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김향,이상종,정을순,김명숙,백문철,전승준 대한내분비학회 1990 Endocrinology and metabolism Vol.5 No.3
Adrenal cortical carcinoma is a rare malignancy occuring at a rate of only two cases per million population per years, accounting for 0.02% of all cancers. Although the tumor can occur at any age, adrenal cortical carcinoma is most frequently seen in patients older than 40 years of age. The presenting symptoms of this tumor are abdominal pain, mass, loss of weight or fever of unknown origin. Several diagnostic modalities including computerized tomography, sonography, MRI scanning and aortogram are widely being used. A 51-year-old farmer was admitted to this hospital in December, 1989, because of epigastric pain and palpable mass in the upper abdomen with duration of 3years. He had not received any special study or treatment for the presenting symptoms except intermittent administration of oral digestives at drugstore. Physical examination was essentially normal except mass in the upper abdomen with unremarkable border, smooth surface. It was slightly tender and not movable. At the outpatient department, he had received gastrofiberscopy and it showed a small ulcer on the pyloric antrum. Routine laboratory examination including blood chemistry gave no abnormalities. An ultrasonographic examination showed two cystic mass in the body and tail of the pancrease. Computerized tomographic finding of the abdoman suggested the diagnosis of pancreatic pseudocyst. However, the possibility of adrenal tumor could not be ruled out. On the surgical approach, the systic lesion was found to be a mass of the adrenal gland and its cavity was consisted of blood clot and necrotic tissue. The adrenal gland with cystic mass was removed without any difficulty and pathological examination disclosed an adrenal cortical carcinoma with capsular invasion. Convalescene was not eventful and she had discharged 2 weeks after surgery and she was discharged 2 weeks after surgery and has been given anticancer chemotherapy periodically. (J Kor Soc Endocrinol 5:220~225, 1990)
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일츅죠선소리판 <춘향가 전집>(1926~1927)의 매체적 특징과 그 의의
김향 연세대학교 인문학연구원 2018 人文科學 Vol.114 No.-
This study is to examine Nibbonohong gramophone record Ch’unhyang ka (1926 1927) from the perspective of media and to clarify features of dramatic embodiment. Though this record is the very first one through which we can experience the form of early ch’anggŭk in the absence of data on ch’anggŭk performance and script in the 1900s, it has been regarded as lacking in completeness of genre but in terms of media, this study found that it has elements to be systematized as ‘early dramatic embodiment.’ Gramophone record in early 1900s was a medium that demonstrated a form of writing different from print media and was considered a media with mechanical materiality and also a product of ‘contents facilitating people experiencing classical novel with p’ansori.’ In addition, popularization was the goal of Nibbonohong gramophone record Ch’unhyang ka, which was ‘naturally formed’ in that popularizing process. This study focuses on the form of ‘ipche-chang’ that master singer Dongbaek Lee and singers of Chuwol Kim and Geumhong Shin sang in turn as if they were talking to each other and systematizes features of this style. The study also demonstrates that ‘ipche-chang’ of Nibbonohong gramophone record Ch’unhyang ka was not merely ‘sound cantillated in turn’ but an intermediated form changing from ‘open structure’ of p’ansori into ‘close structure’ of ‘well established ch’anggŭk’ with Dongbaek Lee’s ‘planned’ improvisation and; it aroused the emotion of ‘consolation’ and the idea of ‘critical consciousness to people with social power and the process to publicize it.’ In conclusion, the form of ‘ipche-chang’ of Nibbonohong gramophone record Ch’unhyang ka has a specific ‘dramatic structure’ representing the flow of the times and; is an essential step to form ‘ch’anggŭk’ which highlights singers’ unique expression and enables thematic consciousness to be ‘thought’ of yet again. 이 논문은 일츅죠선소리판 <춘향가 전집>(1926 1927)을 매체적 측면에서 논하여 극적 형상화의 특징을 규명하는 것을 목적으로 했다. 이 음반은 1900년 대에 창극에 대한 공연 및 대본 자료가 전무한 상태에서 초기 창극의 형태를 경 험할 수 있는 최초의 음반이지만, 장르적 완결성이 미흡하다고 여겨져 왔는데, 매체적 관점에서 보면 ‘초기 극적 형상화’로 체계화할 요소가 있다는 것을 알 수 있었다. 1900년대 초 유성기음반은 인쇄매체와는 다른 형태의 글쓰기를 보인 매체로, 기계적인 물질성을 지닌 매체이자 ‘판소리로 고전 소설을 경험하게 하는 콘텐츠’ 라는 상품으로 여겨졌다. 그리고 일축 <춘향가 전집>은 대중화를 목적으로 하는 가운데 ‘자연스럽게 형성된 형태’라고 할 수 있었다. 이 논문에서는 명창 이동백 과 김추월·신금홍 소리꾼이 돌아가며 대화하듯이 부르는 ‘입체창’ 형태에 주목하 게 되었고 이 방식의 특징을 체계화 했다. 일축 <춘향가 전집>의 ‘입체창’은 단 순히 ‘돌아가며 부르는 소리’가 아니라 이동백의 ‘기획된’ 즉흥성이 발휘되면서 판소리의 ‘열린 구조’가 ‘잘 짜인 (창)극’이라는 ‘닫힌 구조’로 변모하는 중간 형 태의 것이었고 ‘위로’의 정서와 ‘사회 권력층을 향한 비판 의식과 공론화 ’라는 사유를 불러일으키는 것이었음을 논했다. 일축 <춘향가 전집>의 ‘입체창’ 형태는 시대적 흐름이 담긴 특정한 ‘극적 구 조’를 지녔고 소리꾼들의 독특한 표현력이 부각되며 주제의식이 재‘사유’ 될 수 있는, ‘창극’ 형성 과정의 필수적인 단계다고 결론지었다.
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