崔水雲 漢詩의 문헌적 고찰

윤석산 한국언어문화학회 ( 구 한양어문학회 ) 2002 한국언어문화 Vol.22 No.-

Yoon Suk San. 2002. Philological Study on Choi Su Wun's Poems. This study provides philological consideration on the poems of Choi Su Wun(崔水雲), founder of Dong Hak, He left 13 pieces of poetry in his anthology, Dong Kyong Dae Jeon(東經大全). These poetic works have something to do with his religious life, and this can be found in some of the titles of his works. In other words, his poems written in Chinese characters denote religious prophecy, achievement and awakening. We can find that in six of his 13 works many fragmented verses constitute on poem under one poem under one title. We presume that this peculiar constitution is on account of the fact that Hae Wol, one of his disciples, edited his works this way when publishing Dong Kyung Dae Jeon arter Choi Su Wun was beheaded. Therefore it is very difficult to ascertain the motive or discover the date for these six works, and only the date that the fragmented verses were written are known to us. On the other hand, it was comparatively easy to find the date and the motive for the rest of his works. On the basis of theme, his poems can be categorized into 1) the works describing religious prophecy, 2) the works emphasizing religious discipline and 3) the works chanting religious awakening. The works belonging to the first category are Gyul, Woo-Eum, Kang-Si and Jeol-Gu. Jwa-Jam, Yoo-Go-Eum and Si-Moon belong to the second category, and the third category is composed of Ip-Chun-Si, Wha-Gyul-Si, Yong-So and so on. Choi Su Wun's poems writted in Chinese characters are closely related to his religious life. All these works express his religious awakening, meditation or discipline.

포르피린증 환자에서 보인 가역적 자기공명영상소견 1례

강석윤,마효일,곽규환,이상암 대한신경과학회 1998 대한신경과학회지 Vol.16 No.2

韻律論硏究의 最近動向

김석산 한국외국어대학교 외국어 종합연구센터 언어연구소 1974 언어와 언어학 Vol.2 No.-

素月詩의 話者 硏究

尹錫山 한양대학교 한국학연구소 1990 韓國學論集 Vol.17 No.-

This study is to intended to analyze all of the personas in the poetry of Kim So-Wol in patterns according to their sex and to examine how they choose their poetic objects, times, spaces, tones, forms, and stanzas with lines and foot-meters to find some new poetic rhetorics of his as well as to set up a kind of narratorlogy of So-Wol's after reviewing all the discussions ever made about him. It is because that each persona in every poem plays not only the part of intermediary to show some poetic situation or some views to readers but also adapt himself or herself to every situation, choosing proper forms and tones according to the poetic emotion as soon as he or she is created by the poets. The term of persona used in this study may be the same meaning as a narrator or a speaker or a mask at times. Through the close examination the following facts were ascertained in all the works of Kim So-Wol. 1. In his poetry, three types of personas such as male, womanish (or only masked as a woman) male, and female personas are found in the ratio of 3:3:4, and their poetic objects can also be patterned into three types such as the poet's father-land deprived of by Japanese imperialism, or the sweet heart now departed far from him or her, or some ideal lovers whom can not be seeked for by the people of this mundane world. And so they have a distinguishing features in common that they are all the objects which are not real in their true existence, Therefore the remarks ever made about So-Wol's poetry that he has no male persona or he has inadequate understanding in the realities of actual life, can not always be right and just. 2. The time situation that each type of persona takes up in So-Wol's poetry also has obvious distinction to one another. Male-persona always appeares in the time situation of bright and the womanish male-persona does in that of darkness, while the female-persona appeares in the unspecified time situation in which she is confined to some assumption or some conditions or even the image of time itself has been eliminated. Closer reviewing in those aspects of the time situations shows the characteristics that there's never the intentional future as well as described in negatives. 3. Each persona, self-closed as mentioned above, has affection and yearning for each object while indignation or resistence to each obstacle, and has also some emotion of self-accusation for the ego of himself or herself which can not be got over, but according to the peculiar relations among the personas, topics and the listeners, The male-persona usually takes the pathetic tone of tragic, the womanish male-persona takes, the tome of longing with thirsty, while the female-persona usually takes the tone of paradox in which the surface and the depths of statement are possibly opposite to each other. 4. According to these differences, the inclination is generally found in So-Wol's poetry that female-persona often takes a set- form of poetry containing four stanzas with lines in three-footed cumulative, and the womanish mals-persona takes the unstanzaed form with less than tow lines, mixed with two or three footed meters, on the other hand, the male prsona chooes the form of free verse with more than three stanzas. But it seems that in the unspecified situation of time they all alter into the form with lines in three-footed cumulative. 5. Examining the meanings and their realization into poetic forms, in the case of male-persona and the womanish male-persona, the poems do not make any success because of the confusion of the poetic imaginations as well as the lack of controling forces in whole as they are in free verses, but in the cases of female-personas or of the unspecified situation of time, the poems usually make greater success with the organic combination of four stanzas containing four (or two) metered lines with three-footed meter cumulative, as well as the intensive structures of the four steps in writing (the introduction, the development of the theme, conversion, and summing up). Especially, combinng a female-persona with three-footed meter cumulative makes the poet effect much more greater with all the double function of such footed lines in good accordance with the persona's character.

C.V.D. 방법에 의한 Cd_0.78Zn_0.22 S박막 성장과 광전기적 특성연구

유상하,이상렬,홍광준,서상석,김혜숙,전승룡,윤은희,문종대 조선대학교 기초과학연구소 1993 自然科學硏究 Vol.16 No.1

We had grown Cd_0.78Zn_0.22S polycrystal thin films on slide substrate using chemical vapour deposition(CVD) method. We measured X-ray diffraction patterns in order to study Cd_0.78Zn_0.22S polycrystal structure. We studied its band gap using transmission curves and photocurrent and also analyzed photoluminescence using configurational coordinate model. We measured Hall effect·on this sample by Van der Pauw method and studied on carrier density and mobility depending on temperature.

동학가사에 나타난 근대의식 연구

尹錫山 한양대학교 한국학연구소 1994 韓國學論集 Vol.25 No.-

동아의 체중조절 효과

홍석산,이승환,김철용,권석형,황보식 한국식품영양학회 2002 韓國食品營養學會誌 Vol.15 No.4

본 연구에서 선발된 17종의 천연물을 Sprague- Dawley rat에 급여한 결과, 체중 증가, 에너지 소비, fat pads 중량, 간의 triglyceride 함량, atherogenic index 그리고 혈중 글루코오스의 함량 등이 감소하는 경향을 나타내었다. 특히 동아를 구강으로 섭취시킨 결과, 체중 증가, 에너지 소비, fat pads 중량, 그리고 혈중 글로코오스의 함량등이 감소하였으나, 간의 triglyceride 함량은 오디와 송엽의 열수 추출물보다 적게 감소하였다. 동아, 오디, 그리고 송엽을 혼합하여 사용한 결과, 각각의 원료를 사용할 경우보다 비만이 개선되는 것으로 나타났다. This study attempted to evaluate the effectiveness of function of Wax Gourd for obesity and the related disease of adult people can be developed by the combination of the 17 food materials screened in this study. The experiments using Sprague-Dawley male rats show that seventeen kinds of food material inhibited the increase of body weight gain, energy intake, fat pads weight, liver triglycerides content, atherogenic index, and blood glucose concentration induced by cafeteria diet. Oral administration of wax gourd decreased most body weight gain, energy intake, fat pads weight, and blood glucose concentration induced by cafeteria diet. Oral administration of wax gourd decreased most body weight gain, energy intake, fat pads weight, and blood glucose concentration. Liver triglycerides content was the lowest in the group administered mulberry stem extract and the group administered pine leaves showed the lowest atherogenic index. The combined administration of wax gourd, mulberry stem extract and pine leaves improved more the obesity and related symptoms than the individual administrations.

素月의 現實 意識 : 情恨의 構造와 發生契機

尹錫山 한양대학교 한국학연구소 1985 韓國學論集 Vol.7 No.-

So-wol has been valued to be a poet lacked in a periodic and historical consciousness. This is due to the thought that there are seldom critical and resisting literary works against the japanese and that the majorities of his literary works are about his individual restraint of emotion. But I think this is the estimation about his poems in his anthology, the azalea and that we don't think what the basic reason of the restraint of emotion is. The purpose of the present thesis is to study his basic consciousness of his restraint of emotion and why he kept on the attitude of the restraint of emotion by means of analysis of his poems, proses works and generalization of reality which is known to us through the his works. The abstract is following. 1) In the anthology, the azalea, there are seldom poems which are reflected in the perodic situation. But in the following poems "The song of Namori Field", "A Self-surrender", "Spring, the Night of Spring and the Rain of Spring", "The Wind of spring", "The Tear of Mind", and no title we can see his strong resistance of his real existence and the resisting spirit against the Japanese. 2) His poems, "The song of Namori field" and title are the songs about departing farmers robbed of their land by the Japanese, who knew that they could not get back the land in reality, but they did not admit the fact in his mind. On that reason, there happens the restraint of emotion. In the above mentioned poems, we can see the hostility agamst Japanese, the feeling of regret that he adapted himself to the Japanese, and the pointing will of action that he would intend to do if possible. 3) The short story, "The Large Flakes of Snow" is the story of a woman who is to leave for Manchuria in order to struggle against the Japanese. The hero of this story is the man who got the high level of education and who isit possible to protest the Japanese in reality. So, in this story, the restraint of emotion is not expressed, meanahile, he adapted anarrator who is unable to resist ond he kept on the attitude of the restraint of emotion in his poetry. It is based on the fact that our people con't resist against the Japanese in reality, 4) In the essay, "The Aspect the Country and the Aspect of the City", bitterness of the modern civilization is expressed. This is shown in his posthumous poetry, "The Spirit of Poetry" and "The Wind of Spring". This is perhaps due to the opinion that the modern civilization basically make not only to degenerate the man morally owing to divising his sensibility. 5) The influence of 'The Theory of Fala Song' and 'The Nationalism' holded by the grocyos of national literityre made him write the traditional poems of the restraint of emotion making the best of our language in the style of folk song. It seems that he took the influence of the 'Therory of the Preparation', that we first increase the national power by mans of education and that we should fight the japonese after that. 6) Hence, it is only the surface feature in his works that he was lacked in the consciouness of reality and he did not the resisting consciousness. So I think he should not be criticized in the negative.

平民歌辭硏究 : 作家層을 중심으로

尹錫山 한양대학교 한국학연구소 1989 韓國學論集 Vol.16 No.-

This paper is intended to examine the Pyongmin Gasa (The Ode of the Commoners) appeared in thr age of reform in the late Choson Dynasty, With Kapmin-ga, Nochirnear-ga, Guchang-ga and Hapgang- chung-ga, especially which themes and contents are a critical toward reality, focused on the group of its writers, paper's topic is surveyed, Until now, it is a general tendenct that the writers of Pyongmin Gasa are commoners and the low classes (the humble). But, when analyzing the Pyongmin Gasa and scrutinizing the consciousness of the writers appeared in its works, it is possible to say that the group of Pyongmin Gasa's writers may be Yangban (the high classes) who has a regular knowledge or the middle classes (semi-Yangban). Consequently, it is certain that the ruind Yangban and the middle classes written the Pyongmin Gasa were conconsidered as a prize by social status in the late Choson Dynasty. So, it may be safely affirmed that the pyongmin Gasa is a valuable literature ofpoetry since it played a important part reform the society of late Choson Dynasty.

素月의 리듬意識 : Briefly on his anthology, Azalea

尹錫山 제주대학교 1988 논문집 Vol.26 No.1

Analysis of his works shows that 114(115) poems were shown in public by Derember, 1925 and 67 poems were selected in his anthology. Azalca among them.48 poems were excepted in his anthology. They are: Chinese poems translated in Korean-2, prose poems-2, the poems of indictment against Japanese-4, The rest of them was simple and pure in the structure of rhythm. His standard of selecting poems can be thought rhythm. Among 67 poems in his anthology, 40 poem were adapted once, 11 poems were adapted two times, and only 16 poems (17) were not adapted. We can see that his main point of adapting his poems was the problem of rhythm. The changing period in his senses of rhythm is following. The first period(1920-1921), the second period(1922-1923), the third period(since the second period) This interval division can be thought to be short, but it is not unreasonable, considering that he was a poet at the time when the concept and the rhythm of modern poetry was not settled and that poets are able to change formal elements by his intentional will. (1) The senses of rhythm and basic pattern in the first period In this period his poems are characterized with the pure syllabic. To keep the pure syllabic he changed the words and phrases, arranged the same syllabled words in the same positions and made leaving spaces between words on purpose so that the syllables of the whole line look like same. The number of the lines in each stanza as well as the line was made to divide the syllable equally. It seemed that he had the simple idea that the rhythm of poetry is made by the repetition of the same number of syllables. His representative poets in his pattern are: 'Future days', 'Gathering the grass','the sea','on the mountain','the wishing mind to meet', etc. We should pay attention to the fact that the poem of this pattern can be found sometimes at the second period, very frequently at the third period not to speak of the first period. (2) The senses of rhythm and basic pattern in the secon period. He seemed to recognize the new rhythm pattern in this period. While he was writing two novels and proses, he seemed to think the pure syllabic unnatural and mechanical, and to be affected by free verse movement at that time. These pattern's poems appeared, more or less, in 1921s, in particular when he showed such poems in public as 'a golden grass', 'a chinese scops owl', 'su-a', 'the first skirt', and 'seeing the man', in 1922. This kind of poems are: 'a strong appointment', 'Mother! sister!', 'I can't forget you', 'I didn't know it when yours', 'when I am awake or sleep', 'Sak-ju-koo-seong', 'the mountain', 'Wang-sim-ri'. These poems are noticed to be his representative poems. They keeps the rhythm pattern similiar to free verse but they are not the complete free verse. This structure of rhythm has little difference with that of 'Future days'. He attained more natural rhythm pattern as he used the extra-metrical time adopting prosodic syllabic instead of pure syllabic. (3) The senses of rhythm and basic pattern in the third period. This thesis does not deal with the senses of rhythm in this period completely. But we can understand that the senses of rhythm of 1925 is reflected in the course of adapting and selecting poems in order to publish his anthology. His senses of rhythm in the first and the second period is supposed to exist to gether in the third Period. It is remarkable that we can find out many poems of the first period rhythm pattern among the new poems shown first in public in his anthology. I gyess that his senses of rhythm in this period is not harmony with the two periods but the reaction against the second period. The new poems that he supplemented when he published his anthology and the poems since 1926 are excepted in this thesis.