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이숭원 국어국문학회 2004 국어국문학 Vol.- No.137
The contents of Nongga-walryungga give us the inkling that it was created between 1836 and 1846. Its main thesis is that agriculture is the foundation of civilization; thus, people should not veer away from farming but instead concentrate on it. The work provides information regarding detailed monthly events related to farming. In the middle of the 19th century, when Nongga-walryungga was written, the farmers were impoverished owing to the abuses of the power politics. As a result, revolts spread like wildfire all over the nation. This work, however, is a paradox in that it persuades people to focus on agriculture in spite of the dire situation that the farmers found themselves in. Nongga-walryungga starts with a story illustrating the order and harmony of nature. The formation assumed by the work is its way of depicting order as a law of nature. The work is filled with farming works that should be accomplished in each season. The writer believes that as nature is characterized by order, so, too, should human labor be characterized by order. The writer, however, states that, as farmers invest blood, sweat, and tears in the task of farming, they should strive to seek enjoyment in carrying out the task. As nature is characterized not only by order but by harmony as well, so should farming be; it must be done painstakingly but joyfully. The writer who considers the cooperative farming society, where Confucian norms are respected, an ideal society also has a positive attitude towards the system of taxation that was enforced at the end of the Chosun Dynasty, which became a serious problem then. He believes, however, that even the realities that existed then went against the order of nature, farming should follow the principle of nature. Since 1910, when Korea came under Japanese rule by force, there were works that came out painting a bright picture of the farming villages at the time. These were Japanese propaganda literature, which aimed to distort the realities that existed then. The value of Nongga-walryungga, however, is not lessened by seeing it in the context of the other literary works of the period when it was written. The writer, who lived in the middle of the 19th century Chosun Dynasty, only wished to express his notion that agricultural life is the ideal life. This was the best attitude that the writer an aristocrat during the Chosun Dynasty who embraced Confucian norms and whose consciousness was imbued with physiocracy.
이숭원 한국문학교육학회 2005 문학교육학 Vol.16 No.-
The poem "A Glass Window" by Ji-Yong Chung printed on a Korean literature textbook implies that the poet wrote this poem after losing his son. Therefore, it is inevitable to consider that this poem is somehow related to his son's death. Considering the historical facts about the poet and the context the poem reveals, it is believed that his second son died from pneumonia in the winter of 1929. "A Glass Window" is a poem in which the poet expressed his pain and deep sorrow. It is difficult to agree upon the interpretation, which sees that the meaning of the line "what rather icy glass window, this sad thing, shimmers" is "the steam of breath of the poet." The reason why thingsoutside the glass window look obscure and vague is because of frost. The meaning of this part is rather simple : he sees something shimmering outside the glass window, but it cannot be clearly seen because of the layer of frost covering the window. Suddenly, it occurs to him that it may be the child he lost, and he melts the frost with the steam of his breath and the thing outside the glass window flutters its wings as if it knows him well. He melts the frost again trying to see outside the glass window more clearly. However, the biting cold forms another layer of frost that fills the window, and he repeats wiping it off again and again. The only thing he sees, however, is the darkness of the night and a glimmering star in the sky. Saying "water-soaked star" means that the star is not just dimmed with water, but seems absorbed water by itself, appearing to the poet's eye as something opaque. The starlight, in other words, the appearance of his lost child, is studded on the glass window and finally penetratesthe window to lodge in the heart of the father. Considering that the title of this poem is "A Glass Window"and that the poetic imagery unfolds from its beginning to end with the glass window as its mediator, we need to pay careful attention to the sensuous symbolism of the glass window. "Abashed" means "awkward and shy" or "timid or weak-kneed." The act of standing close to a glass window on a winter night and peeking outside by melting the frost of the window with the steam of breath is something only a child would do, and it may be awkward and timid for an adult to do such an act. However, the charm of this poem lies in the fact that knowing such an act is something awkward and abashed, and despite of that he still could not leave the glass window ; in fact, he finds himself compelled to repeat the act. Understanding the background or the underlying emotion of such an act is the most important point to appreciate this beautiful poem.
이숭원(Lee, Soong-Won) 한국시학회 2015 한국시학연구 Vol.- No.44
이 책은 시 작품에 어휘가 사용된 의미 맥락을 고려하여 표제어를 분류하고 재구성한 사전이다. 백석 시에 사용된 시어의 의미를 구명하고 그것이 사용된 맥락에 따라 유형을 나누고 각각의 분류 항목 안에서 용례를 들어 뜻을 풀이한 것이다. 이러한 작업은 시어와 시어가 사용된 의미 맥락을 함께 고려하게 함으로써 백석 시어의 특성과 다양한 쓰임새를 포괄적으로 이해할 수 있게 한다. 또한 통계적 빈도수에 의해 백석이 애용한 시어가 무엇이고 사용한 시어가 어떠한 분포 영역을 갖는지도 과학적으로 확인할 수 있게 했다. 이 책의 이러한 성과는 전례 없는 최초의 업적이다. 책의 1부에 백석 시어의 분류 목록과 분류별 표제어의 어석과 용례를 싣고, 2부에 표제어 전체를 자모순으로 배열하고 축약한 어석과 본문의 쪽수를 제시함으로써 표제어가 풀이된 구체적 내용을 다시 찾아볼 수 있게 했다. 많은 사람들의 지혜와 노력이 결집되어 이렇게 과학적인 편제를 갖추게 되었으니 인문학 연구의 모범적인 사례로 내세울 만하다. 이 책은 유사한 시어가 어떠한 맥락에서 사용되고 어떠한 빈도로 나타나는가를 한눈에 알 수 있게 해 준다. 개별적 시어들을 충실히 음미하게 함으로써 언어의 질감과 세부를 파악할 수 있게 한다. 가능한 한 많은 참고자료에 입각하여 명확한 학문적 근거에 의해 시어 해석을 진행했다. 다양한 사전을 참고하여 시어의 뜻을 학문적으로 구명했고, 사전에 제시된 의미 풀이를 시의 문맥에 맞게 새롭게 제시했다. 그림과 지도를 활용하여 시어 의미 파악에 도움을 준 점도 매우 유용하다. 본문의 서술에서 정확한 근거에 의해 시어를 해석함으로써 시를 올바로 해석할 수 있는 방향을 잡아주고 새로운 이해의 길을 열어준 대목은 매우 많다. 시어의 정확하고 독창적인 해석에 의해 백석 시 연구의 새로운 활로가 열릴 것이다. This is a dictionary that examines semantic context in which words are used in poetic works and classifies and reorganizes the headwords in them. It figures out the meaning of poetic words used in Baek, Seok’s poems, classifies them according to the context in which they are used, and defines them with examples within each of the categorical items. As this task involves consideration on poetic words as well as semantic context in which they are used, we can understand the characteristics of Baek, Seok’s poetic words and many uses of them inclusively. Also, it allows us to know what poetic words are often adopted by Baek, Seok through analysis on their statistical frequency and what distribution area the poetic words form scientifically. The achievement of this book is first and unprecedented. The book’s Part 1 contains the list of categories of Baek, Seok’s poetic words, the interpretation of headwords in each category, and examples. Part 2 arranges the entire headwords in alphabetical order and presents the interpretation of abbreviated words and the number of pages in the body so that we can go back to the detailed contents defining the headwords. This scientific organization was realized thanks to a lot of people’s wisdom and effort, so it can be set forth as an exemplary case of studies on humanities. This books lets us see in which context similar poetic words appear and their frequencies at a glance. It allows us to appreciate individual poetic words faithfully and understand the texture and details of language. Referring to references as many as possible, it interprets the poetic words based on clear academic grounds. It figures out the meanings of poetic words academically referring to various dictionaries and suggests the definition of words in the dictionaries in a new way according to the context of those poems. It is also very useful because it helps us to figure out the meanings of poetic words by using pictures or maps. In the body, it interprets poetic words based on precise grounds, so it presents the course to analyze the poems rightly, and in many parts of it, it opens the new paths of understanding. Through accurate and original interpretation on poetic words, it will be possible to open a new way out for research on Baek, Seok’s poems.
이숭원(Lee, Soong-won) 한국시학회 2016 한국시학연구 Vol.- No.46
1935년 10월 27일에 출간된 『정지용 시집』은 많은 문학 지망생에게 읽힌듯하다. 윤동주는 1936년 3월 19일에 이 시집을 구매하여 시를 읽으며 시집여백 여기저기에 자신의 감상을 적어놓았다. 정지용의 시를 정독하며 한 구절한 구절을 깊이 음미하려 한 것이다. 정지용의 시는 윤동주만이 아니라 다른 시인들에게도 영향을 끼친 사례가 보이는데, 윤동주에게는 영향의 흔적이 더욱 뚜렷하게 나타난다. 정지용 시의 영향은 습작기의 작품인 1938년까지의 시에 많이 나타나는데, 이 작품들은 발표를 염두에 둔 것이 아니라 노트에 메모해둔 것이어서 정지용 시에서 읽은 구절을 무의식적으로 활용한 대목이 많다. 정지용의 시는 언어 표현에 주력하는 방향으로 전개되었고, 윤동주는 자신의 고민과 사색을 표현하는 데 주력했기 때문에, 두 시인의 시상이나 주제는 상당히 다른 양상을 보인다. 그렇기 때문에 영향의 흔적은 주로 시어나 표현의 차원에 국한되어 나타난다. 이것은 정지용 시에 심취한 윤동주의 독서 체험이 복잡하게 재구성되어 나타난 것이다. 1939년 9월 이후 본격 창작기의 작품들은 윤동주 자신의 독자적 사유에 바탕을 둔 성숙한 표현을 구사하고 있다. 이 시기에 이르러 윤동주는 타인의 영향에서 벗어나 독자적인 시인으로 자신을 정립하게 된 것이다. 이 논문에서 13편의 작품에 나타난 영향의 흔적을 검토했는데, 이것은 상당히 많은 숫자다. 이것은 정지용의 시가 지닌 강력한 문학적 영향력을 방증하는 일이기도 하다. 그러나 이런 사실 때문에 윤동주 시의 가치가 절하되어서는 안 된다. 왜냐하면 여기서 검토한 윤동주의 시 13편이 모두 그가 노트에 적어놓은 습작품이기 때문이다. 최초의 윤동주 시집에 비해 현재 나온 최종 판본에는 88편이 추가되어 있는데, 이 작품들은 대부분 윤동주가 노트에 적어 놓은 습작품들이다. 이 작품들이 윤동주 시집에 그대로 들어와 다른 작품들과 대등한 자리를 차지한다는 것은 재고할 문제다. 그런 점에서 윤동주의 경우 연구용 시 전집과 독자 보급용 시 선집을 따로 내는 것도 바람직해 보인다. The Poetic Works of Jeong, Ji-yong published on October 27, 1935 has probably been read by many literature aspirants. Yun, Dong-ju purchased this collection on March 1, 1936 and as he read the poems, he wrote his own sentiments in the blank spaces of the book. It was his way of intensively reading and appreciating each line of Jeong, Ji-yong’s poems. The poetry of Jeong, Ji-yong influenced poets other than Yun, Dong-ju as well but his influence on Yun, Dong-ju appears to be more distinct. The influence of the poetry of Jeong, Ji-yong can be seen a lot in his early works written before 1938 and because these works were written as memos in his notes rather than for the purpose of being made public, there are many passages which unconsciously use lines read from the poetry of Jeong, Ji-yong. The poetry of Jeong, Ji-yong was developed in a direction that mainly concentrates on linguistic expression and Yun, Dong-ju concentrated on expressing his own concerns and meditations so the thoughts and topics of the two poets show incredibly different aspects. Because of this, the traces of influence are mostly limited to poetic diction and dimensions of expression. This is a complex reconstitution of the reading experience of Yun, Dong-ju as he was absorbed in the poetry of Jeong, Ji-yong. Pieces written in the creative stages after September of 1939 have a good command of mature representations based on Yun, Dong own grounds. By this period, Yun, Dong-ju had broken away from the influences of others and had established himself as an independent poet. This thesis reviewed the traces of influences in 13 pieces and this is a considerably high number. This is also proof of the strong literary influence that the poetry of Jeong, Ji-yong possesses. However, the poetry of Yun, Dong-ju should not be devalued because of this fact. The reason is because all 13 poems reviewed here were early pieces written in his notes. Compared to the first Yun, Dong-ju poem collection, the current and final manuscript has an addition of 88 poems and most of these are early works which were written in Yun, Dong-ju’s notes. The fact that these pieces are equally placed alongside Yun, Dong-ju’s other works in his poetry collection is an issue worth of reconsideration. At this, it seems proper that in the case of Yun, Dong-ju, collections should be separately presented, with one for research and one to be supplied to readers.
이숭원 고려대학교 민족문화연구원 한국문학연구소 2001 한국문학연구 Vol.- No.2
The purpose of the present thesis is to trace the phases of the poetic narrator in the development of modern Korean poetry. The narrator or persona in modern Korean poetry can be categorized into four types: (1) the "narrator as poet", who presents him-/herself as poet-narrator and discloses his/her thoughts and feelings ; (2) the "fictional narrator", serving as mouthpiece for the poet's thoughts and feelings ; (3) the "collective narrator", whose main function is to relate stories of consequence for a given group and encourage collective awareness and reflection; and (4) the "neutral narrator", and unobtrusive reporter of characters and situations as they are. Dominant in the 1920s was the "(semi-)fictional narrator", whose fictionality was merely hinted, rather than the narrator as poet. Examples include Yo-han Ju's "Bul-Nori" (1919), Sang-hwa Lee's "To My Bed" (1923), most early poems by So-wol Kim, and poems in The Silence of My Beloved by Yong-woon Han ; they all reveal the poets' feelings through diverse personae. The use of personae in this particular period is due to three main reasons. First, modern Korean poets needed a new narrative mode, as a departure from the "personal" or autobiographical tradition of Korean verse. Also, the new view of literature as artifact, not personal confession, probably worked on them. Lastly, they sought a fictional "other", as they wanted to vent extreme emotions remote from their reality. On the other hand, most of Ji-yong Jung's poems, renowned for their strong Imagist inclination, were narrated by the poet himself, with the exception of a few later poems. Similarly, poets like Young-rang Kim, Suk-Jung Shin, and Yong-chul Bak employed the "narrator as "poet". That is, the mid-1920s witnessed the transition from the "fictional narrator" to the "narrator as poet", the latter of which was to be the norm in the 1930s. Especially, those poets that started their literary career in the 1930s confirmed it further. Of the other two types, the "collective narrator" is a rare case in Korean poetry. Nevertheless, it is worth inquiring into due to a special historical phenomenon, the KAPF. To the KAPF poets that surged in from the mid-1920s, the "collective narrator" or "we-narrator" was particularly effective to demonstrate and advocate proletarian solidarity and militancy. A curious, case, however, is found in Hwa Im, who started with the "collective narrator" in his early poems but changed to the "narrator as poet" and the "fictional narrator" in his "short epic". The last type, the "neutral narrator", was almost concurrent with the Imagist poems of the 1930s, including those written by Ki-rim Kim. Understanding the types or phases of the poetic narrator helps explain the transitions remarked in various poets: from the "narrator as poet" to the "neutral narrator" in Ji-yong Jung ; from the "neutral" or the "fictional narrator" to the "narrator as poet" in Seok Baek ; and from the "neutral narrator" to the "narrator as poet" in Mok-wol Bak. Their changing narrators are an important index of their changing world view and poetics.
이승원,김래현 서울産業大學校 2005 논문집 Vol.54 No.4
가스 하이드레이트는 온도와 압력 등의 생성조건에 따라 생성과 분해가 이루어지고 있어 그 메카니즘 및 특성에 대하여 조사분석하고 향후 새로운 에너지원으로 가스 하이드레이트를 이용 가능성을 예측하고 그에 따른 개발과 생산 가능성을 확인하였다.
이숭원(Soong won Lee)(李崇源) 서울여자대학교 인문과학연구소 2016 인문논총 Vol.30 No.-
강소천, 곽종원, 박목월, 서정주, 임순득, 임옥인, 함세덕, 황순원 등의 문인들은 1915년 일제강점기에 태어나 이십대에 한글로 작품 활동을 시작하고, 해방을 맞아 본격적인 문학 활동을 전개하여 문학사에 뚜렷한 업적을 남겼다. 그 이후 6·25 전쟁을 겪어 참화의 쓰라림을 함께 경험했다. 요컨대 이들 문인들은 국권 상실, 해방, 전쟁, 분단, 재건으로 이어진 한국 현대사의 파란의 시대에 문학인으로 출발하고 성장한 공통점을 지니고 있다. 이들은 분단과 전쟁으로 빚어진 민족 재편성의 과정을 압축적으로 보여주는 문화적 축도의 역할도 한다. 강소천, 임옥인, 황순원은 해방기와 6·26 전쟁 중에 월남하여 남한에서 문학 활동을 벌였고, 함세덕은 해방 후 월북하여 활동하다가 6·25 전쟁 때 사망했으며, 전라북도 고창 출신인 임순득은 해방 후 평양에 정착하여 창작 활동을 벌였다. 남한 지역에서 태어난 곽종원, 박목월, 서정주는 6·25 때 피난의 고초를 겪기는 했지만 남한 문단에서 문학 활동을 전개했다. 전쟁 이후 남한에서 활동한 문인들은 모두 문학 창작의 주도적 역할을 했고, 후진에게도 강력한 영향력을 행사했다. 서정주와 박목월은 각기 다른 방향에서 한국시의 중심부에 자리 잡아 독자적인 세계를 보여주었다. 황순원은 탁월한 예술정신으로 70세 이후까지 수준 높은 작품을 발표하여 해방 후 소설가의 전범이 되었다. 임옥인은 자신의 자전적 체험을 바탕으로 여성의 기구한 삶을 여성적 감각으로 표현했다. 강소천은 해방 후 황무지나 다름없던 아동문학계에 동심의 천진성을 형상화한 동화를 집중적으로 창작하여 아동문학의 위상을 높였다. 함세덕은 일제강점기에 당시로서는 보기 드문 세련된 극작술과 언어 구사력을 보여준 작품을 발표하여 희곡사의 중요한 성과를 남겼다. 임순득은 여성의 입장에서 인간의 사회적 현실을 묘파하는 소설이 나오기를 기대하는 여성주의 시각의 평론을 발표했고, 곽종원은 예술성과 인간성이 조화를 이룬 계몽적 문학관을 자신의 입지로 삼았다. 이들 중 서정주, 박목월, 황순원, 임옥인, 강소천 등은 해방 이전의 문학 유산을 계승하여 새로운 문학을 창조하고, 해방 이전 문학의 한계를 극복하여 전향적 변환을 모색한 문학인으로 내세울 수 있다. 이들은 그들의 강력한 영향력에도 불구하고 이미 후속 세대 문학인들에게 극복의 대상이 되어 왔다. 극복과 창조가 문학사의 과정이기에 이것은 지극히 바람직한 일이다. 극복의 대상이 되는 것을 자랑스럽게 여기는 자세가 우리 문학의 전통이 되어야 할 것이다. There are several litterateurs who were born in 1915 during the period of Japanese colonialism. They have started their literary works in their twenties, and made great achievements in the history of Korean literature by developing their writing activities; such litterateurs include So-cheon Gang, Jong-won Kwak, Mok-wol Park, Jeong-ju Seo, Sun-deuk Im, Ok-in Im, Se-deok Ham, and Sun-won Hwang. These writers have experienced many hardships and bitter times due to historical events such as the Korean War. To sum up, the turmoils created by losing sovereignty, liberation, war, division of territory, and reconstruction all have contributed in making these writers who they are, a great litterateurs of Korea. The writers also became a cultural epitome in the reorganization of nation after the north and south division of territory and ensuing wars. So-cheon Gang, Ok-in Im, and Sun-won Hwang engaged in their literature activities after defecting from North to South Korea during the Korean War; Se-deok Ham who defected to North Korea after the liberation, and worked as a writer, finally died during the Korean War; and Sun-deuk Im, who was born in Gochang, South Korea began her creative activities in Pyungyang, North Korea after the liberation. Jong-won Kwak, Mok-wol Park, and Jeong-ju Seo all born in South Korea developed their writing skills in South Korea, although they have experienced hard times during the Korean War. After the war, all of those writers in South Korea played a leading role in literary creation and greatly influenced the younger generation. Jeong-ju Seo and Mok-wol Park at the center of Korean poetry circle, showed their own world of literature through a very different light. Sun-won Hwang, with this outstanding spirit of art, published his sophisticated works even long after he turned 70 and his work is considered as a post-liberation literature classics. Ok-in Im, based on her own autobiographical experience, expressed women’s hapless fate through her feminine esthesia. After the liberation, the field of children’s literature was like a wasteland, but So-sheon Gang enhanced the status of this field by focusing on creating fairy tales filled with the innocence of childhood. During the Japanese occupation, Se-deok Ham published his work of extraordinary refined dramaturgy and marked a great achievement in the history of Korean plays. Based on her feminine esthesia, Sun-deuk Im released a critique revealing social reality from a woman’s point of view, and Jong-won Kwak based his enlightening view on the literary in harmony with artistry and humanity. Among them, Jeong-ju Seo, Mok-wol Park, Sun-won Hwang, Ok-in Im, and So-cheon Gang created new literature with literary inheritance from the era before the liberation and they are regarded as the writers who overcame the limitation of the literature before the liberation and sought prospective changes. In spite of their powerful influence, they have become objects of criticism for the younger generation writers. Conquests and creativity are indeed a part of the progression in Korea’s literary history, which is desirable. Hence, our literary pride and tradition should be based on overcoming numerous hardships.
Quorum based Peer to Peer Key Sharing Protocol over Wireless Sensor Networks
Soong Yeal Yang,Nam-Sik Won,Hyun-Sung Kim,Sung-Woon Lee 한국산업정보학회 2008 한국산업정보학회 학술대회논문집 Vol.2008 No.10
The key establishment between nodes is one of the most important issues to secure the communication in wireless sensor networks. Some researcher used the probabilistic key sharing scheme with a pre-shared key pool to reduce the number of keys and the key disclosure possibility. However, there is a potential possibility that some nodes do not have a common share in the key pool. The purpose of this paper is to devise a peer to peer key sharing protocol (PPKP) based on Quorum system and Diffie-Hellman key exchange scheme (DHS). The PPKP establishes a session key by creating a shared key using the DHS and then scrambles it based on Quorum system to secure that. The protocol reduces the number of necessary keys than the previous schemes and could solve the non-common key sharing possibility problem in the probabilistic schemes.
( Soong Won Cho ),( Dong Ku Kang ),( Jae Bum Choo ),( Andrew J. Demello ),( Soo Ik Chang ) 생화학분자생물학회(구 한국생화학분자생물학회) 2011 BMB Reports Vol.44 No.11
Advances in the fields of proteomics and genomics have necessitated the development of high-throughput screening methods (HTS) for the systematic transformation of large amounts of biological/ chemical data into an organized database of knowledge. Microfluidic systems are ideally suited for high-throughput biochemical experimentation since they offer high analytical throughput, consume minute quantities of expensive biological reagents, exhibit superior sensitivity and functionality compared to traditional micro-array techniques and can be integrated within complex experimental work flows. A range of basic biochemical and molecular biological operations have been transferred to chip- based microfluidic formats over the last decade, including gene sequencing, emulsion PCR, immunoassays, electrophoresis, cell- based assays, expression cloning and macromolecule blotting. In this review, we highlight some of the recent advances in the application of microfluidics to biochemistry and molecular biology. [BMB reports 2011; 44(11): 705-712]