일반논문 : 추사 김정희 일가(一家)의 환로(宦路)와 서풍

김현권 ( Hyun Kwon Kim ) 한국실학학회 2013 한국실학연구 Vol.0 No.26

이 글은 金正喜가 한 시대를 움직인 서가로 성장할 수 있었던 기반을 분석하기 위함이다. 그러기에 본고는 크게 두 부분을 검토하였다. 우선 김정희 가문인 大橋金門 내에는 두 부류의 정치 계파가 발생하였는데, 金興慶의 아들 金漢藎이 1732년에 영조의 사위가 되었던 시점과 뒤를 이어 金漢祿의 사촌 동생인 金漢耉의 딸이 영조의 왕후가 된 때부터이다. 김정희의 직계 선조인 김한신계는 김한록계가 반탕평세력으로 활동하고 종국에는 피派의 중심세력이 되는 와중에도 이와 무관한 宦路를 걸었다. 그들은 부마 집안이 된 후 탕평세력이 되었으며, 특히 김정희의 친부 金魯敬은 1806년에 김한록계와는 정치적 선을 그으며 時派의 일원이 되었다. 이 같은 환로상의 정치색은 기존의 김정희 연구에서 명확하게 밝혀지지 않았던 부분으로, 향후 김정희의 생애, 학문, 서화 연구에 보탬이 될 수 있다. 다음으로 김정희 집안의 가풍과 그의 초기 서예 경향을 파악하였다. 부마 집안으로서 김한신계의 환로는 왕실 서풍을 받아들이게끔 하여 晉體의 선택과 墨守라는 상당히 보수적인 성향의 가풍을 형성시켰다. 그리고 김정희의 양부 金魯永과 친부인 金魯敬이 동일한 정파 내의 인물들과 교유한 사실은 기존의 가풍 외에도 당시 성행하였던 米비과 董其昌 서풍을 일부 수용하게끔 하였다. 그리고 김정희는 이를 자신의 초기 서예에 반영하는 가운데 여러 서체를 가미할 수 있었던 데는 박제가나 신위와 가진 교유 역시 한 몫을 하였다. 그리고 신위와 가진 교유는 그의 서예에서 趙孟부 서체의 사용을 가져왔다. 이러한 결과는 김정희의 서화가 오로지 청대 경향에 기반을 두었다는 견해가 수정되어야 함을 지적한 것이다. 그는 엄연히 조선의 서가였다. This paper was designed to identify how Kim JungHee(1786∼1856) became a calligrapher with political big power. To discuss this, the paper would focus on two points. Firstly, political positions of Kim`s family were studied: the positions were differed when Kim HanShin, a son of Kim HeungKeyung, became a son-in-law of King Youngjo of Chosun in 1732, while a daughter of Kim HanKu who was a cousin of Kim HanRoc was selected as one of wives of Youngjo. The family line of Kim HanShin, which was a direct ancestor of Kim JungHee, had a different political position from that of the Kim HanRoc line who actively worked against Tangpyeong policy and became the central figures of Beyeck-faction(?派, a group against the crown price killed by his father, Youngjo). Especially in 1806 Kim NohKeyong, the father of Kim JungHee, became one of members of Si-faction(時派, a group for Jungjo`s position, who was a grandson of Youngjo and the son of the dead crown prince) and kept the Kim HanRoc line at a distance. Such political positions have not been clearly identified in the existing research on Kim JungHee. Thus this paper might help facilitate further discussion on Kim`s life, scholarly works, paintings as well as his calligraphy. Secondly, Kim JungHee`s early style of calligraphy and his family tradition were studied. As a family of king`s son-in-law, the Kim HanShin line had adopted the royal family`s calligraphy style, selecting Wang Xizhi`s Jin-style and keeping its conservative family tradition. In the meanwhile, Kim NohYoung, the foster father of Kim JungHee and Kim NohKeyong, the biological father of him, kept company with people having the same political position. This could help adopt other calligraphy styles of Mi Fu and Dong Qichang, which were popular at that time. Kim JungHee was influenced by them at the early stage of his life. Thus, the idea that Kim JungHee followed the trends of Qing dynasty should be changed. Kim was a writer and a painter of Chosun.

어린 아동을 둔 취업모의 양육부담감 경험에 대한 현상학적 연구

김나현 ( Na Hyun Kim ),이은주 ( Eun Joo Lee ),곽수영 ( Su Young Kwak ),박미라 ( Mee Ra Park ) 여성건강간호학회 2013 여성건강간호학회지 Vol.19 No.3

본 연구는 취업모가 경험하는 양육부담감의 본질을 탐색하기 위해 시도된 현상학적 연구로 양육부담감의 7가지 주제모음을 도출하였으며, 이를 중심으로 논의해 보고자 한다. 첫 번째 주제모음은 ‘끊임없이 갈등하는 삶’으로, 참여자들은 일과 양육을 병행하며 힘겨운 시간을 보내지만 아무도 그들의 고충을 이해하고 지지해주는 사람이 없어 힘들어 하였다. 성공중심의 사회속에서 자녀를 잘 기르기 위한 궁극적 목표를 가지면서도 자기계발에 대한 부담과 아이들에게 충분한 시간을 할애하지 못하는 양육 현실 간의 상충되는 상황으로 인하여(Yang, 2011) 갈등하였다. 이러한 결과는 취업모가 가정에서 ‘엄마’로서의 책임을 다해야 하고, 직장 내에서도 여성으로서 특별한 배려의 대상이 되지 않기 위해 노력하기 때문에 두 역할사이에서 힘들어 한다는 Kim, Kim과 Lee (2011)의 연구결과를 뒷받침해 주었다. 이러한 고민과 갈등은 양육 스트레스를 더욱 가중시켜 자녀를 둔 젊은 취업 여성들뿐만 아니라 미혼여성들에게도 자녀 출산을 고민하게 하는 요인으로 이어지고 있으므로(Kim et al.,), 출산을 장려하고 양육부담감을 감소시키기 위한 실질적이고 효과적인 일, 가정 양립 지원책이 마련되어야할 것이다. 두 번째 주제모음은 ‘죄책감’으로, 참여자들은 전업주부처럼 온종일 아이를 잘 보살펴주지 못하여 미안해하고 죄책감을 느꼈다. 이는 특히 우리나라 여성들은 전통적으로 자녀를 위한 희생정신과 책임감이 강하여 돌봄이 부족하거나 양육이 충분하지 못할 경우 죄책감을 많이 느끼기 때문으로(Sung & Park, 2011), Yang과 Shin (2011)의 연구에서도 유사한 결과를 보고한 바 있다. 미안함과 죄책감 때문에 참여자들은 의도적인 스킨십으로 사랑을 각인시키고, 자녀가 원하는 물건을 갖게 함으로써 부족한 엄마 역할을 만회하고자 하였다. 그러나 일하는 어머니와 집에 있는 어머니 간 영유아 자녀의 발달위험 정도에 차이가 없다는 연구결과(Korea Institute of Child Care and Education, 2011)에서도 알 수 있듯이 어머니의 취업이 아이 발달에 부정적인 영향을 미치는 것은 아니기때문에 취업모들은 자녀에게 갖는 과도한 죄책감에서 벗어나 현명하고 일관적인 양육태도를 취하도록 노력해야 할 것이다. 또한 참여자들은 아이에게 미안해하면서도 일, 가사, 육아를 동시에 감당해야 하는 과중한 부담과 피로로 인해 쉽게 짜증을 내는 것으로 드러났는데, 이것은 직장에서의 스트레스와 피로가 가시기도 전 또 다른 노동을 시작해야 하는 이중의 긴장 속에서 육체적, 정신적 소진을 경험하기 때문일 것이다. 스스로 감정조절에 실패한 취업모는 미안한 마음과 죄의식을 느끼고 이를 만회하고자 최대한 행복한 모습을 보여주고 질적으로 더욱 집중해야 한다는 부담을 더 가지게 된다(Kim & Chang, 2008). 이러한 현상은 육체적 피로뿐만 아니라 해결 되지 않은 스트레스로 인해 모아관계에 부정적 영향을 미치게 되고, 자녀의 성장에도 나쁜 영향을 줄 수 있으므로(Yoon, Hwang, & Cho, 2009) 적절한 휴식과 스트레스 해결을 위한 시간을 가져야 할 필요가 있다. 세 번째 주제모음은 ‘아이교육에 관한 정보와 시간부족으로 불안함’으로, 참여자들은 자신은 일을 하고 있어서 절대시간이 부족함에도 자녀교육에 임하는 자신의 처지를 전업주부와 끊임없이 비교하면서 조급하고 불안해(Mishina, Takayama, Aizawa, Tsuchida, & Sugama, 2012; Yang & Shin, 2011) 하였다. 특히 우리나라는 자녀교육열이 매우 높고 자녀의 성공 여부에 따라 능력있는 어머니로 평가되기 때문에 취업모에게 자녀교육은 이중적 부담으로 작용하고 있다(Lee, 2007). 게다가 참여자들은 늦은 퇴근 시간과 피로함으로 자녀의 학습 조력자로서의 역할을 제대로 하지 못함으로 인해 현재 자녀의 학업뿐만 아니라 앞으로의 장래까지도 염려하였다. 이와 같은 현상은 자녀양육에서 교육이 큰 비중을 차지하는 우리나라의 사회적 분위기 때문에 주어진 여건 속에서 나름대로 최선을 다하지만 교육 문제에서만큼은 늘 부족하다고 느끼며, 이로 인해 받는 양육 스트레스도 매우 큰 것으로 보인다. 네 번째 주제모음은 ‘부족한 엄마로 낙인찍힘’으로, 참여자들은 고된 삶을 누구에게든 편하게 털어놓고 위로 받고 싶었지만 오히려 전업주부보다 육아에 더 엄격한 기준이 적용되었고, 부족한 엄마라는 낙인이 늘 따라다녔다. Yang과 Shin (2011)의 연구에서도 취업모는 ‘가정을 포기한 여자’라는 인식과 여성의 역할을 가족 중심에 두는 사회적 분위기 속에서 힘들어 하였다. 하지만 실제 취업모와 비취업모를 비교하였을 때 가정에서의 안전사고나 입원 경험 등에 차이가 없으며 양육태도 측면에서도 더 긍정적인 것으로 보고되었다(Bang, 2004). 즉 육아의 책임을 여성에게 떠넘기는 우리 사회의 불공평한 편견과 오해 속에서도 취업모는 최대한 아이에게 소홀 하지 않기 위해 부단하게 노력하고 있다고 볼 수 있을 것이다. 다섯 번째 주제모음은 ‘소원해진 가족관계’로, 육아에 대한 가치관의 차이나 비협조는 가족 간 갈등을 초래하였으며, 이로 인해 가족관계가 소원해지고 사이가 멀어졌다. 본 연구에서 참여자의 양육방식과 차이를 보이는 대리양육자는 대부분 할머니였으며, 대리양육자와의 육아갈등은 Kim과 Seo (2007)의 연구에서도 보고된 바 있다. 한편, 취업여성의 경우 배우자와의 불평등한 역할분담과 자녀교육방식에 불만을 갖는 경우가 많으며, 이는 심리적 부담을 가중시키게 되는데(Lee, 2008) 본 연구에서도 참여자들의 양육부담감은 남편의 무관심이나 비협조적인 태도로 인해 더욱 가중되는 것으로 나타났다. 예전과 달리 남성들이 여성의 취업을 지지하고 가사를 분담하는 등 도움을 주고 있지만 여전히 역할분담이 공평하게 이루어지지 못하고 있는 것으로(Yang & Shin, 2011) 보인다. 외국의 경우 법적으로 자녀 양육의 책임을 부모에게 공동으로 부여하고 있기 때문에(Kim & Seo, 2004) 양육을 인식하는 무게 정도가 우리와 다른 것으로 알려져 있다. 따라서 우리나라에서도 자녀양육의 책임을 개인이나 가족내의 문제로 남겨두기보다는 좀 더 제도적인 차원에서 접근한다면 취업모가 경험하는 역할 부담을 덜어줄 수 있을 것이다. 여섯 번째 주제모음은 ‘지쳐가는 삶’으로, 평상시에는 물론 특히, 급한 일이 생겼을 때 도움 받을 곳이 없어 어떠하든 혼자서 해결해야 하는 상황에 매우 힘들어 하였다. 이럴 때마다 취업모는 더욱 극심한 갈등을 겪음과 동시에 심신이 지쳐가는 경험을 반복하는 것으로 나타났다. Kim 등(2011)도 부부가 함께 일하기 때문에 육아를 분담해야 한다고 생각하지만 막상 긴급한 상황이 발생하면 ‘자연스럽게’ 여성의 책임으로 여기게 된다고 하였다. 이는 남편이 육아에 협력하기는 하지만 도와주는 정도의 수준으로, 여전히 우리 사회에서 남편의 가치관과 태도는 전통적인 성역할에 머물러 있는 것으로(Yang & Shin, 2011) 해석할 수 있다. 마지막 주제모음은 ‘하루하루 버텨나감’으로, 참여자들은 지금은 힘들지만 아이가 자라면 엄마의 부재를 이해하고, 자랑스러워 할 것이라 생각하였다. 즉, 현재 자신이 양육에 매진 하지 못하는 상황을 애써 긍정적으로 합리화하면서 버텨나가기 위해 노력하였다. 실제로 사춘기 딸의 경우 엄마의 사회적 성공을 긍정적으로 받아들여 성공한 엄마를 자신의 역할 모델로 삼고 있어(Jeong, 2005) 취업모의 이러한 합리화는 현재의 양육부담감을 이겨나가는 긍정적인 방어기제로 보인다. 주목할 점은 취업모의 삶이 힘겹고 지쳐가지만 본 연구참여자들은 전업주부로 돌아가기를 원하지는 않았다. 그 이유는 전업 주부로서 감당해야 할 양육과 가사일이 두렵기도 하지만(Kim et al., 2011) 사회로부터의 단절과 고립을 원하지 않으며 (Kim & Seo, 2012) 일을 하면서 얻는 성취감도 큰 것으로 설명할 수 있을 것이다. 이상의 연구결과에서 취업모들은 육아와 일 사이에서 갈등함, 육아에 대한 죄의식, 충분한 사랑과 보살핌을 주지 못한 미안함, 남편의 방관자적 태도에 불만을 가짐, 슈퍼우먼을 바라는 주변의 요구, 신체적 피로로 인한 잘못된 양육태도, 아이 교육을 걱정함, 전업주부와 교류가 없고 소외됨, 아이들이 자라면 엄마를 자랑스러워 할 것이라 생각함 등은 취업모의 양육 경험에 관한 선행연구(Kim et al., 2011; Kim & Chang, 2008; Yang & Shin, 2011)의 결과와 유사하게 도출되었다. 그러나 가족 관계가 소원해짐, 지쳐가는 삶, 하루하루 버텨나감 등의 새로운 주제모음이 도출되었다. 즉, 양육방식에 있어서의 가족간 의견 차이로 가족관계 마저 소원해진 채로 힘든 나날을 보내고 있었으며, 이러한 갈등과 부담감으로 삶은 지쳐가지만 자녀들의 미래와 자녀들이 자신의 노고를 알아줄 것이라는 희망으로 힘겨운 시간을 보내고 있음을 알 수 있었다. 취업모의 이러한 부정적인 양육경험은 둘째, 혹은 셋째 아이의 출산을 포기하게 만들어 저출산의 문제를 더욱 가중시키는 것으로 짐작된다. 따라서 어린 아동을 둔 취업모의 양육부담감을 줄이기 위하여 양육부담감에 대한 이해를 토대로 저출산의 문제를 해결하는 실질적이면서도 다차원적인 접근이 이루어져야 할 것이다. 더불어 취업모에 대한 편견과 고정관념을 깨뜨리고 그들의 미안한 마음을 위로해야 하며, 취업모 역시 잘못된 모성애적 믿음에서 비롯된 죄의식에서 벗어나도록 노력해야 할 것이다. Purpose: The purpose of this study was to describe the essential structure of the lived experience of working mothers` parenting burden in Korea. Methods: Eight working mothers with young children were interviewed. The Colaizzi analysis of phenomenological research was applied. Results: Seven theme clusters were extracted: a life with constant conflict, sense of guilt, feeling anxious because of lack of information about education for their children, social stigma as a deficient mother, family relationship becoming distant, a life being exhausted, day to day struggle. Conclusion: These results provide an opportunity to have a better understanding of the experiences of working mothers related to parenting their young children. It would also serve as a medium for the formulation of appropriate nursing intervention relevant to burdens of parenthood.

피아노와 근대 -초기 한국 피아노음악의 사회사

김미현 ( Mi Hyun Kim ) 한국음악학학회 2010 음악학 Vol.18 No.2

이 논문에서 연구자는 근대 피아노문화를 사회사적 관점에서 살펴보고자 한다. 근대시기 피아노는 한국 근대음악의 표상으로 등장했고, 피아노음악은 문명화된 신문화로 뿌리내렸다. 피아노는 1910년 경 근대식 학교를 통해 등장했는데, 초기 피아니스트로는 김영환 · 박경호 · 정애식 · 김메리 · 김원복 · 이애내 · 김영의 등이 존재했다. 이들은 주로 선교사들에 의해서 세워진 교회 및 근대식 학교를 통해 음악 입문 및 수학을 이루었고, 그 후에 본격적인 피아노 수학을 위해서 일본과 미국, 나아가 독일 유학을 감행했다. 이 시기 피아니스트들의 음악활동으로는 연주와 반주가 지배적이었다. 박경호 · 김영의 등이 독주회를 연 바 없지 않으나, 선교 · 음악 보급 · 단체 후원 · 기념 등의 다양한 목적을 위해서 옴니버스식의 연주회가 즐겨 이루어졌다. 또한 피아노는 성악 및 기악 연주회의 반주를 책임지는 경우가 많았는데, 그것은 이 시기 피아노가 독주악기로서 보다 반주악기로서의 기능이 훨씬 더 우세했던 것을 반영한다. 피아노 독주를 위한 레퍼토리는 주로 서양의 고전 · 낭만시기에 한정되었다. 모차르트 · 베토벤 · 멘델스존 · 슈만 · 쇼팽 · 브람스 등의 작곡가들의 곡들이 지배적이었기 때문이다. 이들의 낭만적인 음악은 각종 콩쿠르의 지정곡으로 제시됨으로써 레퍼토리의 표준화를 강화시켰다. 낭만적인 음악은 물론, 낭만주의 미학관을 수용한 당대 피아니스트는 식민지 조선의 현실에도 불구하고, 이상적인 세계를 꿈꾸었다. 그러한 문명국에 대한 그들의 환상과 인식은 초기 서양 선교사들이 가졌던 오리엔탈리즘과도 무관하지 않다. 또한 근대시기는 문명적인 것, 곧 ‘깨끗하고 순수함’이 음악에서 순수음악주의를 낳았다. 김영환 · 김메리 · 김애리시 · 윤기성 · 박경호 등 많은 피아니스트들은 유행가나 재즈의 도덕 · 윤리적 저급성에 문제를 제기했다. 그러나 그들의 순수음악주의는 식민지 조선의 역사적 현실 앞에서는 둔감했다. The purpose of this study is to investigate the modern piano culture in Korea from the historical perspective. The piano had emerged as a symbol of modern music and the piano music rooted as a civilized new culture in Korea in the early twentieth century. The piano was brought in through the modernized school around 1910 and the following pianists were representative of the pianist in the early stage: Young-Hwan Kim, Kyung-Ho Park, Ae-Sik Jung, Mery Kim, Won-Bok Kim, Ae-Nae Lee, and Yung-Eui Kim. The pianists in the early twentieth century in Korea mostly encountered and learned the Western music through the churches and modernized schools built by missionaries. For a full-fledged study, they took decisive actions to go abroad to Japan, America, and even to Germany. The dominant musical activities of the pianist in this era were performing as a soloist and playing as an accompanist. Even though some pianists such as Kyung-Ho Park and Young-Eui Kim performed piano solo recitals, omnibus style concerts were much more popular; there were lots of omnibus style concerts for various purposes such as missionary, music distribution, group sponsor, and commemoration. In addition, many pianists had appeared as an accompanist for the vocal and instrumental concert in many occasions. It reflects the fact that the piano in this era functioned much more as an accompanying instrument than as a solo instrument. Solo piano repertoires in this era were limited in the Western Classical and Romantic period; such as the music of Mozart, Beethoven, Mendelssohn, Schumann, Chopin and Brahms. These composers` romantic music intensified the standardization of the repertoire by being presented as an assigned piece for various competitions. Pianists in this era, who embraced the romantic aesthetic as well as the romantic music, dreamed of an ideal world despite the reality of a colonial Chosun. Their illusion and recognition over a civilization has some kind of relationship to Orientalism, which the early Western missionaries had. In addition, the civilization of the modernity, “being clean and pure”, caused an attention to a “Pure Music” in the music. Many pianists including Young-Hwan Kim, Mery Kim, Ae-Lee-Si Kim, Ki-Sung Yun and Kyung-Ho Park raised a question over the low morality and ethicality of the popular songs and jazz music. However, their “Pure Music” was insensitive to the historical reality of the colonial Chosun.

柔道 손 技術의 生體力學的 分析

金官鉉 龍仁大學校 1988 용인대학교 논문집 Vol.4 No.-

The purpose of this study is to analyze the TEWAZA (Hand Techniques : Taiotoshi, Seoinage) of Judo on the biomechanical aspect. The subject comprised of 2 Korean elite Judoists, who took part in the 15th World Championships, and their individual major scoring techniques (M.S.T.), were filmed on 16mm high speed camera(100 frame/sec.at front & side view) and simultaneously the mat reaction force was measured by force platform system. After that the individual M.S.T.were analyzed with respect to three phases : KUZUSHI (breaking the opponent's balance), TSUKURI(preparation before throwing the opponent), and KAKE (throw the opponent), from the Kinematic & Kinetic aspects, respectively.The results were as follows : Individual Characteristics of M.S.T.: 1.KINEMATIC Aspects, 1) The time elapsed for individual M.S.T., which was displayed as ; KIM's left TAI-OTOSHI (body drop) was 1.23sec., and LEE's right SEOI-NAGE (back carry throw) was 1.32sec.The difference of individuals was not significant (P>0.05). 2) -60kg : (KIM's left TAI-OTOSHI) ; ① The time elapsed from the beginning to the 1st phase of KAKE waso.73sec., to the 2nd phase of KAKE was 0.92sec.and the section time was 0.19sec.from the 1st to the 2nd phase of KAKE. ② The knee angle of supporting right leg showed 130˚ in the 1st phase of KAKE, and extended to 140˚ in the 2nd phase of KAKE. ③ The center of gravity (C.O.G.) angle of UKE (defender) and was 24˚, which was not efficient mechanically. ④ The knee angle attacking left leg was showed 150˚, and the foot - ankle angle was showed 110˚ in the 1st phase of KAKE, and greatly extended to 140˚ in the 2nd phase of KAKE. ⑤ Face in the phase of TSUKURI and KAKE was not directed toward the right but toward the left side, and downward of the mat, which was mechanically inefficient. 3) -71kg.(LEE's right SEOI- NAGE) ① The time elapsed from the beginning to the 1st phase of KAKE was 0.87 sec., to the 2nd phase of KAKE was 0.92sec., and the section time was 0.04sec.from the 1st KAKE to the 2nd KAKE. ② The Knee angle of attacking right leg and the foot-ankle angle in the 1st phase of KAKE showed 100˚, 87˚, respectively. ③ The C.O.G.angle of UKE and LEE in the 1st phase of KAKE, in the 2nd phase of KAKE showed 97˚, 105˚, respectively, which was mechanically efficient. ④ The C.O.G.of TORI (LEE) was put more backward than vertical line of attacking right-foot toe in the 1st phase of KAKE, which was mechanically inefficient. ⑤ The dorsal flexion instead of plantar flexion of the left- foot toe was bad position. ⑥ Face in the phase of TSUKURI and KAKE was not directed toward the left, but downward of the mat. ⑦ Hip was not directed toward the right in the phase of TSUKURI and KAKE, which was mechanically inefficient. ⑧ The distance between right and left knee, right and left- foot toe in the 1st phase of KAKE was 64cm, 70.3cm, respectively which which was too wide ; therefore, mechanically inefficient. 2.KINETIC Aspects, The mat reaction force (M.R.F.), maximum mat reaction force (M.M.R.F.) and exchange of force in the phase of TSUKURI and in the phase of KAKE. The forces of Kinetic factors appeared at 3 directions : vertical (Fz), horizontal- anterior posterior (Fx), and horizontal- lift right (Fy). 1) -60kg.(KIM's left TAI-OTOSHI) ① M.R.F.(Fz : ?) O The first peak of M.R.F.appeared in the end phase of TSUKURI, and M.R.F.was decreased in the 1st phase of KAKE, and then the strongest M.R.F.appeared when UKE was supported (standing) on the single left leg, which was the second peak. O Two separate M.R.F.appeared in the first and 2nd phase of KAKE, which was mechanically inefficient, so on single attacking pattern is strongly required. O In the cases of KIM's SEOINAGE (1986), KIM's TAIOTOSHI : The most peak(M.R.F.) appeared between the 1st and 2nd phase of KAKE.It was JAE's individual charaeteristics showing great force in the initial phase of KAKE. ② M.M.R.F. O Among 3 directions of M.R.F., the magnitude of forces in the Z direction (vertical : Fz) was always strongest (867N.), with standard value (divided by body weight) 1.32B.W. O KIM's vertical M.R.F.was 4.33 times and 4.02 times as strong as those of anterior - posterior direction and left- right directions respectively. O KIM showed that in left SEOINACE & TAIOTOSHI his attacking left foot pressed the mat with 1.3 times the amount of his body weight. ③ Vector profile of vertical direction ; magnitude change of force : O In the end of TSUKURI the force of attacking left-foot was concentrated on the right side movement direction, which was mechanically efficient. 2) -71kg.(LEE's right SEOI- NAGE) ① M.R.F.(Fz : ?) O The first peak of M.R.F.appeared in the middle phase of TSUKURI, next decreased, and increased in the end phase of TSUKURI, next continued to decrease in the air phase of UKE, suddenly most peak appeared in the end of air phase. O Attacking right- foot was not shown to continue and stong pressure force appeared unstability attack pattern. O Therefore, single attacking pattern is strongly required that supporting on the mat of the right foot-toe in the phase of TSUKURI and in the initial phase of KAKE. ② M.M.R.F. O Among 3 directions of M.R.F., the magnitude of forces in the Z direction (vertical : Fz) was always strongest (1239N.) , with standard value 1.69 B.W. O KIM's vertical M.R.F.was 6.39 times and 5.82 times as strong as those of anterior - posterior direction and left- right directions respectively. O Therefore, training is required for correcting the weak points and complementing better skill in the phase of TSUKURI and in the phase of KAKE. 3) Vector profile of Vertical direction : magnitude of force : O In the end of TSUKURI, attacking right - foot touched to backward. Vertical's force was not displayed strongly in the 2nd phase of KAKE, which was inefficient. Finally it was because of individual characteristics in the variation value of kinematic and kinetic.But on the whole, motion of KUZUSHI, the 1st phase of technique, was very insuffcient. In conclusion, presumably, Korean elite judoists (who took part in the 15th World Judo Championships, 1987) have their own specific patterns in revelation of individual major scoring techniques. Individual characteristics in displaying the technique and weakpoints were pointed out and the partial points needing complement and correction were shown in the chapter 5 "Field Applying Methods".

Clinical Outcome of Modified Cervical Lateral Mass Screw Fixation Technique

Kim, Seong-Hwan,Seo, Won-Deog,Kim, Ki-Hong,Yeo, Hyung-Tae,Choi, Gi-Hwan,Kim, Dae-Hyun The Korean Neurosurgical Society 2012 Journal of Korean neurosurgical society Vol.52 No.2

Objective : The purpose of this study was 1) to analyze clinically-executed cervical lateral mass screw fixation by the Kim's technique as suggested in the previous morphometric and cadaveric study and 2) to examine various complications and bicortical purchase that are important for b-one fusion. Methods : A retrospective study was done on the charts, operative records, radiographs, and clinical follow up of thirty-nine patients. One hundred and seventy-eight lateral mass screws were analyzed. The spinal nerve injury, violation of the facet joint, vertebral artery injury, and the bicortical purchases were examined at each lateral mass. Results : All thirty-nine patients received instrumentations with poly axial screws and rod systems, in which one hundred and seventy-eight screws in total. No vertebral artery injury or nerve root injury were observed. Sixteen facet joint violations were observed (9.0%). Bicortical purchases were achieved on one hundred and fifty-six (87.6%). Bone fusion was achieved in all patients. Conclusion : The advantages of the Kim's technique are that it is performed by using given anatomical structures and that the complication rate is as low as those of other known techniques. The Kim's technique can be performed easily and safely without fluoroscopic assistance for the treatment of many cervical diseases.

김지하의 생명사상과 유토피아 의식

김재현 한국철학사상연구회 2001 시대와 철학 Vol.12 No.1

김지하의 생명사상에 대한 평가에서 그의 사상의 연속성과 단절이 중요하게 논의된다. 이 논의에서 우리가 주목해야 할 것은 김지하의 '생명사상' 자체에 대한 이해와 해석의 차이가 논쟁의 핵심이 된다는 것이다. 다시 말해 생명사상에 대한 이해와 해석이 그의 전채 사상과 사상의 전개, 발전 또는 퇴화를 판단하는 중요한 척도가 된다. 본 고에서는 김지하의 '생명' 사상이 어떻게 형성되었으며 그 실체적 내용이 무엇인가를 집중적으로 고찰하고 그 유토피아적 특성을 밝힘으로써 김지하의 사상을 보다 전체적으로 이해하고 평가할 수 있는 발판을 마련하고자 한다. 우선 김지하 생명사상의 발단과 전개과정을 추적하고, 다음으로 생명사상의 구체적 내용과 특성을 다음 여섯가지로 파악했다. 첫째, 동학사상을 토대로 한 종합적 전체적 사상이다. 둘째, 생명사상의 존재론적 기초는 지기일원론(至氣一元論)이다. 셋째, 생명적 개체의 종교성을 나타내는 영성(靈性)사상이다. 넷째, 향아설위사상과 밥 한 그릇, 삼경(三敬)사상이 생명사상의 주요 특징이다. 다섯째, 여성해방사상이다. 여섯째, 불연기연(不然其然)의 사상이다. 그리고 그의 생명사상의 구체화라고 할 수 있는 생명운동, 그리고 생명사상의 유토피아적 측면을 고찰하였다. 우리는 김지하의 생명사상이 갖는 관념적, 유토피아적 요소를 무조건 부정할 것이 아니라 현실적 가치가 있는 측면들을 충분히 살리고 활용할 필요가 있을 것이다. This paper tries to understand Kim Ji Ha's Life-Thought. There are some debates on the continuity of Kim's Life-Thought. The point depends on what Life-Thought is. To grasp the exact content of Kim's Life-Thought it begins to investigate the origin aid development of Kim's Life-Thought. Although Kim's Life-Thought is vague, we can understand it on six levels. And there are close connections between Kim's Life-Thought are his life-movement, it explores this connection Next it explains utopian aspects of Kim's Life-Thought and estimate Kim's Life-Thought positively.

김일엽 시의 자의식과 求道의 글쓰기

김현자(Kim Hyun-Ja) 한국시학회 2003 한국시학연구 Vol.- No.9

Kim, Il-lyeop, together with Na, Hye-seok, and Kim, Myeong-soon, is one of the first modern women writers in Korea, who opened a way for women at that time to participate in the literary circles and to have their own jobs, breaking the shackles of deep-rooted, closed norms of the society. However, in spite of her leading role as a woman writer, Kim, Il-lyeop's works have not been paid serious attention to. Therefore, the purpose of this paper is to investigate her poetic world that has not been fully examined. What is noticed here is that we explore various poetic features and peculiar methodological development patterns she used in her poems, with respect to ontological awareness of femininity, to imagery orientation, and to optimistic point of view discovered in her works. First, her ontological realization of femininity is reflected only suggestively in her works. Looking at her early poems in the magazine "Shinyeoja"(new women), we can perceive her sense of the times only in a comparatively abstract, somewhat vague manner, i.e. through her linking the advent of new era with an image of spring. Nevertheless, it is worth mentioning that those poems in the magazine "Shinyeoja" represent the sense of the times and the consciousness of social involvement as a woman which were absolutely pioneering at that time of the day. Since the discontinuance of issuing the magazine "Shinyeoja," Kim's works which sing praise of a new era with the rhythm of 7.5, or 4.4, faced both substantial and formal changes. Especially in the substantial part, distinguished from the earlier works to convey something enlightening, her later verses concentrate on individual emotions such as solitude, agony, re￢morse, and yearning, as well as the passion and energy of the youth. Maintaining a single poetic voice of inner monologue, her works in this period can be phrased into the following: "the rhetoric of spring flowers." Next, the image of fire in the poems of Kim, Il-lyeop displays a kind of variation: it sometimes symbolizes a hearty laughter, fire burning allover the earth, or the torch which the Budda himself lit to incite ordinary people to pursue the truth. This kind of alternation of images of fire is in close accordance with the transformation of the poet's consciousness, that is, the progress from the emphasis on social enlightenment, to immerging into the individual emotion and passion, and finally to attaining the stage of unfathomable insight and spiritual awakening through the discovery of the absolute The Other, "Nim." Lastly, the poems written after her determination to be a monk, constantly reveal her ascetic attitude in seeking for the truth, though embracing the troubles in this world. They vividly show what a person will be like after burning her youth to the ashes, and eventually realizing the essence of life, and how optimistic her point of view can be. To sum up, Kim, Il-lyeop strived to live an independent life in such a period when women were considered to be subordinate to men in their private and social lives, and also persisted to sing the praises of liberty through the construction of her own literary world. Those efforts for liberty meant an attempt to free from the oppression of Japanese colonialism, a liberal expression of woman's desires and emotions curbed under the patriarch ideology, and sometimes a search for the ontological freedom toward the eternity and the universe. Conclusively, her writings as well as her life display the poet's endeavor to persue the freedom of body and spirit in the closed society, which are expressed as a cry for enlightenment, as a clamor against the discrimination of sex, as a remorse and a monologue resulting from the disappointing reality, and finally as so hearty a laughter as to seemingly burn out all over the earth.

정상면역을 가진 성인에서 발생한 식도 방선균증

김현수 ( Hyun Soo Kim ),천종운 ( Jong Woon Cheon ),김민수 ( Min Su Kim ),정창길 ( Chang Kil Jung ),김경록 ( Kyung Rok Kim ),최재원 ( Jae Won Choi ),강동우 ( Dong Woo Kang ),김선영 ( Sun Young Kim ) 대한소화기학회 2013 대한소화기학회지 Vol.61 No.2

Hyun Soo Kim, Jong Woon Cheon, Min Su Kim, Chang Kil Jung, Kyung Rok Kim, Jae Won Choi, Dong Woo Kang and Sun Young Kim1 Departments of Internal Medicine and Pathology1, DongKang Medical Center, Ulsan, Korea Actinomycosis is a chronic suppurative disease and caused by Actinomycosis species, principally Actinomyces israelii, which are part of the normal inhabitant on the mucous membrane of the oropharynx, gastrointestinal tract, and urogenital tract. It usually affects cervicofacial, thoracic and abdominal tissue. Cervicofacial type has the highest percentage of occurrence with 50%. Actinomycosis frequently occurs following dental extraction, jaw surgery, chronic infection or poor oral hygiene. It may also be considered as an opportunistic infection in immunocompromised patients such as malignancy, human immunodeficiency virus infection, diabetes mellitus, steroid usage or alcoholism. But, actinomycosis rarely occurs in adults with normal immunity and rare in the esophagus. We report an unusual case of esophageal actinomycosis which was developed in a patient with normal immunity and improved by therapy with intravenous penicillin G followed oral amoxicillin, and we also reviewed the associated literature.

페미니즘적 관점에서 본 한국 현대시 연구

김현자 이화여자대학교 한국문화연구원 1994 韓國文化硏究院 論叢 Vol.64 No.1

Previously existing studies about Korean womans poetry, being made mostly from the male-centric viewpoint, failed to properly and correctly evaluate the elements of deviation appeared in womans poetry such as discourse strategy, consciousness of confinement, female image, cutting body off, esc. In this situation, this study aims at reading these characteristics of the womans poetry from the feministic and pluralistic viewpoint. The poems of No Chun-Myung, in which both of female persona and male persona are used for the first time in Korean womans poetry, have an important meaning with that trial itself. Eventhough her poems show strong doubt on feminity and even envy at the masculine characteristics, she is the first poet who raised an objection to the concept of feminity. Then after, Korean womans poetry have developed in two contrasting directions : sentimental and traditional one, intellectual and speculative one. The poems of Hong Yoon-sook, Heo Young-Ja and Kim Nam-Jo belong to the category of the traditional lyric poetry. Their poetry, using the passive female persona, sentimental image like crime, tear, and lover, exclamational tone, and the themes of love, yearning and repentance, elevated the level of lyric poetry. But their consciousness on women still remains in the state of closed passiveness. In 70s and 80s, this passive consciousness is moved to active and participant one. The motive of female death shown in the poetry of Kang Eun-Kyeo is succeeded to the poetry of Choi Seung-Ja and Kim Hae-Soon. They use the extreme diction and the motive of female death through the dissolution of body as a poetic method to dissolve the oppressive reality. The grotesque realism of their poetry, trying to find the source of new power among the negative values, pursues the rebirth of the new world through destruction and negative. The central poetic dictions used by female poets revealed the consciousness of self-contempt, feeling of estrangement and isolation, hostility in mutual relations, and sadism. In the poetry of No Cheon-Myung, skeptistic view on powerless and passive feminity is revealed. The female personas in Kim Nam-Jos poetry are always connected with the word of winter, wind, tear, and coldness. This reflects her consciousness that endurance and waiting are indispensable for unification with lover. The central poetic words of Heo Young-Ja are crime and blood indicating shame and guilty conscience. The motives of death in Kang Eun-Kyeos poetry, expressing the consciousness of confinement and the feeling of futility, imply the possibility of rebirth through female death. Ko Jeong-Hee uses the word of hearted reed to express hearted feminity. The characteristics of Choi Seung-Jas poetry are founded in the images of dark room, cutting body off, orphan, night-soil, and female persona with stinging tone, and the extreme usage of diction. Kim Hye-Soon, using the word of kitchen and dish-washing as a image of female space and acting, shows that women become to lose their self-identity among the routine of daily life. Peeling and cutting body off are the image to express rebirth through destruction. In the poetry of Kim Seung-Hee, the images of closed space are related with lifelessness, loss of identity, and death. This reflects the isolated and closed world of female experience. Female death is a kind of drama of rebirth to bring for the new life. Many kinds of deviation devices in womans poetry ultimately pursue the harmonious and peaceful world in which there is no separation and discrimination between man and woman. This desire is revealed as inclination for bisexual world doesnt mean the loose reconciliation without the solution of contradiction but the inclusive integration beyond the dualistic opposition of sex. Bisexuality is the essential element in literature. It is a motive power to make our life peaceful by unifying and harmonizing mind. Many great poets like Kim So-Woel, Han Yong-Woon, Hwang Dong-Kyum, Jeong Hyun-Jong, and Lee Sung-Bok have written poems with this bisexual mind. Freely and adaptably using male persona and female persona, they have shown the far excellent poetic elements. This evokes us the pursuit of unification and the principle of inclusion inherent in literary imagination.

북한 문학에 표현된 여성의 주체성과 지향

김현숙 이화여자대학교 한국여성연구원 1999 여성학논집 Vol.16 No.-

North Korean literature has undertaken five distinctive stages of change until the present. The years of 1927, 1950, 1960, and 1980, especially 1980, can be identified as turning points. Literary circles in North Korea underwent extensive fluctuating changes according to the relations and balance of power between the East and West. The most typical trend of change can be found in the increasing diversification of choice of subjects for literary works, and the approval of distinctly individual writing set apart from collective group writing which was the only form of writing allowed in North Korean. This paper focuses on analyzing the impact of changes in the themes of North Korean literature, with particular attention to the ways in which women characters are established. This study was conducted in connection with "The Meanings in the Creation of Women Characters in North Korean Literature" published in 1994 by the Korean Women's Institute. This research examines how women characters are introduced and defined in modern North Korean literature. This work focuses on analysis of the relationships between heroines and men in daily lives, and between women and wider society, as means of reveal heroine's status. As a conclusion, the author points out that North Korean literature is much more varied than in the past. However, recent literary works appear to be far less diverse due to tile deterioration of domestic affairs following a series of famines and floods. As a result, the years of 1994 and 1995 seem to be a period during which many possibilities in North Korean literature have been cast aside. Years of famine by consecutive droughts and floods including the death of Kim Il-Sung created an almost vacuous situation in which many things have come to a stop. It can be said that their clock was turned back. The various types of heroines who appeared in novels during wider changes in the late 1980s and early 1990s disappeared, replaced by a revival of the older, more typical images of women. Generations of historically produced women appear: the first generation protested against Japanese rule to establish North Korea: and the second generation were involved in the Korean War and enforced the third generation to follow in their footsteps. This has been made possible because literature, like all art forms, is subservient to the Party line and society is always considered prior to the Individual. As everyday life becomes a virtual battlefield in which all citizens must be armed, the actions and nature of the heroines in literature are limited to a few forms. The main themes of literature include the establishment of society (socialist society) and expressing reverence for Kim Il-Sung and Kim Jung-Il. As a society perceived to be in a state of war, the official line of North Korea is that the people are on the frontline with the ultimate foal of victory. Mothers are considered to be most essential to achieve this goal, and they should make contributions by providing a good example to their children in order to nurture them as successful and strong laborers for society no matter what the sacrifice. The most idealized Image of motherhood has shifted from that of the mother of Kim Il-Sung to that of his son, Kim Jung-Il. Kim Jung-Il has composed songs cherishing and praising his mother, and expresses his hope that all women will follow her example. Professional women in the North suffer from the dual burdens of formal employment and the demands of the family just as women in the South do. However, members of the society as a whole come together as small units to solve problems as they are raised. This is made possible because North Korean societies perceived as a sort of big, extended family. Wives depicted in North Korean novels are mostly engaged in jobs as professionals who receive recognition in their fields with solid status in society. When these women return to their families, they are in conflict with family members and have to endure hardships by themselves without any help from other family members. Why do they send their young girls to the battlegrounds and guidance centers in rural areas? North Korean society is faced with two problems. One is economic difficulty, the other is maintaining social stability following the death of Kim Il-Sung. The end of the Cold War and the economic growth in the late 1980s and early 1990s allowed people to think and write more freely. But in times of social turmoil, a system of social stabilization is needed and a model to guide people, while self-legitimating the presence of such a system is necessary'. Literature is not a genre of art which one can freely select and enjoy in North Korea. It is a mouthpiece of the government's policies and leadership. In times of peace and stability, human agony and voiles can be heard in the literary works and arts, but not government policies. Only when North Koreans relinquish their ideology and South Korean give up their materialistic greed can the two come together to share the difficulties of humankind. From there we can strive to become truly humane, and we will to able to meet each other at ease.