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      • KCI등재

        백석 후기 시에서의 자기 연민과 마음 돌봄

        곽명숙(Kwak, Myoung-suk) 한국언어문학회 2014 한국언어문학 Vol.88 No.-

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

        The compassion for the poor and the marginalized consistently appears in Baek suk's poetry and is an important feature of his poetry. He emphasized the basic attitudes and feelings as a poet for whom the world and was the sorrow and compassion. Deer, his first collection of poems divided into his poetry. The early poems contained in deer are well exposed to the utmost compassion and in the later poems Baek Suk feels compassion towards yourself drawn. In this paper, by this time appearing to uncover patterns in relation to the speakers analyzed for compassion. After Deer, the internal speakers is projected to appear more, unlike during early childhood is gone. The persona and speaker match the poet, the poet appeared to the speaker. Thus, at the same time as changing the shape of the speaker when the speaker reviews the feelings of compassion toward gradually developed his own, and this aspect of self-compassion is transformed over time to go. First, it seems to lament the his own poverty and plight, but he generously understands about the positive aspects of world and himself, that is 'self-kindness'. The persona admitted to another destination with a deep love and sympathy and compassion, solidarity, it is said soon realize that the poet's vocation to be aware of a common humanity. And with respect to their situation as painful by accepting what mindfulness reaches out to realize it. Eventually without falling into negative 'self-pity' suffer from the negative as reaching out to rescue his will. These self-compassion and mindfulness of Baek suk can project a positive attitude of spiritual maturity and we need to revaluate such important qualities.

      • KCI등재

        16세기 사림의 주자의례(朱子儀禮) 실천과 「분천강호가(汾川講好歌)」 - 제조에 맞는 몸과 마음은 어떻게 만들어지는가? -

        길진숙 ( Kil Jin-suk ) 한국문학이론과 비평학회 2006 한국문학이론과 비평 Vol.31 No.-

        The practice into Chu Zi's Ceremonies & 'Bunchunganghoga' of Sarimin the 16th Century This article investigates how the Confucian ritual and morals was popularized in the society as Bunchunganghorok & Bunchunganghoga. The Sarim's intellectual class tried to renovate the transmissional life styles and manners to Cofucian rituals and canons in the 16th Century. Lee Suk-riang was the jaejisajok(在地士族) of Bunchun(汾川) in the 16th Century. His family had lived in Bunchun from generation to generation and exercised their's influence over that country. Lee Suk-riang carried out the 'Ceremony on the first & fifteenth days of the lunar month' and composed 'Bunchunganghorok' in Bunchun. 'Ceremony on the first & fifteenth days of the lunar month' was state plainly in 'Gugajabui'(居家儀禮) that was written by Samagwang. Suk-riang united this ceremony with hangyak(鄕約, the country's convention). This ceremony performed to band together Suk-riang's family and to eastablish order of his family. His ultimate aims was that enlighten the country's people by Cofucian rituals and canons. Suk-riang tried that his family fulfill 'filial duty & fraternity & family concord' by way of the moral rules to govern the Five Human Relations. His family fufilled 'filial duty & fraternity & family concord' by means of the compulsion that the observation & punishment' be attended and internalized 'the family's morals' by means of the influence as singing the poetry 'Bunchunganhoga'. Chu Zi's Family Ritual was popularized our life on grounds of this internalization.

      • KCI등재

        고석규의 죽음의 세계와 여백의 사상

        정원숙(Jung, Won-suk) 한국문학회 2015 韓國文學論叢 Vol.71 No.-

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

        본 연구는 고석규 시에 나타나는 공포와 불안, 죽음의 세계를 고찰하고자 하였다. 고석규는 개인의 사상적 이유로 인하여 어린 나이에 월남하여 군인으로 직접 전쟁에 참여하였다. 고석규가 전쟁을 통하여 느낀공포와 죽음의식은 전쟁에서의 타자의 죽음에 직면하면서 자신도 곧 죽을지 모른다는 두려움으로부터 촉발된 것이다. 전쟁에서 체험한 인간의 폭력성과 휴머니즘의 상실감은 그의 내면 깊이 각인되어 끊임없이 그를 고통스럽게 만들었고, 그는 죽은 자와 산 자가 공존하는 부조리한 현실 속에 내던져졌다. 이러한 부조리는 그에게 극심한 불안감을 야기하였는 데, 이 불안은 웃음과 울음의 양가적 양상으로 표출된다. 그 양상은 자기방어, 카타르시스, 광기 등으로 다양하게 발현된다. 고석규는 불안 속에서 자신이 죽음으로 향하고 있는 존재라는 사실을 깨닫고 인간의 유한성인 죽음에 대한 허무와 자기 소외감을 절감한다. 또한 그는 폐허가 되어버린 도시의 거리를 방황하며 수많은 주검과 공포와 맞닥뜨린다. 그리고 자신의 육체를 파편화된 상태, 불구의 상태로 인식하면서 자신의 정 신은 이미 죽어 있으며, 육체 또한 망가질 대로 망가진 상태로 인식한다. 그리고 그는 삶이 무엇인지, 죽음이 무엇인지에 대해 골똘히 사유한다. 이러한 사유 속에서 그는 자신의 내면에서 침묵의 형식으로 들려오는 양심의 소리를 듣는다. 그것은 죽음으로부터 도피할 것이 아니라 죽음과 대면하여 죽음에 대해 반항해야 한다는 것이다. 그것은 바로 죽음에의 선구(先驅)였다. 그리고 그는 시의 길을 뛰어넘어 비평의 세계로 나아간다. 그것은 시에서 이루지 못한 공포와 죽음의 세계를 재인식하기 위함이었다. 고석규는 죽음이 아무 것도 없는 무(無)가 아니라 침묵으로 존재하는 여백, 부재로 존재하는 여백으로 파악한다. 이 여백으로 인하여 인간은 그 여백을 채울 수 있는 존재의 가능성을 획득할 수 있기 때문이다. 여백의 사상을 바탕으로 한 그의 글쓰기는 공포와 불안과 부조리를 초월하고 죽음을 초월할 수 있는 하나의 가능성이었다. This study attempts to consider the world of horror, anxiety and death shown in Ko Suk-gyu’s poems. He defected to South Korea due to personal ideology when he was young and he entered the war as a soldier. Consciousness of horror, anxiety and death he experienced through the war was due to the horror that he might soon be killed on the battlefield, facing death of soldiers. Human violence and loss of humanity which he experienced on the battlefield was deeply stamped on his mind so that it distressed him. He was hurled into the irrational reality where the living and the dead coexist. This irrationality causes intense anxiety so that this anxiety was expressed in ambivalent ways of laugh and weeping. These patterns were expressed in the various forms of self-defence, catharsis, madness, etc. Go Suk-gyu realized in anxiety the fact that he was a being towards death and he felt the futility about death, that is to say human finitude and a sence of self-alienation. Also he faced a lot of the dead bodies and horror, wandering in the city streets in ruins. And he recognized that his mind was ready dead and that his body was fully ruined, acknowledging that his body was fragmented state, that is deformed body. And he deeply thinks what is life and what is death. Through this thinking, he listened voice of conscience in the form of silence in his inner side. That is not fleeing from death but fighting against death. That is anticipation to death. And he went out into the world of criticism across the route to poem. That is to have new understanding about the world of horror and death which he could not overcome in his poetic worlds. His new understanding was not that death is nothing where anything is nonexistent but that death is empty space where silence exists, that is to say empty space filled by absence. Man can acquire the possibility of existence to fill the empty space because empty space exists. His writing on the basis of concept of this empty space was a possibility that he could transcend horror and irrationality, and then transcend even death.

      • KCI등재후보

        正祖의 <大老祠碑>(1787년) 前面 篆書 연구

        이인숙(Lee, In-suk) 한국서예학회 2010 서예학연구 Vol.0 No.16

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

        <大老祠碑>는 正祖(재위 1776~1800)가 1787년 직접 써서 하사한 ‘大老祠碑’ 네 자를 새겨 세운 석비로서, 宋時烈을 향사한 경기도 여주 대로사에 있다. <대로사비> 前面 篆書는 小篆이 대부분인 조선시대 碑額과는 다른 특이한 大篆으로서유사한 예를 찾기 어려운 대작이다.성리학이 주도 이념으로 자리 잡은 16세기 중반 이후 국왕의 문예활동에는 많은 제약이 있었다. 그럼에도 정조가 <대로사비>와 같은 대작을 남길 수 있었던 배경에는 강화된 왕권을 바탕으로 많은 시와 서예를 남기고 서화를 감상하는 등 다양한 문예활동을 했던 숙종과 영조의 선례가 있었다.정조의 서예는 전서 ․ 해서 ․ 행서 ․ 초서, 한글 등 각체가 비문 ․ 현판 ․ 묵적 ․간찰 등 다양한 매체에 걸쳐 남아 있다. 정조의 서예는 어필이라는 국왕의 상징 자본을 당대의 정치적 필요에 의해 적절히 활용한 실용적인 용도의 것이었다. 정조는금석문을 많이 남겼는데 비문 뿐 만 아니라 비의 篆書까지 직접 쓴 것은 주목할만하다.그간 <대로사비> 전서 서체는 기필과 수필이 뾰족한 획의 형태로 인해 막연히懸針篆이나 柳葉篆으로 일컬어져 왔다. 그러나 <대로사비> 전면 전서의 자형을분석한 결과 祠자의 ‘示’ 부분이 설문해자의 籒文임을 밝힐 수 있었다. 정조는<대로사비> 전서를 당시까지 실제 적용된 유례를 찾기 어려운 籒文으로 書寫하였다고 판단된다.정조가 주문으로 <대로사비>를 쓴 것은 의례용의 서체인 전서로서 학문적 이념과 정치적 정체성을 나타내기도 했던 조선시대의 특수한 상황으로 인한 것이었다.許穆의 眉叟篆이 남인들의 비액에 사용됨으로서 그들의 이념적, 정치적 정체성을나타내는 표지로 작동했고, 영조가 ‘洪武正韻體’로서 대명의리를 표명했듯 정조는국왕으로서의 정체성을 주문으로서 나타내고자 하였다고 여겨진다.<대로사비>는 정조시대의 가장 거대한 정치 집단이었던 노론의 종주이자 주자학자인 송시열에 대한 존숭을 표시하면서 국왕의 더 큰 통합력으로 노론을 포용하고자 한 정조의 의지에서 나온 작품이라고 판단된다. Daerosabi(大老祠碑) is a stone monument inscribed with handwritings bestowed on Song Siyeol (宋時烈) by King Chong-jo(正祖), in 1787, and it is in Yeoju, Kyungkido. Daerosabi seal characters(篆書) on the front is a great work with an unusual type of Daejeon(大篆), which is quite differentfrom Sojeon(小篆) on general stone monuments in the Choseon dynasty, and so it is not that easy to find a similar example like this. There'll be no question to say that a king's own handwritings be used as political symbols. But there were quite a restriction for a king to do literary activities such as calligraphies by the influence of Neo-Confucianism. King Yeong-jo(英祖) and Chong-jo left a lot of handwritings in the latter part of the Choseon dynasty, and it was influenced by King Suk-jong(肅宗), who had a lot of interest in literature. On the basis of strengthened royal authority, Suk-jong left his own paintings and calligraphic works and he also appreciated of other paintings and calligraphic works. And these literary activities by Suk-jong became a background for Chong-jo to leave a great calligraphic work such as Daerosabi. Chong-jo(reigned 1776-1800)'s calligraphy has various types of the classic writing styles; Jeonseo(篆書) ․ Haeseo(楷書) ․ Haengseo(行書) ․ Choseo(草書), Korean (한글). And these various writing styles used on various media such as stone monuments, signboards, letters, documents, and some other calligraphic materials are handed down today. Chong-jo used his handwritings properly for the political necessities of the time. Especially, Chong-jo left a lot of seal characters(篆書), and it is noteworthy. Till now, the calligraphic writing of the seal characters of Daerosabi has been called Hyunchimjeon(懸針篆) or Yuyeopjeon(柳葉篆), because it have the shape of the sharp stroke. But by analyzing the form of the seal characters on the front of Daerosabi, a fact that the first part Si(示) of the word Sa(祠) is Jumoon(籒文) of Seolmoonhaeja(說文解字)is found. It's adjudged that Chong-jo wrote the seal characters on the front of Daerosabi with Jumoon, which was very hard to find a descended example applied the same way till then. It's due to the special situation of the Choseon dynasty, in which the seal characters, a ceremonial handwriting, reflects the academic ideology and political identity, that Chong-jo wrote Daerosabi with Jumoon. By using Heomok(許穆)'s Misujeon(眉叟篆) on the monument of Namin(南人) group, it became means of explaining their ideological and political identity. Chong-jo intended to express the identity of a king with Jumoon. Daerosabi is an expression of honor towards Song Siyeol, who was the core of Noron(老論), the greatest political group at the time of Chong-jo, and also it is figured out that this work is out of Chong-jo's will to embrace Noron with bigger integration.

      • KCI등재

        제주 4·3사건을 기억하는 기억하는 두 가지 방식

        이정석(Lee Joung-suk) 한국어문학회 2008 語文學 Vol.0 No.102

        This thesis discussed the ways of making 'the April-three Incident in Jeju' into epic dramas in Uncle Suni by Ki-young Hyun and The Death of A Crow by Suk-bum Kim, and analyzed the relationship between the socialistic and historical situation of the writers with the epics. On the basis of the analysis, the thesis tried to define the significance and limitations of dealing 'the April-three Incident in Jeju' in literature. The April-three Incident in Jeju' has long been considered as one of the taboos writers dared not try to deal with in their works. In this sense Uncle Suni by Ki-young Hyun has its meaning in overcoming the taboo and becoming the detonator of making the incident the subject of arts and literature. Uncle Suni revolted the mainstream of defining 'The April-three Incident in Jeju' as a riot, but defined it as a disaster and an accident and tried to express regrets to the victims. But the discourses that define the April-three Incident as a disaster or an accident tend to overlook the aspects of protest and resistance of the incident. The Death of A Crow by Suk-bum Kim was in a way the first novel that dealt with the incident. Suk-bum Kim was a Korean living in Japan and he could make use of the socialistic and political advantage of a Korean-Japanese and could emphasize the aspect of protest in his novel. The novel has great meaning in dealing with a group of revolutionary intellectuals in the field of arts. Still we are waiting for more works that deal with the incident in different views. The views in Uncle Suni and The Death of A Crow were rather narrow, but they opened the door of greater works covering the April-three Incident in the aspects of people's protest.

      • 봉황음(鳳凰吟) 복원(復原)을 위한 정간보(井間譜) 해석(解釋) 연구(硏究)

        남상숙 ( Nam Sang-suk ) 무용역사기록학회 2009 한국무용사학 Vol.10 No.-

        처용무 반주음악인 봉황음은『세종실록악보』와『대악후보』에 같은 리듬형태로 남아있다. 봉황음의 복원을 위해 정간 시가의 해석은 필수적이다. 이혜구의 “정간=일정한 시간단위”라는 견해에 대한 최초의 반론이 콘디트(1977)에 의해서 제기되었고, 이어서 홍정수와 전인평이 다른 해석을 내놓았다. 본고에서는 홍정수의 견해와 최근에 발표된 문숙희의 정간해석만을 검토하였다. 콘디트와 전인평의 해석은 이혜구에 의하여 충분히 문제점이 지적되었고 이에 대한 반론이 제기되지 않았기 때문이다. 홍정수와 문숙희의 정간해석으로 고악보의 복원연주가 불가능한 근거는 그들이 제시한 리듬형은 고악보에 나타난 일부에 지나지 않는다는 점이다. 더구나 문숙희의 “악곡마다 정간해석이 달라진다”는 주장은 고악보의 복원연주를 더욱 어렵게 하고 정간보의 가치를 의심하게 한다. 정간은 일정한 시간단위를 나타낸다는 견해의 근거로 가곡악보를 고찰하였다. 1572년의 『금합자보』의 만대엽부터 『대악후보』의 만대엽, 『삼죽금보』의 가곡, 현행의 가곡보가 모두 16정간 6대강보에 기보되어 있다. 『삼죽금보』의 가곡 악보는 장고점의 위치도 현행과 일치한다. 이 일관된 형태의 가곡악보는 현재 1정간 1박 형식으로 연주되고 있다. 정간은 일정한 시간단위를 나타낸다는 견해의 또 다른 근거로 종묘제례악의 가사배자법을 살펴보았다. 모든 곡에 있어서 가사 한 글자가 갖는 정간의 수는 전체적으로 일정한 규칙이 적용되었다. 각 정간이 갖는 의미가 일정하지 않다면 이런 가사배자법은 탄생하지 않았을 것으로 확신한다. Bonghwangeum music, an accompaniment music for the Cheoyongmu dance, remains a same type of rhythms in Musical Notes of King Sejong Annals and Daeakhubo (7-volume books of musical notes dating back to the Joseon Dynasty). It is necessary to interpret the note value of Jeonggan (squares of old Korean mensural notation) in order to restore Bonghwangeum. When Yi Hye-gu`s presented a view that Jeonggan is a certain time unit, the first counterargument was offered in 1977 by Condit, followed by Hong Jeong-su and Jeon In-pyeong who presented different interpretations thereof. In this study, examined were only Hong Jeong-su`s viewpoints and the recent interpretation by Mun Suk-hui, because problems surrounding the interpretation of Jeonggan by Condit and Jeong In-pyeong were sufficiently discussed by Yi Hye-gu, and also a counterargument was made. A replaying of the ancient musical notes based on the interpretation of Jeonggan by Hong Jeong-su and Mun Suk-hui is impossible, because their proposed rhythms constitute only part of those appearing in the ancient musical notes. Moreover, Mun Suk-hui`s argument that the interpretation of Jeonggan varies according to music makes it more difficult to restore and play the ancient musical notes. This may also lead one to suspect the value of the Jeongganbo musical notation method. In this study, the musical notes of the ancient songs were examined on the basis of the view that Jeonggan is a certain time unit. All musical notes were written in the 16 Jeongan and 6 Gangbo (musical pieces), from Mandaeyeop of Geumhapjabo musical notes of 1572, to Mandaeyeop of Daeakhubo, songs of Samjukgeumbo musical notes, and the current musical notes of songs. With regard to the musical notes of songs in Samjukgeumbo, the location of beating or striking the drum is consistent with that of the current music. The consistent types of musical notes of songs today are played under the principle that one Jeonggan means one beat. To verify another foundation for the view that Jeonggan is a certain time unit, Gasa Baejabeop (a rule of positioning the characters of lyrics regularly in a music) of Jongmyo Jeryeak (Royal Ancestral Shrine Music) was examined. In all musical pieces, the number of Jeonggan that a character of lyrics has is decided overall under certain rules. If each Jeonggan had not a consistent meaning, such rules would not have been created.

      • SCOPUSKCI등재

        가축분뇨를 이용한 SCP 생산 균주의 분리 및 균체 단백질 생산

        한석균,고유석,안태영,배동훈 한국미생물생명공학회 ( 구 한국산업미생물학회 ) 1996 한국미생물·생명공학회지 Vol.24 No.6

        질소원으로서 계분을 이용하는 균주를 선별하고 계분배지에서 균체의 생육속도가 다른 균주에 비하여 우수한 균주를 분리하였다. 형태·생리학적 특성을 기초로 하여 yeast의 분류 기준과 비교하여 본 균주를 Candida sp.로 동정하였으며 본 균주를 Candida sp. D116으로 명명하였다. Poultry feces extract medium에서 4% 농도의 glucose 첨가가 균체 생육에 효과적이었다. D116 균주를 액체 발효하여 균체생산능, 요산 그리고 가용성 단백질의 변화를 조사하였다. 그 결과 약 60시간이 경과하면 액체 발효 배지내의 거의 모든 가용성 단백질 및 요산의 감소를 보였으며 균체생육은 약 36시간 배양하였을 때 최고조에 도달하였고 그 후에는 점차 감소하는 경향을 보였다. SCP의 대량생산의 결과 50%의 계분혼합 배지와 30℃의 배양 온도에서 36시간 배양하여 균주의 생육수준이 3.8×10^9 CFU/ml 농도의 균체를 생산하였고 200 L의 배양액중 약 870 g-dw의 균체를 얻었으며 생산된 군체의 조단백질 함량은 67%이었다. Production of Single Cell Protein from Poultry Feces. Suk-kyun Han, You-Suk Go, Tae-Young Ahn and Dong-Hoon Bal^1*. Deparment of Microbioligy, College of Natural Sciences, Dankook Univerity, Cheonan 330-714 and Research Center for Molecular Microbiology, Seoul Nationa University, Seoul 151-742, Korea, ^1Department of Food Engineering. College of Engineering, Dankook University, Cheonan 330-714 and Bioproducts Research Center of Yonsei University, Seoul 120-749, Korea - From the soil collected form provincial area of South Korea, a microorganisms which have been shown good growth in the minimal poultry feces extract medium was isolated. Supplement of glucose to the poultry feces extract medium helped the complete degraded during the microbial growth. Maximum cell growth (3.8×10^9 CFU/ml) obtained at 36 hours of incubation after inoculation. Uric acid was degraded faster in minimal medium that in the glucose complement medium. VFA (volatile fatty acid), which are known as major compounds of poultry feces odor, were almost removed from the minimal poultry feces extract medium. Glucose supplement to the minimal medium enhanced the growth of microbial cells. Addition of 4% of glucose and 4% of neopeptone to the minimal poultry feces extract medium helped the maximal growth of cells.

      • KCI등재

        Managing Country of Origin Effect for Agricultural Product : Focused on Korean Ginseng

        Suk‐Joon Yang,Young‐Eun Huh,Sung‐Hoon Park 한국국제경영관리학회 2005 국제경영리뷰 Vol.9 No.2

        COO(원산지 효과)에 대한 많은 기존의 연구들이 이루어졌음에도 불구하고, 대부분의 기존의 연구들은 주로 전자제품 등의 공산품을 중심으로 또한 선진국-고품질 제품, 개발도상국 - 저품질 제품의 틀 속에서 연구가 주로 이루어져 왔다. 또한, COO를 통한 전반적인 마케팅 전략의 수립보다는 마케팅 프로세스의 일부분에 COO가 미치는 영향을 연구한 단편적인 연구가 대부분이었다. 이에 본 연구에서는 기존 연구와는 달리 선진국인 미국과 일본 시장을 대상으로 한국의 고품질 농산품인 “고려인삼”의 마케팅 전략의 수립이라는 전체적 측면에서 COO에 대한 기존 이론들을 검토하고 이를 실증하였다. 연구의 결과 고려인삼은 미국과 일본시장 모두에서 원산지 효과가 있는 것으로 나타났다. 하지만, 시장 세분화를 위한 가설인 고연령 - 저학력의 사람들에게 원산지 효과가 보다 유용하다는 가설은 기각되었다. 이는 과거의 연구와는 달리 개발도상국-고품질 제품의 조합이라는 제품 특성 때문인 것으로 보인다. 또한, 마케팅 전술을 세우기 위한 특정 유통 경로가 원산지 효과에 영향을 미친다는 가설은 미국과 일본시장에서 모두 지지되었으며, 제품에 대한 정보 원천이 원산지 효과에 영향을 미친다는 가설은 미국에서만 지지되고 있음을 확인하였다. 또한, 이러한 결과를 바탕으로 토의 부분에서 한국의 고품질 농산품인 고려인삼의 효과적인 미국과 일본시장에서의 마케팅 전략을 제시하고 있다. Most of the previous studies concerning American or Japanese market have focused on the difference in COO effects between indigenous product mostly with positive COO effect and foreign products mostly with negative COO effect. and, the previous COO research has concerned with the electric home appliances like TV or automobiles while there has hardly been research concerning the COO effect and its application strategies on agricultural products. But, our exploratory research on the agricultural product extends the product categories regarding COO effects and our study is concerned with foreign product which has positive COO effects in American and Japanese market. We can observe that there exists the COO effect on ginseng in American and Japanese market. but we can find some results which are not consistent with the previous research - especially, in demographic factors of america and information source of Japan. We explain the reason of this results and suggest new strategy of COO. Also, we suggest the marketing process to make use of the COO effects, which can be applied various product categories.

      • KCI등재

        백석 시에 나타난 장소성 연구

        김민숙(Kim, Min?suk) 한국비평문학회 2012 批評文學 Vol.- No.46

        Place is physical basis to make history by human experience. It is obtained by the five senses. Also it is overall site of life where to carving the depth of recognize. Therefore, every human being can not live without the place to lean on. Placeness response is writing on the bone and the muscle. It is drawing on the brain and the heart. So it is be imaginative geography in literature. In other words, place experience of poet is medium to forms poetic consciousness. Most of the Baek Seok"s poetry has Specific places. The purpose of this study is to analyze how he get the placeness by what emotional context on Baek Seok"s poetry. It is belong to process of accepting literary imaginative geography from place experience. Japanese imperialists were bushy to redesigned have traditional geographic system of Joseon dynasty. They fully relocated geography shape. They forced emotion which unsuitable to us. Therefore, the actual field of place experience is different to imaginative geography as literary emotion space. In those times, Joseon was space of lost cause lost sovereignty and trauma place where we had to undergo pain of losing. At that time, poets were no exception. So they sang the lost place, "Joseon", "hometown", "home" with particular emotion. We have got double whammy, Stolen home and hometown because of we are stolen our country. Home and hometown are signify places to be shown fundamental presence of human stably. Loss of home induce uneasiness of existence and finally make a crisis loss of identity. Modern intellectual, Baek Seok also suffered by conflict and confusion cause he felt deep gap between premodern space and modern space that was built by Japanese forcing. In colonization, we have lost human freedom andprosperity. Modern intellectual, poet, Baek Seok has such that experience with all. Through this, I"d try to observe how to describe his idea about place experience with Baek Seok"s poetry. In spite of he is modern intellectual, it is hard to find sense of place in the city on his poem. But it is clearly find topophilia and placeless about home, hometown. He well drew place experience and sense of place including the market, including the harbor, mountains, villages, streets, etc on travel and nomadic life. Travel space is recognized unfamiliar place because of experience subject doesn"t live there. But there is similar life as like hometown. Similar memory remind topophilia and sense of place about merriment people, lovers. Placeless appears in endless nomadic life travel experience. Topophilia is more much growing since someone leaving from the living place. And also sense of placeless is much growing because someone is not living there. All beings want to get some comfortable place in life. Crisis like placeless comes along, we hope familiar new place for make recover relationship. Baek Seok"s desire about hometown is figured by rural communities, mountains and beach in the poem. Hope for familiar new place is life desire and escape from unfortunate reality.

      • KCI등재

        일반투고논문 : 김창협의 서발류(序跋類) 문장(文章)에 나타난 문장기법 연구

        오석환 ( Suk Hawn Oh ) 근역한문학회 2010 漢文學論集 Vol.30 No.-

        본고는 조선 후기 주로 숙종년간에 활동했던 농암 김창협(1651-1708)의 문학작품 중, 서발류 작품을 분석하고 연구하여, 농암 산문의 문장기법을 통하여 그 우수성과 예술성을 고찰해 보고자 하는 것이 목적이다. 서발류 문장은 자신의 저술 또는 타인의 저술에 대한 경위·해석·평·성격 등을 서술하여 책의 앞과 뒤에 붙이는 글이다. 김창협의 서발류 문장은 『여한십가문초』에는 보이지 않는다. 어떻게 보면 농암 문장에서 뛰어난 특징이 없는 문류로 볼 수도 있다. 그러나 서발류 문장은 그 자체로 하나의 장르를 가지고 서술되어지는 것이고 보면, 서문과 발문은 각각 그 문집의 비평문이 되어, 산문집일 경우에는 산문평이 되고, 시집일 경우에는 시평이 되는 것이다. 따라서 농암의 문에 대한 비평의 시각이 문장의 기법을 통하여 드러나는 곳이니만큼 중요한 가치를 지니고 있다고 보아야 할 것이다. 농암은 먼저 일반적 논리를 들어 명제를 세우는 기법을 사용하였다. 모두가 인정하는 일반적 논리로 평가의 기준이 타당함을 제시하며 명제를 세운 것이다. 둘째 사실을 들어 논리의 타당성을 추구하였다. 저자에 관한 사실을 들고 논리와의 부합됨을 통하여 그 뛰어남을 드러내었다. 셋째 옛것을 빌려 지금을 드러내는 기법을 사용하였다. 이미 널리 알려진 고사를 인용하여 현재를 풍자하며 논리를 증명하려 하였다. 넷째 사물에 정을 깃들여 논리를 강조하였다. 사실을 하늘과 관련시키거나 충성과 관련시키기도 하며, 사물을 좋아함이 정이 깊기 때문이라고도 하고, 자연과 하나 됨을 말하기도 하였다. 다섯째 끝에 가서는 주제를 다시 드러내어 관절을 착종하는 기법을 사용하였다. 여태까지의 자신의 논리를 뒤집고 처음으로 나아가기도 하며, 앞에서 거론한 사건을 다시금 거론하여 칭송하기도 하며 주제를 드러내었다. 여러 가지 문장의 기법이 전개됨에 따라 논리가 물 흐르듯이 자연스럽게 전개되어 독자가 자신도 모르는 사이에 빠져들게 하고 있는데, 바로 이것이 농암 문장의 특징이며, 우수성과 예술성이라고 말할 수 있을 것이다. This dissertation to analyze and research about the Seobarlu in the literary work of Nongarm Kim Chang-hyub for mainly Suk-jong year in the late Choson Dynasty, sentence technique of Nongarm prose lead and the reporter the superiority and a artiness to investigate the fact that does is goal. The Seobarlu sentence describes reason·interpretation·evaluation·character etc. about writing oneself or writing the others is a writing which attaches on the front and after of the book. The Seobarlu sentences of Kim Chang-hyub are not visible 『Yeohansibgamuncho』. Then the Nongarm sentences are the possibility of seeing with the literature which does not have a superior feature. But the Seobarlu sentence will have one style with that oneself and will be to come to be described, preface and epilogue will become the criticizing door of that collection of works respectively and to the case which will be a prose house will become the prose criticism, to the case which will be a husband`s house means that becomes the comment. Consequently, criticizing technique of sentence leads time about literature of the Nongarm and that the value which is important as is a place which becomes known has must see. He first had a general logic and the technique which builds a proposition he used. The standard of evaluation is proper with the general logic which all recognizes and to present to build a proposition is. Second, he had a fact and he pursued the propriety of logic. About writer had a fact and corresponded led and that was superior and put out indolently with a logic. Three, borrowed the old thing and the technique which distinguishes a now used. Referred the general term of the Chinese literature which becomes known already widely and satirized proves a logic a present time. Four, he abide an affection sent ing and he emphasized a logic. Fact and relating with a sky and relating with a loyalty, did and one and because this affection liking a thing being deep, with nature becoming saying, did. Fifth, distinguished a subject again from end of the writing and the technique which mixes up a main subject used. Turns over a till now logic and new initiative, does and discusses from before the event which again and refers praises, does and distinguishes is a subject. The technique of various branch sentence being developed, according to the logic flows the water to be naturally developed and the individual does not make know and oneself is making indulge, this will be feature of the Nongarm sentence rightly, superiority and artiness will be the possibility of saying.

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