반자동 변속기(Semi Automatic Transmission)차량개발

이태화,Lee Tae-Hwa 한국공학교육학회 1998 공학교육과 기술 Vol.5 No.1

변화와 발전속에 행복추구를···

이태화,Lee, Tae-Hwa (사)한국포장협회 2006 包裝界 Vol.153 No.-

『조선일보』 연재 <이동백 일대기> 再考

이태화(Tae hwa Lee) 판소리학회 2022 판소리연구 Vol.53 No.-

이 글에서 문제 제기한 쟁점은 크게 세 가지로 정리할 수 있다. 첫째, 이동백의 판소리 스승으로 알려진 김정근과 김세종은 사실 이동백의 음악에 큰 영향을 주지 않았을 가능성이 높으며, 특히 김세종은 직접적인 스승이 아니었을 가능성도 있다. 둘째, 이동백 자신이 구술한 여러 기록에서 비합리적 정황이 자주 등장하는 이유는 자신과 인연이 닿은 당대의 권세가들을 강조하느라고 구체적인 시공간의 정보를 간과했기 때문이라 할 수 있다. 셋째, 통정대부라는 명예직을 제수받은 일은 이동백의 인생에서 중요한 계기가 되었고, 그로 인해 신분제에 대한 모순된 가치관이 드러나기도 했다. 정확한 정보가 아닐 수 있음에도 세상에 나오는 순간 일단 확정되는 설명들. 그리고 머지않아 후속 연구자들이 별 문제의식 없이 수용하게 될지도 모를 연도나 수치들. 게다가 증언이기 때문에 우선 신뢰해야 하는 구술들. 이미 당사자를 다시 만나 바로잡을 수 없게 된 그것들은, 해당 연구 영역에 새로 합류하는 연구자들에 의해 매번 일정한 재검토의 대상이 되어야 한다. 위대하거나 유명한 인물이라는 가치에 눌려 합당하지 않아 보이는 상황들을 간과해서는 안될 것이며, 그것을 적당히 미화하는 일은 더더욱 위험하다. 아직은 단순한 문제 제기에 지나지 않는 쟁점들을 후속 연구로 심화할 계획이나, 이 분야의 신뢰도 높은 자료가 드물다는 것을 알기에 막연한 염려가 앞선다. 음악적 비교 연구를 필자가 감당할 수 없는 점이 무엇보다 아쉽다. 유관 분야의 다른 전공 연구자들도 이 글의 문제 제기를 검토해 주기를 바란다. This article examines certain questions raised by reviewing the biography of Lee Dong-baek, which is often accepted without question because it was written based on his testimony. Lee Dong-baek enjoyed the greatest popularity among the Japanese colonial era's Pansori master singers, and there are very many related extant materials and sound sources. However, there are many differences in the contents of articles written based on interviews with Lee in his old age. Although this is often true of figures from an era when records were not thorough, in the case of Lee Dong-baek, most of the information is from Lee Dong-baek himself, which can indicate a more complex story. It is necessary to understand all the facts and point of interest properly separately, but when integrating them into secondary data, a willingness not to insist upon conclusive finality is needed. This is because the unconfirmed narrative information is confusing not only regarding him but also his colleagues' activities, and further hinders the organization of historical trends in this field. The issues raised in this article can be summarized into three main categories. First, it is highly likely that Kim Jeong-geun and Kim Se-jong, known as Lee Dong-baek’s Pansori teachers, did not have a significant influence on Lee Dong-baek's music, especially because, Kim Se-jong was not a direct teacher. Second, the reason why irrational circumstances often appear in various records dictated by Lee Dong-baek himself is that he overlooked specific times and time information to emphasize the powerful people of the time who had a relationship with him. Third, receiving the honorary position of the Tongjeongdaebu(通政大夫) was an important opportunity in Lee Dong-baek's life, and therefore, he revealed contradictory values about the status system. Explanations are often confirmed as soon as they appear in the world, even though they may not be accurate information, as well as the years and figures that subsequent researchers may soon accept without hesitation. Besides, because it is a testimony, the phrases must be trusted first. We are already unable to correct them because we cannot meet him again. They must be subject to constant review each time new researchers join the research area. We should not overlook situations in which the value of a great or famous person does not seem reasonable, and it is even more dangerous to glorify them properly. It plans to deepen issues that are still nothing more than simply raising problems in follow-up studies, but vague concerns precede knowing that reliable data in this field are scarce. Above all, it is regrettable that I cannot handle the comparative study of music. I hope other researchers in related fields will also consider raising the issues raised in this article.

고 토크형 Hybrid PM 스텝모터의 최적설계를 위한 특성해석

이태화(Tae-Hwa Lee),공정식(Jeong-Sik Kong),오철수(Chul-Soo Oh) 대한전기학회 2000 대한전기학회 학술대회 논문집 Vol.2000 No.7

장기요양서비스의 질 평가 지표 개발

이태화(Tae Hwa Lee),조은희(Eun Hee Cho),고유경(Yu Kyung Ko),황윤선(Yun Sun Whang),김복남(Bok Nam Kim),임은실(Eun Shil Lim),이혜선(Hye Sun Lee) 한국간호행정학회 2012 간호행정학회지 Vol.18 No.1

This study was designed to develop quality outcome indicators for nursing homes and community-based home care that would contribute to an appropriate evaluation and improvement of quality of long term care in Korea. Methods: The preliminary quality indicators of long term care were developed from a literature review and clinical expert panel. A content validity testing was done using a panel of experts who were selected from academic and clinical field of long-term care. The final quality indicators were confirmed after application in four nursing homes and four home care agencies to test clinical validity. Results: The preliminary quality indicators consisted of 3 domains and 19 indicators. The final quality indicators were composed of 4 domains and 17 indicators. Conclusion: This study demonstrated the feasibility of outcome quality indicators in long term care. These quality indicators can be effectively used to evaluate the quality of nursing home and home care and to improve the quality of care in the Korean long-term care system.

교원의 정치적 기본권 제한에 관한 쟁점 분석

이태화(Tae Hwa Lee),이재덕(Jae Duk Lee) 한국지방교육경영학회 2021 지방교육경영 Vol.24 No.2

헌법 제31조제4항은 교육의 중립성을 규정하고 있으며, 교육기본법 제6조에도 교육이 정치적 · 파당적 또는 개인적 편견을 전파하려는 방편으로 이용되어서는 안 된다고 명시되어 있다. 이에 본 연구는 교원의 정치 참여 범위와 관련된 논쟁을 해결하기 위한 목적으로 교원의 정치적 기본권 제한에 대한 대법원판결(대판 2012.04.19. 2010도6388)과 교원의 정치단체 참여 금지에 대한 헌재 판결(2020. 4. 23. 2018헌마551)을 분석하였다. 분석 결과 교육의 정치적 중립성을 위해 교원의 정치적 기본권을 제한하는 것은 헌법 제21조제1항 표현의 자유를 침해하고 있으며, 교원의 정당 가입을 제한하는 것은 기본권 제한 한계 원칙인 과잉금지원칙 위반에 해당하고 대학교원과는 달리 초ㆍ중등 교원의 정치적 기본권을 제한하는 것은 헌법 제11조제1항 평등원칙에 위배된다고 판단하였다. 결과를 바탕으로 첫째, 국민으로서 교원의 정치적 표현의 자유는 인정되어야 하며, 둘째, 교원이 정당에 가입하는 행위는 교원의 직무수행에 영향을 미치지 않는 범위 내에서 허용되어야 하고, 셋째, 교원의 정치적 기본권보장은 민주시민 교육을 위해 긍정적으로 작용할 수 있기에 이에 대한 사회적 합의가 필요하며, 마지막으로 교원에 대한 신뢰 향상을 통해 정치적 활동을 하는 것과 교육은 별개라는 관점 정립 필요성을 제안하였다. The Constitution stipulates the neutrality of education, and the Fundamentals of Education Act states that education should not be used as a means of spreading political, partisan, or personal prejudice. Based on this, teachers' political basic rights are limited, and opinions are divided over whether such restrictions are reasonable. This study analyzed the Supreme Court's ruling on restricting teachers' political basic rights and the Constitutional Court's ruling on teachers' prohibition of participation in political organizations. According to the analysis, limiting teachers' political fundamental rights for political neutrality violates the Constitution, limiting teachers' party membership for political neutrality constitutes a violation of the principle of limitation of basic rights and the Constitution. As a way to improve teachers' basic rights restrictions, first, teachers' freedom of political expression as citizens should be recognized, secondly, teachers should be allowed to join political parties to the extent that it does not affect teachers' performance, thirdly, teachers' political fundamental rights should work positively for democratic civic education, and ultimately, education should be separate.

20세기 초 판소리 공연 환경의 변동과 서민 향수층의 행방

이태화 ( Lee Tae-hwa ) 민족문학사학회·민족문학사연구소 2019 민족문학사연구 Vol.69 No.-

공연 환경의 변화는 단순히 장소의 이동을 뜻하는 것이 아니라 가능 공간의 확장을 의미한다. 마찬가지로 공연의 향수층도 바뀌는 것이 아니라 폭넓어지고 두터워진다. 다만 어느 시기에 어떤 공간이나 향수층이 보다 큰 영향을 끼치는가에 따라 판소리 공연문화의 특색이 달라져왔고, 대개의 판소리사 논의 또한 그와 관련한 흔적들에 주목했다. 그런데 판소리 향수층은 이원적으로 상정해 두고 논의할 필요가 있다. 왕에서부터 중인에 이르기까지, 일정한 보수를 주며 광대를 부를 수 있는 이들을 주도적 향수층이라 부를 수 있다면, 소문을 듣고 찾아다니며 구경하는 서민 이하의 사람들은 추종적 향수층이라 할 수 있다. 당연히 수 자체는 후자가 훨씬 많을 것이고, 이들이 바로 민중예술인 판소리의 향수층 기저를 이룬다고 할 수 있다. 그러나 20세기 이전의 기록에 이 구경꾼들의 모습은 존재하기는 하되 구체적으로 그려지는 일이 거의 없다. 이는 신문과 잡지가 상업적으로 발행되기 시작한 20세기 초반에도 마찬가지다. 본고에서는 1900년대의 협률사 희대와 1910년대의 광무대를 중심으로 판소리 서민 향수층의 존재 양상을 살펴보았다. 검토 결과, 협률사 희대와 그를 이은 원각사, 그리고 광무대에 이르기까지 극장은 주로 상층사회 구성원들을 위한 문화 공간으로 정착되어 간 탓에 도시의 서민들이 극장을 통해 판소리를 비롯한 전통연희를 즐기는 양상을 구체적으로 발견하기는 어려웠다. 당대의 기록자들이 별로 주목하지 않은 영역이었기 때문이거나 실상 주목할 만한 특이점이 별로 없었기 때문일 수도 있다. 1910년대가 되어 다수의 도시 서민을 대상으로 삼는 극장의 영업 양상이 본격화되기는 하였다. 그러나 이 시기는 판소리의 통속화가 활발하게 진행되던 시기이기도 하다. 즉 극장 문화 전반은 대중문화의 중심이 되고 있었지만, 그 안에서 연행되는 판소리나 구극은 정통성의 훼손과 함께 이후에 가속화될 침체일로에 들어섰던 것이다. 판소리가 찾아가서 즐기는 공연물이 아닌 보호해야 할 유산이 되었다는 현실에 동의할 때, 그러한 변화의 시작은 향수층 앞에 놓인 극장의 문턱에서 비롯되었다. 근대화의 흐름이 급격히 밀려오던 20세기 초반에 판소리는 새롭고 신기한 볼거리들에 대응하기 위해 통속화를 택했으며, 그에 따라 서민 향수층이 정통성을 지닌 판소리를 감상할 기회는 점점 줄어들게 되었다. Changes in the performance environment do not simply mean the movement of places, but also the expansion of possible space. Similarly, the audience for the performance does not fluctuate, but rather becomes wider and thicker. However, the unique characteristics of Pansori performance culture have changed depending on which space or audience influence more, and most of the discussions on Pansori history have also focused on the traces related to it. However, the Pansori audience needs to discuss the issue with a two-way approach. Those from the king to the middle class who can invite artists with a certain amount of remuneration can be called the Leading audience. On the other hand, people below the working class who listen to rumors and go around looking for performances are a Follow-up audience. Of course, the latter will be much larger, and they will be the foundation of the Pansori audience, a folk art. However, in records prior to the 20th century, the onlookers exist, but rarely are described in detail. This is the same in the early 20th century, when newspapers and magazines began to be published commercially. In this paper, I put the Hyeopryulsa(協律社)’s Huidae(戱臺) of the 1900s and the Gwangmudae(光武臺) of the 1910s at the center of the discussion, and looked at the appearance of plebeian audience of Pansori. As a result of the review, it was difficult to find concrete aspects of the city’s ordinary citizens enjoying traditional entertainment, including Pansori, because the theater was largely established as a cultural space for members of the upper class society. It could be because the recorders at that time did not pay much attention to the area, or because there were not many notable specialties in reality. In the 1910s, the business of the theater, which was aimed at a large number of urban residents, began to take full swing. However, this was also a time when Pansori secularization was active. In other words, theater culture as a whole has become the center of popular culture, but the Pansori or old drama that is carried on in it has entered into a recession that will accelerate in the future, along with the damage to its traditional character. When we agree with the reality that Pansori has become a heritage to protect, not a performance to visit and enjoy, the beginning of such a change came from the threshold of the theater in front of the audience. In the early part of the 20th century, when the tide of modernization was rapidly rising, Pansori chose secularization to cope with new and curious attractions, thereby reducing the chance for ordinary people to appreciate traditional pansori.

일반논문 : 〈서재야회록(書齋夜會錄)〉, 정신적 재무장을 위한 의인화 수법 -〈서재야회록〉에 대한 분석심리학적 접근-

이태화 ( Tae Hwa Lee ) 한국고전연구학회 2006 한국고전연구 Vol.0 No.13

‘뿌리깊은나무 판소리 감상회’ 개최의 의미와 판소리 부흥에 끼친 영향

이태화(Lee, Tae-hwa) 한국언어문학회 2015 한국언어문학 Vol.95 No.-

In January 1974 to September 1978 "The Deep-rooted tree Pansori Appreciation Society" was held by Pansori Society and the Britannica's sponsorship. The name "The Deep-rooted tree Pansori Appreciation Society", are those called by changing to suit the March 1976 of the magazine The Deep-rooted treelaunched, until 1975 was called "Britannica Pansori Appreciation Society". This appreciation society, which was held up to 100 times, has the very important significance in the history of pansori. Through the time of the Japanese colonial period and the Korean War, pansori lost a viable and competitive. And It was to wind up floating and lost popular appeal. Then, pansori is since the 1960s that are on the verge of death, is obtained the momentum of revival little by little, had some important opportunity there. First, the Cultural Properties Protection Law was enacted in 1962, it is designated as an important intangible cultural asset No. 5 from 1964, pansori became the object to be officially protected and saved. Then, Park Dong-jin was steadily successful Wan-chang(完唱, full version singing of pansori) as a starting point the September 30, 1968. And other artists who want to validate their skills even while being joined in their ranks, and that was done before the changed atmosphere. Then during the pansori it is, academically and popularly, to meet the new instruments. It's the beginning of "Britannica pansori Appreciation Society", and it subsequently published the complete works pansori music. The appreciation society, not only was a good example to allow other appreciation society similar results, had various effects on pansori system. When you organize its impact and significance, it is as follows. First, lively atmosphere that was created to hold "pansori appreciation society" here and there. Second, the bottom of the pansori is expanded around the young people. Third, it was an opportunity to complete the process to record the traditional pansori that has been handed down to those days. In particular this is instead of finished appreciation society only, since led to the publication of pansori Complete Works album, it can be a to achieve the results. Fourth, it was recognized the value of Jeonpan-pansori(singing pansori from the start to the end). So it gives should be treated carefully motivation authentic pansori than Tomak-sori(partial singing of pansori) and Chang-geuk(唱劇). Fifth, it was a chance to be able to look back on the value of the drummer. In particular, Kim Myeong-hwan, the success is continued until pansori Complete Works album announcement, came to be recognized ability to ensure its. And, he was designated as an important intangible cultural heritage performing arts person for the first time February 2, 1978 as the drummer.

품질기능전개를 활용한 무기체계의 목표성능과 비용 설정

이태화 ( Tae Hwa Lee ),최규명 ( Kyu Myeong Cho ),이경창 ( Kyeong Chang Lee ),이민구 ( Min Koo Lee ) 한국품질경영학회 2016 한국품질경영학회 학술대회 Vol.2016 No.2