陳洪綬의 《水滸葉子》와 明末의 憂國정서

장준구(張俊九) 한국미술연구소 2017 美術史論壇 Vol.- No.45

Since the late 16<SUP>th</SUP> century the Ming dynasty reached a high plane of achievements in terms of culture while it encountered crisis in terms of politics and military. In those days, The Story of the Water Margin (Shuihuzhuan, 『水滸傳』) was more than a novel. At that time its story was published in books and performed as a play. The general public enjoyed pictures pertaining to this novel and moreover indulged in this story even using gambling devices on which figures from this story were portrayed. This fever for Water Margin was one of the immediate causes of the situations brought about at the end of the Ming dynasty that was on the verge of ruin. The content of Water Margin can be deemed anti-government and anti-state. Characters in the story include outlaws who commit crimes, formed a group, and resist against the government in the first half of the novel. However, those heroic persons subjugated the Liao dynasty founded by the Khitan people and the Jin dynasty founded by the Jurchen people as well as suppressed rebellions domestically. With this content implicatively reflecting the situations of the late Ming dynasty, this novel has been able to work as a symbol of patriotic sentiment. Images associated with The Story of the Water Margin were existent mainly in the form of illustrations. The typical images are from Water Margins Game Cards (Shihu yezi, 《水滸葉子》) by Chen Hongshou(1599~1652). Water Margins Game Cards is a collection of the prints of 40 key figures Chen portrayed among 108 heroes in The Story of the Water Margin. Chen appropriated the image of Guan Yu who had respected as the guardian god of the state for Song Jiang and Lu Junyi and the image of Zhuge Liang who had been regarded as the epitome of wisdom for Zhu Wu and Wu Yong, thereby wishing for salvation from the threat of foreign power. He also represented patriotic sentiment with f lowers set on the heads of good-looking heroes such as Chai Jin and Shi Shou. Chen’s illustrations are not mere portrayals of figures from The Story of the Water Margin but reflect the painter’s patriotic sentiment. The manifestation of such sentiment by the medium of The Story of the Water Margin was closely associated with representations and expressions by ordinary personas as well as intellectuals during the end of the Ming dynasty. They enjoyed the novel The Story of the Water Margin in a variety of forms such as book, theater, painting, gambling, and discourse. The Story of the Water Margin, a novel that emerged at the end of the Ming dynasty was an alternative medium in its chaotic society and a spiritual haven as well as a symbol of patriotic sentiment and a phenomenon penetrating society.

만성 골수성 백혈병에서 비전형적 염색체 전좌를 보인 2예

장준,윤일국,김종완,송민호,김민범,박철신,김삼용 충남대학교부설 생명공학연구소 1991 생물공학연구지 Vol.1 No.-

Bone marrow cells from approximately 90% of patients who have clinically typical CML contain the ph^1 chromosome, identified by Rowley(1973) as the reciprocal translocation between the between long arm segment of chromosome 22 and the long arm of chromosome 9. In a recent review of CML patients, the 9 ; 22 translocation was identified in 92%, however variant translocations have been discovered in addition to the typical t(9 ; 22). These were thought to be of two kinds ; one appeared to be a simple translocation involving No. 22 and some chromosome other than No. 9(about 4%), and the other was a complex translocation involving three or more different chromosomes, two of which were No. 9 and No. 22 (about 4%). Recently, the authors experienced two cases of variant translocations in CML patients, one is simple translocation t(17 ; 22), the other is complex translocation t(1 ; 19 ; 22). So we report these cases with brief of literature.

TDD방식과 FDD방식간의 간섭영향과 반송파 이격거리에 관한 연구

장준,문상현,홍인기 경희-다반 ASIC 설계교육센터 2003 경희-다반 ASIC센터 논문집 Vol.4 No.-

본 논문에서는 FDD 와 TDD 모드 시스템간 인접대역 주파수 사용에 따른 간섭을 분석하고 이에 대한 반송 파 이격거리를 산출하였다. 두 시스템사이에서, 인접주파수 이용에 따라서 다른 종류의 간섭이 발생한다. 본 논문에서는 FDD 모드 시스템간 간섭을 모델링 하여서 용량을 산출 하였고, 서로 다른 사업자에 의해 FDD 모드시스템 운용시, ACP를 고려하여 간섭으로 인한 용량과 요구되어지는 반송파 이격거리를 산출하였다. 또한 TDD 와 FDD 모드 시스템간 기지국간 거리가 용량에 미치는 영향도 분석하였다 각각의 간섭시나리오에 의한 용량의 산출을 바탕으로 FDD모드 시스템간 반송파 이격거리와 FDD TDD 모드간 시스템에서의 반송파 이격거리를 구하였다

High-efficiency analog front-end design of passive NFC tag based on 65nm

장준범,문용 한국과학기술원 반도체설계교육센터 2017 IDEC Journal of Integrated Circuits and Systems Vol.3 No.2

The high-efficiency NFC AFE(Analog Front-End) was proposed and implemented in 65nm CMOS process. We proposed the novelty architecture of Envelope Detector which is the most important block in passive mode tag because those generate their own power. The Envelope Detector generating negative voltage and it can generate the negative voltage of -0.68V that is used for body bias and can detect the small voltage swing of 0.5V. The area of the high-efficiency NFD AFE is 1.9mmx2mm and it is very small compared with the conventional NFC AFE. The digital part of NFC is also verified by FPGA board. So the proposed NFC tag is feasible for many applications.

17세기 中國의 肖像畵 合作

張俊九(Chang Junegu) 미술사연구회 2014 미술사연구 Vol.- No.28

One notable aspect of China"s late Ming period is the relatively large number of portraits produced through collaboration among different artists. Such collaborative portraits are significant both in terms of technique and because of the relationships between the painters and the sitters. Though examples of collaborative portraits dating from the Yuan dynasty also exist, the practice began in earnest in the 17th century. The sharp increase in production of collaboration in portrait painting at this time was due to the trend for portraits in the format of landscapes with human figures. While impersonal ancestor portraits, in which the sitter sat upright against an empty background, were used in ancestral rites, portraits in the format of landscapes with human figures were highly sentimental in character, making them popular among literati who aspired to retire to quiet rural spots away from everyday life. The large proportion of canvas occupied by landscape in the latter type of portrait was an important factor in promoting natural collaboration between landscape artists and portrait artists. Another factor that drove the increase in collaboration was the social context of the time, which saw the emergence of talented portrait artists such as Zeng Jing(曾鯨) and his students. One important function of portrait collaboration in the 17th century was the increase it brought to the quality of works. In other words, works that combined the respective strengths of outstanding portrait painters and talented landscape artists attained new synergistic heights. In addition to the increase in the quality of works produced, an important aim of collaboration was the promotion of friendship between artists and sitters. Meanwhile, cases in which the identity of the portrait artist in collaborative paintings is not revealed suggest that the unnamed specialist portrait painters of the time held low status, as well as hinting at the possibility that the self-portraits of Xiang Shengmo(項聖謨) and Shi Tao(石濤) are not actually self-portraits. Few Joseon collaborative portraits have been discovered; this is because landscape with human figure-style portraits, unlike in China, were not particularly popular in Joseon. The handful of examples of collaborative Joseon portraits effectively have little to do with those of China from the 17th century onwards, except for the fact that they were produced through collaborations between pairs of well-known artists. This is because while landscape with human figure-style portraits in China were produced through collaboration between specialist portrait painters and literatus landscape painters, the Joseon collaborative portraits that have been discovered are works by two court painters, both capable of painting portraits alone.

한국인 얼굴 데이터세트를 활용한 안면인식

장준한(Junhan Zang),장윤선(Yunseon Jang),범정현(Junghyun Bum),추현승(Hyunseung Choo) 한국정보과학회 2020 한국정보과학회 학술발표논문집 Vol.2020 No.12

베트남 전쟁 시기 미국 외교정책, 1954-1968

장준갑 한국세계문화사학회 2018 세계 역사와 문화 연구 Vol.0 No.47

The paper examines how and why American politicians made decisions on Vietnam War from 1954 to 1968 during which American interventions had reached the highest level. It also discussed the reason why Americans could not achieve their goals in Vietnam even though they had mobilized huge amounts of manpower and ammunitions to win the war. Such discussions enables us to understand multidimensional structure of the war and to point out American behavior went far beyond simple anti-communist movements or military dominance in the region: the Messiah to save the world. The reason that Americans took such a hard lines including military warfare and ideological battlefield in the region was based on domino theory in which if America lost Vietnam it would send a message of weakness and give the Communists staging grounds for further forward thrust. America was conceived with a sense of mission and dedicated to the extension of freedom throughout the world. Americans also thought that abandoning Vietnam would produce a fundamental threat to the security of the United States. Americanization of the Vietnam War reflected those ideas that aggression must not be allowed to succeed lest the Free World’s integrity be undermined. It was better to draw the line in a place like Vietnam than have to fight close to home and for bigger stakes. America, however, could not succeed to achieve its goal because of it miscalculation on its ability and enemy’s iron will not to be defeated by foreign invaders such as the United States which supported an old imperialism of Europe. The messianic mission of Americans could never have been achieved by such negative behaviors as supporting dictatorships, infiltrations, and military adventures in Vietnam. 본고는 미국의 베트남 개입이 시작된 1954년부터 미국에 의한 베트남 전쟁이 최고조에 달했던 1968년까지 과연 미국의 정치인들과 관료들은 어떤 결정을 내렸으며, 왜 그들은 그런 결정을 내렸는지에 관하여 논의 한다. 또한 막강한 전투 병력과 화력을 동원했음에도 불구하고 자신들이 목표했던 최소한의 전쟁 목표도 달성하지 못하고 패퇴한 원인에 대해 논의하고자 한다. 최근까지 한국에서 미국의 베트남 외교를 논하는 데 있어서 많은 학자들은 상당부분 미국 외교 정책 자체의 본질적인 측면을 논하기보다 친미 혹은 반미적인 전제를 갖고 가치 지향적인 평가를 해 온 측면이 있었다. 이러한 현상은 미국의 베트남 외교를 결정하는 본질적인 것에 초점을 맞추기보다 정책의 결정 과정이나 결과에 좀 더 집중함으로써 미국이 어떤 심리적․정신적 바탕위에서 외교 정책을 구사했는가에 대한 논의가 부족한 측면이 있었다. 본고는 베트남 전쟁을 전후 한 시기에 전개된 미국 외교정책의 일단을 고찰하여 미국 베트남 외교의 본질적인 측면을 논의해보고자 한다. 필자가 베트남 전쟁 전후 시기의 미국 외교 정책을 관찰하는 이유는 세계가 미국의 체제 속에 있으면 좀 더 안전하고 자유로울 것이라는 미국적 사명감과 우월의식이 그 어떤 전쟁에서 보다도 베트남 전쟁에서 그 내면에 깊숙이 자리 잡고 있었던 측면이 있었기 때문이다.

16, 17세기 중국의 여성화가

장준구(Chang Junegu) 한국예술종합학교 한국예술연구소 2018 한국예술연구 Vol.- No.21

미군정의 제주4·3사건에 대한 대응 -폭력과 학살의 전주곡-

장준갑 전북사학회 2007 전북사학 Vol.0 No.31

In Fall of 1947 Truman administration gave up negotiations for Korean unification with Soviet Union which occupied the northern part of the Koran peninsular after the surrender of Japan and decided to transfer the Korean problem to the UN. The decision meant that U. S. would establish a pro·American government in its ruling area, south Korea. American Military Government in Korea, imposing American will upon Korean people in south Korea, realized that it was impossible to build a strong pro·American government in the area without cleaning up the leftist that had challenged American hegemony and insisted national unification. Accordingly American occupation forces, represented by General John Hodge, suppressed leftist movements creating anti·American sentiment and socialist movements. In the eyes of American rulers in south Korea, Jeju 4·3 Incident, broken out in Jeju in April 3, 1948 to protest American social and political policy in south Korea, was a dangerous rebellion which leftists instigated innocent people to deny American authority and follow Soviet Union. That is why American Military Government moved promptly to put down the resistance and permit Korean forces under its authority to use indiscriminately enormous violence toward Jeju people including civilians. These military operations in Jeju by Americans brought about a prelude to genocide and bloody violence committed by Syungman Rhee, the first president of Republic of Korea after the American military rule.

역사학 : 문수신앙(文殊信仰)과 돈황(敦煌)의 문수보살도상(文殊菩薩圖像)

장준구 ( June Gu Chang ) 대구가톨릭대학교 인문과학연구소 2009 인문과학연구 Vol.12 No.-