이용악 시의 몽타주와 대화성 연구

안수현 한국시학회 2024 한국시학연구 Vol.- No.77

This study reveals that the poetic persona’s voice constitutes a ‘dialogue’ with a point other than ‘here now’ by analyzing the ‘montage’ aspect of poetic utterance revealed in Lee Yong-ak's poetry. The poetic persona of Lee Yong-ak’s poems shows utterances that actively reveal his identity as a boundary, which forms dialogues as a generative relationship that talks to and sympathizes with ‘you’ beyond the position of a single identity. The aspect of the dialogue shown by Lee Yong-ak’s poems has an important significance in overcoming the criticism that the genre of ‘poetry’ remains in a monologue of a single subject. Specifically, the communication-oriented tone of the poetic persona is realized through the movement of the viewpoint on the poetic background, the variation of meaning through the point-level repetition of similar expressions, and the pluralization of the voice through quotation. The series of rhetoric shown by Lee Yong-ak presupposes a dialogue-oriented attitude and is implemented by montage as an editing aimed at the response between poetic frames. First, the poetic persona’s viewpoint shift is achieved by intersecting the tense of the predicate. In particular, it is noteworthy that a temporal interval is inserted in describing the content the speaker directly experienced, the content it has crossed, and the scene it is facing. This is because not only the narrative is embodied through dialogue between the present and the past, but also a structure is formed in which the persona can actively communicate with the characters in the described event. Second, the use of the incremental repetition technique shows the dynamics of meaning formed within the structural perfection of a poem. The persona’s utterance, which repeats a similar sentence structure while subtly transforming and expanding each expression, forms a structure that speaks to ‘you’ at the same time as embodying an appealing voice. Repetition of poetic expression with a margin of meaning creates a dialogue between what was uttered earlier and what was uttered later, deepening the poetic meaning. Third, the aspect in which the poetic persona directly quotes and reinterprets the words of ‘you’ clearly shows the polymorphism and dialogue orientation of the voice. This dialogue, which takes place by repeating its own voice the story of ‘you’ that the persona is(or was) facing, can be said to be a structure of consideration not to compress the lives of the participants into one interpretation. The montage, which establishes the composition of ‘we’ facing each other, connects and extends the viewpoints of ‘you’ and ‘I,’ expanding the time and space inside the poem and coexisting with each other. The creation of such a friendly dialogue is extended to ‘dialogticity’ rather than just a few scenes in his poetry world, becoming a point that shows the significance at the present time of Lee Yong-ak’s poetry well.

회사법이론에서 본 LBO거래의 가벌성

안수현 梨花女子大學校 法學硏究所 2010 法學論集 Vol.14 No.3

An LBO is the purchase of a company or division of a company using significant debt, whereby the target company’s cash flows are used to support the loan payments. Debt can be in the form of traditional bank financing, bond offering, seller financing and loans from specialized funds. In relation to LBO transaction, debt holders are concerned about the large amounts of debt that are added to a company’s balance sheet when conducting an LBO. This debt is issued in order to purchase shares in the target company. Bondholders think that the additional debt burden increases the probability of default and can significantly deteriorate a company’s credit ratings. In Korea, however, the LBO transaction could not freely be used because of that the purchaser of target company by means of leveraged buyout is liable for breach of fiduciary duty. Under Korean law, a director breaching his or her fiduciary duty may be subject to both criminal and civil liabilities. In a series of recent rulings, the Supreme Court has held that the following basis ex ths for holding a purchaser by way of LBO liable for the crime of breach of fiduciary duty. : “Where a purchaser borrows funds form a financial institution for the acquisition of a target company t the fn procures the target company to provide its assets as security for the purchaser’s rpanyment obligations under the loan, the target company incurs the risk of lass of its assets iway ofpurchaser does not rpany the loan; in such circumstances, iway ofpurchase has provided no consideration to the target company for providing the security,he fn the purchase or third party can be deemed to have made a financial gain equivalent to the value of the assets provided as security, while causing the target company to suffer an equivalent financial loss. y t Korean courts view that eng a company with one shareholder is a separate and independent entity from that shareholder, with interest that are not lding a ily always in llia with those of the single shareholder. This ptarr especially die uss the legal concepts relating the interest of cse has prand financial loss incurred with cse has prin the context of LBO transaction.melthough the recent rulings of the Korean courts are strictly interpreted, the distinctive test between legal and illegal LBO should be provided more clearly. In countries with advanced capital markets, an LBO I used as a useful means of M&A. It should be allowed after complementing the legal system. LBO(Leveraged Buyout)란 인수하고자 하는 대상회사의 자산이나 현금흐름을 담보로 제공하여 기업인수자금의 상당 부분을 외부에서 차입하여 조달하는 기업인수기법을 말한다. 경우에 따라서는 대상회사가 적대적 M&A에 직면했거나 위협을 느낄 경우 방어수단으로 이용되기도 한다. 국내에서는 LBO와 관련하여 대상회사의 이사의 배임죄 성립 여부라는 형사법적 이슈가 주로 다투어지고 있으나 회사법적으로 LBO는 제3자에 대한 회사자산 담보제공행위의 회사법적 효력과 이사의 의무 위반이 인정되는 경우 그로 인한 회사법상 책임추궁 여부가 문제된다. 최근 LBO거래와 관련하여 주로 배임죄의 적용이 문제되는 주된 원인 중의 하나가 배임죄의 구성요건 중 임무위배행위와 본인(타인)에게 재산상 손해라는 요건이 회사법상 경영자의 회사법적 의무내용과 동일한 용어를 사용함으로써 마치 회사법상 의무 위반이 인정되면 동시에 배임죄의 임무위배로 보는 데서 혼란이 있는 것으로 보인다. 형사처벌은 회사법상의 주요 목적인 이해관계자의 이해조정이나 소수주주 내지 채권자의 보호는 그 관심사가 아니기 때문에 소수주주 내지 채권자의 이해조정측면에서 본연의 민사법적인 기능이 작동되어야 할 것이다. 이사가 법령 또는 정관에 위반한 행위를 하거나 그 임무를 해태한 때에는 회사에 대하여 연대하여 손해를 배상할 책임을 진다(상법 제399조 제1항). 또한 악의 또는 중대한 과실로 인하여 그 임무를 해태한 때에는 그 이사는 제3자에 대하여 연대하여 손해를 배상할 책임이 있다(동법 제401조 제1항). 그런데, 무엇보다 회사자산의 담보제공행위가 회사에 손해를 야기하였다고 할 경우 손해가 발생하여야 하는데, 최근의 대법원 판결을 보면 “피인수회사가 담보제공으로 인한 위험부담에 상응하는 대가 등의 반대급부를 얻지 않는 이상 배임죄가 인정된다”고 판시한 바 있다. 그러나 상응하는 대가없이 담보를 제공하는 것이 문제가 되어서는 안될 것이고 오히려 그로 인한 담보가치(채무불이행위험 내지 신용능력)가 더 중시되어야 할 것이다. 한편, 제3자에 대한 손해배상책임을 묻는 경우는 인정이 더 어려울 것으로 보인다. 신용등급의 하락만으로 제3자가 입은 직접손해 내지 간접손해를 인정하기에는 상당한 어려움이 있고, 이를 두고 제3자에게 악의 또는 중대한 과실로 인하여 임무를 해태한 것으로 인정받기도 어려울 것이기 때문이다. 반면 LBO거래로 인해 회사의 재무상태가 파산에 이른 경우에는 이사에게 책임을 묻기는 더 용이해질 것이다. 최근 전 세계적으로 LBO시장이 확대되고 있음을 고려할 때 기업금융과 같은 거래를 형사법상의 툴로 해결하기에는 너무나 유동적이고 복잡한 것임을 고려한다면 회사법적 테두리 내에서 합리적인 절차와 조치를 거치는 한 거래의 합법성을 인정할 필요가 있다. 따라서 회사법적으로 합법적인 거래와 그렇지 않은 거래를 구분하는 기준을 제시해줄 필요가 있다.

후지와라 데이카(藤原定家)의 詩語 평가와 미의식에 관한 고찰- 미야가와 우타아와세(宮河歌合) 를 중심으로-

안수현 사단법인 퇴계학부산연구원 2022 퇴계학논총 Vol.40 No.-

This study is about the beginning of assessment of poetic diction and the aesthetic consciousness of Fujiwarano Teika(藤原定家). The Heian monarchy(平安王朝) was been faced with a literary crisis by the Kamakura shogunate(鎌倉幕府) and military rule(武家政権). As a part of attempt to recover the way of Waka poetry(和歌), Saigyo(西行) conducted experimentally, for the first time, the name of Zikaawase(自歌合) Style like the 「Mimosusogawa-Utaawase(御裳濯河歌合)」 and the 「Miyagawa- Utaawase(宮河歌合)」. These two Utaawase(歌合) were based on the aesthetic consciousness about Saigyo that he showed his earnestness the outer and inner palaces of the Ise Shrine(伊勢神宮). This study focused 72 song works that were evaluated, as a judgement, in 「Miyagawa-Utaawase」 by Fujiwarano Teika. Judgements were created some new concepts form this form. In the case of the aesthetic consciousness, Yugen(幽玄), in the philosphical thought of Buddhism. commissioned Fujiwara Shunzei(藤原俊成) to comment on the former, and the latter to Teika. As an official evaluator of the so-called Waka world, I would like to review the literature, aesthetics, and standards of evaluation of the Teika’s aesthetic feelings. Saigyo, as a Buddhist poet, commissioned Teika to evaluate his work on the selection and compilation of his works. The evaluation of waka poetry works were under the influence of his father, Fujiwara Shunze, However Teika’s the evaluation made major source of understanding the aesthetics of himself. The emergence of the Kamakura Shogunate and political power, represented to change in the realm of literature waka world. Waka, traditionally, the height of the language power of the reigning royal aristocratic community, faced an unprecedented crisis. It can be said that the reclusive literary characteristics of Saigyo, which remained in the change of central literature, expected the path of Waka discourse to be inherited by entrusting the evaluation of which attempted an un conventional composition. This study examined the overall impression of the poetical idea Kokoro(心), choice of poetic language Kotoba(詞) and the aesthetics and evaluation criteria in the three areas of Sugata(姿). Teika, conclusionally, made effort not only styles of Waka poetry, but also the evaluation of poetic dictions. There was re-examining awareness of Saigyo as a religious and artistic beliefs and Teika’s with a deep artistic concept. 데이카(定家) 歌論의 출발은 사이교(西行)의 미야가와 우타아와세(宮河歌合) 에 대한 평가라고 할 수 있다. 그의 평가 방침은 선행하는 미모스소가와 우타아와세(御裳濯歌合) 를 평가한 그의 아버지 후지와라노 슌제이(藤原俊成)의 영향 아래 있었지만, 미야가와 우타아와세 에 내린 고유한 판정은 데이카의 미학적 단초를 파악할 수 있는 주요한 자료이다. 신흥 무가로 대표되는 가마쿠라(鎌倉) 막부에 의한 정치권력의 등장은 왕조 문학의 영역까지 변화를 초래했다. 전통적으로 군림해 온 귀족공동체의 문화와 언어 권력의 정점이었던 ‘와카’(和歌)는 전대미문의 위기를 직면하게 된 것이다. 이때를 즈음하여 중앙 문학의 변경에 머물렀던 사이교는 형식의 파격적 구성을 시도한 미야가와 우타아와세 평가를 데이카에게 일임함으로써 계승되어야 할 새로운 와카 담론의 길을 열어 주었다고 할 수 있다. 본고는 사이교가 스스로 선택한 은둔 문학의 담당자와 승려로서 체험한 인생의 유한한 삶과 죽음의 자각을 종교와 문학적 신념으로 발현한 서정을 살폈다. 그리고 전통의 이름으로 강요된 花鳥風月의 물리적 기표를 거부한 데이카가 미야가와 우타아와세 판정을 통해 시도한 시적 발상의 ‘고코로’(心), 시어 선택의 ‘고토바’(詞), 한 수 전체의 감동과 양식론의 ‘스가타’(姿) 등 세 영역에 걸쳐 도출된 미의식과 평가 기준을 고찰했다.

[每月妙]における歌休─考察

安修賢 부산외국어대학교 아시아지역연구소 2005 아시아지역연구 Vol.9 No.-

定家が主張した和歌の所謂、幽玄様、事可然様、麗様、有心体、長 高様、見様、面白様、有一節様、濃様、投鬼体の十体を挙げて比較的 精細に説き、殊に有心体を最も尊重している如き注意すべき見解である。 そうして有d心体に就いては一面には和歌の普遍的な理想として形式内容す べてに調和した理想であり、従って十体そのもののすぐれたものは有心体であ るとするとともに、一方に和歌の持殊性として妖艶美を、有心体の性質としたの である。再び、広義の有心体に戻っている。定家は歌の道に際しては『万葉集 』以後の勅撰集の歌を通覧して歌風の歴史的変遷を理解、学ぶべきことを指 摘している。和歌の本質を把握せよという考えは、父俊成の『古来風体抄~!こ その意味で既に説かれ、且つ具体化しているように、正しい和歌的風体を保 ち得ている歌を求めた。定家に至る歌論史の上では、和歌的な表現の本質 を声調・趣向および余情などに求めてきて、和歌的表現美を有心体を重んじ て心の深い歌を指しているのをこの毎月抄は戒めているのを再確認できよう。

산부식전 소와 열구 처리법에 따른 치면 열구 전색재의 변연 봉쇄성에 관한 연구

安帥炫,金秀也,白秉周 全北大學校 齒醫學硏究所 1993 전북치대논문집 Vol.11 No.1

The purpose of this study was to evaluate the marginal sealing of pit & fissure sealant according to the treatment of pit & fissure prior to acid etching in permanent premolar & molar. 20 premolars & 30 molars were used for experiment. They were classified into 5 experimental group at random : Group 1 was not treatment and Group 2, 3, 4, 5 were respectively treatment with pumice, small round steel bur of low speed handpiece, pointed diamond bur of high speed handpiece, Murakami R.I. No. 1-2. All the specimens were then thermocycled in a range of 4℃∼54℃ and immersed in 2% methylene blue dye solution for 24 hours and sectioned with low speed diamond cutter into two part under water condition. All the specimens were observed at pit & fissure-sealant interface with light microscope & statistical analysis was performed. The obtained results were as follows ; 1. There were significant increase in marginal sealing of high speed handipiece-pointed diamond bur group in contrast to pumice group at significant level α=0.05 when compared by dye penetration score(P<0.05). 2. There were significant increase in marginal sealing of low speed handpiece-small round steel bur group, high speed handpiece-pointed diamond bur group and Murakami R.I. No 1-2 group in contrast to pumice group at significant level α=0.01 when compared by dye penetration score(p<0.01.) 3. There were significant increase in marginal sealing of low speed handpiece-small round steel bur group, high speed handpiece pointed diamond bur group and Murakami R.I. No. 1-2 group in contrast to pumice bur group and Murakami R.I. No. 1-2 group in contrast to pumice group at significant level α=0.01 when compared by dye penetration length(p<0.01). 4. When compared by dye penetration score, it is lowest in high speed handpiece-pointed diamond bur group and lower in low speed handpiece-small round steel bur group, Murakami R.I. No. 1-2 group, pumice group, no treatment group in sequence. 5. There were better penetration force of pit and fissure sealant in low speed handpiece-small round steel bur group and high speed hdndpiece-pointed diamond bur group than no treatment group, pumice group and Murakami R.I. No. 1-2 group.

『금융상품자문업』 도입과 금융소비자보호를 위한 과제

안수현 한국금융소비자학회 2015 정책심포지엄 Vol.2015 No.4

『詠歌大槪』における歌論考

안수현 釜山外國語大學校 比較文化硏究所 2002 比較文化硏究 Vol.13 No.-

In Huiiwara-Teika’is theory of poem, to begin with, 1 ,with respect to the symbolic, made an attempt qt writing a symbolic poetry which evolved into the called ‘U-shin’, his representative philosophical theory of poem. This philosophical narrative of the faces of two sides is full of ’ kokoro’symbols like mind or soul spirits and myths of decadence, sacrifice, and a promising libidinous-spiritual revitalization. The 'U-shin’has vague, inconclusive, meandering metaphysical and theological conversations and helpless fantasies about a beautiful Renaissance maiden who occasionally rides past on a white horse. The theory of poem echoes Hujiwarano-Kinto, Hujiwarano-kiyosuke, Hujiwarano-Syunzei like theories of poem, anthropological scholars such as Kino-Tsurayuki, Hujiwara-Tosiyori, and the strongest influence of all, Hujiwarano-Syunzei , whose 『Koraihutei』 had enthused Teika until he realized that Syunzei stood against everything for which he was thinking for’U-ta'. The style of ’U-ta’was not compatible with Teika’s emerging aesthetic theory and practice of cubism and later of direct utterance, so he wrote nothing else like it and did not publish it for many years. Moreover, symbolism, suggesting a transcendent Reality remote from immediate experience, grew from a metaphysic opposite to his idea of immanence, that the "Spirit is based on expression of U-ta" and is not symbolized by it. Nevertheless, the poem is a remarkable achievement that. deserves to be honored for its own sake, for the sensuousness of its sound, the complexity of its characters and their interactions, the suggestiveness of its imagery, and its philosophical implications: Reading such a passage, 1 experienced some kind of vertigo and some of the extreme sense impressions described by Teika, but not, 1 regret to say, an "all-consuming clarity," which more aptly characterizes the poems of "a real character" rather than abstract poems. The phenomena that he describes may be comparable to those of mystical experiences; but he is careful to make a fundamental distinction between religious experiences, which are "necessitated and ultimate," and visionary poems, which are not. Poetry may communicate vision in the sense of communion, without being itself a vision of transcendent being. Why did Teika turn away from nonobjective things after it had made him famous? Some abstract poems continued to appear even in his late books, in the section called "Teika’ s Proof" at the outset of The Collected Shorter Poems, for example. He never gave up on abstract, helping to revive it in essays and translations of old Japanese poetry. Teika’is abstract poetry nevertheless shows his early artistic originality, his immense intellectual power, and his contribution to a worldwide cultural transformation that continues today in "spiritual poetry" and other manifestations. In practicing cubism, he analyzed and controlled the elements of language in innovative ways that carried over to "natural numbers," especially in startling juxtapositions of particulars of experience and the phrasings of direct address. Whenever in later years he returned to abstract in his poetry, it was a reminder that the Revolution of the World and of Life by Kmakura gonernment had not been extinguished, even during the repressiveness of the Cold Kmakura time of song. Teika has written brilliantly about [U-shin〕, the latter relating his painting to his abstract poetry and theory in his dissertation and a book in progress. "Actual Poetry has to be sung with an old expression and a living neew spirit of Person to Person". The evolution of Teika’ s chief poetic mode, "[Ushin〕," from elegiac, and satirical to dramatic forms, supported and was supported by his idea that " Actual Poetry has to be sung with an old expression and a living neew spirit of Person to Person".And His father, Shyunzei, with whom he had many affinities, believed that "you have no other S야h than poetry,"and Teika had heard Japanese singing in its common speech. Teika thought that poems are derived from the poetic flow of living speech, that poems are realized orally, that texts like scores of music are indications of oral performance, an art which. he practiced and promoted extensively long before readings became commonplace. Though this process, poetry unites poet and audience in community. This approach counteracts the pedantic idea that poetry is fundamentally on the page or in the mind as an object of impersonal, analytical study, or that poetry is some kind of artificially constructed arrangement of words that no one would ever conceivably say to another. For Teika, true poetry realizes the spiritual union of Shyunzei' s Thoughts. Not all actual speech can be poetry, or course, for much ta1k is thoroughly debased; but poetry cannot be poetry unless it is vital communication from sensibility to sensibility, actualized in speech from one to another. The idea would have been readily accepted by the ancient Indian, Chinese, and Japanese, among others who thought of poetry as song that unites performers and audience. When Teika implies that poetic communication depends on sensibility, he seems dependent on Wordsworth, who defined a poet as "a man speaking to men a man, it is true, endowed with more lively sensibility, more enthusiasm and tenderness, who has greater knowledge of human nature, and a more comprehensive soul, than 따 supposed to be common among mankind. "Despite this fundamental agreement about the poet’ s nature and function, however, there are differences of emphasis; for whereas sensibility for Words worth is innately endowed, for Teika it can be developed to the qualitative magnitude necessary for true poetry. Lastly, as far as I think, a poet like Teika may be made as well as born.

현재 적용되고 있는 식품의 포장법과 MAs가 소고기에 미치는 영향

안수현 연세대학교 생활과학대학 1999 생활과학 Vol.- No.32

비대면 시대 교육품질에 대한 교육요구 우선순위 탐색

안수현,이상준 한국품질경영학회 2021 한국품질경영학회 학술대회 Vol.2021 No.-

코로나19로 인해 가정부터 사회, 국가 단위에서 위기와 변화를 경험하고 있다. 특히 코로나19를 대응하는 과정에서 대학교육은 급작스럽게 비대면 원격교육을 실시하면서 혁신적 변화의 중심에 서게 되었다. 지난 2020년 9월 교육부는 포스트 코로나 미래교육 전환을 위한 디지털 기반 고등교육 혁신지원 방안의 하나로 뉴노멀 원격교육 내실화 추진 계획을 발표하였다. 이제 원격교육은 대학교육의 새로운 표준으로 부상하면서 향후 강의실 기반의 전통적 교육방식과 역할 분담을 하게 될 것이다. 향후 혼란스러운 교육의 변화에 빠른 대처와 도전을 시도하며 비대면 시대의 교육품질을 깊이 고민한 대학은 더욱 부각될 것이다. 특히 비수도권 대학일수록 대학 구조개혁과 관련한 위기의식이 높아지고 있는 현시점에서 비대면 시대의 위기는 곧 기회이자 변화의 발판이 될 수 있다. 비대면 시대의 원격교육을 수요자인 학생과 공급자인 대학 중심의 관점에서 개선하기 위해서는 정확한 요구 진단과 분석이 필수적이다. 여기서 요구는 현재 수준과 기대하는 또는 바람직한 수준 사이의 차이를 의미하고 이를 바탕으로 요구도에 대한 우선순위를 파악하는 것을 의미한다. 이에 본 연구는 비대면 교육의 질 제고 요인에 대한 대학생 및 교원들의 요구도를 중심으로 비대면 교육 경험에 대한 우선순위를 도출하고, 주체에 따라 요구 요인과 우선순위에 차이가 있는지 비교 분석하고자 한다. 특히 Borich의 요구도 공식과 The Locus for Focus 모델을 적용하고 우선순위를 도출하여 기존 대학이 시행하고 있는 전통적인 만족도 조사 및 요구도 조사와 차별성을 가졌다.

의미 연결망 분석을 활용한 대학 홈페이지 FAQ 개선방안

안수현,이상준 한국디지털정책학회 2018 디지털융복합연구 Vol.16 No.9