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- 저자 : 김의정(Eui-Jeong, Kim) (검색결과 84 건)
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김의정(Eui Jeong Kim),이은주(Eun Joo Rhee),권오석(Oh Seok Kwon),김태균(Tae Kyun Kim) 한국정보과학회 1991 한국정보과학회 학술발표논문집 Vol.18 No.2
본 논문에서는 인쇄체 한글이 주로 직선 성분으로 이루어진 점을 고려하여 이에 적합한 최대 블럭(Block)화 방법을 사용한 획(stroke)의 방향성을 찾는 알고리즘을 제안한다. 이 알고리즘은 획의 방향성을 결정하기 위하여 x축과 y축의 시작점에서 부터 획을 이루는 화소정보에 따라 사각형을 점차적으로 확대하여 최대 블럭을 형성하는 것이다. 형성된 최대블럭이 일정길이 이상의 동일 방향코드로 구성된 경우는 하나의 획으로 나타내고, 일정길이 이하인 선은 주변의 균일화된 방향 분포를 고려하여 다중코드를 단일코드 방향으로 생성하므로써 블럭을 효율적으로 골격화하여 획의 방향성을 결정한다. 이렇게 생성된 획들의 특성값, 방향의 정보, 블럭간의 인접관계들을 코드화하여 인쇄체 한글에 적용한 결과 본 알고리즘이 주로 직선 성분으로 구성된 인쇄체 한글의 인식에 효과적으로 사용할 수 있음을 확인하였다.
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명말 청초 문인 장대(張岱)의 시세계 - 고시(古詩)를 중심으로
金宜貞 ( Kim Eui Jeong ) 중국어문학회 2020 中國語文學誌 Vol.0 No.72
This study aims to examine the spiritual world of the Zhang Dai(張岱) through his poem, who lived in late Ming and early Qing Dynasty. I thought that the material prosperity, consumption culture, and knowledge communication that swept through Jiangnan(江南) in the mid to late Ming Dynasty would have been meaningful even after the personal and social disaster of the replacement of the dynasty. I paid attention to the works of the Zhang Dai as one of the writers who can represent the recorders of this situation and selected his poems that were less studied than prose as the main subjects of analysis. Zhang Dai’s poems, known to date, totaled 331 and the scope of this paper was limited to 118. In poems of Zhang Dai, the traditional regressive colors are strongly revealed, such as summoning brilliant ancient heroes, but there is diversity such as the joy of a small life and the evaluation of unique characters of the contemporary era. In this paper, the contents of the poems of Zhang Dai were divided into life and death, history, living, people, and scenery.
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金宜貞(Kim Eui-jeong) 중국어문학연구회 2011 중국어문학논집 Vol.0 No.70
Nearly all the authors and readers in chinese literary history had been male. If female readers in modern times read the works, they could feel uncomfortable. I think that these sorts of discomfort had existed definitely in late ming(明) dynasty in which lots of female writers had made an appearance, so I will investigate the works of Xu Yuan(徐媛)’s and find out the cause of the phenomenon. Xu Yuan is a famous a woman poet who wrote almost 500 poems and have various characteristics. One of the interesting features is covering her inner side up. She had avoided to express feelings. And those features are concentrated in Yuefu shi(樂府詩), gongti shi(宮體詩), and imitation of Li he(李賀)’s poem. Originally Yuefu shi and gongti shi had written in the third person at all times. The story had told by an invisible storyteller. And because Li he (whose style she model on) had faced the fear of death, and he wanted to hide his apprehension, so he also selected an invisible storyteller. So I think Xu Yuan could`nt avoid to select an invisible storyteller on purpose in order to hide her inner side. In addition, Some people say she reaches the realm of Qing(淸), but view a matter from a different point, this is the aesthetic tendency of many male author(especially a critic), and these kind of things could affect female writers.
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金宜貞(Kim, Eui-jeong) 중국어문학연구회 2016 중국어문학논집 Vol.0 No.100
All the Dufu(杜甫)`s poems are in a class by itself, but because of his expression of delicate, surprising depth and great emotion, it seems like an encyclopedia overall. This article, I used the plane coordinates, and presented the main facts of feeling-the joy and sorrow. And I traced movement of works, because I thought expression of affection was completed by the movement. Apart from that movement and feeling, I thought that feature would be more apparent in wine drinking poem(飮酒詩), so I decided this article`s range was restricted into 25poems quoted in 『Dufu`s critical biography 杜甫评传』written by Han cheng-wu(韩成武) In this article, I decided fundamental principles to evaluate the emotion and movement, and according to the result, I decided index figure individually like appendix【附錄】.
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金宜貞 ( Kim Eui Jeong ) 중국어문학회 2022 中國語文學誌 Vol.- No.81
This study originated from a series of plans to understand Chinese classic poems by visualization with imaging in mind. There have also been concerns about the methodology of analyzing poetry from an film angle. I explained a few things first. In this paper, I presented the most helpful aspect of poetry when viewed as a video. It is a matter of editing, that is, composition and screen expansion of the whole, and subjective and objective angles. The unity of the beginning and the end is as important as the introduction in the overall composition. I looked at 「ZengWeibaChushi(贈衛八處士)」, 「AiJiangTou(哀江頭)」 in the middle. The connection of scenes in the video genre such as movies occupies the core of aesthetics. Chapter 3 deals with the expansion and duplication - dissolve and overlap. In the poems I researched, mainly in the prelude part of Chinese eight-line metrical poem, the characters of the past were brought up to create a double meaning, so I could read it as an overlap of imaging techniques. And the case of indicating the passage of time could be seen as a disolve. Chapter 4 deals with changes in subjective and objective cameras. In this paper, we looked at the back of 「MengLiBai」, 「AiJiangTou(哀江頭)」, 「ChunWang(春望)」, the back of 「ZhideErzai(至德二載)」, the third to sixth phrases of 「DengGao登高)」, and the last two phrases of 「LūYeShuHuai(旅夜書懷)」. The purpose of this paper is to reinterpret a poem by producing or watching a video. I would like to take a step further from the existing simple flat and passive interpretation.
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李白 閑適시에 보이는 시간의 흐름에 대하여 - 〈春日醉起言志〉를 중심으로
金宜貞(Kim, Eui-Jeong) 중국어문학연구회 2021 중국어문학논집 Vol.- No.131
This paper focuses on the flow of time expressed in the LiBai(李白)’s poem 〈Chunriziqiyanzhi〉and studies the flow of time in literary works. What this paper is trying to deal with is not the author"s notion of time, but the flow of time revealed in the work. In order to solve this problem persuasively, this paper summarized the flow of research on time in Western scientific history and adopted the time theory of Husserl’s Phenomenology as the main position. Time in human consciousness is not a moment without length like a point. It has flow and depth in a series of past and future orientations, and is now expanded by conscious memory. This paper selected 19 works whose descriptive form is relatively similar to 〈Chunriziqiyanzi〉 in total 36 works belonging to “XianShi” and distinguish various aspects of time flow within them. The passage of time had some unconscious development, and other dimensions had areas of reflection that deliberately brought about past events. Under this framework, there were four types of analysis. They are compression and concentration(A) · leap and expansion(B) · intermittent expansion(C) · manipulated present(D). It revealed how the flow of time develops within each type, and how it connects to the delivery of the theme or the atmosphere of the entire works.
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