Theodor Storm 에 있어서 전설소재의 문학적 형상화 : " Der Schimmelreiter " 를 중심으로

이규영 한국독어독문학회 1984 獨逸文學 Vol.34 No.1

1) Theodor Storm verwendet die Sagenstoffe in seiner Dichtung auf verschiedene Weise. Meistens werden sie als Thema oder Motiv genutzt, oft als eine Episode and selten als ein andeutendes Symbol. Sie werden in vielen Stellen der Dichtung versteckt and prachtvoll ausgestaltet. 2) Die mythischen and/oder sagenhaften Elemente werden durch die auffallende Verbindung mit der Menschenwelt gedampft. Das abstrakte and uberspringende Motivieren der Sagen wird dadurch rationalisiert, daB Storm alle ICausalitat im rein menschlichen Wesen wurzeln laBt. Er .verbessert die liickenvolle and ungenugende Motivation der Sage durch diejenigen Motive, die dem menschlichen Lebsn am engsten verbunden Bind. 3) Storm versucht bei der Verwendung der Sage in seiner poetischen SchSpfung ihre Grausamkeit moglichst vermindern oder zu beseitigen. 4) Trotzdem versucht Storm in seiner Dichtung das Sagenhafte spurbar zu machen. Durch die Darstellung einer Landschaft and eines Ortes oder durch die Einfuhrung einer sagenhaften Episode wird die Unheimlichkeit meistens ausgepragt. Die Atmosphere des Deiches and die Episode von Jevershallig in der ,Schimmelreiter-Novelle Bind die Beispiele dafur. 5) Storm halt die Erscheinungssxene des Schimmelreiters fur einen wichtigen Bestandteil and ubernimmt diese erz~hlerische Struktur unverandert aus der Vorlage. Als Exposition tragt sie dazu bei, Spannung bzw, sagenhafte Stimmung zu verbreiten. Er muBte viel Muhe aufwenden, um ein kunstlerisches Mittel zu entdecken, um das Gespenst auf der Erde wiederaufteben zu lessen and den sagenhaften Charakter beizubehalten.

진원도 측정기 정밀도 특성 개선에 관한 연구

이규영 大田産業大學校 2002 한밭대학교 논문집 Vol.19 No.-

This paper is concerned with the precision characteristic improvement of a roundness measurement tester. The conventional roundness tester generally has used a gauge block or V block, but this method could not test the roundness exactly. In the case of using a center post, roundness is measured in the concept including both of roundness and coaxiality, TIR. However, in the measuring method using a computer, concepts of roundness, coaxiality, and swingness are exactly divided and the roundness itself is changed related to reference circles used to measuring. This paper is proposing another measuring method of a roundness measurement tester, using more improved algorithms which simulate various cases related to LSC, MZC, MCC, and MIC. In the result, the deviation of roundness testing decreased, and performance was improved up to 0.05%.

自由 平等에 대한 法的 考察

李揆泳 건국대학교 1970 法經論叢 Vol.1970 No.5

침윤성 자궁경부암의 병기결정에서 전산화단층조영술의 정확성

이규영,박찬규,최동희,박찬,김재욱,성혜리 대한산부인과학회 1989 대한산부인과학회 학술대회 Vol.64 No.-

DPLL方式에 의한 3相 誘導 電動機의 速度制御 시스템 構成

李揆英 건국대학교 1983 論文集 Vol.16 No.1

This paper describes the system construction of three phase induction motor for speed control using DPLL(Digital Phase Looked Loop) technique. The block diagram and the control circuitry have been observed, a mathematical model have been developed to predict the system construction and the consideration of the nonlinearities in the system could be incoporated in the model. The system stuided in this paper combines the excellent speed control regulation characteristic of the Phase Locked Loop with the numerous advantages of the induction motor over the d.c. motor.

침윤성 자궁경부암의 암 파급정도 결정에 있어서 전산화 단층촬영상의 유용성

이규영,최동희,박찬,김재욱,박찬규,유형식 대한산부인과학회 1989 대한산부인과학회 학술대회 Vol.63 No.-

<쿠르스크>, <72미터>의 영화 사회학

이규영 중앙대학교 외국학연구소 2019 외국학연구 Vol.- No.48

In this article, we analyzed two films about the Russian navy, the ‘Kursk’ and the ‘72-meters’. The Russian Navy was a symbol of the status of the Russian Empire, the catalyst of social change in the early 20th century, and the stability of the Cold War Era. ‘72 Meters’ and ‘Kursk’ are in the background before and after the dismantling of the Soviet Union and early 21th century. Poverty in the Russian economy and the submarine’s poor equipment are the factors that inform the historical background of both films. ‘Kursk’ described the sinking of the submarine Kursk as a human and social disaster caused by equipment failure, ‘72 meters’ developed the disaster of 'Slavianka' by showing the aspect of healing through the sacrifice of the navy. Both films have a typical narrative structure of a submarine movie. The life of the crew on the land was a romantic thing of family, friendship and love, and the life of the seabed was a place of struggle for life and death. The two films, like most Hollywood movies, did not evolve submarine disasters into spectacular dramatic elements, global and environmental disasters, and did not attempt individual heroism. ‘Kursk’ portrayed the disaster realistically by documenting the major narratives and images of the film. ‘72 meters’ did not make the disaster a global topic as the film director said, but there was a hidden discourse in the way of resolving disaster. In addition to the vivid motifs of the 'Farewell of Slavianka' and 'Battleship Potemkin', the ambiguity of the 'Chernenko' and 'orange color' contains the loyalty of the Russian navy and the ideology of patriotism.

심리적 측면에서 살펴본 이반(Иван) 4세의 분노와 폭력성

이규영 중앙대학교 외국학연구소 2020 외국학연구 Vol.- No.53

This study examines Ivan IV's anger and violence from a psychological point of view. In the premodern political environment of Russia in the 16th century, the brutal violence of Ivan IV was also the product of the confrontation between the royal power and the retainer. However the lists of ‘Sinodik Opal'nyh’ show that his violent disposition is not just a matter of political conflict. Specifically We reviewed his correspondences to look at his personality such as the feeling of anger. The specific style of the text of Ivan IV reflected not only his emotions but also his real lifestyle. Ivan IV's letters reveal his ideology for power, sense of betrayal, anger, sadness and loneliness. Ivan IV's capricious life attitude was cunning and intentional. His violence was not a momentary feeling of agitation, but a defense mechanism against those who invading the world of imagination he built. It would have been difficult for ordinary people of that era to grasp the spiritual world of Ivan IV, who apparently carried out his everyday life. However, when the symptoms of Ivan IV are diagnosed from a modern psychoanalytic point of view, it seems clear that the phenomena surrounding him are paranoid. It is because Ivan IV lived in the real world and the closed world of his own imagination at the same time. Arbitrary and persistent enumeration of controversial subjects in church history, adult puppet-like clown play, and the asceticism of suffering and anti-human obscene acts are the result of Ivan IV's living in two worlds.

러시아 이콘(icon)과 한국 탱화(幀畵)의 도상과 의례의 특성

이규영 중앙대학교 외국학연구소 2016 외국학연구 Vol.- No.36

This paper presents an analysis of the characteristics of iconography and ritual in Russian icons and Korean tanghwa. Icons and tanghwa became essential elements of the Russian Orthodox Church and Korean Buddhist culture, respectively, because they enable convenient and effective transmission of religious ideas, especially doctrine. The Holy Trinity, which is the core doctrine of the Christian revelation, has provided the basic religious theory which produced icons, while the core Buddhist doctrines of Trikāya have produced altar portraits of Buddha. Ratio, composition, halo, reverse perspective, flat descriptions, and color are applied to the figures in icons and tanghwa to symbolize divine beings which exist in the transcendental world. The visualization of the divine is a fundamental function of religious art, such as icons and tanghwa. We should look at icons and tanghwa from a purely internal, spiritual, and aesthetic perspective rather than an artistic point of view. It is more important to understand that how the visualized object of worship is perceived than how the object of worship is visualized. Thus, the rituals surrounding icons and tanghwa provide clues to understanding perceptions of these artifacts of the Russian Orthodox Church and Korea Buddhism. Icons are at the center of Russian Orthodox rites. As the ritual function of Buddhist art has been emphasized, the active role of tanghwa in rites has become a principal focus. The main purpose of the icons, tanghwa, and associated rituals is to allow devotees to evoke the presence of divine beings as if the deities were present before devotees’ eyes. Complementary practices, such as ritual chanting and prayers, reinforce this effect. The revelation and the realization of the presence of divine beings are attained through personal and collective ritual practices. A common religious spirit is evoked among devotees through collective rituals. The serial ritual procedures, such as producing icons and tanghwa and engaging in worship and prayer, serve the purpose of making divine beings present.

효율적 산업안전보건정책을 위한 독일의 공동 산업안전보건전략(GDA)

이규영 한국노동연구원 2011 국제노동브리프 Vol.9 No.4