윤동주 시에 나타난 선비의식의 양상

이종옥(Lee, Jong-ok) 한국문화융합학회 2006 문화와 융합 Vol.28 No.-

This dissertation began from realizing the excessive lack of researches for Korean ideology compared to sufficiency of researches of Western ideologies for Yoon Dong Ju and that the evaluations of him as a national poet is so controversial, as his life and works do not reveal clear resistance. He was a scholar-type poet with a soft and warm nature, but strong will in the inside. Therefore, this dissertation studied what pity and shame that appears frequently in his poems through scholars perspective. Pity that appears frequently in Yoon Dong Jus poems is the image of humanity, a virtue a scholar must have. The scholar nature of Yoon Dong Ju, which is always soft and warm is well shown through his poems. Humanity is the mind to give humanistic, benevolent, kind love to people, and also a mind to sympathize for others. His love began at affection for the family for parents and siblings and widened its scope to brother? neighbor? all human being. The affection(pity) in his poems are well represented through his strong will for independency. The image of pity that comes from inside of him based on his scholars mind made his will for nurturing of virtue and will for independency even stronger. Shame that appears frequently in Yoon Dong Jus poems is the image of justice, which is a virtue that scholars must have. His scholars nature, with soft and warm on the outside and strong will in the inside, is well shown in his poems. Justice originates from shame that one feels from doing something wrong. The reason shame is a dominant image in his poems are actually based on his scholars mind, the image of shame aroused from justice makes his nurturing of virtue and will for independency even stronger. The image of pity and shame are revealed as pain, sadness, humiliation, hatred, and pity for others, and unified his will for independency. Yoon Dong Ju was not a fighter-type, but a soft on the outside and strong in the inside-type scholar. This dissertation unified him as a poet and poetic speaker by revealing his strong will towards independence in union without any inflection through his life and work until he was arrested after writing, Poet written Easy ¹by Japanese police. Through this dissertation, the justice that Yoon Dong Ju is a national poet is rose based on our ideology.

양측성 경골하 부골 1례 보고

이종옥(Jong Ok Lee),권순원(Soon Woun Kwon),이원갑(Won Kap Lee) 대한정형외과학회 1981 대한정형외과학회지 Vol.16 No.4

DSLR 카메라와 결합이 가능한 뷰카메라용 멀티커넥터에 대한 연구

이종옥 ( Jong Ok Lee ) 한국사진학회 2010 AURA Vol.0 No.22

The multi-connector(for View Camera) invented in this study can be used on most view cameras with a very few exceptions. Currently, most professional and amateur photographers are using 20-million or greater pixel full-frame digital SLR cameras. Yet, with this invented connector, they can also use their view cameras in combination with their DSLR cameras to produce high-quality photographs. Hence, it becomes possible to use the movement of view cameras along with the latest high-quality lenses and high-end classic lenses. Moreover, the high-quality lenses used on medium format cameras can be used with newly invented pantoscopic lens board to produce fresh experience in shooting. Even the photographs taken by high-priced panorama cameras have distortions; the multi-connector created in this study allows multiple shots to be taken by sliding the DSLR camera side-to-side, which then can be assembled together with Photoshop tools, producing photographs with no distortions and no financial burden on the photographer. The advantages of traditional analog photography that have been advancing for 170 years need to be preserved. The sound harmony of analog photography and digital photography will accelerate the overall advancement of photography.

역량기반 교육모델 관점의 플립수업 성과에 관한 연구

이종옥 ( Jong Ok Lee ),김인근 ( In Gun Kim ) 경북대학교 중등교육연구소 2015 중등교육연구 Vol.63 No.4

본 연구는 최근 우리나라의 중등교육과정에서 실험적으로 실시되고 있는 플립수업 또는 거꾸로 수업에 대한 수요자 관점의 실증분석을 통해 그 성과를 분석하여 제시함으로써 플립수업에 대한 이론적 근거를 제시하고자 하는 목적으로 수행되었으며, 플립수업을 실시하고 있는 중학교 수학교과의 수강생 232명을 설문조사하였다. 플립수업의 변인으로는 모둠별 토론학습과 학습자중심문화 및 비디오사전학습을, 학습자 특성에 대해서는 학습에 대한 책임감 및 상호작용역량을 변인으로 설정하였다. 플립수업의 교육적 성과는 의사소통역량과 수업에 대한 만족도 및 자기효능감 등의 정의적 영역으로 측정하였는데, 플립수업에 있어서의 의사소통역량이 수업에 대한 만족도 및 자기효능감의 매개적 역할을 하는 것으로 나타났다. 본 연구 결과 플립수업의 비디오사전학습 변인과 학습자특성의 학습에 대한 책임감 변인은 의사소통역량에 영향을 미치지 않은 반면, 플립수업의 모둠별 토론학습과 학습자중심 문화 및 학습자의 상호작용역량은 의사소통역량을 통해 플립수업에 대한 만족도 및 자기효능감에 유의미한 영향을 미치는 것으로 조사되었다. The main purpose of this research is to provide the theoretical rationale of the flipped class that is being carried out experimentally in middle schools in Korea. The study was conducted with 232 students in the flipped math classes in one middle school located in Gyeonggi-do. Cooperative learning, student-centered culture, and pre-training by video, and responsibility of self-directed learning and relational-oriented interaction ability are chosen for variables on the flipped class and the learner`s characteristics, respectively. The competency on communications, satisfaction on the flipped class, and self-efficacy are selected to measure the affective educational performance of the flipped class. The result are as follows. The competency on communications was found as a mediator to satisfaction and efficacy, pre-training by video and responsibility of self-directed learning are not affect statistically on competency on communications. But cooperative learning, student-centered culture, and relational-oriented interaction ability are found as important variables affecting on satisfaction and efficacy through competency on communications.

정지용의 「바다」 연작시에 나타난 수(水)의 상상력

이종옥(Lee, Jong-Ok) 한국문학회 2011 韓國文學論叢 Vol.59 No.-

본고는 동양사상의 토대를 이루는 음양오행(陰陽五行)사상에 주목하면서 논의를 시작하였다. 이러한 논의를 하게 된 계기는 정지용 시의 특징을 해명하기 위한 각축이 「바다」 시편을 통해 개진되었다할 만큼 중요함에도, 서구적 이론에 편중되어 동양사상적 논의는 찾아보기 어려웠기 때문이다. 정지용이 술회한 바처럼 모더니즘시의 탄생 과정에서 예술보다 정치적 요인이 크게 작용했다면, 그의 모더니즘 시의 의의는 현저히 약화될 수밖에 없다. 문학작품은 작가가 태어난 사회의 산물이다. 이에 본고는 정지용의 「바다」 연작시를 작가가 태어난 사회의 문화, 전통, 사상에 깊숙이 내재된 음양오행(陰陽五行論)적인 관점에서 논의하였다. 음양오행(陰陽五行)적인 관점은 감정의 절제를 지향하는 동양화론적인 예술론이나 '안으로는 熱하되 밖으로 서늘하옵기' 등 정지용의 시론에 충실한 것이므로 나름대로 의미가 있다. 서구적인 관점에 입각한 논의가 신선한 감각과 회화적 이미지를 잘 보여준다면 동양적인 사상에 입각한 논의는 작품 속에 숨어 있는 작가의 내면세계 즉, 사상을 잘 보여 준다. 정지용의 「바다」 연작시에 나타난 수(水)의 상상력은 그의 내면세계에 있는 존재론적 고뇌의 실체를 구체적으로 들여다 볼 수 있게 해주었다. 「바다」 연작시에 대한 논의 결과, 「바다」 연작시에 나타난 수(水)의 상상력의 핵심은 '음지(陰地)가 양지(陽地)되고 양지(陽地)가 음지(陰地)된다'는 것이다. 이는 음양오행(陰陽五行)사상의 기본원리이며 수(水)의 순환성이다. 여기에 기대어 시인이 말하고자하는 것은 '바다'에 나타난 '생명성 저장'의 이미지나 '기다림'의 이미지에 내포된 소생 가능성 즉 희망이었다. 「바다」 연작시에 나타난 수(水)의 상상력은 연작시를 관통하는 주제인 생명소생, 즉 희망을 부각시킴으로써 소묘적인 회화성 속에 내재된 정지용의 현실인식 혹은 현실에 대한 대응방법을 구체적으로 보여주었다. 「바다」 연작시에서 화자의 시선이 줄곧 내면을 향해 있기 때문에 만해, 상화, 육사처럼 강렬한 현실인식을 밖으로 드러내지는 않았으나 생명 소생의 필연성을 통하여 희망을 암시하였다는 점에서 의의가 있다. 「바다」 연작시에 나타난 수(水)의 상상력은 존재론적 고뇌의 과정한 가운데 펼쳐진 것으로 존재의 안온함이 필연적 귀결이다. 이는 정지용의 내면세계가 지향하는 바는 존재론적 안전감을 누릴 수 있는 삶의 주체'로 거듭나는 것이었음을 보여주는 것이다. 아울러 수(水)의 상상력은 후기 '산시편'으로 나아가는 첩경이 되는 것임을 보여주었다. '바다'에서 '산'으로 공간은 이동되었지만 본질적으로 같은 사상을 공유하고 있었던 것이다. This piece of writing began its discussion as focusing on an idea of Yin-Yang Five Elements (陰陽五行) that form a foundation of Orientalism. The reason for such discussion is that it is difficult to find oriental discussions about competitions to explain characteristics of poetry by Jeong Ji-Yong although they are important as much as to be expressed through poetry because its is concentrated on western ideas or theories. If political factors rather than art were applied in the birth process of Modernism poetry as Jeong Ji-Yong speaks, then the meaning of Modernism poetry in his work has no option but to be weakened. Literary works are the fruits of a society where the writer was born. This paper discussed about poetry series 「Ocean」 by Jeong Ji-Yong in the Yin-Yang Five Elements (陰陽五行論) perspective that is deeply inherited in culture, tradition, and idea of a society where the writer was born. The Yin-Yang Five Elements perspective an orientalism art theory that aims moderation of emotion, but it has significance as being faithful to poetics of Jeong Ji-Yong in connection with 'passionate on the inside but cool on the outside. If discussions based on western ideas or theories show a fresh sense and a pictorial image then discussions based on oriental ideas reveal the inner world of the writer, in other words philosophy, that is hidden under the work. Imagination of water expressed in poetry series 「Ocean」 of Jeong Ji-Yong allows to look into true nature of ontological agony inherent in his inner world. As a result of discussing poetry series 「Ocean」 by Jeong Ji-Yong, the key of imagination of water in poetry series 「Ocean」 is that 'shade become light and light becomes shade'. It is the fundamental principle of Yin-Yang Five Elements (陰陽五行) and also circulativity of water (水). What the poet wanted to speak was possibility of revival, hope, that is involved in the image of liveliness preservation or the image of waiting appeared in 'ocean'. Imagination of water presented in poetry series 「Ocean」 displayed Jeong Ji-Yong's perception on reality underlying in delineative pictorialization or corresponding measures against reality by emphasizing revival of life, which is hope, that penetrates the whole poetry series. It is important that it suggested hope thorugh inevitability of life revival even through strong perception on reality as Manhae, Sanghwa, and Yuksa is not revealed on the outside because the narrator's eyes are facing the inner side. Imagination appeared in poetry series 「Ocean」 is spread in the middle of process of ontological anguish, and peace of existence is an inescapable consequence. This shows the inner world of Jeong Ji-Yong was reforming as a main agent of life to enjoy an ontological sense of security. In addition, internal agony in poetry series 「Ocean」 became a shortcut to step forward to the following mountain poetry. Space has been moved to a 'mountain' to the 'ocean', but it essentially shares same idea. Lastly, this writing hopes that analysis on poetry 「Ocean」 can imply context with the latter poetries or become an opportunity to expand understanding on the path of Jeong Ji-Yong's poetries.

복부검사에 있어 관전압 제어 software의 유용성에 관한 연구

이종옥(Jong Ok Lee),이혜진(Hye Jin Lee),김홍식(Hong Sik Kim),임기빈(Ki Bin Im),강성호(Sung Ho Kang),임재식 대한CT영상기술학회 2012 대한CT영상기술학회지 Vol.14 No.1

I. Purpose The purpose of this study is to compare and analyze quantitatively and qualitatively dose and image quality between the group using no tube voltage control software and the group using tube voltage control software and noise reduction software and so examine the usefulness of examination methods using tube voltage control software and noise reduction software. II. Materials and methods Among the patients who had visited this Hospital and had received abdominal CT examinations from June to July 2011, this study selected 100 patients using no tube voltage control software and 100 patients using tube voltage control software. 1. Dose By using the total CTDIDLP values indicated on the monitor after examinations, this study compared and analyzed the doses between the group using no tube voltage control software and the group using tube voltage control software. 2. Quality of image This study divided the group using no tube voltage control software and the group using tube voltage control software and noise reduction software simultaneously and so compared their contrast noise ratio(CNR). This study selected 50 patients by each group at random and so measured aorta, portal vein, liver, and psoas muscle for CNR. CNR was calculated by the following formula(Formula-1). (Target HU - Target Noise)/Target Noise, (Aorta HU - Aorta Noise)/ Aorta Noise (식-1) 3. Noise reduction software validation This study evaluated the usefulness of noise reduction software by using diluted contrast agents. In order to obtain the range similar to 50~300, that is, the mean value of aorta, portal vein, liver, and psoas muscle, which was used in clinical studies, this study diluted physiological saline 40 ml and contrast agent 1.5, 1.2, 1.0, 0.8, 0.5, and 0.2 ml in 6 syringes, and then acquired the control groups which were regarded as references. In order to evaluate tube voltage control software and noise reduction software, this study decreased gradually exposure conditions and so acquired the experimental groups which increased HU and noise value. The control groups as reference images acquired their images in the condition of 120 kVp and 200 mAs. The experimental groups for comparison acquired their images in the condition of 100 kVp and 100 mAs. The experimental groups used noise reduction program and so recomposed images by 5 stages and then were compared with the control groups for noise values. III. Result The mean age, scan range and CTDIDLP value of the group using no tube voltage control software were Age 59.6, 495.1, and 468mGycm. In contrast, the mean age, scan range and CTDIDLP value of the group using tube voltage control software were Age 58.4, 494.7, and .265.6mGycm. In order to test the significance between groups, this study conducted independent T-test. According to such results, gender (p=0.462) and range(p=0.948) showed no significant difference. However, mean CTDIDLP values decreased by 43% in the group using tube voltage control software and also showed the statistically significant difference(p=0.000). According to the results of comparing with CNR which was set up as the reference in order to measure the quality of images, the group using tube voltage control software increased HU and noise values in comparison with the group using no tube voltage control software. The group using both tube voltage control software and noise reduction software simultaneously could decrease noise values without changing HU values greatly in comparison with the group using only tube voltage control software and also showed statistically significant results. Also, according to the results of comparing noise values, in using the noise reduction software of Stage 2-3, the noise value similar to that of the control group could be obtained. IV. Conclusion This study tried to examine whether using tube voltage control software could decrease dose and using noise reduction software could decrease the occurrence of no 복부 CT검사에 있어 관전압 제어 software를 사용하지 않은 그룹과 관전압과 noise reduction software를 적용한 그룹의 선량과 영상의 질을 정량, 정성적으로 비교 분석하여 관전압과 noise reduction software를 적용한 검사 방법의 유용성에 대해 알아보고자 한다. 대상 및 방법 2011년도 6~7월까지 본원에 내원하여 복부 CT검사를 시행한 환자 중 관전압 제어 software를 사용하지 않고 검사를 시행한 환자 100명과 관전압 제어 software를 적용하여 검사를 시행한 환자 100명을 무작위로 선정하였다. 1. 선량 검사 후 모니터에 표시되는 Total CTDIDLP 값을 사용하여 관전압 제어 software를 사용하지 않은 그룹과 관전압 제어 software를 사용한 그룹의 선량을 비교 분석하였다. 2. 영상의 질 관전압 제어 software를 사용하지 않은 그룹과 관전압 제어와 noise reduction software를 동시에 사용한 두 그룹으로 나누어 contrast noise ratio(이하 CNR)를 비교하였다. 각 그룹당 50명을 무작위로 선정하였으며 CNR은 Aorta, Portal vein, Liver, Psoas muscle을 측정하였다. CNR은 아래의 식으로 구하였다 (식-1). (Target HU - Target Noise)/Target Noise, (Aorta HU - Aorta Noise)/ Aorta Noise (식-1) 3. Noise reduction software validation 조영제 희석 Sample을 이용하여 Noise reduction software의 유용성을 평가하였다. 임상연구에서 사용된 Aorta, portal vein, liver psoas muscle의 평균 HU값인 50~300과 유사한 범위를 얻기 위해 6개의 syringe에 생리식염수 40ml와 조영제 1.5, 1.2, 1, 0.8, 0.5, 0.2 ml를 희석한 후 기준이 되는 대조군을 구하였다. 관전압 제어 software와 noise reduction software의 평가를 위해 노출조건을 점차적으로 감소시켜 HU와 noise값이 증가된 실험군을 구하였다. 기준 영상인 대조군은 120 kVp, 200 mAs, 비교를 위한 실험군은 100 kVp, 100 mAs 조건에서 영상을 획득하였고, 실험군은 noise reduction 프로그램을 이용하여 5단계로 영상을 재구성한 후 대조군의 noise 값과 비교 분석하였다. 결과 관전압 제어 software을 사용하지 않은 그룹의 평균나이, 스캔범위, CTDIDLP 값은 59.6세, 495.1, 468.5mGyㆍcm이었고, 관전압 제어 software을 사용한 그룹은 58.4세, 494.7, 265.6mGyㆍcm이었다 그룹 간 유의성 검증을 위해 실시한 independent T-test 결과, 성별(p=0.462)과 range(p=0.948)에서는 유의한 차이를 보이지 않았다. 그러나 평균 CTDIDLP 값은 관전압 제어 software를 사용한 그룹에서 43% 감소하였으며 통계적으로도 유의한 차이(p=0.00)를 보였다. 영상의 질을 측정하기 위해 기준으로 설정한 CNR을 기준으로 결과를 정리하면 관전압 제어 software를 사용하지 않은 그룹과 비교하여 관전압 제어 software를 사용한 그룹에서 HU값과 Noise값이 증가되었고, 관전압 제어 software를 사용환 그룹과 비교하여 관전압 제어 software와 noise reduction software를 함께 사용한 그룹에서 HU값의 큰 변화없이 Noise를 감소시킬 수 있었으며, 통계적으로도 유의한 결과를 나타냈다 또한, 실험군의 Noise 값을 비교한 결과 2-3단계 Noise reduction. software 적용 시 대조군과 유사한 Noise 값을 얻을 수 있었다. 결론 관전압 제어 software를 이용한 선량감소 효과와 저 관전압 사용으로 인한 noise의 발생을 software 처리과정을 통해 감소시켜 영상의 진단적 가치를 유지할 수 있는가를 알아보고자 하였다. 관전압 제어 software의 사용으로 인해 선량을 40% 정도 감소시킬 수 있었으며, noise 제거 software의 적용은 저 관전압 사용으로 인한 영상의 noise 증가를 관전압 제어 software를 사용하지 않고 촬영한 영상의 noise와 비슷한 수준으로 감소시킬 수 있었다. 따라서 복부 CT 검사에 있어 관전압 제어 software와 noise 제거 software의 적용은 진단적 영상의 질을 담보함과 동시에 선량을 감소시킬 수 있는 방법일 것이다.

고급 중형렌즈의 DSLR적용을 위한 실험

이종옥 ( Jong Ok Lee ),안시준 ( Si Joon An ) 한국사진학회 2012 AURA Vol.0 No.26

This study was done to prove how high-quality analog lenses (for film cameras) can be used efficiently in midst of recent influx of digital cameras. The benefits of using semi format camera lens on DSLR are explained in this study supported by empirical data. Specifically, the study focuses on resolution measurements that can be used to infer the lens quality. For this study, Canon Zoom Lens (24-70mm 1;2.8 L) and popular semi format camera lenses with similar focal distance were used. Moreover, Simenstar Resolution Chart was used to measure the resolution and IE Analyzer was used to analyze the data. The results showed that semi format camera lens produces higher resolution that regular DSLR lenses. Also, closing the aperture was found to decrease overall resolution but it also decreases the resolution gap between the focus area and the peripheral area. The study discusses two major findings: 1) using a high quality semi format camera lens produces higher quality photographs than using a DSLR lens, and 2) the relatively low price of analog lenses offer an economical path in producing high quality photographs.

무료앱의 품질이 유료앱의 구매의도에 미치는 영향에 관한 연구

이종옥(Jong-Ok, Lee),민금영(Geum-Young, Min),정민호(Min-Ho, Jeong) 대한경영학회 2013 大韓經營學會誌 Vol.26 No.12

김수영의 「풀」에 나타난 음양적(陰陽的) 상상력

이종옥(Lee, Jong-Ok) 한국문학회 2013 韓國文學論叢 Vol.65 No.-

본고는 김수영의 시 「풀」에 나타난 음양(陰陽)적 상상력에 주목하면서 논의를 시작하였다. 이러한 논의를 하게 된 이유는 김수영 시의 특징을 해명하기 위한 각축이 「풀」을 통해 개진되었다할 만큼 중요할 뿐 아니라, 반복적 대립을 통해 드러나는 '풀'의 활동은 음양(陰陽)의 사이클을 닮음으로써 작품자체가 '음양적 상상력'을 유발시키는 세계이자 상징이기 때문이다. 김수영의 「풀」은 부사와 동사에서 드러나는 변역(變易)과 더불어 풀↔바람, 눕다↔일어나다, 울다↔웃다 등에서 나타나는 동사의 역동성은 음양(陰陽)의 대립적 운동성과 일맥상통할 뿐만 아니라 일음일양(一陰一陽)의 양상과 동일한 것이다. 김수영의 시 「풀」에서 음양(陰陽)적 상상력의 핵심은 '눌린 만큼 용출하는 木(풀)의 동정(動靜)운동'이다. 자연에 존재하는 모든 사물은 발전적 변화를 일으킬 때 방해요소인 '억압'과 전진하려는 모습인 '분발(반발)'이 모순 → 대립 → 조화를 반복하는 동정(動靜)운동을 한다. 김수영의 「풀」에서 보이는 동정(動靜)운동은, 바람(陽)은 풀(陰)을 만나기 위해 하강(억압)하고 풀(陰)은 바람(陽)을 만나기 위해 상승(분발)하는 가운데 교감(조화)한다. 음양(陰陽)조화의 결과는, 새로운 탄생이 아니면 성장(발전)이다. 이는 '풀'의 운동성이 불러일으키는 생명감'의 원천은 음양(陰陽)적 상상력이었음을 증명하는 것이다. 「풀」에 투영된 음양(陰陽)적 상상력은 '억압' - '분발(반발)' - '교감(감응)' 등 '풀'의 동정(動靜)운동 중에 생성되는 이미지를 통하여 실존적 존재의 성장 혹은 희망을 포착하게 해 주었던 것이다. 화자의 시선이 줄곧 '풀'의 운동성을 응시함으로써 소묘적 회화성 속에 내재된 발화의 진실은 실존적인 존재의 성장(발전)을 통하여 삶의 주체'로 거듭나는 것임을 명료하게 보여 줄 수 있었다. 음양오행(陰陽五行)적 관점은 「공자의 생활난」으로부터 시작된 김수영의 유가적 시창작 태도가 마지막 작품에도 나타나고 있음을 확인할 수 있게 해 주었다. 이는 모더니즘 시인이라 불리는 김수영이 전통을 부정하는 시인이 아닌 전통 계승적인 창작활동을 하였음을 보여주는 것이다. 이러한 점은 김수영의 문학은 물론, 한국현대시사에서 갖는 의미도 적지 않다. This study pays attention to the imagination of Yin-Yang for several reasons. First, Kim, Soo-young's poem, "Grass," is important in that most discussions to explain his poetic characteristics have been conducted around that poem. Next, his works themselves are both the world and symbols which promote 'an imagination of Yin-Yang' in that the same nouns and verbs, which resemble the cycle of Yin-Yang characterized by circulation and repetition, are repeated continuously. Particularly, though the dynamics shown in the transformation of 'lying -> crying -> laughing' and the repetition or the comparison of 'lying↔ standing up' or 'crying ↔ laughing' has the form of one-Yin and one-Yang, and it is consistent with the Yin-Yang's movement of repetition and comparison, it is hard to find explanations about his poetic world which are suggested in terms of Yin-Yang The core of the imagination of Yin-Yang described in "Grass" is the movement within stillness. Everything in the universe encompasses both 'promotion,' the shape of progress, and 'repression,' the disturbing factor, when they make developing changes; they do a movement within stillness which is characterized by the repetition of 'contradiction → comparison → harmony.' His poem "Grass" shows a movement within stillness in that both Yin and Yang consensually respond to each other, while, on the one hand, "wind" (Yang) intends to descend (repression) to meet "grass" (Yin), on the other hand, "grass" (Yin) intends to ascend (promotion) to meet "wind" (Yang). The result of the harmony (connection) between Yin and Yang is a new birth or growth and development. In this sense, it can be thought that, on the basis of the imagination of Yin-Yang, Kim, Soo-young suggested the possibility of existential beings' growth and development through struggles in lives encompassed in images of 'repression,' 'promotion (resistance),' and 'consensual response (responsive action).' The imagination of Yin-Yang reflected in "Grass" enables us to see the essence of life that is expressed in his inner world. In this context, "Grass" shows his perception of reality or the response to the reality embedded in the image of grass field. The poetic speaker in "Grass" continuously gazes the movement of 'grass.' It implies that the reality which the poet tries to reveal is human struggles in real lives. Thus, the tranquility of existential beings is inevitable result. That is, what his inner world pursues is to rebirth into a new subject that can secure a sense of safety. Additionally, the perspective of Yin-Yang and Five Element Theory that is based on I Ching is meaningful in that it proves that Kim, Soo-young's Confucian attitude of poetic creation, which was derived from Confucius' hard living, was continued to his final work. It suggests that, though he is called a modernism poet, he created his works in terms of the succession of the tradition, not in terms of the denial of the tradition. These points are meaningful in Kim, Soo-young literature and the history Korean poem.

정지용 시어에 나타난 음양(陰陽)적 상상력

이종옥 ( Lee Jong-ok ) 한국문학언어학회(구 경북어문학회) 2018 어문론총 Vol.77 No.-

본고는 동양사상의 토대를 이루는 음양사상에 주목하면서 논의를 시작하였다. 논의를 하게 된 계기는 정지용 시의 특징을 해명하기 위한 각축이 정지용의 ‘시어’를 통해 개진되었다할 만큼 중요함에도, 서구적 이론에 편중되어 동양사상적 논의는 찾아보기 어려웠기 때문이다. 정지용이 술회한 바처럼 모더니즘시의 탄생 과정에서 예술보다 정치적 요인이 크게 작용했다면, 모더니즘 시의 의의는 현저히 약화될 수밖에 없다. 이에 본 연구는 정지용의 시어를 작가가 태어난 사회의 문화, 전통, 사상이 깊숙이 내재된 음양적인 관점에서 논의하였다. 음양은 한쪽으로만 치우치면 문제가 생기는데 정지용의 시어는 음양적 상상력을 통하여 음양이 조화와 균형을 이루고 있었다. This piece of writing began its discussion as focusing on an idea of Yin-Yang (陰陽) that form a foundation of Orientalism. The reason for such discussion is that it is difficult to find oriental discussions about competitions to explain characteristics of poetry by Jeong Ji-Yong although they are important as much as to be expressed through Poetic Diction because its is concentrated on western ideas or theories. If political factors rather than art were applied in the birth process of Modernism poetry as Jeong Ji-Yong speaks, then the meaning of Modernism poetry in his work has no option but to be weakened. Literary works are the fruits of a society where the writer was born. This paper discussed about Feeling words by Jeong Ji-Yong in the Yin-Yang (陰陽) perspective that is deeply inherited in culture, tradition, and idea of a society where the writer was born. The Yin-Yang perspective an orientalism art theory that aims moderation of emotion, but it has significance as being faithful to poetics of Jeong Ji-Yong in connection with ‘passionate on the inside but cool on the outside. When the yin and yang slope to one side, problems occur. by the way, In Jeong Ji-yong's poem, yin and yang are balanced with harmony.