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이상룡 한국음악사학회 2002 한국음악사학보 Vol.29 No.-
This paper is to give a short biography of the taegu˘m 大? master, Kim So˘ng-jin 金星振 (1916-1996) made by Yi Sang-ryong 李相龍, one of his pupils. Kim So˘ng-jin was one of students majoring in large transverse flute (taegu˘m) at the Conservatory of Royal Yi Household known as Yiwangjik aakpuwo˘n yongso˘ngso 李王職雅樂部員養成所. His taegu˘m teacher was Kim Kye-so˘n 金桂善 (1891-1944), who was a member of naech'wi 內吹 at the Yiwangjik aakpu 李王職雅樂部, Royal Music Institute of Yi Household during the Japanese colonial period (1910-1945). After his graduation of the Conservatory in 1936, he was in office of Yiwangjik aakpu as a court musician of aaksu 雅樂手, and played an important role with his taegu˘m. After the Liberation in 1945 he was one of founding members of the National Classical Music Institute (Kungnip kugagwo˘n 國立國樂院), the present National Center for Korean Traditional Performing Arts, and he lived the same institute with such court musicians as Yi Chu-hwan 李珠煥, So˘ng Kyo˘ng-nin 成慶麟, Kim Ki-su 金琪洙, Kim Ch'o˘n-hu˘ng 金千興, Kim T'ae-so˘p 金泰燮, Pong Hae-ryong 奉海龍, Pak Yo˘ng-bok 朴永福, Kim Yo˘ng-yun 金永胤, and so on. Also Kim So˘ng-jin was a taegu˘m teacher at the National Conservatory of Korean Traditional Music (Kungnip Kugaksa yangso˘ngso 國立國樂士養成所). Since the establishment of the National Conservatory in 1955, he trained a great number of young generation for taegu˘m players including the present writer Yi Sang-ryong 李相龍, Cho Ch'ang-hun 趙昌薰, Cho Chae-so˘n 趙在善, Kim U˘ng-so˘ 金應瑞, Hwang Kyu-il 黃奎日, Cho So˘ng-nae 趙聖來, and so on.
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이상룡 대동철학회 2020 大同哲學 Vol.93 No.-
비트겐슈타인은 자신의 철학적 탐구에서 일목요연한 묘사가 근본적으로 중요하다고 말 한다. 해커는 일목요연한 묘사를 규칙의 상세화로 본다. 반면에 베이커는 일목요연한 묘사 가 철학적 질병에 빠진 사람들을 치료하는 행위로 본다. 이리하여 비트겐슈타인의 문법적 탐구는 해커에서는 해명이 되고, 베이커에서는 치료가 된다. 그러나 둘 다 비트겐슈타인이 철학적 문제를 해결하기 위해 언어의 사용을 일목요연하게 묘사한다는 데, 따라서 일목요 연한 묘사가 비트겐슈타인의 철학적 활동의 핵심이라는 데에는 일치하고 있다. 본 논문은 일목요연한 묘사에 대한 이들의 해석을 비판하고 비트겐슈타인의 일목요연한 묘사를 그가 말한 언어 투쟁으로 해석하고자 한다. 비트겐슈타인에 의하면 철학적 문제는 우리의 언어 형식들에 대한 오해에 의해서 발생한다. 따라서 철학의 과제는 철학적 불안들이 사라지도 록 표현을 형성하는 것인데, 그러한 표현을 형성하는 것이 바로 일목요연한 묘사이다. 비 트겐슈타인에 의하면 철학적 문제는 우리의 언어가 하는 작업에 대한 통찰에 의해서 풀리 는데, 그러한 통찰을 얻기 위해서는 그 작업을 오해하려는 충동에 대항하여야 한다. 도대 체 지금 이 놀이가 행해져야 하는가, 그리고 어느 것이 올바른 놀이인가고 물을 수 있어야 한다. 우리 언어의 작업을 오해하려는 충동, 표현의 형식들이 우리에게 행사하는 마력은 우리의 언어 속에 각인되어 있는 오래된 그림들 또는 신화이며, 그것을 벗어나기 위해서는 언어에 대한 본능적 반항 속에 사람들에게서만 가능하다. 따라서 철학은 우리의 언어 수단 에 의해 우리의 오성에 걸린 마법에 대한 투쟁이다. 철학은 언어 투쟁이며, 그 투쟁의 무 기는 언어이고, 투쟁의 대상은 오성의 마법이며, 투쟁 방법은 일목요연한 묘사이다. Wittgenstein says that the concept of a perspicuous representation is of fundamental significance for us. Hacker sees a perspicuous representation as a specification of the salient rules. Baker, on the other hand, sees it as an act of curing people suffering from philosophical illness. Thus Wittgenstein s grammatical investigation means elucidation for Hacker and therapy for Baker. However, both agree that Wittgenstein s perspicuous representation is to solve philosophical problems, and that it is at the heart of Wittgenstein s philosophical work. This paper attempts to criticize their interpretation of the perspicuous representation and interpret it as a language struggle. Philosophical problems, according to Wittgenstein, arise from a misinterpretation of our forms of language. Therefore, the task of philosophy is to form an expression so that philosophical troubles disappear, and that formation is a perspicuous representation. For Wittgenstein, philosophical problems are solved by insight into the work of our language, and in order to gain such insight, we must resist the urge to misinterpret the work. We should be able to ask: Can this game be played at all now and what would be the right game to play? The urge to misinterpret the work of our language, the fascination which forms of expression exert upon us are the oldest thought habits or images that are engraved into our language itself, therefore pulling them out only works with those who live in an instinctive state of rebellion against language. So philosophy is a struggle against the bewitchment of our intelligence by means of language. In short, philosophy is a language struggle, the weapon of the struggle is language, the object of the struggle is the bewitchment of our intelligence, and the method of struggle is a perspicuous representation.
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이상룡 현대영미어문학회 1985 현대영미어문학 Vol.3 No.-
According to O’Neill’s tragic vision, human tragedy is the tragedy of the very existence of the individual self, the tragedy of relentless inner awareness and guilt, with only occasional and mysterious moments of transcendence. Anna Christie concludes on the note that the sea directly controls the fate of the three protagonists. Anna is to be Burke’s wife, and Burke, as well as her father, is to set sail once again. The hint of foreboding does not mean certain doom, merely that all of life awaits them. In this play, the sea intoxicates men with its freedom from respon-sibility. It causes them to forget their personal obligations. Anna herself rejoices in the feeling of freedom the sea gives her. This freedom is dangerous, because it means that those left at home will suffer like Anna’s mother suffered. The sea is life itself, or fate, in the play. As such, it cannot be avoided or fought directly; it can only be endured. For Anna, the sea is her past and her future. In the past, her father was so dominated by the sea that he left her among strangers. Anna’s future marriage to Burke will be dominated by the sea also. For Chris, th sea means suffering, or the working out of man’s fate in tragic terms, because he has been the fearful slave of the sea all his life. Burke trusts the divinity to which he belongs and willingly lives out the full course of his fate without rebellion. For him it is enough to trust. Therefore, for Chris, the sea is the devil, but for Burke, the sea is the will of God, and for Anna, the sea is her purification.
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