[공부머리 독서법] 공부머리 좋은 아이들의 공통점

최승필 주식회사 입시엔 2020 나침반 36.5도 Vol.80 No.-

금융소비자보호의 공법적 기초 - 보호법리와 조직법적 쟁점을 중심으로 -

최승필 한국외국어대학교 법학연구소 2018 외법논집 Vol.42 No.1

Since the US financial crisis, the audit system of the banking sector has changed its goal from micro-prudential management to macro-prudential one along with protection of financial consumers. So far, policies for the protection of financial consumers have mainly been discussed in the private legal scene, leaving the discussions in the public legal domain relatively scarce, where the institutional framework would be provided. Constitutional basis of financial consumer protection lies on the Article 124 for consumer rights, Article 10 for rights for living a human life, Article 23 Clause 1 for assuring property rights, Article 34 Clause 1 for assuring human life and Article 119 Clause 2 for economic coordination. Consumer rights guaranteed by the Constitution are specified in the Article 4 of Basic Consumer Law. The necessity of financial consumer protection is emphasized due to possible asymmetric access to information because of the complexity of financial products. Financial consumers can be classified as depositors, investors and insurance contractors. The means for financial consumer protection by the government authority can be divided into regulation of entry and of business. The regulations of business involve the duty of description and ban on unfair trade and unjust advertisement, differentiating the level of protection depending on subject matters. It can be achieved through comparison of legal profits between public goal of protection and private freedom of business of financial institutions. The important part of tasks for consumer protection is the resolution of disputes between financial corporations and financial consumers. As the current alternative dispute resolution system focuses only on adjustment, it needs to be diversified into arbitration and awarding. In regards to the organization legal aspects on financial consumer protection organization, what matters are the structure of composition of the organization itself and distribution of authorities between the protection organization and other institutions. For the composition of protection body, the first issue is whether the consumer protection organization will be incorporated into the existing authority or established as a separate institution. The second issue is whether the separate organization will hold a representative administration bureau or independent administration bureau. The former depends on the circumstance of each country while some advanced countries in the financial consumer protection such as the US and UK hold the independent system. In the US, however, it is controversial whether the independent system being held by the protection organization in the form of independent regulatory agency is unconstitutional. The overlapping authorities of the Fair Trade Commission and Financial Supervisory Service on consumer protection need to be improved. It is now being handled by coordination of tasks in advance between the two institutions but the issue should be resolved by legislative action. The deposit insurance organization functions as the follow-up protection such as depositor protection, which is closely related to financial consumer protection, while the lender of last resort also plays its part as means of consumer protection. There is a need to secure the channel through which the financial consumer organization and relevant financial authorities can exchange information and share policy options. It corresponds to the lateral governance for the policy goal of consumer protection. With the financial consumer protection act now being under consideration, a public legal consideration is necessary in the legislative process of financial consumer protection act as well as its legal interpretation and research process. 미국발 금융위기 이후 미시건전성위주의 감독에서 거시건전성감독 및 금융소비자보호를 목표로 하는 감독체제로 변화되었다. 이에 따라 사법적 영역에서 주로 금융소비자보호정책을 논의하였으나 제도의 틀을 구성하는 공법적 영역에서의 논의는 상대적으로 부족했다. 금융소비자보호의 헌법적 근거로는 헌법 제124조의 소비자권 그리고 제10조상의 인간다운 생활을할 권리, 제23조 제1항의 재산권보장, 제34조 제1항 인간다운 생활의 보장 그리고 제119조 제2항 경제의 조정을 들 수 있다. 헌법적으로 보장된 소비자의 권리는 소비자기본법 제4조를 통해 구체화되고있다. 금융소비자보호는 금융상품의 복잡성으로 인해 정보의 비대칭이 발생하기 쉽다는 점에서 보호의필요성이 더욱 강조된다. 금융소비자는 예금자, 투자자, 보험계약자로 대별할 수 있다. 금융소비자보호를 위한 감독당국의 수단은 진입규제와 행위규제로 나눌 수 있으며, 그 중 주요한 수단은 행위규제이다. 행위규제에 있어서는 설명의무, 불공정거래행위 및 부당광고행위 금지 등을 부과하고 있으며, 보호의 대상에 따라 보호수준을 달리하고 있다. 이는 보호라는 공익적 목적과 금융회사의 영업상의 자유라는 사익간의 형량을 통해 달성된다. 소비자보호업무 중 중요한 축이 금융회사와 금융소비자간 분쟁을 해결하는 것인 바, 현재의 대체적

Pride and Prejudice의 소설기법 : 소설 교수법의 한 방안

崔丞弼 단국대학교 1981 論文集 Vol.15 No.-

The object of this thesis is to study the essence of the dramatic method in the structure of Pride and Prejudice, the dramatic approach in the characterization and the rules and aspects that govern the characteristics of the dramatic novel. Jane Austen's fiction is dramatic in its structure, the point of view and the dialogue. The plot is framed dramatically. Her dramatic instinct can be found in her technique of timing and her analysis of human nature. She is not an omniscient intruder or a commentator but an objective observer. In Thackeray's Vanity Fair which is famous for its omniscient style, typical scenes are comlpete in them selves. We know the characters immediately, they behave typically from the first, they never change but remain constant. But in Pride and Prejudice we do not know the characters well until the scene os followed by other scenes, they are not archetypes not develop with the story. The dramatic method is the best way of eliminating the narrator and exposing the scene directly to the reader. The author is never to appear but presents his story in the form of scences. He must sacrifice his privilege of talking to the reader. The dramatic art of fiction consists of making the story tell itself. As Mr. Lubbock whose study of the subject of' point of view' is the most brilliant one considered, the purely dramatic method may be the logical goal of fiction. He finds in Flaubert the first real dramatic writer and in Henry James the perfect master of dramatic approach. But Mr. Muir finds in Austen the first novelist who practised it with consummate success. Among the writers of the dramatic novel, only Austen sounds the comic note and she succeeded in writing dramatic novels in the comic tone, and this is her literary position in the history of English literature. In Pride and Prejudice there is a confinement to one circle, one complex of life, producing naturally an intensification of action. And this intensification is one of the essential attributes of the dramatic novel. The story of the dramatic novel has a progression and ends in conclusion and usually the end of the dramatic novel is very important. It is the final illumination. Death or happy finale, these are the two ends towards which the dramatic novel moves, and Austen's novels always end in the happy solution taking the form if suitable marriage. The main object of the dramatic novel is to trace development. Development implies time and in it we can find the logic of causality. Many authors and critics are convinced that dramatic modes of narration are superior to any subjective mode that allows for direct appearances by the author or his reliable spokesman. The dramatic novel has affinity with deama. In formal dramas, the elements we find in the dramatic novel exist in their purity. The character novel or the subjective novel would lose almost all its meanings if it were to put on the stage. But Pride and Prejudice and other dramatic novels might be dramatized not only on the stage but also in the movies without difficulty. Austen regards chapters in her novel as important units in unravelling the story. She frequently begins a chapter formally by setting the situation and introducing necessary points of informnation, and ends the chapter with the same formality by suggesting the importance of the issue just meatined. Chapter 1 of Pride and Prejudice is a good sample. Austen's dramatic art of conversation is the supreme quality of her technique. In the dramatic novel the art of conversation plays the most important role. This is why when a dramatic novel is read aloud, its effect increases.

小說과 映畵技法

崔承弼 단국대학교 1986 論文集 Vol.20 No.-

As the conventions of fictions vary in the light of changing conceptions of human nature and problems, different novelists at different periods have adopted different devices and techniques to express their new vision. Some of the devices that fiction borrowed from film may be analogically termed cinematic devices. The interplay between the motion picture and fiction in the twentieth century provides material for an enlightening and valuable study. Basic device for the cinema is that of montage. Among the secondary devices are such controls as 'multiple view', 'slow-up', 'fadeout', 'cutting', 'close-up', 'panorama', 'stop-motion', 'association', and 'flash-back'. Among the most significant cinematic effects for the novelists are a spatial configuration of the flow of time, an innate relativity and perpetual shifting of point of view and a vivid discontinuity of narrating material by means of montage. And the most dynamic aspects of the new novel form are simultaneity, or the depiction of two separate points in space at a single instant of time, multiperspectivism, or the depiction of a single event from radically distinct points of view, and montage, or the discontinuous disposition in the narrative of diverse elements. Examples of great success in the cinematic devices are to be found in Conrad, James and stream of consciousness novelists. In the close-up and the slow-up, or ralenti, we can find the characteristics of these methods. In the close-up we have a magnified and so more detailed presentation of a face or other feature, not necessary for the action, but often very effective for rendering the feeling, the esthetic intention, and for letting the impression of the character sink in. In the movement ralenti, which at the ordinary rate is perceived as one rapid curve, as undifferentiated outline, is slowed up to such an extent that we are able to distinguish its successive moment. 'Montage' in the film sense refers to a class of devices which are used to show interrelation or association of ideas, such as a rapid succession of images or superimposition of image on image or the surrounding of a focal image by related ones. It is essentially a method to show composit or diverse views of one subject... in short, to show multiplicity. Some of them are concerned with achieving the flow of events; others such as the fade-out and close-up are more concerned with subjective details. In a great deal of writing on montage, what is emphasized is the disjunctive, nonsequential nature of the two or more shots joined together. When two shots, mutually illogical, unconnected, or even contradictory, are brought together in the film, the automatic and relentless flow of images forces at least the appearance of sequence. The idea that through discontinuity a more dynamic continuity can be achieved is the cornerstone of twentieth-century art. It is also at the root of the classic modern novel. The discontinuity of the plot and the scenic development, the sudden emersion of thoughts and moods, the relativity and the inconsistency of the time standard, are what remind us in the works of Joyce, Dos Passos, and Woolf of the cutting, dissolves and interpolations of the film. In a sense, the demonstration of the cinematic quality of the modern novel has been available ever since the first reader of Ulysses noted the montage techniques or since Dos Passos included the 'newsreel' and 'camera eye' sections in U.S.A. In other words, certain modern novels such as Mrs. Dalloway and To the Lighthouse proclaim themselves cinematic. The most primitive form of movement through fictional time is that device called 'flash-back'. Having arrived at a point where reference to some previous period will be helpful, the writer halts and sends up signals to the reader. While its occasional use may not work too much harm, the simple flash-back becomes more and more awkward with repetition. So a subtler, far more inconspicuous method has to be discovered to accomplish the same effect: the solution those writers found was something which has been given the label of 'time-shift'. The chief techniqe in controlling the movement of consciousness in fiction has been an application of the psychological free association. Three factors control the association: first, the memory, which is its basis: second, the senses, which guides it: the third, the imagination, which determines its elasticity. Both Joyce and Woolf use it, because the quality of consciousness itself demands a movement that is not rigid clock progression. It demands instead the freedom of shifting back and forth, of intermingling past, present, and imagined future. In representing this montage in fiction, Daiches points out there are two methods: one is that in which the subject can remain fixed in space and his onsiousness can move in time-the result is time-montage or the superimposition of images or ideas form one time on those of another; the other possibility is for time to remain fixed and for the spatial element to change, which results in space-montage. Despite the admirable way in which all this is done, it is Virginia Woolf who uses the device of space-montage most effectively. This is ecause she manages to relate it to her other characteristic devices and to subordinate it to her basic stream-of-consciousness subject matter. Perhaps the most frequently cited example of multiple-view, or space-montage in recent fiction is the scene in Mrs. Dalloway in which the airplane is skywriting. Woolf also makes some use of motifs as unifying devices. Such is the recurring symbol of the lighthouse in To the Lighthouse. Her reliance on symbols as structural pattern is most emphatic in a different sense. This is true in To the Lighthouse, where the entire novel is based on a set of primary symbolic values. The lighthouse is a symbol, just as the setting of the novel, the isolated island is used symbolically, and just as the characters and their actions are symbolic. Woolf passes from one consciousness to another, form one group to another, exploring the significance of their reactions, following the course of their meditations, carefully arranging and patterning the images that rise up in their minds, bringing together with care and economy, a select number of symbolic incidents, until a design has been achieved, and experience is seen as something inexpressible yet significant. We can find in her works so many symbols and images which are used functionally and dramaticatically and in addition to them most of the cinematic devices that are metioned above are used and interwoven skillfully.

Evaluation of Performance of Adsorption and Coagulation Processes for the Maximum Removal of Reactive Dyes

최승필,( Ramesh Thiruvenkatachari ),심왕근,문희,이재욱 한국공업화학회 2004 한국공업화학회 연구논문 초록집 Vol.2004 No.1

경제적 규제에 있어 중앙정부와 지방자치단체 간 협력과 역할

최승필 한국지방자치법학회 2013 지방자치법연구(地方自治法硏究) Vol.13 No.3

P-115 : Evaluation of Performance of Adsorption and Coagulation Processes for the Maximum Removal of Reactive Dyes

최승필,( Ramesh Thiruvenkatachari ),심왕근,문희,이재욱 한국화학공학회 2007 화학공학의이론과응용 Vol.10 No.2

유럽재정규율에 대한 법적 검토

최승필 서울행정학회 2014 서울행정학회 학술대회 발표논문집 Vol.2014 No.4

小說批評의 現在

崔承弼 檀國大學校英美文化硏究所 1984 英美文化 Vol.3 No.-

Terry Eagleton says in his Literary Theory (1983): “Indeed one might very roughly periodize the history of modern literary theory in three stages: a preoccupation with the author (Romanticism and the nineteenth century); an exclusive concern with the text (New Criticism); and a marked shift of attention to the reader over recent years.” This thesis is to study the second and third stage of his classification. A story must have a plot, characters, and a setting. It must also have a story-teller: a narrative voice that presents the story to the reader. When we are talking about narrative voice, we are talking about point of view, the method of narration that determines the position, or angle of vision, from which the story is told. The art of fiction does not begin until the novelist thinks of his story as a matter to be shown, to be so exhibited that it will tell itself. And since Flaubert, many authors and critics have been convinced that ‘dramatic’ modes of narration are superior to any mode that allows for direct appearances by the author. If it is dramatic vividness that the novelist wants, the best thing he can do is to find a way of eliminating the narrator and exposing the scene directly to the reader. But whether an impersonal novelist hides behind a single narrator or observer, the author' voice is never silenced. Everything he shows will serve to tell; the line between showing and telling is always to some degree an arbitrary one. In short, the author's judgement is always evident to any one who knows how to look for it. Time is one of the ideas which have engaged literary minds throughout the ages and which have received special attention in contemporary literature. For fiction, a distinction must be made between the chronological duration of the reading, the chronological duration of the writing and the duration of the theme of the novel. Myth is a direct metaphysical statement beyond science. It embodies in an articulated structure of symbol or narrative a vision of reality. The study of myths reveals about the mind and character of a people, and just as dreams reflect the unconscious desires and anxieties of the individual, so myths are the symbolic projections of a people's hopes, values, fears and aspirations. Myth is to be defined as a complex of stories-some no doubt fact, and some fantasy- which human beings regard as demonstrations of the inner meaning of the universe and of human life. Although every people has its own distinctive mythology, myth is universal. Furthermore, similar motifs or themes may be found among many different mythologies, and certain images that recur in the myths of peoples widely separated in time and place tend to have a common meaning or, more accurately, tend to elicit comparable psychological responses and to serve similar cultural functions. Such motifs and images are called archetype. Stated simply, archetypes are universal symbols. With brilliant audacity N. Frye identifies myth with literature, asserting that myth is a structural organizing principle of literary form and that an archetype is essentially an element of one's literary experience. And he claims that mythology as a whole provides a kind of diagram or blueprint of what literature as whole is all about, an imaginative survey of the human situation from the the beginning to the end, from the height to the depth, of what is imaginatively conceivable. For the past few years we have been witnessing a shift in perspective (a new way of seeing) in the field of literary theory. The words reader and audience have acceded to a starring role. We may safely affirm that a preccupation with audience and interpretation has become central to contemporary American and Continental theory and criticism. Reception theory examines the reader's role in literature and as such is a fairly development. The reader has always been the most underpriviledged of this trio(i.e. the text, the author and the reader)-strangely, since without him or her there would be no literary text at all. For literature to happen, the reader is quite as vital as the author. Audience-oriented (reader-response) criticism is not one field but many, not a single widely trodden path but a multiplicity of crisscrossing. The author makes his reader as he makes his second self, and the most successful reading is one in which the created selves, author and reader, can complete agreement: (W. Booth). The work is more than the text, for the text only takes on life when it is realized(the term proposed by Ingarden), and the realization is by no means independent of the individual disposition of the reader. The convergence of text and reader brings the literary work into existence. Furthermore W. Iser asserts that the literary text makes no objectively real demands on its readers, it opens up a freedom that everyone can interpret in his own way. For instance, a poem really means whatever any reader seriously believes it to mean. Just as the number of mental contexts into which a poem can be translated is infinite, so is the number of possible meanings of the poem or the work itself infinite. And it is clear who is making these meanings-the reader. Once we decide that readers can make meaning, we begin to see it happening all around us- that is what reading is after all. Meaning is made precisely as we want it to be made, and as usual we want different things. Unanimity is neither possible nor desirable, and reality is never unequivocal. Yes, authors do make meaning but-many of us are finding it increasingly necessary to say - yes, readers make meaning. The text itself is really no more than a series of ‘cues’ to the reader, invitation to construct a piece of language into meaning. Without this continuous active participation on the reader's part, there would be no literary work at all.

Langsat Tm 영상에 의한 원자력 발전소로부터의 온배수 확산의 추적조사

최승필,양인태 江原大學校 附設 環境硏究所 1998 環境硏究 Vol.15 No.-

지금까지는 선박등을 이용하여 표본추출등으로 온배수 확산관측이 이루어져왔으나 온배수의 확산속도, 위상조건, 비용, 범위설정 및 위치 결정등의 여러가지 방해인자등 때문에 동시성, 광역성 및 경제성등의 문제에 있어서 새로운 탐사방법이 요구되어 왔다. 그러나 인공위성 영상을 이용하여 분석하면 단시간에 해양 환경을 감시 및 탐지 할수 있기 때문에 기종의 방법보다 상당히 신속하여 정확하게 수온 분포와 확산정도를 감지할 수 있다. 따라서 이연구는 인공위성 영상에 의 Observation for hot water spread has been carried out by such activites as sampling of water with ship, etc, until now. It was required further to have new probe methodologies in such issues as simultaneity, great-spheric nature, and economics due to many hindering ele- ments such as spread speed of hot waste water, weather conditions, cost and expenses, scope and location determinations. However, it was believed that stellite could be utilized to monitor spread of water temperature and spread level in more quick and correct way than existing one, because it would be possible to supervise and detect marine environment within significantiy short period if analyzed by means of satellite images. Therefore, this study is taken into account to flow and spread conditions of hot waste water, survey of water temperature, by means of satellite images.