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김환(Hwan Kim),장현수(Hyunsoo Jang),박광노(Kwangno Park),이경식(Kyungshik Lee) 대한전자공학회 2008 電子工學會論文誌-SD (Semiconductor and devices) Vol.45 No.2
광섬유 Bragg 격자의 외부에 주기적인 압력을 인가하여 여러 개의 파장을 반사시키는 샘플격자를 파장선택 소자로 이용하여 다파장 어븀 첨가 광섬유(Erbium-doped fiber, EDF) 링 레이저를 구현하였으며, 압력의 주기를 변화시켜 발진파장간격을 가변하였다. 광섬유 Bragg 격자에 인가된 압력의 주기는 200㎛, 580㎛, 1000㎛로 변화시켰으며, 이때 발진파장간격은 각각 4.1nm, 1.41nm, 0.82nm이었다. Multi-wavelength Erbium-doped fiber(EDF) ring laser was developed by using a sampled fiber Bragg grating reflecting multiple wavelengths, which was formed by impressing periodical pressure on the outside of a fiber Bragg grating. The wavelength spacing was varied to 4.1nm, 1.41nm and 0.82nm, by pressing the grating with the pressure period 200㎛, 580㎛ and 1000㎛, respectively.
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이경식 연세대학교 인문과학연구소 1999 人文科學 Vol.81 No.-
What are bibligraphy and textual criticism and their realtionship with each other, what makes textual criticism more fundamentally important than other braches of literary criticism, what methods are there to deal with variants and corruptions, what is the 'copy-text' theory which is supposed to produce a definitive scholarly or critical edition or Shakespeare and thers, and what are some of the landmarks of textual-bibliographical researches and epoch-marking discoveries regarding F1, main body of Shakespeare's canon―these are the main topics of the present article. Its ultimate purpose is to review both pre-printing and printing-stage transmissions of Shakespeare's dramatic texts and to discuss what is involved in restoring what Shakespeare actually wrote, establishing Shakespeare's text, and producing a 'truly definitive edition' of Shakespeare. With their copy-text theory both McKerrow and Greg laid the solid foundation for its production. Evans's Riverside Shakespeare is closer to this ideal 'truly definitive edition' of Shakespeare than and other edition with its almost immaculate apparatus criticus and its making most use of the results of textual-bibliographical investigations and researches. Scribal and compositorial errors were the two main origins of textual errors and corruptions in early Quartos and the Frist Folio of Shakespeare, and variants/variant readings were mainly due to such 16th and 17th-century printing-house practices as the stop-press correction and the casting-off of copy. Two means or methods to correct these textual errors and corruptions are recension and emendation. The former enables us to substitute authorial readings with the help of documentary evidence, whereas the latter aims at substituting readings as close to inferential authorial readings as possible when documentary evidence is absent. As it is extremely difficult to produce a good emendation except by chance, this particular method of correcting corruptions should by very sparingly attempted. Greg's warning cannot be too often repeated: 'no emendation can be, or ought to be, considered in vacuo, but that criticism must always proceed in relation to what we know, or what we surmise, respecting the history of the text'. Lastly, five important discoveries with regard to F1 have been introduced: 1) F1 is a book of 'folio-in-sixes'; 2) F pages were set not by seriatim but by formes, and setting by formes necessitated casting-off copy, thus precipitating the textual damage; 3) the pressman did not stop his printing machine until the proof-reader delivered his proof-sheet to him and he stopped his hand machine whenever there was something to correct while printing a forme, thus introducing variants; 4) the quality of the proof-reading F1 received was very poor, there being 'only a few dozen' substantive errors corrected and only two of them corrected with reference to its copy among some 900 F page ; and 5) thus the textual integrity of F1 depended mainly on its compositors; 6 compositors, identified as A, B, C, D, E and F, were discovered to have worked for F1 by the combined evidence of their spelling test and type cases. B was far less faithful t his copy than A, and E was the least reliable of them all, being and apprentice. This compositor-identification was quite epoch-making with its editorial implications. By way of conclusion, judging from what has so far been achieved and considering what help the almost almighty computer can give us, we have a very good reason to believe that the establishment of Shakespeare's text in every sense of the word will be accomplished within a decade or two.
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이경식 서울대학교 인문학연구소 2000 人文論叢 Vol.44 No.-
Ghosts of almost all sorts appear in Shakespeare's plays including 1H6, 2H6, H8, R3, JC, Hamlet, Macbeth, and Cymbeline. Some return to visit their family and fiiends, some to appear to their murderers in dream or fancy, threatening revenge. In one case, the ghost explicitly commands his son to avenge his death upon the murderer. Some are subjective ghosts who either appear only to one person or is seen to one among many present and some objective ones who so appear as to be seen by all the people present. All these aspects of Shakespeare's ghosts will be discussed when Macbeth, Cymbeline, R3, JC, and Hamlet, the five Shakespearian plays whose ghosts return to appear to their murderers, friends and family, are to be dealt with. Both Senecan and pre-Shakespearian ghosts will be compared with Shakespeare's to show (1) how much and well Shakespeare improved on the conventional dramatic ghosts and (2) how organically he related them to the plays involved. Banquo's ghost twice appears to Macbeth while he is hosting a banquet. His 'gory locks'and'twenty mortal murthers'on his head are enough to scare Macbeth, his murderer, and to make him utter strange and self-revealing words to his guests. Banquo's is a suuective ghost seen only by Macbeth, but is so dramatized that his objective validity, i.e. his reality, cannot be doubted. Moreover, his appearance contributes to the oourse of the dramatic action by making the hero visit the weird sisters to know what is in store far him and to act accordingly. The ghosts of Posthumus' parents and brothers whom he sees in his dream are also subjective ghosts, seen only by Posthumus and no one else. But what they speak about their son and brother and appeal to Jupiter and what Jupiter who has, in response to their appeal, just descended in thunder and lightning and on an eagle, tells them about their beloved Posthumus together with his'tablet'are enough to give the ghosts their reality. In R3 the ghosts of Prince Edward, Herwy Vl, Clarence, Rivers, Grey, Vaughan, Hastings, two young princes, Lady Anne and Buckingham appear, on the eve of the decisive battle of Bosworth, to Richard, their murderer, and then to Richmond, Richard's rival. They urge the former to despair and die with all sorts of curses while they encourage the latter to live and flourish, saying that "the wronged souls/Of butchered princes fight in thy behalf". These ghosts are doubtless suoective ones, but that they appear not only to Richard but also to Richmond would not allow them to remain just suuective because it helps to contribute somewhat to the establishment of their objective validity. Moreover, their appearance brings about a very tangible result by producing from Richard and Richmond such respective responses as "Methought the souls of all that I had murther'd/Came to my tent, and every one did threat/To-morrow's vengeance on the head of Richard" and "Methought their souls whose bodies Richard murtherucame to my tent and cried on victory". And the battle ends with Richard's defeat and Richmond's victory as the ghosts wished and foretold them. In short, the ghosts influence the action and prove their reality. Similar to these ghosts is the ghost of Caesar. The ghost appears to Brutus, his murderer, on the eve of the decisive battle of Philippi while he sleeps in his tent. He is also one of the suuective ghosts, but special mention should be made of the fact that the ghost has already appeared to him at Saudis once and that he now appears far the second time as he had promised strengthens his ooective validity or reality. Weedless to say, the ghosts appearance inflllences Brutes, who says, "Now I have taken heart you vanishest", and, of course, he takes his own life, saying, "Caesar, thou art reveng'd,/Even with the sword that kill'd thee" and "0 Julius Caesar, thou art mighty yet!", With his mortal presence in the first part of the play and with his ghostly presence in the second part of the play Julius Caesar proves himself the uniting principle of the tragedy, indeed the hero in every sense of the word. Pre-Shakespearian ghosts derived, at leagt partly, from classical, especially from Senecan ghosts. Senecas ghosts are the combination of Euripidean type of prologue-ghost and Aeschylean type of revenge-ghost. Being prologue-ghosts, the ghost of Tantalus in Thyestes and that of Thyestes in Agamemnon do not participate in the action itself, but repeat the word revenge fiom time to time. Another characteristic of Senecan ghosts is their description or mention of the pains and tortures that take place in Tartarus such as Sigyphus'endless rolling of a large gtone to the top of a hill, Ixion's being bound on a wheel that tuns for eyer, Tantalus'etemal thirst or hunger, and Tityus'(filius') vultures tearing at his liver, all of which Senecan ghosts describe in rant or bombastic style. These Senecan ghosts and the English translations of all of Senecan tragedies, starting Jasper Heywood's Troas in 1559, together influenced pre-Shakespearian ghosts. Heywood refused to remain a meer translator but introduced a ghost, providing him with a lengthy prologue-speech at the beginning of the 2nd act of Troas with vengeance as the theme of its refiain. This original and creative attitude towards the dramatic ghosts grew as Seneca-modelled English plays either in the farm of Anglo-Latin tragedies or in the fDrm of early classical English tragedies became more and more popular. Never-ending punishments cited abode are mentioned with other things of the Hades in almost all these tragedies even though the ghost himself do not appear in them. The ghost of Gorlois in The Misfortunes of Arthur was a perfect classical-type ghost but departed from its prototypes by reappearing at the end of the play. This, together with Heywood's ghost of Achilles, marked a development of Senecas ghosts. And further devel-opment was made in both anonymous Locrine and Thomas Kyd's The Spanish Tragedies. The ghost of Albanact in Locrine influences the plot or action of the play, thus improving on Senecan ghosts, whereas The Spanish Tragedy demonstrated its unique utilization of Senecan ghost-machinery. The play opens with the dialogue between the Ghost of Andrea and Revenge, the exact counterparts of the Ghost of Tantalus and Fury (Megaera) in Thyestes. Here the ghost is not only just Senecan prologue-ghost serving as a chorus but also an epilogue-ghost. But Kyd made his ghost's speeches even more bombastic than those of Senecan ghosts and did not make any effort to substitute English ghost-lore for Senecan ghost machinery. Marston's ghosts in Antonio's Revenge mark, however, yet another step forward taken far the development of the English dramatic ghosts because although there are frequent visitations of ghosts shouting'vindicta!/ revenge!', we find none of Senecas ghost-machinery used in it. But the greatest development was to be made 7y Shakespeare in his ghost of King Hamlet, for Shakespeare refused to use Senecan ghost machinery and got rid of the rant of Senecan ghosts altogether, thus successfully substituting English ghost-lore instead. Moreover, he humanized the ghost by demonstrating how absolutely he still loved and cared for his wife. Above all, the ghost of King Hamlet is an objective ghost as well as a very organic one on whom the entire dramatic action depends. In conclusion, ghosts in Shakespeare not only testify Shakespeare's dramatic genius but comprise almost all English ghost-beliefs or ghost-lore material known to his day.
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이경식 서울大學校 人文學硏究所 1999 人文論叢 Vol.42 No.-
요약셰익스피어(William Shakespeare, 1564∼1616)가 생존한 16세기 후반과 17세기 초에는 혼령(ghosts and apparitions), 요정(fairies), 마녀(witches and demons)와 점성술(astrology)에 대한 믿음들이 모든 계층에 침투해 있었다. 자연 셰익스피어는 초자연적인 것들에 대한 이러한 다분이 미신적인(superstitious) 민간 믿음(popular beliefs/spiritualism) 혹은 민속 믿음(folk-lore)을 그의 극작품들에 이용하였다. 여기서 말하는 초자연적인 것(the supernatural)이란 자연의 것들을 초월하는 법과 힘에 지배를 받는 현상들, 곧 혼령, 요정 및 마녀와 그들의 초자연적 능력을 의미한다.이와 같은 민간 믿음들의 일면을 반영하는 내용을 한 군데도 지니지 않은 셰익스피어의 극작품은 한 편도 없을 정도이다. 환영(visions)의 형태로 유령이 나타나는 것은 1H6, 2H6, H8, Macbeth 등 여럿이고, 타계한 사람의 영(spirit)이란 의미의 혼령은 R3, JC, Hamlet, Macbeth, Cymbeline에 등장한다. 그러나 셰익스피어의 36, 7편의 극작품들 중에서 초자연적 요소가 극의 액션에 참여하여 그것에 영향을 미치는 대표적인 것은 R3, MND, JC, Hamlet, Macbeth, Tempest 등 5개 극이다. R3, JC, Hamlet 및 Macbeth에는 혼령이, MND와 Tempest에는 요정이, 그리고 Macbeth에는 마녀가 등장한다. 이렇게 셰익스피어는 혼령, 요정과 마녀들 혹은 그들의 마술(witchcraft)을 다 활용하였으나 혼령이야말로 그의 극에서 가장 자주, 그리고 가장 극적으로 이용한 형태의 초자연적 요소이다.
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