노상토 및 보조기층 재료의 변형특성

송창섭,임성윤,Song, Chang-Seop,Lim, Seong-Yoon 한국농공학회 2010 한국농공학회논문집 Vol.52 No.3

It is very important to select carefully backfill materials and build for the structural integrity of abutment in bridge. In general, backfill materials of unbound crushed stones (SB-1) are used to provide the safety of abutment structure and to reduce differential settlement around abutment that is significantly related with performance of road pavement under working conditions. In this study, to evaluate the compatibility of backfill materials at abutment and to develop the abutment design program, i) basic properties of subgrade soils in Korea, ii) evaluation of deformational characteristics of backfill materials from RC/TS tests, cyclic TX tests and Creep tests were accomplished.

미끄럼 방지 제동장치용 솔레노이드 밸브의 모델링에 관한 연구

송창섭,양해정,Song, Chang-Seop,Yang, Hae-Jeong 한국정밀공학회 1995 한국정밀공학회지 Vol.12 No.12

Anti-lock Brake System has been developed to reduce tendency for wheel lock and improve vehicle control during sudden braking on slippery road surfaces. This is achieved by controlling the braking pressure avoiding wheel lock, while retaining handling and brake performance. This paper is concerned about characteristics of a solenoid valve in hydraulic modulator for controlling brake pressure. First, it was modeling the electromagnet by the permeance method. Second, it was modeling the commercial Maxwell poackage program. And then, a experiment was performed in order to justify modeling. The result of modeling coincided with teh result of experiment and commercial packabe program. As a result, these modelings will be able to use in analysis of dynamic character- istics of the solenoid valve for braking.

『오델로』의 텍스트와 주체의 욕망 또는 비극(Ⅰ)

송창섭(Chang-seop Song) 한국셰익스피어학회 2000 셰익스피어 비평 Vol.36 No.3

Starting from the close examination of 2nd and 3rd editions of the Arden Othello, this paper aims to recover Shakespeare's original intention in Act 4, scene 2, line 65 of Othello, which, if referred to a good number of certain modem editions, has been lost since Lewis Theobald's questionable emendation in 1733. Readers and editors have to rely on their aesthetic criterion and judgment in order to make a decision on Shakespeare's intention, since there remains no material evidence except Ql and FI to verify Theobald's change of QI and FI's T to 'Ay' in Othello's speech. If, on the one hand, we follow Qt, F1 and the Arden 2's reading the line with 'I,' Othello is understood to be not only condemning Desdemona but also self-conscious of his own ambiguous identity; on the other, if we adopt Theobald and the Arden 3's reading, Othello should be understood to be separating his pure self from the catastrophic occasion and solely denouncing Desdemona for her illicit relationship with Cassio. In reading the line in question and deciding whether Shakespeare's intention was 'I' or 'Ay,' psychoanalysis is particularly useful to read deeply into Othello's desire of Desdemona, which, at the moment in question, is split into'!' and 'a different I' insofar as Desdemona's image is looked upon as split into a pure one and a contaminated one. If we are able to produce a coherent interpretation of Othello's psychology in depth, there is no need to emend QI and FI's 'I' to 'Ay,' making Theobald's emendation to 'Ay' quite unnecessay, although it has been accepted by most of the modem editions of Othello.

문학과 자본의 안과 밖: 카라따니 코오진의 『근대문학의 종언』

송창섭 ( Chang Seop Song ) 영미문학연구회 2007 안과 밖 Vol.0 No.22

한국영문학 속의 비교문학, 비교문학 속의 한국영문학

송창섭(Chang Seop Song) 한국영미문학교육학회 2005 영미문학교육 Vol.9 No.2

The crisis of English studies and education in Korea stems from the confusion of both scholars and students about center and peripheries. Doing English in Korea, 'I' is no doubt geographically located in Korea. 'I,' however, tends to look upon his unconsciously colonized self as the other of Anglo-American subjectivity, with English operating as the geographical center, not peripheries, of the 'I' located in Korean territory and culture. This paper proposes to introduce the idea of comparative literature into the curriculum, comparative literature here being confined and geared to the comparison between English and Korean literatures and cultures. It is apparent that no matter how 'I' struggles to approach English arguably from a nationalistically-oriented mind, the object of Korea's English studies cannot be changed from English to Korean literature. When included in the curriculum, however, comparative literature as a subject expands the object from one to two, say, from English to English and Korean literatures, two literatures and cultures equivalently competing with each other for symbolic hegemony at least in an educational point of view. The comparative analysis of Doris Lessing's ""Our Friend Judith"" and Oh Jung Hee's ""Paroho(破虜湖)"" is presented as a case study in which Freud's male-centered psychoanalytic idea of ""uncanny"" is both accommodated and defied, defied partially by Lessing, and, defied much in a larger scale by Oh Jung Hee. Comparative literature can be a new point of departure to cope with the problems deeply rooted in Korea's English studies and education.

『햄릿』의 정치적 무의식과 텍스트 편집 - 4막 5장 106행의 아포리아

송창섭(Chang Seop Song) 한국셰익스피어학회 2008 셰익스피어 비평 Vol.44 No.3

In the field of the textual criticism on Hamlet, a minor crux in a line had been quite controversial for some time in the past; the line in question reads: "The ratifiers and props of every word"(4.5.106). In Hamlet, this is the moment when the Messenger reports to Claudius about the imminent attack of the plebeians who desire to overthrow Claudius's kingship. The Messenger's psychic state is complicated; he not only has to be careful not to offend Claudius's rulership but also is unable to conceal the rush of the plebeians as it will be shortly attested to Claudius. Helplessly split between the presence of Claudius and the forces of the approaching plebeians, the line 106 refers either to 'antiquity and custom'(105) or to 'they'(107). If referring to the former, the utterance looks conservative: the lawless plebeians are going to overthrow the kingdom, its order being represented by 'antiquity and custom.' If referring to the latter, however, the speech turns out to be revolutionary: 'They,' the plebeians as 'the ratifiers and props of every word,' are challenging against the supposedly absolute kingship of Claudius's. Thinking this difficult question of reference irrelevant to the speech of such a minor character as the Messenger, Lewis Theobald in the 18th century attempted to emend "word" to "ward(security)," yet without any textual evidences from Quartos or Folios. Letting the "word" stand as it is, since then, the modem editions of Hamlet took either the former or the latter reading to be correct, each revealing one's own conservative or radical political outlook. Harold Jenkins, the editor of the second series Arden Hamlet, seems to have been especially provoked as to his political (un)conscious, since he went so far as to insert dash signs into the line to stress that the line obviously refers 10 'antiquity and custom.' The Jenkins-like scrupulousness, however, should be thought unnecessary if Shakespeare himself had been originally undecided of his authorial intention.

"Dissembling" Self (Ⅰ) : The Lexico-Political Significance of "Dissembling" in Richard Ⅲ

Chang Seop Song(송창섭) 한국셰익스피어학회 2009 셰익스피어 비평 Vol.45 No.1

리처드 3세는 도덕적으로는 혐오스럽지만 극적인 관점에서는 매력적인 캐릭터이다. 이러한 이중성은 『리처드 3세』의 정확한 해석과 평가를 교란시키는 원인이다. 『리처드 3세』에 대해 채택되는 비평적 관점이 일반적으로 리처드의 특이한 이중성을 해명하는데 혼선에 빠지기 때문이다. 본고는 리처드의 이중성을 우선 언어적 관점에서 접근한다. 『리처드 3세』에서 베일에 가려진 리처드의 실체를 접근하는 데 주목할 만한 언어단위는 바로 셰익스피어 자신도 그것을 활용하는 데 있어서 미묘한 혼선을 빚고 있는 동사 “to dissemble”이다. 이동사는 셰익스피어가 작품 활동을 하던 당시를 전후해서 흥미로운 변화를 겪은 것처럼 보인다. 이 당시에 “dissemble”이 원래 타동사적 용법에서 자동사적용법으로 전환되고 있었기 때문이다. 일차적으로 자신의 의도를 숨기고 나 바깥의 대상을 모방한다는 의미의 “dissemble”은 타동사적으로 이해할 때 숨김과 모방의 대상이 밝혀지는 순간, 숨기는 행위가 종결되는 한편 더 이상의 가식적인 행위는 무의미해진다. 그런데 이차적으로 “dissemble”을 자동사적으로 이해하면 숨김과 모방의 대상은 ‘나’와 타자 모두한데 결코 그 베일이 걷히지 않는다. 동사 “dis-semble”에서 접두사 “dis-”는 부정의 뜻 이외에 “apart-, asunder”의 뜻도 갖고 있듯이 주체가 사실상 속으로 숨기고 겉으로 모방(-sembler)하는 대상으로부터 자신의 내면을 ‘분리’시키는 행위가 지속되는 경우에만 “dissemble”의 의미가 역설적으로 온전하게 성립하는 것이다. 『리처드 3세』에서 리처드가 겉으로 모방하는 대상은 기독교적 자아이고 속으로 숨기는 의도는 이상적 자아에 대한 욕망이다. 리처드는 겉으로 기독교적 자아를 모방하면서 내면적으로는 모방된 자아로부터 자신을 분리시킴으로써 기독교의 강압적 이념에 대한 관중의 반감을 유도하거나 대리적으로 배출시킨다. 다른 한편 신체적으로 기형적인 리처드의 이상적 자아에 대한 욕망은 “태양”(sun), “거울”(mirror), “그림자”(shadow) 등의 기표를 통해 변증법적으로 형상화된다. 이는 단순한 정신분석학적 범주를 넘어 가는 바, 영국 르네상스기 자아의 저항성을 허구적인 차원에서 재현하는 모델 역할을 한다.

비례전자식 유량제어밸브의 해석에 관한 연구

송창섭(Chang-Seop Song),윤장상(Jang-Sang Yoon),서종범(Jong-Beom Suh) Korean Society for Precision Engineering 1993 한국정밀공학회지 Vol.10 No.1

ISC 밸브용 테이퍼 플런저형 비례전자석에 관한 연구

송창섭(Chang-Seop Song),이태형(Tae-Hyeong Lee),윤장상(Jang-Sang Yun) Korean Society for Precision Engineering 1993 한국정밀공학회지 Vol.10 No.3

A Study on the Computer-aided Control of the Blankholder Force in the Deep Drawing Process

Chang-Seop Song(송창섭),Daeyong Lee(이대용) Korean Society for Precision Engineering 1987 한국정밀공학회지 Vol.4 No.1