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이희원 서울산업대학교 산업대학원 1992 大學院論文集 Vol.1 No.1
본 연구에서는 건축물이 갖게될 음향학적 특성을 미리 예측함으로써 그 건축물의 음향학적 요구에 맞는 설계를 수행할 수 있도록 하기 위해 computer simuation 방법을 개발하였다. 본 연구에서 사용된 simulation 방법은 영상음원법을 기초로 하였으며, simulation에 의한 임펄스 응답이 유한한 시간 내로 제한되어 발생되어 오차를 줄이기 위한 방법이 제시 되었다, 개발된 simulation방법으로 실내에서의 임펄스 응답,잔향,곡선,early/rate energy ratio 등을 예측하고 실험 결과와 비교 하였으며, 실용적인 응용 가능성도 검토하였다. A computer simulation technique using image method is developed for the prediction of the acoustical characteristics of a room. Also a method of compensating simulation error is proposed because the simulated impulse response is truncated to the finite time duration. The results of simulation are the sound ray paths from source to energy decay, and the early/late sound energy ratio at the audience area.
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Representing Nameless Bodies in the Henry VI Trilogy
이희원 한국중세근세영문학회 2009 고전·르네상스 영문학 Vol.18 No.2
This paper aims to explore how in the Henry VI trilogy Shakespeare dramatizes the deaths of the nameless soldiers who were slaughtered during the war between the nobles. The paper closely examines the two dramatic strategies Shakespeare intentionally adopts after finding that he is unable to dramatize numerous dead bodies on stage. It argues that Shakespeare first just mentions the numbers of dead soldiers without depicting the battle scenes, and then symbolically represents the slaughter of anonymous soldiers in a ritualistic scene, in which an anonymous father kills his son by chance and an unidentified son kills his father without knowing it. With both strategies of representing nameless bodies, this article maintains, Shakespeare highlights his ethical concern with anonymous soldiers’ suffering and their deaths, which are not counted as grievable deaths. In this sense, this essay contributes to revealing Shakespeare’s peaceful anti-war position. Although Shakespeare highly praises military prowess and the value of valor in the Henry VI trilogy, this article concludes, he, as an ethical writer, resists the very narrative authority that leads him to represent soldiers off stage and to make them nameless.
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이희원 한국중세근세영문학회 2007 고전·르네상스 영문학 Vol.16 No.2
Hee Won LeeIn this article I argue that Aristophanes' Lysistrata is similar to Sophocles's Antigone as Judith Butler analyzes in her Antigone's Claim, and that in her political project Lysistrata employs the theatrical strategies, the masquerade that Mary Ann Doane suggested as a form of resistance. First I maintain that Lysistrata, like Butler's defiant Antigone, presents herself as a manly woman and thus transcends the traditional division of authority, based on sexual difference. Both Lysistrata and Antigone perform political tasks unusual for females, entering into the arena of politics, showing a mocking attitude towards a man of authority, and possessing a certain amount of will power. But unlike Antigone who defies the state by absorbing "the very language of the state against which she rebels"(Antigone's Claim 5), Lysistrata contests the power of the male politician's statement through a powerful set of theatrical acts and comic devices. I also assert that Mary Ann Doane provides a theoretical frame for seeing Lysistrata's theatrical strategies, as shown in women's sex-strike and her presentation of a nude girl named 'Reconciliation,' as subversive masquerading strategies, games of assuming the traditional feminine roles deliberately. That is, I consider the erotic taunting of Kinesias by Myrrhine and the presentation of the nude girl 'Reconciliation' as sexual manipulation of men by Lysistrata and the other Greek women. I emphasize both Myrrhine and 'Reconciliation' become the femme fatales in that they use their body and sex as a disguise for their particular gains. In this sense this article offers two feminist interpretations to Lysistrata-- Lysistrata who is outside the patriarchal division of sexual difference and Lysistrata who manipulates men through the intentional adoption of masquerading strategies.
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Review of Fluctuations in Land and Stock Prices in the Japanese Economy
이희원 연세대학교 경제연구소 2009 延世經濟硏究 Vol.16 No.1
This paper attempts to shed light on whether innovations in stock and land prices have contributed to fluctuations in the Japanese economy. From a simple VAR model, the results suggest that land and stock prices are related to movements in real GDP, CPI, and the interest rate. Specifically, we find that shocks to the stock price have more immediate impact on real GDP. Shocks to the land price, which are strongly correlated to the stock market as a risk factor, have significant impacts on CPI even under the zero interest rate commitment. After the bubble burst, both prices were not found to have a significant interaction with interest rate. This paper attempts to shed light on whether innovations in stock and land prices have contributed to fluctuations in the Japanese economy. From a simple VAR model, the results suggest that land and stock prices are related to movements in real GDP, CPI, and the interest rate. Specifically, we find that shocks to the stock price have more immediate impact on real GDP. Shocks to the land price, which are strongly correlated to the stock market as a risk factor, have significant impacts on CPI even under the zero interest rate commitment. After the bubble burst, both prices were not found to have a significant interaction with interest rate.
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“By Indirections Find Directions Out”: Indirect Words as Political/Artistic Bullets in Hamlet
이희원 한국중세근세영문학회 2011 고전·르네상스 영문학 Vol.20 No.1
In a sense Hamlet dramatizes a story of crime and investigation. Claudius killed his brother to be a king; he succeeded in hiding his crime. But Hamlet suspects Claudius as a murderer and starts to investigate the murder suspect secretly. Hamlet also has to hide his inner mind to penetrate into the heart of the suspect. In this situation both Claudius the murder suspect and Hamlet the investigator fully employ the tendency of language to hide, to play, and to show. For both of them, language becomes an effective tool to find the truth about each other while they conceal the truth about themselves. Claudius plays the consummate Machiavellian who uses the language of persuasion, diplomacy, and deception to conceal his crime. He also uses agents or spies in his desperate attempt to penetrate into Hamlet’s real motives without arousing suspicion. Yet he does not dig Hamlet’s secret out before Hamlet himself reveals it. Like Claudius, Hamlet the investigator chooses, as his weapon, the indirect use of language and role-playing because only through guise and wit can he defend himself and strike out against the murder suspect. But Hamlet’s weapon is different from what Claudius uses in his defense. Hamlet’s instrument is, like Claudius’s, a political one to interrogate Claudius, but at the same time it is an artistic one. By using the various indirect forms of language—poetic, dramatic, obscure, bawdy, non-sense words,—Hamlet becomes a kind of artist who can succeed in finding that Claudius is a murderer. Hamlet’s word-play functions as a prelude to his grand symphony of the play-within-play. Just as Claudius manipulates his spies in an effort to ascertain Hamlet’s thoughts, so Hamlet is willing to employ the players for his detection of Claudius’ crime. As revised by Hamlet and presented by the players, “the Murder of Gonzago” becomes “the mouse-trap” to catch Claudius the mouse. For Hamlet the dramatic art is transformed into a pragmatic instrument to find a criminal.
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