김북원(金北原)의 문학사적 복원과 해방기 활동 연구

김진희 ( Kim Jin-hee ) 한국문학연구학회 2019 현대문학의 연구 Vol.0 No.68

남북한 문학사에서 김북원에 대한 소개 및 평가는 해방 전 문학성과를 봉인한 채, 한국 전쟁기 이후의 성과에 집중되어 왔다. 이는 해당 작가의 자료를 남한과 북한이 비교 논의하지 않았기 때문이다. 이에 본 연구에서는 김북원의 해방 전 문단 활동이 비교적 일찍부터 시작되었음을 필명을 찾아 밝히고 창작의 영역이나 경향 역시 다양했음을 자료 발굴 및 제시를 통해 논의함으로써 김북원에 관한 전체적 연구의 토대 마련을 시도했다. 그간 남한의 아동문학사에서 『별나라』에 실린 아동소설 및 동시의 작가로 알려진 필명 ‘북원초인’이 김북원임을 북한의 아동문학사와 비교하고, 1930년대 김북원의 농업학교 재직 경험 등을 통해 밝혔다. 그리고 소설로 알려진 「완구」가 꽁트임을 밝혔고, 『삼천리』에 추천된 「유랑민」이라는 소설을 통해 김북원이 당대 노동자로 전락하는 농민의 삶을 핍진하게 그림으로써 이후 북한문단에서 농촌작가라는 평가의 단초를 읽을 수 있었다. 『신인문학』이나 『시인춘추』 등에 발표한 김북원의 시를 최초로 소개했고 1930년대 후반 『맥』과 1940년대 『시현실동인』으로서 초현실주의와 포르말리즘의 작품 창작 및 이론을 고찰함으로써 1930년대 초반 초현실주의 및 모더니즘을 이론적, 지역적으로 확장하여 만주모더니즘을 선도한 작가임을 밝혔다. 1943년까지 초현실주의 시의 창작방법론을 시도했던 김북원은 해방기에는 북한 문단의 정책과 변화하는 현실의 요구에 맞는 작품들을 창작했다. 김일성에 대한 찬양을 기본 골자로 하면서, 농촌의 토지개혁, 빨치산 전투에 참여한 영웅적 주인공, 노동 현장의 변화, 소련과의 친선 등 북한의 중요한 이슈들을 시화했다. 이상과 같은 논의를 통해 식민지 시기와 해방기 이후 김북원의 문학 활동의 연속성을 확보함으로써 남북한 문학사에서 김북원에 관한 전체적인 평가의 토대가 구축될 수 있었다. In the history of North and South Korean literature, the introduction and evaluation of Kim Buk-won has focused on the achievements after the Korean War, sealing the literary achievements before liberation. This is because both South Korea and North Korea did not discuss comparative resources of the author. In this study, research on Kim Buk-won was attempted for the first time by unveiling that Kim Buk-won’s preliberation literary activities had started relatively early by finding his pen name, and by discussing that his creative territory or tendency were also diverse through data supplement. This study uncovers that the author of children’s stories and poetry published in The Land of Stars (별나라 Byeolnara) in the history of children’s literature in South Korea, under the pen name “Buk-won-cho-in” was in fact Kim Buk-won by comparing Kim’s identity with the history of children’s literature in North Korea, and through Kim’s experience working in agricultural school in the 1930s. Moreover, I uncover that the work, Toy (Wan-gu) that was known as a novel, was in fact a conte (short story), and was able to read the start of the assessment of Kim Buk-won as an agricultural writer in the North Korean literary circle after depicting the lives of farmers turning into laborers in the novel Nomads (Yurangmin), which was nominated in The Land of Korea (삼천리 Samcheolli).Kim Buk-won’s poetry, which was published in New Face of Literature (신인문학 Sininmunhak) or Spring and Fall of Poets (시인춘추 Siin chunchu), was first introduced and discussed in this study. By reviewing the creation and theories of Maek in the late 1930s and ‘Poetry Reality Coterie’ in the 1940s, it became possible to evaluate that Kim was a writer led Manchurian Modernism, by theoretically and geographically expanding surrealism and modernism in the 1930s. Kim Buk-won, who tried to create surrealistic poetry creative methodology by 1943, created works that fit the policies of North Korean literary circles and the demands of changing reality. With the praise of Kim Il Sung as the basic framework, he has poeticized North Korea’s major issues such as land reform in rural areas, the heroic protagonist who participated in the battle of partizan, changes in the workplace, and goodwill with the Soviet Union. Through these discussions, I believe that securing of the continuity of Kim’s literary activities after the colonial period and the liberation period, and the complete description of the history of literature in North and South Korea became possible.

김억의 번역론 연구 : 근대문학의 장(場)과 번역자의 과제

김진희(Kim Jin-hee) 한국시학회 2010 한국시학연구 Vol.- No.28

In the beginning of the Korean modern literature since 1910's, Kim Eok played a crucial role as a translator for foreign literature and theory. During the acceptance of foreign literature, Kim realized the importance of translation and he is considered an intellectual who, as opposed to other contemporary translators, performed a bulk of translations from various countries. He was in the lead of balancing content and form, reforming he literary circles of translation in which there was abundance of arbitrary interpretations and content-concentrated translations. However, Kim Eok's translated works have been devalued by reason of erroneous and liberal translation of original works and inapt understanding. Researchers generally examine original and translated texts in tandem, after which they point out problems of the translations and attribute them to the translators' lack of capacity. The study of this paper presupposes that in-depth understanding of translated texts can be carried out only when the theory and practice of translation go in parallel. It argues that the negative evaluation for Kim's translations can be reconsidered through the study of theory. Kim argued for 'creative liberal translation,' and this paper investigates the formation and characteristics of this standpoint. This paper particularly looks into how symbolism, which Kim embraced, influenced Kim's view on translation. The acceptance of symbolism and the theory of translation are discussed in regard to the theory of translation maintained by Bejamin, a German literary critic who lived around the same time, in his book The Task of the Translator. The paper also examines Kim Eok's theory of translation in the sense that the act of translating foreign languages expands and deepens a mother tongue, which provides an opportunity to form and develop the self-identity. Kim's viewpoint on translation, which searches for the nature of poems, found modern poetic language for the Korean poetry, which was possible due to his exploration into language that represents this nature. Translating the western poems in the initial stage of modern literature implies admission and conveyance of heterogeneous culture, beyond simple written text, and creation of new culture. Kim Eok's translated works shows the creativity of cultural translation that is generated at the intersection of internal and external cultures. The literary world after 1920's, via translations, could realize the identity of modern literature by means of dialogue with others, i.e. dialogue between tradition and the West. Furthermore, it could have a foundation in creation of new culture. Along these lines of modern literature, Kim Eok's theory of translation presented ‘creative liberal translation’ and ‘creative translation’ as the task and direction for those who do the translation, including himself. It was an aspect of cultural action that Kim's theory evidently showed through translation.

근대 문학의 장(場)과 김억의 상징주의 수용

김진희 ( Kim Jin-hee ) 한국문학이론과 비평학회 2004 한국문학이론과 비평 Vol.22 No.-

It was in 1910s of the history of Korean modern poetic literature that new contents and forms of poetry had begun to be explored and practiced, though traditional poems and songs had been yet enjoyed in those days. In this history of literature it is enough to be remarkable that Earck Kim had provided the symbolic poetics for a found of the Korean modern poetry in 1910s. Earck Kim's literary activities whose had received and created the symbolic poetics were particularly to be remarkable in the early new-literature. But with these fruits his literature has debated as limits about how he had preponderately received poetry of P. M. Verlaine, and had tended to a senumentality and an musicality. Contrary, his literature also has appraised that he had suggested rules of set-form so called the ‘rhythmical poetics’ in 1930s against a superficial understanding about the receiving symbolism. This study has seen these characters of Earck Kim not as a limit or a fault of the receiving it but as a speciality and a personality of it, and even has illuminated objective and subjective elements which had these characters of him. For this study has laid a comparative literary view by using a framework(or methodology) that those elements have determinated a character of the receiving it according as D. Durisin had suggested the progressive study of the receiving. If the objective elements are to be a whole literary situation of one state receiving it, then the subjective elements are to be personality, individuality, creativity, and like of the literator in the state. By the way theories of Pierre Bourdieu's the ‘literature champ' and the ‘habitus' have been used as scientific epistemology and methodology in order that this study has explained stricter and more dynamic relationships how the subjective elements of literary subjects have been involved in the objective situations, and how they have determinated a character of the receiving it. For it has been to be thought effective how the ‘litterature champ' has been used to explain the objective elements of the receiver contacting them, and how the 'habitus' to explain the subjective elements of the receiver-self. With these methodologies this study has first examine on building up the ‘litterature champ' in 1910s and its characters as the objective elements of the receiving. And this study has concretely inquired Earck Kim’s poetic tendency which had regarded importantly sentimentality and emotion of ones as the subjective elements, his experiences of learning in and out Korea, and contents of learning about symbolism in Japan. Second, this study has tried to rethink a bout Earck Kim's the receiving symbolism based on above results. Anyway, his preponderantly receiving Verlaine could have been issued not from the lack of his power of the receiving symbolism, but from that symbolism had been harmonized with Earck Kim's personal poetic taste. His groping for a modern from of poetry also has been generated in a reflective thought against the utility litterature champ in which had been fixed the literary topical consciousness. And the rhythmic poetics which had tried to seek for rules of our language in 1930s has been turned out to be an inheritance from his inquiry of poetic farms before. Finally, Earck Kim had opened the individuals eyes into their self-consciousness through stimulating their emotions when the utility ideology had been emphasized. Consequently, Earck Kim in 1910s had obviously shown a direction of future lyrics through his reflection on the literature of the day in terms that he had made a fixed directive point toward the excluding thoughts and meanings from his poetry and the seeking for musicality in it, and that he had enlightened new poets on lyricism as their poetic defect.

Breast Conserving Operation and Radiation Therapy in Early Breast Cancer : Interim Analysis

김진희,김옥배,김유사,Kim, Jin-Hee,Kim, Ok-Bae,Kim, You-Sah The Korean Society for Radiation Oncology 2001 Radiation Oncology Journal Vol.19 No.1

목적 : 초기 유방암 (병기 I, II)에서는 유방 보존 수술과 방사선치료가 선호 받고 있는 치료법이다. 본원에서는 1992년부터 이러한 방법을 시행 중이며 실패양상과 미용효과 및 생존률을 알아보고자 하였다. 대상 및 방법 : 1992년 1월부터 1997년 12월까지 계명대학교 동산의료원에서 유방 보존 수술과 방사선치료를 받은 초기 유방암환자 72명을 대상으로 하였다. 연령분포는 $25\~77$세(중앙값 43세)이었고 TNM 병기는 0기 5명, I기 33명, IIa기 25명, IIb기 9명이었다. 모든 환자는 유방의 부분절제술과 동측 액와림프절 곽청술을 시행하고 방사선치료를 하였다. 유방의 방사선치료는 동측 전체 유방에 6 MV 광자선으로 $50\~54\;Gy$를 5주에서 6주간에 조사하였고 원발병소에 추가 방사선은 전자선으로 $10\~16\;Gy$를 1주에서 2주간 조사하였다. 항암화학요법은 41명에서 방사선치료 전후에 시행하였다. 미용효과는 환자의 만족도를 매우좋음, 좋음, 만족할만함, 불만족의 4단계로 설문조사를 시행하였다. 추적관찰기간은 22개월에서 91개월로 중앙값이 40개월이었다. 결과 : 전체환자의 5년 무병생존률은 $95.8\%$ 이었다. 병기별로는 0기에는 $100\%$, I기에는 $96.9\%$, IIa기에는 $96\%$, IIb기에는 $88.9\%$이었다. 2명에서 원격전이가 있었으며 1명에서 동시재발이 있었다. 원격전이 환자 중 1명에서는 방사선 치료 후 14개월에 골, 간에 있었고 1명에서는 21개월에 폐와 양측 쇄골상 림프절에 전이되었다. 동시재발환자는 14개월에 동측 유방의 다른 사분역에 재발하여 유방전절제술과 항암화학요법을 시행하고 44개월에 뇌전이로 방사선치료와 항암화학요법을 시행하였으나 55개월 째 사망하였다. 부작용으로는 4명에서 무증상의 폐렴양 음영이 흉부 X선 촬영에서 보였고 1명에서 증상을 동반한 방사선폐렴이 있었고 4명$(5\%)$에서 경미한 정도의 손부종이나 팔 부종이 있었다. 미용결과는 설문에 응답한 59명중 51명$(86\%)$에서 좋음에서 매우 좋음으로 나타났다. 결론 : 이상의 결과로 초기 유방암에서 유방보존수술과 방사선치료는 안전한 치료방법이며 우수한 생존률과 미용 결과를 보인다고 생각되며 향후 장기추적관찰을 통해 예후 인자의 분석이 필요 할 것으로 사료된다. Purpose : To evaluate interim results in terms of failure, cosmetic results and survival after breast conserving operation and radiation therapy in early breast cancer. Material and Methods : From January 1992 through December 1997, seventy two patients with early stage 0, I and II breast cancer were treated with conservative surgery plus radiotherapy at Keimyung University Dongsan Medical Center. Age distribution was 25 to 77 years old with median age of 43. According to TNM stage, five patients had stage 0, thirty three were stage I, twenty five were IIa, and nine were IIb. Most patients underwent excision of all gross tumor and ipsilateral axillary dissection. Breast was irradiated through medial and lateral tangential fields of 6 MV photons to 50.4 Gy in 28 fractions over 5.5 weeks. We delivered a boost irradiation dose of 10 to 16 Gy in 1 to 2 weeks to excision site. Adjuvant chemotherapy was administered in forty one patients with CMF (cyclophosphamide, methotrexate, 5-fluorouracil) regimens of 6 cycles concurrently or before radiation. Cosmetic results were assessed by questionnaire to patients grading of excellent, good, fair, poor. Follow-up periods were 22 to 91 months with median 40 months. Results : Five year disease free survival rate (5YDFS) was $95.8\%$. According to stage, 5YDFS was $100\%,\;96.9\%,\;96\%\;and\;88.9\%$ in stage 0, I, IIa and IIb, respectively. Two patients had distant metastasis and one had local and distant failure. One patient with distant failure had bone and liver metastasis at 14 months after treatment and the other had lung and both supraclavicular metastasis at 21 months after treatment. Patient with local and distant failure had local recurrence on other quadrant in same breast and then salvaged with total mastectomy and chemotherapy but she died due to brain metastasis at 55 months. Complications were radiation pneumonitis in five patients (four patients of asymptomatic, one patients of symptomatic) and hand or arm edema(4 patients). Fifty nine patients answered our cosmetic result questionnaire and cosmetic results were good to excellent in fifty one patients $(86\%)$. Conclusion : We considered that conservative surgery and radiation for the treatment of early stage invasive breast cancer was safe and had excellent survival and cosmetic results. We need to assess about prognostic factors with longer follow up and with large number of patients.

『청록집』에 나타난 ‘자연’과 정전화 과정 연구

김진희(Kim Jin-hee) 한국근대문학회 2008 한국근대문학연구 Vol.9 No.2

청록파는 한국시문학사에서 '자연'에 관한 전통적인 서정을 구현한 주요한 유파로 평가되어 왔으며,『청록집』역시 자연시의 '정전'으로 인식되어 왔다. 이런 평가는 청록파가 1930년대의 순수문학을 계승하여 한국시의 '순수서정'을 심화, 발전시켰다는 문학사적 평가의 적극적 계승에 의해 지속되었는데, 이는 중심 문단의 문학적 권위와 미학이 문학사적 평가의 중심에 서 있었기 때문이기도 한다. 본 연구는 문학사에서 정전으로 인식되어 온 청록파의 위상을 비판적으로 검토하면서 한국근대시사에서 자연시 장르의 특성과 문학사적 의의를 고찰하고 있다. 청록파와 전통 자연을 관련시켜 최초로 문학사적 평가를 내린 김동리의 해석이 지속적으로 문학사의 권위로 작용하면서 후대 연구자들의 평가에 영향을 주었음을 비판적으로 고찰하고 있다. 또한 나아가 이런 비판적 이해를 바탕으로 실제적으로 어떤 측면에서 청록파가 전통과 관련되고, 당대의 자연시와는 어떤 관련성을 가지면서 자신들의 독자적인 미학을 갖는지 설명하고 있다. 문학적으로 자연에 관한 전통적인 사유란 시에 자연을 중심에 두는 것이다. 그런데 청록파 시인들의 작품을 분석해보면 시적 자아인 '나'의 정서를 투영하고 있다. 그들은 자연 그 자체의 본질을 통해 인간과 관련된 생에 대한 윤리나 삶의 가치를 드러내기보다는 시인 자신의 정서를 투영하기 위한 대상으로 등장시키고 있다는 점에서 근대적이다. 청록파 시인들을 추천한 정지용은 '신'(新)이라는 수식어를 통해 이들의 미학이 기존의 미학과는 다르다는다는 점을 강조했다. 그럼에도 이들의 자연을 전통과 관련시키면서 민족, 향토 등을 환기시키는 것은 정치적, 이념적으로 관념화된 해석과 평가를 무비판적으로 계승한 것이다. 한편 생명의 공간으로 비유되는 자연이 현실이 배제된 초역사, 초현실의 탈역사성을 환기시킨다는 점은 한국 자연시 장르 전반의 탈역사성에 영향을 주고 있다. 또한 현실과 유리된 자연 공간과 여성성이 관습적으로 연결됨으로써 여성성을 탈역사화, 탈정치화 시키고 있을 뿐만 아니라 '자연-여성' 공간을 외세와 근대, 남성의 수탈 공간으로 정당화하고 있다. 때문에 1950년대 이후 시문학사에서 서정-자연시는 역사나 현실사회의 변화와는 유리된 지점에 위치하게 되었으며, 반드시 '순수'의 이름으로 정치, 사회적 현실과는 유리된, 내면화되고, 여성화된 미학적 표현이라는 장르적 특성을 갖게 되었다. 이런 논의들에 대한 비판적 고찰을 토대로 자연과 청록파를 재고할 때 그들의 시는 근대서정시의 리리시즘과 애상성, 그리고 환상성과 여성적인 자연에 대한 그리움의 미학을 보여주고 있다. 이런 특성은 정지용이 지적한 바, 신(新)자연으로 시문학사에서 '자연'의 전통을 창조한 것으로 평가할 수 있을 것이다. The school of Chenglok has been evaluated as a principal school which realized the traditional lyricism on the 'nature' in the history of the Korean poetry, and Chenglokcip (collection of Chenglok poems) has also been recognized as the canon of nature poems. This assessment was made possible by the positive succession to the literary criticism that the school of Chenglok inherited the 'pure literature' of the 1930s and deepened and developed the 'pure lyricism' of the Korean poetry. This can be ascribed to the fact that the literary authority and aesthetics of the central literary world were crucial for historical evaluation of literary schools. The study of this paper examines the genre characteristics of nature poems and their literary implication in the history of modern Korean poetry, while critically reconsidering the status of the Chenglok school which has been canonized in the history of literature. In this light, a critical investigation is made into Donglee Kim's interpretation which initially defined the Chenglok school with regard to the traditional nature, and which in turn continuously serves as such an authority for the literary history that influences on the later researchers' evaluations. Based on this critical understanding, an account is presented as to how the Chenglok school could hold its own unique aesthetics while having substantial relevance to the tradition and the contemporary nature poems in one way or another. In terms of literature, thoughts on the nature is traditionally defined as putting the nature in the center of poem. However, the works by the Chenglok school reflect the sentiment of the poetic ego, 'I.' Rather than revealing the ethics or values of human life via the essence of the nature itself, they exploit the nature as an object on which the poet himself can reflect his feelings. In this sense, they can be called modernistic. Jiyong Jung, who recommended the Chenglok poets, emphasized that their aesthetics is different from the existing one by using a modifier, 'new.' Albeit that, their reminding of the nation and native land by virtue of associating the nature with tradition is uncritical inheritance of the politically, ideologically ideated interpretation and evaluation. On the other hand, their poems influence on the de-historicization of the Korean nature poetry in general in that the nature, which is likened to the space of life, is reminiscent of de-historicization, i.e. sur-historicism and surrealism to the exclusion of reality. In addition, the space of nature, which is isolated from reality, and femininity are conventionally connected to the extent that it made femininity de-historicized and de-politicized, not only did it justify the space of 'nature-woman' as the space to plunder for outside power, modernism, and manhood. Therefore, the lyric nature poetry has been viewed as alienated from history and reality since 1950s in the history of poetic literature. It came to have the genre characteristics of internalized and feminized aesthetic expression which, necessarily in the name of 'purity,' is removed from political, social reality. Based on critical investigation of these discussions, reconsideration of the nature and Chenglok school reaches a conclusion that their poems show the aesthetics which includes the lyricism and lamentation of modern lyric poems, fantasy, and yearning for the feminine nature. This characteristic, as Jiyong Jung pointed out, can be evaluated as having established a tradition of 'nature' as new nature, in the history of poetry.

김기림 문학론에 나타난 타자의 지형과 근대문학론의 역사성

김진희 ( Jin Hee Kim ) 우리어문학회 2008 우리어문연구 Vol.32 No.-

서정의 확장과 시(詩)로 쓰는 역사

김진희 ( Jin Hee Kim ) 국제비교한국학회 2011 비교한국학 Comparative Korean Studies Vol.19 No.2

여성의 역사에 대한 고정희의 시적 탐구는 문학과 역사에서 여성을 부각시킨 중요한 작업이다. 고정희의 역사시는 여성의 역사를 재구성하려 했다는 점에서 역사로서의 의미와 의의가 있으며, 한편 그 역사가 서정 장르를 통해 재구성되고 있기 때문에 서정과 서사의 경계적 특성을 갖는다. 이 글은 ``이야기 여성사`` 연작을 중심으로 미학적 특성 및 여성주의적 문제의식을 규명하고 있다. 고정희는 부패한 권력과 오염된 언어에 대한 비판이 새로운 역사 전망과 관련된 것임을 인식하고 인간의 평등과 자유를 구현할 수 있는 해방시를 만들고자 한다. 이를 위해 다양한 문학적 장치를 사용하고 있다. 우선 역사가 과거-현재-미래가 대화한다는 점을 작품에 수용하여 다성적 목소리와 상호 텍스트성을 통해 다양한 여성 삶의 이야기를 효과적으로 드러낸다. 그리고 역사가 지닌 이야기를 전달하기 위해 서간체와 장면제 시의 서사전략을 사용하여 독자의 정서적 유대감과 참여를 확대한다. 또한 작품 안의 인물을 통해 개성과 역사성을 함께 보여줌으로써 독자가 역사와 문학, 서사와 서정의 경계 부분에서 새로운 창조적 힘을 경험하게 한다. 고정희의 역사 시편들은 역사와 문학의 경계에서 남성 중심의 역사에 대한 비판을 수행하고, 여성-어머니의 가치라는 삶의 원리에 대한 지향을 통해 미래 역사에 대한 창조적 전망과 상상을 보여준다. Goh Jung Hee`s poetic survey of women`s history is an important undertaking that highlighted the place of women in literature and history. Goh`s historical poems are meaningful and significant as a history in that they attempted to reconfigure the history of women; moreover, it is critical that we consider this history within a literary framework as it is reconstructed through the genre of lyrics. This essay defines the aesthetic features and the feminist critique of Goh`s serialized poem, "The Stories of Women`s History." Recognizing that critiquing the corruption of power and the pollution of language was related to new historical views, Goh tried to create lyrics for liberation that embodied the concepts of human freedom and equality. To this end, she employed various literary devices; first, Goh demonstrated how the past, the present, and the future converse with one another in history and effectively revealed the diverse stories of women`s lives by way of polyphonous voices and intertextuality. In delivering these stories, Goh employed the epistolary style as well as the narrative strategy for presenting scenes in order to heighten the readers` sense of interconnectedness and to foster their participation. Furthermore, she showed at once the personality and the historicity of her characters as a way to help readers experience a new creative power on the border between history and literature, and between epic and lyric. Ultimately, Goh`s historical poems criticize the male-oriented history at the boundary of history and literature, and by placing value on the principle of life, particularly that of women-mothers, her poems offer a creative outlook and imagination for the future.

융합인재교육 이론모형 틀에 기반을 둔 통합의료인문학 교육과정 이론모형의 제안

김진희,이영환,박원균,박영순,박혜진,천경희,Kim, Jin Hee,Lee, Young Hwan,Park, Won Kyun,Park, Young Soon,Park, Hae Jin,Chun, Kyung Hee 연세대학교 의과대학 2015 의학교육논단 Vol.17 No.1

The purpose of this study was to propose a theoretical model for an integrated medical humanities curriculum based on a STEAM (science, technology, engineering, arts, and mathematics) education framework and to provide a guideline for curriculum integration. Three dimensions of integrated curriculum development are competencies, core contents, and elements of integration. Competencies imply the purpose of the medical humanities of a medical school and the exit outcomes of the curriculum. Core contents imply the goals and objectives of the curriculum. We compared the goals and themes of the medical humanities with core attributes of professionalism. Four elements of integration were proposed: units (cases, problem activities, core contents, disciplines/subjects), types (multidisciplinary, interdisciplinary, transdisciplinary), contexts of integration (life cycle of patients, scope of society), and stages of student development (from student to doctor). It is expected that this theoretical model for an integrated medical humanities curriculum can be used as a guideline for curriculum development and an evaluation criterion for instructional designers and subject matter experts.

영어시조에 나타난 위트에 대하여

김진희(Kim, Jin-Hee) 한국시조학회 2015 시조학논총 Vol.42 No.-

영어시조란 영어로 쓰인 시조를 말한다. 본고에서는 영어시조가 지닌 한 특성인 위트에 대해 논의하였다. 위트는 영어권에서 시조를 논의할 때 종종 주목받아온 특성이며, 실제로 영어시조에는 매력적인 위트가 보이는 작품들이 다수 존재한다. 이렇듯 위트가 영어시조에서 부각된 양상과 그 문학적 가능성을 본고에서는 살펴보았다. 비평적 의미에서의 위트는 ‘부조화의 조화’를 핵심으로 하며, 비상한 이미지나 역설, 아이러니 등을 통해 흔히 구현된다. 본고에서는 이러한 비평적 의미에서의 위트가 시조에서 구현되어 인식적?풍자적?해학적 즐거움을 유발하는 양상을 고찰하였다. 먼저 고시조에 나타난 위트의 예를 들어 비교의 자료로 삼은 후, 이어 영어시조를 살펴보았다. 경구시와 소네트 같은 기존 장르, 아이러니와 위트에 대한 오랜 문학적 관념등과의 연관 속에서 시조는 영어권에 수용되었다. 삼장 구조 중 종장의 반전이 지닌 묘미, 이에서 발생하는 아이러니와 위트는 영어권 사람들에게 시조가 어렵지 않게 수용되고 창작될 수 있었던 주요소였다. 이에 영어시조에는 위트를 통해 인식적?풍자적?해학적 즐거움을 주는 내용이 풍부하게 담길 수 있었다. 이러한 위트는 물론 고시조에도 내재되어 있는 것이다. 그러나 신랄한 풍자나 과장된 해학만이 아니라, 각박한 일상 속에서도 문득 스쳐지나가는 다양한 해학적 순간들을 포착해 낸 것은 영어시조에서 두드러지는 특징이라 할 수 있다. 일상의 힘을 북돋아 줄 수 있는 일상 속의 시로서 시조가 지닌 가능성을 영어시조는 보여 주고 있다. English sijo is the sijo poems written in English. This paper considered English sijo especially in association with its wit. In English-speaking countries, wit has been often emphasized as one of the main characteristics of the sijo genre, and it is often found in many English sijo poems. As a critical term, wit indicates a kind of "concord of discord", which consists of dissimilar images, paradox, irony, etc. This paper investigated how English sijo embodied this kind of critical wit and created three kinds of delight; those are intelligent, sarcastic, and humorous one. First, I examined old Korean sijo poems and the wit embedded in them, and then I compared them to the case of English sijo. Sijo was received in English-speaking countries in the context of the literary genre tradition such as the epigram and the sonnet, and of the literary concepts such as irony and wit. In this context, sijo, which has a three-divided semantic structure and a twist in the last part, often containing irony and wit, could be received and composed without much difficulty in Englih-speaking countries. Many English sijo poems contain wit, and they make abundant delight, which is intelligent, sarcastic, or humorous. Wit is found in Korean old sijo too, but the wit that catches humorous moments variously in everyday lives, rather than show acid sarcasm or exaggerated comic scene, is a remarkable characteristic of the English sijo. English sijo presents the possibility of the sijo genre as the poetry of everyday life, which presents various aspects of daily lives in a warm and delightful perspective.

혁신 형 중소기업의 성공요인에 관한 사례연구

김진희,김대호,김홍,Kim, Jin-Hee,Kim, Dae-Ho,Kim, Hong 한국벤처창업학회 2008 벤처창업연구 Vol.3 No.2

To achieve the age of 30,000 dollars GNP, The business with speed will hold a more crucial point than the business with scale, and the mass consumption market will be transformed and changed into the niche market. Moreover, it will not be easy for the company without the peculiar and creative technology to survive in the severe competition. Under these circumstances, The innovative company which knows how to use this new paradigm will select the better position in the changing market. Innovation type SMEs are contributing in maintaining the international competitiveness of domestic economy by serving high-tech and the promotion of employment. Also, Innovation type SMEs have the most important economic leverage in our domestic economy. It's a source of the growth in domestic economy. Therefore, A lot of countries have been trying to support innovation type SMEs (with a small capital and high-tech). And many countries also try to protect and promote the innovation type SMEs. Especially the Korean government is also promoting innovation type SMEs in many ways, because the future of innovation type SMEs are not bright. This study explored the three innovative SEMs and studied 1) entrepreneur characteristics, 2) the industry environment, 3) competitive strategies, and 4) resources and capabilities of organization, which have been considered as the success factors for entrepreneurial firms. This study also holds that the characteristics of entrepreneurs is one of the most important factor to impact the success of innovative SMEs. Most of entrepreneurs have started their business with high education career and field experiences and have high intentions in developing new/high techonologies, challenging spirits, and clear vision and goals. The innovative SMEs with small kinds of products and services, narrow market, and small resources are more sensitively impacted by the environment especially. But the SMEs which entered into market early could have the comparative excellencies in their market to survive and grow in the future. They also have competitive advantages in the market using differentiation strategies by technology innovation. Technology innovation and differention strategies are one of the success factors in SMEs, They entered into the niche market using this weapons. The capabilities of changing organization to their changing environment, the open orgarnization culture, the continuous employment education, and the building the organic organization are also success factors of innovative SMEs. The SMEs with the simple organization structure can make fast decisions and operate with the autonomous and flexible ways. These only three cases will not shown successful factors of over 12,000 Innovation type SMEs in Korea and this study of Innovation type SMEs is insufficient from all aspects. But this study have many implications for the future research and the entrepreneurs ready for their business.