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숙종 계비 인원왕후(仁元王后)의 한글 기록 : 「션군유(先君遺事)」와「션비유(先妣遺事)」
정하영 이화여자대학교 한국문화연구원 2006 한국문화연구 Vol.11 No.-
한국문학사에서 궁중 여성들이 한글로 쓴 글은 적지 않지만, 현재 남아 있는 자료는 그리 많지 않다. 이런 상황에서 조선 숙종의 계비인 인원왕후가 지은 한글 자료 세 편이 발견된 것은 다행스러운 일이다. 「션군유□」는 왕후가 돌아가신 아버지 김주신의 겸손하고 충직한 언행을 기록한 것이고, 「선비유□」는 왕후가 돌아가신 어머니 조씨의 근신하는 언행을 기록한 것이다. 이들 자료는 모두 왕후가 자식으로서 부모에 대한 추모의 정을 담고 있다. 나머지 한 자료에는 왕후가 즐겨 읽은 것으로 짐작되는 세 작품들을 수록하고 있다. 「뉵아육장」은 『시경』에 나오는 내용으로 부모의 생육한 은혜에 감사하는 자식의 마음을 담은 작품이고, 「노모사」는 중국 고대의 모범적인 여성의 이야기이며, 「노옹자탄직금도」는 자신의 늙음을 한탄하는 내용의 한시이다. 이 자료의 작자 인원왕후는 조선 후기의 정치사에서 매우 중요한 역할을 담당한 인물이다. 그는 영조의 후견인으로서 평소에 국문으로 글쓰기를 즐겨하였으나 그녀가 남긴 작품은 찾아볼 수 없었다. 이번에 새로 발견된 자료는 노경에 이른 왕후가 부모님 생전의 훌륭한 모습을 추모하고, 이를 친정 자손들에게 전해 주어 모범으로 삼게 하려는 의도에서 지은 것이다. 이 자료는 조선시대 왕후의 글쓰기와 글읽기가 어떤 모습으로 이루어졌는지를 보여주는 소중한 자료적 가치를 지닌다. 또한 이 자료는 당대의 언어와 문학 연구에 중요한 자료가 될 것으로 생각한다. There must have been a few manuscripts written by women in the court. However, very few have survived until today. Under such circumstances, it is very fortunate that three old Korean manuscripts by a queen have been found. These newly-found manuscripts were written by Queen Inwon(1687~1757), the wife of King Soukjong(1661~1720) in the Chosun Dynasty. They are Seonkoon Yousa, Seonbi Yousa, and a collection of three short pieces of work. Seonkoon Yousa is a written documentary about Kim Joo Shin(1661~1721), the late father of Queen Inwon. The manuscript tells of humble and loyal Kim's words and deeds. Seonbi Yousa is about Lady Cho's words and deeds, who was the late mother of Queen Inwon. Lady Cho was thrift and industrious, behaving herself. These two manuscripts contain Queen Inwon's cherished memories of her late parents and also reflect the queen's sincere filial piety on her parents. The last manuscript holds three short works which might be Queen Inwon's favorites. The first one is the poem from The Book of Odes, which is about the grateful and filial love for parents' pains of parenting. The second one is about the story of a typical woman in the old China. The third is the Chinese poem which tells of the old man's lamentation for getting older. Queen Inwon played an important role in the later political history of the Chosun Dynasty. She was the guardian of King Yeongjo(1694~1776) and enjoyed writing manuscripts in the vernacular, a language of the court lady. However, her manuscripts had never been found. It seems that Queen Inwon had written the recently-found manuscripts for the purpose of cherishing her late parents' wonderful lives and making them as an exemplary lesson for the descendants of her parental house. These manuscripts' worth is significant because they show how the queen's reading and writing were practiced in the Chosun Dynasty. Simultaneously, the manuscripts will contribute to the study of contemporary language and literature.
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알루미나-불소 복합 코팅제로 습식코팅된 스텐레스 강판의 화학 내식성 평가
정하영,김대성,이승호,임형미,김건,정민규,Jung, Ha-Young,Kim, Dae Sung,Lee, Seung-Ho,Lim, Hyung Mi,Kim, Kun,Jung, Min-Kyu 한국재료학회 2012 한국재료학회지 Vol.22 No.12
Coatings composited with alumina and Perfluoro alkoxyalkane (PFA) resin were deposited on stainless steel plate (SUS304) to further improve corrosion resistance. Plate (ca. $10{\mu}m$) and/or nanosize (27~43 nm) alumina used as inorganic additives were mixed in PFA resin to make alumina-fluoro composite coatings. These coatings were deposited on SUS304 plate with wet spray coating and then the film was cured thermally. According to the amount and ratio of the two kinds of alumina having plate morphology and nano size, corrosion resistance of the film was evaluated under strong acids (HF, HCl) and a strong base (NaOH). The film prepared with the addition of 5~10 wt% alumina powders in PFA resin showed corrosion resistance superior to that of pure PFA resin film. However, for the film prepared with alumina content above 10 wt%, the corrosion resistance did not improve with the physical properties, such as surface hardness and adhesion. The film prepared with plate/nanosize (weight ratio = 1/2) alumina especially enhanced the surface hardness and corrosion resistance. This can be explained as showing that the plate and the nanosize alumina dispersed in PFA resin effectively suppressed the penetration of cations and anions due to the long penetration length and fewer defects that accompany the improved surface hardness under a serious environment of 10% HF solution for over 120 hrs.
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코메디-발레(Comédie-ballet)에 등장하는 ‘음악가’의 수사적 역할
정하영,김준현 한국프랑스고전문학회 2015 프랑스고전문학연구 Vol.18 No.-
En tant que personnage de la comédie, le rôle du musicien n'a pas attiré l'attention dans les recherches sur la comédie-ballet. Bien que les musiciens apparaissent fréquemment, le rôle du musicien semble insignifiant dans le déroulement général de la comédie. Si nous réfléchissons au fait que la société du 17ème siècle était sous l'influence de la rhétorique et du baroquisme de la musique, le rôle de musicien doit être reconsidéré sous divers aspects. Dans une première étape, nous avons donc examiné les traits de la musique baroque en France et leurs effets rhétoriques ; puis nous avons catégorisé les musiciens dans les 12 comédies-ballets et vérifié les effets rhétoriques produits par l'apparition des musiciens. Les musiciens sont divisés entre musiciens professionels et musiciens amateurs. Ils symbolisent chacun le monde réel et irrél en accomplissant leur rôle propre en tant que joueur de musique. Au début, les musiciens étaient là simplement pour jouer la musique dans les intermèdes, mais ils ont graduellement gagné une position plus importante qu'avant. Parfois ils montent sur la scène pour proposer la coexistence comme résolution du conflit entre les éléments opposés et quelquefois ils essaient de maintenir l'équilibre entre la réalité et l'irréalité ou le langage musical et le langage verbal etc. Par ailleurs le musicien devient un des personnages principaux dans la comédie et il obtient de nombreuses occasions de transmettre directement au public sa philosophie musicale et l’utilité de la musique. A travers le personnage du musicien qui associe et présente les éléments garmmaticaux de la musique, la scène de la comédie-ballet devient une zone neutre où la cruauté de la vie réelle et la fantaisie de la vie irréelle gardent un équilibre, coexitent et enfin vont ensemble en révélant toutes les passion humaines. Nous pouvons donc constater que les musiciens qui jouent dans les comédies-ballets apparaissent comme des personnages rhétoriques qui amènent les spectateurs jusque dans le domaine de l'émotion en achevant une harmonie parfaite et universelle.
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