• Journal of the Society of Naval Architects of Korea
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• v.47 no.4
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• pp.477-486
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• 2010

During sailing by wind-driven thrust on the sail, a catamaran sailing yacht generates leeway and heeling. For predicting sail force, a model test was carried out according to running attitude. Through the model test, drag and side force of the real ship was predicted. A purpose of this study is to find sail force to C.E from changed attitude during running direction. By balance of hull and sail, a heeling force of designed sail is predicted. Also through heeling force and driving force, total sail force and direction from C.E are considered with changed mast including leeway and heeling.

• Bulletin of the Society of Naval Architects of Korea
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• v.2 no.1
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• pp.20-23
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• 1965

우리나라는 연해(沿海)에 풍부(豊富)한 수산자원(水産資源)을 가진 동서남(東西南)의 삼해(三海)에 면(面)해서 멀리 탁 트인 태평양(太平洋)을 바라보는 위치(位置)에 있다. 이와같은 지리적(地理的)인 조건(條件)을 구비(具備)하고 있는 우리로서 어찌 바다에 관심(關心)을 갖지 않을 수 있겠는가? 풍부(豊富)한 수산자원(水産資源)이 있음에도 "배"의 부족(不足)으로 마음껏 이를 획득(獲得)하지 못함은 실(實)로 안타까운 일이다. 건국이래(建國以來) 조선산업(造船事業)에 힘을 기우려 이를 발전(發展)시켜왔으나 아직도 수요량(需要量)에 미달(未達)하여 약(約) 256,000여톤(餘屯)의 선박(船舶)이 부족(不足)한 실정(實情)에 있으며, 매년(每年) 1,3000여만불(餘萬弗)의 외화(外貨)가 선박운임(船舶運賃)으로 지출(支出)되는 현시(現時)에, 조선(造船)에 여러가지 애로(隘路)가 많다고 좌수방관(座手傍觀)하고만 있을 수는 없다. 이웃나라의 일본(日本)은 자국선박(自國船舶)뿐 아니라 널리 선박수출(船舶輸出)의 해외시장(海外市場)을 가지고 연간(年間) 200여만톤(餘萬屯)의 건조량(建造量)을 자랑하고 있다. 그러나 우리의 역사(歷史)위에도 통일신라시대(統一新羅時代)의 해양제패(海洋制覇)의 기록(記錄)과 임진란당시(壬辰亂當時) 우리해군(海軍)의 활동(活動) 등 우리선조(先祖)들이 그분들의 손으로 건조(建造)한 선박(船舶)으로써 활약(活躍)한 바 있고 지금의 우리도 차츰 조선업(造船業)을 부흥(復興)시켜 현재(現在) 4,000톤급(屯級)의 선박(船舶)을 건조(建造)하는 단계(段階)에 이르고 있는 것이다.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.217-247
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• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."