incongruent elements within the Knight's Tale, which, disturbing the narrative flow, lead the reader to be suspicious of both the narrator and his narrative. Furthermore, it is through the narrative techniques of variety that Chaucer is at great pains to separate the Knight's voice from his own. For example, not only in content, but in stylistics, do the loopholes in the Knight's Tale reflect Theseus' or the Knight's failure in controlling more complex, harsher reality with their outmoded vision of the world grounded on the aristocratic chivalry, and their misconception of the working of divine justice. In addition, Chaucer's voice in the Knight's narrative is satirizing the limitations of the Knight's chivalric mentality that a social order grounded on violence can prevail in reality. The Knight's Tale has often been cited as a representative example of conventional or formal style. This formalism is characterized not only by the use of rhetoric and a high style of writing but also by the use of a classical setting and the patterns and correspondences found in the Latin works. In addition, the idea of correspondence between gods and men is properly developed in the tale, and this yields an ordered, symmetrical set of characters. Considering the ordering of forms and patterns along with the prominent presentation in Theseus' sermon of the order of Nature, it is not exaggerating to assume that the Knight's Tale is in some way about order. However, when more closely examined, the Knight's Tale seems to be more about disorder than order. It is through his careful manipulation of artistic patterns or forms that the narrator attempts to show the vision of order and harmony in the ideal world of chivalry. However, the poet-Chaucer tries to strip the artificiality of the Knight's unearthly idealism and to reveal the impossibility of keeping order in real life. By adding his realistic perspective against the Knight's idealism, Chaucer in the tale leads us to doubt the Knight's optimistic belief in the orderly working of universe. Chaucer places the incongruent elements within the Knight's Tale, which, disturbing the narrative flow, lead the reader to be suspicious of both the narrator and his narrative. Furthermore, it is through the narrative techniques of variety that Chaucer is at great pains to separate the Knight's voice from his own. For example, not only in content, but in stylistics, do the loopholes in the Knight's Tale reflect Theseus' or the Knight's failure in controlling more complex, harsher reality with their outmoded vision of the world grounded on the aristocratic chivalry, and their misconception of the working of divine justice. In addition, Chaucer's voice in the Knight's narrative is satirizing the limitations of the Knight's chivalric mentality that a social order grounded on violence can prevail in reality.

Camelot’s Failure to See Beyond in Sir Gawain and the Green Knight

이동춘,이승복 신영어영문학회 2009 신영어영문학 Vol.43 No.-

What seems overlooked by some critics is the fact that Camelot, represented by Gawain, in Sir Gawain and the Green Knight is strongly connected with doomed fate due to its limited vision. Camelot is a closed community by humanness, which provides the crucial clue for the understanding of the failure of both Gawain and Camelot members. The exclusiveness confined in human reason frequently comes to be vulnerable when challenged by inhuman or unnatural forces like the Green Knight. Besides the limited vision, Camelot is some sort of society which is an already fixed one with stable identity, hence, little possibility of development and adaptation. This results in Camelot’s possible vulnerability to the external forces as well. As a member of Camelot, Gawain’s limited vision, so much accustomed to closed Camelot society and its inflexible value judgment system, prevents him from acknowledging the values outside Camelot. Gawain is inadequate to deal with the complexity of his experience, because the absoluteness of Camelot community has built the extremely demanding and inflexible logic.