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.

성악 전공 학생의 가칭 시 음성의 SPR(Singing Power Ratio)에 관한 연구

조성미,정옥란,이상욱 한국음성과학회 2004 음성과학 Vol.11 No.4

This study attempted to provide a spectrum analysis for quantitative evaluation of singing voice quality of singing students rather than the presence or absence of the singer's formant. The regression analysis was used to analyse the relationship between ringing quality, SPR, and SPP of singing voice of college student subjects majoring in music. This study measured singing power ratio (SPR) in 41 singing students. Digital audio recordings were made in sung vowels for acoustic analyses. Each sample was judged by 1 experienced singing teacher and 4 voice pathologists on one semantic bipolar 7-point scales (ringing-dull). The results showed that the SPR and SPP had significant correlations with ringing Quality. The SPR had a significant relationship with ringing quality on singing voice in singing students. The SPR can be an important quantitative measurement for evaluating singing voice quality.

실용음악 전공 학생들의 발성치료 전후 성대 및 음성 특성 비교

황연신,심미란,김철준,최용석,김상연,최찬호,선동일,Hwang, Yeon Shin,Shim, Mi Ran,Kim, Chul Jun,Choi, Yong Suk,Kim, Sang Yeon,Choi, Chan Ho,Sun, Dong Il 대한후두음성언어의학회 2016 대한후두음성언어의학회지 Vol.27 No.2

Background and Objectives : Many students major in applied music singing have various difficulties in phonation when they sing or perform. But the studies about this cause are lack. The purpose of this study is whether singing voice therapy based on vocal music is effective or not to applied music singing students that have difficulties in phonation. Materials and Methods : Singing voice therapy program had been done to 8 students major in applied music singing during 7 weeks. We did laryngeal stroboscope, perceptual, acoustic and aerodynamic examination before and after singing voice therapy to this students. And we studied post examination results have differences or improvements compared to pre examination results. Results : Four male students don't have effective improvement after singing voice therapy but they shows slight improvement in aerodynamic examination values compared to pre examination values. Four female students shows improvement in aerodynamic examination values and pitch range increasing. Above all, one student's vocal nodules disappeared after singing voice therapy. Conclusion : Singing voice therapy based on music singing is very effective to the students major in applied music singing. Above all, their curriculum in applied music singing should include phonation training based on music singing before training perform and technic practices.

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.

「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.

북한소설 『군바바』에 나타난 ‘민족의식’

박태상(Park Tae-Sang) 동북아시아문화학회 2007 동북아시아문화학회 국제학술대회 발표자료집 Vol.- No.-

『Gunbaba』, written by Kim Hye-sung, a rising writer of North Korea, is a historical long-novel which is remarkably highlighting the characteristic of the independence and nationality of our people by standing a Josun military officer as a hero with a historical background of Josun which was dotted with a long spell of national ordeal such like the residence of the Japanese supervising Agent in 1906, the dismission of the Korean army in 1907, the Special Envoys of Hague, and the deposition of King Gojong. 『Gunbaba』 has a framwork of latitude of longitude of supporting characters such like Jock-song, Kwon Ki-hong, Kim Hui-sook, Yang Seol-hee, and Lee around a hero, Nam Sang-duk, a main character. This work is, so to speak, based on ' the First People of Josun', the ideology of 'nationalism', which was stressed by Kim Jeong-il, the chairman of the defence committee after he came to the force. This ideology was functioned as the driving force that caused the writing tendency such like the realistic works of the historical theme that were in great vogue in the North Korean society. Especially in one point, this work gives fun to the readers that it focuses on the nationalism by describing the various types in the decadent stage to the Japanese colonialism of the various kinds of characters, who had collaborated with the Japanese Imperialists in many ways, such as Kim Tae-jin, Lee Wan-yong, and Park Young-hyo of the day it shows. First of all, Nam Sang-duk, the hero, is actually described as a person with many troubles in the work. Nam Sang-duk, who graduated first from the Senior Military Academy and got appointed to a platoon commander of the Josun army, was continually playing a role as a trouble-maker. Without regard to his soldiership, he is engaged into some trouble between 'Cheongcheon Pub' which is operated by Kwon Soon-sil, his friend Kwon Ki-hong's elder sister and 'Sakura Coffee Shop' which is operated by a Japanese, Yoshiko and he is behind bars and then is released. In fact, it seems that the writer has intention in his mind that Nam Sang-duk, his hero, kept his foot in the trouble to make him <a sensible person>. Besides, the hero, Nam Sang-duk, deeply impressed by the Drive for National Debt Compensation of Yang Ki-tak, organized the Danyeonhoe in his Josun army and raised money to participate in the Drive for National Debt Compensation. Moreover, going on his way, he found a boy dying hit by the new train which first showed in Seoul and hurry to the doctor's office carrying him on his back and gave some portion of the fund for the Drive. After all, these activities of him seem to include the writer's purpose not only to show the patriotism of Nam Sang-duk but also to reveal the falseness and the oppression of the Japanese Militarism through the victim by the train, which is propagandized as the symbol of modernization and the point of the modem civilization which is propagandized by the Japanese Imperialism. Another one, Park Sung-hwan, the battalion commander, heard the news of the painful outcries of Yang Sung-hwan who had known the reality of the dismission of Josun army ordered by the Emperor' false will being forced by Lideungbakmun and his pro-Japanese Lee Wan-young, killed himself by a pistol. Nam Sang-duk, the hero, hearing the gun-sound and witnessing the scene of the suicide, dashed to the common soldiers, stimulated them, and resisted in arms. Nam Sang-duk, determined to die and with a bundle of explosive, rushed to the city gate where the Japanese machine-gun position and the fortress were lined up with and died a heroic death raising the morale of the rebel forces. These gallantry and intrepidity come to the victory in the end and they transfer to the esthetical category of 'heroism' and 'nobility' which the North Korean esthetics categorized. In 『Gunbaba』, there appears a peculiar assistant, Park jwa-su, who is set up a very

이상의 문자(文字) 감각과 매체의 모더니티

김성수 ( Sung Soo Kim ) 한국비교문학회 2011 比較文學 Vol.55 No.-

This article begins with an awareness of two. One is to consider the meaning of "letter" sensibility, as expressed in Yi Sang`s text in relation to newspapers and printed media, which constituted modern media in the city of Gyeong-seong [京城] in the 1930`s. The other is to analyze Yi Sang`s dream of writing and of realizing his goals through the letter expression. Therefore, the objective of this article is to investigate the unique ideas about letters and the meaning of the expressions in the literary texts of Yi Sang, who omnidirectionally participated in the so-called "modernity of media," as he drew figures, blueprints, and illustrations and worked as a magazine editor and literary coterie within modern Korean literature in the 1930`s. On the basis of this investigation, we tried to clarify the patterns in Yi Sang`s dreams of writing. Yi Sang`s unique ideas about letters were incorporated into his works in various forms and expressed through his original literary language. Moreover, his ideas had a sociocultural impact at that time beyond the function of delivering literary meanings. In his essay, "Lingering Impressions of a Mountain Village," he expressed the natural mood that sprang up from rural society by replacing with metaphoric language acquired fromand sensitized by "urban emotions." Hence, various aspects of Yi Sang`s literature constituting the so-called "rhetoric of city" were patterned by reflecting urban phenomena in visual forms in many parts of his works. The metaphoric system of the "rhetoric of city" established the unique metaphor in the viewpoint of the new modernity by the emotions and senses of those living in a city in the 20th century, saying good-bye to the senses of the 19th century. The characteristic elements of Yi Sang`s literature in the area of Korean literature in the 1930`s, which resulted from various forms of letters and their application to literary works, can ultimately be considered ventriloquial reactions to the speed of the capitalistic society that was changing rapidly, as well as to the disturbance of time and the entanglement of space in the changing process. This is a key factor in Yi Sang`s literature as well as the novel writing pattern that advocated the autonomy of art as "objectless writing`" based on the letter sensibility and the sign game method. Moreover, the new form of literature realized by Yi Sang`s letter sensibility and his literary world still requires an interpretation from a novel point of view, in the sense that it was an abstract painting that expressed the uneven consciousness of those living in a city, generated from the regulatory system of capitalistic reason that was rapidly expanding in the urban space of Gyeong-seong in the 1930`s.

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.

발성법(發聲法)의 이론(理論)과 실제(實際)

김상두 ( Sang Doo Kim ) 건국대학교 교육연구소 1980 교사와 교육(구 교육논집) Vol.5 No.-

Voice production should be based on scientific principle. The science of voice production is a knowledge of certain phenomena of physical movements which are found under certain conditions to occur regularly and which produce certain definite effects. There is only one way to sing perfectly and that is the correct scientific way. All singing must of necessity be beautiful, first, last and always. Rather have it said that the voice is small and beautiful than loud and otherwise. The small beautifully placed voice is capable of portraying the full gamut of human emotions. Therefore, it is necessary to develop our own instrument, which is the vocal apparatus we rely upon to produce our own beautiful singing. When singing is most scientifically produced, and the voice soars out smothly, evenly and vibrantly with its resultant seeming effortless singing. The great fundamental objectives or principles in voice production are, proper posture, breath control, free tone, balanced, efficient ringing sonorous tone, and expressive and varied tone color. Proper posture is a fundamental for control and maximum success in any type of skill activity whether it be athletics or musical performance. Necessary physical development for singing begin with habituation of proper posture and continuss through breath development and strengthening of the vocal organs through singing and tonal exercises. Efficient daphragmatic-costal breath control is the great fundamental in singing. Breath control, or breath support, means to keep tone flowing evenly, freely and firmly. Freedom vitality, expressive tone color, variety, efficiency, sonority, and evenness in tonal production is also fundamental principle in singing. The first reguisite in tonal technic is freedom of production. It is vital that we learn to both hear and feel the difference between good and bad tone and, eventually, between the finest shades of discrimination.

한국 성리학 主理論의 발전 上에서의 大山 李象靖 - 寒洲 李震相에 끼친 영향을 중심으로

이상하(Lee Sang-ha) 대동한문학회 2006 大東漢文學 Vol.25 No.-

  조선조 성리학에서 영남학파의 큰 흐름은 退溪 李滉-葛庵 李玄逸-大山 李象靖을 거쳐 寒洲 李震相에 이르러 理發一途를 주장, 主理論의 절정에 이른다. 이 글에서는 성리학의 인식논리와 관련하여 영남학파 主理論의 발전의 과정과 한주가 자기 학설의 논거로 사용한 대산의 설들을 살펴봄으로써 영남학파 주리론의 발전 上에서의 대산의 위상을 究明하였다.<BR>  退溪는 高峯 奇大升과의 四七論辨에서 자신이 四端·七情을 理發·氣發로 나누어 규정하는 논리적 근거로 渾淪看과 分開看이란 용어를 제시하였다. 이와 같은 용어는 이미 주자가 理·氣의 관계를 설명할 때 사용한 것이다.<BR>  寒洲 李震相는 위 혼륜간과 분개간을 竪看·橫看·倒看으로 더욱 나누었다. 그리하여 그는 주로 수간에 의하여 心의 本然은 理임을 주장하였는데 이것이 영남학파 주리론의 절정이라 할 心卽理說이다.<BR>퇴계와 고봉에게서 비롯한 사칠논변은 栗谷 李珥가 氣發一途說을 주장하여 퇴계의 互發說을 비판하면서 영남·기호 양학파간의 첨예한 論戰으로 전개된다. 영남학파에서 율곡의 학설을 본격적으로 비판하고 나선 학자는 갈암이다. 갈암은 율곡의 氣發一途說을 비판, 分開看을 강조하여 理·氣는 二物이므로 사단과 칠정도 그 근저에서 구별하지 않을 수 없다는 것이다. 그는 이에 더 나아가서 사단과 칠정의 구별은 그것이 발하기 전에 이미 心中의 근본에서 다르다는 주장을 하게 된다.<BR>  대산은 갈암 이후로 주로 분개간 쪽에만 치중한 영남학파의 四七說의 단점을 보완, 혼륜간을 함께 중시하였다. 그는 사단과 칠정이 각각 다른 길로 발하는 것이 아니라 한 길로 발하되 발할 때 각각 主가 되는 바를 가리켜 理發·氣發이라 한 것일 뿐이며 칠정도 그 本然은 性이 발한 것이라 했다. 칠정도 性이 발한 것이라는 설은 혼륜간에 의한 것으로 퇴계의『聖學十圖』중 心統性情中圖의 설에 부합한다.<BR>  한주는 자신의 학설이 퇴계의 정설에 어긋나지 않음을 힘써 증명해야 했는데 이 때 한주는 주로 대산의 설을 많이 인용했다. 그래서 한주의 저술에 朱子·퇴계 외에 가장 많이 논거로 인용된 것이 대산의 설이다.<BR>  한주는 대산도 七情理發을 인정했다는 증거가 분명히 있고, 그의 제자인 立齋 鄭宗老도 대산의 설을 이어 七情理發을 분명히 주장했다고 했다. 그리고 한주는 당시 영남학파를 대표하는 학자인 定齋 柳致明과 토론에서도 대산의 설을 근거로 들어 반박하였다.<BR>  한국 성리학 주리론의 발전 상에서 대산은 갈암 이후 분개간에 치우친 영남학파 성리설의 치우친 점을 바로잡고, 퇴계의 心統性情中圖에서 발원한 七情理發說을 복원, 발전시켜 한주에게로 이어지게 한 중요한 역할을 하였다고 할 수 있다.   The largest trend of Youngnam School in Korean Confucianism reached to the peak when Hanjoo Lee Jin-Sang suggested Lee-bal-il-do through Toigye Lee Hwang, Galam Lee Hyeon-Il and Daesan Lee Sang-Jung. This study speculates the developmental process of Chuli in respect to the cognitive logic of Confucianism and Daesan"s theories used by Hanjoo as a base of his theory to identify Daesan"s status in the development of Chuli.<BR>  The Sachil originated by Toigye and Gobongwas developed into sharp debates between Yongnam School and Kiho School when Yoolgok Lee Yi criticized Toigye"s Ho-bal-seol suggesting Ki-bal-il-do. It was Galam in Youngnam School who criticized Yoolgok"s theory. He criticized the Ki-bal-il-do and emphasized Bun-gae-gan that the bases of Sadan and Chiljung should be differentiated as Ri and Ki are two different matters. He further suggested that the bases of Sadan and Chiljung are different even before they are differentiated. Daesan complemented disadvantages of Sachilseol of Youngnam School which was inclined to Bungaegan after Galam and focused on Honryungan, too. He suggested that Lee-bal and Kee-bal are created when Sadan and Chiljung are united into one way rather than two different ways and the origin of Chiljung is Sung. The theory that Chiljung is originated from Sung is originated from Honryungan which meets Sim-tong-sung-jung-joong-do of the Sung-hak-sip-do by Toigye.<BR>  Hanjoo had to demonstrate that his theory was not against the theory of Toigye when he usually cited Daesan"s theory. So in addition to Jooja and Toigye, Daesan"s theory was cited in Hanjoo"s books.<BR>  Daesan in the development of Chuli in Korean Confucianism corrected inclined Confucianism in Youngnam School which focused on only Bungaegan after Galam, rehabilitated Chil-jung-il-bal-seol originated from Sim-tong-sungjung-joong-do by Toigye and inherited it to Hanjoo.