색채 표현활동을 통한 시 감상교육 ― 이상·서정주·윤동주의 「자화상」을 중심으로

이승이 ( Lee Seung-yi ) 현대문학이론학회 2021 現代文學理論硏究 Vol.- No.85

시 감상은 읽기를 통해 앎으로 끝나는 단순한 수용 과정이 아니다. 상상력을 동원하여 새로운 의미를 부여하는 표현활동을 통해 깨달음이 일어나는 능동적인 창조 행위이어야 한다. 이를 위해 시 감상교육은 이해와 표현이 함께 이루어져야 하며, 다양한 표현활동에 대한 모색이 필요하다. 표현활동으로는 구술, 서술, 그리고 그림 그리기 등 다른 매체로의 표현이 가능하며, 학교 현장에서는 대부분 구술과 서술 활동으로 이루어지고 있다. 본고는 그림 그리기 표현활동에 초점을 두고, ‘이해하기(추출)-생각하기(추출)-표현하기(채색)’의 과정을 통해 이해와 표현을 통합 구성하고자 한다. 그리고 시 감상을 위해 ‘3대 자화상’으로 불리는 이상·서정주·윤동주의 「자화상」을 대상으로 삼았다. 이해하기 단계에서는 읽은 시 텍스트에서 스토리 키워드를 뽑아내고, 생각하기 단계에서는 스토리 컬러를 추출하며, 표현하기 단계에서는 추출한 스토리 컬러를 채색한다. 이해와 표현의 통합은 자화상 시편을 읽으면서 <자화상>―엷은 흰 노랑의 '떼드마스크-불안 속에 홀로된 자기'(이상), 주황의 ‘병든 수캐-고통을 회피하지 않는 냉소적 영웅’(서정주), 파랑의 ‘追憶처럼 사나이-자기애에 빠진 나르키소스’(윤동주)―그림을 그리는, 즉 언어 이미지를 색채 이미지로 전환하는 과정으로 나타난다. 이때, 표현된 스토리 컬러는 시 텍스트에서 뽑아낸 스토리 키워드에 대한 일종의 해석소로 기능함으로써 그림은 시 텍스트에 대한 메타 텍스트가 된다. 관찰자가 아닌 참여자로서 학습자는 시 작품을 읽고 이해하는데 그치지 않고 그것을 새롭게 인식하고 표현하는 활동을 통해 정서적 심미적 경험을 확충하는 적극적인 감상을 하게 된다. 본고는 색채 표현활동을 통한 시 감상교육이 학습 과정에서 의미 있는 배움이 일어날 수 있는 교수 학습 방법이 될 수 있기를 기대한다. Poetry appreciation is not a mere acceptance process ending up with knowledge acquisition but an active and creative activity in which enlightenment occurs through expressive activities that embrace new meanings using imagination. The education on poetry appreciation should be implemented with comprehension and expression, and various activities for expression should be explored accordingly. Expression includes oral, narrative, and drawing activities in the form of other media, and schools offer oral and narrative activities mainly. This paper puts in-depth study on drawing activities and tries to constitute integrated understanding and expression through the process with comprehending(extracting)-thinking(extracting)-expression(coloring). The portrait of Lee Sang, Seo Jung-ju, and Yoon Dong-ju, called The three great self-portraits, is investigated for this study to appreciate the poetry. Story keywords can be extracted from reading the poetry text in the early understanding stage, story colors extracted in the thinking stage, and story colors colored in the expression stage. The integration of comprehension and expression can be revealed from reading Psalms Self-portrait - white, yellowish portrait Dead Mask- self-being alone in anxiety(Lee Sang), orange-colored portrait An ill male dog- a cynical hero against agony(Seo Jung-ju), blue-colored portrait A Man Like a Memory- self-loving Narcissus(Yoon Dong-ju) - drawing a picture, in other words, images of words transform into colored images. At this point, the story color expressed functions as a kind of interpretant for the story keywords extracted from the poem text, making the picture a meta-text for the poem text. Learners who are not observers but participants can read and understand poetry and actively appreciate emotional and aesthetic experiences through activities that recognize newly and express them. This paper suggests that education on poetry appreciation through color expression activities can lead to a participatory teaching and learning method in which significant learning can occur in the learning process.

김상훈 유고시집 『열원』 연구

이승이 ( Seung Yi Lee ) 연세대학교 인문학연구원 2015 人文科學 Vol.103 No.-

To fully appreciate Sanghun Kim’s poetry, the scope of his poetry should be expanded into the poetry after his defect to North Korea. However, as the data about his achievements and activities in poetry is insufficient, discussion on a collection of poems published by newly found pen name, “Yeolwon”(Hun Kim, Munye-sa, 1993), in this study is very meaningful to appreciate his poetry after his defect to North Korea. “Yeolwon” consists of 5 chapters, largely classified into three collections except 12 pieces of work in chapter 1, ‘Starts of the Guide’ which reflected the ideology of literary circle in North Korea as it was. In the first collection, poetry in chapter 2, the reality of the time found in ‘a general record of troops’ and etc. is realized as a vestige of feudal society, the arrogance of the American imperialism, and bureaucratic corruption. Next, in the second collection, poetry in chapter 3 and 4, a drive to survive together in spite of anxieties in reality is manifested as a fighting will, symbolized as ‘a flag.’ And the last, in the third collection, poetry in chapter 5, a strong longing for ‘mother’ which was brought by division of one nation is related with a strong hope for reunification. Kim’s collection after the defect to North Korea is not much different from the one before the defect. In fact, he had realized a narration of a recovery of ‘a stolen land’ before the defect; while he had established a description of a loss and a recovery, striving to healing ‘a divided land’ after the defect. In conclusion, it was found that Sanghun Kim’s poetry is deeply related with Korean people’s destiny as an expression of ‘liberty of mother nation and a burning love yearning for happiness of the people.’

복강경수술 시 Esomeprazole 전처치가 위산도 변화에 미치는 영향

이승일 ( Seung Il Lee ),최영규 ( Young Kyoo Choi ),강화자 ( Wha Ja Kang ),박성욱 ( Sung Wook Park ),이재우 ( Jae Woo Yi ),성준경 ( Joon Kyung Sung ) 대한마취과학회 2009 Korean Journal of Anesthesiology Vol.56 No.3

Background: The use of CO2 for pneumoperitoneum during laparoscopic surgery provokes a decrement in the gastric pH. Since the incidence rate of PONV increases after laparoscopic surgery, the possibility of lung aspiration of gastric juice with a low pH during a postanesthetic emergence may increase and this could be fatal for the patient. We conducted this study to determine the effects of esomeprazole premedication on inhibiting the decrement of the gastric pH during laparoscopic surgery. Methods: 40 adult patients with no underlying diseases were chosen and 20 patients each were grouped as C (the control group) and E (the esomeprazole group). In both group, 0.2 mg glycopyrrolate was given intramuscularly 30 minutes prior to the surgery. In group E, esomeprazole was given orally 2 hours prior to the surgery. The pH, PaCO2, and P(ET)CO2 were measured via pH probe, an ABGA and an capnogram at preinsufflation and 15, 30 and 60 minutes after the CO2 insufflation and right before CO2 exhaustion (predeflation). Results: Comparing the measurements of the gastric pH between group E and group C, all the results showed a significant increase in group E (P<0.05). The difference of the PaCO2 and P(ET)CO2 in the two groups was not significance. Conclusions: In contrast to the decrease in the gastric pH as the PaCO2 and P(ET)CO2 increased in group C, the gastric pH in group E remained high until the end of the surgery despite the increase in the PaCO2 and P(ET)CO2. Esomeprazole premedication seem to have an effect for inhibiting the gastric pH decrement regardless of the increase in the PaCO2 and P(ET)CO2 during laparoscopic surgery. (Korean J Anesthesiol 2009; 56: 259~64)

월북시인 박산운 시 연구

이승이(Lee Seung-yi) 어문연구학회 2015 어문연구 Vol.85 No.-

본고는 시집 내가 사는 나라 를 중심으로 월북시인 박산운의 시세계를 살폈다. 총9부로 구성된 시집에는 1940년대〜1990년대 발표된 시작품 75편이 수록되어 있다. 본고는 이 가운데 1940년대‧1950년대‧1980년대 시 를 중심으로 박산운을 둘러싼 전위시인‧월북시인‧북한시인의 키워드를 풀어 시세계를 이해하고자 하였다. 이 를 통해 북한 시문학의 흐름 속에서 박산운이 어떻게 흡수되고 개성을 지켜나갔는지를 알 수 있었다. 첫째, ‘전위시인’은 해방기 신진시인의 탈식민주의적 기질로, 남의 나라가 되어 버린 조국 현실에서 새 나라 건설을 위한 박산운의 열망과 관계된다. 둘째, ‘월북시인’은 새 나라 건설의 열망으로 38선을 넘은 박산운의 능동적인 행위로부터 기인한다. 박산운에게 월북 행위는 ‘내가 가야할 길’로, 해방기 유이민의 ‘귀국’과 마찬가지로 새로운 고향을 찾아 떠난 ‘귀향’의 의미를 지닌다. 셋째, ‘북한시인’은 추방과 복권의 과정을 겪으면서 북한문단에 흡수되기 위한 의식적인 창작행위로, 박산운이 당과 수령이 요구하는 혁명적 시문학 창작에 힘쓴 것과 관련된다. 본 연구를 통해 박산운의 시세계를 수령 찬양문학과 통일문학으로 집약할 수 있었다. 박산운의 시세계는 수령 찬양문학을 통해 북한 시문학사의 흐름을 이해하는 중요한 지표로 활용될 가능성을 얻었다. 또 통일문학을 통해 시세계의 근원이 ‘어머니 나라’의 온전한 회복이었고, 일생을 통일시인으로 살았음을 알았다. 박산운 시세 계는 시대적 현실과 개인적 현실이 맞물려 조국통일의 한길을 꾸준히 닦아온 피맺힌 탐구로 기억될 것이다. This article’s objective is to understand the poetic universe of San Woon Park (1921.7.1〜1997.7.21), who was a cancelled a ban defect poet to North Korea. San Woon Park made a major debut as new rising liberation period poet in 1946 with joint publication of “Avant-garde Poetry Collection”. He moved to North Korea in 1948 and established himself firmly in North Korean literature during times of purging and reinstating of North Korean governmental system. “The Country I Live in,” (1992), the main focus of this research, consists of nine parts with 75 poems in total which were published between 1940’s and 1990’s. This article explored main themes of poems by dividing into three different periods as 1940’s, 1950’s and 1980’s. Also, it confirmed periodic and personal realities related to main themes. Through this, I have attempted to understand the characteristics of San Woon Park’s poetic universe as avant-garde poet, defect poet to North Korean, North Korean poet, and reunification poet. 1940’s was a dark age at the end of Japanese colonization of Korea and confused period caused by liberation. Also, the formation of personal reality took place due to forced draft-studying abroad and returning to hometown-defecting to North Korea. Main themes of poems are lives of colonized people and destroyed hometown, happiness of liberation and despair, and aspiration for building a new country. 1950’s was characterized by Korean war and post-war reparation. It was the period of intersection of establishment of North Korean regime and personal reality due to exile-reinstatement and loss of hometown. Themes of poems included praising great leader, reality of post-war reparation, heroic struggle, and sense of losing hometown. 1980’s was the period of Jung Il Kim’s power succession as well as strengthening self-reliance theory of Kim’s dynasty, in which personal reality as a person who lost his hometown, living through pain of separation was intersected. Themes of poems characterized by praise of Jung Il Kim, strengthening of loyalty regarding hidden hero, pain of separation, longing for home, and reunification of both nations. The understanding of San Woon Park’s poetic universe as it follows. First, his poetic universe serves as an important index in understanding the flow of North Korean poetic literature as it reflects North Korean literature policy in effect every decade. Second, his poems regarding reunification separate from other North Korean poetic literature due to its different interpretation of one’s motherland. Third, hidden meaning of his keywords, which include avant-garde poet, defect poet, and North Korean poet, can be integrated into reunification poet. Therefore, poems on reunification remain incomplete, but it could be concluded that San Woon Park’s poetic universe roots from restoration of “Motherland”.

시,공간 변화를 통해 본 시인 김우철의 정체성

이승이 ( Seung Yi Lee ) 현대문학이론학회 2013 現代文學理論硏究 Vol.0 No.53

1988년 월북 작가 해금 조치는 북한 문학에 대한 연구가 본격적으로 이루어진 시발점이었다. 이후 북한 문학에 대한 지속적인 관심은 여러 연구자들에 의해 양적인 연구 성과를 거두었지만, 그 질적 깊이를 헤아려 보면 부족한감이 있다. 특히 월북·재북 시인에 대한 연구는 이념적 지향과 선택이라는 가치개념에 의해, 또 북한에서의 행적을 증거할 수 있는 자료의 한계로 인해 한정적으로 이루어진 것이 사실이다. 본 글은 이찬·민병균·김조규에 비해 선행 연구가 전무한 재북 시인 김우철의 정체성을 시·공간 변화를 통해 살펴보고자 했다. 김우철(1915~1959)은 출생 이후 문단에서 자취를 감추기 전까지 평안북도 의주에 거주하면서 문단 활동을 지속해 왔다. 그러나 `의주``라는 추상적인 공간은 ``식민``·``해방``·``분단``이라는 시간상의 사건과 맞물리면서 구체적인 공간성을 확보했다. 이러한 시 ·공간성의 변화는 자연스럽게 김우철의 정체성에 영향을 미쳤다. 그 결과 김우철은 해방 전에는 "과도기에 태어난 보잘 것 없는 인텔리-문인" 으로서 ``카프 지방 시인``·``국경 시인``·``식민지 시인``의 정체성을 드러냈다. 또 해방 및 분단 이후에는 "평양 시내에 있는 중견 년배 시인"으로서 ``중앙 시인``·``당의 시인``·``혁명적 랑만주의(카프) 시인``의 정체성을 나타냈다. 특히 카프 전통을 이은 ``혁명적 랑만주의 시인``으로서의 정체성은 해방 전과 해방 및 분단 이후를 잇는 김우철의 중심축이었다. 따라서 김우철은 북한 문학 전통이 카프 문학 전통으로부터 항일혁명 문학 전통으로 새롭게 변모하는 ``전면적 개화기에 들어선 천리마 시대(1958~1967)``로 접어드는 첫 어귀에서 설 자리를 잃고 문단에서 사라지게 되었다. The The lifting of ban on writers who went to North Korea in 1988 was the starting point of study on North Koran literature in earnest. After then, a constant interest in North Korean literature led to quantitative study results, but the qualitative depth of the studies was not enough. In particular, the study on writers who went or return to North Korean was limited due to the value concept of ideological intention and choice, as well as limitations in materials that can prove their whereabouts in North Korea. This thesis is to review identity of Kim, Woo-cheol a poet who returned to North Korea before the liberation of Korea and who has no preceding studies unlike Chan Lee, Byeong-gyun Min, and Jo-gyu Kim through time and space change. Kim Woo-cheol(1915~1959) lived in Ui-ju in the northern Pyeong-ahn province from the birth until his disappearance from the literary world. But the abstract space of ``Ui-ju`` secured specific spatiality along with time events of ``Japanese colonization``, ``liberation`` and ``division of the Korean peninsula``. Such time and space change naturally affected identity of Kim Woo-cheol. As a result, Kim Woo-cheol revealed his identity of ``a KAPF region poet``, ``a border poet`` and ``a colonial poet`` as ``an insignificant writer of the intellectual class who was born in the transition period``. And after the liberation and the division, his identity was ``a central poet``, ``a poet of the Party``, ``a KAPF poet`` as ``a poet in the middle age who stays in Pyeongyang City``. In particular, his identity of ``a revolutionary romanticism poet`` was the central pillar of Kim Woo-cheol, connecting before the liberation and after the liberation and the division of the Korean peninsula. Therefore, Kim Woo-cheol lost his footing and disappear from the literary world at the early stage of ``the Chollima period(1958~1967), which is the full-fledged enlightenment period`` transformed from the tradition of KAPF literature to that of anti-Japanese revolution literature.

박목월의 『보라빛 素描』를 통해 본 여백의 의미

이승이(Lee Seung-yi) 한국비평문학회 2021 批評文學 Vol.- No.80

이 논문은 박목월 초기시의 특성인 여백이 어떤 환경에서 발생했고 어떤 방식으로 형상화되었는지, 또 그 효과 및 의의는 무엇인지에 주목하고자 한다. 그리고 그 실마리를 문학적 자기 서사로서 자작시 해설집 『보랏빛 素描』를 통해 풀어내고자 한다. 자기(self)에 대한 역사적 담론으로서 자작시 해설집은 시를 창작하게 된 일화를 회고하고 자신의 시세계를 구체적으로 밝히고 있기 때문에 시인의 시세계를 이해하는 데 긴요한 자료로 활용된다. 식민지-한국전쟁-광복으로 연결되는 소란한 시대의 ‘흰 침묵’이자 ‘슬픈 얼굴’로서 ‘보라빛’은 서럽고 너그러운 정서를 환기하면서 박목월 초기시의 주조색으로 자리 잡는다. 보라빛의 여백은 박목월 초기시에서 외형적 형태의 충실한 묘사를 넘어 대상이 지닌 질감 표현으로 규명될 수 있다. 시에서 질감은 ‘한 개 낱말’과 ‘한 개 이미지’에 의해 진술적 표현이 극소화되고 정서적 표현과 상징적 표현이 극대화됨으로써 얻은 생명감으로 여백을 생성하는 원리가 된다. 그리고 이것은 명사, 조사와 종결 어미, 반복, 배열 표현의 절대적 형식을 통해 ‘읊으면서 안으로 새겨지는 힘’으로 구체화된다. 명사의 절연을 통한 빈틈, 조사와 종결 어미의 어감을 통한 뜸들임, 반복을 통한 이미지의 지속과 변화, 배열을 통한 조형력 있는 이미지는 정감의 비중과 균형을 통해 여백의 효과를 얻게 된다. 질감을 통한 생명감, 여백은 박목월 초기시의 문채(文采)로서 시를 생기 돌게 하는 원동력이다. 이는 묵화에서 점 하나를 소중히 하듯 말 하나를 아꼈던 박목월의 성실감을 보여주며, 시인이 의도한 진실한 내용과 적절한 형식미가 조화를 이룬 미적 성취로서 의의를 지닌다. This paper puts in-depth study on the environment where blank space is generated, which plays a significant role in Park Mok-wol’s early poetry, how it is figurated, how effective it is, and which significance it implies. This study tries to unravel these clues through "Purplish Drawing," which is a commentary booklet in terms of literary self-narrative pieces of poetry. As a "historical discourse on oneself," the self-composed commentary booklet elaborates the writer"s poetry world and makes it possible to recall how poems were created. It is not only helpful but also essential to understand the poet"s poetry world. In the early poems of Park Mok-wol, blank space can be identified by expressing the object"s texture beyond the detailed description of its outer appearance. In poetry, the texture is a primary principle of creating blank space by minimizing statement expressions by ‘a single word" and ‘a single image" while maximizing emotional and symbolic expressions. In particular, as a ‘white silence" and a ‘sad face" of the turbulent era leading to the colonial era- Korean war-liberation, ‘purplish color" arouses sorrowful but generous emotions as a dominant color of Park Mok-wol"s early poems. Texture-blank space by single word with a single image is embodied as an ‘engraved inward power while reciting" through the ‘absolute form" of nouns, postpositions and sentence-final endings, repetition, and expression of arrangement. The gap through the insulation of nouns, connotation with giving an interval of time through postpositions and sentence-final endings, continuation, and change of images through repetition(disconnection and continuation), and formative images through arrangement make it possible to gain unique texture-blank space effects through balancing with the importance of emotions. The texture-blank space is a driving force letting poetry alive as beautiful patterns in the early poems of Park Mok-wol. It is significant as an aesthetic achievement that harmonizes the genuine content and proper formality of the poet. Besides, it reveals the sincerity of Park Mok-wol, who cherished every single word just like even a single dot holding a lot in a drawing in black and white.

희망의 한 풍경으로서 백석의 만주 시편

이승이(Seung-yi, Lee) 어문연구학회 2010 어문연구 Vol.65 No.-

Baek seok moved to Manju during the Policy Transformation period (1931-1945). During this period, Manju was an area overwhelming with the sentiments of political, economic, and cultural survival as a colony. For Baek seok, Manju was an area of pioneering and rehabilitation and his move to Manju was an act of searching for new possibilities. This paper aims to examine the implications of Baek seok’s move to Manju as well as to discuss the implications of Baek seok’s Manju poems presented between 1940 and 1941. Specifically, the paper focuses on how Baek seok overcame his disappointment with the Manju he experienced as opposed to the Manju he imagined. This concentration is an extension of the interest of how the multicultural citizens of Manju, who were split among sympathizing with the people of Chosun, the people of Japan, and the people of Manju, overcame the challenges of reality. The answers can be found from the ideas of the purity nature, the mentality of muk, and idle nature that are all expressed in the Manju poems. The appearance of Manju that he described in his poems was the hope that he materialized for the state. As a result, ‘towards Manju’ entails the movement of the tragedy of the colonial Chosun or the tragedy of Baek seok’s life, ‘away from Manju’ which implies freedom from Manju that was a spatial extension of tragedy.

만주 체류 시기 백석의 ‘조선적인 것’에 나타난 시대정신

이승이(Seung-yi, Lee) 어문연구학회 2011 어문연구 Vol.69 No.-

This paper aims to examine the characteristics of Joseon-ness and its Zeitgeist that Baekseok searched for during his stay in Manchuria from 1940 to 1945. Baekseok has an identity crisis as a member of colonized nation, which cannot be hidden or forgotten and other-ness as an immigrant to Manchuria China. These crises led him to contemplate what Joseon-ness is in the foreign space, Manchuria. He tried to find out his Joseon-ness while thinking about what national and self identity are and expressed this issue in his poems and agrement. Baekseok tried to look at the problem of loquacity of Koreas who lived in Manchuria through gaze of others. Examining the reason of loquacity without its inception, he criticized Korean people in Manchuria as ‘hungry stray dog.’ which is a self-criticized image for himself. He thought that loquacity of Korean living in Manchuria was a grave issue that would determine the fate of Korean people and it must be solved. He appealed Korean people in Manchuria, “Shut up, think, be angry and be sad,” searching for what Joseon-ness is. He considered ‘deep sadness,’ ‘serious and deep spirit,’ and ‘strolling for idleness’ as Joseon-ness. Here, deep sadness means true love of life and cherish of life, serious and deep spirit, feeling for every day life, and strolling for idleness, healthy practices to select what they want to do regardless of suppression and control of outside power. Baekseok’s search for ‘Joseon-ness’ is based on the deep affection on Korean ways of life and also it comes from self-reflection that he as a Korean in Manchuria might lose his identity and be going to wrong way. Beakseok constantly searched for a way to show and testify Koreans’s reality in Manchuria and tried to find out Joseon-ness for national liberation. He is common people’s poet who tried to show actual Korean life in his poem and express the zeitgeist that lead people to the right way of history.

생체 부분 간이식에서 수여자의 우 위대망동맥을 이용한 간동맥 문합

이승은(Seung Eun Lee),이남준(Nam-Joon Yi),서경석(Kyung-Suk Suh),권준혁(Choon Hyuk Kwon),민경원(Kyung Won Minn),이건욱(Kuhn Uk Lee) 한국간담췌외과학회 2005 한국간담췌외과학회지 Vol.9 No.2

사후관리단계에 있는 매립지의 건식침적량 및 토양오염에 관한 연구 - 난지도 매립지 사례를 중심으로

이승묵(Seung Mook Yi),조경숙(Kyung Sook Cho),이은영(Eun Young Lee),김윤정(Yoon Jung Kim),박재우(Jae Woo Park),박석순(Seok Soon Park) 한국환경영향평가학회 1999 환경영향평가 Vol.8 No.2

Atmospheric dry deposition flux and ambient particle mass size distribution were measured to evaluate the impact of atmospheric deposition around the Nanjido landfill sites. Wind direction affects greatly on the variation of mass flux and mass size distribution and made two times higher when the wind was blown from the road side. The effect of Nanjido landfill on the mass size distribution was significant comparing to simultaneously measured mass size distribution at the other sampling site. The results showed that the particle diameter bigger than 10 μm explained the majority of atmospheric dry deposition flux. A survey was also carried out to investigate the contamination of soils in a completed Nanjido landfill. The chemical properties of the soil analyzed in the present study include pH, oxidation-reduction potential (ORP), anion and cation concentration, total organic carbon(TOC), and some-metal elements concentrations were analyzed. Microbial activity in the soils was also evaluated by measuring dehydrogenase activities. TOC in the soil contaminated with leachate was 467.0 μg/g-dry soil, and the TOC in the soil, where Nanjido landfill gases were emitted from, was 675 μg/g-dry soil. The highest microbial activity of 968.0∼2147 μg-TPF/g-dry soil/day was found in the soil spouting Nanjido landfill gases. Compared with those in the uncontaminated soil, the concentrations of Cr, Cu and Pb in the contaminated soil were higher.