RISS 학술연구정보서비스

검색
다국어 입력

http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.

변환된 중국어를 복사하여 사용하시면 됩니다.

예시)
  • 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
  • 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
닫기
    인기검색어 순위 펼치기

    RISS 인기검색어

      검색결과 좁혀 보기

      • 좁혀본 항목

      • 좁혀본 항목 보기순서

        • 원문유무
        • 음성지원유무
        • 원문제공처
        • 등재정보
        • 학술지명
        • 주제분류
        • 발행연도
        • 작성언어
        • 저자

      오늘 본 자료

      • 오늘 본 자료가 없습니다.
      더보기
      • 무료
      • 기관 내 무료
      • 유료
      • 常虛 劉錫昶의 生涯와 精神 : 生涯를 중심으로

        安商元 건국대학교 교육대학원 1986 敎育論叢 Vol.5 No.-

        Sang Huh is a pen―name of Yu Such Chang. He was born on 17, Feb. 1900 at Danchon, Hannam Province and died on the first day of Jan. 1972 in Seoul, Korea. Sang Huh's career is summarized as followings. They are: 1. Sang Huh and his families. (the Yu's Family) 2. Sang Huh and his life in Manchuria. 3. Sang Huh and his educational career in Korea. 4. Sang Huh and his "Min jung" hospital established by him in 1931. 5. Sang Huh and Kon Kuk School (Univ.) established by him in 1945. 6. Sang Huh and his educational philosophy: Sung(誠, sincerity), Sinn(信, belief), Eui(義, justice). 7. Sang Huh and "the calm revolution" claimed by him in 1967. "The calm revolution" means for three different revolutions in the field of agriculture, that is, a spirit revolution in all peasant, a technical revolution in agriculture, and a life revolution in a farm village. 8. Sang Huh and his last life. Sang Huh's basic thoughts (or spirits) may be briefly summarized as the following items. The core spirits of Sang Huh divide into four sections. Frist, independent spirits bringing up for love of his country and salvation of people. Second, benevolent spirit serving for the public with benevolent activity not by medical treatment. Third, educational spirit directing for educational welfare with Sincerity, Belief, and Justice. Fourth, "three big revolutions" namely based on "calm revolution" with the spirit of agricultural revolution.

      • KCI등재

        원행을묘정리의궤 중 조리면에서 본 죽상 . 미음상 및 현륭원에서의 상차림고

        김상보,이성우,한복진 한국식생활문화학회 1989 韓國食生活文化學會誌 Vol.4 No.4

        To analyze dialy meal of royal meal, studied Jook Soora Sang (Rice Gruel), Mieum Sang (Thin Gruel) and Bankwa Sang, Soora Sang in Hyun Neung Won were on record Wonheng Ulmyo Jungri Euigwae (1795). Historic book "Jungri Euigwae" described the king's visit to his father's royal tomb "Hyun Neung Won", during the domain of Cheung Jo, the 22nd king of Choson Dynasty. The results obtained from this study are as follows. Rice Gruel (Jook Soora Sang), taken before breakfast, was arranged the same as the Soora Sang. The table for thin gruel (Mieum) was arranged in three kinds of sets; one for thin gruel, the others for stewed meat (Goem) and sugared fruit (Jeong Kwa). The diet seems to have been quit scientific and restorative. Bankwa Sang and Soora Sang in Hyun Neung Won was arranged the same as the other Bankwa Sang and Soora Sang. Therefore setting the table of royal meal had a rule.

      • KCI등재

        李箱의 「烏瞰圖」 해석의 재고

        심상욱(Sim Sang-uk) 韓國批評文學會 2009 批評文學 Vol.- No.33

        This paper is to reconsider the interpretation of Yi Sang's “Ogamdo”(烏瞰圖) in 1934 as 烏 being a crow. I think O(烏) is a mythical bird, as the messenger bird, Samjogo'(三足烏) in the Korean myth about traveling from the sun to the earth. Although previous researchers have expressed 烏 in 「烏瞰圖」 as a crow, what Yi Sang described in “Ogamdo” relates to the map of painting for looking down on the earth from the sky. In the 1930s, Yi Sang probably lived in severe violence and under tight Japaness rule and policy. During this period, he potentially thought the Korean myth had disappeared from Korean history into a Japanese myth caused by Japan's colonial policy. Yi Sang became the last member of Guinhoi(九人會) and acted in various roles late in life. Through Guinhoe, he came to know a large amount of Western literary thoughts from abroad and created a variety of works, especially “Ogamdo”according to Joyce's mythical narrative. In interpreting Ogamdo, a lot of studies have produced two problems: First, researchers do not take into account the confusion of the interpretation of “Ogamdo,” thinking 烏 to be a crow. Second, each poem of Ogamdo was published separately from the first to the last poem(15th). Therefore, researchers have interpreted them separately, not as a complete poem. I believe this is the major problem, As Kim, Ki-rim called Yi Sang “Jupiter,” Kim, Yun-sik asked for researchers “Why did Kim, Ki-rim call him “Jupiter”? This question is very important to know since both Kim, Ki-rim and Yi sang were Korean modernists in the 1930s. As we think of Yi Sang, we must consider Kim, Ki-rim's “The Weather Chart”(氣象圖) written in 1935. As researchers have observed, this work, as an abortive imitor of Eliot, is a consequent failure in its making. However, Kim, Ki-rim was a pioneer for importing Western modernism in Korean Literature. This addition to Korean Literature affected Yi Sang as described in the urban life of “Ogamdo.” Jo Yong-man, a member of Guinhoe with Yi Sang, called the 1930s “the Age of Yi Sang.” Accordingly, we can understand the meaning of O(烏) in “Ogamdo” as not being a crow, but simply a Korean myth, Samjogo. And it also is truly necessary to interpret Ogamdo as a complete literary work, not as 15 individual poems.

      • KCI등재

        「街外街傳」과 「황무지」에 나타난 이상과 엘리엇의 제휴

        심상욱(Shim Sang-wook) 韓國批評文學會 2011 批評文學 Vol.- No.39

        이 논문은 이상 작품의 서구문학사조와의 관계에 초점을 맞춰 이상이 1936년에 발표한 「街外街傳」(가외가전)을 T. S. 엘리엇(T. S. Eliot)의 「황무지」(The Waste Land)와 비교하여 그 의미를 살펴보았다. 한국이 일본의 식민지로 있을 때 서구에서는 제임스 조이스가 ?율리시즈?를 창작하여 T.S. 엘리엇이 조이스의 작품이 신화기법으로 창작되었음을 밝혀 내 모더니즘의 중심과제로 등장해 있었다. 이러한 서구문학은 일본을 경유하여 유학파인 김기림, 정지용 등이 한국에 들여와 이상과 같은 한국 문인들에게 자극을 주었다. 엘리엇의 ‘신화기법'은 현대적인 것과 고대적인 것을 작품 속에 공존시킴으로서 흩어진 사건을 통합하는 방법이었지만, 이상은 한국의 신화와 동양사상에 대한 그의 지속적인 관심을 표현해 냈다. 이상은 식민지 치하에서 살지 않으면 안 되는 상황에서 편안한 대륙으로 암시된 고대 중국을 회상하면서 식민지 치하의 답답한 상황을 벗어나고자 하며, “손자(係子)도 탑재한 객차가 방을 피하나보다.”로 표현하여 중국을 원망하면서 한국의 삼족오 신화가 일본의 신화에 편입된 것을 일깨워 한국의 고유의 전통의식을 자극하고 있다. 엘리엇이 「황무지」에서 신화기법으로 현대문명의 위기를 그려낸 것처럼 이상은 「가외가전」에서 사라진 한국의 신화와 동양사상을 은유적으로 사용하여 한국의 식민지 상황을 그려냈다. 한국의 모더니즘을 주도했던 김기림이 이상을 한국의 ‘최후의 모더니스트'라고 지칭한 바와 같이 그의 ?가외가전?은 식민지 통치가 극에 달하고 있을 때 ‘서울의 모습'을 공개적으로는 말할 수 없어 ‘거리 밖의 이야기'로 그려낸 ‘폭로'적인 작품임을 알 수 있다. This paper is to examine an affiliation of Yi Sang and T. S. Eliot in Gawoigajeon(?街外街傳?) and The Waste Land written by them. For a Korean modernist Yi Sang, during the colonial period, potentially thought that the Korean myth had disappeared from Korean history into a Japanese myth caused by Japan's colonial policy. He knew T. S. Eliot's mythic narrative through Guinhoi and other sources. He became the last member of Guinhoi(九人會) and acted in various roles late in life. Through Guinhoi, he came to know a large amount of Western literary thoughts from abroad and created a variety of works, especially according to T. S. Eliot's mythic narrative explaining writing techniques of Joyce's Ulysses. As Kim, Ki-rim called Yi Sang “Jupiter,” Kim, Yun-sik asked for researchers “Why did Kim, Ki-rim call him “Jupiter”? This question is very important to know Yi Sang, since both Kim, Ki-rim and Yi sang were Korean modernists in the1930s. I think it that both writers created their poems by Eliot's mythic narrative technique. However, after Yi Sang's death Kim Ki-rim called him Jupiter, the gratest god of the Greek-Roman myths. As we think of Yi Sang, we must consider Kim, Ki-rim's The Weather Chart(氣象圖) written in 1935 with Yi Sang's Gawoigajeon in 1936. ThoughKim was a pioneer for importing Western modernism in Korean Literature, Yi Sang was a representative practice writer written Gawoigajeon depicted the urbanSeoul by the Joycean mythic narrative in the colonial period.

      • 상(象)의 개념(槪念)과 한의학적(韓醫學的) 적용(適用)

        백유상,박찬국,Baek,,Yu-Sang,Park,,Chan-Guk 대한한의학원전학회 1999 대한원전의사학회지 Vol.12 No.2

        They say Y$\breve{o}$k'ak(易學) is the root of Oriental studies. This means philosophy, astronamy, geography, medicine, music, numbers are all based on Yin-Yang, and Five phases theory of Y$\breve{o}$k'ak. Nowadays studies are very much specialized but as we go back to old times, we cannot dearly set these studies apart. All the studies can be comprehensively understood with Y$\breve{o}$k'ak(易學). The original purpose of Y$\breve{o}$k'ak is to predict future with highly symbolized signs, Sang-Su(象數). However you cannot fully understand Y$\breve{o}$k'ak without knowing the principle of change in Sang-Su itself. We have to keep thinking about how we should further study Y$\breve{o}$k'ak, treat diseases with Sang-Su, and how Sang-Su can be used in medicine. As a previous step to this process, I will consider relationship of Y$\breve{o}$k'ak and medicine in this paper. This study will help us to set the goal and method in studying medicine. Conclusions of this paper are following: 1. The purpose of understanding a subject is to understand the principle of the subject. The principle of every subject can be turned into principle of changes in the universe. This principle is not affected by time nor space. It is only seen through the changes of subjects. 2. The reason we cannot easily understand the principle is that we have biased mind. How we should overcome this is through developing virtue, and by keep inspecting things over and over. 3. We see the outcome of changes inside but we should not neglect the principle. Therefore we see the principle through Sang. Sang is in between Principle(理) and Things(物), thereby has characteristics of both. Which means it is much like Principle but specific Things is related and it is much like Things but it is not easily understood. 4. There are various kinds of Sang. Mind-Sang(心象) is an image that comes before expressing it with symbols or words. When it is expressed in symbols or words, it is no longer considered as same Sang. Sang in symbol are Kwaesang(卦象), Hyosang(爻象) and Sang in words is Kyesa(卦辭). The characteristic of all these Sang is that it cannot be explained through the logics. 5. If we call Sanghak as the study with Sang, the method is same as that of understanding the principle. The fundamental purpose of Sanghak is to understand the principle of things and then apply this principle to the practical world so that the world can be a better place. So I would say Sanghak is the study of a saint and a ruler. 6. Since the object of medicine is human being who are the mixture of Principle and Ki, we can use Sang which is also related to both Principle and Ki. Actually terms we use in Oriental medicine are not easily understood without the knowledge of Sanghak. 7. When we diagnose a patient, we are looking for Sang that comes from the body inside. When we do the treatment, we cannot neglect the original change that's happening in our body. Therefore studying Sang is a necessary step to do the full diagnosis and treatment. 8. The method of studying medicine is first to get rid of biased mind, taking right Sang from various classics and then apply those Sang to actual situations.

      • 『傷寒六書』의 성립과정과 후대에 미친 영향

        Lee Ki dong(李基東), Jeng Chang hyen(丁彰炫), Baik You sang(白裕相) 대한한의학원전학회 2004 대한한의학원전학회지 Vol.17 No.2

        '스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.

        Do-Hwa, his courtesy name Sang-Moon and a pen name Chul-Ahm, wrote 『Sang-Han-Yook-Suh』 in Myoung period. Born in 1369 in the area of Yuh Hang, he passed away at the age of 95 in 1453. He pitied the fact that doctors in those days relied only on 『Sang-Han-Ron』(a book reedited by Wang-Sook-Hwa) without any distinguishing standards in treatment. So he reorganized the diagnosis, treatment, theory, and prescription of diseases affected by the cold and wrote 『Sang-Han-Yook-Suh』in 1445 in hope for his clinical experiences to be passed on to the future generation. 『Sang-Han-Yook-Suh』 is composed of six volumes-「Sang-Han-Swae-Un」,「Sang-Han-Ga-Bi-Juhk-Bon」, 「Sahl-Cha-Choo-Bub」, 「Il-Je-Keum」, 「Chul-Kang-Mang」, and 「Myoung-Ri-Sok-Ron」 『Sang-Han-Yook-Suh』 was a big influence to the 『Eu-Hak-Ib-Moon』 by Lee-Chun in Myoung period in the part where it covered the diseases by cold. And considering that the same part of 『Dong-Eu-Bo-Gam』 by Huh-Jun from the Chosun dynasty referred to the 『Eu-Hak-Ib-Moon』 a lot, it is an inevitable fact that 『Sang-Han-Yook-Suh』 is a critical book in medicine today in studying the diseases derived from the cold.

      • KCI등재

        『十二月 十二日』 : 이상과 졸라와의 제휴

        심상욱(Shim Sang-wook) 韓國批評文學會 2010 批評文學 Vol.- No.37

        This paper is to examine the affiliation of Yi Sang's Twelfth December and Emile Zola's Experimental Novel by Edward W. Said's Traveling Theory. Yi Sang wrote it with the main character ‘he' as alta ego, Yi Sang himself. He dealt with the social background of 1920s in it. Naturalism in literature deals with the evil aspects of human life and is in varying degrees deterministic view. This current thought was affected to Yi Sang with various trends via Japan from Europe. The naturalistic writer uses the knowledge and attitudes of current science in his depiction of human life. He described a segment of human existence according to the laws of scientific causality. The writer analyzes his characters and their social situations as the effects proceeding from various combinations of physical, emotional, and environmental causes. After all man was a phenomenon caused by certain hereditary and environmental forces. As we read it by comparative literary theory we should read the work according to context. Consequently, we can understand Yi Sang wrote the social situation in December Twelfth with Zola's limited determinism in the 1930s' colonial situation in Korea.

      • KCI등재

        「地圖의 暗室」 : 이상과 조이스와의 제휴관계

        심상욱(Sim Sang-uk) 韓國批評文學會 2010 批評文學 Vol.- No.35

        This paper is to examine affiliation of Yisang and James Joyce in Yi Sang's “Dark Room of Map”. He wrote it in 1932, when Japan occupied forcedly Korea and governed her by colonial policy. In this work, he created a character, Lee Sang, using stars in sky appeared at night, especially seating at the rest room through his contemplation. This work is similar to James Joyce's Ulysses, who is the king of Ithaca, a main character in Homer's Odyssey. He created Leopold Bloom in Ulysses in Dublin when Ireland was occupied by United Kingdom by monologue. Like Joyce, Yi Sang used monologue in making his works. Said says in Secular Criticism that relationships of filiation and affiliation are plentiful in modern cultural history, and he suggested that Joyce's Ulysses and T. S. Eliot's The Waste Land are two especially well-known instances of filiation and affiliation. Like this, relationship of Yi Sang and Joyce is certain evidence in their works. Furthermore, we may study Yi Sang through relationship to more James Joyce's modernism with other Western modernism.

      • KCI등재후보

        이상 문학과 신화

        심상욱 ( Sang Wook Shim ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2007 世界文學比較硏究 Vol.18 No.-

        Lee Sang(1910-1937) practiced paintings, novels, poems and essays, when Korea was a colonial country. Especially he participated Guinhoi(Nine Members Circle) discussing literary topics, which introduced to the Western modernism to Korea. As Bulfinch said that mythology is the handmaid of literature, the traditional myths form the backbone of the world literature. Creating his works I think Lee Sang used Sam Jog O(三足烏), a kind of mythic birds as the messenger living in the sun in the Oriental and Korean myth. It is similar to Phoenix in the Western myth, and when the young Phoenix has grown up and gained sufficient strength, it lifts its nest from the tree which is its own cradle and its parent`s sepulchre and deposits it in the temple of the sun. As Joyce` novels are the immediate example of the reinvestment of mythology in modernistic art at the colonial period of Ireland, through Guinhoi in the colonial period of Korea, Lee Sang interested in Joyce`s mythic narrative and in the process of writing he recognized a Korean traditional myth, Sam Jog O, the crow with three legs living in the sun. This myth was disappeared in the colonial period, however, it is refreshing now. At the colonial period Choi Nam-Sun researched the old Korean myth with Northern Asian and he asserted its importance. Like him Lee Sang also probably knew it. Kim Ki Rim, a Korean modernist, called him "Jupiter" of Greek-Roman myth in a poem of reconsidering Lee Sang. Through the above we know that Lee Sang composed his works by bird images in myths.

      • KCI등재후보

        1960년대 문학비평과 『상황』

        하상일 釜山大學校 韓國民族文化硏究所 2004 한국민족문화 Vol.24 No.-

        This thesis studied literary criticism in 1960's by focusing on "Sang-hwang". It was taken as a link to re-establish the pedigree of criticism in realism. It aimed to diachronic study the ideal of criticism of "Sang-hwang "(1969) which presented overcoming the partition of korea and the invasion of foreign power as a task of national literary, differing from "Chang-Bi" in 1960's, the time it founded. Preferentially, We observes the criticisms of "Sang-hwang" in the latter half of 1960's to the early's of 1970's and the criticisms of 'Im Heon-young','Goo Joong- seo','Kim Byoung-geol', who were coteries of "Sang-hwang" as main-task of this thesis. We are also necessary to focus on the reason why they found "Sang-hwang" individually without including into ecole of "Chang-Bi" in spite of having the same propensity with "Chang-Bi" as they unfolded their literary criticism by focusing on the relation between literature and reality. It could be an important clue to understand the process of formation of criticism in 1970's which based on differentiation of realism-criticism in the latter half of 1960's. In other words, this process of differentiation of criticism could be an external power to systematize and organize the ideology and practice of realism-criticism. The ideal of criticism of "Han-Yang" and "Cheong-Maek" in the early's of 1960's has strong side to inherit national-literature in 1950's which was presented by 'Choi Il-soo','Jeong Tae-yong'. Strictly speaking, "Sang-hwang", which founded in the latter of 1960's, is also hard to prescribe criticism in 1960's as most of publication, except the first edition, was published in the early's of 1970's. The reason why I debate criticism in 1960's with "Sang-hwang" in spite of those thing is that these mediums based on not only concrete reality which overcomes idealism of the national literature in 1950's but also having chance-continuity to develop and deepen the national literature in 1970's. In other words, even if Sang-hwang, except the first edition, was published in 1970's, it re write-down the critical disputed issue such as the 'national-literature' , the 'realism-literature' which were presented from the latter half of 1960's importantly as introduction of materials, so it is reasonable to say that it stands in the extended line of the ideal of criticism in 1960's. It is true that "Sang-hwang" has an important position in history of Korean criticism to prepare important moment that the engagement deepen to realism by making realism as a concrete practical way of national-literature and being issue.

      맨 위로 스크롤 이동