기술초대석 IV - 이방향 중공슬래브 공법(건설신기술 제628호)

김상모,주은희,Kim, Sang-Mo,Ju, Eun-Hui 한국건축구조기술사회 2012 건축구조 Vol.19 No.1

기술초대석 I - 무량판구조형식의 건물 시공시 유의사항

김상모,Kim, Sang-Mo 한국건축구조기술사회 2014 건축구조 Vol.21 No.5

기획특집 2_2010년 석유산업 환경과 전망 - 2010년 해외석유개발 정책방향

김상모,Kim, Sang-Mo 대한석유협회 2010 석유와 에너지 Vol.276 No.-

Synthesis and characterization of sulfonated poly(arylene ether)s containing fluorenyl groups for fuel cell applications

김상모,최규범,홍영택 한국고분자학회 2009 한국고분자학회 학술대회 연구논문 초록집 Vol.2009 No.10

3분을 버리고 세 분을 피하라

김상모 새가정사 1997 새가정 Vol.- No.-

날탕, 죽탕, 곰탕교인

김상모 새가정사 1997 새가정 Vol.- No.-

'자유'로운 연애와 현실의 발견 -이익상의 「짓밟힌 진주」를 중심으로

김상모 한국문학언어학회 2022 어문론총 Vol.94 No.-

In this study, I consider the unique of Lee Ik-Sang’s Trampled Pearl which is a love story of the Dong-A Ilbo. In the Dong-A Ilbo's love story, the characters who failed in love is constantly destroyed. This proves that love as a way of relating to the world can’t function properly in the real society. Even though they are not in love properly, they can’t imagine any other way out of love. Thus, while the cracks of love and society are revealed, the characters are destroyed. Trampled Pearl differs from the Dong-A Ilbo's love story in that the characters involved in the love are not destroyed. Even if the relationship fails, the characters just return to their daily lives. Through this, Trampled Pearl reveals a different view of love. First of all, love can fail and you need to consider realistic requirements. Hee-Byung imagines marriage, family and finally success through his love affair with So-Jung. But there is no basis for this imagination. He is poor and cannot afford to bring her into a comfortable home. His imagination is ideological and automatic regardless of reality. On the other hand, she has an experience that failed in love. A lover who promises her future leaves her because of misunderstandings, and she cannot recover that love. For her, love can fail and a happy prospects for the future appears groundless. Next, everyone’s position on love is equal. In this work, there is not just one way to love. The character’s views on chastity are diverse and at the end of the work, characters who are cynical about love start a new relationship. The way characters think about love is diverse, and their positions are all equal. There is no absolute way of love, it is only a matter of choice. Therefore, love is shaped as something that can be done or quitted. Love does not control the characters, only enjoyed in their own way. Lastly, the reality intervenes in the part where love is excluded from the narrative. Hee-Byung turns his eyes away from love for a moment as he intertwines with the shameless bully who teases Hye-Won. At this time, he meets poor people living in tenement house. Myung-sik steps away from Hee-Byung and So-Jung’s love and enters the island, he also meets people suffering from life's troubles. But the moment they return to romance, this miserable reality is reduced to a sleeptalking or a letter. Love covers the whole reality, and the characters who are only involved in love do not see the reality around them. Trampled Pearl is a work that shows the different meaning of love through love stories. In this work, love is not a medium that interprets the world. And the love as a bourgeois discourse about the settlement of society through the formation of family is also denied. Love or not, it is only an individual choice, but it is necessary to see the reality that appears in the place where love is taken away. In the existing Dong-A Ilbo’s love story, if it reveals the impossibility of love but has not moved on to anything other than love, Trampled Pearl reveals that love is nothing in reality. Love does not have the strength to destroy life, and it is necessary to discover the reality as a falsehood that begins only after love ends.

새가정 퀴즈

김상모 새가정사 1969 새가정 Vol.- No.-

대향 타겟식 스퍼터링으로 증착한 ITO 박막이 적용된 유기발광다이오드의 특성

김상모,이상민,금민종,이원재,김경환 한국반도체디스플레이기술학회 2018 반도체디스플레이기술학회지 Vol.17 No.2

In this study, we prepared OLED cell with ITO (Indium Tin Oxide) films grown on the glass substrate by facing targets sputtering. Before fabrication of OLED cells, we investigated properties of ITO films deposited at various sputtering conditions. To investigate properties of as-prepared films, we employed four-point probe, UV-VIS spectrometer, X-ray diffractometer (XRD), field emission scanning electron microscopy (FE-SEM), hall-effect measurement. As a results, as-prepared ITO films have high transmittance of over 85 % in the visible range (300-800 nm) and a resistivity of under 10-4 (Ω-cm). Their resistivity increased as a function of oxygen gas flow and substrate temperature. OLED cell with ITO films were fabricated by thermal evpoeartor. Properties of OLEDs cell referring to properties of ITO films.

이광수의 「허생전」에서 드러나는 민중의 형상화에 대한 고찰

김상모 전남대학교 호남학연구원 2022 감성연구 Vol.- No.25

In this study, I tried to examine the method of shaping the people in Lee Kwang-soo's “Heosaengjeon”. “Heosaengjeon” is the first novel in that concretely embodies the lives of the people in the “Dong-A Ilbo”. “Dong-A Ilbo”, established as a bourgeois media since the 1920s, had no choice but to confront the socialist forces, which led to a series of debates over the product promotion movement. The clash between the nationalist and socialist positions was ultimately based on how to bring the people into the movement and mobilize them. Thus, in December 1923, along with the newspaper innovation, “Dong-A Ilbo”, once again emphasized that they were the people oriented. Then, in January 1924, as “Dong-A Ilbo” summarized the movement that took place in 1923, “Dong-A Ilbo” nailed the movement to promote products as the responsibility of the Korean people as well as the responsibility of the leadership. The fact that Lee Kwang-soo’s “Heo saengjeon” was serialized simultaneously with the paper innovation of ‘Dong-A Ilbo’ in December 1923 cannot be ignored in this context. Lee Kwang-soo himself also refers to art for the people and artists who spread such art through in ‘Art and Life’, the people are not portrayed as despondent in anger in this article. Rather, anger is downgraded to a mental attitude of displeasure, or manifested as a popular desire. As such, “Heosaengjeon” is the result of the combination of the general public issues surrounding the product promotion movement, the position of the media called “Dong-A Ilbo”, and Lee Kwang-soo’s views on people and art. In “Heosaengjeon,” as the people are portrayed, the emotion of anger is excluded and the possibility that it leads to action is also blocked. This can create a place for leaders who can uplift the people. Through this, in “Heosaengjeon”, it is not the people who can evaluate and act on what happened in the world, but the objectified people who live in the world only through the leader as a medium. 이 논문에서는 이광수의 「허생전」에서 드러나는 민중의 형상화 방식에 대해 고찰하고자 했다. 「허생전」은 동아일보 한글 장편 연재소설 중 처음으로 민중의 삶을 구체적으로 형상화한 작품이다. 이러한 민중의 발견은 동아일보 의 입장에서도 필연적이었다. 1920년대 이래 부르주아 언론으로 성립한 동아일보 는 사회주의 세력과 대립할 수밖에 없었고, 이는 물산장려운동을 둘러싼 일련의 논쟁으로 이어졌다. 민족주의적인 입장과 사회주의적인 입장의 충돌은 결국 민중을 어떻게 불러들여 운동에 동원할 것인가에 기인했기 때문이다. 그리하여 1923년 12월 동아일보 지면 혁신과 함께 동아일보 에서는 다시금 자신들이 민중 본위임을 역설한다. 이어 1924년 1월에는 1923년에 일어난 운동을 정리하면서 물산장려운동에 대해 조선민족의 책임이자 나아가 지도층의 책임이라 못 박는다. 이광수의 「허생전」이 1923년 12월 동아일보 의 지면 혁신과 동시에 연재되는 것은 이러한 맥락을 무시할 수 없다. 이광수 스스로도 「藝術과 人生」을 통해 민중을 위한 예술과 그러한 예술을 전파하는 예술가를 언급하는데, 여기에서 민중은 분노에 자포자기한 것으로 그려지지 않는다. 민중은 삶의 목적인 행복을 위해 삶을 예술로써 바라보아야 하며, 예술가는 그러한 이상을 확립하고 민중을 이끄는 지도자로 나타난다. 그 와중에 민중이 지니는 감정 중 분노는 불쾌라는 심적 태도로 격하되거나, 통속적인 욕망으로 드러난다. 그리고 민중과 예술에 대한 이러한 입장은 「허생전」에도 나타난다. 이처럼 「허생전」은 물산장려운동을 둘러싸고 전면화된 민중 문제, 그리고 이에 대한 동아일보 라는 매체의 입장, 이광수의 민중관 및 예술관이 결합된 결과물이다. 「허생전」에서 민중이 형상화되면서 분노라는 감정은 배제되고 그것이 행동으로 이어질 가능성 역시 차단된다. 그리하여 민중을 고양할 수 있는 지도자가 위치할 자리를 만들 수 있다. 이를 통해 「허생전」에서는 세계에서 일어난 일을 평가하여 행동할 수 있는 민중이 아니라 지도자를 매개로 세상에 대한 감각을 바꾸고 단합하는 민중이 드러난다.