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Lee, Hyun Joo,Lee, Woo Kyung,Kang, Chan Woo,Ku, Cheol Ryong,Cho, Yoon Hee,Lee, Eun Jig Elsevier 2018 Cancer letters Vol.417 No.-
<P><B>Abstract</B></P> <P>The RB-E2F1 pathway is an important mechanism of cell-cycle control, and deregulation of this pathway is one of the key factors contributing to tumorigenesis. Cyclin-dependent kinases (CDKs) and Cyclin D have been known to increase in aggressive thyroid cancer. However, there has been no study to investigate effects of a selective CDK 4/6 inhibitor, Ribociclib (LEE011), in thyroid cancer. Performing Western blotting, we found that RB phosphorylation and the expression of Cyclin D are significantly higher in papillary thyroid cancer (PTC) cell lines as well as anaplastic thyroid cancer (ATC) cell lines, compared with normal thyroid cell line and follicular thyroid cancer cell line. LEE011 dose-dependently inhibited RB phosphorylation and also decreased the expressions of its target genes such as <I>FOXM1, Cyclin A1,</I> and <I>Myc</I> in ATC. Furthermore, LEE011 induced cell cycle arrest in G0-G1 phase and cell apoptosis, and inhibited cell proliferation in ATC. Consistently, oral administration of LEE011 to ATC xenograft models strongly inhibited tumor growth with decreased expressions of pRB, pAKT and Ki-67, and also significantly increased tumor cell apoptosis. Taken together, our data support the rationale for clinical development of the CDK4/6 inhibitor as a therapy for patients with aggressive thyroid cancer.</P> <P><B>Highlights</B></P> <P> <UL> <LI> pRB and Cyclin D were expressed high in aggressive thyroid cancer. </LI> <LI> LEE011 suppressed pRB and also decreased the expressions of its target genes in ATC. </LI> <LI> LEE011 induced cell cycle G1 arrest and apoptosis, and inhibited cell proliferation. </LI> <LI> LEE011 inhibited in vivo tumor growth with decreased expressions of pRB and Ki-67. </LI> <LI> We could explain the anticancer effects with the RB-E2F pathway. </LI> </UL> </P>
논문 : 이광수의 『무정』에 나타난 근대의 부정성에 대한 비판
이경재 ( Kyung Jae Lee ) 민족문학사학회·민족문학사연구소 2014 민족문학사연구 Vol.54 No.-
이 글에서는 『무정』을 서구문명/ 전통문화, 근대/ 전근대, 영문식 사상/ 한문식사상, 신세대/ 구세대, 새로운 윤리/ 유교 윤리 등의 이항 대립에 바탕해, 전자를 지향하는작품으로 보는 것에 의문을 제기하고, 새로운 독해를 시도하고자 한다. 이를 위해 본고에서는 가장 기초적인 텍스트 분석을 해보고자 하는데, 그것은 바로 이 작품의 표제이기도 한‘『무정』’이라는 어휘의 의미를 추적하는 것이다. 나아가 이광수가 『무정』에서 이상향으로 제시한 ‘유정’한 세상의 참된 모습과 그 의미를 살펴보고자 한다. 이광수의 『무정』에 등장하는 총 스물네 번의 ‘『무정』’ 중에서 주요 서사와 직접적인 관련이 없는 네 번과, 마지막 문장에서의 두 번, 그리고 배학감을 가리킬 때의 한 번을 제외한 열일곱 번은 모두 영채와 관련된다. 이것은 ‘『무정』’이 대부분 영채의 고통스런 삶을 가리키기 위해 사용되고 있는 것임을 보여준다. 지금까지 『무정』의 ‘『무정』’은 ‘『무정』한 과거’라는 표현이 의미하듯이, 문명 개화 이전의 과거와 관련된 것으로 이해되어 왔다. 그러나 오히려 『무정』에서 ‘『무정』’은 돈의 사회적 지배력이 커진 것과 직접적으로 관련되어 있다. 형식이 영채를 구할 돈 천 원을 애타게 원하며 하는 “돈만 잇스면 사□의 몸은 커녕 령혼□지라도 사게된 이셰상”(25회)이야말로 ‘『무정』’의 진정한 이유였던 것이다. 『무정』에서 신문물을 받아들이고 계몽이 한창이어야 할 서울이나 평양이라는 공간은, 실제로는 돈이 절대적인 영향력을 발휘하는 공간으로 그려질 뿐이다. 그렇다면, 오히려 ‘『무정』’은 과거와 관련된다기보다는 근대화에 따른 돈의 영향력이 커진 ‘현재’의 시공과 관련된 것이라고 볼 수도 있다. 따라서 『무정』의 “어둡던 셰샹이 평□ 어두울것이 안이오 무졍□던 셰샹이 평□ 무졍□ 것이 아니다 우리□ 우리힘으로 밝게□고 유졍□게□고 질겁게□고 가멸게□고 굿세게□ 것이로다”(126회, 이하 본고의 모든 강조는 인용자)라는 마지막 부분은 근대지향이라기보다는 근대의 한 가지 부정성에 대한 비판의 의미로 새겨볼 가능성도 존재한다. 이 작품에서 문명 개화의 선생님은 말할 것도 없이 이형식이다. 이 때 형식이 선생의 자리를 차지할 수 있는 것은 그가 지향하는 근대성 때문이라고 할수 있다. 동시에 『무정』에서 반드시 극복해야 할 것으로 제시된 ‘『무정』’을 양산해내는 존재역시 이형식이다. 따라서 이광수의 『무정』은 ‘이형식 비판’이라는 중요한 과제를 제시하는작품이기도 한 것이다. 마지막으로 이광수의 『무정』에서 『무정』한 세상 이후에 올 유정한 세상이란 결국 상징계 이전의 상상계적 시공임을 확인할 수 있다. This writing questions the understanding of "Moo Jeong" pursuing the former choice of the binary oppositions between western / traditional culture, modern / pre-modern, English / Chinese philosophies, new / old generation, and new / Confucius ethics and seeks to provide a new interpretation of the text. For this purpose, the most basic analysis of the text was necessary beginning with the tracing of the meaning of the word ``Moo Jeong`` which is the title of the story. Furthermore, the true picture and meaning of ``Yoo Jeong`` suggested as the ideal of Moo Jeong by Gwang-Soo Lee will be explained. ``Moo Jeong`` appears 25 times in Gwang-Soo Lee`s "Moo Jeong", and except for four times when they were not relevant in the main narrative, twice in the last sentence, and once when it referred to Dean Bae, 17 times when it was mentioned was related to Young-Chae. ``Moo Jeong`` was used to imply a hard life of Young-Chae. So far, ``Moo Jeong`` from the book "Moo Jeong" meant ``negative past`` and was understood in relation to the period before the opening of the civilization. However, ``Moo Jeong`` from the book "Moo Jeong" was directly related to the fact that money has extended its dominance on the society. When Hyung-Sik desperately wanted a thousand won to save Young-Chae saying ``the world where money can buy the human soul, let alone their body`` was the real reason behind ``Moo Jeong``. The places such as Seoul and Pyungyang that were supposedly busy accepting the new civilization and being enlightened were depicted as a place money is exercising its absolute influence over. In that regard, ``Moo Jeong`` is not so much related to the past as much as the time and space of the ``present`` with more influence of the money following the modernization. Therefore, the last part of "Moo Jeong" where it says ``the dark world will not remain dark forever and the negative world will not remain negative forever. we will make it bright, positive, joyful, rich, and strong.`` leaves a room for possibility to be interpreted as the criticism of the modern era rather than aspiration towards the modern era. The teacher of the new civilization in this story is undoubtedly Hyung-Sik Lee. He claims the spot of teacher for his pursuance of the modern era. The figure who creates ``Moo Jeong`` that is presented to be overcome at all cost is also Hyung-Sik Lee. All in all, Gwang-Soo Lee`s "Moo Jeong" introduces an important task of ``criticizing Hyung-Sik Lee``. Lastly, The positive world to come after the negative world in Gwang-Soo Lee`s "Moo Jeong" is ultimately time and space in the imaginary prior to the symbolic.
연극 안의 배우, 배우의 몸 - 이경성과 크리에이티브 바키(Creative VaQi)의 연극 미학
이경미 ( Lee Kyung Mi ) 한국연극학회 2017 한국연극학 Vol.1 No.61
이경성과 크리에이티브 바키(Creative VaQi)의 연극은 희곡의 재현이 아니라 `공간`에 대한 질문에서 출발한다. 광화문이나 문화역 서울과 같은 일상적 공간 속에서 행해졌던 그의 작업은 이들 공간으로부터 고유의 장소성, 즉 그 공간에 축적된 역사적, 사회적 맥락을 드러냈다. 이후 그들은 일상적 공간으로부터 극장이라는 제도적 공간으로 중심을 옮겨 극장의 장소성에 대해 근본적인 질문을 던지는데, 이것은 연극이 무엇인가에 대한 자기질문이기도 하다. 이로써 이경성과 바키의 연극은 예의 그 `장소특정적 공연`의 카테고리를 벗어나 보다 더 미학적 지평을 확장해가고 있다. 그 과정에서 우리는 그들의 작업을 공간과 함께, 좀더 시각을 달리하여 공간을 점유한 몸의 문제를 근거로 새롭게 논의할 수 있는 단초를 얻게 된다. 사실 공간에 대한 질문에서 출발한 바키의 작업은 애초부터 그 공간을 점유하고 있는 배우의 몸을 배제하고는 논의할 수가 없는 것이었다. 본 논문은 크리에이티브 바키의 연극을 배우, 배우의 몸으로부터 새롭게 논의하고자 한다. 통상적 연극과 다르게 그들은 연출과 배우 모두가 직접 공연 전 과정을 이끌면서 관련 자료를 조사하고 인터뷰하며, 여러 번의 발제와 토론 등의 과정을 거쳐 공연의 틀을 잡아간다. 이런 작업과정에서 배우는 어떻게 대상을 체험하는지, 그리고 체화된 감각을 바탕으로 무대를 그들 연극의 주요 화두인 공간과 시간, 더 나아가 타자에 대한 감각의 장소로 발생시키는지를 살펴보고자 한다. 무대 위의 배우의 몸은 공간을 점유한 몸으로서 `여기`에 대해 질문하기도 하고, 시간을 점유하고 `지금`에 대해 묻는다. 그런가하면 보이지 않는 타자의 고통을 감각하는 몸으로서, 기억에 대해 묻기도 한다. 배우의 몸에 기반한 이경성의 연출미학을 풀어내는 이론적 근거는 몸과 지각의 문제를 중심에 둔 현상학에서 가져왔으며, 구체적인 사례들은 최근 2년 동안 발표된 이들의 작품들에서 찾아보았다. Lee Kyung-Sung and the theatergroup `Creative VaQi) have made their theaters focusing on space discourses. But for about last two years, most of their works have been performed not only in everyday spaces but also in various instituional theaterspaces. This is why the research about their theater aesthetics should be conducted from different perspectives. This study examines several recent works that Lee Kyung Sung and his VaQi have performed in institutional theatrical spaces. Actor`s bodies that occupy the space have been their theatrical interest that they have focused on from the beginning. What they emphasize is not how they make actors represent their drama roles. They see actors not as tools of theater but as productive subjects. Actors in their theaters stand on stage as themselves with their own identities. In other words, they reveal themselves on stages as persons who have their own thoughts about the world. This is due to their unique working style that are completed through thorough collaborative work, from data research to interviews, presentations and discussions. Of course, actors are the center of all these processes. They constantly interact with objects and build their own viewpoint on them. The body itself is a performing body that creates events and forms the framework of perception and experience. This way of working is closely linked to the phenomenological point of view. Based on this phenomenological point of view, this paper examines how actor`s body is posing new questions about space and time. It tries also to look at how actor`s body occurs as a place of sensation for the other.
이은경 숙명여자대학교 2002 숙명語文論集 Vol.4 No.-
The death appearing in Woojin Kim's dramas, is established in being closely connected with the life. In Youngnyeo Lee Youngnyeo Lee is a victim for women of the next generation who are represented by Lee's daughter, Myungsoon. So Lee's death ensures the social meaning of a martyrdom for the redemption. In A wreck the poet gets to death, i.e. wreck, in order to get born for a new human being. And the death is understood as a precondition in order for taking over father's task, by Wonbong in A wild boar. But the protagonists' attitudes for understanding the death are not same. Youngnyeo Lee in Youngnyeo Lee has a self-consciousness for a true female life before her death. Therefore she receives her death in a dignified manner. The poet in A wreck understands that death is a process of getting born for a new human being. The result is that he receives the death with a joy. But Wonbong in A wild boar is so weak that he can not take over the given task. So he escapes from the pressure of death and chooses a resigning life. As a result, the death is understood, by Woojin Kim, as a process of redeeming the social irrationalityand making birth of a new human being.
Key Ethical Issues and Hindrances to Ethical Behavior in Korean Insurance Industry
Lee, Kyung-Lyong,Lee, Bong-Joo,Lee, Han-Duck 서강대학교 경영연구소 2004 서강경영논총 Vol.15 No.2
The purpose of this paper is to investigate key ethical issues and hindrances to ethical behavior faced by professionals working in Korean insurance industry. For this purpose, conducted is a survey of actuaries in a variety of positions in insurance companies and insurance related institutions. The findings also are compared to those of American studies. Actuaries' perceptions of the key ethical issues tend to be restricted to actuarial aspects such as insufficient legal authority to perform professional services in an ethical manner and failure to get adequate ethics training program. But some issues arising in marketing are considered significant similar to the U.S. As a whole, key ethical issues and challenges are not significantly different from the viewpoints of actuaries working in the life and non-life insurance business. Regarding key hindrances to ethical behavior, the 15 factors are presented such as competitive pressures, performance-based evaluation and unethical demand made by clients. These findings are generally similar to those of the U.S. studies.
李慶善 漢陽大學校 人文科學大學 1982 人文論叢 Vol.3 No.-
There has been no scholarly approach to Lee Jang-back Jun (A Story of Lee Jang-back 李長白傳) a story written in Chinese character, which is collected by the Library of Denri University(天理大學) in Japan. The plot of this work is briefly as follows: In the late seventeerth century,a Korean, Lee Jang-back(李長白) made a journey to China and dropped in a harlot (kisaeng) house. He came to know the miserable circumstances of a prostitute and felt sorry for her. Out of pity and chivalrous spirit, he helped her with a large sum of money with no reward. After years, she was raised up as the queen of a Chinese emperor and she could never forget Lee Jang-back's favor. In brief, this story ends with an episode in which, in recompense for his thankful help for the wretched state of her early years,she devotedly tried to assist korean affairs (the Yi dynasty's affairs) , let alone Lee Jang-back's personal affairs. However, this work does not seem to belong to the genre of the fictitious. This story is based upon a true story of the century in which Hong Soon-un(洪純彦) visited China as an official interpreter and he kept on doing good deeds there similar to Lee Jang-back's in this work. Out of these materials, the writer produced succsessfully a marvellous story with real fictitious plot and characters, blending it with a variety of historical events between the two countries. The themes of the story are humanistic virtue and righteousness derived from the teaching of Confucius. In andition, this work is a sort of edifying story in which a Korean who had visited China did something good to a Chinese lady and also the lady showed her gratitude the man with various rewards, and the personal good deeds of the two increased friendly relations between their countries.
박경리의 『파시』에 나타난 타자 의식 연구 -‘고통’과 ‘책임’의 윤리를 중심으로-
이혜경 ( Lee Hye-kyung ) 경희대학교 인문학연구원 2019 인문학연구 Vol.0 No.40
이 논문은 박경리의 장편소설 『파시』에 나타난 타자 의식에 대해 레비나스의 이론을 원용하여 살펴보고자 한다. 레비나스에 의하면 주체는 타자의 존재로 인해 그 주체성이 성립될 수 있음을 말하며, 타자의 고통을 환대하고 대속(代贖)적 책임을 져야 한다고 강조한다. 이러한 윤리적 태도의 요청은 『파시』에서도 잘 드러나고 있다. 『파시』는 크게 두 서사를 중심축으로 전개되고 있으며, 각각 ‘신체’와 ‘의식’이 문제적으로 제시되고 있다. 먼저 ‘수옥/학수’로서, 수옥은 전쟁으로 인한 피난민 여성으로 신체를 유린당한다. 이러한 타자의 ‘고통’을 희생적 태도로 ‘책임’을 지고자 하는 주체가 학수이다. 다음으로 ‘명화/응주’로서, 명화는 광기라는 혈통에 고뇌하는 지식인 여성으로 의식이 절하된다. 이러한 타자의 ‘고통’을 완전히 수용하지 못하고 자신의 의식적 혼돈으로 인해 ‘책임’에서 멀어져 있는 주체가 응주이다. 결론적으로 수옥은 새로운 생명을 잉태함으로써 단절이 아닌 ‘지속(持續)’의 가능성을 보여주고, 명화는 현실을 벗어남으로써 새롭게 삶을 ‘재생(再生)’하게 된다. 이로써 타자들의 불행한 삶은 실존의 의미를 추구해 가는 과정이었다는 것을 확인할 수 있다. 그렇다면, 『파시』라는 ‘제목’과 ‘서사’와의 상관성을 주목해 볼 필요가 있는데, 이를 통해 작가 의식 또한 추론해 볼 수 있다. ‘파시(波市)’는 이해득실에 따라 거래가 성립되는 것을 뜻하는 것으로, 여기에는 개개인의 타산적 욕망이 중요하게 작용한다. 예컨대 서울댁과 서영래는 수옥의 ‘신체’를 거래의 대상으로 삼았고, 박 의사는 명화의 ‘혈통(광기)’을 거부의 대상으로 삼음으로써 각각 비윤리적인 태도를 보여준다. 그러므로 작가 박경리는 타자가 지닌 고유한 인간으로서의 존엄성을 심각하게 훼손하는 작품의 형상화를 통해, 인간이 지녀야 할 진정한 윤리적 지향점과 그 실천적 태도를 제시하고 있는 것이다. This thesis intends to take a look at the theory of Emmanuel Levinas regarding the consciousness of the other party (l'Autre) displayed on 『Pasi』, a long novel of Park, Kyung-ri. According to Levinas, the main subject may establish the identity due to the existence of the other party and it emphasizes that the pain of the other party is to be hospitable and take up the redeemable responsibility. The request on such ethical attitude is demonstrated well no 『Pasi』. 『Pasi』 has two narratives to be deployed on the pivotal aspect and it presents each of 'body' and 'consciousness' for the issues. First of all, there were 'Soo-ok and Hak-soo', and with respect to Soo-ok, she was violated of her body as a refugee woman of war. With the sacrificial attitude of 'pain' inflicted on other parties, the subject to take on the 'responsibility' is Hak-soo. Next issue would be 'Myeong-hwa and Ong-joo' that Myeong-hwa was an intelligent woman who was antagonized of her lineage in madness with the decline of consciousness. Ong-joo was the subject to be far distance away from the 'responsibility' due to the conscious chaos herself with unable to completely accommodating the 'pain' of the other party. Conclusively, Soo-ok conceived a new life to display the possibility of 'sustenance', not the disconnection, while Myeong-hwa broke away from the reality for 'regeneration' a new life. Henceforth, the unfortunate lives of the other parties are affirmed that it is a process to pursue the existential implication. If so, it is imperative to take a look at the relativity between the title of 『Pasi』 and 'Narrative', and through this endeavor, the consciousness of the writer can also be presumed. 'Pasi' means to establish a transaction depending on pros and cons that it has the self-egoistic desire of each individual to work with significant implication. For example, Seoul Lady and Seo, Young-lae had taken the 'body' of Soo-ok as the subject of trading while doctor Park had taken the 'lineage (madness)' of Myeong-hwa as the subject of refusal in a way of displaying the unethical attitude of respective party. Therefore, the author, Park, Kyung-ri, suggests the genuine and ethical focal point and practical attitude for a human to keep through the imagery of work that seriously damages the dignity as a unique human being for the other party to keep.
이경수 (Lee Kyung Soo) 한국인물사연구소 2011 한국인물사연구 Vol.16 No.-
Wol-Sa Jeong-Ku Lee was a prominent man of writing diplomatic documents and papers during the King Sun-Jo period in Lee's Kingdom dynasty, and he consolidated his critical political subordinate chair while performing proctoral and prime educational ministries. But upon roaring of the new king Kwang-Hae Gun, as his political oppositions north party took leadership, he started to suffer a number of political persecutions and hardships such as Kye-Chook prison death and revolt rumors. Based on these political ordeal background, this paper covers Jeong Ku Lee's poetical themes rooted in his political adversities on three topics. Frist, he expressed condolences and sympathy for the political fellows who had been harassed and persecuted for the similar reasons, and his consistent political idealism and confidence were represented through his compositions. In particular, he mourned his senior political leader Hang-Bok Lee, who had been exiled and died of long endured disease while maintained his consistent political creeds. Second, his poems expressed his regrets and guilty feeling rather than ntagonism against his opponents eventhough he had been persecuted through their ounteractions; he attributed his exiled situations to his innermost reasons rather than other evil wills. Third, his poems delineated his loyalty, faithfulness, and patriotism toward his country and kingdom, and concerns about nation's future. Despite his hardship and persecution, his expressed his political idealism through deep metaphors, and ultimately inspired regrets and harmonies for the entire political rivals.
이경수(Lee Kyung-Soo) 한국인물사연구소 2008 한국인물사연구 Vol.10 No.-
이 논문은 葛庵 李玄逸(1627~1704)의 생애를 3기로 구분하고 각 시기 별로 시 창작의 배경과 작품 내용의 특징을 고찰하였다. 제1기는 50세(1676)까지 在野에서 학문에 전념하던 시기로 형제들과 수학, 독서, 유람하거나 영남남인계 학자들과 교유하면서 시를 창작했다. 이 시기의 작품에는 맑고 깨끗한 정신을 바탕으로 한 경세제민의 원대한 기상이 반영되어 있다. 제2기는 51세(1677)부터 67세(1693)까지로 관직에 나갔다가 물러나기를 반복하며 관직생활과 은둔생활을 한 시기이다. 官界에서 교유한 인물들과의 시는 별로 없고 형제, 영남남인계 학자들과 함께 시를 창작하였다. 관직을 사퇴하고 귀향하고자 하는 심경이나 귀향하여 자연속에 칩거하여 학문에 정진하는 은둔자적 생활을 시로 표현하였다. 제3기는 68세(1694)부터 78세(1704)까지로 갑술옥사로 유배되었다가 귀향하여 별세하기까지의 시기이다. 이 시기의 시 창작은 형제, 아들, 문하생이라는 제한된 범위 내에서 이루어졌다. 시 작품 속에 유배생활의 고통과 불안을 표현하면서도 아울러 역경을 극복하고자 하는 의지를 담았다. 갈암 이현일의 시는 갑인예송 이후 경신대출척, 기사환국, 갑술옥사 등의 정치적 격랑기에 처했던 영남남인계 학자의 생활과 내면세계를 문학적으로 표현한 작품으로서 의의가 있다. This paper devide lifetime of Gal-Am Hyeon-Il Lee(1627~1704) into three periods and investigate characteristics of poem composition and its contents. The first period covers the time that he worked for the poems before he entered the position of government officer at 50 around Yeonghae and Andong in Gyeongbuk Province. During this period, he composed the poems while studying with his brothers or traveling. Or his poems were created while meeting Toegye in Andong. In this period, his works emphasized Confucian ideology and life time obligations, rather than physical achievement or social accomplishment. The second period covers the time that he served as a government position in Seoul at the ages 51~67(l677~1693). While working in Seoul, he socialized Southern Part politicians so called Nam-In and composed poems with them. While exiling from political struggles for he stayed in Andong. in Gyeongbuk Province, and composed the poems while studying with his brothers or traveling, expressing his desire for returning hometown away from the political career. The third period covers the time that he stayed in Andong at the ages 68~74(1694~1704), after having been isolation for political punishment. While staying in Andong, he socialized brothers, sons, his art students, and hometown friends and composed poems with them. During this period, his poem reflected good memories of the Nam-In associates, Overall, Hyeon-Il Lee's poems expressed memories with Nam-In Confucian scholars and companies staying in Yeongnam area.
무진통신사의 학술·문화 교류 연구 - 홍경해의 『수사일록』을 중심으로
이경근 ( Lee Kyung-kun ) 한국고전문학교육학회 2015 고전문학과 교육 Vol.29 No.-
『수사일록』은 1747년 11월에 한양을 떠나 1748년 6월에 쿄오토에서 전명(傳命)을 마치고 7월에 귀국한 무진통신사의 자제군관 홍경해가 쓴 일기체 사행록이다. 『수사일록』 에는 서기 이봉환과 츠시마 서기 키 코쿠즈이 사이의 필담이 실려 있다. 이 필담에서 이봉환은 이 대마도 서기와의 필담을 통해 에도 시대의 관학의 주도권을 누가 잡고 있는지, 새로운 학문은 어떤 것이 있는지 탐문해 보았고, 일본에 들어온 중국서적에 대해서 관심을 보였으며, 코쿠즈이에게 선배 제술관들의 시의 우열을 가려달라는 부탁을 하기도 했다. 또 『수사일록』 에는 정주학을 선호하는 홍경해의 학문적 지향이 잘 드러나 있다. 그는 일본의 정주학자들과 학문적으로 교유하였고, 정주학 이외의 학문을 하는 선비들과 만나 그들을 비판하기도 하고, 새로운 학문적 기풍을 담고 있는 책에 대한 정보를 얻기도 하였다. 마지막으로 홍경해는 통신사절이 시, 그림, 글씨를 증답하느라 노력하고 있는 모습을 실감나게 전달하였다. 간혹 일본인 문사들이 수창한 시와 그들이 펴낸 필담창화집에 실린 시들을 수준이 떨어진다고 평가하였으며, 1719년 통신사절의 시가 실려 있는 『계림창화집』 에 붙인 일본인의 서문을 보편적이지 않고 불경하다는 이유로 비판하기도 하였다. 그동안 학계에서는 무진통신사행을 살피기 위한 자료로 주로 종사관 조명채의 『봉사일본시문견록』 을 집중적으로 조명해 왔다. 그러나 『수사일록』 역시 『봉사일본시문견록』 과 비교하여 담고 있는 내용이나 가치에 손색이 없다고 생각된다. 자료의 가치에 걸맞은 후속 연구가 이루어져야 할 것으로 보인다. In 1747, the Joseon court sent a diplomatic mission to Japan. The Joseon envoy and his large retinue, almost 500 people, arrived in Edo, the next year. The envoy congratulate Tokugawa Ieshige on the successon of his father as shogun. The chief envoy of this Joseon delegation was Hong Kye-hui(洪啓禧), and this delegation is called Mujin-tongsinsa(戊辰通信使). Susaillok(隨槎日錄) was written during the time of this mission by Hong Kyung-hae(洪景海), chief envoy Kye-hui’s son. and this book shows some interesting information of Joseon’s academic and cultural exchange with Japanese. Yi Bong-hwan(李鳳煥), Kye-hui’s subordinate asked Ki Kokuzui, Japanese attendant about several facts, such as who was taking powers over Tokugawa’s academic world, and which Chinese books were published and in circulation in Japan at that time. and Yi asked Kokuzui to evaluate the works of Joseon’s writers, who used to be the delegation members of former missions. and Hong Kyung-hae wanted to share his academic concerns with Japanese scholars and tried to know about Japanese scholars’ opinion. and besides, Hong Kyung-hae gave vivid descriptions of the scene of Japanese, who were eager to have Joseon’s poetry and calligraphy works. The conventional study of Mujin-tongsinsa has been based on Bongsailbonsimungyunlok(奉使日本時聞見錄), written by Jo Myungchae( 曺命采), the third envoy, but Susaillok is comparable with it, and leaves much room for being studied.