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The sources of body water are metabolically produced and ingested water. There are four sites from which water is lost to the external environment : skin, lungs, gastrointestinal tract, and kidneys. According to the theory of oriental medicine, the balance of body water is controlled by kidneys, lungs, Bee(脾), urinary bladder, and Sam Cho(三焦), the function of skin is controlled by lungs(肺主皮毛) The aim of the present study was to elucidate the effects of acupuncture in the meridian point Sam Cho Soo(B22), Bee Soo(B20), and Pye Soo(B13) on the renin-angiotensin aldosterone system and atrial natriuretic peptide(ANP). The results obtained were as follows: 1. Plasma atrial natriuretic peptide was decreased significantly after acupuncture in the meridian point Pye Soo(B13) 2. Plasma renin activity was decreased significantly after acupuncture in the meridian point Sam Cho Soo(B22). 3. Plasma renin activity was increased significantly after acupuncture in the meridian point Bee Soo(B20) 4. Plasma aldosterone concentration was decreased significantly after acupuncture in the meridian point Sam Cho Soo(B22) and Bee Soo(B20) 5. Plasma cortisol concentration was decreased significantly after acupuncture in the meridian point Bee Soo(B20). 6. Plasma ACTY concentration was decreased significantly after acupuncture in the meridian points Bee Soo(B20) and Pye Soo(B13) These results suggest that meridian points Sam Cho Soo(B22), Bee Soo(B22), and Pye Soo(B13) have regulatory function for the body water metabolism. The effects of acupuncture in the meridian points the Sam Cho Soo(B22) and Bee Soo(B20) were related with the changes of plasma levels of renin activity and aldosterone concentration, but the effects of acupuncture in the Pye Soo(B13) was related with the decreases of plasma levels of ANP and aldosterone.
17세기 중.후반을 주요 활동기로 삼았던 임호 박수검은 제천에 연고를 둔 노론계의 관인.유자였다. 수학기 적부터 자자한 문명을 떨쳤던 박수검은 20세 때에 진사초시에 합격하는 영예를 안았다. 그러나 이후 약20여 년간에 이르는 온갖 집안의 불행사들로 인하여 박수검의 과거 합격은 무한정 지연되어 가고만 있었다. 마침내 박수검은 뒤늦은 나이인 44세때에 과거에 급제하였으나, 이미 그의 영혼은 심각한 트라우머에 시달리고 있었다. 때문에 주로 한직과 외직을 전전했던 박수검의 관직생활은 단순한 생계유지의 수단 그 이상의 의미를 발휘하지 못했다. 대신에 박수검은 웅장한 경세에의 포부가 좌절된 데 따른 트라우머로 인하여 늘상 방황하는 모습을 연출하고 있었다. 박수검은 그런 자신을 ?『장자』? 속의 중증 장애인인 지리소로 비유하곤 하였다.그런 점에서 수학기 적에 만난 세 번째 스승인 무하옹 이준남은 박수검이 닮아야 할 동일시 모델로 다가섰고, 또한 텍스트 ?『장자』?를 매개.인도케해준 중요한 인물이었다. 박수검이 구축한 장자철학은 <장자소요유제물론이편주해서>로 대변되는 텍스트 ?『장자』?에 대한 해석과 시료로서 ?『장자』?를원용한 두 국면을 형성하고 있다. 전자가 정주학적 세계 구도인 음양.오행론과 역학적 사유가 묘하게 결부된 주해 방식을 선보여 주었다면, 후자의경우 자신의 트라우머를 드러내고 해소.치유하기 위한 의식적 노력과 결부되어 있다. 또한 두 국면 모두 『주역』의 복괘에 내함된 생의[陽]가 투사되어 있는바, 이는 트라우머의 치유를 위한 박수검 나름의 치열한 노력이반영된 결과였다. 그러나 박수검은 끝끝내 자신 안에 각인된 트라우머를 치유.승화시키는 단계로까지는 진입하지를 못했다. 박수검의 경우 ?『장자』?혹은 장자철학이란 자아 성찰과 세계 확장이라는 새로운 두 계기를 제공해주었으나, 궁극적인 치유담론으로 기능하지는 못한 것 같다. Imho(林湖) Park Soo-geom(朴守儉) could not pass an examination to become a government officer because of various misfortunes which continued for more than 20 years on him. He at last passed a government examination for government officer at the late age of 44 years old; however, his soul was already suffering serious trauma. Therefore, the government officer position of Park Soo-geom was just a way to make ends meet. Park Soo-geom always wandered because of the serious trauma caused by the frustration coming from the failure to realize the big aspiration he had held as a government officer. He frequently compared himself to Jiriso(支離疏), who is a seriously disabled person appearing in the book, Zhuangzi(莊子). The philosophy of Zhuangzi philosophy established by Park Soo-geom can be seen in his two writings quoting the book Zhuangzi as the material for his poetry and his preface on the two annotations on Soyoyoo (逍遙遊) and Jemullon(齊物論) in the book Zhuangzi(莊子逍遙遊齊物論二篇註解序). However, Park Soo-geom could not reach the stage of healing and sublimation of his internal trauma with deep source until the end. Consequently, the philosophy of Zhuangzi established by Park Soo-geom provided him with two opportunities of self-introspection and world-expansion; however, it seems it could not function as an ultimate discourse on healing
향리인 제천의 만지곡에서 출생한 임호 박수검은 17세기 중후반을 전후로 한 관료이면서 사상가였다. 고려 왕족의 후손인 박수검은 효성과 학문을 중시한 전래의 가풍 속에서, 일찍부터 독서에 눈을 뜨기 시작했다. 이어지는 수학기 동안에 박수검은 순차적으로 조석윤ㆍ이영선ㆍ이준남ㆍ송시열 등의 문하에서 학업을 연마하는 행운을 누렸고, 자연히 임호는 원근을 막론하고 조기에 문명을 떨칠 정도의 실력을 배양하게 되었다. 그런데 박수검은 비교적 이른 시기에 과거 공부에 착수하였으나, 실제 그 가문과 급제한 나이는 뒤늦은 44세 때였다. 이후 박수검은 내직과 외직을 두루 거치는 사환기에 접어들게 되었으나, 남인과 뚜렷한 대립각을 곤두세웠던 그의 서인 노론적 당색으로 인해 잦은 환로의 부침을 경험하기에 이른다. 특히 박수검은 기사환국 직후에 고향 제천으로 낙향, 몇 년간에 걸쳐서 이른바 의림경영에 돌입하기도 했다. 그런 와중에서도 박수검은 경학과 역사학, 역학 과 장자철학 둥을 아우르는 일련의 저술을 추진해 나감으로써, 학자 본연의 자세를 망각하지 않았다. 박수검이 남긴 저서 목록인 『진사통고』ㆍ『중용석의』ㆍ『장자소요제물론이편주해』ㆍ『참동계교정』ㆍ『절위여편』과 문집인 『산일여편』등은 관직 생활을 하는 와중에서 저술된 결실로서, 임호의 치열한 학자적 탐구 노력을 반증해 준다. 특히 박수검은 一理 혹은 理原을 철학적 화두로 설정한 가운데, 자신의 전 저서들 속에 이 물음을 투영시켜 두었음이 주목된다. 이같은 정황은 박수검의 사상적 착지점이 근본 정주학자였다는 사실을 뚜렷이 확인시켜 주고 있다. Park Soo-geom was born in a country village, Jecheon (堤川). He was the posterity of Goryeo royal family and experienced the invasion of Ching (丙子胡亂) in person. Park Soo-geom studied until the age of 40 under the scnolars who succeed the tradition of Giho school neo-Confucianism (畿湖性理學) such as Jo Seok-yoon (趙錫尹), Yi Yeong-seon (李榮先) and Song Si-yeol (宋時烈). Accordingly, the academic school and political position of Park Soo-geom were defined as Seoin (西人) Norongye(老論系). Park Soo-geom passed examination for government officer (科擧) when he was 44 years old; however, his career as a government officer was not successful. He had frequent conflicts with Namin (南人) and he ended up resigning government position and returned to home village. Meanwhile, Park Soo-geom authored Jinsatonggo (震史通考), Jungyongseokeui (中庸釋義), Chamdonggyegyojeong (參同契矯正) and Jeolweeyeopyeon (絶韋餘編). He also published annotation (註解書) on Zhuangzi (莊子). Like this, the academic world of Park Soo-geom was quite extensive accommodating historical studies, jingxue (經學), yixue (易學) and Zhuangzi (莊子) philosophy. These books share the characteristic of exploring me topic or chengzhuxue (程朱學) represented by yili (一理).
It is difficult to think about Kim Soo-Young’s literature without considering the context of ‘novelty’ or ‘avant-garde’. But, what makes his literature genuinely ‘cutting edge’ comes from self-reflection about it. This refers to the ‘gloom’ and ‘grief’ which appears in the poems of Kim Soo-Young. What is interesting is that this ‘condolence’ is not unrelated to the reality of the peripheral capitalism. The more a poet in the peripheral capitalism tries ‘a cutting edge song’, the bigger gap he experiences between the reality where he is in and his song. The condolence is also an expression of the recognition and self-awakening about this ‘gap’. It is also an acknowledgement about the ‘retardation’ of our poetic reality itself. Kim Soo-Young, by acknowledging the ‘retardation’, seeks the ‘paradox’ to lead to becoming ‘cutting edge’. It is in this context where Kim Soo-Young’s so-called remarks on ‘tradition’ become problematic. The ‘tradition’ here is irrelevant to chauvinism or populism. This relates to the pursuit of density in modern poetry by the poet who belongs to the peripheral capitalism. By detaching socio-cultural context from ‘traditional language’ and seeking for its true nature, he works on transforming it into the most cutting edge ‘vacuum language’. Through this ‘disturbance’ and ‘arrangement’, Kim Soo-Young dreams of the possibility to be able to change the reality through poetry (literature). This is the moment when the history of Korean literature arrives at the new recognition of the political power of the poetry. This is the very implication in the history of literature that Kim Soo-Young’s recognition of modern poetry has.
芝峯 李?光은 조선 중기 穆陵盛世를 대표하는 문인들 중의 한 사람이다. 그는 이 시기에 盛唐의 풍격을 높이 거론하며 시풍의 전환에 큰 역할을 수행했고, 또한 자신의 시작품으로 당풍의 문학성을 구현해 내었다. 이수광이 지향한 證故實의 학문 태도는 그의 시작품 창작에도 크게 작용해 경물의 寫實지향으로 나타났다. 그는 눈앞에 펼쳐지는 경물을 있는 그대로 작품에 담아내고자 했고, 시작품의 회화성을 중시하면서 `詩中有畵`의 논의를 작품으로 실천해 보였다. 寫實지향의 시적 태도는 그가 만나는 情景을 가급적 구체적으로 그려 눈으로 보는 듯이 절실하게 느낄 수 있는 작품을 창작하게 하였다. 이수광의 『芝峯集』에는 관료 문인으로서 충군애민의 의식을 담아낸 시작품이 적지 않게 수록되어 있다. 그는 <宮詞>에서 군왕을 그리워하는 궁녀의 애달픈 한을 노래하기보다, 爲民의 善政에 고심하고 노력하는 훌륭한 군주의 면모를 표현해 내 충군과 애민의 의식을 작품화하기도 했다. 이수광의 寫實정신은 實景의 묘사와 함께 實政의 祈願으로 그의 시작품에 나타났던 것이다. 寫實과 애민을 지향한 이수광의 시의식은 그의 작품 세계를 구성하는 하나의 큰 축이라 하겠다. 이수광의 한시 작품이 나타낸 대표적인 풍격은 閑淡과 雅麗라 할 수 있다. 閑淡의 풍격은 비교적 일상의 삶이나 자연과 산수를 읊조릴 때, 雅麗의 풍격은 여성적 정서를 담은 艶體나 환상적인 遊仙의 시편 등에서 더 잘 나타나는 편이다. 이러한 이수광 시문학의 풍격은 그의 盛唐 추숭 문학론과도 관련이 깊다. 이수광은 그의 문학론으로 唐詩를 말하면서 자연스러움과 함축의 표현을 매우 강조하였다. 이수광은 『芝峯集』에 비교적 많은 수의 艶情詩를 남겨 놓았다. 艶情을 소재로 한 작품이다 보니 그 전체적 분위기가 우아하고 곱게 펼쳐진다. 그의 시작품에서 雅麗, 婉麗, 溫雅 등의 풍격을 지적한 평가는 주로 이러한 여성적 정감을 다룬 艶情의 시에 많이 나타난다. 閑淡과 雅麗를 표현해 낸 이수광 시문학의 전체적 풍격은 그것을 한데 아울러 閑雅라 규정을 해 볼 수 있을 것이다. Jibong(芝峯) Yi, Soo-gwang(李?光) was one of famous writers during middle period of Josun(朝鮮) dynasty. He argued the literary theory about the best T`ang (盛唐) style on the Chinese classic poems. Also he wrote several works the T`ang style(唐風) and made a role of transition as the T`ang style. He intended to the proof-investigation on his study. So he wrote his poems such as expressing reality. His works showed the real scenery as if someone had seen the landscape seriously. Jibongjib(『芝峯集』) which is a book of Yi, Soo-gwang(李?光)`s literary works records many poems including the thought of loyalty and love-people. His sprit of reality made his poems showing the righteous politics as well as describing real scenery. The representative style of Yi, Soo-gwang(李?光)`s poem is Clean-elegance (閑雅). The comfortable and clean style was expressed the poems of daily life and nature. The pretty and elegance style was expressed the poems of woman`s life and fantastic fairyland. Such literary style are related deeply with his literary theory insisting the best T`ang(盛唐) style. Yi, Soo-gwang(李?光) remained many poems about love in his collection of works Jibongjib(『芝峯集』). The poems about love show such mood as pretty and elegance generally. Yi, Soo-gwang(李?光) poem`s general style is comfortable- clean and pretty-elegance, so we can call it Clean-elegance(閑雅) style totally.
This paper aims to examine the expressive/stylistic functions of Kim, Soo-yeong and Shin, Dong-yeop`s prose and find the characteristics of the two writers. In this analysis, the three main results are found. The deictic expressions perform the expressive/stylistic function in connection with discourse/text, based on grammatical/pragmatic function. The deictic expressions reflect the writers``attitude towards the situation and the periodic/social context. The two writers have shown the common ground and differences in the use of deictic expressions. The major points are as follows: The``이``group deictics reflect the writer`s attitude and periodic/social context. The choice of deictics reflect the writer`s cognitive/psychological attitude or distance. Especially, in Kim, Soo-yeong`s prose``저``reflects the negative or distant objects and in some cases point out North Korea. The emphasis related phenomena include repetition, concrete representation, and excessive prenominal construction. The repetition is described as following three features. First, the deictics are repeated as the anaphoric use and the flow of the context. Second, the deictics are represented, facing up a real situation or a situation in context. Simultaneously, the circumstances are generic and untransparent, representation is overlapped, adverbial anaphora ``-게``is being repeated. Third, the deictics is repeated to stress the presence of the object or the content meaning. In repetition, concrete representation, and excessive prenominal construction preferred in Kim, Soo-yeong`s. On the other hand, the emphasis on the identity or the property of the referential objects is preferred in Shin, Dong-yeop`s.
Kim Soo-young, a post-war Korean poet, has historical significance in Korean modern poetry in that he had intended to integrate Avant-garde(or modernism) and Engagement(political participation). But after that integration in his criticism, his avant-garde was still not escape the nature of aesthetic modernism. Because he had appreciated avant-garde as an aestheticist literary project, avant-guard and engagement in his criticism were always confrontational. His idea stemmed from Japanese Avant-garde of Shi to shiron by Haruyama Yukio and Nishiwaki Kitagawa. Haruyama and Nishiwaki’s avant-garde was an pure surrealist movement which was completely excluded from the possibility of political participation. In the 1960s, Kim recognized his own limitation and tried to overcome it. But because of his traffic accident, his efforts ended in an uncompleted project. By this limitation, Kim Soo-young’s try to integrate avant-garde and political participation produced enormous logical contradictions. Consequently most of his articles had tried to discuss the possibility of political participation in avant-garde poetry had ambiguities and leaps in his logic. In his criticism, many concepts such as ‘experimentation, ambiguity, chaos, freedom, resistant poems’ are often incoherent and lacking continuity.
'스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.
The main purpose of this study is to investigate the lives and management philosophy of Maeheon Seung-Jik Park, the founder of Doosan Group and Yonkang Doo-Byung Park, the first son of him. And the secondary purpose of this study is to examIne the lives and management philosophy of chairmen Soo-Chang Jung, Yong-Kan Park and Yong-Oh Park. Maeheon Seung-Jik Park is both a self-made and national entrepreneur who has constructed the foundation of establishment and development of Doosan Group, The commercial capItal that he has accomplished has been capitalized industrially by his son Doo-Byung Park to build Doosan Group. Doosan has been the root that has led the Korean business history of the last century and contributed to the formation of Korean national capital and economic development. In 1896, Maeheon Seung-Jik Park has started “Park Seung-Jik Sang lum”, from which the Korea first century-long enterprise has been grown by the active management activities of his son Doo-Byung Park, a professional manager Soo-Chang Jung, his grandsons Yang-Ken Park and Yong-Oh Park until 2000. Like this, Doosan could have grown during 100 years because of the unique management ideology and philosophy of the founder Maeheon Seung-Jik Park and Yonkang Doo-Byung Park, and the prominent entrepreneurial spirit from a professional manager Soo-Chang Jung to the third generations of Yong-Kon Park and Yong-Oh Park. First, that was the commercial spirit of Seung-Jik Park who has opened the founding period of Doosan, which has been based on the spirits of harmony among men, thrift and diligence, compromise, and national self-reliance. Furthermore, the management philosophy including harmony-first, thrift and diligence, honesty, cedit, royalty and filial piety, and Confucianism that has attached much importance to family line has been the final chance to achieve the management results. Second, the Chairman Yonkang Doo-Byung Park has succeeded in establishing the modern management system and changing the commercial capital into the industrial capital by following the will of his father, and contributed greatly to the construction of modern industrial foundation by establishing Doosan Group and dividing into capital and management. His management philosophy has been established into management of harmony among men, thrift and saving, honest management, creditable management, labor-employer harmony, customer satisfaction, and responsible management. Third, this has been supported by the management philosophy of professional manager Soo-Chang Jung, the third generation entrepreneur and chairman Yong-Kong Park, and the chairman Yong-Oh Park who has enforced restructuring successfully in entering upon the centennial anniversary of Doosan foundation. That is the very management principles of Doosan, which has become the 21st century management philosophy of Doosan; (1) Enterprise winning the love of customer, (2) Enterprise serving nation and people, (3) Enterprise fulfilling its social responsibility and (4) Enterprise with pride and self-confidence.
Edema is the symptom caused by various disease, divided into localized and generalized edema. Edema called soo-jong in oriental medicine. Soo-jong is classified as yang-soo(yang type edema) and eum-soo(yin type edema). However the confused condition appear in the clinical case that have some indistinct to classification of yang-yin. So I study for general prescription of soo-jong and point out the Gwakrhyeong-tang(GRT). This prescription are combined with Gwakhyangjeonggi-san and Orhyeong-san. Two severe generalized edema patient were given GRT in 3 days. After taking GRT, the patient's whole body edema and general condition were improved. Key word : whole body edema, Gwakrhyeong-tang(GRT)
'스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.
이 논문에서는 곡운(谷雲) 김수증(金壽增)의 화천지역에서의 은둔생활 속에서 창작된 한시를 은둔시(隱遲誇)라는 관점에서 연구하였다. 김수증 시의 창작 시기는 생애에 따라 제1기입신과 출사의 시기 , 제2기 곡운은둔의 시기 , 제3기 재출사의 시기 , 제4기 화음은둔의 시기 로 나누어 볼 수 있다. 김수증은 중앙의 관계(官界)나 시단(詩壇)로부터 벗어난 은둔자의 생애 속에 은둔시를 활발하게 창작하였다. 김수증의 시에는 당쟁으로 가문이 역경에 처하게 되는 현실에 대한 염세(厭世)로부터 세속을 벗어나 자연 속으로 은거하고자 하는 탈속(脫俗)의 추구, 은둔생활에서 오는 자적(自適)과 한정(閑情), 중앙 정계로부터 단절된 벽촌(僻村)에서의 칩거(蟄居) 생활에서 오는 고독(孤獨)과 비애(悲哀), 산촌의 현실생활과 민생고 등이 표현되고 있다. 이러한 김수증의 시들은 17세기의 대표적인 은둔시라고 지칭할 수 있다. This study has been performed to investigate main motivation and societal backgrounds for theme, subjects, and creative expression methods of a poet Soo-Jeung Kim, who used to compose Chinese poem in his hermit life. It is Soo-Jeung Kim s special characteristics that he usually composed poems living in an isolated mountain farming village/ Kok-Woon, where is now within the area of Hwa-Cheon County in South Korea. His writings are mostly made up of private communication letters among his rural kinship such as siblings, nephews, children and sons & daughters-in-laws, or as monograms in his innermost emotional arena. He was not alligated or socialized in peering writer communities, nor normally exchanged his writings with other colleagues; his writing were mostly motivated and created for expressing peasantry daily lives and humane emotions, rather a reputation in the society. Living behind the usual communicative companionship, he composed most poems as a way of expressing his accummulated emotional distress and life agonies. He sometimes wrote poems as a reply letter for his families and other fellow poets. For summing up, themes and expression methods of his poetry are exampled as follows: 1. Visualizing solitude world in his hermit life: Images of pure mountain pastoral beauty and uncorrupted life away from officers committment in capitol city are expressed. 2. Liberal and peaceful mind of hermit life: Stabilized peace of mind, uncorrupted life, and sovereignty of conformity to nature are expressed in ordinal literature without noble vocabulary. 3. Isolation and pathetique status of mind, hiding in his pastoral place: Although enjoying the hermit nature, sorrows and condolences of solitary life away from political turmoils are manifested in monologue narrations in his poetry. 4. Describing agony of poverty life among mountain residents: His poems are visualizing vivid poverty life in mountain residence, and these narrations are ultimately reporting extreme austere lives of community neighborhood. Theses characteristics display responsible attitudes of Confucianism writers, who were willing to improve human life of peasantry people without neglecting to see true life agonies.