한비자의 법술사상과 책임정치: 관료제론을 중심으로

한승연 ( Seung Yeon Han ) 고려대학교 정부학연구소 2018 정부학연구 Vol.24 No.1

전국시대의 한비(韓非)는 부국강병을 위해 군주가 신하를 확고하게 제어할 수 있는 법술론(法術論)을 주장하였다. 술(術)이란 일반적으로 통치술 내지 술책을 의미하며, 그 구체적인 내용은 권모술수를 비롯하여 통계적 방법, 정책, 기술, 신상필벌·형명참동(形名參同)과 같은 인사행정, 객관적 필연 등 다양한 의미를 내포한다. 한비는 상앙(商?)의 법과 신불해(申不害)의 술을 비판적으로 융합하여, 술을 인사고과와 문서주의 행정 등과 같은 행정절차로 발전시키게 된다. ≪한비자≫ 술론의 핵심인 형명참동은 관료제 내의 계층적 권위와 실적제 인사행정의 원리를 확립하고, 나아가 그것을 관리와 백성의 관계에서도 관철함으로써 군주-관리-백성이라는 계층적 질서의 확립에 초점을 맞추고 있지만, 아직 행정절차나 인사행정, 인사고과 등을 제도화하는 데까지는 나아가지 못했다. ≪한비자≫ 가 남긴 군주 한 사람을 위한 관료제론은 유토피아가 아니라 백성에게는 거의 악몽에 가까운 억압장치였다. 업무처리에서도 지나치게 관리의 실적과 결과를 중시하고, 특정한 정책의 동기나 과정을 무시함으로써 관료제 내에 목적달성을 위해서라면 수단과 방법을 가리지 않는 냉혹함을 조성하게 되었다. Han Fei of the Warring States era insisted on a law-technique thought that the monarch could firmly control officials for national prosperity and military power. Shu, “technique”, refers to administrative techniques or tactics. It specifically includes various meanings such as intrigues, statistical method, policies, techniques, personnel administration such as dispensation of justice both to services and crimes or consistency of Xing and Ming, and objective inevitability. Han Fei critically combined Shang Yang’s law and Shen Pu-Hai’s technique, after which he tried to develop the technique into administrative procedures such as performance appraisal and documentary administration. The consistency of Xing and Ming as the core of his theory was focused on, establishing hierarchical authority and performance in the bureaucracy. He further found a hierarchical order of monarch-official-people by realizing it in the relationship of officials and people. However, it has not yet progressed to institutionalize administrative procedures, personnel administration, or performance appraisal. The bureaucracy for a monarch left by Han Fei-Tzu was not a utopia, but a nightmare suppressor for the people. It has created cold-bloodedness in the bureaucracy regardless of means or methods to achieve its purpose by over-emphasizing official’s performance and outcomes while ignoring the motivation or process of a particular policy.

콜라보레이션 무용공연에 대한 관람욕구, 공연만족, 행동의도와의 구조적 관계

한승연 ( Han Seung-yeon ) 한국무용연구학회 2016 한국무용연구회 국제학술발표논문집 Vol.2016 No.-

현재 콜라보레이션은 관객과의 소통하는 방법으로 다양한 분야에서 시도되고 있으며 무용예술에서도 이러한 흐름을 반영하고 있다. 이러한 시도는 관객확장을 통해 무용공연의 활성화에 도움을 줄 수 있으며 장르개발로 인한 시장의 다양성을 구축할 수 있다. 따라서 본 연구는 콜라보레이션 무용공연에 대한 관람욕구, 공연만족, 행동의도와의 관계를 규명하여 콜라보레이션 무용공연의 활성화를 위한 기초자료를 제공하는데 본 연구의 목적이 있다. 콜라보레이션 무용공연이 여러분야와의 융,복합 작업을 통하여 관객에게 다양한 볼거리를 제공한다면 소통과 공감할 수 있는 공연으로 자리잡아 무용공연 발전에 도움이 되리라 기대한다. Collaboration has been utilized in diverse areas as a way to communicate with audience including the field of art of dance. Such an attempt helps activate dance performances by expanding the audience base and diversify the market through new genre development. In this situation, this study seeks to provide the basic materials for collaboration dance performance stimulation by identifying the relationships among collaboration dance performance spectating desire, performance satisfaction and intention of action. If collaboration dance performance provides dynamic visual treats to audience by fusing and complexing many other areas, such a performance is expected to settle down as a venue of communication and consensus, contributing to dance performance development.

우리나라 행정지도의 절차확립에 관한 연구 -서울특별시의 사례를 중심으로-

한승연 ( Han Seung Yeon ) 한국지방행정연구원 2003 地方行政硏究 Vol.17 No.2

고령친화 주거환경 조성에 관한 고령자 인식 분석

한승연(Han, Seung-Yeon),고영호(Ko, Young-Ho) 대한건축학회 2022 대한건축학회 학술발표대회 논문집 Vol.42 No.1

The purpose of this study was to analyze the perception and satisfaction of the elderly about the residential environment. A survey of 1,500 people aged 55 to 84 in 16 metropolitan areas was conducted. The survey results represented major difficulties in their houses such as the noise from inside and outside the housing, risk of falling, cost burden for remodeling into a safe and comfortable housing space. The stairs and slopes at the main entrace of local facilities were the biggest inconvenience in residential environment. When their mobility becomes inconvenient, 5 out of 10 Korean seniors wish to continue living in their current housing because of faciliar housing spaces and facilities and maintaing current relationships.

콜라보레이션을 통한 공연예술의 다양성에 관한 연구

한승연 ( Han Seung-yeon ) 한국무용예술학회 2014 무용예술학연구 Vol.46 No.1

This study is a research on the diversity of performing arts, which intends to suggest collaboration of various genres to tell the value of dance and the beauty of fusion to the public effectively. Also it intends to comprehend the situation where performing arts are placed today when Korean emotion and culture are globally acknowledged and search diverse ways to approach closely to the public. Collaboration means co-operation, which is used as the terms, e.g. cooperation, partnership, collaboration, etc. Collaboration has been used mainly in fashion and enterprises, largely classed as 3 parts. This study analyzed each case of 3 types of collaboration between artist and brand, star and brand, brand and brand. Instances of collaboration in performing arts are the collaboration between fashion designer Jung, goo-ho and the National Ballet Company, the collaboration between Moohandojeon and sports dance, the collaboration between Poppin Hyun-joon and Park, ae-ri, Mumuta, Dance performance, and the collaboration with modern dancer regarding Baek, ji-young’s music video 「Sarang-i olkayo」. As the above instances, more attempts and efforts are required for performing arts to form various performing culture through collaboration and get settled to deliver inspiration and healing to the public. While having more time to enjoy leisure and culture, the public wants highclass healing in the culture. They require genuine rest in this heartless and hard reality. In present time when quality of life is considered highly, performing culture rouses more attraction and interest in the public and its scope is more widened as a place for communication. The researcher expects that collaboration, which is a suggestion to comprehend the stream of time and promote new change of art performance gets settled as evolutive performing art culture by bringing about positive effect in performing culture.

중국사의 공무원 개념: 도덕적이고 유능한 사람?

한승연 ( Seung Yeon Han ) 한국행정사학회 2012 韓國行政史學誌 Vol.30 No.-

중국사의 공무원 개념은 선진시대에 ``官``과 ``臣``, ``士``, ``吏``를 바탕으로 형성된 개념들이 이후 기표와 기의의 변용을 거치면서 계속 발전한 데서 그 역사성을 발견할 수 있다. 전통적인 ``능관인`` 사상에서 유래하는 ``관인``이라는 용어는 관 자와 합성된 공무원 개념 중 가장 오래되었으며, 위나라에서 구품관인지법을 제정함에 따라 공식적인 공무원 개념이 되었으며, 특히 당대부터 송대까지 널리 쓰였다. 이와 함께 송대에는 ``사대부``라는 말도 보편적으로 사용되었으나, 원대부터 청말까지는 이들 용어 대신에 ``관리``와 ``관원``이라는 용어가 공무원을 대표하는 말로 사용되었다. ``관인``과 ``사대부``라는 말이 중국의 전통과 문화를 나타내는 말인데 반해, ``관리``와 ``관원``은 상대적으로 몰가치성과 중립성을 띤다. 그 배경에는 오대의 정치적인 격변과 함께 송대에 나타난 天觀의 변화, 명말청초에 등장한 군신간의 정치적 협동론과 관료의 공복론등이 복합적으로 작용하고 있다. 공무원의 자질은 전통적으로 ``도덕적이고 유능한 관인``을 요구했으나, 실제 관료들은 자기수양을 소홀히 함으로써 ``유학을 공부하고 법집행 능력이 있는 관인``으로 변질된다. One might consider the concept of civil servants in Chinese history as determined by the historicity in the ground of the "guan"(官, office), "chen"(臣, subject), "shi"(士, gentleman), and "li"(吏, officials) during the Warring States period, i.e., the pre-Qin era. It has since then evolved through continuous transformation of the signifier(signifiant) and the signified(signifie). The term "guanren,"(官人) taken from traditional thoughts about "Neng-Guanren"(能官人, excellent officials) is one of the oldest compound words with the character of "guan"(官) in the sense of the official. It became the official concept for the civil servants after the "Nine grade of state gentleman" law (Jiupinguanrenfa, 九品官人法) had been established by the minister, Chen Qun in Cao Wei time. Following the law, it was used broadly, from the Tang Era to the Song Era in particular. In addition to the term "guanren", the word "shidafu"(士大夫, literally, member of the ruling class) had also been used during the Song Era, but the words "guanli"(官吏) and "guanyuan,"(官員) which stand for civil servants had begun to come into use as well from the Yuan Era(1271-1368) to the late Qing Era(1644-1912). The concepts, "guanren" and "shidafu" represented the officials reflecting Chinese tradition and culture, whereas "guanli" and "guanyuan" represented the value-free and neutral ones, respectively. The combined usage of these concepts had significant consequences, such as the political upheaval of Wudai, the change of Views on Heavens in the Song Era, the political cooperations of ruler and minister, and the debate on public servants of bureaucrats from the late Ming Era to the early Qing Era, etc. Originally the officials should have been "moral and competent," demonstrating their integrity as well as their capabilities, but in reality, they were being transformed into the ones "studying Confucianism and enforcing the laws" by neglecting their self-discipline.

해방공간의 ‘국가’ 개념사 연구

한승연(HAN, Seung-Yeon),신충식(SHIN, Chung-Shig) 한국정치사상학회 2011 정치사상연구 Vol.17 No.2

이 논문에서는 구한말 이래 50여 년에 걸친 이승만의 국가 개념의 변화를 통해 한국의 국가 개념사를 분석하였다. 오늘날 한국의 국가 개념은 구한말 서구의 근대국가 개념을 수입한 이래 일단 ‘대한제국’으로 자주독립국가의 꿈을 꾸기 시작했다. 특히 이승만으로서는 대한제국이라는 법적 현실을 넘어 미래지향적인 헌법정치를 지향했고, 또 국가 개념으로서 전통적인 ‘방국’이나 ‘방’, ‘국’ 대신 순우리말인 ‘나라’를 주로 사용하였다. 이미 구한말 이래 국가 개념은 전통적인 국가 개념을 대신해, ‘나라’와 ‘국가’, ‘우리나라’ 등 근대적인 국가개념으로 압축된 뒤 현재까지 이어지고 있다. 구한말 이래 ‘우리’라는 말도 국가를 지칭하는 말로 널리 쓰이고 있다. 해방공간에서 제헌헌법을 제정하고, 그에 따라 정부수립을 선포함에 따라, 지배권력을 구비하고, 한반도와 그 부속도서라는 토지에 정착한, 한민족의 단체인 대한민국이라는 국가가 탄생하였다. 구한말에 이승만은 국호 개념으로 ‘조선’과 ‘대한’, ‘대한제국’, ‘한국’ 등 다양한 용어를 사용하고 통일성을 보이지 않았으나, 국내외의 신문들은 이미 ‘조선’보다는 ‘대한(제국)’과 ‘한국’을 널리 사용하였다. 곧 국호 개념은 ‘조선’을 넘어 ‘대한’과 ‘한국’이 집합단수로 등장한다. 임정 수립 이후에는 ‘대한민국’이나 ‘대한’, ‘한국’으로 수렴되었다. 일제가 우리나라를 주로 ‘조선’이라고 불렀던 것과는 큰 차이가 있다. 광복 이후 우리의 국가 개념은 크게 두 번의 굴절을 경험했다. 미군정의 시작과 함께 일제가 보편적으로 사용했던 ‘조선’이 남북한 모두에서 공식 명칭으로 사용되었다. 정부수립 이후에는 다 같은 ‘대한민국’의 약칭이지만 ‘민국’과 ‘한국’이 서로 경쟁하다가 ‘한국’으로 정착된다. This paper is concerned with the Begriffsgeschichte of “State” conceived by the first president of South Korea, Syngman Rhee(1875-1965). It covers the 50 year period from the late Chosun Dynasty to his presidency, August 1948 to April 1960. The current official title, “the Republic of Korea” is a result of a longing for an independent state such as “Daehan(literally, great Korea) Empire” since the import of the modern concept of state from Western Europe. Early on, Syngman Rhee dreamed of the Daehan Empire as the ideal state founded upon the constitution. Perhaps for that reason, he preferred using “nara”(meaning state in a purely Korean expression) to using a term borrowed from Chinese, “bang(邦)” or “kuk”(國). In the later period of the Chosen Dynasty, the concept of “state” already replaced the traditional concept of state with the above-mentioned “nara,” “kukga”(a Korean expression of state in Chinese characters, 國家), “uri-nara”(literally, our country), etc. These terms are even currently used for the modern meaning of our state. The term “uri”(literally, we) has also been used for a state since the later period of the Chosen Dynasty. In the South Korean Liberation Days, a new state called “Daehan-minkuk”(literally, the Republic of Korea) was founded. This state was the one comprised of those who settled in the Korean peninsula and its adjunct islands after the establishment of a government based upon a newly composed constitution. During the late Chosun Dynasty, Rhee did not have a consistent name for our country. He sometimes called it “Chosun,” “Daehan,” “Daehan Empire,” “Hankuk,” etc. On the contrary to this, the domestic and foreign newspapers used the terms “Daehan (Empire)” and “Hankuk” more persistently rather than “Chosun.” Soon after that, the name of our country, “Daehan” and “Hankuk,” not “Chosun” emerged as the collective singular. After setting an interim government, several names of our country merged to form “Daehan-minkuk,” “Daehan,” or “Hankuk.” This name is quite different from the one used before 1945, “Chosun.” After liberation, our concepts of state experienced two radical changes. Firstly, the United States Military Government authorities in Korea unfortunately used “Chosun” as the names of both South and North Korea, which is what the Japanese called our country during their occupation. Secondly, it was finally fixed as “Daehan-minkuk” or its shortened form “Hankuk” after contending seriously between “Minkuk” and “Hankuk.”

회음부 암성통증에 대한 외통이 신경절 블록과 상 하복 신경총 블록

한승연(Seung Yeon Han),윤덕미(Duck Mi Yoon) 대한통증학회 1999 The Korean Journal of Pain Vol.12 No.2

Intractable pain arising from disorders of the viscera and somatic structures within the pelvis and perineum often poses difficult problems for the pain pratitioner. The reason for this difficulty is that the region contains diverse anatomic structures with mixed somatic, visceral, and autonomic inner- vation affecting bladder and bowel control and sexual function. Clinically, sympathetic pain in the perineum has a distinctly vague, burning, and poorly localized quality and is frequently associated with the sensation of urgency. Although various approaches have been proposed for the management of intractable perineal pain, their efficacy and applications are limited. Historically, neurolytic blockade in this region has been focused mainly on somatic rather than sympathetic components. The efficacy of neurolytic ganglion impar block has been demonstrated in treating perineal pain without significant somatovisceral dysfunctions for patient with advanced cancer in 1990. The introduction of superior hypogastric plexus block in 1990 demonstrated its effectiveness in patients with cancer related pelvic pain. In our report, five patients had advanced cancer (rectal caner 3; cervix cancer 1; metastases to sacral portion of renal cell cancer 1). Localized perineal pain was present in all cases and was characterized as buming and urgent with 9-10/10 pain intensity. After neurolytic block of ganglion impar, patients experiened incomplete pain reduction (7-8/10), as determined by the VAS (visual analogue scale), and change in pain site. We then treated with superior hypogastric plexus block, which produced satisfactory pain relief (to less than 4/10), without complication.

국립무용단의 콜라보레이션 공연 사례분석 연구

한승연 ( Seung Yeon Han ),차수정 ( Su Jung Cha ) 한국무용연구학회 2015 한국무용연구 Vol.33 No.1

최근 대두되고 있는 콜라보레이션은 개성을 중시하는 21세기 시대를 대변해주고 있는 단어라고 할 수 있다. 콜라보레이션이 최근에 많이 대두되고 사용되어지는 이유는 좀 더 새로운 것, 쉽게 다가갈 수 있는 것, 창의적인 것을 중시하고 대중들에게 쉽게 어필할 수 있는 계기가 되기 때문이다. 콜라보레이션은 문화예술 전반에 걸쳐 하나의 장르로 자리 잡고 있다. 현재 우리나라의 공연예술에서 대중문화적 요구가 증대되어 빠르게 성장하고 있는 반면 무용 공연은 아직 일반 관객들에게 쉽게 다가가지 못하는 대중성 확보에 어려움을 겪고 있다. 따라서 본 연구는 무용공연의 관객 확보 및 새로운 발전을 위한 방법의 일환으로 최근 주목 받고 있는 콜라보레이션을 통한 공연 형식을 연구해 보고자 한다. 특히 국립무용단의 단, 묵향, 회오리, 토너먼트는 기존의 한국무용의 틀을 벗어나 새로운 형식을 받아들인 콜라보레이션 공연을 통해 관객확보를 위한 다양한 노력을 시도하였다. 일반 관객들이 가지고 있던 한국 춤의 편견을 깨뜨리며, 동시대 관객과 소통할 수 있는 무용공연의 가능성을 열어주는 것이다. 추후콜라보레이션을 통해 무용공연이 관객 마케팅과 홍보, 작품의 질적 수준 향상 및 새로운 공연 장르를 개발 하는데 도움이 될 것이라 생각한다. The word ``collaboration`` had been recently come to the fore as it represented 21st century which valued individual``s character. The reason why collaboration had been used frequently was that it easily appealed to public as it is new, approachable and values creativity. Collaboration had been settled down as one genre throughout cultural art area. In Korea, performing art was developing rapidly due to the increase in desires for pop culture while dance performance was facing difficulties in attracting public``s attentions due to the lack of popular appeal. Therefore, this research aimed at investigating performance type through collaboration, which recently received attention as a part of the method for securing audience of dance performance and new development. Particularly, Dan, Mukhyang, Hoiori and Tournament of the National Dance Company had exerted efforts to secure large number of audience through collaboration performance by accepting new format and going beyond typical format. It opened a possibility of dance performance to communicate with the audience of same period by breaking the prejudice in Korean dance against which general audience had. The researcher expected that dance performance could develop audience marketing, public relations, improvement of qualitative level of work, and development of new performance through collaboration, henceforth.

조선 후기 民國 再造와 民개념의 변화

한승연(Han, Seung Yeon) 한국정치학회 2012 한국정치학회보 Vol.46 No.5

民과 人의 합성어로서 백성을 지칭하는‘민인’이라는 개념은 정치사회의 변화와 함께 조선 전기와 후기에 그 의미에 큰 차이가 있었다. 조선 전기‘민인’은 전체 백성을 지칭함과 동시에 관인이 아닌 농공상에 종사하는 양민을 지칭하는 말로 사용됨에 따라 상하의 계층성이 내포되어 있었다. 그러나 양란 이후 국가재조 과정에서 君民一體를 지향하는 민국사상이 대두한다. 이에 영조는 민국이 백성의 고충을 덜어주는 것이 시급하다고 보고, 백성의 부담을 고르게 하는 과정에서 양반과 양민, 천민을 모두 자신의 동포로 끌어안음으로써 ‘민인’의 외연이 크게 확장된다. 나아가 구한말 서구 각국과 체결한 근대적인 조약문에서 국민의 대표어로‘민인’을 사용함으로써‘민인’은 모든 국민을 포괄하게 된다. 조선시대를 통해 자체적으로 성장하던‘민인’개념은 서구의 근대 국민 개념이 도입되면서‘인민’또는‘국민’으로 대체되고 만다. The concept“ Minin”is a compound word of“ Min”(民, a ruled) and“ In”(人, a ruler), which means people. The meaning of this concept has been evolved by several political and social changes during the whole Choson Dynasty. In the early Choson Dynasty “Minin”represents in general people such as farmers, manufacturers and merchants except for officials as well as all the subjects. It has some sort of hierarchical implication. However, in the later Choson Dynasty, its meaning had been modified. Especially after the Japanese Invasion of 1592-1598 and the Manchu war of 1636, a political thought “Minguk”(literally meaning people’s state) became dominant in emphasizing the unity of the ruler and people, so-called “Kynminilch”(君民一體) in the course of the state-rebuilding. At this point the denotation of“ Minin”was drastically extended to all the people including the gentry class, civilians, and slaves. Urgently King Yeungjo attempted to embrace them all as his compatriots for the purpose of lessening the burden and pain of his subjects. Furthermore, “Minin”meant representing all people or nation in regard to the modern treaties between Korea and the western countries during the last phase of the Choson Dynasty. Eventually the concept of “Minin”that grew for itself throughout the Choson Dynasty was replaced by the Western sense of “the people”or “nation”by importing the Western concept of“ nation.”