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      • 直接 放射形 스피커 시스템 解析

        李相培 연세대학교 산업기술연구소 1981 논문집 Vol.13 No.1

        本 論文에서는 모비리티 相似法을 利用하여 스피커 시스템의 一般化된 解析方法을 보였다. 시스템의 效率, 周波數應答, 低周波領域에서의 Q 그리고 시스템의 驅動임피던스를 機械抵抗, 콤프라이언스 및 質量의 頃으로 나타냈다. This paper shows the generalized procedure of speaker system analysis by employing mobility analogy method. Efficiency, frequency response, Q in low frequency region and driving-point impedance of a speaker system, are derived from the mobility circuits in terms of mechanical resistances, compliances and masses of the system components.

      • 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.

      • D.H.Lawrence의 "교구목사의 딸"에 대한 硏究 : The Emancipation from Oedepal Problem Oedipal problem의 해방을 중심으로

        李相培 東亞大學校 大學院 1984 大學院論文集 Vol.8 No.1

        Of the dozen stories collected in The Prussian Officer and Other Stories in December 1914, only "Daughters of the Vicar" had never previously been published. Indeed, it is considered a short story only because of an accident of publishing history. One might think of it as novella, It can be said that Mr. Lawrence revised each of his whole works as well as its title. During his first creative years, as F.R. Leavis said in his book, D.H.Lawrence: Novelist(a Pellican Book, p.85), this story was written, but from July 1911 till then, like the other stories the collection contains, revised three times. The rough process is as follows: 1. In July 1911: writes "Daughters of the Vicar" as "Two Marriages." In September 1911: sends the rough draft of "Two Marriages" to Garnett. 2. In October 1911: revises "Two Marriages" to have a typescript made. In November 1911: completes "Two Marriages" typescript. 3. In June-August 1913 : revises "Two Marriages", and then the tile of the story becomes "daughters of the Vicar". 4. In July 1914 : for Duchworth's publishing, extensively revises the story. According to James Thorpe's assertion, each version is either potentially or actually, another work of art, so that I wanted to approach the story with textual criticism as well as biographical. In spite of myself I couldn't but Keith Cushman could in his book, D.H. Lawrenc at Work. The only method left for me was contextual criticism. The priciple of composition here is contrastive dichotomy, and the whole components of contrast is suffused in the atmosphere of the developing story. All in all, the components should seem familiar to readers of Lawrence: the passion versus the cerebral sisters, the destructive Christian middle-class milieu, the moralistic and unmanly intellectual lover versus the rebellious and virile outsider. "Daughters of the Vicar" intensifies Alfred's problems with his mother, but nothing at all remains of the Oedipal overtones of his love for Louisa. Instead Lawrence probes once again beneath the old stable ego of the character as he dramatizes the coming together of his two young lovers. The bond will endure between Alfred and Louisa because it has been formed on a level so much deeper than class or everyday relationship-deeper even than the bond of mother love. Alfreds' drift toward death is over: he has freed himself from his mother's tenacious grasp. His passional fulfillment with Louisa is really an experience of rebirth: "death was transfigured into desire."

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