• 영어어문교육
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• 제13권3호
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• pp.117-132
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• 2007

Playwright Eugene O'Neill's expressionistic text-based approach to The Emperor Jones, with an emphasis on fixity, was at odds with African American actor Charles Gilpin's improvisational performance technique, stressing rupture, spontaneity, and discontinuity. The contemporary avant-garde performance troupe The Wooster Group likewise produces subversive and interrogative forms of identity in performing the play, which challenge the normative approach to gender, race, and an imagined orientation. The historical foundation of subversion and destabilization laid by O'Neill and Gilpin were manifold in the Wooster Group's production of The Emperor Jones, and not only formed a backdrop to it but also played a central role in the group's representation of race and even gender on the stage. In this essay, I use O'Neill's play, The Emperor Jones, a crucial example of racialized fantasies of identification, to explore how the modernist stage through the performances of Gilpin and The Wooster Group constructed racialized subjects of both its performers and audiences. Gilpin and the Wooster Group's strategies each shared a similar complexity in the portrayal of black identity in performance. Offering an examination of how ideologies of race and gender overlap in The Emperor Jones, I hope to show how each performance signifies a range of subversions and differences simultaneously and sometimes oppositionally that needs to be explored both holistically and in detail to offer a fuller picture of these remarkable attempts. Through this approach, I examine Gilpin's creative adaptations of O'Neill's text and illuminate how it is that the Wooster Group's appropriative use of blackface in their performance has come to gain critical acceptance.

• 한국지반공학회지:지반
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• 제12권6호
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• pp.5-20
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• 1996

본 논문은 말뚝의 선단과 두부조건이 자유이며 수평하중을 받고 있는 수직말뚝의 모형실험에 대한 결과를 보여주고 있다. 모형실험은 원심모형실험기(동경공업대학 Markll)를 이용하여 현장응력상태하의 사질토지반에서 실시되었으며, 중력가속도, 휭강성, 그리고 지반의 상대밀도를 달리하여 실험을 실시하였다. 본 연구의 목적은 Toyoura모래에 근입된 말뚝의 거동에 대해 중력가속도, 횡강성, 그리고 상대밀도의 영향과 여러학자(Murchison & O'Neill, Reese et at., Scott, Det Norske Vertas, Kondner)들에 의해 제안된 p-y곡선의 적용성 검토에 있다. p-V곡선에 의해 프로그램이 만들어졌으며, 이 프로그램으로 말뚝의 수평변위와 모멘트 그리고 지반반력 분포를 예측할 수 있다. 실측된 거동과 예측된 거동의 비교에서, Murchison & O'Neill과 Kondnor에 의해 제안된 p-y곡선식의 결과가 다른 식들보다 실측결과와 일치하였다.

• 한국지반공학회논문집
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• 제23권6호
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• pp.37-51
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• 2007

본 연구에서는 인천해성점토 지반에 근입된 대구경 현장타설 말뚝의 횡방향 상대 강성에 따른 거동특성 을 분석하기 위하여, 인천대교 현장의 축소모형 시험과 실물 재하 시험을 일방향 및 양방향 반복재하 형태의 하중으로 수행하였다. 이를 토대로 국내 해성토의 p-y 곡선을 산정하였으며, 현장과 같은 조건으로 수치해석을 수행하여 기존 O'Neill clay 모델(1984)의 p-y 곡선과 Matlock soft clay 모델(1970)의 p-y 곡선을 비교 분석하였다. 본 검토결과 해성점토 지반에 근입된 현장타설말뚝의 거동은 서로 다른 특성을 가진 비선형 지반모델(O'Neill clay 모델, Matlock soft clay 모델, 재하시험을 통한 p-y 곡선)을 사용하여 해석하였음에도 불구하고 유사한 휨모멘트와 수평변위를 나타냈다. 이러한 원인을 규명하기 위하여, 말뚝과 지반의 상대강성에 초점을 맞추어 말뚝의 강성에 영향을 주는 주요 영향요소인 말뚝의 직경과 길이 그리고 강성 등을 변화시키면서 다양한 해석을 수행하였다. 해석결과 지반과 말뚝의 강성차이가 큰 강성말뚝의 경우 비선형 지반 모델이 말뚝 거동에 미치는 영향이 작게 나타났으나, 지반과 말뚝의 강성차이가 작은 연성 말뚝의 경우에는 비선형 지반모델의 차이에 따른 거동의 변화가 뚜렷하게 나타남을 확인할 수 있었다.

• 영어어문교육
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• 제11권4호
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• pp.79-96
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• 2005

Eugene O'Neill portrays Puritan values of the Mannon family inherited from their family past. Since Puritan values of the Mannons suppress the normal way of life and love, they retain only rigidity, without the charity which is the core element of the teaching of Christianity. With Puritan repression and its dissociation from the vital spring of life, the Puritan Mannons live in a world drained of life and in a world of hypocrisy between outer beauty and inner ugliness. Ironically, they think more of death itself, neglecting to feel the vitality of life. Working as a fate, Puritan values of the Mannon as 'Force Behind' in O'Neill's own term are the cause of suffering and destruction of the Mannons throughout the whole play. The mask-like house and faces are effectively used as a dramatic technique to express the distorted Puritan values.

• 미국학
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• 제42권2호
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• pp.109-134
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• 2019

This essay examines the significance of Yank's struggle to belong in Eugene O'Neill's play, The Hairy Ape in light of Nietzsche's definition of man as "a rope tied between beast and overman." Contending that Yank's death in the gorilla's cage signifies both a defeat and his only chance of success, the essay investigates how his "tink[ing]" leads him to question his former understanding of what it means to belong. Knowing his struggle to belong is bound to fail, Yank uncompromisingly seeks to fit into the point of completely isolating himself from all other species in the gorilla's cage. Consequently, he becomes "the Hairy Ape" and opens up the possibility of belonging by creating and becoming the species of one to which he alone belongs. Echoing Nietzsche's vision of greatness in man, Yank's endeavor proves that what is noble "in man is that he is a bridge" rather than "a goal."

• 영어영문학
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• 제58권2호
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• pp.249-277
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• 2012

Eugene O'Neill's one-act play Before Breakfast (1916) depicts a morning scene of a married couple who live in a slovenly flat at Greenwich Village. There is no apparent dramatic action occurring in the play. Instead, the play is full of Mrs. Rowland's incessant complaints about her husband Alfred's loafing around bars with artists friends, neglecting his role as breadwinner. An irony is that every morning she prepares breakfast for the good-for-nothing husband even in the moment of complaining. It is worth noting that Alfred is an 'unseen character' who is never directly observed by the audience but is only described by her wife. Deprived of all chances to speak and present himself on stage, he is kept in the room throughout the play. In contrast, Mrs. Rowland dominates the stage, monopolizing language and action. The audience has to listen to her, judge from her statements, and take her one-sided complaints. The accused husband, with zero chance of showing up and defending himself, has no choice but to be the sinner as the wife intends. Another irony is that the audience's feeling about the situation is quite different from what is expected. The wife's complaints are regarded to be unfair and groundless in the reason that the situation is monopolized by her. In case of the husband, in contrast, the loss of voice and presence stresses the injustice of his dead-lock situation. In other words, the 'absent' quality of Alfred works to evoke the audience's sympathy for himself and subsequently makes his presence recognized, not visually but emotionally, by the audience throughout the play. Discovered in this paradoxical moment where the spectators understand or 'see' the status of the unseen and the devoiced message is successfully conveyed to the listeners, is the theatricality of absence. Adding to the function as theatrical device, the 'unseen character' Alfred works as a device of self-reflection to mirror the author's own life. Alfred, the alter-ego of O'Neill, effectively exorcises the author's life-long feeling of guilty as the unfaithful husband and father in the unhappy first marriage, successfully evoking the audience's sympathy for himself.

• 대한수학회지
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• 제55권3호
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• pp.553-574
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• 2018

In this paper, we study harmonic maps and biharmonic maps on the principal G-bundle in Kobayashi and Nomizu and also the warped product $P=M{\times}_fF$ for a $C^{\infty}$(M) function f on M studied by Bishop and O'Neill, and Ejiri.

• 한국대기환경학회:학술대회논문집
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• 한국대기환경학회 1999년도 추계학술대회 논문집
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• pp.183-185
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• 1999

가우시안 모델의 부정확성의 중요한 요인중의 하나는 수평확산폭($\sigma$$_{y}$)과 연직확산폭($\sigma$$_{z}$)이다. (이와김,1992) 가우시안 모델에서 사용되는 확산폭 산출방법인 Pasquill-Gifford Scheme은 미국 Nebraska 주 O'neill 부근 풀로 덮힌 평탄한 지형에서 확산 실험을 수행한 Prairie grass project의 결과로 연기의 확산폭은 각 안정도 계급(A-F)별로 거리의 함수로 나타낸 식을 이용하고 있다.(중략)략)

• 한국정보디스플레이학회:학술대회논문집
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• 한국정보디스플레이학회 2008년도 International Meeting on Information Display
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• pp.780-783
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• 2008

Low-loss optical films can be used in LCD backlights to improve the display efficiency. Improvements can be used to enhance display performance, increase functionality and reduce energy costs.

• 한국환경독성학회:학술대회논문집
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• 한국환경독성학회 1996년도 제19회정기학술대회(The 19th Symposium of the Korean Society of Environmental Toxicology)
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• pp.43-43
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• 1996