원저 : 다이어트 기능표방 식품에 대한 임상평가 비교

강재헌 ( Jae Heon Kang ),김경아 ( Kyung A Kim ),한정순 ( Jung Soon Han ) 대한비만학회 2004 The Korean journal of obesity Vol.13 No.2

자유연제 : 한국인에서 사회경제적, 인구학적 특성에 따른 지방섭취량 비교 분석

강재헌 ( Kang Jae Heon ),송홍지 ( Song Hong Ji ),성은주 ( Seong Eun Ju ),김초일 ( Kim Cho Il ) 대한비만학회 2003 대한비만학회 학술대회 Vol.2003 No.-

우리말 권주가(勸酒歌)의 계통적(系統的) 연구

강재헌 ( Jaeheon Kang ) 한국시가문화학회(구 한국고시가문화학회) 2016 한국시가문화연구 Vol.0 No.38

음주가 인간의 삶에서 많은 부분을 차지하는 문화이며 그 안에서 문학적 생성이 끊임없이 나타나고 있음은 주지의 사실이다. 본 연구는 음주 문학 중에서도 권주라는 독특한 기능을 담당하는 시가, 특히 우리말 권주가의 특성을 살피고 동양 문학에서 그 연원이 오래된 ‘장진주’ 시가의 맥을 잇고 있는 우리말 권주가의 내용적 일체성과 작품군의 실상을 고찰한다. 우선 우리말 권주가가 갖는 주제의식과 그 표출 양상을 살폈다. 내용적으로 이 작품들은 모두 당나라 이백, 이하의 <장진주>에서 드러냈던 주제의식이라는 전통을 따르고 있다. ‘인생무상에서 오는 비애의 정감’과 그에 따른 ‘음주의 당위’ 두 가지로 정리할 수 있는 주제의식은 <장진주사>부터 12가사류<권주가>까지를 모두 관류(貫流)하고 있다. 또 이 작품들은 이러한 주제를 나타내기 위하여 몇 가지 동일한 표출 양상을 보인다. 우선 이하의 <장진주>에서 비롯된 죽음 이후의 무의미함을 통해 인생무상을 노래한다. 사망 이후에 누가 술을 권하겠는가라고 지적하여 비애와 당위를 모두 드러내는 양상이다. 다음으로 권주의 대상 ‘君, 그대’가 표면적이거나 내면적으로 등장한다. 자작(自酌)이 아닌 수작(酬酌)의 기능을 담당하기 위한 노래이기에 대상의 존재는 필연적이었다고 할 수 있다. 마지막으로 술 권하는 행위가 언사(言辭)로 나타난다. ‘잡으시오, 먹새그려’ 등의 직접적 명령이나 권유 외에 ‘안 먹으려 하는가’와 같은 간접적 요구도 등장한다. 이러한 어구들이 모두 권주의 실제적 모습을 나타내기 위한 장치로 사용되었던 것이다. 다음으로는 우리말 권주가의 세력에 대하여 파악하였다. 현재 확인할 수 있는 이 계통의 최초 작품은 <장진주사>라 할 수 있다. 이 노래와 함께 청구영언에 수록된 신흠·김천택·무명씨의 시조, 박인로의 <권주가>는 동시대에 향유되었다. 또한 12가사 <권주가> 역시 18세기에 형성되었는데 후대 가집에서 앞의 세 종과 혼재되어 나타난 양상을 보인다. 즉 네 노래가 일정 시간에 같은 연행 공간에서 향유되었다. 그런데 이들은 한 계통으로 파악되기보다는 개별 작품으로 취급되는 경향이 있었다. 본고에서는 이를 하나의 독립 계통으로 보려는 시도를 하였다. 이렇게 여러 형태의 노래를 하나의 계통으로 파악했던 예를 ‘어부가’에서 찾을 수 있다. 한시 ‘어부사’에 대비하여 우리말 노래를 ‘어부가’로 계통화한 것이다. 그에 비출 때, 우리말 권주가 역시 계통화가 충분히 가능하다고 파악하였다. 물론 각편 연구에서 얻어지는 의미도 크다고 하겠다. 그렇지만 계통화를 통해 국문시가의 폭과 영역이 확장되고 문학사의 지평도 확대될 것이다. 그러므로 우리말 권주가에 대한 시각을 거시화한다면 조선 후기 우리문학사가 풍성해질 것으로 기대한다. 또한 우리가 현재 전수받은 작품들이라는 것은 그 세력이 강하든 약하든 생존하였다는 의의를 지니므로 이외의 작품 역시 그 가치가 크다. 더욱이 선인들 역시 <장진주사>의 존재가 막강함에도 다른 우리말 권주가를 향유하고 창작하였다는 점을 상기할 필요가 있다. 그러므로 김수장 시기에 「어부가」가 하나의 작품군으로 독립성을 지닌 것처럼 지금 시기에 우리말 권주가를 개별적 계통으로 인정해야 옳다고 여긴다. Drinking is a culture that occupies a huge part in human life. As a result, it is true that literary creations continue to appear within such culture. This research seeks to examine the features of poetries that play the role of the unique function called gwonju (offering drinks) among the drinking literature, and in particular, the features of Korean language gwonju songs. The substantive uniformity of the Korean language gwonju songs and the reality of the group of works that inherit the pulse of the poetry of ‘Jangjinju,’ which has long been originated from the eastern literature, will also be studied. First of all, this research examined the thematic consciousness and expression aspect of the Korean language gwonju songs. Substantively, the works all follow the tradition of the thematic consciousness appearing in ‘Jangjinju’ of Lee Baek and Lee Ha during the Tang dynasty. The thematic consciousness that can be organized into two themes, which are ‘the feeling of sorrows coming from vanity of human life’ and ‘the justification of drinking’ pursuant to such feeling, all flow through from ‘Jangjinjusa’ to ‘Gwonjuga,’ a 12 Lyrics Collection. In addition, these works show several of the same expression aspects to show such themes. First of all, vanity of human life is sang through the meaninglessness of post-death originating from ‘Jangjinju’ of Lee Ha. It shows an aspect of exhibiting both sorrow and justification by asking, who would recommend drinking after death. Next, the object of gwonju, ‘Mr., You,’ appears externallyor internally. It can be said that the existence of others was necessary because it was a song playing the role of the function of exchanging drinks by filling the other``s glass rather than drinking by oneself by filling one``s own glass. Lastly, the act of recommending drinking appears through the language. In addition to the direct orders or suggestions to drink, such as ‘Drink,’ or ‘Let’s drink,’ indirect demands such as ‘Are you not trying to drink?’ appear as well. These phrases are all used as a device to show the actual feature of gwonju. Next, this study examined the power of the Korean language gwonju songs and the possibility of its systematization. The first work of this category that may be confirmed at present is ‘Jangjinjusa.’ The Korean poems of Shin Heum, Cheon-taek Kim, and an anonymous poet and ‘Gwonjuga’ of Park In-ro that were included in Cheonggu-Yeongeon along with this song, were listed in the same collection of poems because they were enjoyed in the same era. In addition, ‘Gwonjuga’ in the 12 Lyrics Collection was also formed in the 18thcentury,whichshowtheaspectofappearingincombinationwiththethreeprevioustypes. Thus, four songs were enjoyed in the same entraining space at a certain time. However, there was a trend of treating these as individual works rather than under one system. This article made attempts to regard these as one independent system. An example of trying to understand various forms of songs under one system can be found in ‘Eobuga.’ It has systematizaed Korean language songs as ‘Eobuga’ in comparison to the Chinese poem, ‘Eobusa.’ In light of such, the Korean language gwonju songs were understood to be sufficiently likely to be systematizaed under one system. Of course, the meaning obtained in the study of each song is huge. However, the breadth and sectors of Korean language poetry can be expanded and the horizon of the literary history can be enlarged through systematization. Thus, the Korean literature history at the latter part of the Joseon era can be expected to become richer when having a macroscopic view regarding Korean language gwonju songs. Moreover, the works that we inherit at present have meaning through its survival, whether or not they have strong or weak power, thus accordingly, other works also have huge value. Furthermore, there is a need to be reminded of the fact that our ancestors enjoyed and created other Korean language gwonju songs even when the existence of ‘Jangjinjusa’ was strong. Therefore, just as ‘Eobuga’ gained a status of an independent collection of works during the Kim Su-jang era, it would be proper to acknowledge the Korean language gwonju songs as an individual system this day.

성인의 고혈압, 당뇨병, 이상지질혈증으로 인한 총 진료비 중 과체중 및 비만의 기여분

강재헌(Jae Heon Kang),정백근(Baek Geun Jeong),조영규(Young Gyu Cho),송혜령(Hye Ryoung Song),김경아(Kyung A Kim) 한국농촌의학 지역보건학회 2010 농촌의학·지역보건 Vol.35 No.1

이 연구는 고혈압, 당뇨병, 이상지질혈증으로 지출된 진료비 중 과체중 및 비만의 기여분을 추계하기 위한 질병비용연구로서 국민건강보험공단의 건강검진 및 건강보험급여 자료를 활용한 연구이다. 연구결과 2005년 현재 고혈압, 당뇨병, 이상지질혈증 때문에 지출된 총 진료비 중 과체중 및 비만의 기여분은 각각 4,561억원(4,328억원-4,805억원), 2,823억원(2,487억원-3,176억원), 165억원(147억원-183억원)이었고, 이를 모두 합하면 7,549억원(6,961억원-8,164억원)이었다. 이는 해당연도의 고혈압 총 진료비의 34.6%(32.9%-36.5%), 당뇨병 총 진료비의 32.5%(28.6%-36.6%), 이상지질혈증 총 진료비의 19.4%(17.3%-21.6%)를 차지한다. 또한 이 세 가지 질병의 총 진료비를 기준으로 했을 때 과체중 및 비만이 기여한 금액은 33.3%(30.7%-36.0%)에 해당하였다. 이는 과체중과 비만을 예방한다면 고혈압, 당뇨병, 이상지질혈증으로 지출되는 총 진료비의 33.3%를 감소시킬 수 있다는 의미이며, 향후 만성질환 예방과 관련하여 과체중 및 비만의 예방관리사업이 얼마나 중요한가를 시사해 주는 것이다. Objectives: This study was conducted to estimate medical expenditure attributable to overweight and obesity in adults with hypertension, diabetes and dyslipidemia using Korea National Health and Nutrition Examination survey data and Korea National Health Corporation data. Methods: The medical expenditure of hypertension, diabetes and dyslipidemia related to overweight and obesity were composed of inpatient care costs, outpatient care costs and medication costs. The population attributable risk (PAR) of overweight and obesity was calculated from national representative data of Korea such as the National Health Insurance Corporation cohort data and 2005 Korea National Health and Nutrition Examination survey data. Results: The medical expenditure attributable to overweight and obesity of hypertension were 456 billion won(men : 215 billion won, women : 241 billion won). Those of diabetes were 282 billion won (men : 148 billion won, women : 135 billion won), and of dyslipidemia were 17 billion won (men : 9 billion won, women : 8 billion won). Consequently, these costs corresponded to 33.3% of total medical expenditure due to hypertension, diabetes and dyslipidemia. Conclusions: We found a substantial medical expenditure due to overweight and obesity of hypertension, diabetes and dyslipidemia were very high. In order to reduce these costs, effective national strategies for prevention and management of overweight and obesity should be established and implemented.

[특집 : 비만ㆍ당뇨 조절과 건강기능식품] 체중 조절용 건강기능식품의 인체시험

강재헌(Jae-Heon Kang) 한국식품영양과학회 2005 식품산업과 영양 Vol.10 No.3

김수장의 시조 인식과 문학사적 의의

강재헌(Kang Jae-heon) 어문연구학회 2005 어문연구 Vol.48 No.-

This study aims at clarifying recognition of Soojang Kim, whose pen name is Nogajea, regarding his impact on the Korean verse known as Shijo. Kim is a representative minstrel and editor of Korean traditional songs from the Josun Dynasty. Also, this study searches for the meaning of Kim's contributions regarding Korean literary history. Apart from the established discussions on Kim, this study re-illuminates Kim in a new premise, through which it will rediscover clues on Shijo of the late Josun Dynasty. The conclusions of this study are as follows: First, Kim does not regard Shijo as high-toned literature, which usually does not reflect reality. Rather, he considers it as living literature, which expresses everyday life, common people's art, taste, and ideas and actively describes them in his works. Second, Kim applies a prose style to Shijo, which is different from other writers' attitudes towards poetry, and tries to reconcile it it with the style of other genres. Third, changing the literary perception of Shijo from high literature to living literature, Kim presents the link between life and literature in late Josun Dynasty literature. Through the genre mixture, he introduces various styles of each genre to Shijo. Also, Kim leads the reconsideration of Shijo literature from the Josun Dynasty, performing the role of a pioneer of literature, poetry and prose, not just a participant.

대한매일신보 소재 시조 제목 양상 고찰

강재헌(Kang Jae heon) 어문연구학회 2017 어문연구 Vol.92 No.-

본고는 개화기를 거쳐 현대 시조로 이어지는 시조사의 보완을 위한 선험적 연구로 개화기 시조특히≪대한매일신보≫에수록된작품들을살피는시도이다. 그 가운데서도기존의 시조에서 볼 수 없었던 제목 제시 양상을 검토하였다. 이전의 시조 작품에서 연시조를제외하고제목을지닌작품은거의없다. 또한단편작품에제시된제목의경우도후대에 부회된 경우가 대다수이다. <단심가>, <반중조홍시> 등이 이러한 예이다. 그런데 ≪대한매일신보≫에 수록된 시조들은 이전 작품 패러디나 개별 창작의 여부와 상관없이 모두 제목이 붙어 있어 주목된다. 필자는 이러한 제목 창출 양상에서 ≪대한매일신보≫에서 시조 창작과 발표에 주도적 역할을 했던 인물들의 의식을 찾아보고자 한다. 이것은 개화성이라는 거시적 주제의식과는 다른 시조를 바라보는 당대인의 문학성을 개관하는 미시적 단계라 할 것이다. 거시성을 지니는 개화기 문학 연구는 고전과 현대를 아울러 상당히 진척되어 있는 것이 사실이다. 그런데 그안에서의 미시적 문학성이 의미축소되고 있음도간과할 수없는 부분이다. 본고는 거시성에 기반을 둔 미시성을 살피는 구체화 작업의 일환이라고 할 수 있다. 첫 장에서 제목의 유형을 데이터화하여 내용적·형식적 두 유형으로 나누었다. 전자는 다시 전체 주제형과 일부 발췌형으로 세분하였다. 형식적 유형은 표기체화 장르 교섭으로 나눌수있었다. ≪대한매일신보≫의이제목제시에드러난양상을살피기위하여연구자는두 인물금혜와 신채호에주목하였다. 두사람은 각각의시론을신문에싣고있고주도적 역할을 한 인물이어서 그들의 주장은 특별할 수밖에 없다. 금혜는 시가가 개량되어야 한다는 주도적 주장을 제기하였고 그가 변개한 작품들을 통하여 작가 의식을 담아내고 있다. 신채호도천희당시화에서시가가나갈방향을제시하고있었다. 그런데둘의모습은여말선초의유학자들이고려가요의개량을요구한것과닮아있다. 그러므로이러한두사람의주장이바로 당대시조작가의식이며그것이제목에도투영되었음을확인할수 있었다. This thesis attempts to study Sijo published on Daehanmaeilsinbo as a pilot research to complement the history of Sijo between the period of 1876-1910 and modern times. Of the Sijos belonging to the era, I focused on the aspect of how titles were given to the literary works. Before this era, the majority of Sijo had no titles with the exception of the Yeonsijos. In addition, many short literary works had their titles given by posterity. Danshimga and Banjungjohongsi are examples of this practice. The Sijos published on Daehanmaeilsinbo garner attention because all works were titled, regardless of being either a work of parody or an original one. Keeping this titling practice in mind, I intend to explore the mindset of the writers who had leading roles in Sijo writing and its publishing on Daehanmaeilsinbo. This will become a study that overviews the literary value of the minority who focused on Sijo, which was set apart from the major literary theme of the time, the enlightenment. It is true the studies focusing on the major literary topic of the period of 1876-1910 has grown as much as the study of traditional and modern literature. However, it cannot be denied the other, minor literary topics of the era have been overlooked in their literary values. This thesis will become part of the specifying process that explores the minor topics of the era based on the mainstream themes at the time. In the first chapter we made data according to the title types and divided into two groups: contents type and form type. The former was again divided into title type and excerpt type, while the later was divided into notation and genre negotiation. To analyze the titling ractice at the time the researcher focused on Geumhye and Shin Chaeho. Both men each individually published their poetic theory on the paper and had a leading role, which makes their statements inevitably unique. Geumhye overly asserted that poetry must be innovated and expressed his aesthetics as an author through the works he had made modification. In Cheonheedangsihwa, Shin Chaeho had also suggested direction Sijo must take. It is to be noted, these two approaches resembles the way the Confucian Scholars demanded the renovation of Goryeo Gayo in the late Koryo Dynasty to the early Joseon Dynasty. Therefore, we were able to confirm that the assertion of these two men reflected the Sijo writer’s consciousness of the era and that their titles also reflected these thoughts.

南坡 金天澤의 時調 認識과 時調史的 意義

강재헌(Kang Jae-heon) 어문연구학회 2003 어문연구 Vol.41 No.-

1. Nampa School as the position of Yeohangin edited Cheongguyoungeon under Yeohangin's thinking and social condition in her days. In thinking, his works written in nature soundly kept the secret of nature like poong(wind) of the book of the songs on the background of theory of the secret of nature. So, he edited Cheongguyoungeon on support of Lee Jeong Sups assistance that it is alike of the book of the songs. Also, from the aspect of social situation, it should be edited so as to prevent Korean verses from being scattered due to the making of the environment for singing various Korean verses and the increase of the number of them. The reason that the editing work was easily preceded is that it is assisted by Nampas interrelation. 2. Nampa school insisted that even though a literary inclination like Korean verse was developed by high class called Sadaebu. Yeohangin himself could be an independent subject. Thats why Yeohangins works were selected and collected in Cheonguyoungeon. He wrote the picturesqueoriented Korean verse, a main stream of high class at that time, and at the same time Yeohangins thought in his works. These inclinations became the bases of both Yeohangins creation of Korean verse and confirmation of subjectivity in contents. This verse also was written in solid recognition of the fixed form of Korean verse in format and was reflected in Cheonguyoungeon. Thus, later this became a model for Yeohangin people who as much wrote valuable books as high-class people did both in form and in content. 3. In the history of Nampa School, Nampa School took an important role in shifting the subjectivity of literature from high-class people to Yeohangin people, not just staying in editing the book of song. In the late of Chosun Dynasty, it shows that they produced great achievement in concert with subjective actjvities in Chinese poetry.

이유원 〈해동악부〉의 실상과 창작 방법 고찰

강재헌(Kang, Jae-heon) 한국어문학회 2012 語文學 Vol.0 No.115

〈Haedongakbu〉 of Yu-Won Lee is included in the two books, “Imhapilki” and “Gaogoryak.” However, there is difference in the number of works between the two books. The 121 works of “Imhapilki” consist of the 100 works of Haedongakbu of “Gaogoryak”, the 16 works of Bojesanak, and the 5 works of Hunminjeongeum. Comparison the introductions of ‘Haedongakbu’ of “Imhapilki” and “Gaogaryak” showed that Yu-Won Lee wanted to organize the history of music of Haedong. He thought that they can be classified under the single category, ‘Haedongakbu’ although the three groups of works are different each other in terms of the period and order of creation, and he implemented his thought. Therefore, the number of works of 〈Haedongakbu〉 of Yu-Won Lee should be 121. The existing ‘Haedongakbu’ was mainly created to describe real events in history. Therefore, the Haedongakbu mainly included historic events, and evaluations about them. However, 〈Haedongakbu〉 of Yu-Won Lee focused on music history. Our 3,000 years music history was organized under the name of 〈Haedongakbu〉 thanks to the effort of Yu-Won Lee. He used four different techniques in order to describe the flow of music history, and they were historical truth, selection, compression, and transformation. Yu-Won Lee, firstly, verified the historical truth on the works by studying domestic and Chinese documents like “Jeungbomunheonbigo”, “Haedongyeoksa”, and “Donguktonggam” and investigating the mentions of senior scholars. He collected resources that were necessary for the establishment of music history. Secondly, he selected only the necessary resources because the data of 3,000 years tradition was too vast. He selected works that are in line with Confucianism and help to enlighten people. Thirdly, Yu-Won Lee used the technique of compression for simplification if the works had lots of historic records. A work was comprised of a title, an akbusi, and an epilogue, and he simplified all these elements in order to clarify the content of the work. Forth, he used the technique of transformation in order to establish music history. Especially, he changed the contents of music if the music had the contents disadvantage to us. It was a way of showing the tradition and superiority of our music.

여항 가객 작품에 나타난 경제 상황과 문화적 지향 -김천택과 김수장의 경우를 중심으로

강재헌 ( Jae Heon Kang ) 한국고시가문학회 2012 한국시가문화연구 Vol.0 No.29

조선 후기 시조 가단을 이끈 존재는 여항 가객들이다. 이들은 여항인이라는 신분적 토대를 기반으로 한다. 여항인은 조선후기 서울의 주요 구성원으로 첫째 서울에 거주하며 둘째 일정한 공적 업무에 종사하는 계층으로 무시하지 못 할 경제력을 가지고 있었다. 그럼에도 태생적인 신분적 한계-양반이아님-을 지니고 있어 자신들을 窮人이라고 자처하는 신분 의식을 지녔다. 18세기 가단을 이끈 김천택과 김수장 역시 이러한 세 가지 조건에 부합하는 여항인이다. 김천택은 포교의 신분으로 남산 아래 무반들 거주지에 자신의 집을 지니고 있었다. 그러므로 그의 경제 상황은 여타 여항인처럼 풍족하였을 것이다. 그는 이러한 경제력을 바탕으로 고답적인 문화 지향을 가졌는데 고검 수집과 음주의 작품과 정격적 시조 음악 창출로 나타난다. 김수장은 서리로 김천택보다 경제적 우위에 있었다. 그러므로 그는 서울의 절승지인 화개동에 집을 짓고 가단의 수장 역할을 할 수 있었다. 그는 이러한 경제력을 바탕으로 김천택과 같은 무반류의 풍류를 지양하였다. 그런데 그의 이러한 성향은 그를 퇴폐적 문화 지향으로 나타나는데 여성 편력과 변주적시조 음악의 창출에 그것이 반영되어 작품으로 나타난다. 여항 가객들은 이처럼 자신만의 경제력을 바탕으로 하여 자신들에게 맞는 문화적 지향을 작품에 표출한 것이다. It was Lyeohang Gagaeks who led the group of Sijo singers in the late period of Chosun Dynasty. They are based on the social class ``Lyeohangin``. Lyeohangin was the major member of Seoul population in the late period of Chosun Dynasty and a social class who first lived in Seoul and second, engaged in the public works and had a great economic power. Despite of it, they had the inherent limit in social position-not belong to Yangban (noble class)-and had a status recognition by calling themselves as ``Gungin (窮人)``. Kim Cheontaek and Kim Sujang who led the group of artists in the 18th century are also Lyeohangin who meet these three conditions. Kim Cheontaek had a title of Pogyo but had an economic power enough to have his own house in the residential area of military nobility around the Namsan. Considering the housing status of Seoul at that time, this represents his considerable economic power. Thus his economic situation must be rich and affluent like other Lyeohangin. Based on this economic power, he had the high brow cultural direction which led to the collection of old swords and the creation of the works of drinking and the regular Sijo music. Kim Sujang as Seori, had an economic superiority to Kim Cheontaek. Based on his economic power, he built his house in Hwagae-dong, a place of superb scenic beauty and could be the head of the group of artists. However, such economic power that he had appears on his works with decadent cultural trend. Other than the high toned contents of Kim Cheontaek, such trend was reflected in the creation of variant Sijo music of Kim Sujang who has involved with various women, and appears on his work. Lyeohang gagaek expressed the cultural direction suitable for their aiming on their works based on their own economic power.