근사분포를 이용한 CV 관리도의 통계적 설계

이만식(Man-Sik Lee),강창욱(Chang-Wook Kang),심성보(Seong-Bo Sim) 한국산업경영시스템학회 2004 한국산업경영시스템학회지 Vol.27 No.3

The coefficient of variation(CV) which is a relatively dimensionless measure of variability is widely used to describe the variation of sample data. However, the properties of CV distribution are little available and few research has been done on estimation and interpretation of CV. In this paper, we give an outline of statistical properties of coefficient of variation and design of control chart based on this statistic. Construction procedures of control chart are presented. The proposed control chart is an efficient method to monitor a process variation for short production run situation. Futhermore, we evaluated the performance of CV control chart by average run length(ARL).

Her Posthumous Hope in George Eliot`s The Mill on the Floss and Edith Wharton`s The House of Mirth

이만식 ( Man Sik Lee ) 21세기영어영문학회 2012 영어영문학21 Vol.25 No.4

This study is to understand some literary solutions to feminist questions with two English novels, Geroge Eliot`s The Mill on the Floss and Edith Wharton`s The House of Mirth, which was published in 1905, some forty years later than The Mill on the Floss, in order to study the differences made on women`s position in society and also to find out any progress or development has been accomplished in this area through the so-called brilliant industrialization achieved for the mankind during this period. In spite of several differences such as agricultural landscape in St. Ogg`s, and industrialzed metropolitan area of New York, The Mill on the Floss and The House of Mirth are not quite different in their feminist statement. Even though the message of Edith Wharton is clearer, we cannot tell whether there is any progress between The Mill on the Floss and The House of Mirth.

이창동 영화의 문화적 의미 -「오아시스」와 롤랑 바르트의 신화론, 「밀양」과 자크 데리다의 「죽음의 선물」

이만식 ( Man Sik Lee ) 한국비교문학회 2008 比較文學 Vol.44 No.-

픽사의 서술 전략

이만식(Lee Man-Sik) 새한영어영문학회 2010 새한영어영문학 Vol.52 No.3

This paper explores the narrative strategy of Pixar that leads to its commercial success and critical acclaim through its nine films from 1995 to 2008: Toy Story, A Bug’s Life, Toy Story 2, Monsters, Inc., Finding Nemo, The Incredibles, Cars, Ratatouille and WallㆍE. Pixar’s films show familiar characters to us such as toys, ants, fish, cars and rats, which are different from Disney’s characters, such as Cinderella and Snow White, whose motif comes from fairy tale and myth. And they are presented from a surprisingly different point of view, for example, from the toy’s point of view in Toy Story and Toy Story 2, and from the fish’s point of view in Finding Nemo. This kind of reverse way of thinking about characters is reflected not only in the presentation of unthinkable characters such as a rat, Remy, as a cook in a famous restaurant kitchen in Ratatouille but also in terms of the good and evil confrontation between characters which has been the main storyline in Disney movies. In Pixar’s films, the distinction between good and bad is not clear. For example, Sid in Toy Story is an evil character in the toys’ perspective but just a naughty boy like every other young boys in the real world. Pixar’s amazing success comes from the diverse plots. The only critical failure of Pixar, Cars ironically proves this. Cars’s main plot is quite clear: Lightning McQueen finally understands the importance of journey as well as that of destination. However, the subplots of this film, such as the love story of McQueen and Sally and the rebirth of the community, Radiator Springs, are not convincingly presented. Pixar’s films have been continuously improved partly due to Pixar’s studio system, which releases one film every year maintaining quality.

마이크로에멀젼에서 제조된 나노크기의 이산화티탄에 의한 p - 니트로페놀의 광분해 반응

이만식(Man Sik Lee),이근대(Gun Dae Lee),주창식(Chang Sik Ju),임권택(Kwon Taek Lim),홍성수(Seong Soo Hong) 한국공업화학회 2002 공업화학 Vol.13 No.3

음이온의 Aot(sodium bis(2-ethylhexyl) sulfosuccinate) 계면활성제를 사용하여 나노크기의 TiO_2를 제조하였으며, TEM, XRD, BET, UV-DRS, TGA-DTA 등을 사용하여 마이크로에멀젼을 이용한 나노입자 제조시 W_0(H_2O/AOT)비, R (H_2O/TTIP)비에 따른 입자의 크기 및 결정성 등 물리성 성질을 조사하였다. 또한 제조된 TiO_2 나노입자의 광촉매적 특성을 알아보기 위해 회분식 반응장치를 이용하여 p-니트로페놀의 광분해반응의 활성을 조사하였다. 제조된 TiO_2 나노입자는 소성온도 300~600 ℃의 범위에서 anatase 구조가 형성되었으며, 소성온도 700 ℃에서 anatase 구조에서 rutile 구조로 전이되기 시작하였다. 입자크기는 W_0비 및 R 비가 증가함에 따라 증가하였으나, W_0 비가 더 큰 영향을 나타내었다. 한편 p-니트로페놀의 광분해반응에서 반응성은 표면적과 결정크기보다는 입자 결정성의 영향을 많이 받았다. 또한 500 ℃에서 소성된 TiO_2 촉매가 순수한 anatase 구조를 가지며 가장 높은 p-니트로페놀 분해활성을 보여주었다. Nanosized titania sol has been produced by the controlled hydrolysis of titanium tetraisopropoxide(TTIP) in sodium bis(2-ethylhexyl) sulfosuccinate(AOT) reverse micelles. The physical properties, such as crystallite size and crystallite size and crystallinity according to R and W. ratios have been investigated by TEM, XRD, BET, UV-DRS, TGA and DTA. In addition, the photocatalytic degradation of p-nitrophenol has been studied in a batch reactor in the presence of UV light to compare the photocatalytic activity of prepared nanosized titania. It has shown that the anatase structure appeared in the 300~600 ˚C calcination temperature range, and the conversion of anatase into rutile started above 700 ˚C. The crystallite size increased with increased R and W. ratios, but W. ratio showed a stronger effect on the crystallite size than R ratio. In the photocatalytic degradation of p-nitrophenol, the photocatalytic activity was mainly determined by the crystallinity of titania. In addition, the titania calcined at 500 ˚C resulted in the pure anatase structure that had the highest activity of the photocatalytic degradation of p-nitrophenol.

『어둠의 핵심』의 서술 전략

이만식(Man Sik Lee) 19세기영어권문학회 2008 19세기 영어권 문학 Vol.12 No.1

The critical evaluation of Heart of Darkness is closely related with the analysis of its narrative strategy. For example, Achebe’s logic is based on his critical reading of Heart of Darkness solely in the narrative level of Kurtz’s episode to condemn Conrad as a bloody racist. Achebe excludes all the other narrative levels when he says that the actual story takes place on the River Congo, the very antithesis of the Thames. Heart of Darkness is a story of writing of Marlow as well as a writing of story of Kurtz. There is a multi-level narrative structure, with the frame structure of Chinese boxes, in which more narrative levels are likely to be detected than the levels of Kurtz’s episode and Marlow’s tale. Kurtz’s episode is located in the center like a kernel and circumscribed by Marlow’s tale. However, the meaning of Kurtz’s episode is not accepted literally by Marlow who has his own way of interpretation to reveal the implied meaning of Kurtz’s episode. The relationship of neighboring narrative levels here in this Chinese box structure can be defined in terms of the ironic discourse, which is caused by the discrepancies between the literal meaning of the lower narrative level and the implied meaning of the higher narrative level which tends to make one in the lower level somewhat unreliable. There are two first person narrators in Heart of Darkness. One is Marlow and the other is called the frame narrator, the unnamed narrator, the outer narrator and so on. The narrative level of Marlow’s tale is enclosed by that of the frame narrator like “misty halos” even though its enclosure is not in a perfect shape. The ‘true’ meaning, if it exists at all, of Kurtz’s story is deflected through at least two narrative layers of Marlow’s tale and the frame narrative. I’d like to introduce and add one more narrative level to the Chinese box structure. It is the narrative of the implied writer, which is explained as “the spectral illumination of moonshine” in Heart of Darkness. In order to provide verifiable evidence for the presence of the narrative level of the implied writer, the narrative strategy of Conrad’s three political novels, Nostromo, The Secret Agent and Under Western Eyes is examined to find out the ironic discourse to make the frame narrative somewhat unreliable in every one of these novels. The narrative level of the implied writer cannot be clearly distinguished from the levels of the actual writer, Joseph Conrad and the reader because the presence of the implied writer is required to represent the epistemological uncertainty or crisis of the reader as well as the writer. Cunninghame Graham, socialist and MP of Labor Party, whose favorite opinion of Heart of Darkness was received warmly by Conrad who says “I am simply in the seventh heaven to find you like the H of D so far,” has the revolutionary spirit to attack imperialism as a system of power politics and economic exploitation without enough consideration upon the aspect of ideology fascinating intellectuals, writers, soldiers, politicians and businessmen. However, as Ian Watt warns us in Conrad in the Nineteenth Century, we must not forget that no real political alternative was suggested in the nineteenth century to Western penetration of the other continents. And imperialism is not just an ideological formation or practice of domination. It is also “a psychological matrix - indeed, a culture built around narcissistic fantasy and maintained through the weird logic of misdirection, denial, and disavowal” according to Beth Sharon Ash in Writing in Between. The reason why Conrad believed that “the novel is absolutely the only vehicle for the thought of our day” is that the most effective target is the culture, the foundation of imperialistic ideology. I believe Conrad tries to transform the consciousness of the readership into a new form suitable for the era beyond imperialism through the process of the ironic discourse of the implied writer to make th

불교의 문화적 번역

이만식(Lee, Man Sik) 한국동서비교문학학회 2008 동서 비교문학저널 Vol.0 No.19

Most Buddhist monks and scholars talk about the insufficient efforts to communicate Dharma Talk[法語] in terms of modern languages. However, the problem of communication in Buddhism has not been caused only by the lack of communication methods but by the discourse itself. The state of not to rely on letters[不立文字] is meagerly explained by our common language in this postmodern age when the language itself is no longer a reliable device for meaningful communication. The first philosophical transformation of Indian sources was distinctively Chinese innovation. Concern with inherent Buddha-nature[佛性] gained prominence in China partly due to the indigenous Chinese preoccupation with the inherent nature of human being. The philosophical transformation that occurred in the Buddhist doctrine in East Asia by the Chinese reinterpretation of Buddhism was highly beneficial to deeply bind the philosophical dimension of Buddhism with the practical aspect. The second significant philosophical transformation is needed now to face the current communication problems of Buddhism. Western thought, including Jacques Derrida’s deconstruction, has been suggested as a candidate to provoke a second philosophical transformation to revive the tradition of Buddhism. The cultural translation of Buddhism is explicated here in this paper as one of the practical programs to elucidate Buddhism in terms of Western thought as well as to solve its communication problems.

‘객관 상관물’의 두 가지 해석

이만식(Man-sik Lee) 한국T.S.엘리엇학회 2001 T.S. 엘리엇 연구 Vol.10 No.-

『로드 짐』의 서술전략

이만식 ( Man Sik Lee ) 21세기영어영문학회 2013 영어영문학21 Vol.26 No.4

Lord Jim is considered as one of the pioneers of British modernism due to its characteristic narrative strategy. However, the ethical implication of its narrative strategy has not been fully studied. The omniscient narrator is replaced by Marlow, character narrator, in chapter 5 in order to provide a language system suitable to the state of Jim`s soul which could not be rendered by the Official Inquiry in the police court. Marlow`s attitude to Jim is more important than Jim`s action, because Jim is a simple character. Conrad used narrative techniques such as multiple narrative points of view and inversion of temporal chronology so as to emphasize the psychological development of Marlow towards Jim rather than the linear process of Jim`s story. Marlow`s attitude towards Jim had changed from curiosity to understanding, and then to sympathy, and then to trust, and then to pity until Jim became a symbolic figure to produce another story than that of other officers of the Patna. As Marlow tried to find a practical solution for Jim`s case with a sense of responsibility, Stein offered a position of a trading-clerk in Patusan to Jim. Patusan became a second chance to Jim, who became a successful hero like one in the story book. In spite of Jim`s brilliant achievement, Marlow could not get rid of the suspicion that the world outside the West could not be a place of destination for Jim. The intrusion of the imperial West as a person of Brown into Patusan made Jim to realize that he could not escape from the guilty past. The spoken language of Marlow is replaced by his written language in chapter 36. This narrative change indicates that the spoken language, upon which western metaphysics is based, has lost its power of public communication and that Jim`s tragedy is not a personal failure but rather that of community, for which the practical remedy has not been found out yet and could not be expressed in a public language.

서술 전략의 전환-「진보의 전초기지」에서 『어둠의 핵심』으로

이만식 ( Man Sik Lee ) 한국영어영문학회 2011 영어 영문학 Vol.57 No.4

Even though "An Outpost of Progress" and Heart of Darkness were based upon Joseph Conrad the sailor`s same experience in Congo Free State, their narrative strategies are quite different. The realistic representation of "An Outpost of Progress," with which Conrad was not satisfied at all, was converted into the modernistic narrative strategy of Heart of Darkness so that the sympathetic power of the story should be improved. The conservative value system of realism is expressed by the omniscient author in "An Outpost of Progress," whereas the frame narrator of Heart of Darkness is proved to be an unreliable one whose norms and behavior are not in accordance with the implied author. The glorious history of the British Empire, which was proudly presented by the frame narrator at the beginning of Heart of Darkness, was strongly opposed by Marlow, another narrator, who said that the British Empire had been "one of the dark places of the earth" when ruled by the Roman Empire. The feeling of the frame narrator was uneasily changed into the gloomy mood when he described the Thames as the flow which "seemed to lead into the heart of an immense darkness" at the end of Heart of Darkness. Similar to the straightforward narrative strategy of representation in "An Outpost of Progress," the realistic approach of Part I in Heart of Darkness is considered by Conrad as insufficient to reveal the darkest truth of imperialism, which was declared by Kurtz as "The Horror! The Horror!" Thus Conrad uses the Chinese-box structure, in which Kurtz` episode is enveloped by Marlow`s tale which is enclosed by the frame narrator`s story, in order to penetrate into the mind of ordinary readers in the novelist`s age of New Colonialism, while attacking the ideology itself of imperialism instead of critisizing its inefficiency and individualism.