차량 탐지 정보를 이용한 영상 검지기의 배경 영상 생성 방법

권영탁,김윤진,박철홍,김희정,소영성 한국항행학회 1999 韓國航行學會論文誌 Vol.3 No.1

본 논문에서는 교통정보 수집용 영상검지기를 위한 새로운 배경생성 방법을 제안한다. 입력되는 영상열의 화소위치별 모든 밝기값을 평균 또는 빈도 계산과정에 참여시키는 기존의 배경생성방법은 차량의 정체가 잦은 경우에 좋지 않은 결과를 보인다. 이런한 단점을 개선하기 위해서 배경생성 과정에 하이레벨 정보인 차량의 탐지결과를 반영하였다. 차량으로 탐지되지 않은 영상부분만을 배경생셩 과정에 참여시켰으며 실험을 통해서 새로 제안한 배경생성 방법이 종전 방법에 비해 차량의 정체가 잦은 경우에도 더 견고하게 차량 탐지를 할 수 있는 배경을 생성할 수 있었다. In this paper, we propose a new background generation method for image detector for traffic information collection. Conventional methods result in bad performance when there are frequent traffic jams due to heavy traffic. To improve on this, we use high level information from vehicle detection. Only part of the image that is not considered as vehicle is used in background generation. The proposed method finds background more robustly than that of the conventional methods even in the presence of heavy traffic.

엘리엇의 고전주의적 형식주의: 컨벤션에 대한 집념

권영탁 한국중앙영어영문학회 2015 영어영문학연구 Vol.57 No.4

Although the so-called urbane classical formalism of T. S. Eliot was continued and more developed as an abstract formalism of the New Critics, they were not originated from the same idea. While the New Critics gave emphasis on the individual formal elements and poetic structure itself, Eliot had in mind not so much particular formal qualities as something close to the notion of a genre. He thought of this as “a system of conventions,” which is to be construed as an aesthetic limitation or circle beyond which an artist should not trespass. Eliot kept this notion quintessentially in his poetry and criticism. Accordingly, he criticized the English drama for its unlimited realism and lack of a convention, and insisted “a conventional scheme,” or “form to arrest” not to make it expand and end in the desert of futile realism. He also severely rebuked Matthew Arnold and his neo-Humanist followers for contending that poetry is at bottom a criticism of life and the best poetry supersedes both religion and philosophy. Eliot thought they had confused literary criticism with something else, because, for him, everything in this world or next has a convention of its own.

시인과 설교가: T. S. 엘리엇 비평의 기본적 태도

권영탁 한국T.S.엘리엇학회 2005 T.S. 엘리엇 연구 Vol.15 No.2

The criticism of T. S. Eliot shows an extraordinary lack of interest in what literary works actually say. Its attention is almost extremely confined to qualities of language, styles of feeling, the relations of image and experience. With Arnold, however, the emphasis is on substance rather than on form. Such emphasis led him into his attempted definition of poetry as criticism of life. In like manner, Leavis also emphasized that poetry be in serious relation to “Life,” have a firm grasp of the actual, of the object.If we may call Eliot a poet as poet, either Arnold or Leavis can be rightly labeled a poet as preacher. These two contrasting attitudes are illustrated in their criticism on such Romantic poets as Wordsworth, Shelley, and especially Keats, where the difference is most distinctly manifested. Though Eliot, in his later poems and essays, have passed on to other problems including the relation of poetry to the spiritual and social life of its time, he has never derailed himself from considering poetry primarily as poetry, not as any other.

17세기 영시와 비교해 본 밀턴 시의 독창성: 「랄레그로」와 「일 펜세로소」를 중심으로

권영탁 한국동서비교문학학회 2020 동서 비교문학저널 Vol.0 No.53

Starting out as one of the 17th-century metaphysical poets of Restoration period, Milton was inevitably familiar with various literary traits of the day, including the weather of the traditional epic or romance, the descriptive poetry of sights and sounds of nature, and the metaphysical poetry that enjoys the combination of heterogeneous elements through a sophisticated analogy. However, he had his own individuality, always pursuing balance and temperance, without following or indulging in the current fashion of the genres, languages, and techniques. It was, in a word, to adhere to the principle of decorum, that is, to bring the parts to the whole. His originality, as seen in the two poems of “L’Allegro” and “Il Penseroso”, was not in his subject matter, but almost entirely in his skill in dealing appropriately and modestly with his style, using the already existing materials.

예이츠의 「청금석 부조」: 비극적 현실을 변모시키는 예술적 명랑성

권영탁 한국중앙영어영문학회 2019 영어영문학연구 Vol.61 No.1

William Butler Yeats, as has shown in “Lapis Lazuli,” created a heroic mask, an alternate self or an anti-self, through artistic imagination. With its free spiritual and artistic gaiety, he thought he could overcome the tragic reality and accomplish salvation by making social, as well as individual change. Saying, “literature has to be a container of truth, and art has to create the values,” he wanted to elevate art and artist to a position of such eminence as only God pertains to. But even though Yeats advocated art’s religious function in his work, it should not be thought of as resembling the Christian renewal of the mind and rebirth. The great awakening through artistic gaiety that Yeats speaks of can be compared to the salvation of the so-called self-religion, such as Buddhism or Zen Buddhism, where they reach the spiritual realm of deliverance through their own efforts. However, Christian salvation can be accomplished only by the grace and providence of God. Man can never reach divine perfection and sanctity with his own efforts, none. We should see “Lapis Lazuli” as the pinnacle of his humanistic affirmation, representing his philosophy of poetry in general. We could admire his most humane aspect in that he saw death as a moment of perfection of self-image, and tried to have the sense of tragic gaiety in the midst of the ugly tragedy.

“날개 잘린 새”: 필립 라킨의 경우

권영탁 한국중앙영어영문학회 2013 영어영문학연구 Vol.55 No.3

Most of the post-modern writers including Philip Larkin show ambivalence toward some metaphysical or religious motifs in their poetry. Under the so-called scientific world view they should not confess their religious faith or reveal the spiritual insight conclusively, but they, nevertheless, could not avoid expressing regret or envy about the past traditional belief and its consolation. A bird beshorn of wings, as in Thomas Hardy’s “The Impercipient”, can not soar into the sky but go earth-bound against its will. Though the consolations of religion was officially unavailable to Larkin throughout his life, he also envied those who had faith and fervently wished to embrace it. But his “intellectual purity” largely restrained him from subscribing to Christian belief. To believe at all deeply in the Christian God, as Amis announces in The Anti-Death League, was a disgrace to human decency and intelligence. It is undeniable that there is a strong current of skepticism running through Larkin’s all four volumes of poetry. However, his agnosticism does not entirely exclude sympathy with religious feeling in many of his visionary poems. This kind of apparently contradicting emotional and intellectual conflict between modern scientific world view and religious perspective was the source of his poetic creation.

Between Reason and Faith: Robert Frost’s Heaven

권영탁 한국동서비교문학학회 2022 동서 비교문학저널 Vol.- No.61

Frost did not merely sing about the superficial beauty of landscape in his so-called nature poetry. The depiction of nature was, after all, a framework providing a clue for exploring the fundamental problems of humanity. Although he used conflicting ironies as a means of keeping himself in a neutral stand, that does not mean that he is an agnostic or a cynic. Contrary to what modern Gothic readings might assert, Frost’s poetry never shows any absence of faith. Rather, faith occupies a central position in the text of his poetry as a product of a complex and often ambivalent aesthetics rooted in dualism. His was a faith that acknowledged human limitations, not an institutionalized one that blindly clings to the doctrines and rejoices in the assurance of mundane successes. It was an ever-maturing faith, that of the agonizing sufferer who endures, learns, and moves forward. As he gradually accepted the “roughly zones” beyond human understanding, Frost showed a development from reason to faith, insisted on the courage to surrender to the absurd, and sought mercy instead of justice as a way to salvation. However, he did not want to completely ignore existential reality, even while he assumed the existence of heaven. Frost, having amalgamated these opposing elements, must be recognized as not just a nature poet, but as a courageous spiritual poet with an honest critical intelligence. His various seemingly ambiguous statements, inevitably derived from the conflict and tension between reason and faith, were not his poetic flaws, but were actually his greatest aesthetic achievements.

하디와 토마스의 전쟁시

권영탁 한국동서비교문학학회 2018 동서 비교문학저널 Vol.0 No.43

Thomas Hardy was a non-combatant, but Edward Thomas was a soldier poet, both of whom wrote poetry on the First World War. Critics say that the two poets’ “war poetry” is lacking in reality and insufficient to convey the horrors of the battlefield. However, it would not be enough to repeatedly portray the terrible truth because poetry is not a newspaper article or reportage, or even war chronicles either. Rather, it is the essential responsibility of the poet to embody in literature the limitations and compassion of the universal humanity impaired by such a devastation and inevitability of the warfare. Both Hardy and Thomas have successfully avoided the publicly recognized patriotic language and instead focused on mentioning the beauty of the countryside, the love and affection of the people, the history of England, and the literary tradition of the past. Their lyricism and meditation is an important factor protecting their poetry from the weaknesses of other Georgian war poems, which were most of them ideological or idealistically patriotic attempt, or cynical accusation or anti-war instigation at best.

인간의 열망과 그의 한계: 말로우의 『포스터스 박사의 비극』

권영탁 한국중앙영어영문학회 2017 영어영문학연구 Vol.59 No.1

Criticism and evaluation of Christopher Marlowe’s Doctor Faustus are literally divided into two extremes. One is the orthodox Christian view based on Lutheran-Calvinist determinism, and the other is the unorthodox humanistic view revived around Italy since the Renaissance period. The same polarity or ambivalence of the author Marlowe, who is attracted to both of these two perspectives, is also clearly shown in the work maintaining the dramatic tension and ambiguity throughout. The protagonist, Dr. Faustus, who tried to overcome human limitations to the point of selling his soul to the devil, could be regarded as deserving of the heavenly judgment and damnation. But he might also be securely described as had been saved because he, as a human being given free-will by God, tried all his best to overcome his destiny heroically. This kind of sympathy and compassion is the cause of the ambiguous attitude of the author, and of the reader as well, toward the drama of man’s heroic aspiration and his tragical psychic torment. As a result, even though the protagonist is finally condemned to death, we come to remain with a meaning that is not simple.

필립 라킨: 여성혐오주의자인가, 예술의 사제인가?

권영탁 한국중앙영어영문학회 2007 영어영문학연구 Vol.49 No.4

When Philip Larkin died in 1985, his fame was great and his claims on literary immortality were considerable. But, with the publication of the Selected Letters of Philip Larkin by Anthony Thwaite in 1992 and his biography by Andrew Motion in 1993, opinion has been changed sharply. Larkin had become to be thought of as a misogynist, who was foul-mouthed, neurotic, and even addicted to pornography. But the relationship between Larkin's life and work is highly problematic and teasingly oblique. So, in order to understand Larkin’s dichotomy between his social life and his writing life, we should return to the rhetorical strategies which make his poems simultaneously self- revealing and self-protective. It is important to recognize that the attitudes towards women which he expressed in both letters and poems is not predatory, but defensive. He shunned all aspects of everyday life including women to procure the independence and freedom allowing him to devote himself only to art. All his life, he wanted to be a true writer, and this literary romanticism remained in lifelong creative conflict with the so-called misogynistic philistinism.