윌리암 제임스의 종교적 실용주의

류명걸 여수대학교 2002 論文集 Vol.17 No.-

God is from eternity complete, it says, and sufficient unto himself; he throws off the world by a free act and a an extraneous substance, and he throws off the world by a free act and as an extraneous substance, and he throws off man as a third substance, extraneous to both the world and himself. God alone is master of life and death, they say, and it is a blasphemous ant to anticipate his absolving hand. Mystical states of mind in every degree are shown by history, usually tho not always, to make for the monistic view. Faith means belief in something concerning which doubt is still theoretically possible; and as the test of belief is willingness to act, one may say that faith is the readiness to act in a cause the prosperous issue of which is not certified to us in advance. Religion was to him the supreme worth, and yet his conception of what constitutes religion was a virtual condemnation of a large part of that which passed in his time and still passes for religion, as being merely an attempt to include God and nest world in scheme of personal advancement and success. The essence of belief is the establishment of a habit, and different beliefs are distinguished by the different modes of action to which they rise. Belief in the soul was so far from being just an intellectual tenet that poignant emotion and the deepest and most vivid images of which man is capable centered about it. Belief is only a stadium of mental action, an effect upon our nature due to thought, which will influence future thinking. True beliefs become thus wayward affections, severed from all responsibility to other parts of experience. A philosophy is the expression of a mans intimate character, and all definitions of the universe are but the deliberately adopted reactions of human characters upon in. Philosophy was a telling of the story of nature after the style of all congenial stories, a story with a plot and climax, given such coherent properties as would render it congenial to minds demanding that objects satisfy logical canons. The essence of life is its continuously changing character; but our concepts are all discontinuous and fixed, and the only mode of making them coincide with life is by arbitrarily supposing positions of arrest therein. Life is continuous. Life covers customs, institutions, beliefs, victories and defeats, recreations and occupations. The return to life cant come about by talking. The word pragmatism spread, and at present it fairly spots the pages of the philosophic journals. since pragmatism is a doctrine about the meanings of intellectual concepts, it should, ideally, be established as a theorem of semiotics, the theory of sings. Pragmatism represents a perfectly familiar attitude in philosophy, the empiricist attitude, but it represents it, as it seems to me, both in a more radical and in a less objectionable from than it has ever yet assumed. A pragmatist turns his back resolutely and one for all upon a lot of inveterate.

프리드리히 니이체에 있어서 미론

류명걸 여수대학교 1997 論文集 Vol.11 No.1

The tragic is not nostalgic because it does not involve a search for some lost unity. For Nietzsche, the point of the rediscover dancing as af-firmation is good. Tragic art presents us neither with an ideal to be admired and emul-ated, nor with an avenue by means of which to escape all thought of the hard realities of life. The Birth of Tragedy in fact focuses on the necessity of the Appollonian palliation of the unbearable Dionysian reality. Whereas this doctrine of the Appollonian is immediately left behind, there is another form of refuge to which Nietzsche always flees. The pure Dionysiac art was music. Whereas the Apolline experience is found in the dream, the Dionysiac experience is characteristically that of intoxication. The dream has a form(the image): intoxication is by definiti-on formless. While these two principles are often found in opposition, in the highest instances of artistic creation they are brought together. For Nietzsche, it was Greek tragedy which represented the classical synthesis of these two principles. In the case of Dionysian art, on the other hand, the transformation from which it issues is of the experience of the inex-haustible, dynamic 'primal unity' that is 'beyond all phenomena and despi-te all annihilation', associated with such basic Dionysian states as intoxic-ation and orgisastic revelry. I want to turn now to the birth-of-tragedy thesis. To understand this we need to understand how "Apllolnian" and "Dionysian" so for con-sidered as attributes of consciousness, are applied to art. The important point to observe here is that Nietzsche accepts Schopanhauer's radical di-chotomy between music and the nonmusical arts. The Dionysian is fund-amental. The Apollinian is a mode of representation of the Dionysian that allows human beings to have a grasp of the Dionysian in a bearable or intelligible form. This was the case before the human era. and it can be the case again if the intimations of Dionysian process are not screened out by the filter of rationality. The Dionysian recognition that everything is transitory and that all seemingly fixed truths are illusions can only be hin-ted at, or indirectly represented, in Apollinian form.

하르트만에 있어서 美論

류명걸 여수대학교 1998 論文集 Vol.13 No.1

There was only one revolution in Hartmann's thinking. This was the revolution against the Neo-Kantian idealism of his philosophical youth. It must have been a matter of profound travail for him, even though he was undoubtedly helped by certain select aspects of Husserl's phenomenology, in particular its platonizing intuition of essences and experience. The distinction between the two modes of being and between the several strata within each mode were related by Hartmann to the traditional three modalities of possibility, reality, and necessity. Originally these are ontological modalities : it is beings that are possible, real, or necessary. The epistemic aporias are essentially ontic aporias, for both object is not exhausted in its being an object of a subject. Like a nocturnal thief caught in a sudden glare of light, it emerges out of an unredeemably trams objective and metarational background, a background that is in part beyond any human cognition, even beyond any possible sort of cognition. By seeing both subject and object as Ansich-seiende, Hartmann believed himself to have discovered that they are ultimately members of an matrix and context of being. Hartmann's value realism, as well as his pro-scientific persuasions and his empirically colored ontology, makes his proximity to atheism quite understandable. A theory of beauty in Hartmann will be evaluated in presentation and being.

Digital subtraction radiography를 이용한 치조골 변화의 정량적 분석

류명걸,정현주 전남대학교 치과대학 1994 전남치대논문집 Vol.6 No.1

Various efforts have been made to assess the subtle alveolar bone changes and digital subtraction radiography has been reported to be the best method in evaluating it qualitatively and quantitatively. The present study was performed to estimate the detectable alveolar bone change quantitatively by using digital subtraction radiography. For the in vitro study, intraoral standard radiographs were taken from porcine dry mandible. A rectangular cortical bone chip with the thickness of 0.1㎜ to 1.0㎜ thickness having a 0.1㎜ increment was attached on the buccal surface. The radiographs with bone plates and without were reviewed at the same time by 10 observers and asked to detect the presence of the coritcal bone plates. The radiographs without bone plates were subtracted from the radiograph with bone plates by using the image processing system (digital converter-256 grey-levels, DT 2851, Data Translation Co., U.S.A. ; IBM 386 ; CCD camera, FOTOVIX, Tamrom Co., Japan). The subtraction images were reviewed subsequently by same observers. The detectable thickness of the cortical bone plate was 0.4㎜ on the intraoral radiograph and 0.2㎜ on the subtaction images. For the human study, radiographs were taken from patients by using a intraoral film holding device and a aluminium reference wedge before treatment and 3 months after bone grafting and 1 week after osteoplasty. The grey level change was estimated in the subtraction images and converted to the thickness of aluminium. The amount of alveolar bone change was 1.87㎜ aluminium thickness equivalent in the grafted sites and -1.49㎜ aluminium thickness equivalent in the osteoplaty sites. In conclusion. The digital subtraction radiography was more effective in detecting a subtle change of the alveolar bone than the intraoral radiography. The quantitative analysis of the digital subtraction radiography can be aid in the estimation of the alveolar bone resorption or opposition during diagnosis and treatment of periodontally diseased patients.

크로체에 있어서 미학적 표현주의 이론

류명걸 여수대학교 1999 論文集 Vol.14 No.1

Intuition is blind: intellect lends her eyes in Croce. By intuition is frequently understood perception, or the knowledge of actual reality, the apprehension of something as real. Certainly perception is intuition. Intuition is the undifferentiated unity of the perception of the real and of the simple image of the possible. In our intuitions we do not oppose ourselves as empirical beings to external reality, but we simply objectify our impression, whatever they be. Intuition has sometimes been confused with simple sensation. Every true intuition or representation is also expression. The spirit only intuition from expression never succeeds in reuniting them. Intuitive knowledge is expressive knowledge. Art is intuition ; but intuition is not alway art : artistic intuition is a distinct species differing from intuition in general by something more. Art is expression of impression, not expression of expression in Croce. There is but one Aesthetic, the science of intuitive or expressive knowledge, which is the aesthetic or artistic fact. Illusion and hallucination have nothing to do with the calm domain of artistic intuition. Aesthetic expression is synthesis, in which it is impossible to distinguish direct and indirect. All impressions are placed by it on a level, in so far as they are aestheticize. Expression has its point of departure in the impression, and the physiological path by which these have found their way to mind is to it altogether indifferent. The old expressions must descend again to the level of impression, in order to be synthesised in a new single expression. All this world is intuition. Intuition gives us the world, the phenomenon; the concept gives us the noumenon, the Spirit.

헤겔이 있어서 미론(美論)

류명걸 여수대학교 1998 論文集 Vol.12 No.1

In Hegel, aesthetics is equated with the philosophy of art. Hegel places Art in the sphere of absolute Spirit, togeter with Religion and Philosophy, and in this he regards Kant, Schiller, Schelling and Solger as his precursors, for like them he strongly denies that art has the function of representing the abstract concept, but not that it represents the concrete concept or Idea. Hegel's whole philosophy consists in the affimation of a concrete concept unknown to ordinary or scientific thought. The beautiful is the manifestation of the Idea. Art is the ideal, a particular idea. Under the gaze of the artist the body becomes subtilized until it is nothing but the shadow of the soul, a beautiful veil. The world of poetry is peopled with phantasms : and the poet, eternal dreamer, with the eyes of one slightly intoxicated sees bodies float unsteadily around him and change their shapes. Art is treated as an inferior or imperfect philosophy, an imaginous philosophy, contradictory in the inadequacy of its form to its content, philosophy, alone being able to dissolve the contradiction. Hegel, who inclined to identify the philosophic system and dialectic of the categories with real history, arrived in this manner at his famous paradox which asserts the mortality of art as a form no longer satisfying to the highest mental interest of the modern age. Natural beauty, which reveals itself to a pure heart when contemplating any object untouched and unspoiled by the hand of man, asserts itself for this reason as immeasurably superior to any work of art. The Idea is the content of art : its sensible and imaginative configuration : its form : two elements which must interpenetrate and form a whole, hence the necessity that a content destined to become a work of art should show itself capable of such transformation : otherwise we have but an imperfect union of poetic form with prosaic and incongruous content.

Digital subtraction radiography를 이용한 치조골 변화의 정략적 분석

류명걸,정현주,Ryue, Myung-Girl,Chung, Hyun-Ju 대한치주과학회 1995 Journal of Periodontal & Implant Science Vol.25 No.1

The progress of periodontal disease and the wound healing process after treatment result in alveolar bone bone change. So, detection of it is very important in the diagnosis and the radiograph of periodontal disease. Various effects have been made to assess the subtle alveolar bone change and digital subtraction radiography (DSR) has been reported to be the best method in evaluating it qualitatively and quantitatively. The present study was performed to estimate the detectable alveolar bone change qualitatively with digital subtraction radiography. For the in vitro study, 10 intraoral standard radiographs were taken from porcine dry mandible which a rectangular cortical bone chip of 0.1mm to 1.0mm thickness with 0.1mm increment was attached on the buccal surface. The radiographs without and with bone plates were reviewed at the same time by 10 observers and requested to detect the presence of cortical bone plates. Digital Subtraction radiograph was reviewed subsequently by using the DSR system(digital converter-256 grey-levels,DT 2851,Data Translation Co., U.S.A;IBM 386 ; CCD camera, FOTOVIX, Tamrom Co., Japan). The detectable thickness of cortical bone plate was O.4mm on the intraoral radiograph and 0.2mm on the subtaction images. For the human study, radiographs were taken from patients by using intraoral film holding device and aluminum reference wedge before and 3 month after bone graft and 1 week after osteoplasty. The grey level change was estimated in the subtraction images and calculated to aluminum equivalent thickness. The grey level of the grafted site was higher that that of healthy controls. Average grey levels of change on healthy controls were O.48mm aluminum equivalent. However, the amount of changes in grafted sites were 1.87mm aluminum thickness equivalent and in the site of osteoplasty were -1.49mm aluminum thickness equivalent. In conclusion, digital subtraction radiography was more effective in detecting as subtle change of alveolar bone than intraoral standard radiography. With the aid of quantitative analysis of digital subtraction radiography, alveolar bone resorption of apposition can be estimated during diagnosis and treatment of periodontally diseased patients.

쇼펜하우어에 있어서 살려고 하는 의지의 미(美)

류명걸 여수대학교 1999 論文集 Vol.14 No.1

The beauty in Schopenhauer is a representation of the will-to-live. How aesthetic nature is! Every little spot entirely uncultivated and wild, in other words, left free to nature herself, however small it may be, if only man's paws leave it alone, is at once decorated by her in the most tasteful manner, is draped with plants, flowers, and shrubs, whose easy unforced manner, natural grace, and delightful grouping testify that they have not grown up under the rod of correction of the great egoist, but that nature has been freely active. Every neglected little place at once becomes beautiful. On this rests the principle of English gardens, which is to conceal art as much as possible, so that it may look as if nature had been freely active. For only then is nature perfectly beautiful, in other words, shows in the greatest distinctness the objectification of the will-to-live that is still without knowledge. But all the arts speak only the native and childlike language of perception, not the abstract and serious language of reflection; their answer is thus a fleeting image, not a permanent universal knowledge. Thus for perception, every work of art answers that question, every painting, every statue, every poem, every scene on the stage. Music also answer it, more profoundly indeed than do all the others, since in a language intelligible with absolute directness, yet not capable of translation into that of our faculty or reason, it expresses the innermost nature of all life and existence. Every work of art really endeavors to show us life and things as they are in reality; but these cannot be grasped directly by everyone through the mist of objective and subjective contingencies. Art takes away this mist. Aesthetic satisfaction everywhere rests on the apprehension of a (Platonic) Idea. For architecture, considered only as fine art, the Ideas of the lowest grades of nature, that is, gravity, rigidity, and cohesion, are the proper theme, but not, as has been assumed hitherto, merely regular form, proportion, and symmetry. Our pleasure in the tragedy belongs not to the feeling of the beautiful, but to that of the sublime; it is, in fact, the highest degree of this feeling. For, just as at the sight of the sublime in nature we turn away from the interest of the will, in order to behave in a purely perceptive way, so in the tragic catastrophe we turn away from the will-to-live itself. Thus in the tragedy the terrible side of life is presented to us, the wailing and lamentation of mankind, the dominion of chance and error, the fall of the righteous, the triumph of the wicked; and so that aspect of the world is brought before our eyes which directly opposes our will.

칸트에 있어서 미(美)의 분석

류명걸 여수대학교 1998 論文集 Vol.13 No.1

Kant's Critique of Judgement. when analysed in its single parts, as has been undertaken by scholars recently, seems to contain nothing or next to nothing that was new : and yet it is all new, and has caused all those precedent treatises which Kant knew and utilized to fall into oblivion. The newness consists in the critical and philosophical vigour with which Kant works up and elevates that confused and fluctuating mass into powerful concepts and systematicity. Aesthetic pleasure arises from the spirit's consciousness of discovering itself in the sensible. The sublime is that species of beauty wherein the formal moment of circumscription is lost, and is therefore the unlimited, which is a kind of extensive or intensive infinity ; the tragic arises when the harmony is not given but is the result of conflict and development ; the comic is a relation of the small to the great. Kant appealed to the analogy of a speaking man, and classified the arts according to speech, gesture and tone as arts of speech, figurative arts, and arts producing a mere play of sensations (mimicry and colouring). Kant, by marking beauty consist in a symbolism of morality, failed to grasp the concept of an imaginative absoluteness of taste. Succeeding generations of philosophers met the difficulty by passing it over in silence. According to Kant, art is not pure beauty wholly detached from the concept, it is adherent beauty, which presupposes and attaches itself to a concept. This is the work of genius, the faculty of representing aesthetic ideas. An aesthetic idea is a representation of the imagination which accompanies a given concept ; a representation conjoined with such truthful representation of particulars as to be unable to find for it any expression that may make a determinate concept, thereby endowing the given concept with something of the ineffable ; a feeling which stimulates the cognitive faculties and reinforcing the tongue, which is simply the letter, with the spirit. He says that sensations only enter the spirit when the latter itself given them form ; a form not identical with that which intellect gives to sensations, but much simpler, namely pure intuition, the totality of the a priori principles of sensibility. A mysticism without conviction or enthusiasm, almost in spite of himself, but very evident nevertheless. His inadequate grasp of the aesthetic activity led him to see double, even triple, and caused the unnecessary multiplication of his explanatory principles. Aesthetic certainty is subjective ; it is content with authority, i.e. the citation of the opinions of great men. Aesthetic perfection is the vehicle for logical perfection ; taste is the analogue of intellect. There are logical truths which are not aesthetic truths beauty, in Kant's theory, is ultimately a symbol of morality.

흡기 매니폴드 PCV Icing 및 분배 특성 평가

류명걸(Myungkeol Ryu),최택진(Taekjin Choi),김동수(Dongsoo Kim),이문식(Moonsig Lee),김태훈(Taehoon Kim) 한국자동차공학회 2011 한국자동차공학회 부문종합 학술대회 Vol.2011 No.5

The target of developing engine get to improve the fuel economy and performance. An engine intake manifold is optimized by plenum shape, primary and secondary length, port diameter, mass flow rate in the cylinder chamber, etc. Intake manifold also has safety factor for PCV icing and distribution. If the icing is occurred in vehicle, it may give rise to serious accident caused by trouble of break booster, reduction of speed, etc. It becomes more and more important for base intake manifold distribution. AFIM(Air Fuel Imbalance Monitor) function is expected to be implemented in the year 2014 OBDII. Intake manifold imbalance is due to manifold leak, fuel injector trouble, cam position trouble, etc. This paper describes how to check the PCV icing at vehicle and distribution at engine dynamometer and how to improve PCV icing problem.