北韓憲法의 憲法秩序와 主要特色

李性範 陸軍士官學校 1976 한국군사학논집 Vol.15 No.-

The new 1972 Constitutional Law of the North Korea adopted the Socialistic Constitutional Law, abandoning the 1948 People's Democratic Constitutional Law. This means that through this Constitutional Law Il sung Kim, the most severe autocrat in the modern world, intended to make his autocracy more powerful than ever before and to implant the idea of personal cult. Important characterizations of the Constitutional Law of North Korea are democratic centralization system, negation of the balance of Power, dictatorship of the communist party and autocracy of Il sung Kim.

Metapragmatics of Speech and Its Interactions with Pragmatic Inferences

이성범 담화·인지언어학회 2007 담화와 인지 Vol.14 No.2

Lee, Sungbom. 2007. Metapragmatics of Speech and Its Interactions with Pragmatic Inferences. Discourse and Cognition 14.2, 117-136. Since it was first introduced to the linguistic pragmatics in the early 1970s, the notion of metapragmatics has been employed in one way or another in the description of some pragmatic phenomena such as indexicality and reported speech. However, virtually no attempts have been made to make use of this independently motivated notion in the discussion of pragmatic implicatures. This study is an attempt to build a new metapragmatic perspective in the study of pragmatic inferences. To this end, we begin with characterizing metapragmatic implicature in comparison with pragmatic implicature, and then investigate the role of metapragmatics in pragmatic reasoning in the neo-Gricean framework. In particular, it is shown that the order of the incrementation of the context, or the projection principle proposed by Levinson (2000) is defective since it does not take into account the presence of metapragmatic implicature. Moreover, it is pointed out that some unexpected failures of implicature on a pragmatic level is due to the presence of metapragmatic implicature involved in the utterance. Thus, this study shows that the interaction of metapragmatics and pragmatics provides a new insight into how implicatures are processed or blocked without positing any extra devices to deal with apparent counterexamples or exceptions to the neo-Gricean pragmatics.

막걸리 제조시 술덧의 성분동태에 관한 연구 1

이성범,장원길,임병종,김덕치 한국미생물학회 1969 미생물학회지 Vol.7 No.4

It is the most important thing to substitute sweet potato for wheat flour as the brewing material of Maggerley(Korean wine) in order to save precious wheat flour which is now consumed as the sole material in it. In this study, the fermenting mash material has been prepared with combination of wheat (KIorean wine) as a first step of sabing wheat flour consuming. The combination ratio of wheat flour and sweet potato starch in mashing, in this experiment, are such as mashing plot of 100% wheat flour (No.3 plot), 50% wheat flour plus 50 % of sweet potato starch (No.2plot), 30% wheat flour plus 70% starch syrup of sweet potato (No. 4 plot), and 60% wheat flour plus sweet potato starch (No. 1 plot). The results of fermentation and chemical components of each mash in experimental plot are as following : 1. Alocholic fermentation was most vigorous in No.4 plost among them, the next are in order to hydrolyze and break down the protein sourece to glucose and amino acid, the new enzymic source were added in experimantal amsh before putting yeasts, those enzymic sources have been developed and prepared in this laboratory No.4 and No.2 plot at same degree. Generally, the activities of alcholic fermentation of all plots are vigorous and fair. The acidity of each fermented mash is in the rangw of 3.7-4.8. 2. Amounts of amino acids in fermented mash are in the range of 145 mg per 100 ml and 158 mg for all experiments, and these amounts are much more than those of present commerical Maggerley. However, the amount of it in the No.4 plots is much less among the m, this is due to the lack of protein source in starch syrup. 3. Amounts of organic acids in fermented mash are in the range of 0.44g per 100ml and 0.62g, these amounts are generally much more than those of the present commercial Maggerley. 4. The result of sensory test for the experimental Maggerley shows good taste and flavour in comparison with those of commercial Maggerely. 5. It is proved that these experimental fermentation of Maggerley is succesful in the partial substitution of sweet potato starch potato starch for wheat flour, and it is also be able to make a good Maggerley in all aspects of quality.

미국의 수출 통제 제도 개관

이성범 한국관세학회 2015 한국관세학회 학술대회 Vol.2015 No.6

Keats, Adolescent Melancholy, and Oriental “Pleasure Thermometer"

이성범 19세기영어권문학회 2013 19세기 영어권 문학 Vol.17 No.1

In the preface to Endymion: A Poetic Romance (1818), Keats focuses attention to adolescence as a “mawkish” “space of life between” childhood and adulthood. He marks this period as a transitional stage of life when contradictory emotions are mixed together. Young Endymion, the title character of the poem, goes back and forth between sensuality and spirituality, privacy of passion and social control of it, or selfish passion and disinterested love. This adolescent duality itself activates what Keats terms “pleasure thermometer.” His poetics of immaturity thus de-stabilizes the contemporary establishment of adult literacy. Closely examined, the two-faced aspects of Keatsian adolescent melancholy reflect a historical division of privacy and publicity in modern society. With the advent of the “bourgeois public sphere” in Habermas's terms, modern society becomes steeped in the constant conflict of private opinions and their publicity. Romantic writers, intriguingly enough, internalize publicity so as to extol sentimental community. They cherish such values as fellowship, humanity, love, imagination, and sympathy. In the poem, Endymion pursues emotional, but not political, leadership in a new world of sentimental community. Putting the doubleness of Endymion's romance in a colonial context, Keats's adolescent imagination accompanies his imperial imagination. Endymion alternates between his sensuous desires for the Indian maid and English Cynthia's request for his self-reflection. This orientalized polarization of his desires reflects the distinction between the privacy and publicity of passion. Like Keats as a chameleon poet who aims to embrace different identities, Endymion rejoices in chameleon pleasure by including both the Indian maid and Cynthia. Keats senses the importance of textual conquest. He sends his work Endymion to English explorer Joseph Ritchie going to the Sahara Desert. Just as the British government seeks territorial conquest, Keats pursues textual infiltration into foreign lands. He anticipates that his orientalist text Endymion will be read both at home and abroad.

신경망을 이용한 인쇄체 한자의 인식

이성범,오종욱,남궁재찬 한국통신학회 1993 韓國通信學會論文誌 Vol.18 No.9

본 논문에서는 종래의 결정론적 방법과 신경망을 이용하여, 인쇄체 한자를 인식하는 방법을 제안하였다. 먼저 한자를 구성하는 획성분의 4방항백터를 추출하였다. 다음에 구해진 방향벡터에 무게중심의 메쉬를 만든 다음, 각 메쉬내의 흑화소 길이로 8$\times$8의 특징 매트릭스를 구성하였다. 정규화한 특징 매트릭스 값은 14의 문자형식으로 1차 분류하기위해 신경망에 입력으로 하였고, 이 분류된 문자는 부수를 인식하는 부수인식 신경망에서 다시 2차분류하였다. 마지막으로 2차분류된 문자는 입력한사와 표준한자와의 유사도를 적용하여 최종인식을 행하였다. 본 알고리즘이 한자의 인치에 유효함을 보였다. In this paper, we propose to method of recognizing printed chinese characters which combine the coventional deterministic methods and the neural networks. Firstly, we extract four directional vector of strokes from chinese characters. Secondly, we make the mesh of the center of gravity in the vector and then constitute the H x8 feature matrix using black pixel lenth from each meshs. This normalized feature matrix value offer as the input of neural network for classifying into the 14 character types. And this calssified character classify again into Busu group by the Busu recognizing neural network. Finally, we recognize each characters using the distance of similarity between input characters and reference characters. The usefulness of the proposed algorithm is evaluated by experimenting with recognizing the chinese characters.

Reference, Self-Reference and the Power of Signs: The Cases of Hugh Blair and Percy B. Shelley

이성범 19세기영어권문학회 2009 19세기 영어권 문학 Vol.13 No.1

This paper aims to address the self-division of reference into outer reference and self-reference in order to eventually show how the self-referential arbitrariness of sign systems acts as a new device for social control in early nineteenth century Britain. The in-depth discussion of what Ferdinand de Saussure describes as the arbitrary relation between the signifer and the signified in reality goes back to the Enlightenment and the Romantic era. Enlightenment and Romantic linguists are alike in that both of them note the circumstantial relation of a sign to its referent. These two groups, however, differ from each other in that the former esteems the referentiality of language whereas the latter attempts to thematize the self-referencial recursion of it. The Enlightenment theorist of rhetoric Hugh Blair, in spite of his argument for the arbitrariness of language, ultimately puts accent on the referential exactness of it. He prioritizes modern English over ancient languages since, as a simple example, the former eliminates, for the primacy of prepositions and auxiliary verbs, the qualitative marks of syntactic order (i.e., case declension and verb conjugation) that the latter, namely ancient Latin has. Blair's preference for English over Latin indicates that English develops the arbitrary ordering of words to set up purely intra-linguistic rules. Blair, however, finally contends that language should reinforce its referential clarity. Romantic linguists, on the other hand, divide reference itself into outer reference and self-reference. They exert themselves to displace the former, that is, what is referred to with the latter, that is, how it is referred to. This dividing process can be called the “desynonymization” of reference. It causes the mismatch of sign and referent. Romantic poetics thus structuralizes the constant tension between reference and self-reference. Now, just as literature is desynomymized from other social institutions, self-reference is desynonymized from reference itself for the autotelic turn of signification. Percy Bysshe Shelley observes that the structural inconsistency between sign and referent serves as a new device for social hegemony in politico-economic as well as literary systems. He questions the poetic, political, and economic web of a repressive rule by arbitrary signs. Although he cherishes the merit of language as “measured words,” he simultaneously worries about the instability of signification. He also notices that the ruling class, what he calls “a new aristocracy,” plays with the overrepresentation, underrepresentation, and misrepresentation of political representatives in the parliamentary assembly. They take advantage of the variations of representation. In the economy of currency, too, the contemporary Tory government encourages bad money, say, paper currency to misrepresent its real value, which results in the fluctuations of value. Shelley problematizes this ongoing inconsistency between the signifier and the signified that repeats itself in divergent social organizations. Coming up against the political-economic-poetic network of repression by arbitrary signs, Shelley's subversive imagination ironizes a dominant logic itself. In “The Mask of Anarchy,” his poetic strategies for tackling the deceptive system of signs is to paradoxically appropriate it for resistance. The poem shows that the power of self-referential signs operates double-edgedly; although it can facilitate domination, it simultaneously helps defamiliarize contemporary authorities. When Shelley images Hope and Shape as surfing into contradictory entities, this on-going displacement is meant to parody the repressive power of sign systems. This paper aims to address the self-division of reference into outer reference and self-reference in order to eventually show how the self-referential arbitrariness of sign systems acts as a new device for social control in early nineteenth century Britain. The in-depth discussion of what Ferdinand de Saussure describes as the arbitrary relation between the signifer and the signified in reality goes back to the Enlightenment and the Romantic era. Enlightenment and Romantic linguists are alike in that both of them note the circumstantial relation of a sign to its referent. These two groups, however, differ from each other in that the former esteems the referentiality of language whereas the latter attempts to thematize the self-referencial recursion of it. The Enlightenment theorist of rhetoric Hugh Blair, in spite of his argument for the arbitrariness of language, ultimately puts accent on the referential exactness of it. He prioritizes modern English over ancient languages since, as a simple example, the former eliminates, for the primacy of prepositions and auxiliary verbs, the qualitative marks of syntactic order (i.e., case declension and verb conjugation) that the latter, namely ancient Latin has. Blair's preference for English over Latin indicates that English develops the arbitrary ordering of words to set up purely intra-linguistic rules. Blair, however, finally contends that language should reinforce its referential clarity. Romantic linguists, on the other hand, divide reference itself into outer reference and self-reference. They exert themselves to displace the former, that is, what is referred to with the latter, that is, how it is referred to. This dividing process can be called the “desynonymization” of reference. It causes the mismatch of sign and referent. Romantic poetics thus structuralizes the constant tension between reference and self-reference. Now, just as literature is desynomymized from other social institutions, self-reference is desynonymized from reference itself for the autotelic turn of signification. Percy Bysshe Shelley observes that the structural inconsistency between sign and referent serves as a new device for social hegemony in politico-economic as well as literary systems. He questions the poetic, political, and economic web of a repressive rule by arbitrary signs. Although he cherishes the merit of language as “measured words,” he simultaneously worries about the instability of signification. He also notices that the ruling class, what he calls “a new aristocracy,” plays with the overrepresentation, underrepresentation, and misrepresentation of political representatives in the parliamentary assembly. They take advantage of the variations of representation. In the economy of currency, too, the contemporary Tory government encourages bad money, say, paper currency to misrepresent its real value, which results in the fluctuations of value. Shelley problematizes this ongoing inconsistency between the signifier and the signified that repeats itself in divergent social organizations. Coming up against the political-economic-poetic network of repression by arbitrary signs, Shelley's subversive imagination ironizes a dominant logic itself. In “The Mask of Anarchy,” his poetic strategies for tackling the deceptive system of signs is to paradoxically appropriate it for resistance. The poem shows that the power of self-referential signs operates double-edgedly; although it can facilitate domination, it simultaneously helps defamiliarize contemporary authorities. When Shelley images Hope and Shape as surfing into contradictory entities, this on-going displacement is meant to parody the repressive power of sign systems.

Literature, Romantic System-Building and Porosity

이성범 한국영미어문학회 2007 영미어문학 Vol.- No.82

According to Adorno and Horkheimer, the culture industry controls daily lives of the masses by reorganizing their sentiments and desires for economic interest and political need. They acknowledge that although culture seems to get away from politico-economic system, it in reality becomes an object for systematic management. This institutionalization of culture moves back to the Romantic age. Although cultural production at the beginning of the twentieth century starts to be electrically-oriented and Romantic literary production at the turn of the eighteenth to the nineteenth century is print-oriented, two types of cultural production mirror each other. For, Romantics enthusiastically attempt to regulate the public's sentiments in the name of the creation of taste as well. Literary production becomes a "moral steam engine" in Coleridge's phrase. It should be noted that cultural production becomes a new site where conflicting positions revolves around the issue of how culture/literature should operate in society. While Adorno disparages the culture industry as a planned deception, Benjamin defends it as a medium for the expansion of human senses. This controversy over whether the culture industry is manipulative or liberating is closely linked to the debate over whether literary education effects moral virtue or moral virus. The Lake School poet Southey defames Byron as the representative of the Satanic School, claiming that Byron disseminates what Southey termed "a moral virus." According to the Lake School poets, say, Wordsworth, Coleridge, and Southey, disciplined morals promote national wealth. Byron, as a kind of "moral virus," attempts to unbuild the moral system that the Lake poets wish to build. In an age when literature gets instituted as a moral engine to individualize social regulations, it simultaneously tends to question itself.

능동형 위상배열방식(AESA) 안테나의 신뢰도 분석 방안 연구

이성범,김병태 대한산업공학회 2018 대한산업공학회 추계학술대회논문집 Vol.2018 No.11

최근 레이더의 안테나 개발 추세는 수동형 위상배열방식(PESA) 안테나에서 능동형 위상배열방식(AESA) 안테나로 변화하고 있다. AESA 안테나의 대표적인 특징은 송수신모듈의 다중화 설계를 통한 점진적 성능저하이며, 신뢰도 분석 시 이를 고려한 분석 방법이 필요하다. 본 논문에서는 AESA 안테나의 설계특성 및 고장 허용 기준을 고려하여 신뢰도분석 방법에 대한 연구를 수행하였다. 이를 통해 실제 운용제원에 근접한 해를 찾고자 한다.

의사소통 행위로서 TV 자막 방송의 언어학적 고찰

이성범 한국언어과학회 2011 한국언어과학회 학술대회 Vol.2011 No.02