李仁老文學硏究

최동국(Choi, Dong-Kook) 인천대학교 인천학연구원 2003 인천학연구 Vol.2 No.1

This study is intended to discuss the theory of writing Poems, the main body of aesthetics and the sense of aesthetics appearing in Pa Han Jip. Lee, In-Ro was the leading poet and critic at that time. His views on poetry removed the limits of poems during the earlier Koryo period and opened a new literary horizon for the later Koryo period. His ideas on poetics gave birth to a literary view based on the literature and the arts between politics and society. Of all his literary views I have tried to lay bare in this study his creative theory, the principal body of his aesthetics and his sense of aesthetics as follows. Lee, In-Ro thought the concentration of thought free from all the worldy desires was the principal body of aesthetics. This was a new creative mind not to be found in the earlier Koryo period. He thought the aesthetic inspiration based on the concentration of thought and the ability of expressing it depended on the artistic talents of man. He considered the artistic talents of man, not as technical skills, but as an inborn temperament. He thought artistic talents were inborn ones, but, as they had their limits, even if a man was born with artistic talents, he can't create literary works if he does not continue practice. Practice plays a role in leading a man's state of mind to the concentration of thought and the concentration of mind is the basis of as practice makes the poetic mind "natural". Only when a literary work appears "natural", it gains a harmonious beauty between man and nature. Naturally, Lee, In-Ro considered poetry as the best literary genre that reveals the aesthetic beauty. From his period on, Lee, In-Ro's aesthetic views on literature and the utilitarian views on literature together contributed to the progress of literature in the later Koryo period.

時調에 나타난 山水自然의 遠望과 그 美的 性格

최동국(Choi Dong-kook) 한국시조학회 2009 시조학논총 Vol.30 No.-

본고는 조선조 士人들이 산수 유람을 하는 중 산수의 감상 태도로 중시한 遠望 의 시선과 표현 원리 및 기본적인 미적 범주를 고찰한 것이다. 遠望의 ‘遠’은 물리 적 거리이면서 심미적 거리이다. 이 원망은 산수 전체를 眺望하면서 소냐의 氣勢 및 奇妙와 曲折함을 파악하기 위해서이다. 이는 산수 자연의 物象의 국한성을 벗어나게 되고 정신적 초월과 고양을 얻을 수 있다. 궁극적으로 산수자연의 무궁한 변화와 造化의 이치를 感得하기 위함이다. 원망의 원의 시선은 관조자의 마음을 恬靜하고 虛靜하게 한다. 이 시선은 인간과 자연의 조화를 이루는 계기를 만든다. 원망은 산수의 유한한 형질에서 무한의 세계로 향하게 한다. 이 무한 속에서 시가 창조를 이루는 의경을 생성시킨다. 이 원망은 유한의 속박으로부터 무한의 자유한 경지로 비약해 기는 審美眼이다. 원망은 현실적 가치, 관념, 인위로부터 초월하여 인간 본래의 자연성과 자연이 합일케 되는 시점으로서의 의미를 지닌다. 이는 주관적인 감정과 외재하는 산수 자연의 무한함과 조화통일시키는 안목이다. 즉, 관조자의 意象과 物象과의 조화를 이루게 하는 원이다. 이 조화의 세계를 형상화시킴에 있어서는 사물의 외형의 집착을 꺼리고 표현기교에 의존하지 않고 자유하고 자연스러운 형상을 이상적인 표현법으로 삼는다. 원망은 관조자의 심리 상태를 恬靜하게 하기 때문에 산수와 인생의 양쪽 감정이 합일하는 경지에 이르게 되고, 그렇게 되면 세속과 초월한 경지인 자연 속에서 더 깊고 넓은 有情의 세계를 창조하게 된 것이다. 그 세계를 형상화하는 방법이 高遠, 平遠, 深遠의 三遠法이다. 이 표현법에 의해 풍격, 恬淡의 미가 성립된다. 염담은 현실적 갈등에서 정신적 해방과 산수자연의 묘리를 맛볼 수 있게 한다. The purpose of this study is to consider factors such as one's sight of viewing afar. expressional principles, and basic aesthetic category, which are treated importantly by the poets of the Joseon Dynasty era in appreciating nature. 'Afar' of the viewing afar is actual distance and aesthetic distance at the same time. Viewing afar is to find geographical features. depth, and details of a mountain. seeing the whole nature at a high place. Also, it can make possible escape from the external limitation of nature and get mental superiority and enhancement. Ultimately. viewing afar is to find out everlasting change of the nature and reason of natural creation. One's sight in viewing afar makes an appreciator's mind empty and calm. and it makes chance to harmonize human with nature. Viewing afar is to unite human nature to naturality beyond realistic value, idea. and artificiality. The mind from viewing afar has peacefulness and it is a state of serenity without any secular atmosphere. Viewing afar is an eye for beauty to leap toward an endless free state from narrow sight about objects. It rejects modification and technics in achieving an world of harmony. It means that objects should not be restrained by human's recognition. There are three expressions. which are high, horizontal. and transcendental viewing afar. The aesthetic category and beauty of peaceful mental state are realized by the expressions. The peaceful mental state makes peaceful mind from realistic conflicts and makes us experience a profound reason of nature.

時調에 나타난 安貧의 思想과 美意識

崔東國(Choi Dong-Kook) 한국시조학회 1995 時調學論叢 Vol.11 No.-

朝鮮朝 山水時調의 修辭的 特性

崔東國(Choi Dong-Kook) 한국시조학회 2006 時調學論叢 Vol.25 No.-

이 글은 조선조 산수시조의 작품을 통해서 수사적 특성을 규명하는 데 목적을 두었다. 시는 시인의 체험을 토대로 상상력과 표현기교에 의해 창작된다. 작품성은 사물을 묘사하되 어떻게 기묘하게 표현할 것인가 하는 기교의 효과에 달려 있다. 따라서 문인이 시를 짓는데 시어의 조탁에 노력을 기울인다는 것은 필수적이다. 그런데 조선조의 문인들은 수사와 기교에 노력을 기울이는 자를 雕蟲篆刻之徒라 하여 폄하했다. 이는 조선조의 문인들이 지니는 특별한 詩眼이다. 그들은 표현의 기교를 사물의 외형에 집착되어 솜씨의 교태를 부리는 잔재주라 인식했다. 그 이유는 기교에는 過情이 있고 그 속에 자만과 豪情 獨善이 드러날 소지가 있다고 보았기 때문이다. 또한 기교는 인위적인 조작성이 있어 사물의 자연성을 왜곡할 우려가 있기 때문이다. 반면 시인으로서의 예술정신 즉 匠人性이 약화되는 결과를 초래한다. 하여튼 기교는 기교로 자각되어서는 안 된다. 자각이 되면 詞理와 心意의 흐름이 막히고 왜곡될 우려가 있다. 그래서 수사와 기교를 억제하는 대신 哲理的 情趣인 理趣를 중시하게 되었다. 항상 일상생활과 상관되면서 평범한 언어로 표현하되 味外之味를 느낄 수 있는 枯淡한 서정성을 중시했다. 조선조의 시조는 淸麗하고 華靡한 서정적 작품이 냉정하고 깊이 있는 작품으로 이행하게 되었다. 이는 자연으로부터 인생을 음미하고 인생을 대하는 태도도 자적하며 자연스러운 여유가 있는 작품으로 존재하게 되는 因子다. The purpose of this paper is to reveal the rhetorical features of the Chosun Sijo through researching them. A poem has been made by imagination and rhetorics which are based on the poet's experience. The qualities of the poem have been determined by how the poet described the object oddly. So it is essential for the poet to struggle to make embellishments and artistic skills when he or she makes a poem. But the Chosun clerisy ostracized the poet who was trying to do these things mentioned above, which was a kind of special poetic point of view the Chosun clerisy had. They recognized embellishments and artistic skills as a resort to petty trick as a result of their sticking to the external form of the objects. The reason they thought them like this was that the Chosun clerisy thought the embellishments and artistic skills could show the self-pride and self-righteousness. Also, there were concerns on the distortion of the object nature by the artificial concoction. Because they can interrupted and distorted the stream of feeling and the original meaning, the artistic skills mush not be recognized as the artistic skills of itself. As a result, they valued the poem made from restraining the rhetoric and artistic skills. They valued the poem which had common words related people's daily life, but was able to feel the simple lyricism. The poem based on these features has remains as a work which makes people enjoy the nature, and face their life without any resorts, and which has the natural leeway.

朝鮮朝 時調의 美的主體와 그 存在樣相

최동국(Choi Dong-Kook) 한국시조학회 2005 時調學論叢 Vol.23 No.-

이 글은 조선조 문인들이 무엇을 미적 자질로 생각하고, 그 미를 인식하는 주체는 어떤 심리의 발용을 요구했는가를 규명하는데 목적을 두었다. 또한 인간의 미적 感官을 어떻게 인식하고 정의하고 있는가의 고찰도 함께 하였다. 조선조 문인들이 내세운 미적 주체는 사물의 외형에 집착하는 오관의 감각 기관으로 감수하기보다는 虛靜한 心理의 發用을 중시했다. 오관에 의한 사물의 感受는 形似에 집착되어 관능적 향락적 서정이 되거나, 移情蕩心을 일으키는 정서로 인식했기 때문이다. 허정한 심리는 본연의 心性을 회복하는 심리작용으로 인식하고 이 마음을 시정신과 접맥시켜 미적 주체로 삼는다. 동시에 사물 인식의 객관적 주체로 삼고 사물 또한 객관적 존재로 이해하여 물아일체를 이룸을 목적으로 한다. 곧 以物觀物인데 미적 주체는 감정을 함부로 放逸하거나 人爲로서 사물에 감정이입을 해서도 안 된다. 방일과 감정이입은 役物的 外物 認識으로 극복된다. 이물관물과 역물적 인식에서 오는 정감을 형상화하기 위해 ‘興’을 시가의 표현 방법으로 중시하였다. 홍은 현재 눈 앞에서 전개되는 사물과의 만남에서 생성되며 직관적인 감정이다. 흥은 卽物生情에서 온 감정이자, 또한 표현방식이다. 허정한 심리 작용에서 오는 미적 주체는 성리학적 입장에서 이해된 심성이자 시정신과 접맥된 것이기 때문에 興體의 작품은 감상자로 하여금 심성 함양에 일조가 되는, 마음에 淨化作用을 일으키는 효용성을 지닌다. 동시에 인간 정신에 대한 感發ㆍ昇華作用을 총체적으로 일으키게 한다. The purpose of this is to make sure what the scholar of the Choseon thought the object of aesthetics, and which psychological element did they use to clear the center of the aesthetics. In addition, I consider their way to recognize the human's aesthetic point of view. A literary man in Choseon regarded the five senses as an obstacle which interrupted to see the nature of all things. So they set up the spiritual condition as their aesthetic subject, with suppressing the pleasure through five senses. The goal to make one's mind calm was to cause someone's spirit to activate freely. The condition of the calmness was considered as a process of recovering the human's natural spirit, which was connected to the poetic spirit and became the aesthetic subject. Simultaneously, a literary man at that time set up the condition of the calmness as a subject of objective consciousness, and estimated the common things as a objective existence, which led to the result that all the materials of the poem and the poet could be unified. This aesthetic centra put a premium on the senses caused by contacting with all natural things, and adopted the 'Xing' as a method of expression. This 'Xing' is not a sense based upon one's experience, but a sense which is created of itself. The expression method of 'Xing' caused the reader to feel and express, encourage, and sublimate what they feel through the poem, as well as purified reader's mind.

조선조 중엽의 時調와 淡의 美

崔東國(Choi Dong-Kook) 한국시조학회 2002 時調學論叢 Vol.18 No.-

古詩歌와 無爲自然

崔東國(Choi Dong Kook) 한국시조학회 1994 時調學論叢 Vol.10 No.-

상악동염 병소 부위에서 세균의 분리 동정 및 항생제 감수성에 대한 연구

최영옥(Young-Og Choi),김수관(Su-Gwan Kim),김학균(Hak-Kyun Kim),김영종(Yong-Jong Kim),최동국(Dong-Kook Choi),김미광(Mi-Kwang Kim),박순낭(Soon-Nang Park),김민정(Min-Jung Kim),국중기(Joong-Ki Kook) 대한구강악안면외과학회 2006 대한구강악안면외과학회지 Vol.32 No.5

The purpose of this study was to isolate and identify the bacteria in chronic maxillary sinusitis (CMS) lesions from 3 patients and to determine the antimicrobial susceptibility of them against 10 antibiotics. One of them was odontogenic origin and the others were non-odontogenic origin. Pus samples were collected by needle aspiration from the lesions and examined by culture method. Bacterial culture was performed in three culture systems (anaerobic, CO2, and aerobic incubator). Identification of the bacteria was performed by 16S rRNA gene (16S rDNA) nucleotide sequencing method. To test the sensitivity of the bacteria isolated from the maxillary sinusitis lesions against seven antibiotics, penicillin G, amoxicillin, tetracycline, ciprofloxacin, cefuroxime, erythromycin, clindamycin, and vancomycin, minimum inhibitory concentration (MIC) was performed using broth dilution assay. Our data showed that enterobacteria such as Enterobacter aerogenes (30%), Klebsiella pneumoniae (25%), and Serratia marcescens (15%) were predominately isolated from the lesion of non-odontogenic CMS of senile patient (70 year old). Streptococcus spp. (40.3%), Actinomyces spp. (27.4%), P. nigrescens, M. micros, and P. anaerobius strains were isolated in the lesion of odontogenic CMS. In the lesion of non-odontogenic CMS, Streptococcus spp. (68.4%), Rothia spp. (13.2%), and Actinomyces sp. (10.5%) were isolated. The susceptibility pattern of 10 antibiotics was determined according to the host of the bacteria strains ratter than the kinds of bacterial species. Even though the number of CMS was limited as three, these results indicate that antibiotic susceptibility test must be accompanied with treatment of CMS. The combined treatment of two or more antibiotics is better than single antibiotic treatment in the presence of multidrug-resistant bacteria in the CMS lesions.

치성기원으로 인한 감염성 심내막염: 증례보고

안신영,양석진,김수관,김학균,이효빈,박중엽,최동국,김영종,Ahn, Shin-Young,Yang, Seok-Jin,Kim, Su-Gwan,Kim, Hak-Kyun,Lee, Hyo-Bin,Park, Joong-Yeop,Choi, Dong-Kook,Kim, Young-Jong 대한악안면성형재건외과학회 2006 Maxillofacial Plastic Reconstructive Surgery Vol.28 No.3

Infective endocarditis remains an important, life-threatening infection despite improvements in diagnosis and management. Despite the decrease in rheumatic heart disease and the improvements in antibiotic prophylaxis, infective endocarditis has been reported with increasing frequency in the last few decades. Presumably, this is due to the rise in the incidence of intravenous drug users, carriers of prosthetic valves and other intracardiac devices, and the longer survival of patients with congenital heart disease. Despite the great advances in medical and surgical treatment, infective endocarditis is still a life-threatening disease with an estimated mortality of 27%. Infective endocarditis represents one of the few potentially fatal infections that may occur in a dental patient. Efforts to reduce the incidence of this disease usually take the form of appropriate antibiotic coverage before dental treatment, together with the establishment and maintenance of good oral health. This study is a case report of a patient who developed infective endocarditis after multiple tooth extractions due to chronic periodontitis of dental origin.

상악동에 발생한 골화성 섬유종 : 증례보고

문철웅,김수관,김학균,김문수,하정완,최동국,김영종,윤정훈,Moon, Chul-Woong,Kim, Su-Gwan,Kim, Hak-Kyun,Kim, Moon-Soo,Ha, Jeong-Wan,Choi, Dong-Kook,Kim, Young-Jong,Yoon, Jung-Hoon 대한악안면성형재건외과학회 2005 Maxillofacial Plastic Reconstructive Surgery Vol.27 No.5

Ossifying fibroma is a rare, benign, fibro-osseous tumor of mesenchymal origin. It develops mainly in the mandible, where it is usually slow growing and asymptomatic, whereas in the maxilla and paranasal sinus, it is more aggressive. The vast majority are located in the posterior region of the mandible; however, ossifying fibroma involving the maxillary sinus is uncommon. It may reach a very large size and cause facial asymmetry. It shows a female predilection, and most cases are seen in the third and fourth decades of life. Radiographically, ossifying fibroma is radiolucent or radiopaque depending on the amount of calcification. Histologically, the tumor consists of a cementum-like or bony mass. Ossifying fibroma shares many histopathologic features with fibrous dysplasia. Their radiographic features may help to separate these entities when pathological differentiation is uncertain. It is important to differentiate ossifying fibroma from fibrous dysplasia. The treatment of ossifying fibroma involves its complete removal using curettage, enucleation, excision, or en bloc resection. This case report presents an unusual case of ossifying fibroma of the maxillary sinus. We describe a Caldwell-Luc operation with a lateral window approach for excision of an ossifying fibroma of the maxillary sinus.