수조내의 유동해석 방법에 대한 연구

金島永 弘益大學校 産業技術硏究所 2005 産業技術 Vol.15 No.-

In this paper a numerical method to exam ine flows in the basin is studied. Here we focus a basin in the waste-water processing. In order to have good mixing, one needs to install mixing fan in the basin. It is desired that the flow velocity is between 0.1m/s - 0.5m/s to have a best performance. Therefore it is very important to decide the location, number and power of the mixing fans to have proper flow field. Here flow is assumed to be two dimensional. The mixing fan is model as a simple pressure jump. It is shown that a simple pressure jump model can successfully simulate the performance curve of the mixing fan. By solving Navier-Stokes equations we examine the effect of the mixing fan location. Velocity contour and velocity vectors of the flow are shown. Also this simple approach can model the global flow field in the basin.

문학속에 나타난 呂洞賓 보검의 이중상징

金道榮 중국어문연구회 2003 中國語文論叢 Vol.24 No.-

This paper aims to assess the symbolic meaning of Lu Tung-pin's magic two-edged sword. Especially I focus the symbolic representation of Lu Tung-pin's sword as religious training meaning as well as secular meaning because of Tung-pin's Taoist name, ‘Chunyang(純陽)’. The Chunyang(純陽) has dual meaning; the one is a sexual ecstasy, the other is a religious ecstasy. Therefore, Lu Tung-pin's sword is symbolizing the desire of penis in secular meaning. In religious training meaning, the sword is symbolizing the controling of desire. More specifically, The first; Lu Tung-pin's sword is an emblem of cutting his sexual desire. the second; it is an emblem of tender wisdoms on the strong and weak ground as his sharp two-edged sword. Finally; it is an emblem of process for eternal life. However, Lu Tung-pin might have aroused no interest at all among scholars of classical literature because they can't say positively whether he is true or false. So Lu Tung-pin was regarded as one of Immortals(神仙) characterized by a smart appearance and magic two-edged sword. In this essay, I try to illuminate Lu Tung-pin as an internal alchemist and reformist for Taoism on the Neo-Confucianism and Zen Buddhism of Immortals in medieval China. In conclusion, magic two-edged sword of Lu Tung-pin can be an alternative as an idea to analyze the emblem of sword throughout the whole literary arts. Accepted as the inner alchemical thought of Taoism, this analysis regarding Lu Tung-pin's sword is expected to revaluate a humanist Lu Tung-pin beloved by the pragmatic Chinese. Lu Tung-pin is not a man who has attained the highest state of enlightenment, but he is in the religious training process with the Chinese people.

젠더의 혼란을 야기한 남채화(藍彩和)의 형상 연구

金道榮 한국중국소설학회 2017 中國小說論叢 Vol.52 No.-

본 연구는 그간 크게 주목하지 않았던 藍采和의 성적 정체성에 의문을 가지고 그 정체를 규명하고자 하는 작업이다. 藍采和는 八仙뿐 아니라, 중국의 수많은 도교신격가운데 최초로 젠더가 변화된 唯一 신선임에도, 지금까지 도교의 다른 神格들과 팔선의 여동빈, 철괴리 등 유명한 구성원에 가려져, 남채화만이 갖는 독자적 의미가 제대로 부각되지 못했다. 그것은 개인, 사회, 종교적인 측면에서 볼 때, 여러 가지 문제로 파급되고 다양한 의미를 갖지만, 간략하게 개인의 성적자유화의 표출, 남성적 사회의 억압과 억눌림에 여성적 저항, 그리고 종교적으로는 남녀의 성별을 초월한 지고지순의 해탈 경지추구로 정리할 수 있다. 元代의 전진교는 사회적으로 소외되고 천시와 차별을 받은 배우 남채화를 神仙의 반열에 올려 숭배했다. 이는 당시 중국사회의 공감대를 형성하고, 그들의 슬픔과 서러움을 승화시켰다. 남채화는 피억압자, 성소수자, 소외자들의 神으로, 그들에게 安慰를 주는 중요한 신선의 역할을 지니고 있어, 명실상부한 ‘賤의 대표신선’이 된 것이다. A member of the Eight Immortals, Lan Cai-he(藍采和) is to be recognized by his distinctive emblem — castanets(玉板). The first record about Lan Cai-he looks in the 10th-century Continued Biographies of Immortals(續仙傳) by Shen Fen(沈汾), in South Tang Dynasty(南唐937~975). We can not know whether he was a real person. But it’s clear that he was always singing as an entertainer with castanets(拍板). Among the Eight Immortals, that is, the Immortal Lan Cai-he is the only one who had changed Sex. The Immortal Lan Cai-he who is ‘a healthy man’ of mural paintings in the 14th-century Yuan Dynasty had changed ‘a young man’ of Perfect Collected Biographies of Immortals(列仙全傳) in the Ming Dynasty. He was also changed ‘a sort of androgynous appeal’ in the early years of the 18th century. And he was changed ‘a beautiful woman’ in the 19th century again. An exciting research on the following will be accomplished. What is the symbol of Lan Cai-he castanets and Children head shape, and neither in bunches(雙髻)’s Taoist Internal Alchemy(內丹) meanings? Why is he, of course, caused gender’s chaos by mistaken for male or female even in China and Korea? Of Chinese Taoist Immortals, the androgyne Immortal Lan Cai-he who carry the rhetoric of ‘first’ mental bisexual, how is he different with the epicene gods of India, Greek Roman mythology, and it is what are they wanted to talk about something?

《紅樓夢》의 특수언어현상

金道榮 한국중국소설학회 2012 中國小說論叢 Vol.36 No.-

This paper is starting with the exceptional language Phenomena of speaking with the Manchu accent and flavor during Qing dynasty, and then it brings to light the predecessor of old-Peking dialect and flavor. In order to prove my view, I explained the “BA” Construction spoken by Bannerman. I especially focused on inter-language phenomena of “The Dream of Red Chamber” from the Altaic languages point of view, and inter-language phenomena of “The Tale of Heroes and Heroine” has decreased greatly, and then I can’t almost look for inter-language phenomena of laoshe(老舍)’s works in modern time. But we can find that nobody pay attention to this fact that the Peking accent and flavor in this time were carrying more Manchu colouring, that is, heavier Manchu flavor. The old-Peking people themselves don’t know the origin, however they are unconsciously specking the Old-Peking Dialect. Based on the above study, I try to clarify that the reason of the “BA” playing a leading role in the North Chinese was closely related with the Altaic languages contact for a long time. The frame of this essay will help to make us interpret the phenomena of exceptional grammar existing in the Chinese language history, and it will help to make Altaic language students improve more exact comprehension about the special feature of Chinese and culture.

鐵拐李의 由來와 한국적 變容― 山臺놀이와 神仙圖를 중심으로

金道榮 한국중국소설학회 2003 中國小說論叢 Vol.18 No.-

朝鮮《李仙圖》에 나타난 작가의 심미의식과 시대적 의의

한국도교문화학회 2012 道敎文化硏究 Vol.36 No.-

<P>&nbsp;&nbsp;본고에서는 한국회화사에서 김명국의 〈풍백도〉라는 오류를 필자가 최초로 발견하여 김명국의 〈철괴도〉로 바로잡았다. 정조시대 프로페셔날 화인 김홍도는 〈풍속화첩〉이라는 대표작으로 서민의 생활상을 자신의 화폭에 그려 넣은 조선의 대표적인 리얼리티 화가로 평가되지만, 필자의 분석은 그것은 제한된 소재이고 당시의 현실과 상당부분 타협한 내용들임을 밝히고 있다. 그런 그의 관념은 그의 작품 전편에 흐르고 있으며, 士大夫를 향한 의식지향이라는 김홍도의 인간적 고뇌로 읽어내었다. 아울러 통시적으로 기타 畵人 김명국, 심사정, 조석진 등의 〈철괴도〉와의 비교를 통해 그들의 〈철괴도〉에 투영된 작가의 예술정신과 시대적 의의를 밝히고 있다. 그리고 조선〈철괴도〉가 중국〈철괴도〉와 어떠한 차별점을 띠는지 집중 분석한 결과, 이 〈철괴도〉가 조선조의 향유계층인 상층양반사회에 수용되며 한국적으로 변형된 점, 日本에서는 원형그대로의 모습을 간직한 이유에 대해 韓․中․日문화와 정신의 차이에서 기인한 점을 밝히고 비교연구의 가능성을 제시하고 있다.</P>

朝鮮王朝 《鐵拐圖》와 기록 增補(1)

金道榮 한국중국소설학회 2013 中國小說論叢 Vol.40 No.-

This paper aims to assess a change in appearance and supplements of Tie kuai-Li in the Chosun Immortal paintings. Before everything else, I try to illuminate my initial findings and artistic spirit of 4 painters; A court painter Kim husin (金厚臣) was often followed in Chinese style and he didn’t have any individuality. But he was successful in depicting the warm and comfortable master Zhong li-quan, the elegant disciple Lu Tung-pin, the hideous, hairy, deformed, and scantily clad figure of Li Tie Kuai. This point goes beyond the work of Chinese 〈Sage〉 belonging to The British Museum. 〈the Immortal Iron Crutch –Li (鐵拐圖)〉 painted by Lee zaeguan (李在寬) was first reported and modified a mistake by my investigation and research. A professional painter Lee zaeguan was also followed in a Chinese painting of the Southern school and inquired into a painting in the literary artist’s style closely. A court painter Lee hanceul (李漢喆) absolutely wasn’t known for striking and bizarre images in his works, but he used his imagination to the full in 〈the Immortal Iron Crutch -Li (鐵拐圖)〉, in spite of falling behind China and Japan’s bizarre images. By contrast upper 3 painters, a great painter Zhang seungup (張承業) was a complete failure in depicting the Immortal Iron Crutch -Li and his spirit. In conclusion, I pay attention to two painters in special; The one is that 〈the Immortal Iron Crutch -Li (鐵拐圖)〉 of Lee hanceul (李漢喆) in the 19th-century aroused much discussion, ― that is the grotesque painter Yan hui (顏輝) in the 13th-century, China and the bizarre painter Soga (曾我蕭白) in the 18th-century, Japan. Technically, his paintings upheld the Yuan dynasty’s original form in the Chosun Immortal paintings. The other is that, because of ignorance in full, Zhang seungup (張承業) belonging to the lower classes was a complete failure in depicting the Taoist eternal life and the thought of Inner-Alchemy (內丹), but we can see one aspect of society and life through the portrayal of the character in his 〈the Immortal Iron Crutch -Li (鐵拐圖)〉, ― that is “goatishness”. After all, these 4 Chosun painters have also modified the conventional styles in order to create a refreshing and unique style by each artistic spirit.

박막트랜지스터 게이트 절연막 응용을 위한 불화막 특성연구

金度榮(Do Young Kim),崔碩元(Suk Won Choi),安炳宰(Byeong Jae Ahn),李準信(Junsin Yi) 대한전기학회 1999 전기학회논문지C Vol.48 No.12

여동빈 로맨스와 재발견된 <여동빈도(평양본)>의 작가문제를 중심으로

金道榮(Kim, Do-Young) 한국중국소설학회 2020 中國小說論叢 Vol.61 No.-

본고는 재발견된 조선 <여동빈도>(평양본)에 표현된 중국 여동빈의 문화적 변용과 조선사회의 인식 및 시대정신의 구현에 대한 고찰이다. 보다 궁극적 목적은 한국학에 散在한 중국도교의 신선인물 呂洞賓관련 誤讀을 교정하고, 중국과 한국의 여동빈 위상, 삼교합일추세의 全眞敎 내단사상의 문학적 표현, 중국과 조선의 <여동빈도>의 문화적 차이에 대한 학문적 논의 활성화 및 인식의 전환을 유도하고자 함이다. 唐代의 신선인물 呂洞賓에 대해 詩人이자 儒佛仙 三敎의 사상과 문화가 투영된 실질적 수련가의 이미지를 고찰한다. 揷圖 등 회화 표현에서 중국의 것임에도 한국에서는 중국의 것과 다른 변모양상을 보이고, 독자적 예술성을 지니고 있다는 점에 주시하며 朝鮮社會의 인식 및 시대성과 관련지었다. 중국의 삽도에 표현된 呂洞賓도상으로, 《列仙全傳》, 《三才圖會》, 《仙佛奇踪》 간의 판본비교, 19세기 말 日本에서 인쇄된 《繪像列仙傳》 등 明淸 삽도 중 여동빈의 형상이 갖는 중국적 정형성에 주목하였다. 여기에서 여동빈의 지물인 ‘보검’과 ‘순양건’이외에, ‘버드나무정령’이 元代 <순양전벽화>와 雜劇부터 최초로 등장한다. 조선 <여동빈도>의 경우, 현재 조선신선도를 연구하는 미술사학계에서 왜 ‘버드나무정령’이 사라졌는지에 대해 규명하지 않은 상태이다. 이에 본 연구의 출발은 중국으로부터 조선반도로의 문화적 轉移와 변용 연구로서, 조선의 어떠한 문화적 배경에서 ‘버드나무’가 사라졌는지에 대한 의문에서 비롯되었다. 필자의 여동빈관련 중국문헌의 고증과 확충된 심화연구가 조선 <여동빈도> 연구에 도움을 줄 수 있기를 바라며, 이 기초연구를 기반으로, ‘중국과 조선의 문화차이(버드나무→소나무)’의 배경을 밝히는 데 주력하였다. 나아가 ‘純陽의 達人’으로 몸의 생체리듬에 정통한 중국의 수련가 呂洞賓이 韓國仙道史, 한국도교사, 넓게는 한국사상사와 한국회화사에서 어떠한 위상과 의미를 지니는지를 한층 명확히 究明해보고자 한다. This paper aims to assess recognized perception and transformation of the Chosun society on Lü Tung-pin of China, from Willow tree to Pine tree. I will compare minutely changes between angry and frustration of Lü Tung-pin(呂洞賓) and Willow tree(柳) in Yuan Dramas and love affair of Lü(呂) in Ming Novels. and then I’m going to pay attention to the background of <the Immortal Lü Tung-pinpaintings>. Willow trees always appear in China’s <te Immortal Lü Tung-pin paintings>. However, this willow tree is transformed into a pine tree in the Chosun Peninsula. In the background of this change, pine trees symbolizing the principles and incisions of scholars were depicted in the Chosun noble society, which was dominated by the spirit of the age that reveres the nobility(崇文) against martialism(尙武) . Thus, the painting of willow trees, not pine trees, in <the Immortal Lü Tung-pin paintings> provided the basis for analyzing that it was a work of a civilian painter. The presence or absence of willow trees also served as a basis for determining the authenticity of the work in <the Immortal Lü Tung-pin paintings>. Finally, I try to illuminate my initial findings and artistic spirit of 4 painters and to argue truth or falsehood in Art Forgery; A court painter Kim Hong-do(金弘道) belonging to the middle class was a struggle for the upper classes and a person who compromised with reality. Kim Hong-do(金弘道) who always wants to be a literary artist never painted a willow tree in his work. This provided the basis for determining the authenticity of Kim Hong-do’s work. A court painter Kim Deuk-sin(金得臣) imitated Kim Hong-do, who uses Chosun -style handwriting. However, he did not perfectly copy master Kim Hong-do in his handwriting and writing skills. Kim Yang-gi(金良驥), the only son of Kim Hong-do, was found to be the first real work. This was the basis for the interpretation of <the Immortal Lü Tung-pin paintings>(A collection of Pyongyang平壤), known as Kim Yang-gi(金良驥)’s works. For the first time, I found that the exact name of Cho suk-jin(趙錫晉)’s “the Immortal who makes fun of the mole(神仙戱蟾)” is the Immortal Lü Tung-pin.