당선소감_신선영

신선영 문예운동사 2010 수필시대 Vol.5 No.-

Smart Gov 구현을 위한 국내외 정부의 클라우드컴퓨팅 적용현황

신선영 한국정보과학회 2010 정보과학회지 Vol.28 No.12

金俊根筆 『텬로력뎡』삽화 연구

신선영 단국대학교 동양학연구원 2010 東洋學 Vol.47 No.-

『텬로력뎡』은 영국인 존 번연(John Bunyan, 1628~1688)의 The Pilgrim ’s Progress (1678년 초판 발행)를원작으로 1895년에 간행된 우리나라 최초의 서양문학 번역서이자 기독교문학 번역서이다. 이 『텬로력뎡』을 기획하고 번역한 사람은 해리엣(Harriet Elizabeth Gibson, 1860~1908)과 선교사 게일(James Scarth Gale, 1863~1937)이었다. 그리고 『텬로력뎡』에서 번역자 못지않게 중요한 임무를 담당한 사람은 삽화가김준근이었다. 그러나 그 중요성에 비해 자료의 부족으로 많은 연구가 이루어지지 못했는데, 『텬로력뎡』 삽화와 유사한 영문본인 맥과이어 주석본 The Pilgrim’s Progress 삽화(1863~65년 초판발간)와 漢譯本 『天路歷程土話』삽화(1870~71년발간)가 발굴되어 김준근 삽화의 연원 및 영향관계의 실마리를 찾게 되었다. 양식 분석결과『텬로력뎡』의 내용과 구성에서 한역본 『天路歷程土話』 보다 영문본인 맥과이어 주석본 The Pilgrim’s Progress의 셀루스와 프리올로 삽화의 영향이 뚜렷했다. 이는 기존에 서양 미술이나 기법이 중국을 통해 수용되었던 것이 개항이후 비록 인쇄물이긴 하지만 서양 미술과 직접 접촉하고 그림에 반영된 최초의 예로서의의가 있다. 김준근은 삽화 제작이전에 서양화법인 선원근법과 명암법을 초보적으로나마 인지하고 있었지만 서양화법의 전형을 보여주는 맥과이어 주석본의 셀루스와 프리올로 삽화를 바탕으로 『텬로력뎡』 삽화를제작하면서 삽화와 풍속화에 서양화법을 더욱 발전적으로 적용함으로써 자신의 회화 양식을 확립시켰다. 김준근 『텬로력뎡』 삽화의 또 한 가지 특징은 삽화 등장인물들의 모습이 서양인 대신 조선인으로 변용되어 그려졌다는 것이다. 조선인으로의 번안 배경은 기독교 선교정책의 영향이 컸다. 즉 토착민들의 문화와 정서에 대한 존중을 바탕으로 기독교를 전파시키는 네비우스 선교 정책이 삽화에서 시각적 이미지로 표출되었던 것이다. 이러한 개화기의 기독교 정책이 반영된 김준근의 삽화는 讀者들에게 소설의 내용이 쉽게 전달되도록 도와주는 효과를 가졌음에 틀림없다. 『텬로력뎡』은 보급기간, 보급층의 범위 등이 훨씬 넓고 다양해졌는데, 이는 선교사들을 통해 들어온서양 산업혁명의 利器인 근대적 인쇄 기술의 도입으로 인한 대량 복사가 가능했기 때문이다. 더욱이 김준근은 삽화라는 미술 언어로 대중화된 서적물을 대량으로 출판, 보급함으로써 지적 교양의 일반화를 실현하는데 중요한 역할을 하였다. The Korean version of The Pilgrim’s Progress published in 1895 was the first Korean translation of Western and Christian literature. The original work The Pilgrim’s Progress was written by the Englishman John Bunyan(1628~1688) in 1678. The translators of the first Korean version of The Pilgrim’s Progress were Harriet Elizabeth Gibson(1860~1908) and James Scarth Gale(1863~1937),Christian missionaries who came to Korea in the late 19th century. A Korean genre painter of the late 19th century, Kim, Jun-geun also played an important role as The Pilgrim’s Progress’s illustrator. These illustrations are considered to be the beginning of Christian art in Korea. The important fact is that Kim’s illustrations were similar to those of the English version and not to the Chinese version of The Pilgrim’s Progress. The illustrations of the English version of The Pilgrim’s Progress, published in England by Cassell & Company, were done by H. C. Selous and M. Paolo Priolo. The illustrations of Chinese version are anonymous ones of the Tian lu li cheng tu hua (天路歷程土話) published by Hui shi li tang (惠師禮堂), Guangzhou, 1870~71. There’s no doubt that Kim’s illustrations were influenced by those of H. C. Selous and M. Paolo Priolo rather than those of Tian lu li cheng tu hua (天路歷程土話). The composition of illustrations and contents of story in Kim’s drawings were identical to those of H. C. Selous and M. Paolo Priolo. This showed that Western art entered directly into Korea and not through China. Also, Kim had some knowledge of perspective and shading, techniques of Western painting, prior to the making of The Pilgrim’s Process . Kim further established the style and techniques of Western paintings through the production of The Pilgrim’s Progress based on the illustrations of Selous and Priolo. Another characteristic of Kim’s illustrations is that he replaced Western people to represent Koreans. Because of the Christian missionary policy, Kim’s illustrations followed Nevius’s method that propagated Christianity based on the culture of indigenous people and atmosphere. These illustrations were able to communicate the idea of the book to others easily. Moreover, the Korean version The Pilgrim’s Progress was available to all classes and generations. Kim made possible the generalization of educational reading by distributing his illustrations as popularized modern art. So to speak, the Korean genre painter, Kim, Jun-geun voluntarily or not opened new field of illustration.

쌀 飮食 만들기

辛仙永 농촌진흥청 1990 농촌생활과학 Vol.11 No.1

쌀을 이용한 전통음식과 영양적 가치

신선영 대한영양사회 1991 國民營養 Vol.128 No.-

죄와 벌의 시각화: 일제강점기 김윤보(1865~1938)의 《형정도첩》을 중심으로

신선영 한국학중앙연구원 한국학중앙연구원 2022 한국학 Vol.45 No.3

The Album of Punishments (《刑政圖帖》) is a painting album created by Pyongyang painter Kim Yun‒bo(金允輔, 1865‒1938) for Matsudera Takeo(松寺竹雄, 1870‒1935) who served as the chief prosecutor of the Pyongyang High Court of Korea during the Japanese colonial rule from 1918 to 1920. The Album of Punishments, which covers the crime and punishment that took place in the Joseon Dynasty, had no choice but to reveal its political intentions as it was related to the political situation of the Japanese colonial era. As Matsudera carried out his duties as the chief prosecutor of the High Court of the Japanese Government‒General of Korea, he led various projects in line with the policy direction set by the Japanese Government‒General of Korea to seize the colonial Joseon and its people. In other words, the Establishment of Penalty Association(治刑協會, 1923) and the participation in Chosun Exhibition(朝鮮博覽會, 1929) was an attempt to emphasize the modernized penal administration(刑政) after the Japanese colonial era in comparison with the premodern penal administration of the Joseon Dynasty and to make it known at home and abroad. Through Nakahashi(中橋政吉)’s writing the penal administration of the Joseon Dynasty ( 朝鮮舊時の刑政 ), he tried to reveal not only the historical roots of the penal administration in the Joseon Dynasty, but also the development of the penal administration that had greatly advanced with Japanese peoples’ help before and after the Japanese colonial era. It seems that Kim Yun‒bo’s Album of Punishments, Matsudera received, played a major role in his actions. This is because the Album of Punishments contains almost all pictures in Annual report on the judicial system ( 司法制度沿革圖譜 ) published by the Japanese Government‒General of Korea, as well as in the penal administration of the Joseon Dynasty so that it could expand the negative image of the Joseon criminal justice system that Matsudera and the Japanese Government‒General of Korea constantly wanted to emphasize. In particular, the ‘Korean Era’, which refers to the Empire of Daehan(1897~1910), was juxtaposed with the ‘Tokugawa Period’ in Annual report on the judicial system in order to show that they were also reforming the ‘Korean Era’ into a new Joseon, just as a feudal country Tokugawa Period was reformed through the Meiji Restoration. Moreover, the illustrations of the ‘Tokugawa Period’ depicted law enforcement officers as dynamic and courageous, whereas The Album of Punishments depicted the law enforcement officers in the ‘Korean Era’ as those who took brides and undermined the rule of law in. Since this message is conveyed through pictures not text, the images are considered to have been deeply impressed on the minds of those who read and see the pictures. 《형정도첩(刑政圖帖)》은 평양화가 김윤보(1865~1938)가 1918~1920년에 평양복심법원검사장으로 재직했던 마츠데라 다케오(松寺竹雄, 1870~1935)를 위해 제작한 화첩이다. 옛 조선에서 벌어진 죄와 벌을 망라한 《형정도첩(刑政圖帖)》은 일제강점기라는 정치적 상황과 결부되면서 정치적 의도를 드러낼 수밖에 없었다. 마츠데라는 조선총독부 법원검사장으로서의 임무를 수행해 나가면서 조선총독부가 식민지 조선의 땅과 조선인들을 장악해 나가기 위한 정책 기조에 발맞추어 다양한 사업을 이끌었다. 즉 1923년 치형협회의 창립, 1929년 조선박람회의 참여 등을 통해서 옛 조선의 전근대적 형정과 비교하여 일제 강점 이후의 근대화된 형정을 부각시켜 국내외에 알리고, 치형협회에서 발간한 나카하시의 조선구시의 형정 의 저술을 통해 옛 조선 형정의 역사적 근원을 밝히고 일제강점 전후로 일본인들의 도움으로 크게 진보한 형정 발전을 드러내고자 했던 것이다. 이러한 마츠데라의 일련의 행보의 근저에는 평양복심법원검사장 시절에 받았던 김윤보의 《형정도첩》이 큰 역할을 했을 것으로 보인다. 왜냐하면 《형정도첩》은 조선구시의 형정 뿐 아니라 조선총독부에서 간행한 사법제도연혁도보 에도 거의 전 그림이 실려 마츠데라와 조선총독부가 끊임없이 강조하고자 했던 옛 조선의 형정에 대한 부정적 이미지를 확대하고 있기 때문이다. 특히 사법제도연혁도보 는 대한제국(1897~1910)을 일컫는 ‘한국시대’를 ‘도쿠가와시대’와 병치하여 놓음으로써 봉건제 국가인 도쿠가와시대를 메이지 유신을 통해 개혁하였듯이, ‘한국시대’ 역시 일제강점을 통해 새로운 조선으로 개혁하고 있음을 드러내고자 한 것으로 보인다. 더욱이 ‘도쿠가와시대’의 삽도들는 역동적이고 용맹한 법 집행인들의 모습을 강조했던 반면에 ‘한국시대’ 《형정도첩》에서 법 집행인들은 뇌물로 받음으로써 법질서를 혼란시키는 모습으로 표현하였다. 이러한 메시지는 글이 아니라 그림으로 전달하기 때문에 그 이미지는 그림을 보고 읽는 사람의 뇌리에 강렬하게 새겨졌을 것으로 여겨진다.

[우리가족 행복지수 높이기] 가족과 함께 떠나가 볼까? : 우리가족 행복지수 높이기

신선영 경북여성정책개발원 2005 소식지 희망창 Vol.- No.16

무기체계 소프트웨어 감항인증을 위한 결합도 입증 방안 연구

신선영 한국정보과학회 2023 정보과학회논문지 Vol.50 No.11

In 2009, To secure flight safety of military aircraft and enhance the competitiveness of our aircraft exports by applying internationally recognized airworthiness certification standards, South Korea established the "Act on Certification of Flight Safety for Military Aircraft" along with its enforcement decree and regulations. According to these regulations, domestically developed military aircraft are required to be certified following the airworthiness certification laws, procedures, and standards. The standard airworthiness certification criteria for military aircraft, which serve as the basis for airworthiness assessment, was developed by the Defense Acquisition Program Administration (DAPA) and has been revised up to the 7th edition. Among the recent changes, the most impactful area is Chapter 15, which pertains to computer resources in software. As the proportion of software development within weapon systems continues to increase, the related standards are becoming more detailed and refined to keep up with the evolving. This study aimed to clarify and propose verification methods for newly incorporated software coupling criteria in the revised airworthiness certification standards.

카페리 선박특성과 거주구 공간구성에 관한 연구 - 연안 여객선 현대화 펀드로 건조된 카페리 중심으로 -

신선영 한국전시산업융합연구원 2023 한국과학예술융합학회 Vol.41 No.4

In this study, the size and general characteristics of the basic hull were identified based on the route of operation for six ferries built as a support project for the Coastal Passenger Ship Modernization Fund. In addition, the spatial composition of each ship's passenger residence was classified into a cabin space where passengers stay and a public space that supports various onboard activities, and the types and characteristics of each space were analyzed to reveal the spatial composition of the ferry. Residential space types were classified into shared spaces such as room spaces of various grades, dining spaces, rest spaces, leisure spaces, and pet spaces. The ferry subject to the study was conducted based on the launch year of the ship when the ship began full-fledged operation. The research data focused on the Deck Plan introduced on each shipping company's website and the data directly investigated by the researcher. The results of the study are as follows. First, the size of the hull suitable for a domestic coastal ferry is 160m(L)x25m(W) and 21,000Ton, which generally consists of seven decks, and the residence consists of two decks for passengers and one deck for crew and crew. Based on this, the size is increasing or decreasing according to the characteristics of the route and the operation plan. Second, various room types and public facilities were provided to reflect our culture and life characteristics and create new travelers. In particular, various privacy-type room spaces such as partition multi-person rooms, recline bedrooms, and bunker-type single-person beds were provided to protect passengers' privacy and comfort of passengers. Third, in order to solve the inconvenience of movement, facilities and spaces such as escalators, elevators, and barrier-free rooms were provided to provide the universality of using the ferry. Fourth, pet rooms and pet rooms were provided to reflect the lifestyle of modern people so that pets could travel together. This can be a differentiated advantage over aircraft when traveling long distances. Fifth, it is necessary to install terraces in rooms with ocean views, such as the VIP room and the first class room of the Gold Stella, so that you can have a special experience of ship travel. Sixth, the difference in the spatial composition of the residence by ship does not appear to be significant. In order to create various travel demand and increase the experience of sea travel, differentiated contents and programs for each ship reflecting the characteristics of the distance and route, and a plan to organize residential spaces reflecting them are needed.

홀어머니와 외아들

신선영 강원대학교 영어영문학과 1985 백령영어영문학 Vol.2 No.1