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장선주(Seon-Ju Jang),김규석(Kyu-Seok Kim) 한국컴퓨터정보학회 2013 한국컴퓨터정보학회 학술발표논문집 Vol.21 No.1
현대사회는 기술의 발전으로 우리가 의식하지 않아도 모든 사물과 사람이 통신을 하는 시대로 바뀌고 있다. 이런 기술을 Internet of things 줄여서 IoT라고 부른다. IoT기술의 핵심은 인간의 개입 없이 모든 사물들이 상호 협력적으로 센싱, 정보 처리 등을 수행한다는 점이다. 본 논문은 IoT기술의 지속적인 발전과 함께 기술의 실현을 위해서 필요한 시스템을 제안한다.
발터 벤야민, 칼 슈미트, 『햄릿』-"주권"사상을 중심으로
장선영 ( Seon Young Jang ) 한국현대영어영문학회 2015 현대영어영문학 Vol.59 No.1
This paper interrogates how different Benjamin’s concept of sovereignty in The Origin of German Tragic Drama is from Schmitt’s one in Political Theology, under the assumption that their formation of sovereignty has developed from the interrelation with each other. Besides, it investigates Benjamin’s interpretation of Hamlet which he regards as belonging to the category of trauerspiel like German baroque drama, and Schmitt’s Hamlet or Hecuba in which Schmitt argues that Hamlet is the tragedy, not the trauerspiel. Thus, this paper makes an inquiry into how Benjamin and Schmitt’s evaluations of Hamlet as the trauerspiel and the tragedy are influenced by their different construction about the sovereignty. Benjamin, accentuating the sovereign’s undecidability, his creaturely status, and the melancholy, elucidates Hamlet’s characteristic as Trauerspiel as traced in the factors such as the ghost’ existence and Hamlet’s death. He also compliments Hamlet’s capacity to manifest the Christian sparks that German baroque drama cannot accomplish. On the other hand, Schmitt, elaborating the source of the tragic in Hamlet as found in ‘the Taboo of the Queen’ and ‘the Hamletization of the Avenger’, argues that these genuine intrusions, exceptional to the representation of historical facts in the art, elevates the play of Hamlet to the tragedy. Schmitt’s reasoning of Hamlet’s elevation to the tragedy has in common with his logic of the sovereignty when he states that the sovereign is the one that decides on the state of exception.(Kongju National University)
장선주(Seon-Ju Jang),김규석(Kyu-Seok Kim) 한국컴퓨터정보학회 2013 한국컴퓨터정보학회 학술발표논문집 Vol.21 No.1
우리가 일반적으로 인터넷을 많이 사용하는 디바이스는 컴퓨터가 대표적이었지만 최근에는 스마트 폰을 비롯해서 센서, 자동차, 카메라 등 각종 디바이스를 비롯한 다양한 사물들이 인터넷에 연결되고 있다. 각 구성요소 간의 보안 메커니즘 차이, 시스템의 다양성 문제로 새로운 프로토콜의 필요성이 대두되는 가운데 본 논문은 새로운 IoT환경에서 적용 가능한 통신 프로토콜을 제안한다.
모바일 RFID 기반의 안전하고 효율적인 도서대출시스템 설계
장선주(Seon-Ju Jang),김규석(Kyu-Seok Kim) 한국컴퓨터정보학회 2013 한국컴퓨터정보학회 학술발표논문집 Vol.21 No.1
현대사회가 언제 어디서나 정보를 주고 받는 유비쿼터스 사회로 변화하면서 센싱기술, 통신기술, 서비스 기술 등을 이용하여 우리가 볼 수 있는 모든 사물을 사람과 통신 가능하게 해주는 IoT기술이 부각되고 있다. IoT는 일반적으로 사람의 관여 없이 사물 간에 이루어지는 통신을 뜻하는 것으로 국내에선 개념적으로 USN기술과 흡사하다. 본 논문에서는 USN 분야 중 하나인 모바일 RFID 기술을 이용한 도서 대출 시스템을 제안하고 무선으로 정보를 주고 받는 모바일 RFID의 특성을 고려하여 태그와 리더 간의 인증 프로토콜을 제시한다.
프로이드와 라깡의 『리어왕』 해석을 경유한 『리어왕』의 ‘수치감’ 읽기
장선영(Seon Young Jang) 한국셰익스피어학회 2011 셰익스피어 비평 Vol.47 No.4
This paper first investigates the psychoanalytic meaning of ‘shame’, then reviews Sigmund Freud’s and Jacques Lacan’s interpretations of King Lear to figure out how is relevant this ‘shame’ to Shakespeare’s King Lear. Is ‘shame’ the same as ‘guilt’? Guilt has to do with the ‘Other’ that represents certain values by which it can determine the subject’s transgression of rules, whereas shame, with the primary ‘Other’ which precedes the judging ‘Other’. Freud, in The Theme of Three Caskets, compares three men’s choosing the caskets, gold, silver, and lead in The Merchant of Venice to Lear’s choosing the ‘right’ one among three daughters, Goneril, Regan, and Cordelia in King Lear. The ‘right’ or ‘real’ woman is third daughter, Cordelia whose response, “Nothing” to Lear’s test of love is characterized by “concealment” and “dumbness” like lead. Cordelia’s answer is contrasted to Goneril and Regan’s ones, like gold and silver, which shine with compliments for their father. Cordelia’s “concealment” and “dumbness” also indicate “death” as “dumbness” in a dream normally symbolizes “death”. Cordelia’s “Nothing” which is ‘death’ is ‘shame’ that causes a ‘lack’ in Lear’s being. Lacan argues in The Ethics of Psychoanalysis we should not neglect the moment between when Oedipus becomes blind and when Oedipus is real dead. What Oedipus shows in this middle time is ‘shame’, not ‘guilt’. Oedipus has never expressed ‘guilt’ over what he did, his murdering his father and sleeping with his mother. He did all these things without any knowledge of them. However, though he is not guilty over his doing, it does not mean that he does not feel any responsibility about his act. This responsibility which is incalculable, indicates ‘shame’. Lacan argues that Lear’s entrance into human sufferings after handing over all his wealth and reign to his descendants resembles Oedipus’s tragic experience though Lear still misrecognizes ‘the thing’, Cordelia held in his arms. This leads Lacan to insist that Lear delineates Othello’s crossing over into the ethical space in a ‘derisory’ form. It means certainly that Lear’s shame is not only implicated with Cordelia, ‘the thing’ as Lacan calls, but also is Lear’s shame restricted in that he is not free from his infantile fantasy for his daughter, Cordelia until the end. He does not fully acknowledge Cordelia as his shame, demanding his infantile need to be satisfied with his daughters. There are some moments, nevertheless, when Lear admits his shame as his own, though temporarily, as seen in his dialogue with Edgar and the Fool in Act 3, scene 4. However, because he does not cease giving up his infantile fantasy, his shame still has limitation. Lear’s shame is compared to Gloucester’s one which is unfolded in a different way from Lear’s shame. Gloucester demonstrates a shame in a profound way like Oedipus did, though his blindness and death are each caused by other people and external condition like physical weakness in contrast to Oedipus’s subjective posture.