비기능성 양측성 부신피질암 1예

전형기,최경현 대한외과학회 1992 대한외과학회 학술대회 초록집 Vol.1992 No.11

英語 單音節語의 音素配列 考察

全炯基 漢陽大學校 1971 論文集 Vol.4 No.-

A typological analysis based on the structural descriptive method, this paper treats the phonemic structure of the English monosyllabic words. Today, it is often said that phonemics has been superseded by the newer treatment used in transformational grammar. But phonemics is still the working method of the great mojority of American linguists : furthermore, the phonemic approach cannot be disregarded when we are to undertake to describe the language facts. English as a spoken language has such expressional features as stress, intonation, pitch, juncture, gesture, etc., which English as a written language lacks. By principle, to make the better use of such advantages, a language study has to use the native speakers of various social classes as its informants. Such a task, however, being almost impossible for this paper, it chooses for its material source POD, the traditional epitome of the English vocabulary. Very commonly in writings like this, proper nouns, variants, etc. are excluded from the main discussion proper. But the phonemic system of this paper is so set up as to cover every varieiy of English as a whole body. For this purpose, 46 phonemes are appointed here as an overall pattern, and the range of description includes homophonous words, foreign loan words, conjugated and derivated forms, nouns, (to some extent received) abbreviations, and even variants. In other words the monosyllabic words entered in POD are all included here. That monosyllabic words preserve more of the Anglo-Saxon native origins and elements, their relative frequency being higher than that of the polysylabic words, or that the Present-daly English is characteristically rich in monosyllabism due to the loss of many inflectional endings since Lage Middle English, provides no pertinent grounds for the proposition of this paper. It is not so much interested in these historical viewpoints as in the Distribution of Phonemes-a phonotactical analysis. In a structural sense, the polysyllable can be interpreted as a repetition or repetitions of monosyllables, and when the descriptive analysis of monosyllables is completed, the patterning of polysyllables will become possible almost automatically. In this regard, the phonemic distributional discoveries will be the basis for any further studies that can be done about phonotactics. Another relevant factor to add to the importance of monosyllable studies is that, except in a very few instances, the monosyllabic word agrees with the 'Phonemic Word' which is used here as the 'Unit of Reference.' The group of supra-segmental phonemes is not included here, because these phonemes are not immediately pertinent to the discussion of monosyllabic words. In its whole scheme, this paper depends more on APD than on EPD for transcription. As Kenyon-Knott say in the preface, APD is an American counterpart of EPD and is including in its transcription various different types of speech used by large bodies of educated Americans in widely separated areas. In terms of the overall pattern, APD's phonemic system corresponds with that of this paper. As often as possible, of course, EPD has been consulted to make useful contrasts. Thus this paper proposes to apply Phonemics to the English monosyllable for the descriptive patterning of its structural design. As the central topic, the combination pattering of vowels and consonants is experimented with on the basis of tile statistical data, and the general regularities of distributional phenomena are categorized from different angles.

內的獨白의 役割 : Hughie를 中心으로 With a Special Reference to HUGHIE

全炯基 漢陽大學校 人文科學大學 1985 人文論叢 Vol.9 No.-

Interior Monologue is a type of psychological drama which represents the inner thoughts of a character. The type may (1) exploit the element of incoherence in our conscious process; (2) ignore the boundaries of space and time, or set new patterns in place of the wakeful movements of our days; (3) seek internal analysis of motives and drives; and (4) especially stress sensory impressions. Much controversy has turned about the veracity of the technique and its artistic utility, especially with regard to the problem of language in the case of Eugene O'Neill's plays; but it seeks to give the reader a direct impression of the continuous flow of ideas, sensations, feelings, and memories as they come into consciousness. In his major works since The Emperor Jones, interior monologue has been a very striking technical device, the role of which is to dramatize the psychological process of a character's inner thoughts along the stream of his consciousness. It records the internal, emotional experience of the protagonist, reaching downward to unspoken levels where images stand for emotions and sensations. His characters who are isolated questers, caught in a structure of alienated relationships, often tend to make private, not public utterances. They are presented less through the external communication normal to most men moving through the world in time, than through the monologue outpourings that they voice when they are alone. For this reason, O'Neill turns to the use of monologues, sololoquies and asides…the voices of the questers, who can only imperfectly communicate the nature of their speech. Their effect in the late plays is strange, for they serve to reinforce the sense that the action is somehow outside of time, suspended in a void of consciousness between dreaming and waking where loneliness becomes a fluid process of pain and man can not quite attain his communication. The entire piece of Hughie s a good example of interior monologue in which the author seems not to exist and the reader directly 'overhears' the thought flowing through the characters' mind. The author simply presents, guides, and even comments on impressions passing through the minds of characters as though from an objective standpoint. This may be a result of the author's attempt to use his language in an extraordinary way that very few playwrights have dared to do. His experiment of this is something that language alone perhaps can not do. Often he attempts to make his characters speak thoughts that, in reality, lie below the level of conscious thought and are, therefore, subverbal in the underlying structure of language. His attempt is to make his language express by means of interior monologue the welling up of the character's deepest inner motives and desires for which no words can entirely suffice. Thus, O'Neill's interior monologue is a kind of technical device that projects his characters' psychological reality more effectively than does his language.

Bernard Shaw 논고 : CAESAR and CLEOPATRA에서 아이러니 대위법의 극작술적 역할

전형기 漢陽大學校 人文科學大學 1998 人文論叢 Vol.28 No.-

In CAESAR and CLEOPATRA, Caesar is usually seen as the character who speaks for Shaw, and whom Shaw intends the audience to take as its hero. This being so, the most paradoxical aspect of this play, as far as its surface structure is concerned, is the fact that Shaw ridicules Caesar at almost every opportunity-particularly at those moments when Caesar seems so large, more godlike than human, so divine in his insights into human nature, morality and history. The action exchanges between Caesar and Cleopatra, placing him in the poition of boaster and her in that of deflater, sets the pattern to be carried on throughout the play. Thus Shaw creates a literalized metaphor for the mutual relationship between the two central figures and the dramaturgical role of their well-balanced counterpoints gives an exellent example of the use of dramatic irony. As the most dynamic part of the comedy of the play, the structure of irony counterpoints is beautifully masintained and neatly developed to the climax of the last moments. In spite of the general ironic overtone of the play, much affected by this structural design, however, Shaw does not present us with a single-minded view of Caesar. Neither is this paper suggesting that Shaw constantly undercuts Caesar's noble and wise clemency in order to make us repudiate the philosophy Caesar tries to stand for. Rather, Shaw's dramaturgy forces us to look at Caesar ironically, to see him as an essentially comic figure on the stage of history, not merely as a heroic figure with human weaknesses. This is also evidenced by Shaw's final addition to the text of the play, the Prologue he published in 1912, pronouncing a sardonic view both of history and of Caesar's role in it.

Pinter劇의 重義性 : A Slight Ache의 境邁

全炯基 漢陽大學校 人文科學大學 1987 人文論叢 Vol.14 No.-

Originally conceived as a radio play, A slight Ache has also been performed on the stage. But in its radio form the play is bound to be more effective, because then it can remain open whether the central character, the matchseller, who never speaks throughout the play, actually exists or is no more than a projection of the two other characters' fears. The greater part of discussion in the present paper centering around the interpretation of this enigmatic central figure, therefore, is based on the consistent assumption that the amorphous nature of Pinter's doubles is the source of the play's dynamics. Confrontation with death, involving the protagonist's struggle with a double, provides the ultimate test in Pinter's dramatic world of one's ability to live a meaningful life, His characters meet that test in a variety of ways in his different plays. The characters' encounters with a double initiate an inward journey which brings them face to face both with their mortality and with previously unknown aspects of themselves. However, his doubles are not what we have generally called manifest doubles, recognizable by the characters they resemble or other characters in the play as the protagonist's physical doubles, nor are they mere figments of the protagonists' imaginations, hallucinatory projections of characters who cast forth repressed parts of their own divided selves. By portraying the doubles as characters who are independent yet a part of the protagonists and as mysterious outer forces as well, Pinter offers a vision of life that has both psychological and spiritual dimension. Arising in part as narcissistic defences against death, the doubles continue to threaten death or stand for death itself. In their dramatic encounters with death as a double, Pinter's characters must confront and accept their mortality if they are to arrive at any meaningful kind of existence.

Temporal Double의 形象化 : Old Times 의 境遇

全炯基 漢陽大學校 人文科學大學 1988 人文論叢 Vol.15 No.-

As a sequel to my last article, Split Selves and Ambiguity of Mortality in Pinter's A Slight Ache, (The Journal of Humanities, No.14, College of Humanities, Hanyang University, 1987), and as a major part of a series of my proposed Pinter studies, the present paper aims at giving a more comprehensive interpretation of Pinter doubles as a basic feature of his experimental structural design. In complement and contrast to the previous one which was chiefly concerned with Spatial double, therefore, the present study analyzes and discusses the problems of Temporal doubles by developing further the theme of the amorphous nature of these theatrical surrogates. The aspects of the doubles that have often been taken up in literature have in common the fact that their mutual relationship is exclusively a spatial twofoldness. The essential paradox of the relationship is achieved by the fact that the two participants in one personality are simultaneously separate from each other in Space and continuous with each other in identity. The present study is based on the assumption, however, that Old Times is an invention by Pinter in which he presents the strangest form of this always-strange figure: the one in which he retains the doubles' separateness not only in Space but adds it separateness in another dimension, that of Time. Pinter's doubles in the plays under consideration, the matchseller who stands at the back gate of Edward's house in A Slight Ache, and Anna, Kate's room-mate of twenty years ago, who has come to visit her in Old Times, elude the neat classification that some doubles have achieved in literary tradition. Yet these Pinter doubles are partially the central characters' mirror images, partially their projections, and partially allegorical figures of good and evil come to save or damn them. Thus they all join in providing the fundamental source of the plays' dynamics.

Albee의 不條理劇 再考 : Edward Albee 論考

전형기 漢陽大學校 人文科學大學 1996 人文論叢 Vol.26 No.-

As is often the case with modern dramatists who are torn between a desire for the apparent security of realism and thetemptation to experiment, so in Edward Albee's work, we see atension between realism and absurdism. Two of his early plays, The Zoo Story and The American Dream are, on the face of it, absurd plays and have often been acclaimed as the first American contribution to the so-called Theater of the Absurd. Critics like Martin Esslin classifies Albee into the category of absurdist playwright and finds his works closely akin to the world of Harold linter. If the two plays are compared on a closer inspection with the works of European absurdists, however, we seem to find that they all retreat from the full implications of the absurd when a certain point is reached. Albee still believes in the validity of reason and, unlike Beckett and the others, is scarcely touched by the sense of living in an absurd universe. Important and interesting as his plays are, his compromise seems ultimatly a failure of nerve -a concession to these complementary impulses which are never far below the surface of his work. This paper proposes to reconsider Albee's absurdism with a special reference to his two early plays on the assumption that he has been attracted to the theater of the absurd mainly because of the kind of social criticism he is engaged in. The techniques of the theater of the absurd, which is itself preoccupied with the devaluation of language, and with the denial of our normal assumptions about evidence -about the relation between the observed world and its inner reality, are so ideally suited to the kind of social criticism he intends. It is for this reason, too, that he has felt able to use the techniques of the theater of the absurd, while stopping short of an acceptance of the metaphysic of the absurd upon which the techniques are based. In its finest scene, the long speech in which Jerry describes his attempt to form a relationship with his landlady's dog, The Zoo Story offers a superb example of what we call the absurd writing. At such moments, however, and most of all, at the moment of Jerry's melodramatic death, we are left with a sense of dissatisfaction that the protagonist's bitter force and strong impulse of social criticism has only been very partially translated into dramatic terms whose root causes are to be found in the compromise with the experimental theater. In spite of some striking effects, it seems possible to entertain this suspicion about the two plays and it is target) because of Albee's ambitious but unsuccessful attempt to exploit the advantage both of the theater of the absurd and of realism

Eugene O'Neill의 悲劇觀과 作品의 悲劇性에 對하여

全炯基 漢陽大學校 人文科學大學 1982 人文論叢 Vol.3 No.-

This essay is not intended to establish the literary or theatrical sources of Eugene O'Neill's themes and ideas from his plays, nor does it propose to define or theorize the principles of his tragic compositions. Instead, it attempts to trace an important tragical pattern in the plays which seems to be rejected apparently throughout the evolutional process of his tragedies. Though to all appearances O'Neill was primarily a playwright and an experimenter with dramatic forms who fever considered himself a thinker or a philosopher, he was in fact desperately trying to express 'something' in all his plays. Of special importance for O'Neill's dramatic world is his tragic view of life. Neither in reality, as he save it, nor in the future, which he envisioned for America, did he find out and advocate anything that could resist the pressure of a hostile world or triumph over it in the end. Despite the variety in presentation of the con(dict in many of his plays, therefore, there is always man's clash with the world, fate, and life at the center of his drama in which man. the playwright's protagonist, is almost always doomed to lose the game. The impulse toward this characteristic pattern of tragedy tends to be more obsessive in the later plays. Like most modern dramatists-Ibsen, Strindberg, Synge, Chekhov, to mention the one's who are said to have written modern tragedies and who have at the same time influenced O'Neill-he never formulated any elaborate theory of tragedy. Yet in his dramas where the ultimate tragicality is embodied, one can always detect an unmistakable energy and tension of his tragic vision. This is what makes his tragedies so specific and original, as is discussed and touched on in such varying contexts as ideas, dramatic styles, social and biographical backgrounds, and techniques.

2차원 코드를 활용한 실내에서의 위치 추정 기법

전형기,김범준,이경희 한국정보통신학회 2023 한국정보통신학회논문지 Vol.27 No.3

This paper proposes a method of estimating the position of a moving object equipped with a built-in camera by utilizing two-dimensional codes on the wall to support its mobility. A key idea of the proposed method is to acquire homography by matching a two-dimensional code image with image features obtained by the SIFT algorithm. Accordingly, estimating the position and direction of the moving object can be performed by analyzing the homography matrix. The proposed method has an advantage that it can perform position estimation from a greater distance than those of conventional methods and enables multiple devices to simultaneously utilize the same code. Since the proposed method also reduces the requirement of sensors for position estimation, it can be an effective method with lower cost.

Pinter劇의 問題들에 對한 再考 : The Homecoming을 中心으로 Withe A Special Reference to The Homecoming

全炯基 漢陽大學校 人文科學大學 1997 人文論叢 Vol.27 No.-

The aim of this paper is to suggest the need for a way of describing principles of dramatic organization independent of plot considered in the traditional terms of the presentation of a story. It is an assumption based in large part on a suspicion that to regard drama as a mode of narration analogous to the novel is essentially incongruous and that recent experiments in performance art, therter as event, when they eschew storied plot, uncover in its absence other forms of order present, if not necessarily prominent, in all drama. The recent trend in Pinter criticism suggests that his plays invite a reconsideration of the ways in which dramatic organization is regarded. A number of critics who discuss his plots in terms of the development of a storyline have intimated that the plays are insufficiently focused around a central action, that the plots are not resolved well, or even that they are altogether static. These problems in discovering and describing movement and resolution in the dramas scarcely gibe with one's experience of the plays themselves; however, one begins to suspect that the descriptive terms and the assumptions that lie behind them may be in some respects inappropriate to the actual ordering principles of Pinter's drama. More often than not, Pinter's plays are built around non-exchange of information. He doesit through a special brand of dramatic irony in which both characters and audience are unable to solve basic riddles. Not that information is not exchanged. But the information passing between his characters moves by way of subtext. Subtextual information is never cognitive. It always carries with it-even when seemingly clear-a heavy load of implication, confusion, nuance, and various types of polyvalent ambiguities. Some critics try to resolve one aspect of the critical impasse by demonstrating how his characters can use language for phatic and conative purposes. In dismissing the narrow requirement that dialogue must convey clear messages, they demonstrate that the words spoken by characters present speech acts affecting one another even when these fictive utterences refer to the confusing and contradictory situation and space. Of all characters reflecting such theatrical traits of Pinteresqueness, the most talked-about example is perhaps Ruth of The Homecoming. Ruth, the most misunderstood of all of Pinter's characters is generally condemned as a shocking, licentious woman, even a nymphomaniac, and it is widely assumed by her critics and audience that in the end she agrees to become a prostitute. However, The homecoming requires that careful attention necessary to appreciate any highly complex work. Indeed irrelevant are the minor misreadings into the text aimed against Ruth that result in the proliferation of misconceptions. A corrected interpretation of Ruth, therefore, is essential to a new appreciation of all of the characters, specifically, their struggle for dominance, identity and love as these are expressed through precisely balanced, multiple ambiguities. The ambiguity in the struggle for dominance creates a dialectic that yields no unequivocal synthesis and prevents easy definitions of love or virtue. Yet the play explores the difficulties, not the impossibility, of gaining and expessing virtue or love. Ruth comes closest of all of Pinter's characters to a model of virtue, whose strength is threatened and tested from without, but who understands her cirecumstances and the people around her, and who combines comedy and high seriousness in a balanced proportion placing this play among Pinter's finest works.