PEG Lavage와 표준 대장전처치의 비교 관찰 연구

강윤형,이기형,윤충 대한대장항문학회 1990 Annals of Coloproctolgy Vol.6 No.2

한사오궁 소설에 나타난 신화의 현재적 의미 고찰 -반고,형천신화를 중심으로

강윤형 한중인문학회 2019 한중인문학연구 Vol.64 No.-

Among Chinese myths on the creation of the world, this study aims to examine imagery aspects of Pangu (盤古) myth and Xingtian (刑天) myth embodied upon Han Shaogong (韓少功) novel and consequently to consider temporary meaning within these myths. His works of Bababa (爸爸爸) and NüNüNü (女女女) evaluated as representative novels for his fundamental describe two myths respectively; one is Pangu myth and the other is Xingtian myth. Pangu myth is one of Chinese myths on the creation of the world and the most frequently told on ancient literatures and among different ethnic minorities and it is embodied as an elegy on the novel NüNüNü. The other one, Xingtian myth is described as ancestral god of chicken-headed people on the novel Bababa. Pangu myth sung as an elegy reveals Taoist faith view that does not divide but rather regards life and death as a kind of change and consequently, it shows an idea of spirit within everything (萬物有靈) lying among ethnic minorities in southern region and Chuang-tzu’s thinking of life and death being one (生死如一). On the other novel Bababa, Xingtian is rather transformed into god of world creation on Pangu myth and depicted differently from contents of the original myth. This transformation on Xingtian shows how Han Shaogong understands myths; he views myths not as something fixed but as product of the age whose meanings or contents are transformed depending on different recipients. To find meanings inherent in myth, a product of the age, and its transformation demonstrates myth with vitality that is still applied to Xiangchu (湘楚) people in Hunan province beyond merely a new interpretation of myths at the present time. 본문은 중국의 창세신화 중 반고(盤古)신화, 형천(刑天)신화가 한사오궁(韓少功) 소설 속에서 형상화된 양상을 살펴보고 이들 신화에 담긴 현재적 의미를 고찰하는 것을 목적으로 하였다. 한사오궁 소설들 중 대표적 심근소설로 평가되고 있는 爸爸爸, 女女女에는 두 편의신화가 각각 묘사되어 있는데, 하나는 반고신화이며 다른 하나는 형천신화이다. 반고신화는중국을 대표하는 창세신화 중 하나로 고대문헌이나 여러 소수민족들 사이에서 가장 널리 구술되는 신화로 소설 女女女에서 만가(輓歌)로 형상화되고 있으며, 또 다른 형천신화는 爸 爸爸에서 닭머리 사람들의 조상신으로 그려진다. 이때 女女女에서 만가로 부르는 반고신화는 생과 사를 단절이 아닌 일종의 변화로 보는 莊子의 생사여일(生死如一)의 사고를 드러내며 이는 남방 소수민족들의 만물유령(萬物有靈)의 사유와도 상통한다. 다른 소설 爸爸 爸에서 형천은 기존 문헌신화와는 다르게 오히려 반고신화와 같은 창세신의 모습으로 변형되어 나타난다. 형천의 이러한 변형에서 한사오궁이 신화를 이해하는 방식을 보면, 그는 신화를 고정된 것이 아니라 이를 수용하는 대상에 따라 의미나 내용이 변형되는 시대적 산물로보고 있다. 시대적 산물인 신화에 내재된 의미 찾기나 변형은 단순히 신화를 현재에서 새롭게해석하는 것을 넘어서 이 시대에도 여전히 후난(湖南)의 샹추(湘楚)인들에게 작용하고 있는 생명력을 가진 신화의 현재성을 보여주는 것이다.

분무 및 연소 성능 비교를 통한 LOx/CH4 이중 스월 인젝터의 리세스 최적화 연구

강윤형,배창한,박홍영,김정수 한국추진공학회 2024 한국추진공학회지 Vol.28 No.1

수류시험과 연소시험을 통해 리세스 수 변화에 따른 이중 스월 인젝터의 분무특성과 연소성능이 조사되었다. 리세스 수는 0부터 1.5까지 0.5 간격으로 변화되었다. 수류시험과 연소시험의 결과들은 동일한 성능 경향을 보였다. 리세스가 0에서 1.0이 되기까지 증가함에 따라 분열길이와 SMD는 감소되었고, 연소성능은 향상되었다. 리세스 수가 1인 경우에서 엔진 성능이 가장 우수하였으며, 이보다 리세스가 더 증가하여 1.5가 되는 경우 전반적인 성능이 큰 폭으로 저하되었다. The cold-flow and hot-fire tests were conducted to investigate the spray characteristics and the combustion performance of the bi-swirl injector with varying the recess number. The recess number was varied from 0 to 1.5 in increments of 0.5. The results from both cold-flow and hot-fire tests showed the same performance trends. As the recess increased from zero to 1.0, the breakup length and SMD decreased, and the combustion performance enhanced. The engine performance was most favorable at the recess number of 1.0, but as the recess exceeded this and reached 1.5, the overall performance deteriorated significantly.

孔稚珪〈北山移文>의 修辭的 特徵 考察

강윤형,袁晓鹏 중국인문학회 2010 中國人文科學 Vol.0 No.45

Puksanimun北山移文 is the work by K'ung Chih-kwei (孔稚珪 447~501) of the Qi dynasty during the South and North Dynasties period. Puksanimun, while utilizing correspondence (對遇), characteristic of Pyŏngryŏmun (騈儷文) and harmony (和諧) and authentic precedents (典故) through phrase rhymes (押韻), well succeeds in presenting it as a 'Kyŏkmun (檄文),' the prime function of the writing. Originally 'Kyŏkmun' is a kind of writing that denunciates an opponent while summoning up sympathizers' unity. Especially, the tone of the guardian spirit of the mountain who exposes the hypocrisy of the hermit Ch'uong is exaggerated and humorous. While a Pyŏngryŏmun, it shows a phrasing of Chosa (楚辭) and embodies properties of Pu (賦) too. It thus is not a slavish following of the rigid Pyŏngryŏmun form. This paper seeks to explore the rhetorical characteristics of Puksanimun. Firstly, it reviews the historical circumstances of the North and South Dynasties period and the characteristics of Pyŏngryŏmun. Then, it delves into the rhetorical characteristics of Puksanimun. Those characteristics are 1) "4ㆍ6 phrasing," one of the characteristics of Pyŏngryŏmun, is its rhetorical technique and effect, which not only gives the rhythmic sense but also expresses the emotional colors. Nextly, there are the "Hye-letter (兮) operation" that expresses the slowness and rapidity and "authentic precedents, exaggerations, anthropomorphism" that give the vitality to the writing; 2) The operation of "correspondence method" seen in correspondences and rhymes is one of the most important element of Pyŏngryŏmun and Puksanimun fully utilizes this characteristics with the "operation of rhymes" to bring it into a perfection; 3) Puksanimun's stylistic beauty is heightened when it is read out loud, as a typical Pyŏngryŏmun is. Thus, the paper also asserts that even a prose can be read out loud to show its stylistic beauty when it has a rhythmic element.

전반적 개입현황 소개 및 전망

강윤형 대한소아청소년정신의학회 2020 대한소아청소년정신의학회 학술대회논문집 Vol.2020 No.11

1990년대 이후 韓少功의 문화비평 考察 -탈포스트모더니즘적 경향을 중심으로-

강윤형 중국인문학회 2014 中國人文科學 Vol.0 No.58

Although Han Shaogong created works by accepting unconventionality from postmodernism in 1986 but since 1990, his directivity has turned toward realism. The realism mentioned here can be considered ‘Han Shaogong’s realism’ rather than existing forms. Han Shaogong absorbed what he should learn from Western trend, digested and trained them on his own to attempt to take solid roots in Chinese soil. His attempt bore fruit including Maqiao Dictionary (馬橋詞典) in 1996, a novel where literature, history and philosophy are integrated and prose-styled novels of Anshi (暗示, Suggestion) and Shannan Shuibei (山南水北, South of Mountain and North of River) and I would name his novel creation procedure as ‘practical realism.’ Han Shaogong has fostered his values that human life can only be proved by practice. Life with practice of labor and healthy people working and living with nature – this is the very livelihood of work which Han Shaogong desires to write. It caused him to turn toward realism with practice. There are two reasons why Han Shaogong started to distance himself from postmodernism. First, a theory without honest description of everyday life falls into the shade over time and technique of postmodernism cannot seriously express this course of life. Second, he thinks that neither postmodernism nor realism can exert its power in modern society dominated by material civilization over moral one.

≪詩人之死≫,≪人啊,人!≫에 透映된 作家의 “實在와 不在”에 관한 小考

강윤형 중국인문학회 2011 中國人文科學 Vol.0 No.48

The Presence and Absence of the Author Seen through ≪The Death of Poet≫ and ≪Humans, Ah Humans!≫ What is literature in one's life and what role the literature has in it? The answers naturally vary. "Every literary work is the author's autobiography," Yu Dafu once asserted. Even if not every literary work is the autobiography as Yu Dafu said, it is true that all literature contains a certain degree of autobiographical elements. Especially the past experiences are important material for an author's writing and it is inevitable that the author's image is reflected there. Dai Houying (戴厚英)'s novels, ≪≪The Death of a Poet 詩人之死≫ and ≪≪Humans, Ah, Humans 人啊,人!≫ are autobiographical novels based on her experiences during the tumultuous time of the Cultural Revolution. She agonizingly asks where the right value that a human should pursue lies by reflecting on the intellectuals' attitude of the time that did not see any alternative but choosing between the left and the right. Dai Houying describes in her ≪≪The Death of a Poet≫ the imprisoned lives of intellectuals like poets, painters, singers, actors, and teachers who had been suddenly taken as the useless ghosts. The author seriously and painfully asks where a human stands when everyone should monitor and accuse each other to survive, how one can preserve one's dignity, and what has been lost. It makes us to reflect on what was the last thing that the poet who loved the party and the people cannot give up even by choosing death. ≪≪Humans, Ah, Humans!≫, with the memory of the Cultural Revolution as a theme, depicts the process that the author and the people around her was healing the long seething wounds by looking into their minds. Though the apparent heroine of the novel, Son Yue, seems to depict Dai Houying, all people around her actually show some elements of her to a certain degree. This is the characteristic of the two novels and why this paper attempts to understand Dai Houying's autobiographical novels by comparing these two novels. The author portrays various attitudes and thoughts of herself in the two novels to make it seem like an attempt for a kind of self-healing process.

董其昌의 ‘所行’과 ‘所論’ 상호모순樣相 고찰

강윤형 중국인문학회 2008 中國人文科學 Vol.0 No.40

Dong Gi Chang(董其昌), who lived at the end of the Ming Dynasty, China, left plenty of theories of paintings and writings through his books and their contents are mainly focused on continuous self-culture and efforts for it. In practice, however, his life got far away from those theories he emphasized. From this view, it would be meaningful to examine contradiction and inconsistency shown on his 'behavior' and 'opinion.' First, I looked closely into his 'behavior' by dividing it into two in this article and examined how he had good relationships with politicians with different political views and got the position of the minister of culture and public information during the confused era. And the main causes for this could be found in his talent of paintings and writings and the art of living. He did not care at all about ideology and mixed with various types of people who were considered to benefit him. And I investigated his graft-happy official-like behaviors in Songgang where he lived after the retirement from his public official. He committed plunder, swindle including kidnap, violence and even rape of women. And he finally lost his all fortunes and got expelled by a popular uprising. I examined the importance of the relations between art and personality expressed in his ‘opinion’ and then based on this, I inspected closely the theory of 'mind stillness and no desire', a completion of self-culture, he pursued in his old age. He did little speak about 'personality' himself but saying that the 'mind stillness and no desire' is a model that he had to pursue through his entire life. From many theories and pre-studies of this thought, 'mind stillness and no desire' could be said the highest accomplishment of personality. When considering it, we could find that such theory disagreed with his behaviors. Emperor Qian Long of the Qing Dynasty, China, liked very much Dong Gi Chang's paintings and writings. In reality, it may not be easy to criticize or defame persons who were supported by rulers, which makes it more difficult for us to fully understand Dong Gi Chang's works. But I think any discussion of the theories of his paintings and writings could not be enough without a severe consideration of the relations between art and personality of him.

『駱駝祥子』에 나타난 祥子의 奴隸性 考察 - N. 베르쟈예프의 『노예냐 자유냐』의 관점을 중심으로 -

강윤형 한국중국언어문화연구회 2009 한중언어문화연구 Vol.- No.19

In his novel 『Rickshaw Boy』, Lǎoshe (老舍 (1899~1966): A Chinese novelist / play writer) describes a contradictory society encroaching upon a man. Lǎoshe places the cause of the main character Xiángzi's misfortune on individualism and the structural contraction of the society, which neglects the lives of people in the lower classes. However, he does not present specific breakthroughs for the cause. Is a human a slave or free being? It is never easy to answer this question since human being can be a slave or be free by himself or herself. If Xiángzi was in different circumstances, could he be free? What if he got a rickshaw that he always had wanted to have? Yet, the answers to these questions are already exhibited in the novel. The result is the same. Considering this, N. Berdyaev's『Slavery and Freedom』suggests a considerable number of points. And here is the reason why it can not be determined that Xiángzi's life, in Lǎoshe's novel『Rickshaw Boy』, was like that of a slave resulted from the contradictory society of those times or was a destruction caused by individualism. The main character of 『Rickshaw Boy』, Xiángzi, had many chances to choose and he did make a choice by his own free will whenever he faced one. Yet, the reason for the failure of the choices he made was the different servilities that existed inside him. Servility is presented in the properties that we each possess or the sexual seduction; it is also exhibited in individuality that is hiding inside human beings. Xiángzi, in the novel, seemed to make an attempt to free himself from all that subdued him, yet he could not do so ultimately. The freedom comes when one acknowledges his or her personality and tries not to lose his or her life from outer thing. This study intends to point out that Xiángzi was doomed to be a loser because of his servility within; he was already a slave to himself before being affected by the contradictory society. Such phenomenon could be due to the servility of Xiángzi but also to that of inside all human beings.

한사오궁 소설의 새(鳥) 토템에 관한 고찰 -창장유역의 신석기 새 유물과 관련하여-

강윤형 전북대학교 인문학연구소 2019 건지인문학 Vol.0 No.26

This paper aims to examine the Bird totem of Han Saogong novels. To achieve this end, it has found the origin of totem from the relics related to birds of Neolithic culture in the Changjiang basin of China, which were excavated so far. Han Saogong suggests the differences between Northern and Southern cultures as dragons and phoenixes, respectively, saying that these cultures have developed into independent forms. This bird totem he depicted in the novels is now the folklore of people in the Sangcho(湘楚) area of the Hulan(湖南) provinces, whose roots date back to the ancient Neolithic Age. However, this folklore is also the result of the exchange and fusion of external and regional cultures. This is an example of the nature of culture, which shows that some parts of culture change easily, but sometimes its roots are kept strong and do not change easily. The bird totem in the Han Saogong novels is an example of a heritage that still retains its uniqueness in the course of constant transformation in the development of culture. He wanted to find the characteristics of this culture in unchanging uniqueness.