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유진아 ( Jin A Yoo ),정희선 ( Hee Sun Jeong ) 한국식품영양학회 2011 韓國食品營養學會誌 Vol.24 No.3
This study was performed to investigate the level and recognition and interest in nutrition labeling in restaurants according to consumer interest levels in health and to suggest its application to restaurant lunches. By considering various statistics and data on the frequency of reasons for dining-out, this study examined worker restaurant lunches and investigated the level of recognition of interest in nutrition labeling, the type of nutrition information that is of interest and the preferred format of labeling according to the level of interest in health. According to the results, while the frequency of dining-out by workers was high, their consideration for health and nutrition labeling in restaurants was low. However, a high percentage of consumers responded that nutrition labeling was a customer right and necessary to improve the quality of menu items as well as public health. Therefore, active promotion of nutrition labeling in the dining industry is necessary. Interest levels in additives, product origin and menu ingredients indicated in restaurant menus were higher than for nutritional information such as nutrients and calories. When the preferred format for providing nutrition information was investigated, consumers preferred information written on a menu board, and they wanted to broaden the range of information included in nutrition labeling for menu items beyond calories and nutritional facts. Based on these results, recognition of nutrition labeling in restaurants was found to below and the interest level in health was also lower than expected. However, most consumers responded that nutrition labeling was helpful in choosing menu items can be a tool for nutrition education and can play a role in improving the recognition of nutrition. Therefore, active promotion of nutrition labeling by the dining industry is necessary.
성장소설의 관점에서 본 케르티스 임레(Kertesz Imre)의 홀로코스트 문학 -“운명 4부작”을 중심으로
유진일 ( Jin-il Yoo ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2016 世界文學比較硏究 Vol.55 No.-
2002년도에 노벨문학상을 수상한 헝가리 작가 케르티스 임레(Kertesz Imre)는 15세에 겪은 아우슈비츠의 경험을 바탕으로 평생 홀로코스트 문제에 천작한 작가이다. 그의 대표적인 작품은 ‘운명 4부작’으로 일컬어지는 『운명』(Sorstalansag), 『좌절』(Kudarc), 『태어나지 않은 아이를 위한 기도』(Kaddis meg nem szuletett gyermekert), 『청산』(Felszamolas)인데 이 작품들은 1년간의 아우슈비츠의 경험과 그로 인한 트라우마를 가지고 살아가는 주인공의 험난한 삶의 여정을 그린 작가의 자전적 소설이다. 아우슈비츠를 소재로 한 그의 작품들에 관한 기존 연구는 소설의 구조와 문학적 기법, 그리고 작품의 특징의 관점에서 기존 홀로코스트 작품들과의 차별성에 바탕을 둔 연구가 주류를 이루었다. 본 논문에서는 케르티스 임레의 대표적인 홀로코스트 작품들을 기존에 다루지 않았던 성장소설의 관점에서 분석해 보았다. ‘운명 4부작’을 칼 모르겐슈테른의 이론에 따라 성장소설의 관점에서 분석해 본 결과 제1부작 『운명』은 자아 정체성의 부재 - 시련 - 자아 정체성의 인식이라는 전형적인 성장소설의 서사구조를 가지고 있음을 확인할 수 있었다. 아울러 나머지 세 작품 역시 주인공이 청소년이 아니기 때문에 성장소설로 볼 수는 없지만 주인공의 유대인으로서의 자아 정체성의 인식 과정을 볼 때 성장소설의 서사구조를 가지고 있음을 볼 수 있다. 따라서 케르티스 임레의 대표적인 홀로코스트 작품 ‘운명 4부작’ 중 1부작『운명』은 독립적인 성장소설의 구조를 가지고 있으며 그와 동시에 전체 4개의 작품 역시 하나의 성장 소설적 구조를 가진 이중 구조를 형성하고 있음을 알 수 있다. Kertesz Imre, a Hungarian Nobel Prize winner in Literature 2002 has delved into the Holocaust since he experienced Auschwitz at the age of 14 years. His so-called Tetralogy of Fate, which consists of Sorstalansag (Fatelessness), Kudarc (Fiasco), Kaddis meg nem szuletett gyermekert (Kaddish for an Unborn Child), and Felszamolas (Liquidation), is a series of autobiographic novels that depict the writer``s Auschwitz experiences and rough and rugged paths of life with the ensuing trauma. The preceding studies focused on the narrative structures and techniques of his Auschwitz works as well as their differences from the existing Holocaust works in terms of features. The present study analyzed Kertesz``s Holocaust tetralogy in terms of Karl Morgenstern``s Bildungsroman theory that did not apply to the existing studies. According to the analysis, the first work Fatelessness has a typical narrative structure of lack of self-identity-ordeal-establishment of self-identity. Having no juvenile protagonist, the remaining three works cannot be seen as Bildungsromans, but have Bildungroman``s narrative structures, given the protagonists`` processes of recognizing self-identity as Jews. The tetralogy``s first work has an independent Bildungsroman structure, while the whole four works also have a Bildungsroman structure. Therefore, the tetralogy constitutes a dual Bildungsroman structure.
유진식 ( Jin Sik Yoo ) 한국환경법학회 2008 環境法 硏究 Vol.30 No.3
The policy on preserving wetlands in Japan is suggested systematically and concretely in the Basic Environment Plan and the three National Biodiversity Strategies of Japan. Among them, the Second National Biodiversity Strategy of Japan is kept an eye on because it has many important policies on preserving wetlands. Those policies are such items as selecting the wetlands worth being preserved, preserving wetlands in the nation-wide view and with international linkage and cooperation and the arrangement of data concerned with wetlands. But it matters whether those laws and institutions, etc. are prepared to implement those desirable policies. In Japan, they do not have the law only for preserving wetlands, which dose not meet the need to preserve wetlands. Now it is necessary to make the exclusive law to implement the Basic Environment Plan and the three National Biodiversity Strategies of Japan, especially the Second Strategy.
가로공간과 공공시설의 연계를 통한 도심 공공공간의 재생에 관한 연구
유진선(Yoo Jin-Sun),유현준(Yoo Hyun-Joon) 대한건축학회 2008 대한건축학회 학술발표대회 논문집 - 계획계/구조계 Vol.28 No.1(계획계)
There are several elements that comprise the city things. One reason for one particular property or buildings in the urban can't ignore concerns, but also influence the area except with the special nature of human life and living environment of the region's how I see it in position. The choice of without public is difficult that human centered and passive means to actively create a space for creation resuscitate space. This research will play for the urban public facilities across space and a cascade of measures to reach that objective as a public space, essentially meaning and role of street space and insights with the new spatial plan for the reconstruction of the city's offer to play. The urban should be filled with full of people, exciting event and there should be provide public space of higher quality. People routinely happens in outer space and all the activities and events occurring by chance is a reflection of the urban to play the most fundamental problem. The street space and public facilities will be connected with everyday activities happening anywhere in the urban center with outdoor public space in public facilities and community space. abundant will make an important contribution. Understanding the relationship that appears in modem society are bitterly antagonistic to the pedestrian space in the city's residents to participate in the composition of social conflicts and social integration can switch means to be valid. In other words, there for recognize of my city, our city is not aware that the transition is made to hold the city and community development in the nature and the environment it is the system of individual human life, without being affected by regional differences and comfortable evenly Keywords can be configured.
유진일 ( Jin Il Yoo ) 韓國世界文學比較學會 2010 世界文學比較硏究 Vol.32 No.-
Having begun with memorial service for Dionysus in the 6th century B.C. in ancient Athens, theater has developed in different forms in different countries through the Middle Ages to the present day. Of the forms, mask plays are still performed as festival or performance plays in almost all countries across the world. In Korea, a mask play is called “Talchum.” “Tal” and “chum” mean “mask” and “dance” respectively. Today, Talchum encompasses all the traditional mask plays. To the 1970s, “Gamyeongeuk” was used as an academic term. Currently, both Talchum and Gamyeongeuk are used without distinction. Of three elements, i.e. mask, dance and theater, the term Talchum emphasizes the first and second, but also includes the third. Originally, only the mask dance in Hwanghae-do [province] was called Talchum and those in other regions were referred to as Sandaenori, Deulnoreum, Ogwangdae etc. In Hungary, mask plays are performed during the “Farsang,” a form of carnival. The Hungarian “Farsang” is a word derived from the German “Fasching” and its Austrian and Bavarian dialect “Vaschung.” Hungarian mask plays are different from Korean Talchum standardized as a genre of folk art. Unlike Talchum, they have no separate professional dancer or performer. Masks are stressed in Talchum, while costumes are stressed in addition to masks in Hungarian mask plays. Talchum has established itself as a form of performance art, whereas Hungarian mask plays are part of Farsang rather than a form of performance art. Despite such differences, Hungarian mask plays can be incorporated into mask plays, like Korean Talchum in that they use masks, show acts and communicate dialogues to participants. The present study is aimed to compare the mask plays between Korea and Hungary founded by the Magyar from Asia. Though about one thousand years have passed since the Hungarians settled in Europe in 896, this study is in tended to look into the common and different points between the two people rooted in Asia, using the genre of a mask play. This is because such comparison will help understand the identities and cultures of the both peoples. Korean and Hungarian mask plays are considerably different from each other in form and content despite the commonness that the both peoples are Asian ones. The Korean Talchum, one of drama genres, has established itself as an important performance art. On the contrary, the Hungarian Farsang mask play is performed as part of Lent, a Christian event. Therefore, it is part of Lent festivity rather than an independent art genre. Korean masks contain various expressions according to characters, while Hungarian masks do not have expressions as fine as Korean ones. Though different from each other in form and content, the both mask plays have something common in human universal emotion and Weltanschauung.
유진수 ( Jin Soo Yoo ) 한국산업조직학회 2014 産業組織硏究 Vol.22 No.2
본 논문은 인적분할을 통한 지주회사 전환과정에서 나타난 대주주 지분율의 변화 및 주가의 변화를 분석하고 있다. 분석은 주식시장에 상장된 일반지주회사를 대상으로 이루어졌다. 분석결과, 지주회사 전환과정에서 대주주의 지주회사 지분율뿐만 아니라 사업회사 지분율도 크게 높아진 것으로 나타났다. 또한 지주회사 전환과정에서의 주가 동향을 분석한 결과, 지주회사의 주가는 크게 하락한 반면 사업회사의 주가는 크게 상승함으로써, 대주주가 지주회사의 지분율을 높이는데 크게 유리하게 작용했던 것으로 나타났다. This paper examines changes in the stock share of the major shareholder as well as changes in the stock price in the process of spin-off into a holding company. Analysis was limited to the holding companies listed in Korean stock market. Result shows that the shares of the major shareholder increased not only for the holding company but also for the operating company in the process of the spin-off. It also shows that the stock prices of the holding company and the operating company moved in opposite directions, so that the major shareholder gained more shares of the holding company.
『노루』에 나타난 주제의 형상화 수단으로서의 죽음 분석
유진일(Yoo, Jin-il) 한국외국어대학교 동유럽발칸연구소 2010 동유럽발칸연구 Vol.25 No.1
헝가리 문학에서 죽음 모티프에 대한 천착은 뉴거트 작가들 뿐 만 아니라 20세기 중후반 작가들에서도 동일하게 찾아볼 수 있다. 그 대표적인 작가 중 한 명이 헝가리 여류작가 써보 머그더(Szabó Magda)이다. 그녀의 대표작『노루(Az őz)』역시 주인공 엔치 에스테르(Encsy Eszter)를 둘러 싼 많은 죽음과 사랑, 그리고 질투를 통해 주인공의 심리적 갈등을 1인칭 관찰자적 시점에서 담담하게 그리고 있다. 분석 작품에 등장하는 죽음들은 다양한 분류가 가능한데 동물의 죽음과 사람의 죽음, 주인공이 연루된 죽음과 주인공이 관찰자적 시점에서 바라본 외부적 죽음, 과거에 일어난 죽음과 앞으로 일어날 죽음, 현실 속 죽음과 상상 속 죽음, 자연적 죽음과 타인 혹은 자신에 의한 죽음 등 광범위하고 다층적이다. 『노루』에 나타난 주제의 형상화 수단으로서의 죽음 모티프는 짜임새 있는 구조로 인해 독자들에게 효과적으로 주제를 드러내 주고 있다. 죽음이 소설의 단순한 하나의 모티프에 그치지 않고 죽음의 단계를 점층적으로 높여감으로서 주제 접근에 논리성을 제공한다. 써보 머그더는 죽음 모티프의 단순한 산재(散在)를 지양하고 미생물에서부터 시작하여 생물, 그리고 인간에 이르는 다양한 죽음의 복선들과 죽음의 사건들을 점층적으로 배치하고 있다. 첫 단계에서는 실제적 죽음이 아닌 죽음을 상징하는 사물들을 통해 향후 일어날 사건을 암시해주고 있다. 이 복선 단계에서 써보 머그더가 애용한 방법이 색깔을 통한 죽음의 상징기법이다. 특히 헝가리에서 죽음을 상징하는 보라색이 의도적으로 여러 곳에 배치되어 있다. 죽음에 대한 다양한 종류의 복선 내에서도 색깔 → 무생물 → 생물 → 신의 단계로 정도를 점층적으로 높여가며 복선의 효과를 극대화하고 있다. 죽음과 관련한 복선 다음 단계로 에스테르 주변에서 일어난 다양한 죽음이 나타나 있다. 에스테르가 직접적으로 그 죽음에 간여하지는 않았지만 그 영향이 에스테르에게 미치는 죽음들이다. 간접 관계에 있는 이 죽음들 역시 에스테르에게 심적으로 영향을 미치는 정도에 따라 서열화 시켜보면 에밀의 죽음 → 인체 아저씨의 죽음 → 판사인 도미 아저씨의 죽음 → 유스티 아주머니의 죽음 → 에스테르 본인의 아버지와 어머니의 죽음의 순서로 나열 할 수 있다. 그 다음 단계의 죽음으로는 에스테르가 직접 죽음에 간여하고 그 죽음의 원인을 제공하는 경우로, 노루와 뢰린츠의 죽음이 해당된다. 직접적 죽음 내에서도 노루의 죽음은 에스테르가 어린 시절에 저지른 사건으로 뢰린츠의 죽음에 대한 복선 역할을 한다. 결국 이렇게 많은 복선과 죽음의 제시는 결국 뢰린츠의 죽음이라고 하는 최종 종착역에 이르기 위한 과정으로 이해할 수 있으며 그 과정에서 주제를 효과적으로 나타내기 위해 죽음을 단계에 따라 점층적으로 제시하고 있다. 이러한 써보 머그더의 죽음의 점층적 제시와 이를 통한 효과적인 주제 형상화는 그녀의 섬세한 묘사와 더불어 이 작품의 특징을 형성하고 있다. In Hungarian literature, the preoccupation with the motif of death is found in the member authors of Nyugat as well as those in the middle and late 20th century. Szabó Magda is one of the authors that represent such trend. Her representative work Azőz calmly depicts the psychological conflicts of its main character Encsy Eszter from the first-person point of view through many deaths, loves and jealousies surrounding him. The deaths are so manifold and multilayered that they are classified into human vs. animal deaths, the deaths the protagonist is associated with vs. looks at from an observer's point of view, past vs. future deaths, the deaths in reality vs. imagination, natural death vs. suicide or killing and more. The motif of death as a means of theme formation in Az őz enables readers to get access to the work’s theme effectively through a well-organized structure. Death does not remain a simple motif any more, but offers logicality to theme approach by enhancing its level gradually. Szabó Magda gets out of the simple dispersion of death motifs, deploying the presages of various deaths from microorganism to human beings and the accidents of death step by step. In the first stage, she hints at future incidents with the things symbolic of deaths, not with real deaths. In this stage of presages, she likes to use a technique symbolic of death through a color. Especially, purple, symbolizing death, is intentionally deployed in Hungarian literature. The diverse presages of death maximize their effects by upgrading themselves in order of color, nonliving things, living things and God little by little. There are various deaths around Eszter in the stage following the presages of death. He is not directly involved in them, but influenced by them. According to their strengths affecting him psychologically, the deaths can be upgraded in order of the deaths of Emi, Uncle Ince, Judge Domi, Aunt Juszti and his parents. In the third stage, Eszter causes deaths, directly taking part in them, which is represented by those of a roe deer and Lőrinc. Within the range of the direct deaths, the death of a roe deer, caused by Eszter as a child, plays a part of a presage of Lőrinc’s death. After all, so many presages and deaths can be understood as the stage-specific devices in the process of reaching the last station, i.e. Lőrinc’s death. In the process, deaths are gradationally presented from stage to stage to represent the work’s theme. The present work of Szabó Magda is characterized by the gradational presentation of deaths and the ensuing effective theme formation as well as fine description.
유진식 ( Jin Sik Yoo ) 전북대학교 법학연구소 2010 法學硏究 Vol.30 No.-
With disposition, standing to sue is a requirement to raised revocation suit that consists one of the cores and the center of discussion. There are reasons: First, traditional administrative dispositions only affected on the counterpart directly and on the third party indirectly in most cases as the modern administration becomes more complicated, but there are cases increasing that affect directly on rights and benefits of the third party. Second, for the administrative procedural code, regarding standing to sue in revocation suit? those who have benefits legally? Since precedents are quite intuitive and relative to judge whether there is 「Legal Benefits? required to admit standing to sue in revocation suit or not, it seems that there are no systemicity and consistency in precedents. Therefore, theories about standing to sue in revocation based on systematic and consistent standards of judgement should be constructed together with comprehensive analysis on the existing precedents.