日本の近代文學にみる朝鮮像

權昇赫 경복대학 1999 京福論叢 Vol.3 No.-

이 논문을 통하여,일본 제국주의 정부에 의해 유린 당한 우리의 아픈 역사를 돌아보고자 했다. 지난 날, 일본에 의한 침략전쟁으로 주변국은 많은 아픔을 겪었고, 우리나라는 그 아픔이 지금까지도 계속되고 있다. 일본내에 거주하는 재일동포에 대한 아주 사소한(?) 테러 - 물론 일부 우경화된 세력이나 - 가 있었다는 소식을 접하며, "조센징은 너희 나라로 돌아가라!"는, KKK의 백인우월주의나 나치에 의해 자행된 아픈 역사의 일단이 떠오르게 하는,일본인의 한국인식이 걱정된다. 일본 제국주의 정부는 식민지 시대를 산 한국인을 "조센징"등의 호칭으로 경멸시 했다. 일본이 우리를 경멸시한 역사는 그리 길지 않으며, 우리는 그것을 한일간의 근대사를 통하여 살펴볼 수 있다. 한일 양국이 21C의 진정한 파트너로 성장하기 위해서는 대등한 관계하에서 서로를 인정하지 않으면 안된다. 이러한 「인정」은 과거의 명쾌한 청산이 필요하다. 그리고 그 명쾌한 청산을 위해서는 양국의 왜곡된 인식을 이해해야 하겠다. 따라서, 이 글을 통하여 우리를 보는 일본 또한 일본인의 왜곡과 편견을 살펴보기로 했다. 그에 의해 일본 또는 일본인의 의식속의 우리의 「지위」를 가늠해 보고자 한다. この論文を通して、日本の帝國主義政府によって유인されたわが國の哀しい歷史を振り返えてみようとした。日本による侵略戰爭によって周邊國は大いに苦しんで、特に、韓國はその苦しみが今も續いている。 日本で生活している在日韓國人に對するほんの些細な(?)テロ-勿論、ほんの一部の右傾化された勢力だが-があったと聞きながら、"朝鮮人はおまえらの國へ歸れ!" という、KKKの白人優越主義とナチによって行なわれた哀しい歷史の一端が思われる、日本人の韓國に對する認識が心配される。 日本の帝國主義政府は植民地時代を生き拔けた韓國人に "朝鮮人" 等の呼び方で輕蔑した。日本が我我を、敢えて輕蔑した歷史はそんなに長くなく、それは韓·日間の近代史を通して調べてみることができる。 韓·日兩國が21Cの眞のパ-トナとして成長して行くためには、兩國が對等關係下でお互いに認めなければならない。このような「認め」は過去の明快な淸算が前提に來なければならない。また、その明快な淸算のために互いに對する歪曲された認識を理解しなければならない。 したがって、日本の近代文學の作品を通して韓國人に對する日本、または日本人がもっている歪曲と偏見を調べてみようとした。また、日本人の意識の中にある韓國人の「位置付け」をも考えてみようとした。

에즈라 파운드 초기시의 현대성― 언어의 궁핍

권승혁 한국현대영미시학회 2010 현대영미시연구 Vol.16 No.2

This paper aims to illuminate the ways in which Ezra Pound revitalized English poetry with the various poetic experiments that he learned from the Provençal masters in the Middle Ages as well as his contemporary writers, such as F. T. Marinetti, T. E. Hulme, F. M. Ford and formulated the disruptive, elliptical and antithetical modernist poetics in his early poems. Excluding figurative language or fancy rhetoric of Classical poetry, he came to believe in the sanctity of the plain word. He strove to project every word as an isolated object and used it as the modernists’ only poetic medium, which rises straight, concrete, and dense like a monolithic. Rejecting any attempt to coordinate words, phrases, clauses, and sentences found in Classical poetry, he employed the discrete and disparate word that breaks down the syntactic relations between words and phrases, and crumbles the structure of meaning accordingly. With respect to the ways in which he employed the disparate and separate words, his early poems realize the most distinctive feature of modern poetry: “Hunger of the Word.”

모더니스트 미학: 파운드의 미학과 엘리엇의 미학 비교

권승혁 한국T.S.엘리엇학회 2018 T.S. 엘리엇 연구 Vol.28 No.1

지난 한 세기동안 모더니즘에 대한 다양한 탐구와 논의가 있었음에도 불구하고, 모더니즘의 미학이란 문제는 전반적으로 그 논의에서 배제되었다. 많은 비평가들이 19세기의 낭만주의와 심미주의에 대한 반대로 시작한 모더니즘의 대표적인 특징으로 새로움을 꼽았고, 그에 대한 논의는 너무도 많다. 이제 모더니즘의 미학의 의미와 의의를 검토하는 일은 무척 가치 있는 일이다. 모더니즘의 미학을 탐구하는 과업은 한 편의 논문에서 살펴보기엔 너무 방대하고 다양하기에, 본 논문은 에즈라 파운드와 T. S. 엘리엇의 작품에 국한하여 모더니스트 미학을 탐색하고자 한다. 매간이 『텍스트의 조건』에서 논의했던 “언어적 약호”와 “서지학적 약호”에 근거한 두 가지 다른 독서에 근거하여, 본 논문은 두 모더니스트 시인이 아름다움에 대하여 매우 다른 견해를 발전시켰으며, 그에 따라 매우 다른 작품을 썼다는 것을 밝히고자 한다.

Magnetorheology of Xanthan-gum-coated Soft Magnetic Carbonyl Iron Microspheres and Their Polishing Characteristics

권승혁,최형진,이정원,홍광표,조명우 한국물리학회 2013 THE JOURNAL OF THE KOREAN PHYSICAL SOCIETY Vol.62 No.12

Magnetorheological (MR) fluids are colloidal suspensions of soft magnetic particles dispersed in anon-magnetic liquid. Among their applications, MR polishing has attracted considerable attentionowing to its smart control of the polishing characteristics for dedicated microelectromechanicalsystem applications. To improve the polishing characteristics of MR fluids, we fabricated carbonyliron (CI) microspheres coated with xanthan gum (XG) by using a solvent casting method. Themorphologies and densities of both pure CI and CI/XG particles were characterized using a scanningelectron microscope and a pycnometer, respectively. In addition, the rheological characteristics ofthe MR fluids under various applied magnetic field strengths were examined using a rotationalrheometer. The MR polishing characteristics were conducted using an MR polishing machine toexamine the surface roughness and the material removal by MR polishing with added nano-ceriaslurry abrasives.

PBL(Problem-Based Learning)을 활용한 문학교육 : “영문학의 흐름 I” 수업 사례를 중심으로

권승혁 한국영미문학교육학회 2014 영미문학교육 Vol.18 No.1

This article reports the practical process of an exploratory case study on problem-based learning (PBL) in literary studies. Though PBL has developed primarily in the practical disciplines such as medical sciences, engineering sciences, and other applied sciences, it can also be appropriate to literary studies that usually generate various responses and answer to its texts and genuinely unique problems. Literary studies do not require clear-cut answers as practical disciplines do; instead discussion and debate can be the best way to solve its complicated and confusing problems. On the contrary, tutor-directed models that currently dominate in literary studies actually run counter to its real nature. Since a PBL method is a learning process to put an emphasis on cooperative learning and group-management of tasks to solve problems and improves critical reading, thinking, and writing skills, it can be one of the most suitable methods to literary studies. On the basis of the above mentioned assumptions on PBL, this case study of “Survey of English Literature I” examines some concerns, such as issues related to positioning tutors and students, learning in teams and assessing learning, and designing problems (or projects) and shows how this pedagogy can be carried out in literary studies.

도덕성 발달과정의 자기보고 분석

권승혁 한국도덕교육학연구회 2002 도덕교육학연구 Vol.3 No.-

Poly(glycidyl methacrylate) Coated Soft-Magnetic Carbonyl Iron/Silicone Rubber Composite Elastomer and Its Magnetorheology

권승혁,안지수,최소연,정경호,최형진 한국고분자학회 2019 Macromolecular Research Vol.27 No.5

Poly(glycidyl methacrylate) (PGMA) coated soft-magnetic carbonyl iron (CI) particles were fabricated using a dispersion polymerization method in this study and then adopted for a magnetorheological (MR) elastomer. Physical characteristics of the fabricated PGMA coated CI particles, including morphology and magnetic properties, were analyzed by scanning electron microscopy, energy dispersive X-ray spectroscopy, and vibrating sample magnetometer. MR elastomers were prepared using silicone rubber with both PGMA-coated and uncoated CI particles. Rheological properties of the MR elastomer samples, including storage modulus and relative MR efficiency, were measured with a rotational rheometer at various magnetic field strengths. The results demonstrated that the PGMA-coated CI based MR elastomer sample had larger storage modulus, smaller MR effect, smaller Payne effect, and smaller loss tangent than the pure CI based MR elastomer due to increased bond strength between the particles and silicone rubber matrix for the PGMA-coated CI based MR elastomer.

전통, 제국과 금본위제—T. S. 엘리엇의 로이즈 은행 근무

권승혁 한국T.S.엘리엇학회 2023 T.S. 엘리엇 연구 Vol.32 No.2

「전통과 개인의 재능」에서 엘리엇은 화학 반응을 일으키는 촉매에 현대 시인의 역할을 비유함으로써, 문학 작품은 시인의 개인적인 경험이나 재능 또는 당대의 정치적이며 경제적이며 사회적인 상황과는 아무런 상관없이 객관적이거나 공평무사한 것으로 해석되어야 한다는 문학관을 제시했다. 이러한 비평관은 「완벽한 비평가」나 「문학 서평에 대한 생각」에서도 반복되었다. 그의 주장에 따라, 많은 비평가들은 그의 작품을 엘리엇의 개인적인 경험이나 당대의 정치와 경제 상황과는 상관없는 것으로 읽어 왔다. 그렇지만 본 논문은 문학 작품을 시인 개인과는 무관한 것으로 읽어야 한다는 생각을 담은 그의 에세이들이 쓰인 기간이 그가 로이즈 은행에서 일했던 기간과 거의 일치한다는 사실에 주목하고자 한다. 그는 로이즈 은행에서 일하면서, 영국과 전 세계에서 일어나는 중요한 경제와 정치의 변동과 사건의 의미를 이해하게 되었고, 이를 통해서 당대 경제와 정치에 대한 자신의 입장을 정립했다. 그리고 그는 자신이 이해한 정치 경제적인 관점을 자신의 시에 반영했다. 이러한 점에 입각하여, 본 논문은 「요리용 달걀」과 『황무지』를 당대의 정치와 경제 상황과 연계하여 다시 읽어보고자 한다.

[P10-112] 산수유로부터 분리한 ursolic acid의 생리활성

권승혁,양희선,박경욱,손미예,서권일 한국식품영양과학회 2006 한국식품영양과학회 학술대회발표집 Vol.2006 No.10

Re-Connecting the Dissociated Eye to Writing through Translation

권승혁 한국비교문학회 2011 比較文學 Vol.0 No.55

Most literary critics examining Ezra Pound's translations focus on his creative techniques or on differences and similarities between the originals and his versions. Generally depreciating his original works and complimenting his translations, these critics overlook the fact that his translations have a different modality of writing from that of his original works. His original works become increasingly fragmented, elliptical, and illogical, but his translations do not show the expected disrupted and fragmented poetics, but rather retain the linear and harmonious poetics. Moreover, whereas his original poems become increasingly fragmented and illogical in his later years, Pound's early translations and later translations―although showing explicit stylistic differences―preserve the homogenous and linear logic. R. P. Blackmur attributes the homogeneity and linearity of his translation to Pound's effort to remain faithful to the original. However, this assumption is not wholly satisfactory, because even when the original is extremely fragmented, Pound succeeds in creatively producing a linear and harmonious translation. As is well known, Pound translated Cathay without any knowledge of Japanese and Chinese; thus, he had to have recourse solely to Ernest Fenellosa's fragmented notes and cribs of these poems. Yet Pound was able to produce a linear and logical poem from the fragmented notes. Thus, the question should be reformulated as: what induces or allows Pound to produce coherent poetry in translation, when the original itself was fragmented? In this paper, I will try, however tentatively, to answer this complicated question, on the basis of Walter J. Ong's and Marshall McLuhan's communication theory, through examining his writing tool, the typewriter. Most literary critics examining Ezra Pound's translations focus on his creative techniques or on differences and similarities between the originals and his versions. Generally depreciating his original works and complimenting his translations, these critics overlook the fact that his translations have a different modality of writing from that of his original works. His original works become increasingly fragmented, elliptical, and illogical, but his translations do not show the expected disrupted and fragmented poetics, but rather retain the linear and harmonious poetics. Moreover, whereas his original poems become increasingly fragmented and illogical in his later years, Pound's early translations and later translations―although showing explicit stylistic differences―preserve the homogenous and linear logic. R. P. Blackmur attributes the homogeneity and linearity of his translation to Pound's effort to remain faithful to the original. However, this assumption is not wholly satisfactory, because even when the original is extremely fragmented, Pound succeeds in creatively producing a linear and harmonious translation. As is well known, Pound translated Cathay without any knowledge of Japanese and Chinese; thus, he had to have recourse solely to Ernest Fenellosa's fragmented notes and cribs of these poems. Yet Pound was able to produce a linear and logical poem from the fragmented notes. Thus, the question should be reformulated as: what induces or allows Pound to produce coherent poetry in translation, when the original itself was fragmented? In this paper, I will try, however tentatively, to answer this complicated question, on the basis of Walter J. Ong's and Marshall McLuhan's communication theory, through examining his writing tool, the typewriter.