Serie音樂의 技法的 發展過程의 硏究 : Sch?nberg音樂을 中心으로

崔仁讚 啓明大學校 人文科學硏究所 1977 東西文化 Vol.10 No.-

Stochastic LP모형을 이용한 다단계 생산라인의 투입량 결정

최인찬,박광태 한국경영과학회 1996 한국경영과학회 학술대회논문집 Vol.- No.2

수율을 고려한 다단계 생산라인의 Stochastic LP 모형

최인찬,박광태 한국경영과학회 1997 韓國經營科學會誌 Vol.22 No.1

In this paper, we propose a stochastic LP model for determining an optimal input quantity in a single-product multi-stage production system with random yields. Due to the random yields in our model, each stage of the production system can result in defective items which can be re-processed or scrapped at certain costs. We assume that the random yield at each stage follows an independent discrete empirical distribution. Compared to dynamic programming models that prevail in the literature, our model can easily handle problems of larger sizes.

2 . 연구원 활동 : ( 1 ) 연구실별연구현황 및 연구논문소개 ; ( 산업공학분야 ) - 최적화 연구실

최인찬 고려대학교 공학기술연구소 1999 공학기술연구소보 Vol. No.

양자 회로 구현을 위한 큐빗 할당 최적화

최인찬,최현석 대한산업공학회 2019 대한산업공학회 추계학술대회논문집 Vol.2019 No.11

그로버 알고리즘을 활용한 HHL 알고리즘 양자 회로 개선

최인찬,최현석 대한산업공학회 2021 대한산업공학회 춘계학술대회논문집 Vol.2021 No.6

그로버 알고리즘을 활용한 HHL 알고리즘 양자 회로 개선

최인찬,최현석 한국경영과학회 2021 한국경영과학회 학술대회논문집 Vol.2021 No.6

산업공학 연구자를 위한 양자 컴퓨팅 기초

최인찬 한국경영과학회 2019 한국경영과학회 학술대회논문집 Vol.2019 No.4

戰後西歐現代音樂의 變遷과 發展過程에 關한 硏究

최인찬 安東大學 1984 安東大學 論文集 Vol.6 No.1

Post-war modern music is faced with the creation of new art, which expresses the rapidly changing and confused feeling of the times as an idea. Usually in peaceful times, art will go with go with the creative stream symbolizing peace. But political and social unrest brought such feelingsas unesiness and terror during the war. The irresistable convulsion of the new time made Europe and all of the world rush into times of uneasiness and terror. We are all exposed great dangers that we dare not predict if the nuclear missile explodes. The stream of the post-ware music is not the character of individuality from the usual main stream. The excessive liberalism of the post-war music was against the category of the idea in art to bring in the individualism. As the first reason of this phenomenon, an expected political agitation of postwar has an effect on building up a new environment, so liberalexpression of a private person becomes idealized. In consequence, it formed a new age to create the lord of a notion in the inner citadel of each person. In the second place, owing to the development of science, the machine age had an effect on building up industrial society as well as being considered as a new field of music creation. In the third place, having made desperate efforts in seeking a new music field as an experimental method, they were absorbed in composing cacophonic music. The 2-dimensional or 3-dimensional music space means a sort of a unity, namely musical idea must be a law of musical logic. But these experimentalists disregarded the law of musical logic and the traditional order of music and they were intoxicated with the self-idea as investigators, pioneers, cultivators of the music circle against such as the thinking, moving senitive reason. Man`s peculiarities: feeling of art, soul, world of proud, metaphysical spirit of loneliness and religious atomosphere were erased. A feature of homeeconomics exposed. By the action of pragmatism and realism, the result of the greater part of the post-war music to musicians of the Europe can not be prevented from depraving poor art work belittling the man and the atmosphere of the music-hall became violent. In this respect, we can not help pointing out the fact that tendency of the mate erialistic conception of history have a lot of effect. Man-material against mind, machine against man-can`t recover humanity with art and the inhuman music which a man makes with a machine and electricity without soul do not make a sensitivity or an impression but make deadness to sensitivity with a stimulus, resistance and injustice consciously were said to be the work in the limelight. It is the character and the reality of the post-war music that there are a lot of magalomaniac composers. In the fourth place, some of the composers remained faithful to originality of art in music serving their new creation with ardent zeal. As the way of an expression was different besides, it was difficult to keep conventional notation and express the sound of their individual character with the old method, so a new method of recording was created. There were a few composers who contributed to the outstanding creation of music in the compostion method of art, having a sound effect on music expression. I`ll treat three of them in priority as post-war music because it is too bulky to study all of composers. The summary about transition of post-war music is as follows: 1. Situation 1945 2. Nachholbedarf Bereitschaft Zum Neuen 3. Die ersten neuen Namen: Schostakowitsch, Britten, Messiaen 4. Geistige Widerkehr von Schonberg und Webern 5. Die Serielle Period, Punktuelle Musik 6. Beginn der Aleatorik: Boulez, Stockhausen 7. Die Pioniere der Elektronik 8. Produktive Kommunikationen 9. Auflockerung und Persiflage: Cage und Kagel 10. Situation Anfang der Sechziger Jahre 11. Das Musikschrifttum: Adorno, Ansermet 12. Mono und die Politische Musik 13. Kontakte mitOsteuropa 14. Nationalismus, Komponisten in Emigration Komponisten der DDR. 15. Bartok-Singulares Phanomen? 16. Neue Formen cles Musiktheaters. 17. Zur Verwendung von Sprache in der Neuen Musik 18. Situation um 1975 We may call the above the process of transition I`ll make a study of the colors and purposes, analyzing contents, and melodious order fro the above composers` work. Especially, I`ll try to lay emphasis on the new aesthetics and logical foundation from their thoughtful points of view, under the circumstances which are due to create a new music.

언어의 유희성으로 바라본 「토끼전」의 특성과 의의

최인찬,류수열 한국언어문화학회 2023 한국언어문화 Vol.- No.80

This study reveals that the language of pansori novels is more playful than other classical novels, and explores the significance of this approach. To this end, after exploring the playfulness of the language and its implementation aspects, we tried to analyze the pansori novel 「Tokkijeon」 from the perspective of playfulness and present the educational significance of this approach. Language essentially has the character of playfulness while participants who participated in the entertainment situation of conversation intentionally and unintentionally violate the norms of communication. This playfulness is realized in three aspects: competition, theatricality, and entertainment. The utterance of each character revealed in 「Tokkijeon」 could also be classified into three aspects from the perspective of playfulness. First, while competition is revealed as an aspect that justifies one's opinion and a question-and-answer aspect to confirm the identity of the other, it was confirmed that the characters are taking a competitive structure through words. Second, theatricality was revealed as a pattern of resetting the relationship with the other person, deceiving the other person based on fiction, and persuading the other person through false consideration, and it was confirmed that the characters were 'pretending to be ~'. Third, entertainment appears as an aspect of describing the appearance of a character based on similarity to the aspect of using language play, and an aspect of using exaggeration, and it was confirmed that it induces pleasure through the properties of the language itself. This approach to 「Tokkijeon」 has two meanings. First of all, the playfulness of language can be a new conceptual tool to specifically identify the characteristics of Pansori novels that have been discussed previously, such as the two-sided differentiation of satire and subject. In addition, it is meaningful to provide example materials for discourse for speech education in terms of Korean language education. This focuses on the fact that the character utterance of pansori novels compressively shows the essence of language, suggesting the possibility of various expansion of literary works as educational sanctions. 본고는 판소리계 소설의 언어가 여타의 고소설에 비해 유희성이 두드러짐을 밝히고 이러한 접근이 갖는 의의를 탐색한 연구이다. 이를 위해 언어의 유희성과 그 구현 양상을 탐색한 후, 유희성의 관점에서 판소리계 소설인 「토끼전」을 분석하고 이러한 접근이 갖는 교육적 시사점을 제시하고자 하였다. 언어는 대화라는 오락적 상황에 참여한 참가자들이 의도적, 비의도적으로 의사소통의 규범을 위배하는 가운데 본질적으로 유희성의 성격을 갖는다. 이러한 유희성은 세 가지 양상을 통해 구현되는데, 이는 경합성과 연극성 그리고 오락성으로 구분할 수 있다. 「토끼전」에 드러난 각 인물의 발화 역시 유희성의 관점에서 세 양상으로 분류할 수 있었다. 첫째, 경합성은 자신의 의견을 정당화하는 양상과 상대의 정체 확인을 위한 문답 양상으로 드러나는 가운데, 인물들이 서로 말을 통해 경쟁의 구도를 취하고 있음을 확인하였다. 둘째, 연극성은 상대와의 관계를 재설정하는 양상과 허구성을 기반으로 상대를 속이는 양상, 거짓 배려를 통해 상대를 설득하는 양상으로 드러나며, 인물들이 발화를 통해 ‘마치 -인 척’하는 모습을 확인하였다. 셋째, 오락성은 언어유희를 활용하는 양상과 유사성에 기반하여 인물의 생김새를 묘사하는 양상, 과장을 활용하는 양상으로 나타나며, 언어 그 자체의 속성을 통해 즐거움을 유발하고 있음을 확인하였다. 「토끼전」에 대한 이러한 접근은 두 가지 시사점을 갖는다. 먼저, 언어의 유희성은 골계적 성격과 주제의 양면적 분화라는 기존에 논의되었던 판소리계 소설의 특성을 구체적으로 확인할 수 있는 새로운 개념적 도구가 될 수 있다. 또한, 국어교육의 차원에서 화법교육을 위한 담화의 예시자료를 제공할 수 있다. 이는 판소리계 소설의 인물 발화가 언어의 본질을 압축적으로 보여주고 있다는 점에 주목한 것으로, 교육 제재로서 문학 작품의 다양한 확장 가능성을 시사한다.