1550㎚ 하향 RF Overlay신호와 1490㎚ EPON 하향 데이터 신호의 SRS영향 개선에 대한 연구

박재영(Jai-Young Park),이연호(Yeon. H. Lee) 대한전기학회 2006 대한전기학회 학술대회 논문집 Vol.2006 No.10

When RF overlay technology is used in EPON - based optical access network, there coexist the directly modulated 1310-㎚ upstream data, the directly modulated 1490-㎚ downstream data, and the amplitude-modulated 1550-㎚ downstream broadcast signal based on RF overlay technology. In this paper, we analyze the spectrum of 8B/10B IDLE line code signal and the SRS effect of 1490-㎚ IDLE line code signal on 1550-㎚ signal. From the result of analysis, we propose a new technique that can be used to improve the CNR of the broadcast signal, which is based on self synchronous scramble method.

두 살인 사건을 통해 보는 미국의 정의: 엘모어와 윌리엄슨의 사례를 중심으로

박재영 ( Jai Young Park ) 한국아메리카학회 2013 미국학논집 Vol.45 No.3

Raymond Bonner in Anatomy of Injustice: A Murder Case Gone Wrong (2012) and John Grisham in The Innocent Man (2006) deal with two murder cases occurred in 1982 where the prosecutors indicted wrong men. Black man Edward Lee Elmore was arrested for the murder of a 76 year-old white lady in South Carolina, whom he helped a few times with house chores, and the mentally unstable Ron Williamson along with his “drinking” buddy Dennis Fritz for raping and killing a 21 year-old girl in Oklahoma. They went through several trials. By circumstantial evidence that was devised by police and prosecutors, Elmore and Williamson were repeatedly sentenced to death and Fritz to life in prison. However in reality they had never committed the crimes, and yet they still had to be imprisoned from twelve to thirty years before their remission. Those cases raise a couple of questions on U.S. justice system: Why were they indicted and later sentenced to death even though there was little tangible evidence? How were the race of Elmore and “utilitarian” prejudice on Williamson`s dissolute lifestyle played by police and prosecutors in trials? What are the “original sins” of those wrongly accused men? Investigating the procedure of the trials, based on Bonner`s and Grisham`s reports, and reexamining the fairness of U.S. justice, this paper attempts to answer those questions and contemplates the meaning and future of justice in the United States.

Alexie`s Healing Stories for American Indians` Collective Trauma

박재영 ( Jai Young Park ) 한국영미문화학회 2015 영미문화 Vol.15 No.3

This paper ponders on the sociopolitical, ideological, and historical places of the American Indian father within Sherman Alexie`s two short stories, “Because My Father Always Said He Was the Only Indian Who Saw Jimi Hendrix Play ‘The Star-Spangled Banner’ at Woodstock” and “This Is What It Means to Say Phoenix, Arizona.” Both stories first appear in The Lone Ranger and Tonto Fistfight in Heaven in 1993 and present an Indian father who is “lost” and his son who is trying to connect with him. The connection and disconnection, the torment of the past, and the grief of loss that Victor experiences are to some extent autobiographical. Alexie is still “angry” about all the social injustice, discrimination, and cruelty of American society, and his mourning for his long-deceased father continues even today. He suffers from his own painful past and the past of Native Americans. Like Victor, the narrator of the two stories, Alexie struggles on the borderline between white culture which is regarded as the mainstream and the culture of minority, a culture of his own tribe. Victor`s stories are Alexie`s and collectively Native Americans` because they all share the trauma originated from the past of colonization. Thus it is vital for the reader to realize America`s domestic colonial history in which the stories of both Victor`s and Alexie`s are profoundly rooted. Scrutinizing the stories through the lens of new historicism, this paper discusses an American history told by Native Americans and interprets the stories in terms of the collective trauma that Native Americans have undergone. Also it examines the roles of the stories as a demonstration of their reality of frustration, anguish, resentment, and unhomeliness.

이룰 수 없는 사랑 이야기: 기의를 통해『주저하는 근본주의자』읽기

박재영 ( Jai Young Park ) 한국영미문화학회 2013 영미문화 Vol.13 No.3

Mohsin Hamid`s The Reluctant Fundamentalist is on one level an “incomplete” love story between Pakistani man Changez and American woman Erica, but on a figurative level it allegorically portrays the ideological and hegemonic conflict between two worlds: the United States and the Middle East. In order to manifest the latter interpretation, it is necessary to borrow the concept of “sign” from structuralist and deconstructive criticisms. As structuralists like Ferdinand de Saussure reveal, language is sign, and each sign is dissected into a signifier and a signified. However deconstructive critics like Jacques Derrida argue that a signified of a sign will become another signifier and consequently produces different, multiple signifieds. They assert, therefore, the ultimate signified is continuously postponed, which Derrida calls differance. Likewise, Hamid`s signs, which appear in the names of characters and the company where Changez is employed, conceive multiple signifieds. For example, Chris, Erica`s late boyfriend, could signify Christopher Columbus the explorer and Christ the savior; Changez, Genghis Kan the conqueror; Erica, one ruler and America; Underwood Samson, the church builder and Samson the judge. Examining signifieds in the fiction, this paper scrutinizes the perception induced from the multiple signifieds and traces differance. And in order to contextualize the signifieds, it encapsulates the strife history of Pakistan and the hegemonic intervention of the United States. This is a study of parole, the surface phenomena, in Hamid`s monologue fiction.

Female Sexuality in Kim Ki-duk’s Moebius

Park, Jai Young(박재영) 한국영화학회 2014 영화연구 Vol.0 No.61

김기덕 감독의 <뫼비우스>는 섹슈얼러티와 페니스의 담론을 시각화한다. 지그문트 프로이트와 자크 라캉은 페니스/펠러스를 남성과 여성의 섹슈얼러티와 권력 구조를 결정하는 신체적, 이데올로기적 실체로 보았다. 프로이트는 ?여성 섹슈얼러티?에서, 섹슈얼러티는 아이가 페니스의 존재 또는 결여를 깨닫기 시작하면서 인식된다고 말한다. 여자아이들은 왜 자신에게는 페이스가 없는 지 혹은 어떻게 상실한 것인지에 대해 방황하는 동안, 남자아이들은 어머니 사랑에 대한 대적으로 아버지를 보기 시작하고, 아버지가 자신을 거세할 지도 모른다는 두려움에 휩싸이는데, 이런 인식이 바로 섹슈얼러티 형성의 기초라는 것이다. 프로이트의 이론을 확장시킨 라캉은 페니스를 섹스와 섹슈얼러티에 대한 이데올로기 조직의 근간이 되는 ‘기호’로 보았다. <뫼비우스>는, 남편의 외도에 대한 단죄로 아들의 페니스를 절단하는 어머니를 비롯해 모든 등장인물들을 성적 개체로 묘사함으로써, 프로이트와 라캉이 해석한 초자아와 성적 욕망 사이의 갈등을 실험적으로 보여준다. 본 논문에서는 이에 주안점을 두고 영화 속에 내포된 정신분석학 담론을 해체한다. 프로이트와 라캉 및 다른 평자들이 말하는 페니스/펠러스의 개념을 이용해 영화에 등장하는 복잡한 인물들의 관계를 구체적으로 해석한다. 정신분석학적 렌즈를 들이대 섹슈얼러티와 욕망의 관점에서 인물들의 관계가 상징하는 ‘기의’들을 살펴보고, 궁극적으로 이 영화가 현재 진행되고 있는 섹슈얼러티의 담론에 어떤 의미를 주는 지 고찰한다.

존 그리샴과 미국의 인종문제 -흑인의 원죄, 백인의 원죄

박재영 ( Jai Young Park ) 21세기영어영문학회 2012 영어영문학21 Vol.25 No.4

This essay scrutinizes racism and its related issues in John Grisham``s novels, A Time to Kill and The Chamber, and later compares them with Ernest J. Gaines``s A Lesson Before Dying to exemplify the difference between the perspectives of white and black peoples on race issues in the United States. Grisham, who is better known as a popular legal-thriller writer, attempts to describe the irony of "the original sin" of a black man in a white-centric society through Carl Lee Hailey who kills two white rapists of her daughter in A Time to Kill, while in The Chamber he portrays white people``s inescapable dilemma from the ideologies of racial prejudice. Grisham argues that the social and political situation of the nineteenth and early twentieth centuries did not allow white people to be ideologically independent from racism in the latter novel. Even though A Lesson Before Dying conceives a similar topic to that of The Chamber, and was published in between the two Grisham novels, Gaines never attempts to excuse white people while he is diligently working to establish autonomy and human dignity in black men``s mind. The dissimilar approaches prove a gulp between blacks`` and whites`` thought in terms of perceiving race issues in America.

근친상간의 망령-정신분석으로 보는 < 셰임 >

박재영 ( Jai Young Park ) 21세기영어영문학회 2016 영어영문학21 Vol.29 No.2

This paper interprets Shame, a film directed by Steve McQueen and starring Michael Fassbender and Carey Mulligan, through a lens of psychoanalysis. The film has been quite controversial in terms of the incest motif even though the director and the main actors do not explicitly admit it. Some viewers who are familiar with liberal western family culture agree with them. However, this paper, focusing on the implicit contents of the film and scrutinizing them within Sigmund Freud’s and his followers’ psychoanalytic theories, argues that Brandon and Sissy are victims of (covert) incest and that this traumatic experience actually engenders Brandon’s sex addiction and Sissy’s psychological instability and depression. To specify this argument, the analysis begins with a common question of whether or not Shame is just an obscene film, as a majority of viewers have asserted, and moves on to discussing the significance of sex to Brandon, the origins of the “self-reproach” of the siblings. and the possibility of their reconciliation with the traumatic past.

「좋은 사람은 찾기 어렵네」에 나타난 기독교 담론

박재영 ( Jai Young Park ) 한국영어영문학회 2008 영어 영문학 Vol.54 No.4

Margaret Atwood’s “Rape Fantasies”: A Dissimulated Confession of a Rape Survivor

박재영 ( Jai Young Park ) 대한영어영문학회 2015 영어영문학연구 Vol.41 No.1

Traditionally Margaret Atwood’s “Rape Fantasies” was construed as a story of irony. Critics had not been affirmative whether the narrator put herself in danger by telling her enticing scenarios of rape to a strange man. Later Nancy Workman uncovered the possibility of rape with the taciturn character Sondra, but her interpretation based on one paragraph out of forty-four seemed too farfetched. Actually Workman overlooked the main body of the story-the protagonist Estelle’s six fantasies. One of them is rather noticeable than the others because it includes a specific place, her mother’s house, which must be familiar to Estelle. It can be inferred that that scenario is based on her real experience. There Estelle is obsessed with the coal chute in the cellar, a tempting place for a rapist. Mysteriously she remembers only the shoes, but it is common for rape survivors not to see the attacker’s full countenance but only the lower part of the body, more likely the shoes. In addition, there are more pieces of evidence that Estelle is recuperating from a past trauma and simultaneously attempting to reestablish herself as an agent of power. In fact retelling the stories in a way that she desires demonstrates a process of “talking cure.” Scrutinizing Estelle’s fantasies and the process of empowering herself as an autonomous subject, this paper explicates a dissimulated confession of a rape survivor. (Chonbuk National University)

광기와의 사투 ―『쿠조』 속의 욕망 읽기

박재영 ( Park Jai Young ) 대한영어영문학회 2014 영어영문학연구 Vol.40 No.1

This essay attempts to construe Stephen King’s Cuju as a text of desire with various desire theories. Many thinkers have attempted to clarify the perception of desire. For example, Hegel contends that people experience various stages like “consumption” and “recognition” in order to resolve desire. Freud asserts that (sexual) desire is engendered from an uncompromising gap between “the affectionate” of childhood, who is an idealistic person that the child loves, and “the sensual,” the target of his/her physical desire. And Lacan claims that desire is substantiated in the loss of “completeness” in the chasm between the Imaginary Order and the Symbolic Order. Employing those philosophical thoughts, this essay scrutinizes the characters of Cuju and dissects the significance of their psychic changes while they are dealing with desire. It ponders on the implication of madness in relation with aberrational desire. It also explicates the historical connotation of the name Cujo and attempts to expose the substantiation of desire embedded in the myth of killer Dodd, Tad’s monster dreams, Donna’s infidelity, and the allegorization of Cujo. (Chonbuk National University)