칸트의 공간 이론에 관한 비판적 분석

오영목 대구보건대학 1999 대구보건대학 論文集 Vol.19 No.-

We can now consider Kant's detailed arguments about space. He begins by saying that there are three possible views about space. The first view is the newtonian that they are existents of a substantial kind which could and would exist even if there were no things or events to occupy them and no persons to intuit them. The second view is the leibnizian that they are a system of actual and possible relations between actual and possible things of events, that these relations would hold whether the things and events were perceived or not. The third is Kant's own view, which he here describes by saying that "they belong only to the form of intuition, and therefore to the subjective constitution of our minds, apart from which they could not be ascribed to anything whatever". Coming to detail we find that Kant tries to prove the following two things about space. (1) That our knowledge of space is in some sense a priori and not empirical. (2) That this knowledge is in some sense intuitive and not merely discursive. He has two arguments specially directed to prove the first point, and two specially directed to prove the second. In addition to these he has two other arguments, each of which is supposed to prove both points. The first is called the argument from incongruent counterparts, i.e. from the existence of such pairs of objects as left and right hands, objects and their mirror-images, etc. The second is from the nature of our knowledge of geometry. I shall now take these arguments in turn, and consider in each case what, if anything, the argument proves. What Kant proposed might, I think, be formulated as follows. He proposes to assign to each percipient his own absolute space, and to make it subjective and innate to each individual human mind. He thus gets rid of the metaphysical difficulties in Newton's theory. But he is able to hold that each person's innate absolute space is a kind of individual whole with which that person actually is or conceivably might be directly acquainted. This kind of acquaintance he calls pure or a priori intuition, in contrast to acquaintance with particular things in space, which involves sensation. When a person has a experience which we should describe as seeing an external object of a certain size and shape, localized at a certain place, what is happening is the following. (We are here confining our attention to the intuitive factors in the process, and ignoring the factors to belong to thought, which Kant regards as equally essential.) An independent foreign existent is producing an effect in the observer's mind, which may be called a 'sense-impression'. This has a certain determinate sensible quality, e.g. a certain shade of red, but it has no spatial characteristics. Presumably, however, it has a certain determinate form of a certain determinable non-spatial characteristic which C. D. Broad has called the 'space-locating property'. The occurrence of such a sense-impression furnishes the occasion on which the observes's mind automatically presents to itself a certain region of its innate intuited absolute space as pervaded by a certain sensible quality and thus marked out from the rest. That which determines the precise shape, size and location of the region thus marked out is the determinate form of the space-locating property possessed by the sense-impression. That which determines the sensible quality pervading that region is the sensible quality of the impression. Since each of us is directly acquainted, through pure intuition, with his own private absolute space, and since it is innate to and wholly dependent on his mind, Kant thinks that each of us can have genuine knowledge of its properties. This knowledge is our knowledge of pure geometry. Any extended external objects which a person could ever perceive would be simply a region of his own innate absolute space, which his mind presents to itself as marked out by certain sensible qualities on the occasion of having certain sensations. Therefore every proposition of pure geometry will certainly apply to every extended object that one could ever perceive. But there is no reason whatever to suppose that the independent foreign things, which produce the sensations on which our minds build up perceptions of extended localized, coloured objects, are themselves extended or localized, any more than there is to suppose that they are coloured. Suppose it were alleged that we derive our ideas of determinate shapes, sizes, and spatial relations by abstraction from perceived extended objects, and then proceed to generalise and amplify and idealise until we reach the refined concepts of pure geometry. Then I think that Kant would make two answers. (a) The empirical data would not lead to the concept of a single all-enbracing infinite and infinitely divisible three-dimensional space, unless the processes of abstracting and generalising and idealising were conducted in accordance with certain notions and principles which are innate in the mind. (b) In any case what you arrive at by all these processes is something which is logically prior to every particular extended localized perceptible object, viz. the innate absolute space in which any such object is simple a particular region marked out by certain sensible qualities. But this theory is open to several objections. First, Kant has not proved even that space is a priori. He has proved this about cause and substance, if we were to accept his arguments about the Transcendental Deduction of the Categories. But he never suggests that the form of spatial intuition might not change in course of time for the same person, or that it must be the same in its determinate details for everyone. Second, we can consider Kant's distinction between pure and empirical intuition. Kant says that "the matter of all phenomena is given to us a posteriori only, its form must lie ready a priori in all sensation." But Kant offers no reason here for this assertion. Third, at the crucial stage in the second edition version of Transcendental Deduction, Kant provides the distinction between the form of intuition and the formal intuition. Kant says that time and space are each given twice - once as 'form of intuition' and again as 'formal intuition'. A formal intuition is, in a sense, the representation of an 'object'. Since there should be a unity, a 'combination'(Zusammenfassung) or 'synthesis' of a 'manifold' is required. The results of this synthesis - time and space as 'objects', i.e. unified 'formal intuitions' - are said to be themselves 'given as intuitions' whose unity 'precedes any concept'. But this synthesis is said tto be effected the understanding. Therefore, we can not provide the distinction between the synthesis of formal intuition and on of understanding. Fourth, Near the tail of the Critique, Kant makes the positive assertion that the notion of infinite space is, in his technical sense, an idea of reason. This would quite definitely make the notion conceptual, and would quite definitely rule out the possibility that any human being should be acquainted (even non-sensuously) with space as an individual whole. Finally, Kant evidently supposes that if space be a priori, in the sense of being a mind - dependent intuitum, my knowledge of its properties and therefore my knowledge of pure geometry must be a priori, in the sense of intuitively or demonstratively certain. But it is a pure hypothesis that the mere fact that something depends on our minds is a guarantee that we can have adequate and accurate knowledge of it. Even if space were mind-dependent, I should still have to learn about its properties by inspection. There would be no guarantee that its properties would be the same in all its parts, or the same on Tuesdays as on Fridays.

現代 美國演劇의 諸樣相

朴容穆 慶北專門大學 (영주경상전문대학) 1979 慶北專門大學 論文集 Vol.2 No.-

Since 0'Neill established a great American theatrical tradition in 1910's, the wonderful spirit of experimentalism that fluctuated from style to style has been a powerful driving force that has produced in succession a great number of talents such as Wilder, Rice, Williams, Miller, and many other recent pioneers who have contributed much to the making of current American theater, the characteristic of which is that the diverse and heterogeneous quality dominates almost every area of the theater: language, theme, structure, scenery, dramatic style, acting technique, etc. It is a commonplace of criticism that the modern theater, in general, have started from rejecting realism's basic tenet that the stage should be set to look like the mirror to the everyday world, that the characters should speak in a prose might hear on the street instead of speaking in blank verse, and that their motives and actions should be much like those we normally think we see daily under the pressure of scientific rationalism. From the time of Ibsen to the present, a large number of playwrights have constructed their plays on the premise that the function of drama is not to hold the mirror up to objective nature, ut rather to provide an image of the world, to express indirectly their sense of life and reality in a situation, to show it as it appears to their imagination rather than to their senses. Such innovating trend as this anti-realism and te protean quality of experimental theater began to take the great vertical rudder in the development of the modern Amrican theater, and it is a well known fact that the American theater has been strengtheneded developed by the influence of many new tides that have strongly down from Europe to the plays of many new American Playwrights-in methods, new styles such as expressionism, symbolism, surrealism, epictheatre, and eatre of the absurd, and in eories, many energetic innovators such as Stanislavsky, Brecht, Artaud, and Growtcwski. Many a born Playwright took part in the struggle of experimentalism over and over again, and built their own world of theatrical art. For example, the effcrt of T. Wilder who used the technique of alienation to develop an anti-illusory was succeeded by J. Gelber after about thirty years, and the method of Rice Who presented social drama through his expressionistic technique was culminated in A. Miller as the highest summit of spiritual tragedy. After the 2nd world war, under the influence of existentialism that man is an absurd creature loose in a universe empty of real meaning, there began a new theatrical movement, Anti-theatre, and along with it, the absurdists such as Albee, Gelber, Kopit came on the stage of American theater. They attempted to bring into relief the fundamental problems of human cxiestence-1oneliness, alienation, disorder, futulity, uneasiness, anxiousness, and the impossibility of communication-by way of tragicomedy of melodramatic farce. As one of the principal themes of modern drama, the inability of language to convey the full meanings desired by the speakers has been carried in large part by the characters struggle with the flat, realistic prose they most often speak. The theater doesn't provide a sharply focused image of man in seme crucial action but bring up a man's most fundamental hopes and fears. On a bare stage a man, who is not a person but a "charcter," stands trying with great effort to explain the truth of his nature to the audience, each isolated from the other and from a world they no longer understand. The frustration or isolation of man in a world where all his environment, including the very language he speaks, thwarts his efforts to express the fulness of his essential self, makes the characters spout open nonsense or stand mutely on stage as in the plays of Albec, and makes them, after all, the speechless dolls or lifeless robots lager than life-size that have no longer any force in the mind but only physically play the role of meaningless mechanical action as in the plays of Itallie. In attempting to reform the theater with a violent way almost unknown to their forerunners, current American drastic playwrights take the theater for the only means by which they can give vent to their anger and disgust, overcome their agony and despair. In trying to blame and accuse American society, which is strong in appearance but weak and loose in its internal disunion, with ruthless attacks and to interpret it on the stage in their own peculiar way, they seem to destory nervously and in a shocking manner a great number of images, values of the society and other transformations of theatrical subject matters such as political injustice, cultural decadence, social corruption, anti-war sentiment, racial discrimination, sex problems, and all sorts of violence, etc. In oter words, they may want to make essentially a social document growing out of the enthusiastic debunking mood of the period and then correct its errors in order to establish a new world view and a new value system. In this point of view, they might have two common desires, one is the desire which seems to find the truth hidden undcr the surface of the common reality, and the other one, to be trying to change the world by shocking the audience and by altering the crecd, and then to force the theater to be a truer mirror of our time. With these two desires They intend to transform the reality of American society and to reproduce it on the unpretentious naive stage, but since they can't convey any sense of their own reality by normal conventional instrunient, by words, they can't but rcject all the conventions of the past and break all the existing theatrical views. Some of the current American theatcrs blieve they can accomplish a street production without laywright, without any form of literture, without director without any convention of theatrical performance. We can infer from various facts that with them what is needed seems to be only te direct, empathic relatioinship between the actor and the spectator. Moreover, suggesting that the actor can perform a play without any make-up or any costume, that the bare stage doesn't need to have setting, curtain, lighting, or sound effects (these are formal and unessential elements, they think), some drastic avant-gardists of Off-Broadway and Off-Off-Broadway run to the open strcets out of the normal stage of conventional playhouse. They act as if the strcet were just their stage and passers-by v.-ere just Ihe spectators or in a sense the play-goers. Therefore today's American theater tries every possible means to attract the attention of audicnce from extreme to extreme, from one bizarre experiment to its opposite, and from one explanation of human nature to its reverse. To cite an extreme case, some are often driven to ingenuities inappropriate to the dramatic medium. Confused and chaotic as the result may be, they are the products of sincere efforts to create a new cocept of theater as an expression for interpreting and communicating life's experiences. And The most significant fact we can see in these aspects of the current American theater is that the theater can break the narrow boundary of its past convention and at any rate take a great step toward the boundless possibility of energetic newness, in whichever direction it is going on.

금강유역 수질오염 실태조사

최신석,오희목,강명규,조통래,이규승,유종국,이영하 忠南大學校 環境問題硏究所 1988 環境硏究 Vol.6 No.1

조사 구역 상류 지점의 평균 수질은 pH가 7.1, DO가 8.3mg/ℓ, BOD가 1.7mg/ℓ, COD가 1.7mg/ℓ, SS가 15.4mg/ℓ, 분변성 대장균이 1.1x10³ MPN/100ml고 상수원 수 1급 내지 2급의 양호한 상태이고 하류지점의 수질은 pH가 6.8, DO가 7.7mg/ℓ, BOD가 2.2mg/ℓ, COD가 2.4mg/ℓ, 분변성 대장균이 1.7x10³MPN/100ml로 상수원 수 2급 내지 3급의 상태를 나타내 하류로 내려가면서 오염도가 증가하는 것으로 나타났다. 청주시의 영향을 크게 받는 미호천 하류의 평균수질은 pH가 7.2, DO가 6.3mg/ℓ, BOD가 16.2mg/ℓ, COD가 15.1mg/ℓ, 분변성 대장균이 1.6x10??MPN/100ml로 심각한 오염 상태를 보여 청주시와 대전시가 금강 본류의 주 수질 오염원으로 나타났다. 영양 염류 (NH₃-N, NO₂-N, NO₃-N, PO₄-P)와 무기성 유해 성분 (Cl-, CN-, F-)의 함량은 지천의 일부 지점을 제외하고는 극히 낮은 수준으로 검출되었으며, 유기인, 페놀류, PCB 성분은 조사기간 중 전혀 검출되지 않았다. 또한 Fe, Zn, Cu, Mn, Cr, Pb, Cd, Hg등의 중금속은 검출되지 않거나 하천 수질 기준 또는 식용수 수질 기준의 허용치를 초과하지 않는 양호한 수준으로 나타났다.

호밀 (Secale cereale L.)유식물의 질산환원효소의 활량과 단백질함량에 관한 Cycloheximide의 영향

권오용,이영하,오희목,박흥순,이진철 충남대학교 자연과학연구소 1988 忠南科學硏究誌 Vol.15 No.2

This work was accomplished with 6 day-old rye (Secale cereale L.) seedlings to determine the effect of the antibiotics by cycloheximide on in vivo nitrate reductase activity, protein and RNA content. The nitrate reductase activity by treating 0.1μM and 0.1 mM cycloheximide was lower than that of the control group. The optimum pH for the nitrate reductase of the control group was 7.6 in the range of pH 5.6-8.0, but, in the case of 0.1mM cycloheximide treatment group, the optimum pH was decreased to 6.8 within the weak the acid region. The protein content of shoot and root in the 0.1μM and 0.1 mM cycloheximide treatment groups were respectively found at the 96%, 82% level of that in the control group. In the higher cycloheximide treatment (0.1 mM CH), not only nitrate reductase activity and protein content but also RNA content was greatly decreased. In this fact, it was suggested that the 0.1 mM cycloheximide had affected on the RNA polymerase. On the basis of there results, it was concluded that the decreased nitrate reductase activity by treating cycloheximide occurred primarily according to the decreased nitrate uptake, and the decreased protein and RNA content depended upon the results of the direct and indirect effect of cycloheximide on the protein synthesis.

가와사끼병 환아의 혈청 프로테옴 지도 비교

백승연,이영목,이광훈,김동수 대한소아과학회 2004 小兒科 Vol.47 No.1

소설, 공간, 정치 -모하메드 딥의 "알제리 3부작"의 공간 묘사-

( Young Mock Lee ) 서울대학교 인문학연구원 2013 人文論叢 Vol.69 No.-

자동인형의 악몽 : E. T. A. 호프만의 『 모래남자 』

이영목(Young Mock Lee) 한국불어불문학회 2001 불어불문학연구 Vol.46 No.-

L`homme au sable, un des Contes nocturnes d`Hoffmann, doit partiellement sa ce´le´brite´ a` un article que lui a consacre´ Sigmund Freud. Dans son Inquie´tante e´trangete´, celui-ci nous propose une `histoire de l`oeil`, c`est-a`-dire une interpre´tation selon laquelle le sujet principal dans ce conte serait l`angoisse du complexe de castration infantile. A partir du re´sume´ et des observations, parfois contestables, du psychanalyste, nous voulons reconstituer une autre histoire, celle de l`automate. D`abord, nous attribuons la cause profonde des malheurs cauchemardesques du jeune e´tudiant a` son incapacite´ de l`identification. Il est incapable de discerner si la personne qu`il aime est un e^tre humain ou bien un automate et il n`est pas su^r de sa propre identite´ comme e^tre humain. Cette incapacite´, quant a` elle, trouve son origine dans son expe´rience traumatisante pendant laquelle fut remise en question son identite´ en tant qu`e^tre humain. Or, cette confusion d`identite´ n`est pas, selon nous, un proble`me isole´ et individuel dun esprit de´re´gl´e, mais pluto^t un proble`me historiquement concret auquel tous les hommes modernes sont plus ou moins expose´s. Pour e´tayer notre the`se, nous replac¿ons l`histoire de Nathanae¨l dans un contexte historique plus vaste qu`est l`histoire de la conception me´canique ou me´caniste de l`homme. Ensuite est examine´e, en vue de comparaison, la question fondamentale que leur monisme mate´rialiste a fait poser aux mate´rialistes franc¿ais du XVIIIe sie`cle comme La Mettrie et Diderot. Cette question des philosophes et celle qui est pre´sente´e sous une forme litte´raire par Hoffmann, bien qu`elles partagent les me^mes fondements historiques et the´oriques, ne sont pas identiques. Nous constatons enfin que la question pose´e par Hoffmann est celle qui aurait du^, du point de vue logique, se poser, mais que les philosophes de l`e´poque, qu`ils soient partisans de cette conception me´caniste ou du mate´rialisme, n`en ont pratiquement pas pris une conscience claire et distincte. Voila` pourquoi nous de´finissons ce conte comme une re´action litte´raire d`Hoffmann contre la conception me´caniste de l`homme.

파농의 문제적 정체성; 알베르 메미의 “파농의 불가능한 삶”의 비판적 독서

이영목 ( Young Mock Lee ) 한국불어불문학회 2013 불어불문학연구 Vol.0 No.95

“La Vie impossible de Fanon”, interpretation libre de l`aventure identitaire de Fanon par Albert Memmi, ne resiste pas malgre sa grande force de persuasion, aux analyses textuelles et factuelles. Mais la lecture critique de ce texte nous fournit l`occasion d`assister a la confrontation de deux manieres de concevoir l`identite, elaborees par deux principaux champions et theoriciens de la lutte anti-coloniale. La logique de Memmi est celle d`une logique implacable de la necessite. L`identite pour lui est une entite monolithique et s`il lui arrive a se transformer, elle subit une evolution lineaire. Par contre, la conception fanonienne d`identite est plus souple : l`identite, qu`elle soit individuelle ou collective, est mouvante, sur-determinee et complexe. Ce qui permet a la conception fanonienne de repondre plus efficacement aux exigences de la lutte emancipatrice dans un contexte actuelle qui n`est plus typiquement coloniale. Mais la conception fanonienne de l`identite a surtout cette valeur problematique, au sens ou elle nous exige a nous interroger sans cesse sur notre propre identite.

18 세기 프랑스 유물론의 인간관과 정치 사상 - 자연법 개념을 중심으로

이영목(Young Mock Lee) 한국불어불문학회 2002 불어불문학연구 Vol.50 No.-

N/A

암세포 Bcl-2 family 유전자 군의 DNA 메틸화 연구

강영섭 ( Young Suep Kang ),이선영 ( Sun Young Lee ),정상근 ( Sang Gun Jung ),한지유 ( Ji You Han ),고정재 ( Jeong Jae Ko ),배지현 ( Jee Hyeon Bae ),나영정 ( Young Junh Na ),이찬 ( Chan Lee ),목정은 ( Jung Un Mock ),김승조 ( Sung 대한산부인과학회 2007 Obstetrics & Gynecology Science Vol.50 No.7

목적: 본 연구는 암세포주와 난소암 조직에서 세포예정사의 핵심 조절 단백질인 Bcl-2 family 유전자의 DNA 메틸화 여부를 암과의 관련성을 밝히는데 그 목적이 있다. 연구 방법: 자궁경부암 세포주인 HeLa, CaSki 그리고 만성골수성 혈액암 세포주인 K562 세포에서 genomic DNA를 추출하여 sodium bisulfite를 통한 cytosine 염기를 uracil로 치환하였다. 치환된 염기서열은 methylation과 unmethylation을 특이적으로 확인할 수 있는 primer를 이용하여 MSP (Methylation Specific PCR)을 수행한 후 암세포에서 Bcl-2 family 유전자의 DNA 메틸화 여부를 판별하였다. 결과: 각각의 세포주에서 antiapoptotic Bcl-2 family 유전자 군인 Mcl-1과 Bcl-2 유전자는 DNA 메틸화가 이루어지지 않은 것으로 관찰되었으며, proapoptotic Bcl-2 family 구성원인 Harakiri 유전자는 DNA 메틸화가 이루어진 것을 확인하였다. 반면, 다른 proapoptotic Bcl-2 family 유전자인 Noxa 유전자는 DNA 메틸화가 이루어지지 않은 것으로 관찰되었다. 또한 난소암 조직에서의 DNA 메틸화 여부를 살펴본 결과 Mcl-1과 Noxa는 세포주에서와 같은 결과를 보였고, Harakiri 유전자의 경우 hypomethylation으로 관찰되었다. 결론: 본 연구는 암세포주와 난소암 조직에서 proapoptotic Bcl-2 family 유전자인 Harakiri와 Noxa의 경우, 유전자 특이적인 DNA의 메틸화가 나타났으며 antiapoptotic 유전자는 DNA의 메틸화가 나타나지 않았다. 이로써 Bcl-2 유전자군과 암세포의 세포사멸을 억제하는 기작을 DNA의 메틸화를 통한 특이 유전자 발현 억제에 의해서 이루어질 수 있다고 사료된다. Objective: Promoter methylation of Bcl-2 family genes in cancer cells were studied to verify possible correlation between DNA methylation pattern of Bcl-2 family members and cancer. Methods: The genomic DNAs were extracted from different cancer cell lines, HeLa, CaSki and K562, and ovarian cancer tissue from patients. The cytosine residues were converted to uracil by sodium bisulfite treatment. MSP (methylation specific PCR) was performed to determine the methylation status of Bcl-2, Mcl-1, Noxa, and Harakiri promoters. Using primers that distinguish methylated DNA from unmethylated DNA after bisulfite modification of DNA, MSP was conducted to observe the methylation pattern of Bcl-2 family genes in different cancer cells. Results: The promoter regions of Bcl-2 family genes including Mcl-1, Bcl-2, and Noxa were not methylated in cancer cells, whereas the proapoptotic Bcl-2 family gene Harakiri was detected as methylated in the cancer cell lines and hypomethylated in the ovarian cancer tissue. Conclusion: The present study demonstrated the differential methylation profiles of Bcl-2 family genes in cancerous cells, which suggests a possible connection between the methylation pattern of some of Bcl-2 family genes and ovarian cancer.