[국방 자동화 정보체계 상호운용성 시험 및 평가 시스템]

류동국(Dong Kuk Ryu),이상일(Sang Il Lee),조병인(Byoung In Cho),안병래(Byung Lae An) 한국정보과학회 2005 정보과학회지 Vol.23 No.7

1920년대 신채호 문학 연구

류동일(Dong Il Ryu) 한국현대소설학회 2011 현대소설연구 Vol.- No.48

This paper aims to reveal implications of literature of Shin Cheo-ho in the 1920s. After Shin Cheo-ho accepted anarchism in the 1920s, he left nationalism, on which he once put his philosophical base, and his works also showed that the implications was not restored to national problems alone. In this way, his works in the 1920s are considered to be important. In <The Great Fierce Battle between Two Dragons(용과 용의 대격전)>, the masterpiece of Shin Cheo-ho in the 1920s, he characterized ``Dragon``(드래곤) as ``zero``, who was practician of revolution, emancipator of people, and subversive of current values. This expression has two implications. First, it reveals that ``Dragon`` is a subversive and has transformable power. And in this way, ``Dragon`` can be interpreted as ``minority``, as Deleuze emphasized that ``minority`` has endless power and is not settled as a fixed figure. After all, works of Shin Cheo-ho in the 1920s became a new theory of revolution. Second, his expression ``Dragon`` as ``zero`` shows that his literature in the 1920s could not be fixed into Western literature forms, which in modern time, especially in the 1920s, was transplanted in Korea, through Japan, the colonizer of Korea. For this reason, his literature in the 1920s broke the fixed literature forms originated from aesthetic autonomy. After all, his literature in the 1920s was created in many forms.

불온시 논쟁에 나타난 문학의 존재론

류동일(Ryu, Dong-Il) 한국어문학회 2014 語文學 Vol.0 No.124

This paper seeks to show implications in ontology on literature emerged from the debate on subversive-poetry. This debate between Lee Eo-Ryong and Kim Su-Young had debated about from why had happened crises of literature to how had been defined subversive-poetry. In the process, this debate had showed what will literature can do. This debate, therefore, explains an existent end in literature. In this debate, Lee Eo-Ryong had defined subversive-poetry as a kind of participation literature in a range permitted in literary institution. Lee Eo-Ryong had been a narrowed notion of literature in a institutional art, a autonomic art that historically had been formed in modern period. That is to say, Lee Eo-Ryong had restricted literature within a category of autonomic art. In contrast to Lee Eo-Ryong, Kim Su-Young had defined subversive-poetry as subversive behavior against a order. Through a discussion about subversive-poetry, Kim Su-Young had argued that literature had been renewed within self-affirmation. According to Kim Su-Young, a discord between a subversive-poetry and a established order had been the results in renewal based on literature’s this self-affirmation and thus had been not a negation but a critique. Through this notion of subversive-poetry, Kim Su-Young had opened category of literature and thus had been capable of arts that had intervened in life through new or diverse modes. This openness which had been charactered by Kim Su-Young is achievements in the debate on subversive-poetry.

김남천 문학에서 고발의 실천적 함의 연구

류동일 ( Ryu Dong-il ) 현대문학이론학회 2017 現代文學理論硏究 Vol.0 No.71

이 논문은 김남천 문학에서 고발이 실천적 관점에서 지니는 기능의 함의를 밝히는 것을 목적으로 한다. 김남천의 작품들이 실천이라는 관점에서 나온 그 나름의 대응책이었음을 감안할 때 그의 문학에 대한 연구는 주체의 자기동일성을 전제로 한 연구방법보다는 그 실천들 각각의 고유한 맥락에 대한 검토 위에서 진행되어야 한다. 따라서 김남천이 어떠한 맥락에서 고발문학론을 내세우고 있는가에 주목할 필요가 있다. 카프해산 이후 김남천은 새로운 창작방법론으로 고발문학론을 내세우고, 고발이 정체된 프로문학을 갱신할 수 있는 방법이라고 강조했다. 따라서 고발문학론에 대한 연구는 김남천이 무엇을 프로문학의 위기로 보았는가, 고발이 어떤 점에서 그 위기를 극복하는 방향이 되는가, 고발은 어떤 효과를 지니는가에 대한 고찰을 통해 진행되어야 한다. 김남천은 프로문학의 위기를 프로문학을 창작자들이 소시민이라는 점에서 찾았다. 김남천에 따르면 소시민-주체로서 이들 작가들은 현실을 특정한 방식으로 고착화하는 거시정치적 인식의 한계를 지닌다. 이 한계에서 벗어나, 실재에 기초한 변혁의 힘을 포착할 수 있게끔 하는 미시정치적 시각을 확보하는 방법이 고발이다. 김남천은 고발을 통해 프로문학을 창작한 작가들이 소시민 주체에서 벗어나 새로운 존재로 변이할 수 있을 것이라고 보았던 것이다. 또한 김남천은 구체적인 작품 창작을 통해 이 가능성을 타자와의 접속에서 찾고자 했다. 김남천 문학이 지닌 가치는 여기에 있다. This paper aims to reveal meaning of the practical functions of accusation in Kim, Nam-Cheon’s literature. Since Kim Nam-cheon’s literature was the responsiveness for his practice, research on his literature needs to proceed from a review of the unique context of each practice rather than a premise of subject as self-identity. In this respect, it should be noted that Kim Nam-cheon promoted the accusation literature in a certain context. After the disorganization of KAPF, Kim proposed accusation as a methodology of novel creation. According to Kim, the way of accusation could renovate a proletarian literature which had been retrogressive. Therefore, explaining meanings of accusation in Kim’s writings has to reveal what is the crisis of proletarian literature, how is accusation a way to overcome the crisis, and what is the effect of accusation in Kim’s writings. Kim saw that the proletarian literature was in a crisis since the writers of proletarian literature had been the petit bourgeois. In Kim’s thought, the writers as the petit bourgeois had experienced the limit of sight in mactopolitics which fixed the real in a certain way. Accusation as a methodology could break away the limit and acquire the sight in mactopolitics which was able to discover the power of revolution in the real. Through the discussion of accusation, Kim discovered the power of transition, which the writers of proletarian literature got out of subject as the petit bourgeois and became the new being. Through his concrete writings, Kim sought to catch this chance by the connection to the real. This is value of accusation in Kim, Nam-Cheon’s literature.

전형기 구(舊)카프 문인의 현실대응의 두 양상

류동일(Ryu Dong-il) 한국어문학회 2011 語文學 Vol.0 No.112

This paper aims to reveal sense on the former KAFP writers?s two aspects confronting realities in the turning point. To demonstrate the aim, this paper expresses two aspects confronting realities in novels of Han Seol-ya and Kim Nam-cheon. Two writers had developed methods against the logic of Japanese Imperialism in the turning point. Thus a study on these two writers in this period is important because they can show ways against the logic of state. After the Sino-Japanese War, Japanese Empire compelled to assign individuals to state. These ways were the face as seen from the front, signifying face that is despotic. According to Deleuze and Guattari, one of the two limit-figures of faciality, signifying face is that the black hole as signification is on the white wall as subjectification. In this way, Japanese Empire called individuals the nation. Under the logic of Japanese state which is signifying face, some writers were voluntarily subject to that logic. For example, In Jeong-sik accepted the logic of Japanese state as a reality and thus claimed that Japanese Empire gave rights when the nation colonized people in Korea. And he wished that Korean agricultures were extricated from backwardness by Japanese Empire. In this way, he was voluntarily subject to the logic of state in the turning point. However, some writers had progressed ways against the logic of Japanese state. One of those, Han Seol-ya revealed that contradictions in that logic had in fact excluded some alienated people, though he claimed same rights for all people. And he was maintaining class subjects that he had believed in his past life. In this way, he criticized the logic of Japanese state in the turning point. Yet, he expressed the desire to include alienated people in the course of critique. Thus, he could subsume the logic of state, if it included alienated people. He didn’t reject the logic of state itself, but admitted other logic of state. That is to say, he deleted signifying face that was the logic of Japanese Empire, but drew subjective face that was the other of figures of faciality though it is opposite to signifying face. On the contrary, Kim Nam-cheon explored the logic of state and the logic of negation and kept on renewing his subjects. Thus he performed self-probing in relation with the other and realities. Under his self-probing, he escaped from the logic of state in the turning point and thus went forward in his ways. In this way, he dismantled the face that is a kind of the logic of state. Then he became a probe-head that performed a veritable defacialization. By becoming a probe-head himself, he could present the way to escape from the logic of state.

해방직후 초창기 좌익 비평에 드러난 파시즘 극복 방향의 의미

류동일 ( Dong Il Ryu ) 한국현대문예비평학회 2012 한국문예비평연구 Vol.- No.37

이 논문은 해방직후 초기 좌익 비평에 드러난 파시즘 극복 방향의 의미를 드러내는 것을 목적으로 한다. 이 시기 국가 건설은 주된 화두였고, 그런 점에서 좌익 비평가들에 의해 주로 논의된 파시즘 담론을 설명하는 것은 중요했다. 왜냐하면 파시즘 담론은 국가 건설에 있어 경계해야 할 것에 관해 제시해 준 것이기 때문이다. 해방 직후 좌익 논객들은 모두 파시즘을 비합리성과 민족의식의 결합으로 간주했다. 그러나 좌익 논객들은 파시즘을 담론화하는 데 있어 두 개의 그룹으로 크게 나뉜다. 첫 번째 그룹의 논객들은 파시즘에 대항하여 국제주의를 강조했고 합리주의 사상의 연대를 추구했다. 이런 점에서 그들이 추구한 파시즘에 대항하는 존재는 제한된 계급이나 집단으로 실체화되지 않았다. 즉 그 대항 집단은 다양하게 나타날 수 있는 것이다. 이런 점에서 그들이 파시즘에 대항하는 길로 내세운 것은 들뢰즈와 가타리가 새로운 삶과 도주선으로 나아갈 수 있는 잠재성을 가진 것으로 해석한 유연한 분할선으로 해석될 수 있다. 이것이 이 시기 좌익 논객들이 보여준 파시즘 담론의 긍정적인 의미이다. 파시즘에 대항하는 길을 모색한 두 번째 그룹의 논객들은 파시즘이 계급적 차이를 지우고 그럼으로써 프롤레타리아를 억압한다고 비판했다. 이러한 방식으로 그들은 민족이 아닌 계급을 실체화한 것이다. 따라서 그들이 파시즘에 반하는 것으로 추구한 길은 프롤레타리아에 의해 주도된다. 결국 그들이 추구한 길은 고정되고 경직되어 새로운 삶이 불가능한 것으로 들뢰즈와 가타리가 비판한 견고한 분할선으로 해석될 수 있다. 이것이 이 시기 좌익 논객들이 보여준 파시즘 담론의 부정적인 의미이다. This paper aims to express implications of conquest course against Fascism presented the left commentators`s critiques in the beginning of the liberation era. In this period, building nation was main topic. In this way, to explain Fascism discourse that mostly was displayed the left commentators is important, since that discourse presented about cautionary thing at building nation. In the beginning of the liberation era, the left commentators all regarded Fascism as conjunction of irrationality and national consciousness. But, the left commentators largely were divided into two groups at discoursing Fascism. Against Fascism, one commentators in first group emphasized internationalism and sought for solidarity with rationalism thought. In this way, counter being against Fascism which was supported by they was not substantialized into limited class or group. Thus that counter being could be various and differential. Namely, the way against Fascism that was sought by one commentators in first group could be interpreted as the line of supple segmentation, which Deleuze and Guattari explained as potentialities advanced to new life and the line of flight. This is positive implication of Fascism discourse that the left commentators`s critiques showed. On the other hand, another commentators in second group criticized that Fascism had deleted class difference and then had oppressed the proletariat. In this way, they substantialized not nation but class. Thus the way against Fascism that was sought by another commentators in second group was led by the proletariat. After all, the way could be analyzed as the line of rigid segmentarity, which Deleuze and Guattari criticized into fixed and rigid and so without new life. This is negative implication of Fascism discourse that the left commentators`s critiques showed.

복막투석 : MCP-1이 인간 복막중피세포의 상피-중간엽 이행 (epithelial-mesenchymal transition)에 미치는 영향

류동열 ( Dong Ryeol Ryu ),이금희 ( Jin Ji Lee ),유태현 ( Tae Hyun Yoo ),한승혁 ( Seung Hyeok Han ),김승정 ( Seung Jung Kim ),강덕희 ( Duk Hee Kang ),최규복 ( Kyu Bok Choi ),윤견일 ( Kyun Il Yoon ),강신욱 ( Shin Wook Kang ) 대한신장학회 2008 춘계학술대회 초록집 Vol.28 No.1

「소년행(少年行)」연작에 나타난 김남천 소설의 의미

류동일 ( Ryu Dong-il ) 한국문학언어학회(구 경북어문학회) 2018 어문론총 Vol.78 No.-

이 글은 김남천의 「남매」와 「소년행」연작의 의미를 밝히는 것을 목적으로 한다. 이 연작은 카프 해산 후 김남천의 첫 작품이자, ‘모랄론’과 연계된 작품으로 분류되었다. 따라서 이에 대한 연구는 작품 자체의 성과를 밝히는 동시에 모랄론과 연계된 의미를 고찰하는 방식으로 진행되어야 한다. 「남매」에서 봉근은 자본의 교환 원리에 종속된 가정에 반발하다 결국 가출을 통해 이 원리로부터 이탈하는 문턱 넘기를 감행한다. 그리고 더욱 성숙된 비판을 바탕으로 「소년행」 의 봉근은 누이를 교환의 원리를 내재화한 타락한 존재로 간주하고, 박병걸의 전향이 실은 자기의 한계를 드러낸 것이라고 판단한다. 또한 모랄론과 연결시키면서 김남천은 자본의 교환 원리에 종속되는 사회화에 대한 거부로 이 작품들의 의미를 규정한다. 그러나 이 연계는 작품들이 잠재적인 형태로나마 문턱 넘기를 통해 교환의 원리 외부에 있는 다른 삶의 배치로 나아갔음을 인지하지 못하게 만든다. 따라서 「남매」와 「소년행」자체의 성과에 주목할 필요가 있다. The purpose of this paper is to clarify the meaning of Kim, Nam-Cheon’s “Brother and Sister” and “A Boy’s Going” series. This series were the first works of Kim after the dissolution of KAPF and were associated with moral theory. Therefore, research on this series should be done in a way that explores the effects of the works themselves and the implications connected with moral theory. In “Brother and Sister”, Bong-Geun repulsed the home that was subordinated to the principle of capital exchange, and eventually acted passing the threshold to escape from this principle through runaway. And based on the more mature critique, Bong-Geun in “A boy’s Going” regarded his sister as a fallen existence that had internalized the principle of exchange and judged that Park, Byung-Geol’s thought shift had turned reveals his limitations. In addition, in connection with moral theory, Kim defined the meaning of these works as a refusal to socialize, which was subject to capital exchange principle. This connection, however, made it unnoticeable that the works had moved to other life’s arrangements outside the principle of exchange through passing the threshold, even in the form of potentials. Therefore, it is necessary to pay attention to the achievements of “Brother and Sister” and “A Boy’s Going.”

하악골에 발생한 법랑아세포암종

류동목(Dong-Mok Ryu),전용일(Yong-Il Jeon),이상철(Sang-Chull Lee),김여갑(Yeo-Gab Kim),이백수(Baek-Soo Lee) 대한구강악안면외과학회 2002 대한구강악안면외과학회지 Vol.28 No.3

Carcinomas derived from ameloblastomas have been designated by a variety of terms, including malignant ameloblastoma, ameloblastic carcinoma, metastatic ameloblastoma, and primary intra-alveolar epidermoid carcinoma. The term of ameloblastic carcinoma is differentiated from the term of malignant amelblastoma and is defined as an ameloblastoma in which there is histologic evidence of malignancy in the primary tumor or the recurrent tumor(or metastasis), regardless of whether it has metastasized. The well-documented and adequately followed cases are currently lacking and this report described an instance of ameloblastic carcinoma with good result after treatment and review of literature.

균일계에서 폴리비닐알코올과 가교된 셀룰로오스막의 제조와 특성화

류동일,최장남,신윤숙,Ryu, Dong-Il,Choe, Jang-Nam,Sin, Yun-Suk 한국섬유공학회 1991 한국섬유공학회지 Vol.28 No.1

Blend films of cellulose with polyvinyl alcohol (PVA) were prepared in N,N- dimethyl-acetamide (DMAc)11 ithiu m chloride (LiCl) and d imethylsu Ifoxide (DMSO) /paraformald e hyde (PF) by coagulation in water and were cross - linked by heat treatment. Blend solutions were miscible subsequently over the wide composition range except the blend range of cellulose/PVA 10/90~20/80 in DMSO/PF, The wide angle x- ray diffraction result indicates that the crystallinity of blend films increases with increasing PVA content. Fractured surfaces of cross - linked films observed by scanning electron microscope (SEM) show that roughness increases in the intermediate blend ratio. The films prepared in DMSO/PF show better thermal stability than those prepared in DMAc/LiCl. The stability increases with increasing PVA content. The permeation coefficients of films prepared in DMAe/LiCl are larger than those in DMS/fPF and show maximum value in the intermediate composition range.