이보형 채록 <판소리(1)> 해설, 사설

이보형,노재명 한국고음반연구회 1998 한국음반학 Vol.- No.8

한국고음반연구회 이보형 회장 고이즈미후미오음악상 수상 기념 자료 : 민족음악(民族音樂)의?문법체계(文法體系)?탐색(探索)을?위(爲)한?소명(召命)

李輔亨 한국고음반연구회 2012 한국음반학 Vol.22 No.-

한국전통음악의 장단 연구사

이보형 한국음악사학회 2004 한국음악사학보 Vol.32 No.-

Changdan 長短 (lit. long and short) is used as a term related with rhythm in Korean traditional music. Though it was difficult to study since the term was used in a sophisticated way, the research on changdan was done by many scholars from the 1950s when the Society for Korean Musicology (韓國國樂學會) was established throughout today. The studies on changdan by Korean musicologists are classified into two. The first is about the characteristics of changdan itself. The second is about the musics in particular changdan, which is in greater numbers than the first. The study of changdan was started by Lee Hye-ku 李惠求 [Yi Hye-gu] and Chang Sa-hun 張師勛, scholars of the first generation of Korean musicology. They tried to study the characteristics of music by researching changdan of the music. Yi Po-hyŏng 李輔亨, a scholar of the second generation, continued their study of changdan. He made clear the characteristics of composition of different levels of beat in the rhythmic cycle of changdan, which distinguishes different changdan from each other. He also established a theory that determines the cycle of changdan by clarifying synthetic structure of rhythm with the structure of combination of rhythms of different levels. He also examined the musical meaning that the rhythmic type of changdan has in music in many different rhythmic types. In the next generation after Yi Po-hyŏng, many scholars are active in examining the characteristics of changdan.

무속음악장단의 음악적 특성

李輔亨 한국국악학회 1991 한국음악연구 Vol.19 No.-

장단 리듬형의 형태구조 및 통사구조와 그 변화연구

이보형 서울대학교 동양음악연구소 1997 民族音樂學 Vol.19 No.1

Gynecomastia Surgery Is Associated with Improved Nipple Location in Young Korean Patients

이보형,권유진,박장완,황재하,김광석,이삼용 대한성형외과학회 2014 Archives of Plastic Surgery Vol.41 No.6

Background: Gynecomastia is benign enlargement of breast tissue in males and is fairlycommon. Mastectomy not only helps in improving the shape of anterior chest, but can alsoimprove the location of nipple. Therefore, a principle element of mastectomy design isdefining the normal location of nipple based on major anatomical reference points. Here, thenipple location was compared for before and after gynecomastia surgery. In addition, thesame was also compared between male patients undergoing gynecomastia surgery and controlgroup of subjects without gynecomastia. Methods: We retrospectively analyzed gynecomastia patients who underwent conventionalsubcutaneous mastectomy. Preoperative and postoperative anatomical landmark distancesand chest circumferences were measured and compared to the same anthropometric datafrom 20 healthy adult male controls. Results: Nipple locations were compared among 13 patients and 20 controls. The meanweight of resected breast tissue was 246 g, and overall patient satisfaction grade was 4.3 outof 5. In the patient group, the slopes for the height–distance from the sternal notch to thenipple and chest circumference–distance between the mid-line of the sternum and the nipplewere 0.175 and 0.125 postoperatively, respectively. The slopes of the control group were 0.122and 0.177, respectively; these differences were statistically significant (P<0.05). Conclusions: Nipple positions were considerably lower in patients with gynecomastia than incontrol subjects. Subcutaneous mastectomy was associated with mild elevations, butpostoperative locations were still lower compared to controls. Further efforts are needed toimprove the location of postoperative nipple-areola complex in patients with gynecomastia.

시가 나오야(志賀直哉)의 우생학적 시각에 관한 연구 - 「아바시리까지(網走まで)」초고(草稿)를 중심으로 -

이보형 한국일본어문학회 2022 日本語文學 Vol.92 No.-

본고에서는「아바시리까지」의 초고를 중심으로, 이를 우생학의 시점에서 분석해 보았다. 시가는 알코올 중독자 아버지와 그 아이를 통해 “불량한 형질과 특질”을 가진 사람에 대한 배타적인 시선을 소설 속에 형상화하였다. 이는 개인의 생식에 관한 옳고 그름을 우생학적 시선을 통해 개인의 신체가 사회로 재편되는 과정을 보여준다. 그리고 이러한 “불량한 형질과 특질”을 가진 사람이 배제되지 않음으로써, 결국 아이 어머니가 이들의 손에 죽임을 당할 것이라는 ‘나’의 극단적인 상상을 통해 이들이 바람직한 사회 구성에 장애가 된다는 것을 독자들에게 설파하는 역할을 소설은 담당하고 있다. 이에 대한 내용은 초고를 비롯해 초출고, 완성고에서도 확인되는데, 이는 부르주아지 작가 시가의 우생학적 사고에 대한 확고함을 보여준다. 「아바시리까지」는 딱한 처지에 놓인 아이 어머니에 대한 ‘나’의 인간적인 연민의 감정을 들어 시가의 휴머니즘 계열의 작품 중 하나로 일컬어진다. 그러나 초고에서 아이 어머니는 ‘고등여학교’ 정도의 교육을 받은 중류계급 이상으로 그려져 있으며, 학습원 출신인 ‘나’의 아이 어머니에 대한 동정은 ‘시골뜨기 부부’로 대표되는 교육받지 못한 사람과 빈곤자를 철저히 타자(他者)화 함으로써 더욱 공고해진다는 점에서, 이를 휴머니즘으로 보는 관점은 재고되어야 한다. 또한 근대 초 우생학에서 우생학적으로 “불량한 형질과 특질”을 가진 사람에 빈곤자를 포함하고 있는데, 초고에서 그려진 ‘시골뜨기 부부’에 대한 묘사는 이러한 특질을 보여주는 것이라 할 수 있다. 또한 ‘나’는 3등석 좌석의 군상들을 “자유롭지 못한 것에 익숙한 사람들”이라고 평가하고 있는데, 시가에게 ‘자유’란 어떠한 의미를 갖는지를 통해 이것이 절대적인 자아 긍정의 또 다른 표현임을 확인하였다. 시가에게 ‘자유’란 재산을 바탕으로 하며, 방법적인 면에서 ‘다이쇼 교양주의’에 입각한 것이었다. 끊임없는 공부를 통해 시가는 인간이 “진보”에 이를 수 있다고 믿었는데, “진보”라는 단어가 사회진화론에 입각한 용어라는 점에서 ‘다이쇼 교양주의’와 사회진화론의 연결을 확인할 수 있으며, 이는 사회진화론적 사고의 반발로 ‘다이쇼 교양주의’가 등장했다고 하는 기존의 연구와 차별화된 시점이라 생각한다. 왜냐하면 사회진화론과 우생학, 그리고 ‘다이쇼 교양주의’는 근대화를 이루기 위한 교육의 중요성과 더불어, 개인의 확립을 통한 전체의 완성, 전체의 완성을 위한 개인의 확립이라는 상보적인 관계에 있었기 때문이다. 시가의 작품을 통해 확인한 근대 초 우생학은 ‘다이쇼 교양주의’와 밀접한 관련을 맺으며 사회진화론을 추동하는 사상으로 역할을 담당하였으며, 그것에 부응하지 못하는 우생학적으로 열등한 사회적 타자(他者)에 대한 배타적 감정을 부르주아지 작가 시가의 시점을 통해 확인할 수 있었다.

1619년 버지나아植民地에 온 黑人에 관한 小考 : 時期, 數, 身分

李普珩 전남사학회 1987 역사학연구 Vol.1 No.-

[Column : 전환기의 기업 전략 ㊤] 시장 위의 ‘보이는 손’과 경영전략

이보형 (주)매일경제신문사 2020 매경럭스맨 Vol.- No.115

판소리 내드름이 指示하는 長短 리듬 統辭 意味論

이보형 한국국악학회 2001 한국음악연구 Vol.29 No.-

Pamori(판소리, Korean narrative song with an accompaniment of the drum) is comprised of many sori(소리, sound or melody) in relation to various jangdan(장단長短, rhythmic cycles or rhythmic patterns) and "naedeureum(내드름)" refers to an opening phrasing of each sori stock. In general jangdan in Pansori consist of certain rhythmic patterns whose each one corresponds to its melody and text. But jangdan in Pansori are to some extent constructed differently from one singer to another. In performance situation the singer tends frequently to change a certain jangdan spontaneously, so the drum player needs to distinguish particular types of the rhythms within the naedeureum jangdan immediately and accompanies them as soon as the singer utters naedeureum, each melody stock. This article is to investigate the signal system of the way of communicating between the singer and the drum player that there is an encoded meaning which distinguish the types of jangdan during the Pansori performance. The singer sends a musical information, which is contained in a naedeureum melody, and which indicates the types of jangdan, while the drum player receives the musical information and cognise them. The musical information which communicates between the two can be a "Collective Structure 집합구조" which is each levelled beat of rhythmic cycles implied in the naedeureum melody and I would call it an abbreviated term "Beat Structure 박자구조". I have considered musical structure, which generates the beat structure of jangdan as 'Syntax Structure of Jangdan Rhythm 장단리듬 통사구조'(Yi Bo-hyung, 2000). In this respect, a musical meaning that the singer indicates the drum player can be a musical semantics which is occurred in Syntax Structure of Jangdan Rhythm. Jangdan types arranged in Pansori are distinguished each other, as they differ in terms of structures of the beats and tempi/speeds. But there is also a case that sometimes certain jangdan types are not distinguished by these two elements - tempo and beat. Then the singer employes two kinds of devices in order to distinguish these confused jangdan : one is to indicate directly the Syntax Structure of Jangdan Rhythm which generates the Beat Structure of Bondi jangdan in certain jangdan, that is a simile meaning which is represented in deep structure; the other is a different kind of the Rhythm Syntax Structure which is not the deep structure in jangdan, that is a metaphoric meaning which is represented in surface structure. When a denotation of jangdan with the surface structure is idiomitised, this becomes the idiomatic structure which possesses a particular musical meaning that indicates the particular jangdan. Pansori singer, thus, gives a certain clue and the active gesture with either the simile meaning or the metaphoric one according to the types of the jangdan, so this makes the drum player easily to distinguish their meanings. However Pansori singers sometimes change these rules in order not to be immersed themselves in mannerism. To indicate a certain jangdan in a new meaning of the rhythm, they use metonymy which digresses the Rhythmic Syntax Structure that is non-idiomatisation, or they present passive gestures which the drum player would not be able to recognise a certain message clearly. When the singer did not indicate the meaning of a certain jangdan to the drum player and in return the latter did not render the proper rhythmic patterns of what the former intended. Then a tension between the two performers grows and consequently the performance would not be successful in delivering the singer's artistic intention. Thus it is not simple to establish the semantic meaning of denotating jangdan in naedeureum by a Pansori singer.