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배규만(Kyu Man Bae),임영만(Young Man Lim) 한국항해항만학회 2017 한국항해항만학회 학술대회논문집 Vol.2017 No.추계
현재 로란-C 수신기는 단종 되었고 예비품도 없으며, eLoran 시스템이 개발 중에 있다. 이 점들을 미루어 봤을 때, 로란-C 신호가 수신되는 eLoran 수신기를 구입할 필요가 있다. 또한, 일본 송신국 폐국으로 인한 로란-C 커버리지 감소로 현 감시국의 수신감도가 좋지 않아 감시국을 이설할 필요가 있다. The manufacture of current Loran-C signal receiver has been discontinued and there are no spare parts for that. eLoran system is being developed. Judging from these facts, it is necessary to purchase eLoran receivers which also can receive Loran-C signal. Furthermore, the coverage of Loran-C has been decreased as the closure of transmitting stations in Japan. The current monitor station in Ganjeolgot, Ulsan shall be moved to a new place.
배규나(Gyu-Na Bae),김진우(Jin-Woo Kim),양정무(Jung-Moo Yang),박병수(Byung-Su Park),강현일(Hyun-Il Kang) 대한전기학회 2021 전기학회논문지 Vol.70 No.8
In order to measure the deformation of the rail according to the operation of the railway vehicle, a strain gauge measurement method under various conditions was used. As a result of measuring strain at the upper, middle and lower positions of the rail, the optimal position of the strain gauge was the lower part of the rail side. The part where the deformation of the rail occurred the most was the upper part of the side. But considering the durability and installation safety of the strain gauge, the lower part where the second largest deformation occurred was considered to be the most suitable. As a result of measuring rail deformation by installing strain gauges at short and long distances, almost all rail deformations were reduced before and after wheel tread maintenance compared to maintenance.
배규리 ( Bae Gyuree ) 한국중국언어학회 2021 중국언어연구 Vol.- No.97
This article aimed to explore the correlation between Shēngyīnchanghetu (「聲音唱和圖」) which is the basis of philosophical thoughts in Kyŏngsehunmin jŏngŭmdosŏl (『經世訓民正音圖說』) and Sŏngŭmyullyŏch'anghwajŏnsudo (「聲音律呂唱和全數圖」) of Kyŏngsehunminjŏngŭmdosŏl by comparing and analyzing two rhyme tables. Also, it aimed to seek for the correlation between Sŏngŭmyullyŏ ch'anghwajŏnsudo and Sixiangtǐyongzhīshutu Following Hunminjŏngŭm (「四象体用之數圖」) additionally for understanding the internal structure of Kyŏngse hunminjŏngŭmdosŏl. Through the analysis, Shēngyīnchanghetu (「聲音唱和圖」) is composed of Zhengshēngtu (正聲圖) and Zhengyīntu (正音圖), which represents finals and initials each, whereas Sŏngŭmyullyŏch'anghwajŏnsudo (「聲音律呂唱和全數圖」) contains initials, finals and tones in a table. Also, in Shēngyīnchanghetu (「聲音唱和圖」) voiced and semi-voiced initials were divided into two categories individually according to the tones, while in Sŏngŭmyullyŏch'anghwajŏnsudo (「聲音律呂唱和全數圖」) they classified as voiced and semi-voiced initials as did in the traditional 36 initials in Middle Chinese. Zhǐ (止) and Xie (蟹) rhyme groups and Guǒ (果) and Jiǎ (假) rhyme groups were mixed in the two rhyme tables. Additionally, Gěng (梗) and Zēng (曾) rhyme groups were merged in Shēngyīnchanghetu (「聲音唱和圖」). Shēn (深) and Xian (咸) rhyme groups mixed in Sŏngŭmyullyŏch'anghwajŏnsudo (「聲音律呂唱和全數圖」). It has Zhī (脂)·Zhī (支)·Zhī (之) rhymes in Sŏngŭmyullyŏch'anghwajŏnsudo (「聲音律呂唱和全數圖」), whereas they are combined into a Zhī (脂) rhyme in Shēngyīnchanghetu (「聲音唱和圖」). Therefore, they have a different style of rhyme table. As a result of comparing Sixiangtǐyongzhīshutu Following Hunminjŏngŭm (「四象体用之數圖」) and Sŏngŭmyullyŏch'anghwajŏnsudo (「聲音律呂唱和全數圖」), they have almost same order of initials and vowels except labials. In particular, Sixiangtǐyongzhīshutu Following Hunminjŏngŭm (「四象体用之數圖」) is composed of two levels, which are a “Contemporary Sound (particular to the Northern Song dynasty)” and the “Old Sound”, and Sŏngŭmyullyŏch'anghwajŏnsudo (「聲音律呂唱和全數圖」) shows same structure in it. It proves that Sŏngŭmyullyŏ ch'anghwajŏnsudo (「聲音律呂唱和全數圖」) was designed in the consideration of a “Contemporary Sound (particular to the Northern Song dynasty)” and the “Old Sound” of Sixiangtǐyongzhīshutu Following Hunminjŏngŭm (「四象体用之數圖」).
『新增韻鏡易解大全』과 『磨光韻鏡』의 開·合口 比較 硏究 ― 舒聲韻을 중심으로
배규리 ( Bae¸ Gyuree ) 한국중국언어학회 2023 중국언어연구 Vol.- No.107
本论文以日本学者据东传到日本的古代中国等韵图≪韵镜≫编纂的≪新增韵镜易解大全≫与≪磨光韵镜≫为研究对象, 进行了比较研究。在研究过程中对比了永禄本≪韵镜≫的开·合分类, ≪新增韵镜易解大全≫与≪磨光韵镜≫为中心在≪韵镜≫中修订的开·合分类, 以及≪韵镜≫、≪新增韵镜易解大全≫和≪磨光韵镜≫三者之间开·合的定义及分类。通过比较, 本论文发现了这三部文献在东、冬锺、江、支、鱼、模虞、宵、歌、侵、谈、凡韵的开合分类上存在差异。尤其在支韵唇音字的处理上, ≪新增韵镜易解大全≫与≪磨光韵镜≫有所不同。根据≪新增韵镜易解大全≫与≪磨光韵镜≫的记载, 可以判断出:≪新增韵镜易解大全≫与≪磨光韵镜≫分别参考了不同的文献资料;≪新增韵镜易解大全≫的开合分类接近于≪音韵日月灯≫, ≪磨光韵镜≫则接近于≪韵法横图≫。 This article aims to research Xīnzēngyùnjìngyìjiědàquán (新增韻鏡易解大全) and Móguāngyùnjìng (磨光韻鏡) which were published by Japanese scholars in the 17th to 18th Century after the Chinese rhyme table Yùnjìng (韻鏡) was exported to Japan and compare Xīnzēngyùnjìngyìjiědàquán (新增韻鏡易解大全), Móguāngyùnjìng (磨光韻鏡) and Yùnjìng (韻鏡). Through the comparison, this article found that three books show the differences in the opening and closing mouth (开·合口) classification of dōng (東),dōng (冬),zhōng (鍾), jiāng (江), zhī (支), yú (魚), mó (模), yú (虞), xiāo (宵), gē (歌), qīn (侵), tán (談), fán (凡) rhymes. In particular, those books are different in the arrangement of a labial sound in zhī (支) rhyme. In addition, this article found that Xīnzēngyùnjìngyìjiědàquán (新增韻鏡易解大全) and Móguāngyùnjìng (磨光韻鏡) refer to different kinds of rhyme tables: the classification in Xīnzēngyùnjìngyìjiědàquán (新增韻鏡易解大全) is close to Yīnyùnrìyuèdēng (音韻日月灯), and the one in MóguāngYùnjìng (磨光韻鏡) refers to Yùnfǎhéngtú (韻法横圖) according to the records in Xīnzēngyùnjìngyìjiědàquán (新增韻鏡易解大全) and MóguāngYùnjìng (磨光韻鏡).
최석정의 「훈민정음준황극경세사상체용지수도」와 소옹의 「성음창화도」의 비교 연구
배규리 ( Bae Gyuree ) 한국중국언어학회 2021 중국언어연구 Vol.- No.93
Shao Yong’s Shēngyīnchànghétú was introduced to the Korean peninsula in the 15th century with the spread of Xìnglǐdàquán. Shao’s ideological thought had a significant influence on the Chŏsun literati. Ch’oe Sŏk-chŏng was among them, and his phonological work called Kyŏngsehunminjŏngŭmdosŏl is strongly connected with Shao’s ideological thought. To understandKyŏngsehunminjŏngŭmdosŏl, one must analyze Sìxiàngtǐyòngzhīshùtú Following Hunminjŏngŭm as it is the core part of Kyŏngsehunminjŏngŭmdosŏl. As Ch’oe said that he edited Shao’s Shēngyīnchànghétú according to an “Old Sound” when designing Sìxiàngtǐyòngzhīshùtú Following Hunminjŏngŭm, this paper aims to compare the two works directly to discover their phonological relationship. Through this comparison, it was found that Sìxiàngtǐyòngzhīshùtú Following Hunminjŏngŭm is composed of two levels, which are a “Contemporary Sound (particular to the Northern Song dynasty)” and the “Old Sound.” The “Contemporary Sound” is consistent with the characteristics of Shao’s Shēngyīnchànghétú, such as the merger of Guǒ(果)·Jiǎ(假) rhymes, Gěng(梗)·Zēng(曾) rhymes, Shān(山)· Zhēn(臻) rhymes, and Zhǐ(止)·Xiè(蟹) rhymes respectively. In contrast, its “Old Sound” kept the traits of the traditional Chinese rhyme dictionary Guǎngyùn. For example, it maintained the coda of entering tones, and the full-voiced sounds did not change into clear sounds. Additionally, nasal coda rhymes were paired with entering tone rhymes in Sìxiàngtǐyòngzhīshùtú Following Hunminjŏngŭm, which is also consistent with Guǎngyùn.