• 디지털융복합연구
• /
• 제18권7호
• /
• pp.31-36
• /
• 2020

최근 들어, 대규모의 피해를 동반하는 각종 재난, 사고 등이 증가하고 있다. 재난은 불확실성을 지닌 사고로 국민의 생명과 안전, 재산보호 등에 직접적인 영향을 미친다. 따라서, 다양한 재난에 대한 예방, 대응, 복구 등의 안전관리 체계를 구축, 운영하는 것이 필요하다. 따라서, 본 논문에서는 재난 사고에 대한 체계적인 대응을 위해 스마트 환경에서의 실시간 재난 안전 관리 솔루션을 설계하였다. 이를 위해, 스마트 디바이스를 통해 상황실과 유관기관, 전문가 등에게 1:1 또는 1:N 상황 전파를 수행하여 다자간 정보 공유 및 소통으로 신속하고 적절하게 대응할 수 있도록 솔루션을 구성하였다. 즉, 실시간·다자간 HD 영상 송출, 모바일 형식의 보고서 관리, 음성·문자 상황 전파, 위치정보 공유, 녹화 및 이력관리, 보안 등의 기능을 적용한 솔루션을 설계하였다.

• 영어영문학
• /
• 제55권4호
• /
• pp.567-596
• /
• 2009

A staple of feminist literary anthologies which was instrumental in reevaluating the writer Susan Glaspell, Trifles(1916) has received numerous comments from feminist scholars so far. Most of them tend to concentrate on the themes of female solidarity and justice challenging the androcentric system of law and order. Lacking in the plethora of thematic approaches to the play's feminist subject, however, are formal analyses considering the way in which the play's generic form assists in communicating such thematic concerns of feminism. An alternative to the typical scenario at the courtroom whose mistreatment of women must have loomed large to the young Glaspell as she revisited the old trial of a midwestern murderess which she had covered as a journalist for a local newspaper in Iowa, Trifles serves as a corrective to the courtroom dynamics offering a 'dramatic justice' as opposed to a strictly legal procedure. What this article discovers at the heart of this dramatic justice is the celebration of the unsayable, or what Wolfgang Iser termed negativity, of women's experience which has no room for reflection in the legal discourse at the courtroom tyrannized by the sayable and the evident. Examining how the dramatic form of Trifles gives a voice to the unsayable of woman's experience, which can not be properly represented at the courtroom governed by the straightforward and definitive male rhetoric, the article argues that the play is a better form than its fictional adaptation "A Jury of Her Peers"(1917) in that it syntactically suppresses the monopolizing operation of the verbal by giving precedence to the scenic and non-verbal which is constituted of setting, props, gesture and eye contacts. As a theoretical frame of reference with which to examine the modes of the unsayable in the play the article brings the concept of 'negativity,' defined by Iser as textual effects or modes of the unspeakable and unsaid, into the discussion of the taciturnity of the absent heroine and the non-verbal representation of drama.

• 영어영문학
• /
• 제58권2호
• /
• pp.249-277
• /
• 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.

• 한국수산과학회지
• /
• 제12권3호
• /
• pp.125-130
• /
• 1979

1978년 8월 23일 부터 동년 10월 20일 사이에 우리 나라의 남부와 싱가폴 북부 해상에서 새바다호의 순항, 예망, 표박시의 선박소음에 관하여 실험한 결과를 요약하면 다음과 같다. 1. 외부 갑판상의 가장 높은 소음원은 연돌로 돌출하는 배기소음이고, 연돌뒤(No.9)에서 순항, 예망, 표박시 92,90,87dB로 가장 높았으며, 선수(No. 1)에서 65,63,53dB로 가장 낮았다. 2. 학생 거주구역에서는 주기소음보다 통풍기나 에이콘의 가동소음이 주소음원을 이루었는데 통풍기를 가동하면 표박할때와 에이콘을 가동하면서 순항때를 비교하면, 출입구(No. 14)에서 85,69dB로 가장 높았고 학생실(No. 22)에서 45,40dB로 가장 낮았다. 3. 중앙부의 선원거주구역에서는 순항소음압이 예망소음압보다 2dBwjd도로 선원식당(No. 30)까지는 높게 나타났고, 급냉실(No. 31)로 부터는 반대로 낮게 측정 되었다. 또 이 구역에서는 출입문을 닫았을 때 선장실(No, 25)에서 13dB, 선원식당(No, 30)에서 3dB씩 낮아졌다. 4. 순항시 주기소음압은 Pitch $8^{\circ}$와 $12^{\circ}$때 103, 105dB 였는데, Pitch $8^{\circ}$로 예망시는 106dB로서 3dB의 증가를 보였다. 5. 선형과 기관이 같은 오대산호와 소음을 비교 하면 식당, 싸롱, 학생식에서 $4\~6dB$씩 낮았고 작업갑판상에서는 14dB나 높은 음압이였다.