본 히펠 린다우병 환자에서 소뇌와 척수에 동시에 발생한 혈관아세포종 - 증례보고 -

윤창식,하영수,박종운,현동근,Yoon, Chang Sik,Ha, Young Soo,Park, Chong Oon,Hyun, Dong Keun 대한신경외과학회 2001 Journal of Korean neurosurgical society Vol.30 No.8

Hemangioblastomas are rare benign tumor of the central nervous system that commonly occur in the posterior fossa around the 4th ventricle. In case of von Hippel-Lindau disease, hemangioblastomas involve multiple regions such as cerebellum, spinal cord and brainstem but, rarely show simultaneous involvement of cerebellum and spinal cord. We have experienced a case of multiple hemangioblastomas that were located at the cerebellum, cervical cord and conus medullaris and also had multiple lesions that a part of von Hippel-Lindau disease ; retinal angioma, syringomyelia, multiple cyst on kidney and pancreas, renal cell carcinoma on left kidney. Hemangioblastomas on cerebellum and spinal cord were removed totally, retinal angioma was treated with laser photocoagulation and renal cell carcinoma was also totally excised. The authors report a case of von Hippel-Lindau disease had multiple located hemangioblastomas on cerebellum, cervical cord and conus medullaris with review of literature.

최승호의 '고비(Gobi)'를 통해본 자연의 고비

윤창식(Yoon Chang-Sik) 문학과 환경학회 2007 문학과 환경 Vol.6 No.2

This paper aims to examine the eco-lyrical significance immanent in a change process of Choi Seung Ho's eco-lyrical writing about the distorted and devastated ecosystem of nature through his 'yellowish brown poems' in his poetry『Gobi』. His eye-sight toward the objects begins to be more flexible from late 1990s in contrast to that of former poems, and he shows the sublimated manner to put the relation between ego and object on the reciprocal one. He tries to destroy the anthropo-centric thinking paradigm, and dares to plan a new world according to natural aura in『Soft Book』(2000). Choi seems to have possessed the affection for desert by nature in terms of 'desert poem’ like「A Loaf of Foam in Desert」or 「Yellow Sand」, and this poetic tendency toward the stuff 'desert' deepens more through the「Sandman」and「Sand Dune」, and his poetic vision toward the immanent meaning of desert especially in the Gobi Desert turns into more nature-friendly paradoxically through the 'fully empty fullness' and critical point of nature. The poetic selves in 'yellowish brown poems' perceive the non-existence in desert overcoming all the greed, conflict and absurdity in the secular and material-stricken world. The poetic selves in the very paradoxical poetry『Gobi』have reached eventually the consciousness that humans don't have to live in desert but have to live like desert in order to come over the critical point of present nature being destroyed by capitalistic avarice and thoughtless exploitation.

소로우의 생태시문학적 ‘자유시’ 연구

윤창식(Yoon, Chang-Sik) 문학과환경학회 2014 문학과 환경 Vol.13 No.1

This paper investigates the symbolic meaning of ‘free verse’ especially in H. D. Thoreau’s A Week on the Concord and Merrimack Rivers. Since the early 19th Century, the Puritan tradition, New American democracy, European Romanticism and Oriental meditation philosophy like Buddhism and Hinduism have intersected or interwoven with one another. The buds of free verse began to sprout in this integral culture basis, and Thoreau followed the example of his contemporary Walt Whiman’s Leaves of Grass that has been referred to as a canon of exceptional free verse. Thoreau’s free verse is based on the eco-lyrical nature writing the concealed natural mystery or ‘unio mystica’ which has been inscribed on the surface of rivers instead of merely admiring and appreciating Nature. Thoreau regards ‘verse’ as the purest and the most ingenuous form of literature although most sentences are expressed in prosaic form as in A Week on the Concord and Merrimack Rivers, Walden, Diary etc. His proses seem to have been written in unmetrical prosody, but some contain metrical rhyme, assonance and alliteration. In this sense, this paper attempts to compare and interpret the poetic diction and lingual spectrum through the version of prose into verse or vice versa. Like this, in this version of linguistic style, we can experience the disappearing of the border line between prose and verse naturally rather than artificially. Thoreau confesses the limits of language or ‘language of silence’ in the age of noisy civilization through the paradoxical expression: “Silence cannot be interpreted in any language and even mother tongue.” Eventually, Thoreau is a inborn poet of free verse by using the oxymoron that various natural voices can be heard only through the profound and sublimated language of silence.

류외향의 '들판'과 '바람'의 생태시문학적 함의

윤창식(Yoon Chang Sik) 문학과환경학회 2011 문학과 환경 Vol.10 No.2

The purpose of this paper is to analyze from a eco-literary viewpoint how Ryu Oe Hyang's poetic narrators can overcome incoherence of realistic life and temerity or fetishism of modern civilization, and eventually invigorate 'mean field' filled with 'starved wind' into the original site of immortal life through the multiple imagery of 'field' and 'wind'' in Flower Bed of Green Hands. The 'field' in this poetry is a very unique poetic space originated from the situation where poetic narrators intend to escape from the civilized world, while wandering on the borderline between material modernity and ecological origin. Poetic narrators are eager to be converted into the spirituality of divine nature through the paradoxical dynamism of 'starved wind'. All-creatures immanent in Ryu's field where pretentious and deceptive mind and behavior have disappeared, become to take part in a blissful ritual for rain, and thereafter eroticism of pregnancy and incubation is rolling in the field. Ryu's field can be regarded as a eco-oriented place, in which all the absurd things hostile to one another perform an exorcism of reconciliation and eventually experience enchantment of immortality.

‘인간의 원형(原型)’으로서의 동물

윤창식(Yoon Chang-Sik) 문학과환경학회 2006 문학과 환경 Vol.5 No.1

‘Anthropocentrism’ that mankind has looked themselves as a center of all-creatures as an advance guard point of capitalism has put Nature on a subordinate rank, and destructed ecological system under the name of civilization incessantly. Accordingly, it is the first task to correct wrong view point of mankind on modernized civilization for the recovery of ecological system. In this respect, this study is to analyse eco-poetical symbolic meaning of animals as a archetype of mankind poetized in the German Heramnn Hesse’s novels, lyrics and fairy stories and Korean Jeong Ho-Seung’s lyrics and ‘fairy stories for the adult’. Especially, it is very notable that these poets express a will to recover pure and innocent archetype of lost mankind because of fetishism in the modernized industrial age through the form of a fairy story. Hesse criticizes ‘development concept’ rooted in nature-destructive civilization through paradoxical and provocative poetic words in “City”and “Bird” etc. On the other hand, even though Jeong sneers the men who are to be inferior to a bird and a dog through ironical words in several poems such as “Fortune-telling Bird”, his poetic selves personified animals such as bird, butterfly, chestnut-worm and shrimps etc. in the most of poems and fairy stories try to transcend limits of absurd modern mankind who has an egoistic and anti-ecological attitude toward Nature. Above all, 'bird' has a role of the herald who has a desire to recover archetype of mankind and turn it into a warm-hearted one through an endless love.

항문부 질환의 임상적 고찰

윤창식(Chang Sik Yoon),손기섭(Ki Sub Son) 대한외과학회 1981 Annals of Surgical Treatment and Research Vol.23 No.1

2행정 디젤엔진의 소기압력이 사이클변동에 미치는 영향에 관한 연구

윤창식(Chang-Sik Yoon),김치원(Chi-Won Kim),김기복(Gi-Bok Kim) 한국산업융합학회 2016 한국산업융합학회 논문집 Vol.19 No.3

Recently it has been focused that the automobile engine has developed in a strong upward tendency for the use of the high viscosity and poorer quality fuels in achieving the high performance, fuel economy, and emission reduction. Therefore it is not easy to solve the problems between low specific fuel consumption, and exhaust emission control at automotive engine In this study, it is designed and used the test bed which is installed with fuel injector controller. In addition to equipped engine using CRDI by controlling the injection timing with modulator, it has tested and analyzed the engine cycle variation characteristics, as it is varied that they are the operating parameters: fuel injected quantity, injection timing, engine speed and scavenging pressure.

제이 그리피스의 ‘자연의 시간’과 ‘생태언어’

윤창식(Yoon, Chang Sik) 문학과환경학회 2013 문학과 환경 Vol.12 No.2

This paper pays attention to the mutual relation between ‘natural time’ and ‘ecological language’ as described in Jay Griffiths’ A Sideways Loot at Time and Wild: An Elemental Journey, and to survey its meaning in the light of ecological linguistics. The characteristics of natural time include such ideas as slowness, feminity, intuition, implication and introversion. Since natural language sympathizes with natural time, it becomes full of eternal vitality contrary to the lineal time of modern industrial society. Furthermore, lively natural language is capable of stretching out endlessly through self-proliferation. Griffiths emphasizes that the four basic elements of earth, water, fire and air in nature are interwoven and she poeticizes them in a variety of forms through the narrative technique of ‘synaesthesia’. Examples of this include ‘verdant and noisy verb’, ‘peak salmon-smelling’, ‘visible silence’ and ‘dolphins seeing in sound’, ‘natives hearing their way’, ‘tones of color in the sands like tones of music’. In this sense, it becomes possible to sympathize with the feeling that “the song can be ‘seen’ in the land and the land can be ‘heard’ in the song” in places of primitive and elemental wilderness. Contrastingly, although the author has an excellent command of techniques such as simile, metaphor, irony and synaesthesia, she often remains silent in front of nature and this ‘language of silence’ can be seen as the limit of man’s linguistic capabilities. Modern capitalism and materialistic civilization have almost degraded the permanent circulation of natural time and natural language into the means for material profit. Natural ecosystems are becoming devastated rapidly due to these modern values and attitudes and this is clearly evident in the disappearance of minority languages in remote of the world. Griffiths criticizes such a linguistic invasion called a ‘language imperialism’ and instead dreams of an ‘ecological democracy’ throughout the world.

자연의 목을 비트는 "링어"(Wringer) -J. 스피넬리의 『목을 비트는 아이』를 통해 본 인간의 위악적(僞惡的) 폭력성

윤창식 ( Chang Sik Yoon ) 21세기영어영문학회 2009 영어영문학21 Vol.22 No.4

The purpose of this paper is to examine how the violent mechanism of mankind in J. Spinelli`s Wringer unfolds and develops, and what influence on children`s abnormal growth the evil-pretending violence can make. In Wringer a group of men in a `peaceful` country village who appear to be very `normal and moral seemingly` commit bloodcurdling and violent behaviors by shooting the flock of pigeons competitively which have been captured in a big cage under the name of `Pigeon Day`, a traditional festival. Protagonist Palmer, nine-year old boy, takes part in wringing the necks of `not-yet-dead` pigeons in order to become a brave wringer through his peers` incessant pressure. In this context the behavior of wringer can be regarded as even more `brutal than lion that tends not to kill the defeated enemy`. Because violence and power are twins, and power contains an intrinsic impulse to grow up, power is creative. In this respect, if men`s power pursuit can be thought of as a desire to dominate others, the powerful and violent behavior toward weak pigeons in Wringer can be considered as power impulse in a literal sense. But this cannot be justified or beautified as a `life-promotion function` or `an intrinsic impulse to grow up` from the concept that K. Lorenz has found in animal system, because violent behavior to shoot and kill the innocent pigeons is no more than a result of thoughtless play-instinct of men, and so it is not only far from the revolutionary cause to overthrow an unfair and unreasonable government. but also does not seem to be related to `creative madness` which Fanon, one of violence admirers, referred to who advocate the mechanism of destruction and creation in nature positively. At the end of Wringer, the scene in Palmer`s dream that millions of pigeon "pinched the edges of the town, plucked it up and flew away with it in their beaks", appears to be a very problematic. This suggests that any form of evil-pretending violence can not be justified or embellished despite plausible pretexts for play-instinct or power-pursuit desire of mankind.

[논문] '나무'의 생태시문학적 함의 - 헤르만 헤세와 안도현의 경우

윤창식(Yoon Chang-Sik) 문학과환경학회 2004 문학과 환경 Vol.3 No.-

This study is to analyze the ecolyrical implications of 'tree-motive' in German Hermann Hesse's ecolyrics and Korean poet Ahn Do Hyun's ones, and to grasp a tendency of ecolyric of two countries.<br/> Since Rachel Carson, a biologist in USA., warned the hazards of environmental destruction because of abusing of chemical agricultural medicines, ecology has rooted as a principal science in European countries. The cold-war structure between West and East collapsed since 1980s, so human-beings have paid their attention to individual- and national egoism rather than an ideologic problems. Unfortunately, the pursue of egoism fostered the economical development but resulted in environmental pollution and vicious natural devastation.<br/> In the light of these changes and trends, ecolyrical poets became not to sing the beauty of nature simply but to perform the satirical aspect of nature aesthetically. They embody the life-ideology through their rich poetic imagination seriously and incessantly in the name of ecolyrics, environmental poems or life-poems etc. since 1980s.<br/> German ecolyrics are the critical verification and warn of the development as far, and aim at the 'ecotopia'. Hermann Hesse's nature-lyrics use mostly aesthetical words, the German ecolyrical poets since 1980s use very straight and radical words, so they are very cynical and paradoxical. On the other the hand, The ecolyrical- and environmental poems of Korea such as Ahn, Do Hyun, are very satirical and metaphoric except for several poets such as Choi, Seung Ho.<br/> The quince which "holds a few quince-fruits" will not evade the annoying and bothersome rain, because the "october-trees don't know any sorrow". In Germany or Korea, when poets don't write so-called ecolyrics any more, the World can become a livable one.