성과분석을 통한 건설공사 예비비 관리 프로세스 및 적용

이만희,이학기,Lee, Man-Hee,Lee, Hak-Ki 한국건설관리학회 2007 건설관리 : 한국건설관리학회 학회지 Vol.8 No.2

사업비의 불확실성에 대응하고 합리적인 사업비 계획을 위해서는 정확한 견적과 함께 사업수행에 따라 사업의 실패 및 예측하지 못한 리스크 발생 가능성에 대비한 공사예비비 추정이 중요하다. 사업의 특성에 따른 불확실성을 반영하여 공사예비비를 추정한다면 사업의 주요 의사결정 시점에서 리스크에 충분히 대비할 수 있을 것이다. 따라서 합리적인 공사예비비 관리를 위해서는 세분화된 의사결정 프로세스에 대한 연구가 필요하며, 본 연구에서는 건설공사 성과분석을 통한 공사예비비 관리 프로세스 제시를 연구의 목적으로 한다. 이를 위하여 초기단계에서 공사예비비를 추정할 수 있는 프로세스를 제시한다. 또한 EVM을 활용하여 시공단계에서 공사비 변동범위를 예측하고, 그 결과를 반영하여 합리적으로 공사예비비를 운영할 수 있는 프로세스를 제시하고자 한다. To reduce uncertainties and make rational plans, the presumption of contingency against a failure of projects and an occurrence of unpredictable risks is important with accurate estimations as the work progressing. Therefore, if the presumption of contingency reflecting uncertainties carries out at a decision making point of time, be able to prepare for risks. The purpose of this paper is to present a management process of contingency through the performance analysis of project. In the cost planning phase, this study offers a process which is predictable contingency and predicts the range of fluctuation of the cost, laking an advantage of EVM in construction phase. With reflecting the results from this procedure, this study presents a process, rationally manageable contingency.

초음파 센서를 이용한 실내 환경 실시간 계측 모델

이만희,조황,Lee Man hee,Cho Whang 한국통신학회 2005 韓國通信學會論文誌 Vol.30 No.6a

이동형 로봇의 자율주행 능력을 높이기 위해서는 미리 알려진 주위 환경 특징들을 효과적으로 인식하는 방법의 개발이 매우 중요하다. 본 논문은 실내 로봇 주행 환경 내에서 위치 및 방향 정보가 미리 알려져 있는 벽과 모퉁이 같은 환경 특징들을 초음파 센서를 이용하여 실시간적으로 인식하는 방법을 제안한다. 초음파 센서는 한 개의 초음파 송신기와 이를 중심으로 적절한 거리에 대칭적으로 위치된 두 개의 초음파 수신기로 구성된다. 초음파 센서로부터 얻어진 정보는 확장 칼만 필터를 이용하여 기존 방법과는 달리 실시간적으로 처리됨으로써 인식된 환경 특징들에 대해 상대적으로 로봇의 위치 및 방향의 보정을 가능하게 한다. In order to increase the autonomous navigation capability of a mobile robot, it is very crucial to develop a method for recognizing a priori known environmental characteristics. This paper proposes an ultrasonic sensor based real-time method for recognizing a priori known indoor environmental characteristics like a wall and corner. The ultrasonic sensor consists of an ultrasonic transmitter and two ultrasonic receivers placed symmetrically about the transmitter. Unlike previous methods the information obtained from the sensor is processed in real-time by extended Kalman filter to be able to correct the position and orientation of robot with respect to known environmental characteristics.

트렌토 공의회와 후안 데 티모네다의 성체극

이만희 ( Man Hee Lee ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2015 世界文學比較硏究 Vol.52 No.-

16세기의 대부분의 성체극들은 대부분 출판되지 않아 작자 미상으로 남아 있다. 반면, 후안 데 티모네다의 성체극들은 작가 자신이 서적상으로서 도서 편집과 출판에 관여했기때문에 작가의 이름과 함께 출판이 되는 행운을 가졌다. 그의 성체극들이 창작되어 무대에서 공연된 연도는 정확히 알 수 없다. 그러나 작품의 출판년도가 1575년이라는 것을 고려하면 티모네다의 작품들은 트렌토 공의회(1545-1563)가 종결되고 얼마 지나지 않은 시기에 발표되었음을 알 수 있다. 16세기 전반기의 성체극들은 대부분 복잡한 교리 교육보다 단순한 성체찬양에 그쳤다. 그러나 후안 데 티모네다의 작품들은 트렌토 공의회의 교리적 신학적 입장을 직접적이면서도 구체적인 대사로 처리함으로써, 마치 사제가 미사에서 신자들에게 하는 강론처럼 엄격한 교리 교육의 현장처럼 극을 전개시키고 있다. 이러한 극의 성격은 형식적인 면에서 이전 시대 성체극과는 달리 오락적 요소를 극단적으로 배제한데서도 확인할 수 있다. 실제로 티모네다의 성체극은 트렌토 공의회의 주요 교령을 대부분 다루고 있다는 점에서, 그 어느 시대의 성체극보다도 교리 교육의 성격이 주조를 이루고 있음을 알 수 있다. 후안데 티모네다의 성체극은 시기적으로 트렌토 공의회가 종결된 시점, 즉 교회 정치적으로 민감한 시기에 발표되었기 때문에, 그 어떤 시대의 성체극보다도 가톨릭신앙을 위한 호교론적 성격을 강력하고 직접적으로 표출하고 있다. Most of the sacramental acts of the 16th century were not edited or published, so they remained anonymous. On the contrary, Timoneda’s sacramental acts were published because the author himself was a book editor and publisher. His works were printed in 1575 soon after the Council of Trento was closed. While the sacramental acts of the first half of the 16th century were just a simple way of praising Eucharist, Juan de Timoneda’s dramas expressed the decisions of the Council in a direct and detailed manner. The author intended to teach the audience the theological doctrines of the Counter-reformation through his sacramental acts as priests at the Catholic mass. For that, Timoneda excluded comical elements from his plays which the sacramental acts of the previous period commonly had. Consequentially, his dramas had serious and strict characteristics as means of propaganda media to educate people with the doctrines of the Council of Trento. As a result, Juan de Timoneda’s sacramental acts reflected the strict Catholic dogmas more vividly than in any other times in the history of the sacramental act.

티르소 데 몰리나의 코메디아에 나타난 음악의 기능

이만희 ( Lee Man-hee ) 부산외국어대학교 지중해연구소 2017 지중해지역연구 Vol.19 No.1

Tirso de Molina inherited the main functions of the ancient Greek drama`s chorus and adapted them to his Catholic Spanish comedies in the 17<sup>th</sup> century. The playwriter left to musicians not only lyrical songs to present the festival stages, but also the functions of prophet, adviser and ethical messenger. As the Spanish Baroque was a period of magnificent festivals, the chorus of the ancient Greek plays became a good tool for Tirso de Molina`s comedies to overcome the monotony of the dialogic play and create spectacular stages for the audience. In the Catholic view of the world, the intervention of music as a divine revelation was natural and the religious role as a prophet and adviser melted well into Tirso`s works. Above all, the music introduced in the comedy genre also performed the educational functions which the authentic religious drama such as sacramental act was in charge of. It is because of the Catholic ideology of the Counter Reformation which had an overwhelming influence on all kinds of plays. In the history of the Spanish drama, the music used in Tirso de Molina`s comedies became important theatrical means in the period of transition to the 18^th century, when the Spanish comedies accepted the musical character widely and intensively.

논문 : 칸다모의 성체극과 그리스 코로스의 변용

이만희 ( Man Hee Lee ) 부산외국어대학교 지중해연구소 2014 지중해지역연구 Vol.16 No.3

Francisco Bances Candamo’s Sacramental Act is a work after the genre’speak. It lacks coherency in regard to its topic and the long-winded linesdeprives the genre of a very essential factor, speed. Perhaps for that reason,Candamos’s Sacramental Act and Calderon’s Sacramental Act were presentedto King Carlos II for Corpus in 1691, and late Calderon’s work was selectedby the King to be performed. Candamo embellished the setting in a grandioseBaroque theme, possibly to cover what the content lacked. He uses globes andwagons that represent the universe and the life, respectively, and thusdescribing the heavenly and earthly worlds. Moreover, the author maximizes themusical effect that chorus has in classic tragedies, making the sacramental actsimilar to a musical play. By introducing different and rich musical elements,Candamo’s sacramental act provides fresher, fancier and more dramaticperformance to the audience who were used to watching the conventionalsacramental act in the same season every year. Candamo adapts the messagedelivery function of Greek tragedy’s chorus into the priest’s role to holdCatholic mass and to give a sermon. Through chorus, the audience interactedwith the characters, and in the same way, the believers in mass would respondto the service, playing the role of an ideal audience. In the middle part of theplay, the chorus was given two extreme characteristics of good and evil, andplaying a mediator between the two forces. Candamo’s sacramental act sharedcertain characteristics with Catholic church’ mass. As Baroque’s mass adoptsdramatic taste, Candamo gives the sacramental act a form of religious ceremony. Candamo, thus, emerged as an artist who realized the symbolictransformation of chorus of a sacramental act to a genre with Catholicizedmusical background which the previous generations never experienced.

A New Cold War in Japan-China Competition Toward ASEAN

Lee Man-Hee(이만희) 21세기정치학회 2015 21세기 정치학회보 Vol.25 No.3

This paper explores Japan-China power competition over ASEAN after China’s embarking on a revisionist aspiration in the mid-1990s. It called forth a new cold war in their relations. In a new age, the powers employ FTA as a way to add more power to their blocs with economic significance therein. ACFTA and AJCEP were initiated in this context. China’s and Japan’s behaviors in ASEAN marked in contrast. Japan departed from ASEAN owing to its deteriorating financial market after the collapse of bubble economy and the Asian financial crisis. Japan’s departure provided China an impulse to bolster an economic creep into ASEAN by undertaking a financier and market. The two wars also offered China an opportunity to attempt it without worrying about the U.S. pressure. China preempted to embrace ASEAN in a web of FTA sooner than Japan. The ACFTA would provide China a cornerstone for building EAFTA whose aim is to consolidate its regional dominance. The power has an incentive to transform the FTA into a political muscle in the wake of power competition. Relying on it, China attempts territorial creeps in East and South China Seas. Japan lags behind China in power competition. It traces to Japan’s politico-economic postures inappropriate to the reality as follows: the patchwork realism and naïve liberalism, the absence of FTA policy-making organ, misperception over a deeper reality, and inflexible external behaviors as a result of heavier dependence on the U.S.

Reconsidering Park Chung-Hee’s Security Strategy in the Heavy and Chemical Industrialization

Lee Man-Hee(이만희) 21세기정치학회 2016 21세기 정치학회보 Vol.26 No.2

This paper explores as to how Park’s regime, as a small power, could survive during the Heavy and Chemical Industrialization (HCI) era. The HCI depicts well a part of Park’s priority on the economic development and further, his adaptability in the face of an alliance dilemma. He initiated and passionately carried out it as a way to decrease the opportunity costs from troubles in the Korea-US relations, while putting more importance to the economic development. The Nixon Doctrine prompted to inflame an alliance dilemma, which in turn forced the Korean economy to reorient towards developing defense capacity. In doing so, Park attempted to make a shift towards the HCI. Its aim was to enhance not only economic development but defense capacity. As the Ford Doctrine appeased Korea’s alliance dilemma, Park could reorient towards the economic development under the ongoing 1st oil shock. However, the Carter’s withdrawal policy impeded Park to concentrate on the economic development until Carter cancelled it. The re-emerging alliance dilemma impacted Park to reallocate the resources towards developing defense capacity. Nonetheless, Park’s priority on the economic development was relatively unchanged. It accrued an over-heated investment and market distortion in the late 1970s. His adaptability to an alliance dilemma was conducive to achieving South Korea’s parity and overtaking over North Korea in the late 1970s. As a whole, his adaptability demonstrates a survival strategy for small-medium powers.

깔데론의 『세상은 거대한 연극』과 그리스 코러스의 변용

이만희 ( Man Hee Lee ) 한국스페인어문학회(구-한국서어서문학회) 2012 스페인어문학 Vol.0 No.62

El presente trabajo se enfoca en el papel del coro en el auto sacramental 『El gran teatro del mundo』 de Pedro Calderon de la Barca. Como es sabido, el coro era un elemento esencial e imprescindible en la antigua tragedia griega. El coro presenta el contexto y resume las situaciones para ayudar al publico a seguir los sucesos, haciendo comentarios referentes a los temas principales de la obra. El dramaturgo espanol incorporo algunas funciones del coro griego para su auto, pero las transformo por ser aptas para su drama. Por ejemplo, el coro no se situa entre la escena y el publico como el griego, sino detra de la escena, desde donde se comunica con los personajes del drama para indicar que es simbolo de la muerte que existe escondida tras la vida. El otro coro se coloca en la elevacion que es un tablado mas alto que el resto de la escena, esta vez para destacar el papel de la Iglesia catolica hacia el mundo. Por eso, el coro calderoniano no solo ensena sino que aconseja al publico con autoridad como ocurria en la tragedia griega. El otro coro, que simboliza la muerte, domina el drama siendo la voz de Dios, de la misma manera como la muerte sometio a la sociedad barroca espanola. Todo esto se usa en el auto de Calderon para transmitir los dogmas de la Iglesia postridentina a los espectadores de entonces. De esta forma, el maestro utilizo el coro para demostrar la religiosidad barroca espanola.

호세 데 발디비엘소의 성체극과 코러스

이만희 ( Man Hee Lee ) 부산외국어대학교 지중해지역원 2013 지중해지역연구 Vol.15 No.3

Jose de Valdivielso employs actively the chorus tradition from the history of European drama in his sacramental act. His sacramental act makes the most use of choruses, which deliver songs and dances as its expression method. By doing this, the dramatist intends to show a splendid baroque play stage and to provide dramatic interest. The author doesn`t divide between his own chorus and actors strictly, but he sets up for one another to change the roles, so he extends the music function of choruses to other actors. By maximizing the ocular effect through the elements of dances and songs which choruses have, Valdivielso relieves the solemn mood that a religious drama can have, and he provides audience with artistic interest. However, Valdivielso`s chorus does not stop simply at the level of the offering dances and songs as things to see, but it drags the sympathy out of audience through the emotional element of music, so it tries to maximize the audience`s response about drama`s theme. Like the ancient Greek tragedy, choruses play the role of a commentator and messenger who delivers religious messages of sacramental acts to audience effectively. As a result, a chorus achieves the religious purpose that a sacramental act has: the educational role for audience. By inheriting and developing the chorus function of Greek tragedy, Valdivielso achieves two purposes which a sacramental act should pursue as a religious drama: dulce et utile, the esthetics of Horatius. While the dramatist satisfies his audience through his splendid and emotional baroque play stage, he simultaneously accomplishes the educational function that delivers the religious ideal of Counter Reformation to the Spanish people of those times.

中國의 裁判ㆍ檢察組織과 司法權의 獨立

李萬熙(Lee Man Hee) 한국형사법무정책연구원 1994 형사정책연구 Vol.17 No.-