편측 소수 잔존치 증례에서 CAD software를 활용한 planning 및 임플란트 서베이드 고정성 보철물을 이용한 국소의치 수복: 증례보고

박정근,김종은,박지만,김지환,심준성,Park, Jeongkeun,Kim, Jong-Eun,Park, Ji-Man,Kim, Jeehwan,Shim, June-Sung 대한치과보철학회 2019 대한치과보철학회지 Vol.57 No.3

임플란트에 대한 급여의 확대로 임플란트의 지지를 받는 서베이드 고정성 보철물 제작 후 국소의치로 수복하는 증례에 대한 관심이 증가하고 있다. 이러한 증례의 예지성 있는 결과를 위해서 국소의치의 기본적인 설계 원칙과 잔존 치조골을 동시에 고려한 임플란트 계획수립이 필요하다. 본 증례는 편측 소수 잔존치를 가진 67세 남자 환자로 국민건강보험의 적용을 받을 수 있는 치료를 희망했다. CAD 소프트웨어를 활용하여 임시의치의 교합면, 국소의치의 기본적인 설계 원칙 및 흡수된 치조제를 모두 고려한 임플란트의 식립 위치를 결정하였다. 치료 결과 상악 및 하악 의치의 안정성 및 유지력이 적절하게 확보되었다. 본 증례는 임플란트 고정성 보철물 제작 시 국소의치의 기본적인 원칙과 흡수된 치조제를 모두 고려하기 위해 디지털 기술을 진단 및 치료에 활용하였고, 안정적인 결과를 얻었기에 이를 보고하고자 한다. As implant can be covered by National Health Insurance Service (NHIS), it was increased the interest in the removable partial denture (RPD) with the surveyed fixed prosthesis supported by implant fixture. To achieve predictable result, it needs the prudent implant planning by basic principles of RPD and patient's residual ridge. This 67 years old age male had a few unilateral remaining teeth, and hoped the treatment covered by NHIS. As using CAD software, the position of implant is planned with regarding to occlusal table of provisional denture, basic principles of RPD, and resorbed residual ridge. The definitive prostheses can ensure the stability and retention of removable prosthesis. When planning implant fixed prostheses, the digital technique was utilized to consider basic principle of RPD and resorbed residual ridge. As a result, it provided satisfactory prostheses.

베르디 오페라 『폴스타프』의 풍자극에서 낭만희극으로의 전이

박정근(Jeongkeun Park) 한국셰익스피어학회 2010 셰익스피어 비평 Vol.46 No.3

Verdi composed his comic opera, Falstaff, on the basis of Boito’s Falstaff adapted from Shakespeare’s The Merry Wives of Windsor. Verdi asked Boito to change the original work into a tighter structure for operatic effects which should be shorter and more passionate because of the characteristic of opera. Particularly, Boito omits or changes some scenes and characters in Falstaff to create his original comic effects. His work can be classified not only as ‘satire’ of major plot focusing on punishing immoral Falstaff, but also ‘romantic comedy’ of subplot focusing on the romance of Fenton and Nanette. Boito changes the title of The Merry Wives of Windsor into Falstaff in order to concentrate on Falstaff who should be satirized and punished as a scapegoat for purging the hypocritical patriarchy. Falstaff tries to solve his financial problem of a degenerated knight by making love with rich women such as Mrs. Ford and Mrs. Page. He dares to send his love letters with same contents to these women simultaneously. However, his conspiracy is known to merry wives of Windsor, so that they plan to punish him by means of feministic sisterhood. Mrs. Quickly seduces Falstaff to come to the house of Mrs. Ford by informing him of her acceptance of his love. However, he comes to be threatened by the violence of Ford who doubts about his wife's chastity. Falstaff is thrown away infamously to the River Thames covered with dirty clothes in the basket for his survival. The love affair of Fenton and Nanette develops as the subplot of romantic comedy together with the major plot of satire at the same time. In spite of objection of Ford, Nanette and Fenton enjoy their pure love behind the folding screen even in the violent scene of Ford's searching out the lover of his wife. Fenton’s love is very pure in comparison with that of original work of Shakespeare, which can be evaluated as pure model of romantic comedy. In the original work, he shows his secular greed for Ann's inheritance from her father. The romantic comedy of Fenton and Nanette takes place of the satire of Falstaff in ‘The Herne the Hunter Play.’ After the punishment of Falstaff through the teasing of the community, Mrs. Ford plans stealthily to lead Fenton and Nanetter to marriage against Ford's strategy by which Dr. Cajus is intended to marry Nanette by patriarchal authority of Ford. Dr. Cajus is completely teased after taking off the mask of Bardolf who has been thought to be Nanette. Conclusively, romantic lovers and merry wives manage to win the game of marriage with conservative men who regard marriage as political dealing. In the last part of the opera, Nanette asks the forgiveness of her father which is needed to create festivity and reconciliation of marriage. Also, Ford invites Falstaff to the festivity of his daughter's marriage as a romantic comedy. At the last scene. this satiric comedy is changed into typical romantic comedy in spite of overwhelming correction of major plot.

이윤택 <햄릿>과 <문제적 인간 연산>의 셰익스피어 각색의 상이성과 현대성

박정근(JeongKeun Park) 한국셰익스피어학회 2016 셰익스피어 비평 Vol.52 No.1

Lee YoonTaek can be regarded as the representative playwright and director of Korea in adapting Shakespeare’s works with Korean traditional style. He, in his plays and performances, has tried to restore traditional theatre by connecting Shakespeare works with Gut and traditional entertainments. Lee YounTaek has supported Oh TaeSuk’s theatrical movement of “Korean Racial Theatre” by announcing that Korean theatre should restore the ‘Korean-ness’ in producing performances on the stage. This ‘Korean-ness’ means the original emotion, rhythm and movement of Koreans on the theatrical performance. This means his positive attitude of agreement, inheritance and cooperation for Oh TaeSuk’s theatrical movement. Lee YounTaek has continued to experiment in adapting Shakespeare’s Hamlet in his own style of direction by means of ‘Gut.’ He introduces supernatural ‘inspiration’ of Gut in several scenes to cure madness or psychological instability, which can create the uniqueness of his theatrical world. And he tries to overcome the nihilistic result of the last scene in Shakespeare’s original works in which most of major characters should die without any vision of salvation. Instead, Lee lets Hamlet rise to heaven by tearing white textile ritually, the symbol of death, after his death as the scapegoat for the purgation of the world. The audience can feel successful exorcisement of skillful Gut by watching Hamlet’s role as a Korean shaman(Mudang) in the last scene. Lee endeavors to use his dialectical method in connecting the tradition and the modern, the Oriental and the Western, and Shakespeare and the traditional Gut. By doing so, Lee is able to produce the synthesis from the mixture of two different elements in his performance of MunJeInGan YeonSan. He inserts a lot of motifs of Shakespeare works such as Hamlet and Macbeth. Different from Hamlet, MunJeInGan YeonSan is composed of historical anecdotes of King YeonSan which reminds us of similar motifs of Hamlet and Macbeth. YeonSan, by using Guts, tries to solve his mother’s regrets by which she could not leave for the world of death. Accordingly, the audience can enjoy opposite elements simultaneously, which can create the synthesis in theatrical effects dialectically. Also, Lee describes YeonSan as extremely decadent character who searches for murder and sexuality to the limit without any vision of salvation. YeonSan’s nihilistic attitude in contrast with Hamlet’s positive one, can be said to create modernity by showing destructive ending in spite of its major structure of traditional Gut.

『말괄량이 길들이기』에 나타난 놀이를 통한 의미 찾기

박정근(JeongKeun Park) 한국셰익스피어학회 2018 셰익스피어 비평 Vol.54 No.3

Shakespeare intends to show a variety of plays rather than the simple development of action in The Taming of the Shrew. As a matter of fact, some critics suggest that Shakespeare tried to stress a certain ideology such as 16c. patriarchy in this work. However, in consideration of critics’ different response for this work, it is not desirable to say that Shakespeare stands for a single viewpoint. Rather, he has led spectators to participate in a lot of plays inserted in the work and to find various meanings according to individual viewpoint. Especially Shakespeare directed characters to enjoy the ‘lord’s role play’ for drunken Sly in Induction, Lucentio’s ‘disguise play’ for proposing to Bianca, and Petruchio’s ‘paradox play’ for taming the shrew, Katherina. Gadamer ever suggested that the subject of the play cannot control the play, rather the play itself controls the process of the play. Spectators should go through original artistic experiences instead of focusing only on simple storytelling based on the plot. By doing so, they can recognize a variety of meanings not denoted in the dialogue by means of artistic experiences. From this viewpoint of drama as a play, Shakespeare can be said to stipulate several patterns of play for spectators, the participants of the play. Spectators of The Taming of the Shrew can create their own methods of existence by participating in the plays. By understanding the hidden meanings in gaps of the dialogues in this work, spectators in the theatre or directors of Shakespearean movies can create their own existences.

김수영 시에 나타난 실존주의적 전망의 긍정성

박정근 ( Jeongkeun Park ) 한민족문화학회 2015 한민족문화연구 Vol.51 No.-

김수영은 실존주의 영향으로 인해 세계와 인간 사이의 괴리를 발견하고 상호간의 어떤 유기적 관계의 부재로부터 부조리를 인식하고 있다. 현대인은 과학과 기술의 발전을 기초로 해서 이성으로 세계를 분석하고자 하지만 그 합리적 관점은 인간의 삶의 환상적 무의미성을 인식하게 할 뿐이다. 하지만 우리는 무의식이나 무(無)에 잠재한 진리에 이를 수 없다. 실존주의자로서 김수영은 한국사회의 뒤떨어진 현실을 바라보면서 과거와 현재, 문명과 전통, 정치와 자유 사이에서 보여주는 부조리를 발견한 바있다. 특히 그는 세계의 무한대적 혼돈과 개체의 의미부여 사이의 경계선에서 깊은 시적 사유를 보여준다. 김수영은 세계와 인간 사이에 존재한 부조리적 괴리에 대해 염세주의적 관점을 보여주었던 까뮈와 달리 독특한 실존주의적 비전을 제시한다. 그는 그의 시에 나타난 부조리의 문학적 의미가 무의미의 거대한 힘에 의해 소멸되는 것이 아니라 무의미의 은폐와 투쟁하는 과정에서 혼돈에의 접촉과 기록에 의해서 획득된다고 본다. 김수영은 무의식의 무한대와 인간의 유한적 의식 사이에서 필연적으로 부조리가 일어날 수밖에 없지만 부조리가 가져오는 고통을 통해서 오히려 무의식과 접촉이 가능하게 된다. 그것을 통해 그는 시인의 유한자적 존재를 넘어서는 새로운 창조의 가능성을 획득할 수 있다고 보는 것이다. Kim SooYoung, under the influence of existentialism, discovered the discrepancy between the world and human-beings. He recognized the absurdity from the lack of mutual organic relations of the world and human-beings. Even though modern men try to analyze the world by means of reason on the basis of the development of science and technology, this rational perspective leads us only to recognize the illusive meaninglessness of human lives. However, we are not able to reach the truth lying hidden beneath the subconscious or nothingness. As a existentialist, Kim SooYoung ever discovered the absurdity between past and present, civilization and tradition, and politics and liberty with watching the fallen-behind realities of Korean society. Especially he shows his profound poetic speculation for the borderline between the infinite chaos of the world and the individual significance. Kim SooYoung, different from Camus who showed pessimistic viewpoint for the absurd discrepancy between the world and human-beings, suggests his unique existential vision. He thinks that the literary meaning of the absurdity in his poems would not exterminate by the enormous force of the meaninglessness, rather it could be established by means of the contact and the record with chaos in the process of conflict with the concealment of meaninglessness. Kim SooYoung can rather contact with the subconscious through the pains of absurdity in spite of the necessity of absurdity between the infinity of subconscious and the finite conscious of human-beings. By doing so, he achieves the possibility of new creation beyond the finite existence of the poet

UM LDAPS를 활용한 풍력자원지도 고도화

이영미(Youngmi Lee),박정근(Jeongkeun Park),배주현(Joohyun Bae),김진영(Jin-Young Kim),김현구(Hyun-Goo Kim) 한국신재생에너지학회 2016 한국신재생에너지학회 학술대회논문집 Vol.2016 No.5