트럭용 커넥팅 로드 소재의 내부 품질에 따른 절삭 특성 연구

金東炫(김동현),蔡王錫(채왕석) 한국정밀공학회 1996 한국정밀공학회 학술발표대회 논문집 Vol.1996 No.6월

19 세기 한국한문학의 제양상 - 김매순 경학의 특징적 국면에 대한 연구

금동현(Dong Hyun Kum) 동방한문학회 2002 東方漢文學 Vol.0 No.22

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柳夢寅 散文理論의 構造과 意味

금동현 한국한문학회 2004 韓國漢文學硏究 Vol.0 No.34

김매순 문학론의 창작 지향과 미학적 성격

금동현 대동한문학회 2002 大東漢文學 Vol.16 No.-

김정희 (金正喜) 문예이론의 인식론적 기반과 미학적 성격

금동현 한국한문학회 2001 韓國漢文學硏究 Vol.27 No.-

This paper mainly discusses the meaning and the aesthetical characteristics of the literary theory of Chu-sa Kim Jeong hui(秋史 金正喜). Kim pursues 'practicality and truth(silsagusi 實事求是)' in his learning, which are connected with his aim of recovering the spirit of 'The six classics(六經)' by exegesis(訓詰). In re-interpreting Chinese Classics, he finds that the Chu-hsi's school is confined to non-essential questions, and thus he critically reconsiders its whole system of thought. Furthermore, he tries to find the vision of a new science and thought based on rationality. In short, 'practicality and truth' are the conclusions of this thought-process. Kim Jeong-hui proposes two main categories as the prerequisites of literary invention: 'the fragrance emanated from a letter or volume', and 'no pains, no gains' The former is obtained by the writer through endless discipline and repeated training in addition to inspiration, in order to represent the essence of an object(神似) beyond its appearance. For Kim, this whole process reflects the writer's aesthetic sense. The latter means that a writer cannot create the higher level of beauty in literature and art, until he experiences the political difficulties in his life. Human nature and refined style are two pillars of Kim Jeong-hui's literary theory. Human nature is the nature of a writer which is based on the beauty of his personality. This in turn reflects his abilities which he has cultivated to the highest degree. In general terms, refined style refers to the style of a piece of work as a whole, which involves following well-specified rules. Kim seeks to correct the conventional style, by combining human nature and refined style harmoniously and creating literary works with a high level of artistic quality and personal style. In his literary theory, profound insight and realistic imagery refer to the creation of an imaginative and poetic state experienced by the writer as he describes the world around him. Consequently, in the process of writing, Kim draws attention to the interaction between the poetic state of the writer's mind and his free imagination. Kim Jeong-hui tries to embody the principle of the pine and the cypress - not withering, evergreen in the harsh winter conditions - in his literature and his art. This principle is Kim's ideological and aesthetical aim. At this point, the aesthetical characteristics of his literary theory can be described as "'a raw-coarse' and 'dignified-elegant' aesthetics with a strong 'classical flavour'". This may appear, at first sight, to be a mere regression to the qualities of the past. However, it is neither reviving the past, nor even imitating it, but exemplifying past virtues.

숭고의 탈신비화 : 김기영의 『흙』 비틀기 -이광수의 『흙』(1933)과 김기영의 <흙>(1978)을 중심으로-

금동현,김경미 한국어문학회 2019 語文學 Vol.0 No.143

The purpose of this article is to interpret Kim Ki-Young’s <Soil>, which has been considered as ‘The Project for Selecting an Excellent Movie’, and to position the film as a latent work with rebellious ideas by subjectively interpreting and twisting the censorship system. Thus, this study examines the political claims and the aesthetic methods that drive political claim in Lee Kwang-Soo’s novel 『Soil』. The 『Soil』 preaches nationalism and chooses the sublimity as its methodology. However, these claims and methodologies have been linked to the cultural politics of the military regime in the 1970s. This suggests that the 『Soil』 is closer to the elements recommended by the 1970s censorship system. By the way, looking through the writings of film director in the 1970s, it can be deduced that censorship did not potentially go on, but there was an indication of its presence. And this creates an avenue where producers / spectators can actively create / participate under the censorship system. In this context, this study assumes that Kim Ki-Young has strategically exploited the <Soil> as a mask of visibility that required by the censorship system, and distorted cultural politics in the 1970s under the mask. The point is apparent when comparing the novel <Soil> and the movie 『Soil』. In the novel <Soil>, Masaki appears as a person who plants nationalism to Heo-Sung. This dismantles the originality of nationalism. In addition, Heo-Sung loses the self-control required as a premise of sublime. These two dimensions dismantle the occlusal ground of the 1970s cultural politics and the novel 『Soil』. 이 글은 ‘우수영화 선정을 위한 기획’으로 다뤄져 온 김기영의 <흙>을 새롭게 해석하여, 검열제도를 주체적으로 해석하고 비틂으로써 불온성을 잠재한 작품으로 위치시키는 데 목적이 있다. 이에 따라 이 글은 이광수의 소설 『흙』이 갖고 있는 정치적 주장과 정치적 주장을 구동시키는 미학적 방법에 대해서 짚어 본다. 『흙』은 민족주의를 설파하는 한편, 그 방법론으로 숭고를 택한다. 이러한 주장과 방법론은 1970년대 군사정권의 문화정치와도 맞닿는다. 이는 『흙』이 1970년대 검열제도가 권장하는 요소들과 가까움을 방증한다. 그런데 1970년대 영화감독의 글을 살펴보면, 검열은 잠재적으로 이뤄진 게 아니라 현재(顯在)했음을 파악할 수 있다. 이는 검열제도 아래 생산자/관객이 주체적으로 창작/감상할 수 있는 틈을 낳는다. 이러한 맥락에서 이 글은 김기영이 『흙』을 검열제도가 요구하는 가시성의 가면으로 이용 했으며, 가면 아래 1970년대 문화정치를 비틀었으리라 추정한다. <흙>과 『흙』을 대조할 시, 이 지점은 분명하게 나타난다. <흙>에는 허숭에게 민족주의를 심는 인물로 마사키를 등장시킨다. 이는 민족주의의 고유성을 해체한다. 또한 허숭은 숭고의 전제로서 요구되는 절제력을 잃게 된다. 이 두 차원은 『흙』과 1970년대의 교합 지반을 해체한다.

鳳停寺 大雄殿에 대하여

金東賢 동악미술사학회 2000 東岳美術史學 Vol.1 No.-

假想現實을 이용한 動映像情報檢索시스템(System)의 具現

金東炫 順天靑巖大學 1997 論文集-順天靑巖大學 Vol.21 No.2

Recently, the quantity of using information go on increasing geometricprogression. At the same time, the management of information is effected on the most organization's effective operation so that many user call for the powerful equipment which expound, access more information. As information searching technology is concentrated about the object of information bassed on a letter mainly, an effective searching technology for the object of multimedia such as a still image, a video and a sound must be studied. As a monitor of computer is 2-D, it difficult for one to grasp the whole aspect at a look glance like a library. Accordingly, some condition is necessary. First, it acquired the virtual video, turning a camera around by 30 degrees with a camera of 15mm lens, giving a warping and distortion. Second, it improved the books for user to search easily, adding to the video in existing books information system. The original text suggests some way which can embody the video searching technology under the base of personal computer.

李德懋 文學理論의 思想的 土臺와 그 意味

금동현(琴東呟) 한림대학교 태동고전연구소 1999 泰東古典硏究 Vol.16 No.-

김기영 영화미학 형성기 연구 - 연극 활동과 <양산도>(1955)를 중심으로 -

금동현,이정숙 한국문학언어학회 2019 어문론총 Vol.82 No.-

This article analyzed Kim Ki-young's theatrical activities and the significance of the movie, <Yangsando>(1955). Researches on Kim Ki-young have found his problematical elements after <The Housemaid>(1960), so his early activities were barely not recognized. As a result, Kim has gained an unexplainable 'exceptional existence' in Korean film history. This seems to have happened because Kim Ki-young's theatrical activities and <Yangsando> have not been specifically reviewed. Kim Ki-young's theatrical activities and <Yangsando> are positioned respectively in prehistory and beginning of his fim career. Hence, reviewing Kim’s theatrical activities and <Yangsando> will provide us that his view toward the world has come from the beginning of artistic activity Kim Ki-young performed at various theater groups during his college years. What's noteworthy is that Kim Ki-young directed Chekhov‘s 「On the highroad」 and Ibsen’s 「Ghost」-both known for its naturalistic tendencies-as expressionism play. 「On the highroad」 and 「Ghost」 depict a human’s general subordination to sexual desire. This common feature is also primary motive of expressionism that has continued in Kim Ki-Young’s film world afterwards. Kim Ki-young then expresses the techniques he developed in his theatrical activities in <Yangsando>. It’s not well-known to public but <Yangsando> is adaptation of <Butterfly lovers(Yang-Chuk story)>. Kim, the adaptor of this film, deals with ‘love’ in terms of ‘sexual desire’ by relegating the narrative and teaching themes of the original text. In addition, this film is not presented in the manner of ordinary realism, which is at the point of being correlated with the expressionistic form of strict anti-realism. Based on his theatrical activities and <Yangsando>, the article looked back at Kim's unnoticed spots trying to reconsider Kim’s “exceptional existence” in Korean film history and to find Kim’s true face. 이 글은 김기영의 연극 활동과 영화 <양산도>(1955)를 주목하고 그 의의를 분석하였다. 기왕의 김기영 연구는 <하녀>(1960)에서부터 연출가 김기영의 특성이 나타나기 시작한다고 판단했기 때문에 초기 김기영의 작품은 주목받지 못하였다. 그 결과 김기영은 한국영화사에서 해명되지 않는 ‘신화적 위치’를 점하게 되었다. 이는 김기영 연극 활동과 <양산도>가 구체적으로 검토된 바 없기 때문에 발생한 것으로 보인다. 김기영의 연극 활동과 영화 <양산도>는 김기영 영화의 전사(前史)이자, 영화 활동의 시작 지점으로 이 시기에 이미 김기영의 작가의식 및 세계관이 상당부분 구축되어 있었다. 김기영은 대학시절 여러 극단에서 활동하며 연극을 연출했다. 김기영의 연극 활동에서 주목할 점은 자연주의 경향으로 알려진 작품인 체홉의 <악로>와 입센의 <유령>을 “표현파”적으로 연출했다는 점이다. <악로>와 <유령>을 연출하면서 그는 ‘성욕’에 종속되는 인간을 그리려 했고 이러한 시각은 김기영의 영화로도 이어진다. 영화 <양산도>를 일관하는 연출가의 시각은 욕망, 구체적으로 성욕에 종속되는 인간이다. 「양축설화」를 각색한 <양산도>는 출전의 설화적·교훈적 주제를 욕망의 층위로 강등함으로서, ‘사랑’을 ‘성욕’의 차원에서 다루고 있다. 인간 내면의 욕망, 특히 성욕이라는 문제를 드러내는 데 초점을 두었기 때문에 영화의 기법도 통상적인 사실주의의 방식에서 벗어나고 있다. 이러한 기법은 이후 <하녀>와 같은 김기영 특유의 영화 문법으로 이어지는 것으로 볼 수 있다. 김기영의 초기 영화에 나타난 작가의식과 영화적 표현의 측면을 다시 읽는 과정은 한국영화사에서 김기영이 점하고 있는 ‘예외적 위치’를 재고하고 작가의 본질적 문제의식과 그의 영화적 지향을 읽어내기 위한 첫 과정으로도 의미가 있다.