고교생들의 구강보건의식 행태에 관한 연구 -경기 이천시 소재 고교-

유수민 ( Su Min Yoo ),안금선 ( Geum Sun Ahn ) 한국치위생과학회 2003 치위생과학회지 Vol.3 No.1

명대 소설 『봉신연의(封神演義)』에 표현된 신선·도교문화

유수민(Yoo, Su-Min) 한국도교문화학회 2021 道敎文化硏究 Vol.55 No.-

본 논문은 명대 소설 『봉신연의』에 표현된 신선·도교문화를 서사적 상상력의 관점에서 고찰하였다. 논의는 다음의 네 가지 논점을 바탕으로 이루어졌다. 첫째, 주요 등장인물들이 모두 선인(仙人)이라는 점에 대해 논의하였다. 선인은 불사를 추구하며 주술적 비상(飛翔)을 실현하는 존재이다. 그리고 천계에서 수립한 이른바 ‘봉신계획’이란 인간계의 은주혁명과 맞물리며 전투에서 희생되어 죽은 자들을 신으로 봉하는 계획으로, 바로 이 선인들의 품계를 정하는 계획이라 할 수 있다. 둘째, 삼시(三尸)의 제거가 등장인물들의 주요 과업이라는 점에 대해 논의하였다. 체내에 존재하는 삼시는 인간의 잘못을 사명에게 고해바쳐 인간의 수명을 단축시키므로 삼시의 제거는 곧 장생불사를 이루기 위한 주요 과업이 된다. 그러나 소설에 등장하는 선인들은 대개 삼시를 제거하지 못한 상태이며, 그로 인해 살겁(殺劫)을 수행하는 봉신 전투에 참여하는 운명을 맞이하게 된다. 그 중에서도 더 많이 희생되는 쪽은 은(殷)의 편에 선 절교(截敎) 선인들로, 그들의 충동과 분노의 정서는 바로 삼시의 작용과 맞닿아 있다고 볼 수 있다. 셋째, 기(氣) 수련을 통하여 개체변환을 이룬 선인들에 대하여 논의하였다. 개체의 변환은 기화우주론의 사고방식을 바탕으로 이루어진다. 절교 선인들 중에는 본래 동물·사물이었다가 기의 수련을 통해 인간으로 변화한 후 득선한 자들이 많은데, 이를 통해 신선가학론의 입장이 수용되어 있음을 볼 수 있다. 그러나 그들은 끝내 출신 때문에 천교(闡敎) 선인들을 능가하지 못한다는 점에서 신선기품론이 기저에 깔려 있음도 확인된다. 넷째, 각종 법술(法術)의 운용에 대해 논의하였다. 우선 거울 조요보감(照妖寶鑑)과 채찍 타신편(打神鞭), 자웅편(雌雄鞭)의 경우를 통해 신선설화에 등장하는 축귀구마의 주구가 소설에서 주요 법보로 활용되고 있음을 살펴보았다. 또한, 본래 위해로부터의 방어 및 질병 치료가 주요 기능인 부적·주문 활용 법술이 소설에서는 상대를 공격하고 위험에 빠뜨리는 법술로 묘사되고 있음을 고찰하였다. 본고의 논의는 신선·도교문화가 『봉신연의』의 중요한 서사적 상상력으로 작용하고 있음을 밝히고자 하였다. 나아가 신선·도교문화는 비단 전통적 상상력으로서만 유효한 것이 아니라 오늘날 대중들이 향유하는 ‘선협(仙俠)’이라는 장르의 문화콘텐츠에서도 중요한 상상력으로 작용하고 있기에 이에 대한 다각적 논의가 필요하며, 이는 후일을 기약한다. This paper examines the immortal-Taoist culture expressed in the Ming novel Fengshenyanyi (封神演義) from the perspective of narrative imagination. The discussion was based on the following four points. First, it was discussed that almost all of the main characters are immortals (仙人). Immortal is a being who pursues immortality and realizes magical flight. So-called ‘Fengshen (封神) Plan’ established in the heavens is a plan to entrust the dead who died in the battle in conjunction with the Shang and Zhou Revolution (商周革命) in the human world, and it can be said that it is a plan to determine the ranks of these immortals. Second, it was argued that the removal of Three Corpses (三尸) is the main task of the characters. The Three Corpses that exist in the body shorten the lifespan of humans by confessing their mistakes to the god Si Ming (司命), so the removal of the Three Corpses soon becomes the main task to achieve longevity and immortality. However, the immortals in the novel actually have not been able to get rid of the Three Corpses, and as a result, they are destined to participate in the Fengshen battle of killing each other. Among them, the most sacrificed are the immortals of JieJiao (截敎) sect who are on the side of Shang (商), and their impulses and emotions of anger are directly in contact with the action of the Three Corpses. Third, the immortals who achieved individual transformation through qi (氣) training were discussed. The individual transformation is made based on the thinking of the Cosmology of Qi-Hua (氣化宇宙論). Among the immortals of JieJiao, there are many people who were originally animals and things, but through the training of qi, they changed into humans and finally became immortals. Through this, it can be seen that the position that one can learn and become an immortal is accepted. However, it is also confirmed that the position that an immortal is born with innate quality is underlying in that they cannot outperform the immortals of ChanJiao (闡敎) sect because of their origin. Fourth, the operations of Taoist magic (法術) were discussed. Through the case of the mirror ZhaoYaoBaoJian (照妖寶鑑), the whip DaShenBian (打神鞭), CiXiongBian (雌雄鞭), it was examined that the magic tools to chase away ghosts and demons appearing in the immortal tales are being used as the main magical weapons in the novel. In addition, it was considered that the magic of using amulets and spells, whose main functions are defense from harm and treatment of diseases, is depicted as a magic that attacks and endangers the opponent in the novel. The discussion in this paper is intended to reveal that immortal-Taoist culture is acting as an important narrative imagination of Fengshenyanyi. Furthermore, since immortal-Taoist culture is not only effective as a traditional imagination, but also works as an important imagination in the cultural content of the genre of "XianXia (仙俠)" that the public enjoys today, a multifaceted discussion is needed.

‘현대의 신화’ 창조 - 중국애니메이션『哪吒之魔童降世』의 哪吒 캐릭터 스토리텔링에 대한 고찰

유수민(Yoo, Sumin) 한국중어중문학회 2019 中語中文學 Vol.- No.78

This study explores a storytelling of the mischievous character Nezha (哪吒) in the 3D animation film titled Ne Zha (2019), currently a major box office hit in China. Ne Zha is a modern adaptation of the popular story of a young boy Nezha and the idea of deification of the dead manifested in the Ming novel Fengshenyanyi (封神演義). It especially focuses on the modern Chinese ideology implanted in the process of making the film. Nezha was initially introduced to Han (漢) China as one of the Buddhist guardian figures. It was the Tang (唐) period that he became widely known in China, through the Chinese translations of Buddhist scriptures. Eventually, the character Nezha was absorbed into Chinese Daoism and gain the role as a subduer of evil. In the Fengshenyanyi, Nezha appears as a unfilial son. Nezha dissects his own flesh and bones and return them to his parents, and he even attempts to kill his father Li Jing (李靖), a clear representation of his Oedipus complex. The film Ne Zha creates a new ideological significance through the character Nezha, who had been imbued with diverse cultural implications in Chinese culture accumulated over a long period of time. Firstly, it eliminates the idea of the Oedipus complex, while it newly advocates the virtue of patriarchal sacrifice to accentuate the ideology of loyalty to national duty. Secondly, the film adopts the idea of yin-yang (陰陽) converting the notion of good and evil. Nezha overcomes his image as a destructive monster (妖怪) and his tragic fate, by saving the village, and thus he conversely gains a new virtuous reputation. Therefore, it effectively constructs the ideology of defiance towards the American “cultural standard” established in the global society. The Ne Zha becomes a “modern mythology,” through the espousal of the classical narrative familiar to the Chinese general public. In this manner, it encapsulates the ideology of modern Chinese society and the cultural psychology of the masses.

二郞神 楊戩 형상의 서사적 재현 고찰

유수민(Yoo, Su-Min) 한국도교문화학회 2016 道敎文化硏究 Vol.45 No.-

灌口 二郞神은 중국에서 가장 널리 숭배되는 도교의 신격 중 하나로, 다양한 이미지들이 유전되고 축적되어 온 신이다. 중국 민간에서 그의 형상은 秦 蜀郡太守 李冰의 치수신 이미지, 隋煬帝 때 교룡을 퇴치한 趙昱의 호법신으로서의 이미지뿐 아니라, 寶蓮燈 전설의 ‘산을 쪼개 모친을 구하는(劈山救母)’ 모티프까지 모두 덧입혀져 있다. 본고는 이러한 이랑신이 明代 『西遊記』, 『封神演義』 등 神魔小說에서 중요한 역할을 담당하는 캐릭터로 형상화되었음에 주목했다. 『西遊記』 에서는 아무도 손대지 못했던 제천대성 손오공을 사로잡는 강력한 인물로, 『封神演義』에서는 姜子牙의 오른팔로서 무왕벌주의 과업을 달성하는 핵심인물로 그려져 있으며, 각 작품 속 이러한 형상들은 기존에 존재해온 이미지들을 상호텍스트적으로 수용 및 변형하면서 도교적 환상성을 잘 표현하고 있음을 고찰했다. 나아가, 이러한 특징들을 지닌 고전 서사가 오늘날의 디지털 환경 속 문화콘텐츠들에 매우 유효한 레퍼런스가 되고 있음을 디지털 게임 『王者榮耀』 의 경우를 통해 논의했다. Erlangshen(二郞神) who has a variety of images that had been handed down and accumulated for a long time, is one of the most widely worshipped and popular gods in Chinese Taoism. There are three major types of story with regard to Erlangshen and they are mixed among Chinese ordinary people. The first one is the story of Li Bing(李冰) as a god of water-regulation, the chief of Shu(蜀) Province in Qin(秦). The second one is the story of Zhao Yu(趙昱) as a guardian who beat a flood dragon in Sui(隋). The last one is the story of hero Yang Jian(楊戩) who ‘broke open the mountain to rescue his mother(劈山救母)’, from the Bao lian deng(寶蓮燈) folklore. I focused on the fact that Erlangshen had been described as a figure who had played a significant role in god-evil novel(神魔小說) of Ming like The Journey to the West(西遊記) and The Legend of Deification(封神演義). In The Journey to the West, he was depicted as a very strong wizard who even captured the Monkey King, nobody dared deal with. In The Legend of Deification, he was portrayed as a key figure who achieved the goal of crusade against King Zhou(紂) of Shang(商) by King Wu(武) of Zhou(周) while working as Jiang Ziya(姜子牙)’s right arm. I pointed out that the Elrangshen features in these texts were well illustrated by inter-textual acceptance and modification of the characteristics that had been all along, and which fully demonstrated the fantasy based on Taoism. In addition, I argued that these properties of classic story motif can be effective references to cultural contents in the current digital environment, by investigating the case of a digital mobile game-The Glory of the King (王者榮耀).

『封神演義』 속 哪吒 형상 小考

유수민(Yoo, Sumin) 한국중어중문학회 2015 中語中文學 Vol.61 No.-

‘Nezha(??)’ is a fictional character in Fengshenyanyi(封神演義), in which he plays an important role in accomplishing his task for Wuwangfazhou(武王伐紂) in quality of spearhead in Zhou(周) Army led by Jiangtaigong(姜太公). This study examined the origins and transfiguration of Nezha thoroughly and considered his part in Fengshenyanyi in regard to the thematic meaning of the whole novel, concerning the fact that he enriches the meaning of this novel and is worshiped as a god of Taoism among Chinese people until now. Initially, Nezha(Nalakuvara) was introduced into China from Indian Buddhism as a guardian of Buddhism. After that, he was gradually naturalized as a god of Taoism, being seated as a defeater of evil and a god of water. Because of the fact that his story includes the element of ‘dissecting his own flesh and blood and returning to his parents(析骨肉還父母)’, Nezha got the image that he was not in accordance with filial in China. At a certain moment, his father, Vaisravana(毘沙門天王), was combined with LiJing(李靖), historical general in China, which means he was fully naturalized as a Chinese character. Nezha based on the naturalized character plays a key role in constructing meaning of the whole Fengshenyanyi novel. In Fengshenyanyi, departing from the Confucianism order, the Symbolic law, Nezha entered the world of Taoism, the other subversive symbolic principle in China. At the same time, as a fictional character, he plotted to overthrow the rational logic of the real world fantastically by means of intervening in the real event, ‘Wuwangfazhou’. He is more than just a character in the same track with the themes of this novel. He additionally enriches the meaning of it by performing these things. That’s why the people in China still worship him as a god of Taoism, who has the powerful force and the rebellious mentality.

자기주권 신원증명 기반 스마트 계약 구현을 위한 자격증명 시스템 제안

유수민(Su-Min Yoo),유수빈(Soo-Bin Yoo),조정화(Jung-Hwa Jo),손애선(Ae-Seon Son) 한국정보기술학회 2020 한국정보기술학회논문지 Vol.18 No.12

Modern society has introduced a public key infrastructure that verifies the proof of data senders while ensuring data leakage on the Internet, providing digital certificate technology based on symmetric and asymmetric key encryption for safe data exchange and identity authentication online. But CAof security is fragile, CA of all users using digital certificates are also vulnerable, and also in a data breach. There is a secondary damage that can be caused by information leaked. In order to prevent damage caused by digital certificates and key leaks, this paper proposes a system to ensure the integrity of data by using the distributed ledger environment, the Block chain, and secure the security to exchange the open key safely in a decentralized structure using the open key of the DID (Decentralized Identifier) Document registered in the block chain.

朝鲜小说『唐太宗传』对『西游记』的改编特征研究

柳秀旼(Yoo Su Min) 한국중어중문학회 2021 한국중어중문학회 우수논문집 Vol.- No.-

Dangtaejongjeon (당태종전, 唐太宗傳), a classical Hangul novel by an unknown author in the late Joseon (朝鮮), is a adapted story which was newly composed from the story of the Tang (唐) Emperor Taizong (太宗)’s visit to the underworld in Journey to the West (西遊記). Novel readers in late Joseon had a strong tendency to share Chinese novels which were not original texts but rather adapted works, being gone through their own ‘appropriaton’ process. This study regards Dangtaejongjeon as a novel in such a flow, and thus tries to examine the world of it in terms of appropriaton of the original text. This study considers that the Tang Emperor Taizong (唐太宗) functioned as a ambivalent cultural code in Joseon society and thus adaptation was done on that basis. Contemplation about the aspects of adaptation was conducted with four perspectives in this study. Firstly, the author of this novel pursued historical details. It shows that the author would be a class with some knowledge. Secondly, this novel manifested the entire Buddhist world view by actively embracing Buddhist narratives. Thirdly, this novel also contained realistic Confucian values while expressing the Buddhist world view. These two outlooks did not conflict with each other and coexisted naturally. Fourthly, the description of the underworld has changed in Korea compared to the original. Dangtaejongjeon was written in many parts reflecting the cultural situation and ideological factors of the late Joseon through a process of ‘re-writing’ of Journey to the West. Dangtaejongjeon re-written in this way was able to be enjoyed without any heterogeneity among Joseon public readers. This study tried to dispute on the world of a adapted work of Chinese novel in Joseon in terms of not a simple import or influence relation but the ‘contact, modification, creation.’ I believe that this study would be helpful to enhancement of mutual understanding about classical novel culture and narrative tradition between Korea and China.

럭셔리 브랜드의 지속가능 실천 사례에 관한 연구

유수민 ( Soo Min Yoo ),이정수 ( Jung Soo Lee ) 한국패션비즈니스학회 2023 패션 비즈니스 Vol.27 No.2

This study aimed to understand the current status of practice for sustainability in luxury fashion brands. A total of five luxury brands (Louis Vuitton, Hermes, Gucci, Burberry, and Prada) were selected. Each company's official website, sustainability reports, and articles on sustainability practices were compiled. In addition, analysis was performed based on criteria of sustainability such as environmental, social, economical, and cultural dimensions. As a result, the biggest commonality of the five brands was that they promoted the most active change in the environment. These brands tried to reduce energy consumption in materials and production processes. Among them, Burberry, Gucci, and Louis Vuitton had their own departments for sustainability. However, there were differences in strategies of activities between brands for social, economical, and cultural sustainability. Among the five companies, Burberry and Gucci pursued sustainability strategies the most aggressively. They separated their sustainability strategies in terms of environmental, social, economical, and cultural aspects and shared them with consumers. A set of outcomes for the plan were provided as objective data. The sustainable management strategy has become a key strategy for long-term growth of the luxury brand market. To survive in the market, luxury brands should elaborate sustainable management strategies and actively share them with consumers.

FEMS 구축을 위한 모니터링 시스템 설계

유수민(Su- min Yoo),문채주(Chae- Joo Moon) 대한전기학회 2022 대한전기학회 학술대회 논문집 Vol.2022 No.7

어린이의 외상성 치아손상에 관한 연구

유수민 ( Su Min Yoo ),박호원 ( Ho Won Park ) 한국치위생과학회 2004 치위생과학회지 Vol.4 No.1