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이영옥 명청사학회 2015 명청사연구 Vol.0 No.44
光緖帝开始亲政後, 慈禧太后仍然掌握着官吏的任免权。 她表面上容认皇帝试图自己的改革政治, 但是心里有着不安感。 这种不安心理使她发动政变, 监禁光緖帝, 试图以己亥建储废皇位。 她的试图碰到朝廷内外强力反对, 不能实现原望。 义和团事件发生了, 以慈禧太后为中心的主战派决定利用义和团打击聯合军。 义和团相信武术修练制止铳弹, 他们的迷信抵当不了聯合军的武器, 慈禧太后带着王公大臣遑忙地避身到西安。 义和团和淸军一败涂地, 辛丑条约让淸朝负起巨额战争赔偿金。 在还宫中, 慈禧太后处罚与义和团聯合战争的七十名官吏, 但是所谓东南互保反对中央命令的张之洞等督抚。 她在光緖帝名义的诏书将大阿哥溥儁烙印为祸根废位, 结果她从一切事件可以摆脱最高权力者的责任。 慈禧太后开御前会议, 主导利用充满热情的义和团抵抗逐出聯合军的计划, 因此她应该负战争失败的责任。 其实, 1884年甲申易枢时, 恭亲王等长期办理内廷外交的军机大臣被罢黜官职, 太后的腹心们坐下其空位, 他们不能反对太后的任何决定, 惟命是从。 当时淸朝好像不是满族的而是慈禧太后的, 所有中央权力集中于她的手里。 淸朝中央的政策无疑由慈禧太后决定, 其责任当然由她负的。 慈禧太后有着实权, 但是应该负责任的时候, 她却以光緖帝名义的诏书回避责任。 在此我们可以提起一条问题:个人的不安和激情, 这种感情怎么在1900年前後发生的事件里起了决定的作用。 因为1884年以後淸朝中央以儒家理念为基础的统治(政治)再也不存在。 在正统儒家思想, 君主应当先考虑百姓与王朝而行动, 不应该把王朝权力使归私有。 丧失统治的王朝唯一能做到的是在历史消失的。
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李英玉 이화여자대학교 한국문화연구원 1973 韓國文化硏究院 論叢 Vol.21 No.-
INVENTION composed by J.S. Bach is universally used as one of the essential etudes for Piano students. During my piano teaching experience of thirty years, I have realized that the pieces of INVENTION are the great masterpieces of the greatest genius J.S.Bach and they should be played not only by the skillful fingers but also by a bright brain with a warm heart. In short the student should learn how to play with head and heart through INVENTION. This is the purpose of my study about the structural Analysis of INVENTION composed by J.S. Bach In Bach's time there existed two kinds of Klavier besides the pipe organ: one was Clavichord, another was Harpsichord. INVENTION was intended for Clavichord rather than Harpsichord. Bach was the greatest innovator of fingering and method of tuning for keyboard instruments. In other words, Bach was the first musician who used the thumb for keyboard playing and he established the method of the well-tempered tuning for keyboard instruments, Bach was one of the greatest music teachers, and INVENTION was first intended to teach his eldest son Wilhelm Friedemann. When he revised INVENTION in 1723 he gave it the following title: "An honest guide by which the lovers of the clavier, but particularly those who desire to learn, are shown a plain way, not only <firstly> to learn to play neatly in two parts, but also, in further progress <secondly>, to play correctly and well in three obligato parts; and, at the same time, not only to acquire good ideals, but also to work them out themselves, and, finally, to acquire a cantabile style of playing, and, at the same time, to gain a strong predilection for and foretaste of composition. The scheme of the INVENTION is, for the most part, divided into three sections, and has a remote resemblance to the form of the Italian aria. It may be also considered Fugal style. The first invention grows from this germ and is treated in imitation; at the third bar there begins a moderately long episode on the inverted subject, which, in the course of the piece, is set in opposition to the subject in direct motion. Giving rise to playful alternations of each. Of all fifteen this one has the most reserved and dispassionate character, and even the theme is somewhat conventional, only revealing its importance by degrees. The second, in C minor, is quite different. A passionate and eager phrase comes rushing in, followed by its exact facsimile and companion, and the two figures pursue one another, first one and then the other taking the other taking the lead. It is a canon on the octave; at first the upper being followed by the lower part, at the distance of two bars, until bar 10 is reached, when they change places; the lower part leads, now followed by the upper on, bar for bar, in exact imitation; then, after a short digression, the first order of parts is resumed until the last bar. No.3, in D major, is of a merry character, and consists of free imitation; it is followed and eclipsed by the gloom of No. 4, which is treated now in direct, now in inverse motion, in D minor. No. 5, E flat major, which sets off at once in two parts, is in double counterpoint on the octave throughout, modulating through B flat major, C minor, and F minor, and then, by means of episodical extensions, back to the original key. It is a piece full of grace and dignity. The one in E major(No. 6) is full of roguish fun, and also begins in two parts: a prominent part is taken by the double counterpoint, and the formation of episodes on the chief theme. No. 7, in E minor, shows an affinity in form with No 1; but its expression is different: it is suppliant and mournful; still, in spite of its disturbed character, has extraordinary melodic beauty. In contrast to this, the next one, in F minor(No. 8), is full of a happy and innocent contentment. It begins in canon, and after 속 twelfth bar it becomes free, and most lovely little episodes are developed. The companion piece in the corresponding minor key (no. 9, F minor), which is similar in form to No. 5, but richer in episodic formations, again is full of impassioned strains of sadness, which rise to a great intensity of effect in bars 21 to 26. No. 10, in G major, begins like a fugue, but without any of the fetters of that form: it flits to and fro now in limitation, and now in episodic extension. There is a piece of quite wanton fun at the reprise, when the upper part takes upon itself the double duty of a theme and response(dux and comes). The piece which follows has a character of tormented restlessness. A chromatic counter-subject of two bars long, attached from the outset to the chief theme, evolves, by means of inversion in the fourth bar, an episode of the most painful and insistent kind, which reappears in alternation with the original counterpoint at bar 14. The phrases consist of six bars, but at the last two recurrences it is only five bars and a half long, and these two are merged directly in one another without any cadences to give a moment's rest (see bars 12, 13, and 18): each beat of the bar is more restless than the last. A feeling of honest German fun is given by No. 12, in A major, which corresponds in form to Nos. 5 and 9. The two next inventions, in A minor and B flat major, both have somewhat the character of preludes, because the subjects and the workings-out alike move almost exclusively in harmonic passages: the second betrays a close relationship to the prelude of the B flat partite in the first portion of the clavierubung. The three-fold division is, however, preserved in this case. In the B flat invention the first subject comes in canon at its repetition (bar 16, in the middle), and in this place it has a bold, soaring character, while in the former it was dreamy and rather melancholy. The last invention comes in gravely, yet not without a certain dignified grace in its fugal working-out it alternates with episodical interludes, founded on the counterpoint to the theme. It is remarkable that the theme does not come in alone, but is supported by short notes in harmony in the bass. Further Musical Analyses in detail with music are as following. <please look up the music.>
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녹색채소 중의 클로로필류(Chlorophylls)의 특성
이영옥 부산여자대학 1994 釜山女子專門大學 論文集 Vol.16 No.-
Chlorophylls are the pigments responsible for photosynthesis All green plants contain chlorophyll a and chlorolhyll b. In higher plant the chlorolhyll ratio a/b is usually 3 to 1 and cholrophylls are hydrophobic. Chlorophylls are porphyrins containing the basic tetrapyrrole ring. The four rings are coordinated with the Mg2+ ion. Chlorophylls can be readily transformed into a series of derivatives. Many attempts were made to stabilize the pigments in processed vegetables. The changes are a consequence of the pigment’s chemical properties, enzymes present, and physical conditions(e.g., pH, temperature, moisture percentage)
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