연속선형계의 PD 안정화기의 전체 이득 셋 결정

김근식(Keunsik Kim),김영철(YoungcDattal Kim) 대한전기학회 2004 정보 및 제어 심포지엄 논문집 Vol.2004 No.1

Aesthetic Female Images in Lermontov's Taman

김근식(Keunsik Kim) 아시아·중동부유럽학회 2007 동유럽발칸학 Vol.9 No.2

우리시대의 영웅의 타만은 하나의 독립된 작품으로서도 손색이 없을 만치 예술적 완성도가 높은 작품이다. 그러한 완성미에 대해 벨린스키, 투르게네프, 톨스토이 체호프 등이 이미 지적한 바 있다. 이와 같은 타만의 미학은 이 작품에 등장하는 여성인물과 그녀의 역할과 직관되어 있다고 본다. 따라서 본 연구에서는 여주인공이라 불릴 만치 중요한 의미를 띤 타만의 처녀가 지니고 있는 미학적 측면을 분석하고자 한다. 전기적 차원에서 이 장편의 단초 역할을 하는 타만의 서사구조는, 이방인이자 화자이자 주인공인 페초린이 오지의 타만과 그곳 주민의 삶을 들여다보는 형식으로 꾸며져 있다. 이것은 그림 속의 그림처럼 소설 전체와 동일한 구조를 취하며 이 소설의 전개양식을 예술적으로 함축해 보여주는 것이다. 이점에서 타만은이 장편소설의 에피그라프 역까지 담당하고 있다. 우리시대의 영웅은 그 서사구조에서 러시아판 오디세이라 부를 정도로 호머의 오디세이와 유사성을 가지고 있다. 단지 두 작품의 차이는, 오디세이와 달리 페초린이 뚜렷한 목적성을 가지지 않고 여행하고 있다는 점이다. 오디세이의 한에피소드에 등장하는 사이렌은 유럽지역에 오래전부터 전해 내려오는 요정의 형상을 상징적이고 대표적으로 보여주고 있다. 이러한 사이렌은 타만의 야성적 처녀의 원형이라 할 정도로 유사성을 지니고 있다. 게다가 양 쪽은 모두 전형적 ‘femme fatale’의 이미지를 지니고 있다. 때문에 페초린이 이 낯설고 수수께끼 같은 여성의 삶을 들여다보고 거기에 대한 대가를 치르는 것이 이 작품의 메시지이다. 이 처녀를 통해 얻을 수 있는 교훈은 사이렌 또는 성경의 ‘뒤돌아보지 마라’에서 얻는 교훈과도 일치한다. 그 교훈 속에는 목적지를 가는 도중에 유혹당하거나 목적 이외의 무엇엔가 이끌려 뒤돌아보아서는 안 된다는 의지가 담겨있는 것이다. 하지만 인간은 언제든 쉽게 유혹에 빠질 수 있는 나약한 의지를 지니고 있는 것이 현실이다. 따라서 요정이 야기나 ‘뒤돌아보지 말라’는 성경 이야기는 ‘유혹의 시험’으로 간주될 수 있는 것이다. 이 점에서 타만에서의 여성의 역할은 의미가 깊다. 자만심이 가득 찬 페초린도 그러한 여성을 통해 자신의 독백적 세계관을 바꿀 수 있는 새로운 국면을 맞이하게 되는 것이다. 그는 처녀와 그녀의 사람들이 유지해왔던 삶의 질서를 깨트린 자신의 행위에 죄책감마저 느끼고 있다. 그것은 지금껏 자신의 행위에 참회를 몰랐던 페초린이 요정의 형상을 한 처녀와의 만남을 통해 세상 사람에게일말의 동정심과 인간적 감정을 가지게 하는 동기를 의미하는 것이다. Taman, one of the short stories belonging to A Hero of Our Time, might be perfect itself even if it were separated as an independent work. Prominent Russian writers and critics set a high value on the art of Taman and consider it as a model of perfect prose. Taman's aestheticism is associated with the female character and her extraordinary role in the work. So this article is devoted to analyzing aesthetic aspects of the would-be heroin, the enigmatic savage woman. The narrative structure of Taman, which could be the beginning of the novel in a biographic arrangement, also is in a form where Pechorin, a stranger, narrator, and hero, looks into the god-forsaken town Taman, and the lives of its enigmatic inhabitants. This means that Taman takes the same structure as the whole novel, and artistically implies consequent development of this novel. In this regard, Taman plays the function of an epigraph of the whole novel. In general, A Hero of Our Time is so similar to Homer's Odyssey in its narrative structure as to call it Odyssey in Russian with parodic cynicism. The only conspicuous difference between two works is that Pechorin ventures voyage without purpose, contrary to Odyssey. The image of Sirens from Odyssey, who represent a variety of nymphs, rusalkas and undines appearing throughout European and Slavic folk tales and poetic works, bear analogy with that of Taman's 18-year old savage girl. Both images have the feature of typical femme fatale. In the cost that Pechorin pays, the message is transmitted through the girl's artistic imagery that peeping into the life of a strange girl is a very dangerous adventure. The precept that the girl gives to Pechorin corresponds to the lesson of "do not look back" in the Bible, makes the message more concrete that one should keep going one's way without looking back, we can infer an instructive message that one should keep one's own way, without interfering with others or taking one's eyes off the destination, and without being seduced in such a situation where one might otherwise be. However, humans have such a nature with which they are readily seduced as they are easily changed due to having a weak will. Therefore, we can regard the rusalka story or the "looking back" in the Bible as the same concept as that of "trial to seduction." In this respect, the role of woman in Taman is very meaningful. Self-conceited Pechorin faces a new phase to change his monologic world-view on account of her. He feels guilty about his behaviour, destroying the life rule being kept by the girl and her people, when he finds himself separated fully from their world. This might mean that Pechorin, who never knows to repent for his behavior, has come to have a tinge of sympathy in his heart with the world, people, and simple human feelings. As such, through an unpredicted meeting with the girl with rusalka's figure, he opens to himself a possibility to be a human who can dig into others' life and pain.

한류 발전 지속가능성 연구

김근식(Kim Keunsik),임치헌(Lim Chiheon) 한국슬라브유라시아학회 2015 슬라브학보 Vol.30 No.2

Over the past few years a considerable number of studies have been made on the Korean wave. While much previous research has focused on area in popular music, little is known about overall macroscopic analysis of this phenomenon. What is not so widely understood, however, is great contribution to the globalization of the Korean culture. So here we limit the discussion to a holistic approach to the Korean wave. The main objective of this study is to find motive power of the Korean wave. This thesis introduces a Lotman’s theoretical approach to explaining the mainstream culture and minority culture. It is based on an analytic method. Employing methodologies and theoretical approaches from the fields of cultural studies, this study explores the dialogic mechanism of the Korean wave. This research seeks to open up a new perspective of that phenomenon. The significance of the study rests upon macroscopic contexts of the Korean wave. It needs further discussion about that.

텡그리 문화 콘텍스트에 내재된 유라시아 에포스의 생명력 - 명창으로서 샤먼의 역할과 시간 -

김근식(Kim, Keunsik) 한국슬라브유라시아학회 2020 슬라브학보 Vol.35 No.3

The reason why the Epos tradition, which ended in most of the world"s cultures, has shown exceptionally strong survival in the Eurasian Turks, is directly or indirectly related to the Tengri beliefs that lie within the Turks. In particular, “Shaman”, a priest of the Tengri faith, has expressed the subject of Tengri thought through music form. Everything that shamans express through music, including rituals and healing, was a stylized story of serious life. Epos was born from the musical narrative of such a story, and Epos was passed down by the shamans until the Middle Ages and thereafter from the storytellers to the storytellers until modern times. The viability of the Turkic epos is also closely related to the Turkic view of time. The ancient Turkic conventional time means an eternal cycle with no beginning and no end. The Turkic storytellers such as “Zhyrau” have been working to replace this time of eternal circulation with the time of art through epos. As a result, the conventional time was reproduced in various and complex rhythms in the Turkic Epos, and was continuously carried from memory to memory by the storytellers, and the Turk epos was able to acquire a permanent viability.

시간응답 설계규격을 만족하는 PI, PD, PID제어기 설계

김근식(Keunsik Kim),조태신(Taeshin Cho),김영철(YoungChol Kim) 제어로봇시스템학회 2003 제어·로봇·시스템학회 논문지 Vol.9 No.4

樂浪 · 帶方郡 지역에서 출토된 年度가 기재된 銘文塼 - 판독과 역주를 중심으로 -

김근식(Kim Keunsik),안정준(An JeongJun),정화승(Jeong hwaseung) 한국목간학회 2021 목간과 문자 Vol.- No.27

황해도·평안도 일대에서는 2세기 말부터 5세기 전반까지 명문전 제작이 지속되었다. 이는 낙랑·대방군(이하 2군)의 존속기뿐만 아니라 그 소멸 이후에도 존재했던 그 지역 토착세력의 동향을 살피는 유용한 자료가 되고 있다. 필자들은 위 지역에서 출토된 명문전들 가운데, 일단 연도를 추정할 수 있는 것들의 실물 혹은 탁본 사진을 「梅原考古写真資料庫(database)」에서 다수 구하였다. 또한 최근까지 국립중앙박물관과 북한의 『조선고고연구』 등에 의해 공개된 명문전들을 추가하여, 2군 지역에서 발견된 연도가 기재된 명문전의 목록을 새롭게 정리하고, 기존 연구에서의 잘못된 분류나 일부 판독 오류를 수정하고자 하였다. In the areas of Hwanghae-do and Pyeongan-do, the production of Brick with letters continued from the end of the 2nd century to the first half of the 5th century. This is a useful data to examine the trends of indigenous forces in the region that existed not only after the period of existence of the Lo-rang and Daebang areas, but also after its extinction. From the end of the 2nd century to the first half of the 5th century, among the Brick with letters excavated from the Lo-rang and Daebang areas, the authors obtained a number of physical or rubbing photos of those that could estimate the year from the database. In addition, until recently, Brick with Letters, which was published by the National Museum of Korea and North Korea’s ancient Joseon study, was added, and the list of Brick with Letters of Year is written found in the Lo-rang and Daebang areas was newly compiled. Finally, the incorrect classification or some decipher errors of Brick with letters suggested in the previous study were corrected.

한국제품의 해외 현지화에서 문화의 역할

김근식(Kim Keunsik),박소라(Park Sora) 한국슬라브유라시아학회 2013 슬라브학보 Vol.28 No.3

This study attempted to complexly identify the awareness on Korea as the people of Russia, the awareness on Korean wave(Hallyu) as Russia.s culture recipient, and the attitude on Korean products as a Russian consumer, and its purpose was to understand the way national image and culture works in the motivation to purchase Korean products. To conduct empirical analysis on the subjective cognition structure of Russian consumers, surveys were conducted on 50 Russians, and as a result of conducting analysis by applying Q-methodology, five types have been derived: Each of the types: ‘ Korean brand enthusiast type’, ‘Russia value-oriented type’, ‘Korea-Russia neutral type’, ‘cultural consumption envying type’, and ‘Korean brand preference type’ were characterized by their image of Korea, their information power regarding Korea and level of emphasizing Russian tradition, evaluation on Korean products, preferred products out of domestic products and foreign products, and extent of open attitude towards culture, and extent of experiencing Hallyu and level of interest. In the meantime, the common points of five types have appeared as the national image impacting the purchase of products, and therefore, the researchers were able to identify that the brand image of Korea has taken a significant effect on the Russians’ purchasing behavior.

극 소전력을 소비하는 LED 도로표지병

김근식(Keunsik Kim),김재설(Jaeseol Kim),유동주(Dong-Joo Yoo) 한국자동차공학회 2010 한국자동차공학회 학술대회 및 전시회 Vol.2010 No.11

Traditional retro-reflectors and markings have a problems of driver’s visibility for a rain and fog or surface spray conditions. Illuminated studs, so called cat’s eye system, provide benefits in reduced visibility that road delineation remains visible even under these conditions. This paper presents the design concept of cat’s eye system that ultra low energy consumption is analog circuit controlled so that just a few hours of daylight will provide enough battery power to last 14 days- more than enough to ensure the system keeps working no matter what the weather.

인사말

김근식(Kim, Keunsik) 한국노어노문학회 2013 한국노어노문학회 학술대회 발표집 Vol.2013 No.6

후기 고구려 왕실의 표상(表象), 사신도 벽화고분

김근식(Kim, KeunSik) 한국고대사학회 2023 韓國古代史硏究 Vol.- No.112

사신도는 고구려벽화고분을 대표하는 벽화제재로 강렬한 인상으로 많은 이들에 뇌리에 남겨져 있는 도상이다. 이미 한대부터 활용되어오던 사신도이지만 고구려처럼 무덤 전면을 사신도로만 채워 묘실의 단독 제재로 활용되는 경우는 드물다. 즉, 전면 사신도 벽화는 특정 시기 고구려만이 선호한 방식이며, 그 상징성 역시 기존과는 그 의미가 자못 달랐을 것이라 추정된다. 이에 본고에서는 사신 사상이 어떠한 형태로 고구려로 전래하여, 후기사신도벽화고분으로 알려진 고구려 특유의 형태로 변용되었는지를 여러 자료를 통해 풀어내 보고자 하였다. 이와 더불어 전면 사신도가 묘사된 10기의 후기사신도벽화고분에 대한 상세한 분석 중심을 통해, 고구려 왕실의 표상으로서의 사신도를 논해보았다. 후기사신도벽화고분은 회미장을 기본으로 하는 기존 벽화기법과는 달리, 회를 바르지 않고 큰 돌을 다듬어 벽면에 직접 벽화를 그리는 방식을 채택하고 있다. 그 변화과정을 알 수 있는 지점들이 충분히 드러나고 있는 만큼 이에 대해서도 상세히 검토하였다. 또한 고구려의 묘제 전환이 장수왕의 평양천도와 맞물려 있는 것처럼, 벽화묘사기법의 전환 역시 고구려 후기의 사회변동과 일정한 관련이 있었음을 확인하였다. 이후 중국으로부터 유입된 사신도 문화의 전이 과정을 살펴보았고, 그 출현 배경을 검토하였다. 고구려 고분벽화는 문자 자료 외에도 시각적으로 당시 사상의 일면을 규명할 수 있는 매우 중요한 소재이다. 특히 낙랑·대방고지의 전축분과 초기 평양 벽화고분에는 중국으로부터 들어온 새로운 문화와 사상, 기술 등이 포함되어 있기에 이에 대해서도 면밀한 조사와 검토를 행하였다. 뒤이어 후기사신도벽화고분의 분포범위와 각각의 공통점, 차이점 등의 상세한 조사를 통해, 그 특징과 구조적 정형을 살펴보았다. 무덤 외형을 비롯하여 묘실을 구성하고 있는 제반 시설을 모두 비교 분석하였으며, 사용자 파악을 위해 무덤의 등급 규정을 여러 방법으로 모색하였다. 마지막으로 상기 서술을 종합하여 왕실 주도의 벽화고분 축조과정과 표상으로서 사신도를 채택하는 이유를 서술하고자 노력하였다. 후기사신도벽화고분의 사신도는 고구려화 된 특수한 방식이었고, 이 현상은 고구려 왕실이 사신도를 독점하면서 나타난 것이었다. 사신도는 이미 널리 퍼져 있었던 제재인 만큼 고구려 왕실은 사신의 신격화를 거쳐 자신들의 무덤에 적용하였고, 이를 통해 자신이 왕실 구성원임을 표출하는 수단으로 활용하였다. Sasindo is a mural sanction representing Goguryeo’s mural tombs and is a painting left in many people’s minds with a strong impression. Although the sasin has already been used since ancient times, it is rare that the entire tomb is filled with a sasin like Goguryeo and used as a sole sanction for the tomb. In other words, it is presumed that the wall painting of the front Sasindo was preferred only by Goguryeo during a certain period, and its symbolism was also different from the past. Therefore, in this paper, we tried to find out how the thought of the envoy was transferred to Goguryeo and transformed into a unique form of Goguryeo, known as the Latter-day part Sasindo Mural Tomb. In addition, through a detailed analysis of the mural tombs of the 10th period of the late Sasindo, which depicts whole page Sasindo, the Sasindo as a representation of the Goguryeo royal family was discussed. Unlike the existing mural techniques based on a plaster, the Latter-day Sasindo Mural Tomb adopts a method of painting murals directly on the wall by trimming large stones without applying sasimi. As there are enough points to know the process of change, this was also reviewed in detail. It was also examined that just as Goguryeo’s conversion of tombs was intertwined with King Jangsu’s Pyongyang, the conversion of mural painting techniques was also related to social changes in the late Goguryeo period. Accordingly, Sasindo introduced from China also examined the transfer of culture, and the background of its appearance was reviewed. In addition to textual materials, the mural paintings of Goguryeo’s ancient tombs were a very important material that could visually identify one aspect of the thoughts of the time. In particular, since the former buildings of the old land Nakrang and Daebang and the early Pyongyang mural tombs include new cultures, ideas, and technologies from China, close investigation and progress examination. Subsequently, the characteristics and structural formations were examined through a detailed investigation of mural tombs, their commonalities, and differences. All facilities that make up the tomb room, including the appearance of the tomb, were compared and analyzed, and the classification of the tomb was sought in various ways to identify users. Finally, by synthesizing the above description, I tried to describe the process of building the royal family mural tombs and the reason for adopting Sasindo as a representation. The Sasindo of the Latter-day Sasindo Mural Tomb was a special method of Goguryeoization, and this phenomenon appeared when the Goguryeo royal family monopolized Sasindo. As Sasido was already a widespread sanction, Goguryeo’s royal family applied it to their tombs through deified envoys, and it was used as a means of expressing that they were members of the royal family.