중국 근대소설과 안중근(安重根)

문정진 ( Jeong Jin Moon ) 中國語文硏究會 2007 中國語文論叢 Vol.0 No.33

화보(畵報)를 통해 본 근대 조계(租界)와 여성(1)

문정진 ( Moon Jeong-jin ) 한국중국현대문학학회 2006 中國現代文學 Vol.0 No.39

This study was the first stage among the works that investigated how women reappeared visually and were ‘made' as modern women through the pictures in illustrated magazines. The study looked closely into the following elements: the process and features from women staying only at home to going to the outside world; male intellectuals' opinions and controversies for such women's social activities; western women in the concession who became the role model for concrete witnessing and experiences; foot-binding that had to be untied for women to go to the outside world and discourses for this; and several women who really came outside and faced the real world and social view on them. Women became an object of curiosity and observation based on the fact that they were away from the limited space, home, in the late Qing. Meanwhile, most of women in the late Qing did not have freedom to select the representation of primitive state such as the foot-binding that forcefully hindered their feet from growing. Women were not allowed to have modern desire that pursued stability and continuity. In addition, not only the women independently exposed to the public, but also the men who chose femininity were blamed for their exposing the crisis of old-fashioned viewpoint because the boundary between normality and abnormality starting for the formation of modern identity on sex was not exceptional also to men. Rapidly changing modern time and space of concession, Shanghai, were variously experienced while women (and men) were expressing themselves through their

≪수호엽자(水滸葉子)≫의 인물 서사 - 지살성(地煞星) 9인을 중심으로

문정진 ( Moon Jeong-jin ) 중국어문연구회 2016 中國語文論叢 Vol.0 No.76

According to the ranking of the 108 heroes in Water Margin, 36 Heavenly spirits are in higher ranks compared to 72 Earthly Friends. Some of the Earthly Friends are not outstanding so they are not matched well with the title, ‘hero.’ However, the 40 heroes in Shuihuyezi includes nine Earthly Friends, who are selected by the writer, Chen, Hong-shou, not by the hero ranking of Liangshanpo or the weight of role in Water Margin. The descriptions of the nine Earthly Friends in Shuihuyezi are analyzed in this paper, and this research has found four main features from the descriptions. First, loyalty is regarded as an important virtue, which is the same in Water Margin. The descriptions of Zhu Wu, who are patient, and considers communication is important, Gu Dasao, who builds a network and solve an issue easily, and Fan Rui, who has alchemy and comes down to humans, are all based on loyalty. Second, Shuihuyezi defines the characters in Water Margin from practicality, which is the trend of the time. Shi, En and Wu, Song are inseparable. However, just like the maximum tension in the bowstring without an arrow, it can be a meaningless desire. Also, the introspection into reality enables the revaluation of the petty thief, Shi, Qian. Third, it is a new gender awareness that clearly depicts characters created between individuals`desires and values that the society pursues. The insight toward reality in which people only care for their own profits, and the society which stresses womanly virtues, generates a new point of view toward Sun Erniang and Hu Sanniang. Fourth, the civil administrative society and bureaucracy, which need practical specialties, include An Daoquan and Xiao Rang in Shuihuyezi. Chen, Hong-shou dreamed a new world in Shuihuyezi. In this world, a gentle leader makes his people new citizens. The major driving forces of the world are Confucian values, such as loyal relationships; friendship; and filial duty. And Chen, Hong-shou focuses on people in the world. That is the reason why Chen, Hong-shou paid attention to the Earthly Friends, along with the Heavenly Spirits.

논문(論文) : ≪수호엽자(水滸葉子)≫의 인물 서사(敍事) 시탐(試探)

문정진 ( Jeong-jin Moon ),오경희 ( Kyung-hee Oh ) 중국어문연구회 2015 中國語文論叢 Vol.0 No.72

Depending on the different volumes of Water Margin (i.e. 100, 70, or 120-volume publications), the characters in the work are described differently as heroes or villains by the storyteller, except for Song Jiang. Unlike other characters, Song Kang’’s personality is clearly set with the word, righteousness, in the Personalities of the Story of Water Margin. This is because of the ‘Personalities’ of the game in the Personalities of the Story of Water Margin. Through Ju Tong, Hua Rong, and Li Kui, the description of the game in the work reflects the value and ethics of the times. Also, Shi Jin, Li jun, and Guan Sheng reveal the originality of Chen Hongshou in the text of Water Margin, and Gao Dasao, Wan Xiaoqi, and Lei heng have readers understand making a relationship and communication. And via the performance of the game, the characters around Song Jiang in the work imprint different individualities from the storyteller’s viewpoint in readers’ minds. Interestingly, the figures of the ten characters in the Personalities of the Story of Water Margin look at different places. Not only the lines of sight, but also the ways they are facing at are not fixed or clear. The captions of the character drawings also have various perspectives, meaning that it is not a coincidence that the relationships, for example between one character and the society, the character and another character, the character and the drawer, and the character and readers, are linked to each other. The numerous viewpoints of the Personalities of the Story of Water Margin, which are not fixed on just one person, can be regarded as an effort to make the readers figure out a situation from various angles and positions. Through the captions of the character drawings in the work, Chen Hongshou is linked with the characters and the game performers, and shows his way of understanding towards Water Margin’s characters.

논문(論文) : ≪해상화열전(海上花列傳)≫의 서사(敍事)와 도상(圖像)의 장면화(場面化) ― 매체, 교육, 기억의 현재화(現在化)를 중심으로

문정진 ( Jeong Jin Moon ) 중국어문연구회 2015 中國語文論叢 Vol.0 No.67

Hai-shang Hua Lie-chuan, in Mandarin transcription, is an epic novel which, as if newspaper articles, fragmented episodes of Shanghai prostitutes in the late 19C were compiled(chuan); unexpected different situations were inserted(cha); and important situations of an episode were hidden(cang) and revealed(shan). Obviously, this novel was acceptable because readers had already got used to Shanghai brothels, which were the main background of Hai-shang Hua Lie-chuan, through the texts and illustrations of Shanghai News(ShenBao) and Dian Shi Zhai pictorial, which began to gain a new reading population. Hoping the readers would understand some meanings formed beyond the text itself, the author rarely showed himself in the novel. Also, he did not provide the clear endings of the characters(Hua) in the ocean of Shanghai(Hai-shang) to the readers who had followed the “chuan-cha-cang-shan” storyline. On the boundary of the dream and the reality, in order to have the readers communicate with the characters who released their desire for things, what the author allowed was endless questions. The author believed that presenting only the current lives (Lie-chuan) of each prostitute(Hua), who is uprooted and floats around in the Shanghai Ocean(Hai-shang) was enough to give the readers introspection about admonishment and existence. Furthermore, the genealogy of each character of Hai-shang Hua Lie-chuan, who makes niches between an event and a person, stores experiences in the flower ocean(Hua-hai) as new memory, and becomes another beginning of a new relationship.

쐐기필터 사용에 따른 선량증가 영역에서 선량평가

김연래(Yon-Lae Kim),문성공(Seong-Kong Moon),서태석(Tae-Suk Suh),정진범(Jin-Beom Chung),김진영(Jin-Young Kim),이정우(Jeong-Woo Lee) 대한방사선과학회(구 대한방사선기술학회) 2014 방사선기술과학 Vol.37 No.4

쐐기필터는 고선량 부분의 선량분포를 균등하게하기 위해서 사용된다. 금속쐐기필터와 기능강화 동적쐐기 필터가 광자선과 상호 작용으로 표면과 선량강화영역 조사면내, 외에 선량변화를 평가하였다. 본 논문에서는 2차원적 조직등가물질로 공간 선량분포가 우수하고, 흡수선량에 따라 현상 없이 실시간으로 광학농도가 변하는 가프크로믹 EBT3 필름을 사용하여 선량평가를 실시하였다. 선형가속기 광자선 에너지는 6MV, SSD 100 cm, 조사면 10×10 cm 으로 고정하고 최대선량점에 400 cGy로 조사하였다. 선량분포는 열린 조 사면과 15°, 30°, 그리고 45° 금속쐐기필터와 기능강화 동적쐐기필터를 사용 하였을 때 비교 평가 하였다. 15° 금속쐐기필터를 사용하면 조사면내 표면선량과 선량증가영역 선량은 기능강화 동적쐐기필터보다 증가 하였다. 30° 금속쐐기필터를 사용하면 조사면내 표면선량과 선량증가영역 선량은 기능강화 동적쐐기필터 보다 감소하였다. 45° 금속쐐기필터를 사용하면 조사면내 표면선량과 선량증가영역 선량은 많은 차이로 감소하였다. 조사면 주변 반음영 영역에서는 두꺼운 방향은 증가하고 얇은 방향은 감소하였다. 선량분포를 변화하고자 하는 치료 부위에 금속쐐기필터를 적절히 사용하고 유방암 치료와 같이 표면과의 거리가 가까워지지 않으면 표면 및 선량증가영역 선량이 감소하리라 사료된다. Wedge filter could use to increase the dose distribution at the hot dose regions. We evaluated dose discrepancy at surface and build region in the infield and outfield that Metal Wedge (MW) and Enhance Dynamic Wedge (EDW) were interact with photon. In this paper, we used Gafchromic EBT3 film that had excellent spatial resolution, composed the water equivalent materials and changed the optical density without development. The set up conditions of linear accelerator were fixed 6 MV photon, 100 cm SSD, 10×10 cm 2 field size and were irradiated 400 cGy at Dmax. The dose distribution and absorbed dose were evaluated when we compared the open field with 15°, 30°, 45° metal wedge and enhanced dynamic wedge. A 15° metal wedge could increase the surface and build up region dose than using a 15° enhanced dy-namic wedge. A 30° metal wedge could decrease the surface and build up region dose than using a 30° enhanced dynamic wedge. A 45° metal wedge could decrease by large deviation the surface and build up region dose than using a 15° enhanced dynamic wedge. The dose of penumbra region at outfield were increased on the thick side but were decreased on the thin side. It could be decrease the surface dose and build up region dose, if the metal wedge filters were prop-erly used to make a good dose distribution and not closed the distance of surface.

전자현미경을 통해 관찰되는 흑요석 내 미세결정 형태

황가현(Ga-hyun Hwang),진미은(Mi-eun Jin),김선우(Seon-woo Kim),문정진(Jeong-jin Moon),좌용주(Yong-Joo Jwa) 대한지질학회 2015 대한지질학회 학술대회 Vol.2015 No.10

구조 및 입체 이성질체 디아민 함유 폴리이미드의 구조-특성 상관관계

유환철(Hwan-Chul Yu),정재우(Jae-Woo Jung),정진원(Jin-Won Jeong),정찬문(Chan-Moon Chung) 한국고분자학회 2015 폴리머 Vol.39 No.6

본 연구에서는 다양한 구조의 2무수물과 디아민 이성질체를 사용하여 폴리이미드를 합성하고, 폴리이미드의 화학구조-특성간의 상관관계를 연구하였다. 2무수물로서는 방향족과 지방족 구조를 사용하였고, 디아민은 phenylenediamine과 diaminocyclohexane 화합물의 구조 및 입체 이성질체 구조를 사용하였다. 합성된 폴리이미드의 용해성, 광투명성, 열적 특성 등을 조사하여 구조가 특성에 미치는 영향을 연구하였다. 1,2 디아민 함유 폴리이미드는 1,4 디아민 함유 폴리이미드에 비하여 용해성과 광투명성이 높은 것으로 나타났는데, 이는 1,2 디아민의 도입이 더 불규칙하게 구부러진 폴리이미드 구조를 가지게 하여 조밀한 분자 쌓임을 방해함으로써 결과적으로 분자간의 인력을 약화시킨 결과로 판단된다. 또한 지방족 디아민의 경우 trans < cis < trans-cis mixture의 순으로 폴리이미드의 광투명성이 높아지고 유리전이온도(Tg)가 낮아지는 것으로 나타났는데, 그 이유도 상기의 순으로 조밀한 분자 쌓임이 더 어렵기 때문인 것으로 판단된다. Polyimides have been prepared from a variety of dianhydrides and isomeric diamines, and their structure-property relationship has been studied. Aromatic and aliphatic dianhydrides were reacted with constitutional and stereo isomers of phenylenediamine and diaminocyclohexane. Solubility behavior, optical transparency, and thermal properties of the obtained polyimides were investigated and the effect of their chemical structure on the properties was studied. Polyimides based on 1,2 diamines showed higher solubility and higher optical transparency than those of 1,4 diamine-containing polyimides. This is probably attributed to more irregularly bent structures of 1,2 diamine-based polyimides. The bent structure would result in less close chain packing, and consequently, weaker intermolecular interactions between polyimide chains. In the cases of aliphatic diamine-based polyimides, optical transparency increased and glass transition temperature decreased in the order of trans, cis, and trans-cis mixture. This is also attributable to decrease in the degree of close chain packing in the same order.

미립자 금속 촉매 방식 배기가스 후처리장치 재제조 공정 연구

유성주(Seong Ju Yoo),송현석(Hyun Suk Song),문정진(Jeong Jin Moon),김형준(Hyong Jun Kim),강정호(Jung Ho Kang),김훈명(Hoon Myung Kim) 한국생산제조학회 2023 한국생산제조학회지 Vol.32 No.4

淸末 新小說의 敍事構造 硏究

文丁振 중국어문연구회 2001 中國語文論叢 Vol.20 No.-

晩淸時期, 上海的租界是現代城市的縮影. 人們在租界中看到的不是單一的技術世界, 而是全面的立體的新世界. 隨着近代性商業都市的相繼出現, 報刊事業興起. 報刊雜誌發行範圍之廣, 時效之速, 關注者之多的特點, 吸引了一代小說家. 爲了適應報刊雜誌登載的需要, 小說家便自覺地改變了傳統的創作方法, 從而使作品出現了逈異此前小說的新特點. 値得主意的是本文的硏究對象作品都是由幾種統一原則所組織的. 有的作品用第一人稱敍述者的見聞錄形式敍述故事, 給予讀者更大的眞實感. 此時作家雖然基本上持以第一人稱爲中心的敍述形態, 不過在別人所講的故事部分, 而改用第三人稱. 第一稱的敍述者不僅與作家有關聯性, 而且具有以仲介者資格的個別性價値. 有的作品沒有甚마激動人心的故事, 不注重于情節的曲折, 更多地着眼于場景的描寫, 實況的再現, 心理的刻畵. 作家眞實地再現了當代人物和心態. 有的作品裏, 結構的關鍵是人物或者事件. 無論나種原則, 這裏重要的就是在小說中增强사的主觀性和個別性所內在的時空觀念. 作者的風格是多樣化和個性化. 最終支配新小說作品的結構不是傳統的美學, 而是作者的選擇. 所以新小說表現了結構多樣化的特點, 旣有繼承此前小說結構方式的, 又有模倣西方小說結構的, 而更多的是兼收幷蓄中西小說結構藝術的作品.