Gerbil의 전뇌허혈 모델에서 허혈증 경도 저체온에 의한 뇌의 Apoptosis 억제 효과

최승필,박규남,유지영,박승현,오동렬,이원재,천영호,김세경 대한응급의학회 2001 대한응급의학회지 Vol.12 No.1

Background: A brief episode of global forebrain ischemia produces selective and often extensive neuronal loss in several vulnerable brain structures. This cell death does not occur immediately, but is delayed for hours to days. This process is termed delayed neuronal death (DND). Recently, several reports have suggested that an apoptotic process may be involved in DND. The most effective treatment at present is intraischemic hypothermia. Thus, we designed this study to investigate whether intraischemic mild hypothermia could inhibit apoptosis following transient forebrain ischemia in gerbils. Methods: Twenty-four gerbils were divided into two groups based on intraischemic rectal temperature: 34℃(n=12) and 37℃(n=12). Two additional gerbils underwent a sham operation. Cerebral ischemia was produced by occluding both carotid arteries for 10 minutes. The DNA fragmentation in the gerbil hippocapal CA1 area was determined by using the TUNEL method, and the results for the normothermic and the hypothermic groups were compared at 1, 3, and 7 days following 10-min transient ischemia (n=4 for each time point, respectively). Results: 1. Percent dead hippocampal neurons were significantly decreased in the hypothermic group compared with the normothermic group at 1,3, and 7 days following transient ischemia (p$lt;0.05). 2. In the intraischemic normothermic group, TUNEL positive cells were first detected in the hippocampal CA1 at 3 days (1.9±0.6 cells/section), and the number was larger at 7 days following transient ischemia (127.8 ± 16.3 cells/section). 3. In the intraischemic hypothermic group, no TUNEL positive cells were detected in the hippocampal CA1 at 1,3, and 7 days following transient ischemia. Conclusion: The data suggest that delayed neuronal death following transient ischemia is, in part, apoptotic and that intraischemic mild hypothermia affords significant neuronal protection and prevents DNA fragmentation.

Flann O'Brien의 At Swim-Two-Birds의 구조와 특징

최승필 단국대학교 1996 論文集 Vol.30 No.-

This is a thesis on the structure and peculiarities of Flann O'Brien's At Swim-Birds which is known as one of the most famous postmodernist novels. The reputation of At Swim-Two-Birds has developed since it was first published in 1939, it made no impact then, but after the book was reprinted in 1960 it attracted growing circle of admirers and most critics came to appreciate it one of the masterpieces of English fiction. This is a study on the general characteristics and poetics of metafiction, especially on the aspects of fragmentation and collage and the poetics of Chinese box style structure. Most postmodernist writers repudiates the metanarrtives and totality; they believe that no one can any longer grasp what is going on in a society as a whole. So rejecting totality postmodernists stress fragmentation of time, of human subjects, of structure of fiction, of society itself. As Ronald Sukenick said, reality doesn't exist, time doesn't exist, personality doesn't exist. Now no one knows the plot. Life and fiction are no longer distinguishable one from the other and if we agree that life is never linear, that life is chaos because it is never experienced in a straight, chronological line, than linear and orderly narration is no longer possible. The plot having disappeared it is no longer necessary to have the events of fiction follow a logical, sequential pattem. Fragmentation, pastiche and collage take the place of sequential plot, and become the peculiarities of postmodernist fiction. While modernist text may have worked to combat the imposition of single, authoritative meaning, postmodernist metafiction tends more to play with the possibilities of meaning and of form. At Swim-Two-Birds is a metafiction ―a novel about writing a novel―in which both the process and the form are examined. Metafiction is fiction about fiction―that is fiction that includes within itself a commentary on its own narrative. This novel epitomised a phase of the postmodernist concern about the novel form―that is Chinese box metafiction or mise-en-abyme technique, and it did so in a radical, parodical way. In fact, the work is a kind of metafictional mise-en-abyme. Within that outer big frame there are multiple inner small frames, created by different narrative voices which revolt against it. This is the parody of Chinese box mise-abyme form. What the formalists called 'defamiliarization' is at work in this metafictional parody. The laying bare of literary devices in metafiction brings to the reader's attention those formal elements of which, through over-familiarization, he has become unaware. Through his recognition of the backgrounded material, new demands for attention and active involvement are brought to bear on the act of reading.

경제적 규제에 있어 중앙정부와 지방자치단체 간 협력과 역할

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

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.

동북아 금융중심지 조성을 위한 법·제도적 과제 : 금융규제법적 측면을 중심으로

최승필 은행법학회 2008 은행법연구 Vol.1 No.1

한국, 중국, 일본을 중심으로 한 아시아 국가들의 경제성장과 금융자금의 조성 등으로 인하여 최근 런던, 뉴욕 등이 아닌 아시아 지역 특히 동북아 지역에 서의 금융중심지(허브)의 조성 및 유치가 동북아 국가들간에 관심으로 등장하였 다. 본래의 의미로서 허브란 원모양의 중심부에서 주변부로 뻗어나가는 모양을하는 원 구조를 이야기하는 것으로 오늘날 금융분야에서는 중심지로서의 의미를 갖는다. 이와 같이 소위‘금융허브’로 불리는 금융중심지는 세계 각지의 자금을 유치하고 이를 운용하여 수익을 냄으로써 제조업에 비해 월등한 부가가치 창출 력을 가지고 있으며, 이외에도 국내 금융산업의 경쟁력 강화, 고용창출, 안정적 조세기반의 창출, 투자유치를 통한 성장동력의 제고라는 점 등 많은 이점을 가 지고 있다. 따라서 기존 금융허브인 홍콩, 싱가포르를 포함한 많은 국가들이 금 융중심지 육성 및 조성 정책을 국가전략 차원에서 펼쳐나가고 있다. 금융중심지 육성을 바라보는 시각에는 두 가지 면이 존재한다. 하나는 국내 적인 파이를 키워 외국의 금융기관과 경쟁할 수 있는 규모를 만들고 대형화된 이들 금융회사들이 수행하는 투자업무들이 선순환을 통해 더 큰 국제금융중심지 를 만들어 내는 측면이며 다른 하나는 외국금융회사들이 손쉽게 국내에 지점 혹 은 현지법인을 설립하여 진출할 수 있는 여건을 조성함으로써 해외자본이 유치 되고 이를 운용할 수 있는 각종 인프라들이 구축됨으로써 국제금융시장이 조성 되는 측면이다. 그러나 종국적으로는 양자 역시 상호의존적으로 기승(騎乘)작용 을 일으켜야만이 진정한 의미의 국제금융의 중심지 기능을 할 수 있기 때문에 금융중심지 추진전략은 이 두 가지 양면에서 접근해야 할 사안이다. 우리나라의 금융중심지 조성 전략은 지난 2004년부터 3단계의 추진 로드 맵 하에 추진되고 있으며, 지금은 2단계가 시작하는 시점으로 그동안 미진한 과 제도 있었지만, 달성한 과제 역시 상당수 있어 달성과제에 대한 평가와 미진과 제에 대한 법적 과제를 일견해 보는 기회를 갖는 것도 의미있는 일이라고 생각 한다.1) 따라서 본고에서는 우리나라의 금융중심지 추진전략을 이행 및 향후 과 제에 대해 금융규제법적 측면을 중심으로 법제도적 문제점들을 고찰해 보고자 한다.

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.

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

이동성 장치에서의 저전력 디스플레이 구동기법 연구

최승필,서기원,전영현,전정훈 대한전자공학회 2010 대한전자공학회 학술대회 Vol.2010 No.6

LCD 구동 과정에서 디스플레이에 영향이 없는 구간을 확인하고 해당 구간에 구동드라이버IC의 소비전력을 낮추었다. 이 개선안으로 기준 조건에서 10 - 15%의 소비전력 감쇄를 확인하였으며, 검토 결과 이보다 더 큰 소비전력 감소가 가능할 것으로 보인다.

유럽재정규율에 대한 법적 검토

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