블록체인 기반의 MPEG-IoMT 거래 프로세스

이경식,이경식 한국방송·미디어공학회 2018 방송과 미디어 Vol.23 No.3

최근 IoT 산업의 발달로 각 산업의 특색에 맞는 IoT 생태계를 구축하려는 옴직임이 활발하다. 이에 ITU-T, ISO, IEEE 등 여러 국제 표준화 기구에서는 완전 개방적인 사물 인터넷을 위해 공통된 표준의 필요성을 인지하고 활발히 논의 중이다. 특히, MPEG-IoMT(Internet of Media Things)에서는 탈중앙화된 미디어사물인터넷 시스템 구성을 위해 블록체인을 적용하려는 논의가 진행 중이다. 이에 본 투고에서는 블록체인과 MPEG에서 진행 중인 IoMT 프로젝트의 연관성에 대해 설명하고, 블록체인 기반의 미디어사물 간 거래 프로세스를 설명한다.

OECD 가입의 득과 실

이경식,Lee, Gyeong-Sik 대한석유협회 1996 석유와 에너지 Vol.1996 No.11

이 자료는 이경식 한국은행 총재가 8월 24일 현정부 출범 이후의 전직 장ㆍ차관 모임인 마포포럼 하계수련회에서 강연한 내용임. <편집자 주>

韓國人 女子 靑年의 生體計測學的硏究

李慶植 최신의학사 1962 最新醫學 Vol.5 No.3

우리나라 중소기업의 진로

이경식 한국중소기업학회 1981 中小企業硏究 Vol.5 No.1

호르몬요법과 유방암

李景植 대한의학협회 1993 대한의학협회지 Vol.36 No.11

흉부 전산화단층촬영에서 늑골을 세는 방법

이경식,김성진,전민희,이승영,배일헌 대한영상의학회 2007 대한영상의학회지 Vol.57 No.2

목적: 흉부 전산화단층촬영에서 늑골을 세는 각 방법의 정확도를 평가하고, 흉골늑연골관절을 이용하는 새로운 방법을 제시하고자 한다. 대상과 방법: 흉부 전산화단층촬영을 시행 받은 27명, 38개의 늑골 병변을 대상으로 하였다. (골절:25, 전이:11, 기타양성골질환:2). 각 병변은 3명의 영상의학과 의사가 독립적으로 흉쇄접근법(sternoclavicular approach), 흉골검접근법(xiphisternal approach), 수정된 흉골병접근법(modified sternomanubrial approach)의 3가지 방법을 이용하여 늑골을 세었다. 각 늑골 병변은 추가로 척추 위치에 따라 상부(제1 흉추~ 제4 흉추), 중부(제5~8 흉추), 하부(제9~12 흉추)로 분류한 후 특히 어느 부위의 늑골을 셀 때 오류를 범하게 되는지를 평가하였다. 결과: 수정된 흉골병접근법이 가장 정확도가 높은 방법이었으며(99.1%). 흉골검접근법과 흉쇄접근법의 정확도는 각각 95.6%, 88.6%였다. 수정된 흉골병접근법은 늑골의 위치에 따른 분류에서도 가장 높은 정확도를 보였다(각각 100%, 100%, and 97.9%). 결론: 본 논문에서 새로이 제시한 수정된 흉골병접근법은 늑골을 세는 방법들 중 가장 정확한 방법이었으며, 실제 임상에서도 더 쉽고, 빠르게 이용하는 방법이었다. Purpose: The purpose of this study was to evaluate the accuracy of each method of counting ribs on chest CT and to propose a new method: the anterior approach with using the sternocostal joints. Materials and Methods: CT scans of 38 rib lesions of 27 patients were analyzed (fracture: 25, metastasis: 11, benign bone disease: 2). Each lesion was independently counted by three radiologists with using three different methods for counting ribs: the sternoclavicular approach, the xiphisternal approach and the modified sternomanubrial approach. The rib lesions were divided into three parts for evaluation of each method according to the location of the lesion as follows: the upper part (between the first and fourth thoracic vertebra), the middle part (between the fifth and eighth) and the lower part (between the ninth and twelfth). Results: The most accurate method was a modified sternomanubrial approach (99.1%). The accuracies of a xiphisternal approach and a sternoclavicular approach were 95.6% and 88.6%, respectively. A modified sternomanubrial approach showed the highest accuracies in all three parts (100%, 100% and 97.9%, respectively). Conclusion: We propose a new method for counting ribs, the modified sternomanubrial approach, which was more accurate than the known methods in any parts of the bony thorax, and it may be an easier and quicker method than the others in clinical practice.

장애인의 신체적 특성이 거리감에 미치는 영향 : 작업치료 전공학생을 중심으로

이경식,전병진 대한작업치료학회 2003 대한작업치료학회지 Vol.11 No.1

Objective : This paper presents an empirical study on the bias toward the disabled by the students studying occupational therapy, who will make an expert group to take care of them in the future. It was investigated how much sense of distance the students had according to the physical characteristics of the disabled. Method : Total 128 students majoring in occupational therapy were asked to fill out a self-administered questionnaire. The physical characteristics of the disabled and the sense of distance toward the disabled were measured as follows: The visible physical characteristics of the disabled were restricted to the disorders of external physical functions based on the Article 29 ‘Classification of the Disabled’ of the Disabled Welfare Act. The functional characteristics of the disabled were measured by using the FIM (Functional Independence Measure) method. Meanwhile, Westie (1952)’s inventory of the sense of distance was adopted for the inventory for the sense of distance toward the disabled in the study. Results : The subjects showed the biggest sense of distance toward the disabled in the order of the disabled with encephalopathy, physical handicap, language disorder, visual disturbances and acoustic disturbances. As for the functional characteristics, the sense of distance was the greatest in the order of the completely dependent disabled, partially dependent disabled, and completely independent disabled. The average sense of the distance was compared in terms of the subjects’ school and year, and the results revealed there were statistically significant differences in all the areas except for the sense of distance toward the completely dependent disabled. Conclusions : The sample needs to be expanded in number, and random sampling is required to secure diverse social and cultural backgrounds. In addition, the causality verification should be done in order to understand the nature of sense of distance in a study on it according to the physical characteristics of the disabled. Finally, an evaluation tool needs to be developed that can be used to measure the sense of distance toward the disabled.

셰익스피어의 혼령들

이경식 서울대학교 인문학연구소 2000 人文論叢 Vol.44 No.-

Ghosts of almost all sorts appear in Shakespeare's plays including 1H6, 2H6, H8, R3, JC, Hamlet, Macbeth, and Cymbeline. Some return to visit their family and fiiends, some to appear to their murderers in dream or fancy, threatening revenge. In one case, the ghost explicitly commands his son to avenge his death upon the murderer. Some are subjective ghosts who either appear only to one person or is seen to one among many present and some objective ones who so appear as to be seen by all the people present. All these aspects of Shakespeare's ghosts will be discussed when Macbeth, Cymbeline, R3, JC, and Hamlet, the five Shakespearian plays whose ghosts return to appear to their murderers, friends and family, are to be dealt with. Both Senecan and pre-Shakespearian ghosts will be compared with Shakespeare's to show (1) how much and well Shakespeare improved on the conventional dramatic ghosts and (2) how organically he related them to the plays involved. Banquo's ghost twice appears to Macbeth while he is hosting a banquet. His 'gory locks'and'twenty mortal murthers'on his head are enough to scare Macbeth, his murderer, and to make him utter strange and self-revealing words to his guests. Banquo's is a suuective ghost seen only by Macbeth, but is so dramatized that his objective validity, i.e. his reality, cannot be doubted. Moreover, his appearance contributes to the oourse of the dramatic action by making the hero visit the weird sisters to know what is in store far him and to act accordingly. The ghosts of Posthumus' parents and brothers whom he sees in his dream are also subjective ghosts, seen only by Posthumus and no one else. But what they speak about their son and brother and appeal to Jupiter and what Jupiter who has, in response to their appeal, just descended in thunder and lightning and on an eagle, tells them about their beloved Posthumus together with his'tablet'are enough to give the ghosts their reality. In R3 the ghosts of Prince Edward, Herwy Vl, Clarence, Rivers, Grey, Vaughan, Hastings, two young princes, Lady Anne and Buckingham appear, on the eve of the decisive battle of Bosworth, to Richard, their murderer, and then to Richmond, Richard's rival. They urge the former to despair and die with all sorts of curses while they encourage the latter to live and flourish, saying that "the wronged souls/Of butchered princes fight in thy behalf". These ghosts are doubtless suoective ones, but that they appear not only to Richard but also to Richmond would not allow them to remain just suuective because it helps to contribute somewhat to the establishment of their objective validity. Moreover, their appearance brings about a very tangible result by producing from Richard and Richmond such respective responses as "Methought the souls of all that I had murther'd/Came to my tent, and every one did threat/To-morrow's vengeance on the head of Richard" and "Methought their souls whose bodies Richard murtherucame to my tent and cried on victory". And the battle ends with Richard's defeat and Richmond's victory as the ghosts wished and foretold them. In short, the ghosts influence the action and prove their reality. Similar to these ghosts is the ghost of Caesar. The ghost appears to Brutus, his murderer, on the eve of the decisive battle of Philippi while he sleeps in his tent. He is also one of the suuective ghosts, but special mention should be made of the fact that the ghost has already appeared to him at Saudis once and that he now appears far the second time as he had promised strengthens his ooective validity or reality. Weedless to say, the ghosts appearance inflllences Brutes, who says, "Now I have taken heart you vanishest", and, of course, he takes his own life, saying, "Caesar, thou art reveng'd,/Even with the sword that kill'd thee" and "0 Julius Caesar, thou art mighty yet!", With his mortal presence in the first part of the play and with his ghostly presence in the second part of the play Julius Caesar proves himself the uniting principle of the tragedy, indeed the hero in every sense of the word. Pre-Shakespearian ghosts derived, at leagt partly, from classical, especially from Senecan ghosts. Senecas ghosts are the combination of Euripidean type of prologue-ghost and Aeschylean type of revenge-ghost. Being prologue-ghosts, the ghost of Tantalus in Thyestes and that of Thyestes in Agamemnon do not participate in the action itself, but repeat the word revenge fiom time to time. Another characteristic of Senecan ghosts is their description or mention of the pains and tortures that take place in Tartarus such as Sigyphus'endless rolling of a large gtone to the top of a hill, Ixion's being bound on a wheel that tuns for eyer, Tantalus'etemal thirst or hunger, and Tityus'(filius') vultures tearing at his liver, all of which Senecan ghosts describe in rant or bombastic style. These Senecan ghosts and the English translations of all of Senecan tragedies, starting Jasper Heywood's Troas in 1559, together influenced pre-Shakespearian ghosts. Heywood refused to remain a meer translator but introduced a ghost, providing him with a lengthy prologue-speech at the beginning of the 2nd act of Troas with vengeance as the theme of its refiain. This original and creative attitude towards the dramatic ghosts grew as Seneca-modelled English plays either in the farm of Anglo-Latin tragedies or in the fDrm of early classical English tragedies became more and more popular. Never-ending punishments cited abode are mentioned with other things of the Hades in almost all these tragedies even though the ghost himself do not appear in them. The ghost of Gorlois in The Misfortunes of Arthur was a perfect classical-type ghost but departed from its prototypes by reappearing at the end of the play. This, together with Heywood's ghost of Achilles, marked a development of Senecas ghosts. And further devel-opment was made in both anonymous Locrine and Thomas Kyd's The Spanish Tragedies. The ghost of Albanact in Locrine influences the plot or action of the play, thus improving on Senecan ghosts, whereas The Spanish Tragedy demonstrated its unique utilization of Senecan ghost-machinery. The play opens with the dialogue between the Ghost of Andrea and Revenge, the exact counterparts of the Ghost of Tantalus and Fury (Megaera) in Thyestes. Here the ghost is not only just Senecan prologue-ghost serving as a chorus but also an epilogue-ghost. But Kyd made his ghost's speeches even more bombastic than those of Senecan ghosts and did not make any effort to substitute English ghost-lore for Senecan ghost machinery. Marston's ghosts in Antonio's Revenge mark, however, yet another step forward taken far the development of the English dramatic ghosts because although there are frequent visitations of ghosts shouting'vindicta!/ revenge!', we find none of Senecas ghost-machinery used in it. But the greatest development was to be made 7y Shakespeare in his ghost of King Hamlet, for Shakespeare refused to use Senecan ghost machinery and got rid of the rant of Senecan ghosts altogether, thus successfully substituting English ghost-lore instead. Moreover, he humanized the ghost by demonstrating how absolutely he still loved and cared for his wife. Above all, the ghost of King Hamlet is an objective ghost as well as a very organic one on whom the entire dramatic action depends. In conclusion, ghosts in Shakespeare not only testify Shakespeare's dramatic genius but comprise almost all English ghost-beliefs or ghost-lore material known to his day.

Hamlet의 'Solid/Sullied Flesh'

李京植 서울대학교 어학연구소 1982 語學硏究 Vol.18 No.1

This paper attempts(1) to analyze some of the important arguments on one of the most controversial Shakespearian textual cruxes, i.e. ‘solid vs sullied’ and (2) to show by way of conclusion which view should be subscribed to. Being bibliographers, both Dover Wilson and Fredson Bowers tried to solve the question bibliographically and textually and came to the same conclusion that ‘sullied’ is what Shakespeare really wrote but with different evidence. Wilson argued that ‘sallied’ (Q2 reading) is the result of the compositor’s misreading of the MS reading ‘sullied’ whereas Bowers holds that ‘sallied’ was, in Shakespeare’s time, a legitimate form of ‘sullied’, his evidence being that ‘sallied’ (Q2, 1.2 129) and ‘sallies’ (Q2, 2.1 39) were the work of not one and the same compositor and press but of two different compositors and presses. Bowers’ argument, however, was refuted by one notable philologist and linguist Professor Helge Ko¨keritz and by one equally notable bibliographer Alice Walker. According to Ko¨keritz, that ‘sallied’ is a legitimate form of ‘sullied’ is out of the question. Walker finds it difficult to accept Bowers’ argument that two compositors would not have made the same blunder and that therefore ‘sally’ equals ‘sully’, when she considers a close parallel that can be found in both texts of Troilus and Cressida (Q ‘distruction’; F ‘dis­traction’. On the other hand, literary critics like G.M. Young, G.L. Kittredge, Samuel A. Weiss and Richard Flatter argued for F reading ‘solid’, their common evidence being certain cluster image to be found in Henry Ⅳ, Part Ⅱ(3.1. 45ff) and other plays. That is to say, ‘Shakespeare’s unconscious habit of repeating image clusters’ and ‘the contextual demands of the passage’ enable them to settle the crux in favour of ‘solid flesh’. Flatter ignored the legitimacy of ‘sullied’ and went as far as to say that ‘sullied’ is nothing but an emendation. On the whole. scholars argued for ‘sullied’ and critics for ‘solid’. But it is interesting to note that Ko¨keritz and Walker made a notable and, indeed, important exception to this by saying that there would be no knowing which of the two variants Shakespeare really wrote and that it would be up to individual editors to choose between the two. This particular position should be subscribed to so long as any decisive evidence should turn up to dismiss one of the two as not Shakespearian.

Shakespeare 전설의 문제

李京植 한국셰익스피어학회 1983 셰익스피어 비평 Vol.7 No.1