Konkrete Poesie und expressionistische. Kunst. (Post)Modernistische Aspekte zur Medienverflechtung

Koh, Wee-Kong 弘益大學校 人文科學硏究所 2005 人文科學 Vol.13 No.-

구체시와 표현주의 예술은 서로다른 시대의 예술장르이면서도 비교연구의 가치를 지닌다. 이는 양자가 매체융합의 표현양식 실현으로 모더니즘과 포스트모더니즘 예술형성에 지대한 영향력을 행사하였기 때문이다. 그러나 상세히 관찰해보면 양자사이에는 예술이념, 재료사용, 미학적 효능 등의 면에서 상당한 거리가 있다. 이는 무엇보다 구체성과 추상성이라는 대표개념에서 나타난다. 유사한 시기에 생성되어 발전된 두 양식수법은 „대상성으로부터의 이탈" 이라는 시학원리에서 공통되나 그 구체적 실현방법은 같지않다. 후자가 매체사용의 추상화를 통해 주관적 내면심층의 환상이나 어떤 다른 감추어진 대상성을 표현하려 한다면, 전자는 언어기호의 질료화로 스스로의 대상세계를 창출한다. 따라서 양자에서 추출되는 텍스트의미성은 동일하지않다. Kandinsky의 대표적 추상화 „구성 7(Komposition VII)" 과 Gomringer의 텍스트 „침묵(Schweigen)"을 대비해보자. 기하학적, 구성적 수법을 활용한 전자에서는 대상적 지시성이 완전히 배제되지않는다. 그 표현세계는 생성과 종말의 차원에서 „우주창조의 은유"로 해석된다. 이러한 굴절된 형상조음은 후자의 기호시각화에서는 찾아보기 어렵다. 동일단어의 반복배열과 그로인한 서정시의 도식화는 청각적 침묵의 이미지를 „도상화" 시킴으로써 새로운 지각작용에 호소한다. 여기에서의 침묵은 상징적 의미가 아니라 다원적 기능을 발휘한다. 이러한 현상은 오늘날의 다매체예술에서 발견된다. 구체시와 표현주의 넓게보아 현대예술의 모더니티를 생성, 발전시킨 두 축이다. 양자는 추상화와 구체화라는 양식혁신을 통해 „재현"과 „모방"이라는 종전의 표현법칙으로는 도달할 수 없는 새로운 표현가능성을 개진하였다. 특히 서로다른 개별매체의 통합과 교체를 통해 생산과 수용의 유희공간을 넓히고 독자와 관찰자의 지각행위를 포괄하는 매체미학의 지평을 열어주었다. 이로인해 현대예술은 „언어갱신"이라는 세기적 목표를 구현하며 신매체의 등장으로 인한 예술의 매체화작업에 대처할 통로를 마련하게된다. 개별장르 해체로 인한 이러한 예술의 보편화작업은 그러나 아방가르드와 포스트모더니즘의 전유물이 아니라 르네상스, 바로크, 그리고 낭만주의 시대에 개화한 바 있다. 나아가 모든 예술을 하나로 보는 예술생성의 원천에 닿아있다. 혼합장르나 매체교체 현상은 인류의 장구한 예술, 특히 작품발달사를 관류해온 기본적 „표현의지" 이다. 이런 점에서 상호매체성미학은 전통과 현대의 아우름에서 합당하게 파악 될 수 있다.

요대의 발해유민 연구

김위현(KIM Wee-hoyun) 고구려발해학회 2007 고구려발해연구 Vol.29 No.-

I am trying to point out the contents and errors of Some scholars of the peoples Republic of china from araund of 2000. First of all, I want to indicate the thesis framing. First, even though it was supposed to use the historical materials widely, they didn't use other Ones except their own materials. Even they sometimes did not use their own Ones either. Second, the results of predecessors should be exalted nevertheless what country they were belonged to. However they often ignored even their own ancestors' research results. Even though it is hard to collect various data, they shouldn't have given up easily. Third, considering illogical contents as the logics is absolutely discord. What are the troubles then? 1. The point of view for Dongran (東丹)'s characteristic. Whether it was country or administrative region. Dongran named theirselves as One administrative region and they also had own economical and political systems. If Dongran was One of the administrative regions, it would not be allowed to do above things. Furthermore, they are looking me negotiation with Late Tang as a diplomacy, but it is error from ignoring the existence of Late Palhae. 2. Existence of Late Palhae? It already had been proved by Japanese Watasei(和田淸) in 1916. Furthermore, Japanese Hino Kaijabro(日野開三郞)(in 1941), Korean Lee Yong-Bum(1981), Kim Wee-Hoyun(l981), and Han Gyu-Chul(l995) had reinforced it. 3. Is culture of Palhae from only T ang culture(唐文化) and contact with Han people(漢人)? Of course there are some cultures that are from contact of Tang cultures and Han people. However the root things are from Koguryo. Most residents of Palhae were from Koguryo, therefore it is really illogical that Palhae residents threw away their own cultures, the cultures of Koguryo, and accepted Tang's cultre. 4. Are Palhae and Jurchen the same race(同族)? Jurchen is the name of whole sundry races that lived around Manmong liver(滿蒙). Palhae displaced person(渤海遺民) were also called as Jurchen after Chitan Middle age. Also Wan-yen Bu(完顔部) that built chin(金) is the remaining of Silla(新羅). Therefore, Palhae and Jurchen are not the same races. 5. They presented population of Palhae as about 7~800,000. However Shin Hyung-Sik in Republic of Korea saw that it was 1,300,000, and Jang Jong-Gook in The Democratic peoples Republic of Korea calculated it 5,000,000~6,000,000. The differences are too big. They need even more accurate data providing. 6. We are disagree to the opinion that after ruins of Palhae, the Palhae people had been joined to One of 8 races of Hanjok Then, they should prove how they got new name after 700 years. Palhae people took the big role in founding Chin(金) and Chin's politics. Not only that, the existence also remains in Yan(元) country. We want to know why they had been not united during Chin(Jurchen), Yuan(Mongol), and Ching(Man-Chu) age, but the had been to only Hanjok. As you see there are so many problems that makes hard to agree. If we and they researched and investigated the exact same data that from exactly same literature, the results must be same. If not, it is considered as non-scientific and not object research. Current Chinese scholars' assertion that past four countries' history is China's history because current China territory is covering those four past countries territory is absolutely not acceptable.

GYROBONDGRAPH에 의한 선형 및 비선형 제어시스템의 안정도 평가에 관한 연구

신위재 경남대학교 신소재연구소 1994 論文集 Vol.4 No.-

본 논문에서는 동적방정식을 유도함이 없이 본드그래프의 표준형 구조인 자이로본드그래프에 의해선형 및 비선형 제어시스템의 안정도를 해석 할 수 있는 방법을 제안하였다. 이방법은 다단의 분산된 제어시스템의 안정도를 평가하는데 사용될 수 있는 Block Gershgorin 이론을 도입하였다. 또한 이기법은 대규모 제어계통의안정도 평가를 예측하는데 있어 대용량의 컴퓨터 사용에 따른 경비절감의 목적으로 이용될 수 있을 것이다. In this paper, we presented the stability estimation of linear and nonlinear control systems by Gyrobondgraph(GBG) structure which a canonical form of the bondgraph prior to the derivation of the dynamic equations and it have been provided how the block Gershgorin theorem can be used to evaluate the stability of decentralized control systems, it represents a computationally less expensive approach the stability analysis of Large-scale systems.

복합예술텍스트로서의 <구체시> : 그 미학적 한계와 가능성 Grenzen und Mo¨glichkeiten ihrer ku¨nstlerischen Darstellungen

고위공 弘益大學校 東西文化硏究所 2002 東西文化硏究 Vol.10 No.-

Der Standort der Konkreten Poesie innerhlab der literarisch-ku¨nstlerischen Textsorte ist heute von verschiedenen Gesichtspunkten her zu bestimmen. Dabei kann sowohl positive als auch negative Einscha¨tzung existieren. Der Hauptmaßstab dafu¨r ist ohne Bedenken die a¨sthetische Qualita¨t des Literaturwerkes. Da diese aus der Bahn geschlittene textliche Sonderform konventionelle lyrische Sprechweise vo¨llig ignoriert, dra¨ngt sich die kritische Frage auf, ob und und inwieweit ihr der Charakter der Poetizita¨t oder Literarizita¨t zugesprochen werden ko¨nnte. Zu ihrer Beantwortung sollte man vor allem zwei Grundaspekte in Betrtacht ziehen, die sich einander bedingen: die zeitgeschichtliche Vera¨nderung des Literaturumfangs und die Funktion der Medienkunst. Bei dem ersteren geht es um die Erweiterung des Literaturbegriffs, wovon schon seit langem gesprochen worden ist. Sie verdankt sich im besonderen dem neuzeitlichen Pha¨nomen des ku¨nstlerischen "Medienwechsels", das sich durch Entstehung der "Neuen Medien" beschleunigt. Konkrete Lyrik zeichnet sich als nachmodernes Erbe der traditionellen visuellen Poesie Europas dadurch aus, daß sie bei schriftlicher Textgestaltung andere Medien Bild und Laut (Ton) frei benutzen. So zerbricht sich die bis dahin dominante Eigengesetzlichkeit des Wortkunstwerkes. Konkrete Dichter experimentieren mit der ‘Medialisierung’ der Sprache radikal. Die auf solche Weise entstandenen Artefakte du¨rfen heute ja als ein Pru¨fstein fu¨r Entgrenzung der Literaturkunst gelten. Die Modifikation des Poesieversta¨ndnisses verursacht konsequent die Vera¨nderung a¨sthetischer Wertscha¨tzung. Infolge des ‘Medienwechseis’ befa¨higt sich jede Kunst dazu, den Spielraum ihrer ku¨nstlerischen Expressivita¨t zu erweitern. Angesichts der neuerfundenen komplexen Textarten hat man u¨ber die Urteilskriterien des Kunstwerkes neu zu reflektieren. Besonders sind es die Wahrnehmungs- und Verstehensproblematik der Wort-Bild-Komplexe, die hier zu untersuchen gilt. Bei dieser kunsthermeneutischen und rezeptionsa¨sthetischen Themenstellung handelt es sich um folgenden Sachverhalt. Dem Textbetrachter muß nicht nur das Vermo¨gen zum Lesen, sondern auch das zum Sehen und Ho¨ren eigen sein. Beim Umgamg mit dem ‘Textko¨rper’ befindet er sich also in einem anderen Zustand als bisher. Wie wird derartige Verstehensakt und -vollzug in Wirklichkeit ermo¨glicht? Bei der Suche nach der Antwort auf dieser wahrnehmungspraktischen Problematik mo¨hte ich auf ein anderes wichtiges Begriffsmoment die Aufmerksamkeit lenken: das der ‘Kunstsprache’. Ihm liegt die Tatsache zugrunde, daß sich alle Arten von Kunstwerken durch ‘Sprache’ oder ‘Sprachigkeit’ u¨bermitteln lassen. Dieser beachtenswerte Gedanke von der Kunstautonomie, dessen Wurzel bis zur griechischen Antike zuru¨ckreicht, ist geschichtlich in der Romantik und dann bei der Avangarde aktualisiert geworden. Seitdem hat er bei (post)moderner Kunstreflexion und -praxis entscheidende Rolle gespielt. Wie bekannt stellt Gadamer bei seiner Besinnung der philosophischen Hermenutik "Sprachigkeit des Verstehens" ins Zentrum. Dieser Kernthese folgen auch die Bildhermeneutiker wie Boehm und Ba¨tschmann. Bei ihnen wird die ‘Bildsprache’ zur Begru¨ndung kunstgeschichtlicher Hermeneutik fundamental. Wort und Bild stehen bei der Auslegung der Kunstwerke grundsa¨tzlich auf einer Ebene. Diese Annahme ist anhand der "konkreten" Textkomplexe zu belegen. Gehen wir nun zur Textbetrachtung u¨ber. Dabei verfahre ich der Veranschaulichung halber auf besondere Weise. Im folgenden sollte also ein "konkretes" Lyrikwerk mit zwei nicht-konkreten vergleichend analysiert werden. Ausgewa¨hlte Gedichttexte sind Gomringers "Schweigen", Goethes "Wanderers Nachtlied" und Celans "Sprachgitter". All diese drei Textbeispiele, die sich jeweils dem klassischen Erlebnisgedicht, der modernen poetologischen Lyrik und der Konkreten Dichtung der Nachkriegszeit angeho¨ren, nehmen dasselbe Motiv des ‘Schweigens’ zum Thema. Dessen lyrische Gestaltungsweise ist jedoch je nach dem einzelnen Fall sehr unterschiedlich. Das Hauptaugenmerk der Lektu¨re richtet sich darauf, welche besondere Bedeutung Gomringers Figuration des ‘Schweigen’-Motivs zukommt. In Goethes "Wanderers Nachtlied" kommt die Seelenstimmung des subjektiven Ichs unmittelbar zum Wort. Im "Schweigen" der Natur sieht der Dichter die "Ruhe" des Menschen erfu¨llt. Der Sinn des "Schweigens" wird durch den zu bezeichenenden Gegenstand metaphorisch bestimmt. Damit korrespondiert auch der metrisch-klangliche Aspekt des Madrigals. Der Einheit von Ich und Natur entspricht also der hamonische Wohlklang. Celans "Sprachgitter" hebt sich aber davon erheblich ab. Das "Schweigen" ist hier nicht mehr der gegensta¨ndliche Sinnbild sprachlicher Darstellung. Es wird selbst im Gedicht poetologisch thematisiert. Dabei handelt es sich nicht um normal-, sondern metasprachliche Funktion. Dies pra¨sentiert sich im Gedicht in beiden Richtungen: in Richtung der poetischen Formstruktur und der Mo¨glichkeit sprachlicher Kommunikation. Gerade die signalhafte Gedichtu¨berschrift "Sprachgitter", die sich doppelseitig lesen la¨ßt, steht dafu¨r. Sie weist einerseits auf das graphische "Gitter"-Muster des Gedichtbaus, andererseits auf das Mittel zur gegenseitigen Gespra¨chsfu¨hrung. Im Verlauf des Gedichts wird das "Schweigen" als Quelle des poetischen Sprechens gedeutet, indem sich ihm die Funktion des Sehens und der Lichtwahrnehmung zuspricht. Im Fall des Gomringerschen Gedichtes verha¨lt es sich ganz anders. Das Titelwort "Schweigen" ist nur in Form der Typographie des Buchstabengefu¨ges vorhanden. Es gibt hier kein lyrisches Subjekt, kein zeichenhaftes Symbol, und keine hermetische, selbstreflexive Sprachpoetik. Wenn der poetologische Aspekt des "Schweigens" auch behandelt wird, geht dessen Praktik anderen Weg als Celan. Weder der grammatikalisch-syntaktische noch der ‘gegensta¨ndliche’ Bezug wird beibehalten. Das "Schweigen" dru¨ckt sich allein durch einfache Wiederholung desselben Wortes und Herstellung eines weißen Leerraums inmitten des viereckigen Druckbildes aus. Die eigentlich akustische Eigenschaft des "Schweigens" als Gegensatz zur ‘Stimme’ wird so ins visuelles Bild umgekehrt. Man bringt dies sogar mit dem chinesischen Schriftzeichen ‘口’ in Zusammenhang, das den ‘Mund’ bedeutet. Bei Gomringers "Konstellation" entsteht ein Ikonbild des "Schweigens", das sich jedoch begrifflich kommunizieren la¨ßt. Der Leser sollte sich ‘simultan’ orientieren, um sich dessen Perzeption zurecht zu finden. Beim ‘Mitspiel’ des "konkreten" Textkomplexes verschafft sich fu¨r ihn der viel weitere Raum zur freien Assoziation und Imagination. Seine Interpretationsrichtung ha¨ngt daher von der -manchmal individuellenvollziehenden Lektu¨reweise des Betrachters betra¨chtlich ab. Auch sein a¨sthetischer Wert ist daran zu messen. Im Fall Gomringer erscheint die verbildlichende Medialisierung des Sprachmaterials nicht als unbedeutend, weil sich damit neue Mo¨glichkeit zur literarischen Darbietung am markantesten pra¨sentiert. Nur sei diesbetrffend eines hinzugefu¨gt. Das Herstellen eines medienu¨bergreifenden Artefaktes kann insofern von wert sein, als es dem u¨berzeitlchen ku¨nstlerischen Erkenntnisvermo¨gen der Aufnehmenden entgegnenkommt. Beim Ausmessen des qualitativen Stellenwertes der Konkreten Dichtung handelt es sich deshalb um einen Ausgleich zwischen Tradition und Innovation. Ihre literaturgeschichtliche Position kann erst aus der richtigen Perspektive vom Moderniesierungsprozeß deutscher Versdichtung einleuchtend bezeichnet werden. Aus unserer Untersuchung der drei deutschen mustergu¨ltigen Lyrikwerke induzieren sich drei Variante Typen poetischer Gestaltungsmo¨glichkeiten. Inwieweit sie einzen ihre a¨sthetische Geltung beanspruchen ko¨nnen, bleibt allerdings eine Aufgabe, die noch pra¨ziser, also unter Beru¨ckcichtigung betreffender Kategorien und Kriterien der modernen Poetik behandelt werden sollte.

女眞의 馬貿易考 : 10世紀-11世紀를 中心으로

金渭顯 명지대학교 1982 明大論文集 Vol.13 No.1

TV방송에 의한 초등 영어수업이 듣기,말하기 능력에 미치는 효과

진위교,이지은,강이철 한국교육정보미디어학회 1999 교육정보미디어연구 Vol.5 No.2

초등학교 영어 교육의 내용은 의사소통에 바탕이 되는 언어기능 교육, 그 가운데에서도 음성언어 교육이 주가 되며 문자언어 교육은 음성언어 교육에 부수되어 의미와 이해를 점진적으로 발전시키는 내용으로 구성되어 있다. 본 연구는 1997년부터 초등학교 정규교과로 지정된 영어과목의 중요한 학습목표인 듣기와 말히기 능력의 신장을 위하여 기존의 EBS 영어방송 프로그램의 시청 전·중·후 학습과정을 통합한 형태의 영어수업을 실시하여 그 효과를 검증하였다. 연구 결과, 모델형과 자료형의 방송수업 모형을 혼합한 형태의 수업을 받은 집단이 듣기(t=6.98, p<.05)dhk akfgkrl (t=5.09, p<.05)에서 유의미하게 높은 성취를 보였다. 본 연구를 통하여 언어가 사용되는 실제 상황을 제시해 주는 시각 자료와, 영어 모국어 화자의 정확한 발음을 들려주는 청각 자료를 통합한 TV 교육방송을 매개체로 하여 사전에 철저히 계획된 다양한 언어 활동들을 연계시켜 TV 교육방송을 통해 획득된 이미지와 이해를 구체화, 내면화시켜 줄 때 초등학교 영어 수업에서 TV 교육방송의 활용 의의는 커다고 하겠다. The purpose of this study was to investigate the effect of TV broadcasting instruction on the achievement of listening and speakmg in Elementary English. The specific research question of this study was as follows: Does the instruction using TV broadcasting for Elementary English improve listening and speaking achievement respechvely? The main hypothesis was as follows: There will be a significant difference between a TV broadcasting group and a traditional group in listening and speaking achievement respechvely. The students participating in this study were 76 3rd-grade Elementary students. After verifying the homogeneity of variance for two groups on the ability of listening and speakmg, they were separated into an experimental group and a control group. The instruction lasted for 6 weeks. The independent variable was the type of instruction(instruction using the TV broadcasting group vs. the traditional group). The dependent variables were achievement scores on listening and speaking respectively. Based on the scores, a t-test was applied to verify the hypothesis. The result of this study was as follows: There was a significant difference between the TV broadcasting group and traditional group in listening and speaking achievement respectively. According th the result, the instruction using TV broadcasting in Elementary English is more effective on improving the achievement of listening and speaking than traditional instruction. This paper suggests that various pre-training programs on how to watch TV programs critically develop by considering the learner s characteristics and content properties, Above all, financial and technical support should be invested to utilize TV broadcasting programs in classrooms as well as to develop teachers competency on using broadcasting hardware systems and integrating TV programs into instruction.

算法的-發見的(Algorithmico-Heuristic)過程과 授業方略의 開發

陳渭敎 慶北大學校 人文科學硏究所 1988 人文 科學 Vol.4 No.-

契丹의 敎育과 科擧制度考

金渭顯 명지대학교 明大論文集 Vol.17 No.-

Records on the schools are shown in the Liaoshih(遼史). The schools of Ch'i-tan(契丹)having modelled after the Chineses system, it is assumed that the curriculum and system of the schools in Chi-tan might have been much similar to those of the Tang(唐) Dynasty. The schools are recorded to have been established in the Central cities and countries; there were Gwozijian(國子監) in Shang-Ching(上京) and Choug-Ching(中京), Chingxue(京學) in five Ching(京), Fuxue(府學) in Fu(府), Jouxue(州學) in Jou(州) and Hstenxue(縣學) in Shien(縣). Actually, however, the shools are shown to have been partially extablished. Gwozijian consisted of Jihjeou(祭酒), syyeh(同業), Jiancherng(監丞), Juubuh(主簿) etc. which managed the schools, and the Shang-Ching Gwozijian, Chung-Ching Gwozijian, Chingxue, and-Fuxue, Chouxue, and Hsienxue had Borsyh(博士) Juhjiow(助敎) who taught the school. As the schools developed and accordingly even the ordinary people as well as the scholars tended to be deeply interested in studies, the culture of Liao Dynasty reached high level; emperors established schools and a mausoleum of Confucius in several places as exemplary models, exerting themselves to the publication of the Confucian classics. This seems to have been aiming at rationalizing the adoption of Chinese hereditary system at the time of the Taitzuu(太祖) in place of the Khan(汗) system by turns, and later, at cultivating Chinese officials and at indoctrinating the loyalty to the King through education. There is no Sheuanjeujyh(擧志) in the Liao Shih. But some of the contents are recorded to some extent in the Beenjih(本紀) of Liehchwan(列傳). The examination of chin-shih(進士) was not for Ch'i-tan. as a means to employ Chinese, this was used to select elites from the scholars as well as ordinary people else than Ch'i-tans. Therefore, Ch'i-tans were employed by Shih-hsuan(世選) System(a sort of hereditary system) and prevented even from applicating for the examination. By literature, the Chin-Shih examination was begun in the beginning of Huey Torng(會同) when Shih Fang(室昉), a Namkyongian was known to have passed the Chin-shih exam for the first time. Obviously, in the beginning of the nation. there seems to have been paid hardly any attention to the Civil Exam system, and it was only after T'ai-tsung(太宗) had interfered with the Late Jin(後晉) that the Civil Exam system was attended to. There were three steps of examination of Hsiang(鄕), Fu(府), and she^ng(省), in which Shy(詩) and Fuh(賦) were tested. The examination was originally planned to take place once in three years, but there having been 54 Chin-Shih examinations taken during the period of 134 years from the 6th of T'ung-ho(統和) (988) to the 2nd of Boo-Dah(保大), the emper, of Tian Tzuoh(天祚)(1122). with an average of 1 time for 2.5 years. But the examination was taken every year or every other two years during the time of Sheng-tsung(聖宗), and later, the period lengthend to some four or three years. The numbers of the successful candidators also increased from one or two during the years of T'ung-ho the minimum of 6 to maxiimum of 138 since K'ai-tai(開泰). The process of employment of the successful candidators were various. Successful cnadidators of the same Chin-Shih examination were diversely employed for general admiinistrative affairs, taxational works or military affairs. However, as they promoted to the higher positions, such divergence seems to have disappeared. The first grader in the Diann(殿) Examination was awarded of Fengjyr Dah Fu(奉直大夫) as the first position(equivalent to the Tsorng(從) 6 piin(品) of Song(宋) Dynasty), and others were awarded the position of Tsorng Shyh-rang(從事郞) (equivalent to Tsorng 8 piin of Song), and sometimes, Jiang Shyh rang(將士郞)(incomparable with any official position of Song, but equivalent to below Tsorng-9-piin of Tang.) The period of examination was not regular. Originally, the period was once for 3 years, but during the years of Shentsung,the examination was given every year or every other two years, and since the time of Hsing-tsung(與宗), once in three years. And the month the examination was taken was October before the 5th year of Jong Shi(重熙)(1036), and May or June, after the 7th of Jongshi(1038). The qualification of the candidators was also limted. In the beginning, there seems to have been hardly any limit, but since the 9th of Jongshi, doctors, fortunetellers, slaughters, slavers and the criminals were excluded from the examination. In the 5th of Gan T'ung(乾統)(1105),the descendants of the merchants were also excluded from the qualification. But, later, the system of examination became very loose and disorderly, and even some who did not take the examination were awarded the title of Chin-Shihs, while even Chin-Shihs of Song Dynasty surrended were employed through examination. During one generation of Ch'i-an, there had been taken 54 times of Chin-Shih examinations(according to the Beenjih of Liaoshih), and the successful candidators numbered 2342. Those whose names are well known number 70, while those listed in the Liaoshih, 20. The main points cleduced, as a result, from this study are as follows: first, the main purpose of the civil Exam seems to have been the selection of Chinese officials because the ruling over the chinese territory needed chinese officaials, secondly, it was an attempt to indirectly induce Ch'i-tan to keep their original respect for fighting spirit, and to effeminate the chinese or po-hai(渤海) people that they had limited the qualification of the candidators for civil Exam only to Chinese or Po-hai people excluding the Ch'i-tan, thirdly, the purpose of the execution of Civil Exam seems to have been to strengthen the trustfulness between king and retainers by establishing a teacher-discipline relation between them, and the luxurious proce dure of the ceremony for Chin-Shih seems to have been to induce the successful candidators to feel deep gratitude to the king by emphasizing that the award of Chin-Shih was being given by The king, and fourthly, it seems that the employment of Chinese people for the ruling of Chinese territory was to let them solve the difficult problem such as taxation(Shuifu 稅賦) or labour service(Fui 賦役) by themselves together with their own people.

遼代渤海 復興運動의 性格

金渭顯 명지대학교 1978 明大論文集 Vol.11 No.-

자기구성 신경회로망을 이용한 매니퓰레이터의 역기구학해에 관한 연구

신위재,김동희 경남대학교 공업기술연구소 2001 硏究論文集 Vol.19 No.-

본 논문에서는 자기구성 신경회로망을 이용하여 3축 매니플레이터의 역기구학해를 구하는 방법을 제안한다. 가우시안 위치 함수를 활성화 함수로 사용하는 자기구성 신경회로망은 학습 시작시 1개의 은닉층 노드를 가지고 출발하여 점차적으로 은닉층의 노드수를 증가 시킴으로서 최적의 노드수를 얻는다. 제안한 내용을 증명하기위해 매니플레이터 시스템을 구성하여 빠른 학습속도와 학습비의 개선 그리고 빠른 정상상태로의 수렴을 확인하였다. In this paper, We propose a method to solve the solution of inverse kinematics of 3 axis manipulator by using a self-organizing neural network(SONN). The self-organizing neural network using the gaussian potential function as the activation function has one hidden layer in the first learning time. The network obtains the optimal number of node by increasing the number of hidden layer node through the learning. In this results, we can confirmed that the learning rate is improved and the rapid convergence to the steady-state is achieved.