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이남종 한국중국학회 2015 중국학보 Vol.73 No.-
In 1460, Jiang-Ning(張寧, 1426~1496) first came to Joseon Dynasty as a diplomatic delegate in order to resolve political strain between Joseon Dynasty and Ming dynasty (明) caused by YeoJin (女眞). He had successfully done his duty and resolved diplomatic conflict between two countries by delivering a message from Ming Dynasty and listening to Joseon Dynasty’s position. Besides his original mission, he had well served as a cultural bridge between two countries. Jiang-Ning left numerous literary works during his round-trip from Beijing to Hanyang, Joseon. Among his works, some poetry and proses that were made in Joseon were published as ≪Huang Hua Ji (皇華集)≫. Then he collected other works and published them into the first volume of ≪The Record of A Mission and Journey to Chosun (奉使錄)≫ back in his country, and he also published second part of ≪奉使錄≫ using ≪Hwanghajib≫ of Joseon Dynasty. Some poetry of ≪Bongsa-rock≫ that were exchanged between him and Joseon Dynasty’s great writers, government officials such as Park, Won Hyung(朴元亨, 1411∼1469) have been a central interest of literary researches. His major works include 60-rhyme(韻) Poem on Taiping Guan Tower(<登太平館樓>) and Poem on Han river Tower(<題漢江樓詩>), which are long pieces of poet that requires deep and agile capabilities. Jangnyeong‘s poem on Gueon-Geun(權近)’s ≪ Poetry Written Upon The Emperor``s Order (應制集)≫ confirms the idea that diplomatic relationship of Joseon Dynasty and Ming dynasty was being formed and developed through the cultural frame which depended on poetry and prose. Jiang-Ning wrote poetry and prose whenever he met historical places or scenic viewpoints during his vist to Hanyang. He was often asked to write or sometimes he voluntarily painted the picture and wrote a poem on it. In the meantime, he did show his intention to give up his position as a high-ranking government official and hide during his tight trip as an envoy. Some major works reflecting this feature are <Taoyuantu桃源圖爲 遼東李都□端題>, <Mozhu墨竹>, and <Travel notes on Fenghuang-Mauntain (遊鳳凰山記)>. In the history of Chinese literature, Jiang-Ning is considered a special figure in period of transition from Taige Style(臺閣體) to Chaling school(茶陵詩派). After he successfully served his job as a delegate, he actually gave up his position and returned to his homeland to devote himself to artistic life with calligraphy and paintings. His nonaxiomatic feature which pursued a pure literature was already revealed in his travel to Joseon as a delegate. Jiang-Ning``s ≪奉使錄≫ includes plenty of information other than literature. In addition to evaluation of diplomatic relations between Joseon, Ming, and Yeojin, there are also articles that reveal Joseon``s publishing and printing capabilities. According to ≪Jibongryuseol (芝峰類說)≫, it is insisted that <A review of Yu-Rang (豫讓論)> of Jiang-Ning contains support to the movement of DanJong(端宗)``s restoration of Sayuksin(死六臣). There are some references in ≪奉使錄≫ to check if this opinion is well evidenced enough.
宋代 題畵詩의 類型과 意境에 관한 考察 : -<聲畵集>의 美人題畵詩를 중심으로-
李南鍾 한국중국어문학회 2001 中國文學 Vol.35 No.-
本文是美於宋代題麗淸業型意境之探. 宋代題麗濬食多而業者見浿不, 因而本硏究不得不猜冷部鈴考察. 於是禁者以分析美人題蘭濤冷起. 自古以來, 美人衆最淮決之題. 河則, 美人騷衆至美所灌之畿, 又冷人欲所注之畿. 刻欲而行, 則其害不止一身之酸, 而舊至家園之傾覆. 鼓古人枾美人團尤物也. 然而人不可无如此好吏之心. 墨人 亦言, 淡凌勇女, 太默存焉. 墨然, 狀太款美流生人美文明之來源. 苟无款心, 因无多姿奈彩之亐本, 必矣. 欲心屬於鄙雌之人境而胞胎亐本, 訖本出於鄙雌之人境, 而超乎人境, 游於天上境界. 出入无財, 莫知其多春, 人心也. 使之有定, 人於乖上世界耉, 亐來之心也. 宋人重理智, 兼順情感. 因而能待人欲所灌之美人送乎芝朮之天上境界. 平德默想无累於洶, 可以渭在送行芝本梅想之申所柔用的生活思催上之丙神具俸方法. 乖而不灌, 可以涓在淺行姜本制作之後所刻造的亐本家美的案踐境界. 在中園, 以淸颯夙, 狀麗潾戒, 案冷源遠流候. 宋人美人題蘭, 不出乎此. 其中亦有昇於文苾之堺凍本色. 名衆濕凍, 案洵-財消遣之作 蛇外, 又有淸憐惜美人之不幸. 崙人倫懶美人之浮薄這命者,可渭悲制自身所困之鈗境. 嗟乎, 福中美人, 可視而不可鉞, 可近而不可晤言. 似耉而非街, 若有若无, 虛无螺點, 案冷无有.音其本无, 不可以言情, 明矣. 씬然如沈, 向往美人, 追求美人之形 字有勞根孝. 古人쳐美人讀而題濬, 今人카其淸而淡麥, 딘可同日而壇, 想來, 其揆一.
판교(板橋) 정섭(鄭燮)의 <제화(題畵)>에 대한 관견(管見)
이남종 한국중국어문학회 2009 中國文學 Vol.61 No.-
< Tihua題畵 > written by Zhengxie鄭燮(淸Qing Dynasty, 1693~1765) deals with not only an epilogue which directly discussed paintings and calligraphies but also ideal distinction between literature and life, as well as many shapely, philosophical and thoughtful writings about going to government service and into retirement, using orchid and bamboo as a metaphorical device. This study examines the latter, excluding the former which focused on paintings and calligraphies. Unlike his poetry詩and verse詞 based on administrating doctrine of Confucianism which criticize social problem and mainly deal with a benevolent spirit for the people, < Tihua題畵 > consists of questions of essential happiness in life as artistic space in which private sector is heightened, duty and role of a scholar in the society of mixed neatness and commonness, and problems of going in to public service and hiding into retirement. Orchid, bamboo, and stone which takes his paintings as main materials locate in the very center of his thinking, and are linked to the author`s identity. The ultimate goals of Zhengxie which is described through orchid, bamboo, and stone were literature and art, and a pursuit of `Chungjeol淸絶` - highly pure distinction - in life. Then, the chase for this purpose means pursuit of true and ideal gentleman who lives well along with society without being tainted with the mundane world. Also in < Tihua題畵 > by Zhengxie鄭燮, thoughts about going into public service and hiding into retirement are being expressed among the process of pursuit for true gentleman`s ideal.
송대(宋代) 제화시(題畵詩)의 유형(類型)과 의경(意境)에 관한 고찰(考察) - 《성화집(聲畵集)》의 미인제화시(美人題畵詩)를 중심으로 -
이남종 한국중국어문학회 2001 中國文學 Vol.35 No.-
本文是關於宋代題畵詩類型與意境之探討.宋代題畵詩衆多而筆者見識不廣,因而本硏究不得不縮爲部分考察.於是筆者以分析美人題畵詩爲起步. 自古以來,美人爲最難決之題.何則,美人旣爲至美所鍾之處,又爲人欲所注之處.縱欲而行,則其害不止一身之敗,而甚至家國之傾覆.故古人稱美人曰尤物也.然而人不可无如此好色之心.聖人亦言,飮食男女,大欲存焉.雖然,此大欲實爲産生人類文明之來源.苟无欲心,因无多姿多彩之藝術,必矣.欲心屬於鄙賤之人境而胞胎藝術,藝術出於鄙賤之人境,而超乎人境,游於天上境界.出入无時,莫知其鄕者,人心也.使之有定,入於天上世界者,藝術之心也.宋人重理智,兼顧情感.因而能將人欲所鍾之美人進乎藝術之天上境界.平穩默想與无累於物,可以謂在進行藝術構想之中所采用的生活與思惟上之兩種具體方法.樂而不淫,可以謂在進行藝術創作之後所到達的藝術審美的實踐境界. 在中國,以詩規風,以畵勸戒,實爲源遠流長.宋人美人題畵,不出乎此.其中亦有異於文藝之?諫本色名爲?諫,實爲一時消遣之作.此外,又有詩?惜美人之不幸.詩人怜憫美人之浮薄運命者,可謂悲?自身所困之處境. 嗟乎,畵中美人,可觀而不可觸,可近而不可晤言.似有而非有,若有若无,虛无?渺,實爲无有.若其本无,不可以言傳,明矣.縱然如此,向往美人,追求美人之形象,寧有終極乎.古人對美人畵而題詩,今人對其詩而說夢,豈可同日而論,想來,其揆一與.
이남종 한국중국어문학회 2003 中國文學 Vol.40 No.-
王禹稱(954-1001)是北宋詩文改黃的先驅人物. 他出身寒家, 而聽明過人. 爲人耿介, 出仕後, 遇事難緘默, 敢于議論. 所以八年仕宦中, 三見貶逐. 然而他的剛正不阿節操終不?. 可是他的心裏不能避免有深刻的失意之感. 包括詩歌在內的他全體文學, 就是在這些政治方面感覺到的失意之感所釀成來的. 這篇論文是採取評傳式敍述方式的. 筆者首先把他的生灌分爲靑少年時期 · 地方官時期· 第一次中央官僚時期·商州時期· 第二次中央官僚時期·?州時期· 黃州時期等七個時期, 在敍述他各時期的事跡內容當中, 刻意探討他的詩歌所展現的思想內容以及審美意境方面的種種問題. 在文尾, 通過參考前人之所圍續王禹稱文學進行的批評文字, 而導出了對王禹稱詩歌的練合性評價.
2급 응급구조사 양성과정 개선방안 연구 : 양성기관 현황 및 지정기준 검토
이남종,신동민,김병우,박시은,유은지,윤병길,윤성우,윤형완,이경열,최재웅,황성훈,Lee, Nam-Jong,Shin, Dong-Min,Kim, Byung-Woo,Park, Si-Eun,Yoo, Eun-Ji,Yoon, Byoung-Gil,Yun, Seong-Woo,Yun, Hyeong-Wan,Lee, Kyoung-Youl,Choi, Jae-Woong,Hwang, 한국응급구조학회 2019 한국응급구조학회지 Vol.23 No.2
Purpose: To discuss the records and legal standards of emergency medical technician training institutions in Korea and abroad, to identify the problems, and to provide the basic resources for improving the EMT-basic training institutions. Methods: We received advice through an advisory meeting of experts (professors of department of emergency medical technicians) and interested parties (Korean Association of Emergency Medical Technicians, officials of emergency medical technician training institutions) and referred to various reports published by governments, official institutions, and other trustworthy organizations. Also, we communicated with the related experts abroad (3 countries) on the phone or by email for surveys. Results: Compared to the abroad, it is necessary to categorize the standards and procedures of designating the emergency medical technician training institutions in Korea and improve the management of training institutions to train competent emergency medical technicians. Conclusion: It is necessary to designate and manage continuously the emergency medical technician-basic training programs for the systematic primary healthcare service.