謠曲에 나타난 歌人의 모습

임찬수 한국일본학회 2007 日本學報 Vol.70 No.-

과황산나트륨을 이용한 내분비계장애물질 산화제거

임찬수,윤여복,김도군,고석오,Lim, Chan Soo,Yun, Yeo Bog,Kim, Do Gun,Ko, Seok Oh 대한토목학회 2013 대한토목학회논문집 Vol.33 No.2

본 연구에서는 역삼투 공정 농축수에 존재할 수 있는 내분비계 장애물질의 처리에 있어, 고급산화 공정의 적용가능성을 다양한 조건하에서 평가하였다. 오염물 제거에는 Fe(II)를 촉매로 한 과황산나트륨 산화를 이용하였으며, 초기 pH와 이온강도 등, 영향인자에 따른 산화능을 검토하였다. Fe(II) 촉매 과황산나트륨에 의한 $17{\alpha}$-ethynylestradiol(EE2) 제거효율은 초기 pH와 이온강도가 증가할수록 감소하였다. 반면, 이온강도 물질로 염소이온과 같은 할로겐족 이온을 적용 시 산화반응에 긍정적인 영향을 나타냈는데, 이는 라디칼 전이에 따른 영향으로 판단된다. The objective of this study was to evaluate the oxidation method to remove endocrine disrupting chemicals in reverse osmosis(RO) retentate for the reuse of wastewater effluent. Oxidation of organic pollutants was induced by the persulfate catalyzed by Fe(II). Affecting factors such as initial pH and ionic strength on the Fe(II) catalyzed persulfate oxidation were evaluated. $17{\alpha}$-ethynylestradiol (EE2) degradation efficiency decreased as pH and ionic strength increased. However, the efficiency increased as chloride ion concentration increased due to the influence of radical transfer.

석유정보 - 지상유전, 고도화설비 공정

임찬수,Im, Chan-Su 대한석유협회 2011 석유와 에너지 Vol.280 No.-

다도의 미의식 고찰 ー 歌人 定家와 관련하여 ー

임찬수 단국대학교 일본연구소 2014 일본학연구 Vol.43 No.-

The book of tea quoted the essay in Japanese poetics written by a medieval poet, Teika. This essay was widely quoted by Rikyu, who was considered to complete the tea ceremony and by others in the later periods. To explain the tea ceremony form of wabi, Teika’s or other poets’ waka were used as an evidence. The quotations of the essay and waka, or their presentations as an evidence were largely attributable to participation of tea masters in the culture-based classical education system that was called as the secrets system of an art at that time. These were systematically initiated to the nobles while only fragmentary instruction was made to the middle classes, including tea masters and monks. Teika’s essay and a collection of waka poems were an essential subject in the instruction. Consequently, Teika’s waka and the waka that were shown in the collection appeared in various genres. In addition, a common aesthetic understanding was found across different genres. A typical example was “yuhyun”. Although its meaning had been subject to changes over time and across genres, it was regarded as an important sense of beauty. Another aesthetic sense called as “hie” was the same. It served as an important standard for traditional drama, “noh” and poetry series, “renga”. The tea ceremony shared this aesthetic sense, too. The fact that the sense of beauty was shared or borrowed in different genres implies that the world of waka was firmly established as cultural backgrounds. Supported by this development, the tea ceremony was able to create its own understanding of an aesthetic sense as a new cultural genre. Further, it attempted to build a theory of tea ceremony relying on waka’s prestige.

藤原定家의 歌論 전승과 특징

임찬수 한국일본언어문화학회 2007 일본언어문화 Vol.11 No.-

『산고키(三五記)』의 한시에 나타난 가체연구

임찬수 한양대학교 일본학국제비교연구소 2019 비교일본학 Vol.46 No.-

『산고키(三五記)』에는 한시와 와카 가 각각 3수씩 수록되어 있다. 한시와 와카(和歌)를 쌍으로 하여 서로 경합하는 형태의 노래집이 유행하였고, 유명한 시인 데이카(定家)도 이를 시도하기도 하였다. 산고키에 수록된 한시는 『와칸로에슈(和漢朗詠集)』와 공통된 구가 많다. 특히 유겐체(幽玄体)에서는 「몬주백수(文集百首)」의 선례를 따라 연가에 동일한 한시를 배치하기도 하였다. 우신체(有心体)의 경우에는 자연의 변화에 대한 심정을 읊기도 하고 가체명에 의미를 맞추어 태평성대를 노래하거나 백성을 안위하는 내용으로 채웠다. 와카의 경우에는 『데이카십체(定家十体)』를 바탕으로 하였지만. 한시는 근거가 되는 텍스트를 찾을 수 없다. 단지 중국 백낙천의 시를 많이 인용하고 있다는 점과 『와칸로에슈』에 수록된 구를 참고로 했다는 점이다. 유겐체와 우신체의 한시 28수 중, 10수가 동일하다. 한시와 와카의 차이점은 가을이나 애상(哀傷)이 와카의 주요 소재라고 한다면, 한시는 여유자적하고 낭만적이며 보다 다양한 주제를 택하고 있다는 점이 다르다. Sangoki contains three of each of Chinese poems and Waka (Japanese poems). Songbooks that featured competing Chinese poems and Waka in pairs were popular and the famous poet, Teika also attempted to use these forms. Chinese poems within Sangoki shared common phrases with Wakanroeishu. Especially, Yugentai arranged the same Chinese poems in lines with love poems following in Monjuhyakushu’s footsteps. Usintai used to express feelings about a change of seasons and sing the reign of peace or security of the people in tune with Tanka names. While Waka was based on Teikajittai, Chinese poems had no such a textual ground. They simply quoted a lot of Po Chu-i’s poems and referenced the phrases in Wakanroeishu. Among the total of 28 poems of Yugentai and Usintai, 10 poems are identical. A difference between Chinese poems and Waka lines is the fact that the former adopts a variety of themes and are free and romantic, while the latter incorporates themes of autumn seasons or grief.

Nonlinear behavior of micro bubbles under ultrasound due to heat transfer

임찬수,김정은,이재영,곽호영 대한기계학회 2009 JOURNAL OF MECHANICAL SCIENCE AND TECHNOLOGY Vol.23 No.9

We investigated the nonlinear behavior of a microbubble under ultrasound, taking into account the heat transfer inside the bubble and through the bubble wall. The polytropic relation, which has been used for the process of pressure change depending on the volume variation of ideal gases, cannot properly treat heat transfer involving the oscillating bubble under ultrasound. In this study, a set of solutions of the Navier-Stokes equations for the gas inside the bubble along with an analytical treatment of the Navier-Stokes equations for the liquid adjacent to the bubble wall was used to treat properly the heat transfer process for the oscillating bubble under ultrasound. Entropy generation due to finite heat transfer, which induces the lost work during bubble evolution, reduces the collapsing process and considerably affects the nonlinear behavior of the bubble.

八代集 四季歌에 나타난 `새벽` 표현 연구

임찬수(林瓚洙),안신영(安辰英) 중앙대학교 일본연구소 2008 日本 硏究 Vol.0 No.25

「オタク」の定義をめぐる言説の変化-言説の成立から90年代後半までのイメージ変化を中心に-

임찬수,서경원 한국일어일문학회 2011 日語日文學硏究 Vol.77 No.2

現在、「オタク」という言葉は、我々の生活の中に深く浸透していて、「健康オタク」「グルメオタク」「コスメオタク」といった、ある分野において平均値以上の知識や情熱を入れ込んでいる状態を表す言葉として受容されている。本稿では、一般的に1983年中森明夫により命名されたと言われる「オタク」という用語がどのような背景の中で誕生したのか、また、90年代後半までどのような過程を経て、イメージが変ってきたのかを、書籍や論文など客観的な資料にもとづいて検証した。その方法として、まず辞書に出ている「オタク」の定義から考察をはじめ、「オタク」を最初に命名したと言われる中森明夫のオタク論について考察する。それから、「オタク」に対するネガティブなイメージ形成の原因となった宮崎勤事件を分析し、そこで見られるマスコミの片寄った報道のあり方によって、「オタク」のイメージがどのように変化していくのかを追求した。最後に、「オタク」肯定論の登場と、肯定論の代表的な論者である岡田斗司夫の「オタク」論の特徴を、中森明夫の「オタク」論と比較・分析し、言説の変化過程を究明した。つまり「オタク」を自分の企画でコンテンツを作る専門家としての持ち主とし「粋の眼」「匠の眼」「通の眼」に分類した。岡田は、中森によって否定された性格を名人の素質として評価しており、こだわりという面においても創造のエネルギーとして捉えている。しかし、このような肯定論も2000年に入り、「オタク」に関する言説はより多様化し、肯定論の先頭走者とも言える岡田も「オタク」懐疑論へと立場を変えるようになる。このような面で、今後の「オタク」についての定義とイメージの変化に関心を持って、研究を続けたい。

酒呑童子說話の中の藤原保昌に関する一考察

임찬수,박기태 한국일어일문학회 2014 日語日文學硏究 Vol.89 No.2

본고에서는 슈텐도지 설화에 나타난 후지와라노 야스마사의 위치 변화를 논하였다. 야스마사는 후지와라 씨 방계 출신으로, 섭관가에 종사하며 당대의 가인들과 교류하였다. 그는 용사이자 풍류인으로서 명성이 높았으나 출신의 한계가 있었다. 현존 최고(最古)의 자료인 『오에야마 에고토바(大江山絵詞)』에서 야스마사는 요리미쓰와 동등한 지위에서 적극적으로 활약한다. 그러나 17세기의『오토기소시슈(御伽草子集)』「슈텐도지(酒呑童子)」에서 그는 비중이 크게 적어지고 요리미쓰의 부하로 취급된다. 다만 19세기의『오에야마 센조가타케 슈텐도지 유라이(大江山千丈ヶ嶽酒呑童子由来)』에서는 안내자로서의 역할이 부여되었다. 야스마사의 비중이 줄어들고 주역의 자리를 잃은 것은 오니 퇴치 설화의 주역이 가져야 하는 자격이 부족했기 때문으로 여겨진다. 슈텐도지 설화와 유사한기타 설화들에서 주역은 천황가의 피를 잇고 있으며, 혹은 유명한 부하들을 데리고 있었다. 요리미쓰는 이 자격을 충족하고 있었으나, 야스마사는 이를 충족시키지 못하여 주역의 자리에서 밀려난 것으로 보인다. 그러나 기존에 확립된인물상으로 인해 설화에서 배제되지는 않았다. Shutendoji(酒呑童子) tale is a representative tale of monster eradication whichwas made from the late Kamakura period to Muromachi period. Main charactersare Minamoto no Yorimitsu(源頼光) and his subordinate, Shitenno(四天王),Fujiwara no Yasumasa(藤原保昌). But, as times went by, the importance ofYasumasa was gradually reduced. In『Oeyama Emaki(大江山絵詞)』, Yasumasa played as important role asYorimitsu did. However, in『Otogizoshishu(御伽草子集)』「Shutendōji(酒呑童子)」of the 17th century, his importance was greatly reduced and he was treatedas a subordinate of Yorimitsu. Also, in『Senjyogatake Shutendoji Yurai(大江山千丈ヶ嶽酒呑童子由来)』of the 19th century, a new role as a guide was given tohim. Yasumasa was originated from Fujiwara collateral family and got along withfamous poets at his time through working for Sekkanke. He seems to have belongedto warrior class and have enjoyed a great fame as a poet, but he's considered tohave limitations of origin. In other tales similar to Shutendoji, main characterscontinued the blood of royal family or brought famous subordinates. Yorimitsu hadthose qualifications, but Yasumasa is considered to have insufficient qualificationsand environments that monster eradication tales must have. He has sufficient couragesand talents for the position of tale's hero, but he was expelled from the positionof hero because of the blood, family relations and surrounding characters. But, itwas not expelled completely due to the character image established already.