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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.
Adenovirus Vectors: Excellent Tools for Vaccine Development
장준 대한면역학회 2021 Immune Network Vol.21 No.1
Adenovirus was originally used as a vector for gene therapy. In recent years, with the development of the next-generation vectors with increased safety and high immunogenicity to transgene products, its utility as a vaccine vector has continued to increase. Adenovirus-based vaccines are currently being tested not only to prevent various infectious diseases but also to be applied as cancer vaccines. In this review, I discuss the innate and adaptive aspects of the immunological characteristics of adenovirus vectors and further examine the current status of advanced adenovirus-based vaccine development. Various methods that can overcome the limitations of currently used adenoviruses as vaccine vehicles are also discussed. Through this study, I hope that vaccine development using adenovirus vectors will be expedited and more successful.
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.
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.
張俊九(Chang Junegu) 미술사연구회 2012 미술사연구 Vol.- No.26
Zhaoling Liujun Tu (昭陵六駿圖; “Painting of the Six Steeds of Zhaoling”), part of the collection of the Palace Museum in Beijing, is an extremely important work. This is not only because it is a rare example of a surviving painting from the Jin Dynasty (金代; 1115~1234), but also because the date of its creation, in the 1220s, is clearly marked at the bottom edge of the work. Works with dates recorded clearly in this way are important both because their certain dates establish their authenticity, and because they function as benchmarks for determining with credibility the characteristics of the paintings of their age, by way of comparison with generic works and written materials. The Zhaoling Liujun Tu is notable for the fact that it is based on the Zhaoling Liujun (昭陵六駿; “Six Steeds of Zhaoling”) the stone relief carvings of the same six horses (637~649) at the famous Zhaoling Tomb, where Emperor Taizong (太宗) of the Tang Dynasty is buried. Zhaoling Liujun Tu depicts six horses ridden by Emperor Taizong of the Tang Dynasty (599~649; personal name Lee Shimin) during his active days on the battlefield. An inscription added to the painting by scholar Zhao Bingwen (趙秉文; 1159~1232), together with knowledge of circumstances at the time confirm that the work was painted by court painter Zhao Lin (趙霖) on the orders of Emperor Shizong (世宗) of the Jin Dynasty. Though Zhaoling Liujun Tu was essentially based on the Tang stone relief carvings, it does show certain differences, such as in the way it expresses a division of the horses’ manes into three parts, a form of expression known as sanhua (三花), and the way it depicts their fetlock feathers, due to differences in medium and period. Although Zhao Lin based his depiction of the six steeds on the forms and style used by Yan Liben (閻立本), the artist who carved their stone relief counterparts, he did attempt to faithfully follow Tang painting styles, such as those of Tang master painter Han Gan (韓幹). The fact that Zhao Lin was able to make use of Tang styles is probably due in large part to the fact that the most of the art collection of Emperor Huizong (徽宗) of the Song Dynasty (1082~1135) had fallen into the hands of Jin. Emperor Shizong of Jin was similar in several aspects to Taizong of Tang, including the fact that both monarchs laid the foundations of their dynasties and both possessed military spirit as leaders; this led Shizong to follow Taizong. Shizong was infatuated by the political text Zhenguan Zhengyao (貞觀政要; “Essentials of the Government of the Zhenguan Period [the reign of Taizong]”), this interest appears to have extended to Taizong’s horses, as depicted in the stone relief carvings. Ultimately, Shizong’s commissioning of Zhao Lin to paint Zhaoling Liujun Tu, too, was probably due to his will to invoke Taizong of Tang, whom he simply could not emulate enough. Perhaps, when gazing at Taizong’s Zhaoling Liujun, Shizong felt a sense of pride at being just as talented a monarch and military man as Taizong.
장준경,이호철,이현철 한국원자력학회 2018 Nuclear Engineering and Technology Vol.50 No.7
In this paper, McCARD code was verified using various models listed in the NUREG/CR-6361 benchmarkguide, which provides specifications for single pin-cells, single assemblies, and the whole core classifieddepending on the nuclear properties and structural characteristics. McCARD code was verified bycomparing its results with those of SCALE code for single pin-cell and single assembly benchmarkproblems. The difference in the multiplication factor obtained through the two codes did not exceed 90pcm. The benchmark guide treats a total of 173 whole core experiments. The experiments are categorizedas simple lattices, separator plates, reflecting walls, reflecting walls and separator plates, burnableabsorber fuel rods, water holes, poison rods, and borated moderator. As a result of numerical simulationusing McCARD, the mean value of the multiplication factors is 1.00223 and the standard deviation of themultiplication factors is 285 pcm. The difference between the multiplication factors and the experimentalvalue is in the range of -665 pcm to þ 1609 pcm. In addition, statistics of results for experimentscategorized by reactor shape, additional structure, burnable poison, etc., are detailed in the main text.
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.
장준구 명지대학교(서울캠퍼스) 인문과학연구소 2022 인문과학연구논총 Vol.43 No.3
Yu Zhijdng is a representative portrait painter in the first half of the Qing Dynasty, and is a representative figure who further raised the status of the portrait painter and the level of the portrait. Prior to Yu Zhijdng, a figure like Jeung-kyung in the late Ming Dynasty had already been pioneering as a high-quality portrait painter, but he's status exceeded those achievements. In addition, He's independent achievements were that he introduced an embankment on past paintings and produced a poetic portrait based on the biography of literature. In particular, unlike previous portrait painters, he also had advantages in calligraphy, and based on this, he wrote the title and poem of his work on the screen in his own handwriting, showing a three-syllable appearance like literary artists. This can be said to show that he is a special type of intelligent and high-quality portrait that is different from before. He was a pioneer in the pluralistic development of portraits of Qing period.