문맥 및 사용 패턴 정보를 이용한 음성인식의 성능 개선

송원문,김명원,Song, Won-Moon,Kim, Myung-Won 한국정보처리학회 2006 정보처리학회논문지B Vol.13 No.5

최근 음성인식에서는 잡음환경에서 좀 더 신뢰성 있는 결과를 얻기 위해 인식 결과 도출 단계에서 여러 가지 정보의 내용들을 융합하거나 이전 인식 결과의 후처리를 통하여 성능을 향상시키는 방법들이 연구되고 있다. 본 논문에서는 잡음 환경에서의 인식률 하락을 보완하기 위해 개인 모바일 기기를 위한 음성 명령어 인식에서 사용자의 사용패턴과 문맥 정보를 사용하는 방법을 제안한다. 기본 인식 결과를 보정하기 위해서 현재 명령어를 발화하기 이전에 사용자가 사용한 순차적 명령어 패턴을 사용하였다. 또한 문맥 정보를 위해서는 사용중인 기기의 현재 기능과 발화된 명령어간의 연관성을 사용하였다. 실험을 통해 제안한 방법이 기본 인식 시스템에서 발생한 오인식의 약 50%를 수정하였음을 보였으며 이로써 제안한 방법의 타당성을 검증하였다. Speech recognition has recently been investigated to produce more reliable recognition results in a noisy environment, by integrating diverse sources of information into the result derivation-level or producing new results through post-processing the prior recognition results. In this paper we propose a method which uses the user's usage patterns and the context information in speech command recognition for personal mobile devices to improve the recognition accuracy in a noisy environment. Sequential usage (or speech) patterns prior to the current command spoken are used to adjust the base recognition results. For the context information, we use the relevance between the current function of the device in use and the spoken command. Our experiment results show that the proposed method achieves about 50% of error correction rate over the base recognition system. It demonstrates the feasibility of the proposed method.

케이트는 왜 길들여졌을까?

송원문(Song Won-Moon) 새한영어영문학회 2010 새한영어영문학 Vol.52 No.1

The goal of this paper is to examine the English early modern sexual discourse and medical science which were used to rationalize taming Katherina through seemingly violent ways in The Taming of the Shrew. Beyond its conventional comic scheme, the play, as a cultural construct, tacitly supports the Renaissance patriarchal notions on women. Katherina represents either a disorderly woman or one of learned women who challenged restrictions on women’s economic, political, and social pursuits in the early modern era. The English Renaissance cultural notions on women seem not much different with those of the Medieval sexual discourses. During the English Renaissance, the Greek medical theories were introduced, but those theories were often used to reinforce the conventional patriarchism. Greek physiologists such as Aristotle and Galen argued that the female body was inferior to the male, and they tried to prove it through various anatomic theories and experiments. The medical theories were conveniently adopted to the patriarchic discourses. The taming contents, in which Petruchio wishes to recover the right supremacy in ruling his family by killing Katherina’s headstrong shrewish personality, seem to be related to the Renaissance medical theories which define women as an inferior sex. She tries to resist being tamed, but her efforts are often derided or trivialized. In the end, she accepts Petruchio’s patriarchal dominance, and her marriage seems to conclude peacefully and happily. However, the peace and happiness of the marriage are not for her, only for her husband Petruchio. She chooses to get tamed in order to survive the world of misogyny where disorderly women must be tamed.

케이트의 혀 :『말괄량이 길들이기』에 반영된 영국 르네상스 여성의 육체에 대한 과학적 인식과 사회적 담론

송원문(Won-Moon Song) 한국셰익스피어학회 2001 셰익스피어 비평 Vol.37 No.1

The aspects of socially and culturally restrained female identities during the British Renaissance may be traced either in literary representations in the 16th-century literature or in the social laws and moral homilies of English churches. However, in order to understand the cultural basis on the patriarchal oppression against women, it might be more fundamental to study how they perceived the female sex and body both physiologically and morally. Women characters represented in English Renaissance plays are cultural products which mirror the English Renaissance patriarchal notions on women. The patriarchal discourse during the era perceived women as an inferior race of incomplete sex who needed to be educated, controlled, and tamed. The patriarchal discourse and practices were not a simple custom achieved through long repetitive social habits, but an elaborate ruling mechanism which had strong theoretical bases of justifying the patriarchal reign over women. Physiological knowledge on women's body during the era was not necessarily based on objective theories. It was a theoretical tool disguised as science. This research will examine the scientific perceptions and social discourses on women's body, which are represented in The Taming of the Shrew, during the English Renaissance era. This research is focusing especially on the patriarchal discourse on the female tongue which aroused male agony and fear. Researching the scientific knowledge and moral expectations on women's body, this paper explains why the 16th-century English patriarchal culture was so sticking to the strict control over female tongue. In The Taming of the Shrew, Kate's tongue symbolizes women's disorder and resistance against the patriarchal law and order. Kate's lousy tongue does not simply mean her talkativeness, but her dangerous challenge against the whole patriarchal language and system. The process of taming Kate is focused on taming her tongue. When Petruchio finishes taming her tongue, his taming Kate becomes complete. Taming Kate's tongue implies that revolting Kate is going to return to the patriarchal system. When her tongue is tamed, Kate loses her own language and only uses permitted words by the patriarchism.

16세기 영국 유대인에 대한 문화담론과 크리스토퍼 말로우의 극적 재현: 『몰타의 유대인』

송원문(Song, Won-Moon) 새한영어영문학회 2013 새한영어영문학 Vol.55 No.3

In The Jew of Malta, Christopher Marlowe didn’t simply repeat anti-Judaic prejudices which had been constructed in a malicious intent in the course of shaping up the Western-Christian self-fashioning. Marlowe, with his bold and aggressive personality, certainly delivered dangerous messages on both Judaism and Christianity to his spectators. As an atheist who often derided the virgin birth of Jesus, Marlowe, on his stage, brought up impious questions on the self-righteousness Christian doctrine and behaviors. However, he still dramatizes the conventional stereotypes of devilish jews through Barabas who commits horrible evil conducts. Barabas’ atrocious crime scenes could meet the spectators’ expectation on the contemporary Senecan tragic trend as well as avoiding the censorship on the play’s problematic context. Marlowe criticizes Christian hypocrisies through Brabas’ bold and fair questions. However, since Jews in the 16th-century England were not existing danger in real, the possibly dangerous messages might be within the limit of cultural tolerance. Those messages were solely left to spectators’ understanding. Despite the play’s rather careful and partial approach to the uncomfortable matters on anti-Judaism, it provides a rare case of hearing the Jewish views on the anti-Judaism in the era. Barabas becomes both the representative of Jewish voices and the stereotypes of Adversus Judeos.

연구논문 : 르네상스 연극의 유대인에 대한 극적 재현 양상과 역사적 배경 -바라바스와 샤일록-

송원문 ( Won Moon Song ) 영국사학회 2013 영국연구 Vol.29 No.-

1066년 노르만 정복자들과 함께 영국으로 들어오기 이전부터 유대인들은 예수 살해에 대한 원죄로 인해 기독교 문화의 혐오와 박해의 대상이 되었다. 1290년 영국에서 유대인들이 완전히 추방된 이후 크롬웰의 공화정까지 유대인들은 영국으로 입국하는 것이 금지되었으며, 그나마 남아있던 소수의 유대인들은 모두 기독교로 개종한 상태였다. 『몰타의 유대인』과 『베니스 상인』이 공연되었던 16세기 말엽의 영국 사회는 유대인들에 대한 기독교적 편견이 유효한 상태였다. 크리스토퍼 말로우는 『몰타의 유대인』에서 중세의 유대인에 대한 기독교적 편견을 극화하고 있지만 연극 초반에 유대인 바라바스의 입을 빌어 유대인에 대한 기독교 문화의 박해에 저항하는 목소리를 전달했다. 셰익스피어의 『베니스 상인』은 말로우의 작품보다 유대인과 관련된 훨씬 현실적인 문제를 다루고 있다. 샤일록의 안토니오에 대한 복수 이유를 단지 유대인의 악마적 성격에서 찾는 것이 아니라 샤일록에 대한 안토니오의 지속적인 멸시와 혐오에서 비롯된 것이라는 개연성 있는 줄거리를 보여준다. 궁극적으로 샤일록은 그의 모든 재산을 몰수당하고 자신의 유대종교마저 강압적으로 잃게 되지만 관객에게 전달되는 유대인에 대한 인식은 분명 중세적인 것과는 다른 것이었다. 특히 샤일록은 유대인에 대한 전통적 편견과, 르네상스기의 활발했던 계층 변화의 역동성과, 상업주의 문화적 시각이 복합적으로 작용해서 새롭게 재현된 유대인으로 이해되어야 한다. Long before the Norman Conquest in 1066 when jews moved into England with the Norman invaders, jews had been victims of religious persecution. They were blamed for the deicide that they were responsible for the death of Jesus. Since all the jews were banished from England in 1290, they hadn`t been allowed to enter the country until Oliver Cromwell guaranteed the freedom of religion during the Commonwealth. Around the end of the 16th century when The Jew of Malta and The Merchant of Venice were performed, the jews, who were deported from England in 1290, were not back to the country yet, but the negative prejudices on Jews were still influential among Christian people. Theater companies began to launch the entertainment business in the late 1580`s, and they were desperately looking for fresh materials to perform. Jews seemed to be a ever-interesting subject for the theater companies because stories on jews were interesting as well as stimulating to the English Renaissance audience. Marlowe`s The Jew of Malta dramatized the Medieval prejudices on jews, but it also delivered resisting voices of jews through Barabas in the beginning part of the work. Shakespeare`s The Merchant of Venice deals with far more realistic issues than Marlowe`s. Shylock`s vengeance on Antonio cannot be explained only with the evil jewish myths. The play shows probable reasons that the vengeance has originated from Antonio`s hatred and insulting remarks on Shylock and jews. In the end, Shylock`s all properties are confiscated, and he is forced to convert to Christianity, giving up his Judaism, but the Renaissance spectators` understandings on the plot might not be the same as the Medieval audience`s. Shylock is a new complex character represented with various elements such as conventional Christian prejudice on jews, the socio-class mobility of the Renaissance society, cultural ideas of commercialism in the early modern England.

『 욕망의 지속적 상태 』 에 나타난 캐런 핀리의 여성 성욕에 대한 여성주의적 공연미학

송원문 ( Won Moon Song ) 한국영미문학페미니즘학회 2002 영미문학페미니즘 Vol.10 No.1

The central idea Karen Finley tries to develop in The Constant State of Desire is that female sexuality and biological identity should be defined by women themselves, not by men. In order to define new female sexuality and identity for women, she keeps the focus of her performance aesthetics on strong negation against the conventional performing and narrative mechanism called realism. She challenges and derides realism conventions which have been used for reinforcing male-centered cultural regime. She firmly believes that the conventional realism cunningly strengthens the discourses of dominating culture in representing established gender-class power dynamics. Throughout the performance of The Constant State of Desire, Finley wishes to destroy every tool and representational mechanism for realism conventions in order to represent her own female sexuality both in words and images. Since the conventional representations of female body and sexuality have been contaminated and distorted by patriarchal cultural ideologies, Finley`s work and performance are fully devoted to tearing down male fantasies about female body and sexuality. Grotesque words and obscene scenes themselves are not for the purpose of her performance but just for her tools to express her feminist performance aesthetics. Finley shows great enthusiasm in defining biological identity of her own sex. Exposing her body and pornographic expressions can be her own shocking and aggressive statement for new definitions of female body and sexuality. What she hopes to achieve in her work and performance is to reject the male-fabricated images and words about women and their sexuality. In The Constant State of Desire, Finley`s messages, expressed both in words and scenes, stir up strong fear and criticism from the dominating male-centered culture. However, what she has done in The Constant State of Desire is neither a performance happenings nor a vain symbol. Finley`s themes and aesthetics in the play are now gradually obtaining broad support from various classes.

도망친 딸 제시카는 왜 행복할까?

송원문(Song, Won-Moon) 새한영어영문학회 2012 새한영어영문학 Vol.54 No.4

Jessica violates and ignores patriarchic orders which have been the important cultural discourse for the Western social stability, but she is never punished in The Merchant of Venice. She steals her father Shylock’s money and jewels and runs away to marry Lorenzo, a Venetian Christian. Ironically, she enjoys the happy ending getting blessed by everybody except Shylock. She escapes from Shylock’s patriarchal reign through her conversion to Christianity, and she gets protected not by Jewish rules, but by the new Christian patriarchism she has chosen according to the Venetian Christian laws. Through the Antonio-Shylock judgement, her marriage with Lorenzo becomes socially confirmed. In fact, Shylock’s patriarchal authority on Jessica is replaced with the sentence of the trial. Shylock loses his every right on his daughter and properties in the Venetian court. Moreover, the judgement sentences him to convert to Christianity. All the sentences against him are of punishment, so the order of conversion is also a penalty against him as well as damnation against Judaism. According to the court order, Shylock will convert to Christianity, but he, like Dr. Roderigo Lopez the Queen’s physician, can be a convenient scapegoat anytime when the Christian society needs someone to blame. As Venetian society perceives Jessica’s deeds righteous, it becomes a justice that the court confiscates all of Shylock’s properties. The runaway daughter Jessica’s happy ending could be an award for her conversion and negating her father and Judaism.

Probable Causes : Iago의 동기에 대한 Materialist Reading

송원문(Song, Won-Moon) 새한영어영문학회 1995 새한영어영문학 Vol.32 No.-

크롬웰의 공화정을 전후한 극장건축구조 변화에 따른 극적 담론과 공연방식의 차이

송원문(Song Won-Moon),권혜경(Kwon Hye-Gyong) 새한영어영문학회 2006 새한영어영문학 Vol.48 No.1

Restoration theater companies desperately needed performance pieces which could satisfy the new tastes of Restoration theater goers. Since the theater-oppressing policy of the Commonwealth was harsh enough to destroy the glorious English theater tradition since Shakespeare, it was not easy to quickly develop fresh performance materials for the Restoration audience. The handy way to get dramatic works seemed to use the adapted versions of Shakespeare's plays which had been proved to be huge box office success. They adapted most Shakespeare's works for the Restoration stages. The adapted works looked similar with the original in their plots, but the subjects and the performance focuses were different from those of the original. Dryden's All for Love, adapted from Shakespeare's Antony and Cleopatra. was one of the representative adaptations for the Restoration. In All for Love, Dryden maintains similar stories about the historic incidents about Cleopatra and Antony, but the fundamental goal and method of performance was much different from those of Shakespeare's, This paper deals with the differences of dramatic discourses and performance methods caused by the architectural structure changes of the theaters. The Globe, which was the representative model of theater building of the era, had the particular architectural structure for staging Shakespeare's works. However, the structure of typical Restoration stage was totally different from that of the English Renaissance stage. This paper is to prove the difference in themes and performance goals between the two plays above are originated from the different theater structures.

왕정복고기의 캘리반 : 토마스 새드웰의 캘리반에 반영된 식민주의

송원문(Won-Moon Song) 새한영어영문학회 1999 새한영어영문학 Vol.41 No.1