운전자 생명선인 차선은 주간 시인성, 야간 시인성, 야간 젖은 상태 시인성, 야간 강우시 시인성으로 구분된다. 본 연구는 특히, 비와 관련되어 기상이 불안전한 조건에서 운전자의 주행 안전 확보를 목적으로 하였다. 차선의 시인성은 사전 인지시간(Preview time) 과 감지거리(Detection distances)와 밀접한 관계가 있으며, 야간 교통사고 감소를 위하여 차선 재료 성능을 향상시켜 차선의 주야간과 우천시 주야간 시인성의 척도인 Dry 재귀반사도(Dry retroreflectivity) 및 Wet 재귀반사도(Wet Retroreflectivity)를 높이기 위한 방안을 마련하는 데 있다. 이를 위하여 일반적으로 사용되고 있는 차선 도료용 유리알 굴절률 nD=1.50의 분석과 시인성의 척도인 재귀반사도를 향상시키기 위하여 가장 중요한 변수인 기능성 차선 도료용 유리알 굴절률 nD=2.2.을 도입하였다. 국내외 최소 한계 재귀반사도(Minimum threshold retroreflectivity) 및 최소 인지 재귀반사도(Install minimum retroreflectivity)를 조사하여 차선의 시인성 확보를 위한 최소한의 관리 수치를 규명하였으며 아울러 국내기존 차선 재료의 물리적 특성 그리고 재귀반사도의 시험을 통하여 우천 시 야간 재귀반사도 향상 방안을 마련하였다.

이 논문은 예이츠의 생태 시를 논의한다. 본 논문이 예이츠를 생태 시인으로 다루는 세계 최초의 논문 중의 하나가 될 것이다. 사실, 생태 시는 새로운 시가 아니다. 셰익스피어 같은 시인도 생태 시인으로 다루는 학자가 있다. 본 논문은 또한 마르크스나 페미니스트 비평의 길을 가고 있는 생태비평에 새로운 방향을 제시하고자 한다. 시는 정치적 슬러로건도 아니며, 그렇다고 전혀 쓸모 없지도 않다.

本文研究遼金時期山東詩人的用韵, 全面考察了山東地區的韵部系統, 希望补充一些遼金时代用韵資料。本文考察了遼金時期山東詩人的3399首 3705箇韻段,其硏究結果如下: 遼金時期山東詩人型式上的特点是一、道士詩的比率高,二、全真七子 詩裏有一字韻,藏頭詩和“攒()字”（括號里是数字，一般是二、三、五等数 字）等特殊韻例。 遼金時期山東詩人用韵上的特點是一、道士詩裏用仄聲韻的近體詩比較 多, 二、近體詩用韵體系归为十六个韵部：陰声韵七个韵部（歌戈、家麻、 魚模、尤侯、皆来、支微、蕭豪）、陽声韵九个韵部（真文、先仙、寒山、 侵尋、覃銜、鹽添、東鍾、陽唐、庚青）。古體詩的用韵體系归为18个韵 部：陰声韵七个韵部與近體詩相同、陽声韵七个韵部（真文、寒先、侵尋、 覃咸、東鍾、陽唐、庚青）、入声韵4个韵部（屋烛、鐸覺、薛月、德質）,三、出現韵部之間的合韵:尤侯部與魚模部,支微部與皆來部,先仙部與寒 山部,眞文部與寒先部,侵尋部與覃咸部,陽唐部與東鍾部,還有三个陽声韵 尾之間的合韵,四、入声韵的韵部比較乱。而且數量少,因此不好歸納爲完 整的韻部系統。

本文研究遼金時期山東詩人的用韵, 全面考察了山東地區的韵部系統, 希望补充一些遼金时代用韵資料。本文考察了遼金時期山東詩人的3399首 3705箇韻段,其硏究結果如下: 遼金時期山東詩人型式上的特点是一、道士詩的比率高,二、全真七子 詩裏有一字韻,藏頭詩和“攒()字”（括號里是数字，一般是二、三、五等数 字）等特殊韻例。 遼金時期山東詩人用韵上的特點是一、道士詩裏用仄聲韻的近體詩比較 多, 二、近體詩用韵體系归为十六个韵部：陰声韵七个韵部（歌戈、家麻、 魚模、尤侯、皆来、支微、蕭豪）、陽声韵九个韵部（真文、先仙、寒山、 侵尋、覃銜、鹽添、東鍾、陽唐、庚青）。古體詩的用韵體系归为18个韵 部：陰声韵七个韵部與近體詩相同、陽声韵七个韵部（真文、寒先、侵尋、 覃咸、東鍾、陽唐、庚青）、入声韵4个韵部（屋烛、鐸覺、薛月、德質）,三、出現韵部之間的合韵:尤侯部與魚模部,支微部與皆來部,先仙部與寒 山部,眞文部與寒先部,侵尋部與覃咸部,陽唐部與東鍾部,還有三个陽声韵 尾之間的合韵,四、入声韵的韵部比較乱。而且數量少,因此不好歸納爲完 整的韻部系統。

예이츠의 시세계, 특히 초기시에는 낭만주의와 상징주의가 자리잡고 있으며 그 중심에는 ‘자연’이 자리해 있다. 예이츠에게 있어 자연은 ‘자연에 대한 동경과 모사’와 ‘자연과의 대립 및 의식의 우위’, 즉 자연 친화적 세계와 자연부정의 세계라는 진폭 안에서 인식되었으며 그의 시는 이를 형상화하거나 극복하려는 긴장의 궤적을 보이고 있다고 할 수 있다. 이 글에서는 이같은 예이츠의 자연에 대한 인식과 시세계를 한 축으로 놓고 한국 근대시에 나타난 자연을 살펴보고자 한다. 이를 위해 한국근대시의 완성에 가장 큰 역할을 한 대표적인 시인인 정지용의 시세계에 나타난 자연을 먼저 검토하였다. 그리고 현재 왕성히 활동하고 있는 시인들의 시세계에 나타나 자연을 각각 고찰하였다.

This paper is an attempt to understand George Yeats: who she was, how she lived, and what kind of relationship she had with the poet W. B. Yeats. Based on the recent biographical and critical studies of Elizabeth Butler Cullingford, Brenda Maddox, Ann Saddlemyer, and Margaret Mills Harper, the present writer tries to show that George Yeats was not only the devoted wife of W. B. Yeats and mother of their two children, but also the poet's literary and spiritual collaborator. The first introductory part of the paper deals with George Yeats's life until she married W. B. Yeats. Her birth and education, the first meeting with W. B. Yeats, and the establishing of a close relationship which, strengthened by common interest in occultism, led to their marriage in October 1917, are briefly surveyed. The paper then discusses the problem which arose from Yeats's unresolved sexual love for Iseult Gonne, and shows how George Yeats solved it by trying the automatic script at their honeymoon hotel. The automatic script, which saved George and W. B. Yeats at the critical moment, and dominated the early years of their married life, is mainly discussed in the next part of the paper. The paper first describes how it started, and then discusses the main issues related to it: why George did it, and whether it was "her hoax, a joint self-deception, or daimonic intervention" (Saddlemye xix), and how it affected W. B. Yeats's life and work. In order to see how W. B. Yeats expressed his feeling and thought about the automatic script in his poems, the writer of the paper reads "Solomon to Sheba," "Solomon and the Witch," and "The Gift of Harun Al-Rashid." The last part of the paper deals with George Yeats's life after the automatic script and the "sleeps" ended in summer 1922. Unlike the exciting and sexually intimate life of early five years, the later long years of her married life were very tiring and "problem-ridden." The paper discusses the major problems she had to face as wife of the great poet and mother of two children, and describes how she "lived through it with self-possession, with generosity, with something like nobility" (Elllmann xxviii).

This is a paper that shows how poetic dialogue plays upon poems between three different authors, William Butler Yeats, Samuel Taylor Coleridge and William Wordsworth. Many of Yeats' poems broach a gentle issue of how they respond to their poetic precursors. "Among School Children" can be read as an updated version of a Romantic "conversation" poem. Coleridge applied the term "conversational poem" to "The Nightingale," one of twenty-tree poems in Lyrical Ballads of 1798. Earlier than this, a phrase Sermoni propriora ("suitable for conversation") appears in his "Reflections, On Having Left a Place of Retirement." These two poems demonstrate Coleridge's conscious efforts at experimenting with conversational speech as a legitimate poetic language. Coleridge's conversational mode is in full bloom in such remarkable poems as "The Lime-Tree Bower My Prison" and "Frost at Midnight," the latter a masterful lyric that paves ways for Wordsworth's "Tintern Abbey" in its compositional mode and structure. The traffic between the two Romantic authors and "Among School Children" is obvious--a noticeable parallelism is developed in terms of diction, figures, thematic structure, and rhetorical devices. Yeats's "Among School Children" serves as a poetic testimony to the on-going lyrical dialogue that explores possible links between the workings of different poetic minds and that creates remarkable echoing effects.

“All noble things are the result of warfare; great nations and classes, of warfare in the visible world, great poetry and philosophy, of invisible warfare, the division of mind within itself" said Yeats. Warfares between thesis and antithesis, whether visible or invisible, lie at the heart of Yeats's poetic world, enabling the poet to create the enormously powerful poetic text. In “Meditations in Time of Civil War”, both visible and invisible warfares are overlapped each other, intensifying the division of the poet's own mind, revealing the bitter agony of the poetic self to criticize and remake itself. This poem dramatizes a story of the poet's self-criticism and self-recreation through the warfare between History, the Irish Civil War, and the poet's dream as a cultural nationalist to re-establish and preserve the Irish identity. In “Ancestral Houses”, the poet dreams to redeem the eighteenth-century Anglo-Irish aristocratic ideals for making the unitary Irish mind, only to realize its impossibility. In “My House" through “My Descendants”, the poet seeks to re-establish the Irish identity in his own sanctuary, Thoor Ballylee, through the poetic task to break “the symbolic rose" into flower, only to fail in it, for he has excluded and suppressed History, the Irish Civil War, from his mind. The poet's dream is broken up. In “The Road at My Door" and “The Stare's Nest by My Window", the poet encounters the Civil War face to face, struggling to transform its violence and bitterness into ‘sweetness' and pursuing his dream once more, but it's far from being realized. In “I see Phantoms of Hatred and of the Heart's Fullness and of the Coming Emptiness", the poet internalizes the violent and bitter Irish historical realities through his vigorous imagination, severely criticizing himself as a solitary Platonist and remaking his poetic self a more solid one. In “The Tower", written next to this poem, we can meet the enormous power of his recreated poetic self.

W. B. Yeats began to write his works when Ireland was struggling for its independence from England. Young Yeats hoped to be a national poet and was naturally concerned about the future of his fatherland. The way Yeats chose for his country was a cultural one, not a military or political one. He believed in the Irish people’s artistic sensibilities and believed that his country could be a healthier and better country than England through the ’Unity of Culture’. Yeats was attracted to drama because of its usefulness as a public art. He wanted to establish a national drama based on Irish folklore and myth. He believed that drama could achieve or revive the ’Unity of Culture’ which he equated with the national unity of Ireland. Yeats’s main idea was that to achieve ’Unity of Culture’, the support of common people for art would be essential. Yeats’s early play, The King’s Threshold shows the unity of the poet and common people well. The story is based on an Irish myth. The king, a man of action, banishes Seanchan the poet, a man of words, from his court (affairs of state) and the poet choose to die on a hunger-strike for his rights in the court, that is, for the value of art in society. The poet works for the common people and expects their support, of which the king is much afraid. The King’s Threshold dramatizes the theme that concerned Yeats so deeply, the role of art in society. And another main point of the play is that poetry transcends politics. Yeats satirizes the defects and deficiencies of a society which no longer recognizes the artist’s role. But the poet dies, and we are not shown any effect that his death may have had on either society or the individual. The modern Irish people were not what the young poet had expected. Though the young poet’s dream for the ’Unity of Culture’ may be naive, the play shows us Yeats’s view of art and his belief in the poet’s role in society.

아일랜드와 우리 대한민국은 거의 같은 시기인 20세기 초반에 독립운동이 있었고 또한 20세기 중반이라는 거의 같은 시기에 공화국의 형태로 재탄생했지만, 아직까지 국토의 완전한 회복이 이루어지지 못하고 서로 다른 국가나 체제로 분리되어 있으면서 통합된 한 국가가 되려는 꿈을 버리지 못하고 있다. 아일랜드의 통합은 종교, 인종, 정치 문화적 색채의 차이점 때문에 우리의 통합보다 더 어려울 수도 있겠지만, 다른 한편으로는 800년 이상의 혼종화 현상과 이민 그리고 유럽연합으로의 정체성을 확장시킨 점 때문에 다양성을 수용함에 잘 훈련됨으로써 지역화와 세계화의 조화 속에서 그 갈등이 더 쉽게 풀릴 수도 있다고 생각한다. 대한민국의 경우는 단일 민족, 단일 문화 때문에 더 쉽게 통합될 가능성이 있으나 아일랜드의 경우와 달리 자유와 전제라는 극단적인 이질적 정치체제와 지역적 색채화만을 수용하려는 민족주의가 정치적 봉건화를 지탱시켜 세계화로부터 고립될 수 있는 위험성을 안고 있다. 또 다른 위험요소로는 통합의 과정에서 이루어지는 필수적인 사항으로 탈식민화을 위한 저항과 곧 이어 헤게모니 싸움으로의 내전이 수반될 수 있다. 이 논문을 쓴 동기와 목적은 요사이 회자되나 그 정의가 정립되지 않은 ‘통일’이라는 용어 등을 미래에 바람직하게 정의내릴 필요성을 느꼈기 때문이고 이것을 위해 거의 같은 상황 속에서 바람직하게 발전해가는 아일랜드를 연구해 우리의 문제점을 해결해 보려함에 있다. 아일랜드의 현대 역사는 영국과의 탈 식민전쟁, 그리고 내란으로 이루어지는 시기에 있어 다수인 게일 카톨릭이 과거 지배층인 소수 앵글로 아이리시를 패배시키는 과정, 그 과정에서 수반된 정치와 문화적 측면에서의 민족주의 강화, 그 후에 유럽연합의 일원으로 지역화와 세계화의 조화등으로 정의내릴 수 있겠다. 특히 이 논문에서는 앵글로 아이리시 계급에 속한 예이츠와 회복되지 못한 땅, 북아일랜드의 소수파였던 히니라는 두 시인이 탈식민과 내전에 어떻게 반응했으며 그들이 어떤 식으로 해결을 원했는가를 알아보기 위해 그들의 시를 다시 읽어보고, 한 국가 안에 존재하는 서로 다른 계급의 두 시인이 통합 아일랜드에 대해 지녔던 의견의 차이와 공통점을 찾아내어 우리의 가장 바람직한 통일론을 모색하려 했다. 그런데 두 시인의 가장 큰 공통점은, 종교와 인종면에서 지배, 피지배의 차이가 있을지라도 그 둘 모두 정치, 종교, 인종에 있어 자신들이 속한 공동체의 편견을 극복하고 문화적 공동기반을 다지려 했고 또 시인과 예술의 자유를 추구한 점일 것이다. 한편 그 둘 사이의 차이점은 그 방법론에 있었다. 예를 들면, 그 둘 다 종교와 인종의 편견을 뛰어넘으려는 의도로 조상의 뿌리를 켈트에서 찾을 지라도 아일랜드 자치국의 성립과 더불어 기울어가는 앵글로 아이리시에 속한 예이츠는 처음에는 카톨릭 민족주의 색채를 수용하지만 후기에는 기우는 신교 앵글로-아이리시의 문화를 옹호하려는 균형감각을 고취시키려 했다. 한편 히니는 처음에는 억압받는 북아일랜드의 소수파로서 영국에 저항하는 민족주의 색채로 출발할 지라도 민족주의의 과격성과 카톨릭 공동체가 갖는 편견과 폭력을 배격하고 양심공화국으로의 통합아일랜드를 역설한다. 결론적으로 두 시인은 정치와 종교, 인종의 차이가 강화시킨 배타성보다는 문화적 유대감을 강화시키려는 화해와 상생의 의도를 갖고 있다. 이 둘 모두 지배 문화인 영국을 완전히 배제하지 않으면서 자신들의 정체성을 미국, 유럽으로 확장시켜 그 국수성을 지양해 갔음도 알 수 있었다. 즉, 이 두 시인에게서 민족주의는 문화적 정체성을 확립하는 일에 역점을 둔 것으로 그 과정에서 호전성과 배타성보다는 화해를 통해 식민화에서 파생된 이질성과 혼종을 받아들였기 때문에 지역성과 세계화를 조화시킬 수 있었다. 마지막 결론은 우리의 통합에도 국수적 민족주의와 맞물려 있는 정치적 봉건성으로의 퇴보보다는 지역과 세계화의 기류 속에서 문화의 정체성을 추구함이 선행되어져야 할 것이다.

Behind major poems of Last Poems stand specific works of art: the statue, the portraits and pictures, the sculpted pieces. The sculpture, like the poetry, which attracted Yeats most, was what seemed to have created from the integrated Self. His special concern with ‘Upanishads’ is the fourth state of the mind, the union of Self and Not-Self. He knew much better what to look for in Michael Angelo was the spiritual energy expressed by the physical power of the muscular structure of his figures. He remarks that it is the poet’s business to describe desirable persons and the states of mind. The primary example of the ability of the mind to create and to impose form is art. “Under Ben Bulben” evokes Michael Angelo’s “Secret working mind and expresses the concrete aspiration” of Yeats’s creative mind and the aim of his greatest poetry in a world of men and human passion. Yeats discovers his own freedom, his own greatness of soul as he discovers the freedom and greatness of his friends in “Municipal Gallery Revisited.” Throughout the poetry we may notice that it is a community based upon a mutual greatness, a mutual glory that springs from communion of such friends” conduct. “Lapis Lazuli” explores the relationship between mind and history. Yeats has discovered a way of thinking about the world that locates all value in the act of mind. It is the act of mind involved in forming. Yeats’s contemplation of the piece of lapis lazuli is itself the sort of act of mind that is exemplified on the stone. All the stone records is the aspiration of the Chinamen; their struggle towards the autonomy of soul that will provide perspective. But the achievement of that autonomy is Yeats’s “I delight to imagine them seated there.” Michael Angelo became identified with Yeats himself as an inexhaustible creative energy, “an old man’s eagle mind.” And also, in acting as autonomous individuals, Yeats’s friends the status and the efficacy of works of art. They have become the pictures of their own virtue, so that ‘lineaments are their thought. Yeats’s ‘generosity of mind’ consists in his ability to proclaim commitment on the part of his friends to the values that are proper to a community of heroes. It is in Yeats’s belief in the power of mind, in the act of mind that he could reach the union of flesh and spirit in the completion of his passion.

In this paper, through appreciating one of W. B. Yeats’s later poems, I try to find how the poet’s creative self gets to have its creative power and in what mechanism it expands its poetic circumference. “Among School Children” is the very poem his poetic self and creative imagination are well wrought into. In the poem, the poet suggests that power and knowledge cannot exist together, speaking of the powerful theories of Plato and simultaneously of the philosopher’s powerless being before Nature. He praises Aristotle as a king of kings, and Pythagoras as world-famous golden-thighed, but he mocks them of being old clothes upon an old stick to scare a bird. In the same way, he asserts that “the body is not bruised to pleasure soul.” In the sense of deconstructionists, all the binary oppositions have their hierarchies; however, Yeats puts the two antithetical elements on the identical level, as they are not subordinated to each other, and tries to bridge the abyss or space between. Such an attempt to unite the opposite worlds is manifested in his A Vision. Concerning his “gyre” theory, the figure is frequently drawn as a double cone. The one is called primary gyre, representing space, intellect, mask and fortune; the other antithetical one to represent time, emotion, creativity and will. The narrow end of each cone is in the centre of the broad end of the other. Seen at the narrow end of each cone through the centre of each broad end, appears a circle having a dot at the center. This is the poet’s world of imagination whose centre is his “self” and whose circumference is the limit of the self’s perception. The poet’s life-long activities are related with his efforts to expand the circumference. “Among School Children” is a trace of such activities. The centre is the place where the self of the poet is located; the circumference is where the self “perceives its limitation,” or where arises the feeling of awe, terror, or ecstasy, which means a kind of tension geared between the binary opposite worlds: the finite and the infinite; the mortal and the immortal; life and death; the real and the ideal; youth and age; the body and soul; pleasure and despair. The perception network of the poet connects the centre and circumference. The power to widen the circle originates from the poet’s paradoxical sense of life, of deprivation, and of renunciation through an attainable love with Maud Gonne, tensions between religious struggles, civil revolutions, and so on. The sharp confrontation of these tensions takes place rise to in the circumference and stimulates the poet’s creative imagination. This power of self strengthened by these tensions starts its quest-journey to explore the mysteries beyond the limit of its circle: the mysteries of the opposite worlds separated here and there. The ultimate purpose of the journey, finally, is to reach the united condition of the two worlds, which means what Greg Johnson calls “the highest imaginative enhancement of human identity” or immortality. This united world is the place where “we cannot know the dancer from the dance” and where Yeats’s “unity of being” is synthesized.

쥐치 Stphanolepis cirrhifer의 선시력을 구하기 위하여, 표적물거리 100cm, 광환경 5가지(400,20,3,1,lx)및 표적물의 굵기(8.0~0.2mm)12가지 조건하에서 행동학적 수법으로 조사한 결과는 다음과 같다. 1. 쥐치의 학습교과는 실험회수가 210회이상에서 시인율이 80%이상이였고, 도달시간이 4~5초로 안정되었따. 2. 시인율은 표적물의 굵기가 굵고 겉보기 콘트라스트가 클 때 높았으나, 1lx이하에서는 대체로 낮았다. 3. 시인한계선의굴기는 밝기가 감소함에 따라 굵었는데, 400lx의 경우가 0.24m로 가장 가늘고, 다음으로 20lx인 경우 0.30mm, 5lx인 경우 0.40mm, 3lxmm, 5lx인 경우가 2.87mm로 가장 굵었다. 4. 시인한계선의 굵기에 대한 겉보기 콘트라스트는 밝기가 감소함에 따라 증가하였는데, 400lx와 20lx인 경우 0.01로 가장 작았으며, 5lx와 3lx인 경우는 각각 0.02와 0.03이였으며, 1lx의 경우가 0.09로 가장 컸다. 5. 쥐치의 선시력은 400lx의 경우가 1.21로 가장 좋았고, 다음으로 20lx인 경우 0.97, 5lx인 경우 0.73, 3lx인 경우 0.63으로 밝기가 감소함에 따라 감소하였고, 특히 1lx의 경우가 0.10로 현저距하게 감소하였다. 6. 표적물의 굵기 1mm와 6mm에 대한 시인거리는 밝기 400lx하에서 각각 약 4.2m와 25.0m였으나, 1lx인 경우는 400lx의 1/14과 1/12로 감소하였다.

The relationship between width of line target and distance at the limit of discrimination was examined by means of the behavioral method, for filefish Stephanolepis cirrhifer from 11 to 15cm body length. Target distance was distance from beginning of partition board to target plate, and was varied from 50cm to 200cm. The target plate was made of white acrylic resin with a vertical black line in the center. The width of line target was varied from 0.2mm to 8.0mm. Fish were trained to respond to a line target and the width of line target reduced until the minimum width required to elicit a response was established. Rate of success was expressed as the percentage of target choices in 90 trials. The line acuity of filefish was found to be 0.58 at a target distance of 50cm. The rate of success decreased slowly as line target width decreased from 8.0mm to 1.5mm, and decreased suddenly for target widths less than about 1.5mm. The width of the line target D(mm) at the limit of discrimination was shown to be an exponential function of the target distance L(cm) as follows : D=exp(9.947×10-3.L+0.146)