첨단기술개발로 도약을

이상배,Lee, Sang-Bae 한국전자정보통신산업진흥회 1990 電子振興 Vol.10 No.1

초고속 광통신용 색분산보상기

이상배 한국통신학회 2002 한국통신학회 워크샵 Vol.2002 No.10

공학교육

이상배 대한전자공학회 1985 電子工學會雜誌 Vol.12 No.1

D. H. Lawrence의 죽음에 대한 태도 : mainly “Odour of Chrysanthemums ” “Odour of Chrysanthemums ”를 중심으로

李相培 東亞大學校 1983 東亞論叢 Vol.20 No.1

Our life is a circuitous way towards death from which we can not flee, but we are destined, sooner or later, to die and fall into the black darkness of oblivion, and then be dissolved forever-that is, all individuals that do not pass alive into new generations try to hold the balance of life. And for this we dance, love and rear families and make farm. I don't think we have three stations in our life, birth, growth, and decline, but rather four stations; birth; growth; decline; and dissolution. That is what we are. My intention in this study is not to define the word "death" in general, but to illuminate Lawrence's attitude toward death mainly in his short story, "Odour of Chrysanthemums, "a story of collier life, which is rightly considered to be among Lawrence's finest tales. The story having been revised deeply and almost completely about four times or more, a person lacking the biographical background of "Chrysanthemums" would have great difficulty in discovering the authour's deep personal involvement with its materials. The story is bound together by the pervasive imagery of the flowers in its title. Chrysanthemums are associated with the cycle of birth, marriage, defeat and drunkenness, and death. The proud woman who is the central character is emotionally estranged from collier husband. At the end of day she waits with her two children for her husband, overdue from the pit. She suspects that he has gone to a pub to drink, but as time passes her anger becomes deeply tinged with fear. In actuality the husband has been killed in a mine accident. The climax of the story-the bringing in of the collier's body, the washing of the corpse by the wife and the collier's mother, and the wife's realization of the fears of estrangement between her husband and herself-is one of the most moving scenes in Lawrence's fiction. I have studied this story with many approaches, biographical, autobiographical, textual, contextual, mythological, and social, which may as well be called a multidemensional approach. 1. I have found that the revison of a stroy by the author creates another work of art. We may call the former work 'potential work of art', and the latter 'actual work of art'. And also I saw that Mr. Lawrence was required to revise the story by Ford, Harrison, and Garnett as his mentor, but the imporatnt pressure is internal, that is, from his own experiences of life, the breakup of two marriage engagements, his own mother's death, and his elopement to Germany with Frieda, etc. 2. I am convinced that the theme, the central meaning, of this story is not the estrangement between men and industrial society, but the separateness or isolation intrinsic in the human condition. So this story is about the human relationship between man and woman and man and his mother. 3. I have found in Lawrence's early works that the archetype of maternity, like Pieta or Demeter, remains unchanged throughout his early works. 4. It can be said that the archytype of wifehood is changed into another various types of wifehood throughout all his early works. And also I saw that through Elizabeth's reverie before her dead husband she now realized that she had been cruel to her husband, especially having caused him to feel the world and his life dreary. In all the early texts elizabeth's reflection that death has restored her husband to beauty and grandeur is now developed with full metaphysical implications that is, the isolation intrinsic in human condition. This realization of Elizabeth makes her shiver because of fear of death. 5. In the early and later periods of his career Lawrence's attitude toward death was one of utter horror and protest because of his philosophy fundamentally based on a conception of "livingness." In these periods Lawrence accepted death as a black lover which would swallow us all up, finally possessing us. But, in the last period nearing death, Lawrence admitted the real, uncontrollable reality of death. And finally submitting to and acknowledging his own death, his ultimate master, he humbly builds his own "The Ship of Death" which bears him to the world of darkness, the unknown world of mystery where an unknown god, or perhaps Pluto, with the dark torch, rules. It is likely that he believes in his own soul's rebirth like Persphone's ascending to the earth. But we must make it clear that Lawrence's chief preoccuption in his healthy period is precisely the choice between life and death, or rather: between complete life and death. Livingness is the axis of his world.

화가로서의 로렌스

이상배 동아대학교 1999 동아영어영문학 Vol.15 No.-

Ⅰ. 19년간의 문필생활에서 남긴 Lawrence의 행적이 너무나 다양하여, 그를 소설가로서 뿐만 아니라 시인으로서, 비평가로서, 극작가로서 연구하고 논하는 경우가 많지만, 그 밖에도 예언가로서, 심리학자로서, 수필가로서의 그에 대한 연구도 만만치 않게 연구되고 있는 것도 현실이다. 그가 남긴 다방면에 걸친 예술가로서의 업적들의 성격에 따라 그를 소설가로, 시인으로, 비평가로, 극작가로, 예언가로, 심리학자로, 수필가 등으로 생각할 수 있다면, 그가 남긴 그림들, 그의 화집 출간에 대한 서문과 그림에 대한 자신의 생각을 강력하게 밝히고 있는 수필들, 수많은 서간들, 그의 전 생애를 통하여 나타나고 있는 그림에 관련된 행적들로 보아 그를 화가로 생각하는 일 또한 당연하다고 생각한다.

죽음의 수용 : D. H. Lawrence의 문학세계를 중심으로

이상배 동아대학교 인문과학대학 인문과학연구소 1996 인문과학연구 Vol.- No.-

Anais Nin says that fist of all Lawrence asks us to begin from the beginning of the world with him. The beginning of the world of an individual means his birth from the mother's womb. The womb is fecundated by sexual activity. Our existence coming out of the darkness of the womb returns to the same darkness of the tomb. And life is a possible, circuitous way towards death ; our birth, maturity, and decline are a series of stations which are not repeated, and through which we must come and go ; as Susanne Langer says, that is our tragic rhythm. In his youth D. H. Lawrence read Schopenhauer, Nietzsche, and Darwin. His readings influenced his writings, especially the early novels. He acquired an understanding of Schopenhauerian nihilism, Niekzschean vitalism, and Darwinian scientific materialism. These various views of the world melded and fused in his works in all respects. As is well known, Lawrence's chief concern was "to be alive,"the livingness in the phenomenal world, not in the world of death. Thus physical death was the anithesis of the new world which he was groping for. And he refused death in life, too, as T. S. Eliot. In other words, his chief preoccupation was to overcome spiritual death, "death in life" in this modern mechanized and dehumanized world, and to come to rebirth through recognizing and overcoming a destructive self-consciousness within oneself, and fulfilling one's own vitality by accepting the reality of sex and death. Through his insights there arose this realization of the cruel reality of the phenomenal world, and gradually he realized that we must accept the reality of death together with the reality of life. He believed that we are "fuel of death," which is being exhausted at every moment.

성과 죽음의 수용 : D. H. Lawrence의 문학세계를 중심으로

이상배 동아대학교 인문과학대학 인문과학연구소 1995 인문과학연구 Vol.- No.2

Anais Nin says that first of all Lawrence asks us to begin at the beginning of the world with him. The beginning of the world of an individual means his birth from the mother's womb. The womb is fecundated by sexual activity. Our existence coming out of the darkness of the womb returns to the same darkness of the tomb. And life is a possible, circuitous way towards death; our birth, maturity, and decline are a series of stations which are not repeated, and through which we must come and go; as Susanne Langer says, that is our tragic thythm. In his youth D. H. Lawrence read Schopenhauer, Nietzsche, and Darwin. His readings influenced his writings, especially the early novels. He acquired an understanding of Schopenhauerian nihlism, Nietzschean vitalism, and Darwinian scientific materialism. These various views of the world melded and fused in his works in all respects. As is well known, Lawrence's chef concern was to be alive, the livingness in the phenomenal world, not in the world of death. Thus phusical death was the anithesis of the new world which he was groping for. And he refused death in life, too, as T. S. Eliot. In other words, his chief preoccupation was to overcome spiritual death, "death in life" in this modern mechanized and dehumanized world, and to come to rebirth through recognizing and overcoming a destructive self-consciousness within and death. Through his insights there arose this realization of the cruel reality of the phenmenal world, and gradually he realized that we must accept the reality of death together with the reality of life. He believed that we are "fuel of death," which is exhausted at every moment.

디지털 필터의 基本設計

이상배 연세대학교 산업기술연구소 1983 논문집 Vol.15 No.2

The hardware implementation of a fourth-order low pass digital filter using five microprocessors is investigated. It shows the maximum sampling frequency would be 111 KHz which is five times of the frequency for the singlemicroprocessor system. The paper also suggests the implementation of a high speed 12 bit fourth-order digital filter with a maximum input sampling frequency of 1.2MHz, employing a single multiplier-accumulator.

塑造佛像의 製作技法

李相培 동국대학교 불교미술문화제연구소 1994 佛敎美術硏究 Vol.1 No.-

Ti-Ni-Mo계 형상기억합금의 주조 특성

이상배,김경남,Gunther, VE 대한치과기재학회 2001 대한치과재료학회지 Vol.28 No.5