1894년 동학농민전쟁에 대한 문명론적 인식의 형성과 성격

홍동현 ( Hong Dong Hyun ) 역사문제연구소 2011 역사문제연구 Vol.15 No.2

The peasantry uprising that originated in the Gobu area in 1894, was soon joined by the Dong`hak party members and continued to spread throughout the entire country. It was very well organized, and its political moto of “Protecting the Country, and therefore Appeasing the Public(`輔國安民`)” was quite clear and strong. The moto itself clearly distinguished the 1894 uprising from any other revolt that had come before. Yet the Joseon government still perceived it as a mere `revolt,` caused by the malpractices and wrong doings of corrupted local officials. The government wished to resolve the uprising by agreeing to some of their demands,while also apprehending the leaders to neutralize their forces. On the other hand, the Gab`o Regime which seized power in June of 1894, defined this uprising as an attempted political coup staged by the Dong`hak party which tried to overthrow the government. The regime intended to delay the peasantry armies` another uprising, by expelling all the Min-house members from the government and then reinviting King Gojong`s father Regent Dae`weon-gun. Yet the Japanese decided to intervene in Joseon affairs at this juncture, and the Dong`hak Peasantry army started to engage in a second uprising. So the Gab`o regime decided to suppress them. Yet interestingly enough, the reason they claimed for suppressing the peasants, was that the Dong`hak party was preventing the Joseon society from reaching a “civilized and enlightened state.” Then the Gab`o Regime made a formal request to the Japanese for `military assistance.` It was more than a blatant cooperation between the Gab`o Regime and the Japanese, of which the latter committed massive slaughtering of the Dong`hak members, who were labelled as `enemies of the civilization,` by its own government. After the Dong`hak Peasantry war was ended, members of the Gab`o Regime interrogated the leaders of the Dong`hak Peasantry army themselves, and also directly issued their own sentences, through trials they arranged to propagate how and why the Joseon people should be enlightened, specifically in the way that fit their agenda. In the process,they claimed that the first uprising was what necessitated the establishment of the Gab`o Regime and gave birth to its reform plans. They also denounced the second uprising`s moto of “Repelling the Japanese and Promoting Righteousness(斥倭倡義)” as a threat to a `civilized society.` They even painted the Dong`hak leaders as a `political victim` of the `uncivilized Joseon society,` and tried to erase the sacrifices made by the Dong`hak soldiers, from the memories of the Joseon population. This newly established image of the Dong`hak Peasantry war based upon the idea of `Pursuing a Civilized and Enlightened State,` later continued to be reproduced again and again, by newspapers like 「Dok`rib Shinmun(“The Independence”)」 and 「Mae`il Shinmun」, which were all founded to supposedly `enlighten the public.` These two newspapers portrayed the Dong`hak Peasantry war as a `barbaric incident` that happened out of the `uncivilized` Joseon situation, and also as an `unfortunate accident` that should be avoided at all cost, for the Koreans to advance into an enlightened state. As this idea of ``pursuing civilization`spreaded throughout the Joseon society, the Dong`hak Peasantry war came to be considered as a movement that was bent upon boycotting exterior influence just for the sake of it, and as a movement that felt perfectly comfortable in retaining a toadeating attitude, while viciously opposed to the values of civilization and enlightenment.

1894년 일본 언론의 동학농민전쟁 인식 ― 『시사신보(時事新報)』와 『국민신문(國民新聞)』을 중심으로

홍동현 ( Hong Dong Hyun ) 역사문제연구소 2010 역사문제연구 Vol.14 No.2

In 1894 the Japanese media provided an image of the Dong`hak Peasantry war for the Colonial Historians during the Japanese Occupation period. (Shisa Shinbo/時事新報( and (Gukmin Shinmun/國民新聞( in particular presented a view based upon the concept of modern civilization,and therefore formed an image of both the Dong`hak Peasantry war and the Peasantry troops. Their point of view considered Japan as a civilized country, and they perceived Joseon as a primitive country that was threatening the peace in East Asia. They also recognized the Dong`hak Peasantry war accordingly as well, as an evidence testifying to the primitive nature of the Joseon society. In short, they figured that an isolated disturbance which would have been quickly resolved as a mere happening in Japan was rather amplified in a primitive country and became in Joseon a political insurrection, an uncomplicated political incident caused not by a revolutionary political agenda but by a mere political instability that occurred inside the Joseon government. The press also demanded that Joseon be reformed after the Jeonju Truce, and emphasized the prospected role of civilized Japan in all that,and then defined the Dong`hak Peasantry troops as `good civilians.` In their eyes, the Dong`hak Peasantry war broke out because of a political instability, so when Joseon would finally be reformed, all those good people would stand down eventually. We can see that they were not perceiving the participants in the war as people who had a firm political agenda. They were seeing them only as people who had mere frustration and grudges against the government. The Japanese also argued that even the Japanese had to suppress the conservative voices which tried to block political progress, and then legitimized the Japanese troops` crushing of the Peasantry troops, as an act of aiding Joseon in its civilization process. As we can see, in 1894 the Japanese press perceived the Dong`hak Peasantry war in the context of Joseon`s own condition that was supposedly `not yet civilized,` and they defined the Dong`hak Peasantry troops essentially as the enemy of civilization. Such point of view,considering the concept of civilization above all else, was adopted by the Colonial Historians` study of the Dong`hak Peasantry war as well, during the Japanese occupation period.

冬壽의 出自로 본 高句麗의 낙랑군지배

이동훈(Lee, Dong-Hoon) 백산학회 2010 白山學報 Vol.- No.88

Main character of the Anak Tomb No.3, Dong-su is from unknown family in China, but he was charged with a top position where only elite worked as in Murong(慕容) regime. That was unusual, so this researcher called his background in question. As the result of analyzing various family names-related data, Dong-su was not from China but from Nakranggun. At that time, Chinese immigrants and original settlers who are Goguryeo’s descendants lived in Nakranggun, and Dong-su was also one of original settlers. Meanwhile, the history book reveals Dong-su’s birthplace as Yodong. When King Micheon of Goguryeo ruled Nakranggun(樂浪郡) in 313, among residents of Nakranggun, there were immigrants who moved to Yoseo in China and they settled themselves in Nakranggun that was newly established near to Geuksung(棘城). Besides, they were immgrated in Changryeogun(昌黎郡) and Yodonggun(遼東郡). As the result, Nakrang Han family received a new domicile of Changryeo Han family, and Nakrang Dong family was changed to Yodong Dong family, which was the reason that Dong-su was expressed as Yodong. For Goguryeo that subjected Nakranggun, controlling powerful families(豪族) who were main power of Nakranggun was the main point. Goguryeo carried through the Nakranggun governance by using the graded powerful family Dong(冬) to restrain Nakranggun large family Wang(王). They received administrative rights from the Goguryeo regime, but military rights were totally under Goguryeo. Han(韓) and Wang(王) families that were ruled like this became the sacrificial lamb of the reinforcement policy of kingship and received a blow after King Jangsu(長壽王) moved the capital from Kuknaesung to Pyeongyang. The fact was turned out in inscription remaining in China through the analysis of the study. As the result, they left Nakrang for China. After that, these two families weakened as much as their trace was not found in the history of the late Goguryeo. However, some people from Nakranggun who just followed Goguryeo’s rule played a important role after the late Goguryeo.

코어안정화운동, 동방요법 및 병행처치가 골반변위에 따른 좌골신경통에 미치는 영향

김동호(Kim, Dong-Ho),김상현(Kim, Sang-Hyun),김성남(Kim, Sung-Nam),김재철(Kim, Jae-Cheol) 한국체육과학회 2019 한국체육과학회지 Vol.28 No.4

The purpose of this study was to confirm the effect of core stability exercise, dong-bang therapy, and combined treatment on reducing pain, pelvic correction and stress hormone concentration in patients suffering from sciatic neuralgia due to pelvic displacement. Middle aged(40~50age) suffering from sciatic neuralgia over 6 months were operated with core stability exercise, dong-bang therapy, and combined treatment 3 times a week for 12 weeks. VAS and X-ray was performed to collect pain scales and pelvic displacement data and cortisol and epinephrine concentration in blood were tested. 1. pain scale rate was reduced in all groups. especially, dong-bang therapy group and combined treatment group showed more directive pain reduce. 2. pelvic displacement improvement was not significant in core stability exercise group, and it was significant in dong-bang therapy group and combined treatment group. no significant difference was shown between dong-bang therapy group and combined treatment group. however, combined treatment group showed higher correction effect. 3. concentration of stress hormone was significantly increased in all groups after the first operation. after 12 weeks concentration level was reduced to same level before treatment. Dong-bang therapy and combined treatment improve pelvic displacement, and are effective treatments on reducing sciatic neuralgia due to pelvic displacement. combined treatment of dong-bang treatment and core stability exercise is considered an effective program of correction for pelvic displacement and maintenance.

족과관절염좌 환자에 대한 동씨침법과 일반침법의 효과에 대한 비교 연구

안호진,정동화,황규선,윤기붕,김태우,문장혁,백종엽,이상무,Ahn, Ho-jin,Jeong, Dong-hwa,Hwang, Kyu-seon,Yoon, Ki-bung,Kim, Tae-woo,Moon, Jang-huyk,Baek, Jong-yeob,Lee, Sang-moo 대한침구의학회 2003 대한침구의학회지 Vol.20 No.1

Objective: The purpose of this study is to compare the effects of Dong-si acupuncture therapy and General acupuncture therapy for the patients with acute ankle sprain. Methods : This study has been carried out for 60 cases of ankle sprain patients who have visited Dong-Seo Oriental medical Hospital from May 1, 2002 to September 30, 2002. We have treated 30 cases of them by Dong-si acupuncture therapy and the other 30 cases by General acupuncture therapy. And we have compared those two group. Results : 1. There was no significant difference at the treatment period and the number of treatment times in comparing two groups. 2. The number of treatment times for good effect is that : Dong-si took $1.57{\pm}0.85$ times and General acupuncture therapy took $2.15{\pm}0.96$ times. And we have found that the effect of Dong-si acupuncture therapy is faster than the other.

신동엽 시극 <그 입술에 파인 그늘>의 이데올로기

김동현(Kim, Dong-Hyon) 한국문학회 2010 韓國文學論叢 Vol.55 No.-

시극 <그 입술에 파인 그늘>에 대한 이전의 연구들은 간단한 내용 및 형식 분석을 통해 '민족시인' 신동엽의 명성을 확인하는 데에 머물렀다. 본고에서는 보다 본격적으로 신동엽의 시극 <그 입술에 파인 그늘>의 드라마투르기를 분석하고, 테리 이글튼의 이데올로기 이론에 입각해서, 당대의 일반적인 이데올로기와 미학적 이데올로기, 작가의 이데올로기 및 텍스트 이데올로기 간의 관계를 통해 텍스트의 생산 관계를 살펴보았다. 첫째, 작품에서 중요한 의미를 띠는 '그늘'의 상징성은 이중적 의미를 띠는데, 일차적으로 일체의 이념에서 벗어난 유보된 지역을 의미한다. 또한 우리를 둘러싼 '모든 쇳소리'나 맹목적인 조직들에 의해 만들어진 음울한 '그늘'로서 동굴로 피신해야 하는 위험한 공간이기도 하다. 둘째, 작가 및 텍스트의 이데올로기는 폭력을 통한 혁명, 제국주의 폭력성을 이념을 향한 맹목적인 의지로 보고, 모든 쇠붙이에 대한 거부를 주장한다. 외세에 의해 조종되는 껍데기가 없는, 주체적이고 유토피아적인 세상을 꿈꾸는 것이다. 그리고 이러한 낭만적 아이디얼리즘의 세계에 대한 열망을 남녀 주인공의 상징적 통일을 통해 표현하고 있다. 셋째, 텍스트의 비극적 카타스트로프는 미래에 대한 전망이 두 남녀의 상징적 통일처럼 낙관적이지만은 않음을 약호화(略號化)한다. 이것이 텍스트의 이데올로기다. 반면, 작가의 이데올로기는 외세와의 갈등 극복의 길이 험난하겠지만 그 갈등을 극복한, 일체의 이념으로부터 자유로운, 우리 민족의 자주와 주체성 및 고유의 아이덴티티의 회복을 지향한다. 이 지점에서 텍스트의 이데올로기는 지배적 이데올로기에 편입되어 버리는 양상을 보이지만, 작가의 이데올로기는 텍스트의 이데올로기를 넘어서서, 그것과 분열된다. 신동엽은 일체의 이념을 초월한 낭만적이고 전통적인 휴머니즘의 유기적 전체성에 대한 회복을 꿈꾸고 있는 것이다. 미학적 이데올로기는 작가의 이데올로기에 개입함으로써 카타스트로프를 비극적으로 처리하여, 작가의 이데올로기를 미적인 형상화 과정에서 변형, 굴절시켰다. 곧 '부재' 개념의 미학적 변형 메카니즘이 작동한 것이다. 한편, '그늘' 상징 등의 모호함은 지배적 이데올로기의 검열을 피하는 방법으로서, 작가 자신의 자체 검열로 볼 수 있다. 또한 미학적 이데올로기의 개입에 의한 생경한 소재의 나열을 넘어서기 위한 예술적 형상화로 읽히기도 하는데, 곧 '부재' 개념의 미학적 변형 메카니즘의 작동으로 볼 수 있다. 지배적 이데올로기에 도전하는 세력은 신동엽이라는 작가로 하여금, 지배적 이데올로기 세력에 도전하기 위해, 또는 모든 국민을 대상으로 민족적이고 진보적 이데올로기를 호소하기 위해 시극이라는 연극 형식을 택하게 했다. 궁극적으로 이 작품 <그 입술에 파인 그늘>을 포함한 신동엽의 문학은 일체의 이념을 초월한 전통적 총체성 및 낭만적 휴머니즘의 유기적 삶에 대한 회복을 꿈꾸는 것이며, 그런 의미에서 그의 문학은 생산적인 노동이 된다. 본 텍스트의 문학 생산은 이데올로기적으로 민족적 현실에 대한 반성과 미래에 대한 계시, 환상 등을 약호화하고 있으며, 이 작품은 민족적 유토피아 실현을 위한 과정, 실천, 상징, 제스처 등을, 이 작품의 소비는 독자들의 민족적 역사 현실에 대한 마술적인 영향, 비밀스러운 의식, 대화참여 등을 약호화하고 있다. The former studies on poetic drama <Shadow Dug on the Lips> were stayed to confirm the reputation of 'national poet' Shin Dong-Yop through simple content and form analysis. I analysed the dramaturgy of Shin Dong-Yop's poetic drama <Shadow Dug on the Lips> in earnest in this study. And standing at the theory of Terry Eagleton, I studied production relationship through the relationships among general ideology, aesthetic ideology, authorical ideology and textual ideology of the time that he showed in his work. First, the symbol of 'shadow' to have an important meaning at this work is quite ambiguous. This ambiguity is judged on the inexperience about the dramaturgy at the state that he didn't learn a clear recognition through the experience about the stage convention. 'Shadow' has double meanings. Primarily, it means the deferred territory that get out from all the ideologies. And it is also the dangerous space that they should escape to the cave, as the gloomy 'shadow' made by 'all the iron sounds' and blind organizers to surround us. Second, authorical ideology and textual ideology show that the revolution through the violence and the imperialistic violence are a blind will for the ideology. That is, they show their refusal against all the irons. They dream of the subjective utopia world that there is no 'shells' controlled by foreign powers. They express a desire for this romantic idealistic world through borrowing the organistic style of past. Third, the tragic catastrophe of this text encodes that the prospect for the future is not optimistic like the symbolic unification of a man and a woman, that foreign powers don't easily permit the peace of the korean peninsula, that they can't easily escape from the shadow, and that anybody won't be free even only one step from the realistic history. This is the ideology of the text. But authorical ideology aims for recovering our national independence, subjecthood and unique identity to overcome conflicts and to be free from all the ideologies, even though it is the rough way that they overcome the conflicts with the foreign powers. At this point, textual ideology has an incorporated aspect into dominant ideology, but authorical ideology passes over textual ideology and divided with it. Shin Dong-Yop dreams of the recovery to transcend all the ideologies for the organistic totality of the romantic, traditional humanism. Aesthetic ideology dealt with the catastrophe tragically through intervening in authorical ideology, and then it transformed and deflected authorical ideology in the process of aesthetic embodying. That is, aesthetic transformational mechanism of 'the concept of absence'(concealment, distortion, transformation, silence) worked. Meanwhile, the ambiguity of 'shadow' symbol etc can be an author's self-censorship as the way avoiding the censorship of dominant ideology. And it is read as the aesthetic embodying for overcoming the enumeration of raw materials by the intervention of aesthetic ideology. That is, it can be seen as the aesthetic transformational mechanism of 'the concept of absence' works. The power to challenge against the dominant ideology made author, Shin Dong-Yop select poetic drama form, for challenging against the dominant ideology or appealing to the national and progressive ideology to target all the people. Eventually, Shin Dong-Yop's literature including this work <Shadow Dug on the Lips> dreams of the recovery of the organic life of traditional totality and romantic humanism to transcend all the ideologies. At that meaning, his literature turns as a productional labour. The literature production of this text ideologically encodes a reflection about the national reality and revelation, fantasy etc for the future. And this work encodes process, practice, symbol and gesture etc for realizing the national utopia.

성주(星州)의 유학(儒學)과 양강(兩岡)

이세동 ( Se Dong Lee ) 경북대학교 영남문화연구원 2015 嶺南學 Vol.0 No.28

가야의 고토였던 성주는 역사가 유구한 고장이다. 그러나 역사의 전면에서 활약한 인물들이 보이기 시작하는 것은 羅末麗初부터이며, 고려말에는 인물들이 쏟아져 나온다. 고려말부터 조선 전기까지 성주의 인물들을 분석한 결과, 전국적인 지명도를 가진 文人들이 많았으며, 그 가운데는 지금 성주에서 잊혀진 인물들도 있었다. 아직도 성주사람들이 기억하는 인물로는 李承休, 李兆年, 李崇仁, 李堅幹 등이 있으며, 잊혀진 인물로는 宋天逢과 都元興이 있었다. 본고는 비교적 덜 알려진 이견간과 잊혀진 송천봉, 도원흥의 자취를 추적하였다. 조선으로 들어오면서도 이런 문학적 기풍은 계승되어, 조선전기부터 중기까지 성주에는 문인들이 많았다. 그들 가운데 관인문학을 대표하는 李稷, 사림문학을 대표하는 金孟性, 방외문학을 대표하는 權應仁을 일별함으로써, 고려말부터 조선중기까지 성주가 文鄕이었음을 살펴보았다. 文鄕이었던 성주는 東岡 金宇옹과 寒岡 鄭逑가 출현하면서 분위기가 바뀐다. 조선의 성리학 수준을 최정상으로 끌어올린 퇴계와 선비적 실천을 보여준 남명의 공동제자였던 이 두 사람은 성주에 성리학의 물결을 初創하면서 성주를 학문의 고장으로 만들어갔다. 이후 이들의 제자들과 제자의 후손들이 성주의 문화적 분위기를 주도하면서 文鄕 성주가 儒鄕이 되었다. 이러한 상황을 두고 사람들은 성주를 동강과 한강의 고장, 兩岡之地라고 하고 있다. 본고는 이 ‘양강지지’의 실상이 무엇인지를 살펴보았다. 당대에 서로의 오른팔이었던 兩岡, 급문록의 초기 규모가 50여 명으로 비슷하였던 양강이 시대가 내려올수록 위상의 차이를 보이고 있는 까닭을 추적하였다. 한강의 문인은 최종적으로 342명으로 확정되었고 동강은 56명의 급문록이 초라하게 남아있는 상황을 살펴봄으로써, 한강 문인들의 활약으로 양강의 위상이 달라졌음을 짐작하게 하였다. 아울러 한강의 제자들이 스승을 위해 노력하는 모습들과 그 제자의 후손들이 그들의 조상과 한강을 높이는 정황을 한개의 성산이씨 가문을 들어 예시하였다. 결론적으로, 문향이었던 성주가 양강을 기점으로 문화적 분위기가 바뀌면서 유향으로 변모하여 양강지지가 되었지만, 그 이면에는 한강의 제자들과 淵源家의 활약으로 한강이 동강을 압도하는 실상이 있었다. Seongju, old region of Gaya Dynasty, has a long history. But not until the end of Shila Dynasty and the early Goryeo Dynasty did Seongju turn out the great figures in the history. At the end of Goryeo Dynasty many great men poured out. Analyzing the figures of Seongju in the end of Goryeo Dynasty and early Joseon Dynasty, there were many nationwide literary people. People of Seongju still remember Lee-Seunghue(李承休), Lee-Jonyeon(李兆年), Lee Sungin(李崇仁), Lee-Gyeongan(李堅幹). On the other hand, Song-Chenbong(宋天逢) and Do-Wonheong(都元興) were forgotten. This article traced less familiar Lee-Gyeongan, and forgotten Song-Chenbong and Do-Wonheong. This literary ethos succeeded in the Joseon Dynasty, many literary people appeared in Seongju from the early days to the middle of Joseon. Among them, this article covers Seongju was the town of literature by glancing at Lee-Jik(李稷), representing Literature of officials, Kim-Maengsung(金孟性) representing Literature of confucian scholar and Kwon-Ungin(權應仁) representing Literature of the under-privileged. Seongju, the town of literature changed its atmosphere by the appearance of Han-gang(寒岡), Jeong-Gu(鄭逑) and Dong-gang(東岡) Kim-Wuong(金宇옹). These two men, both of who were the joint pupils of two great scholars, Toe-gye(退溪) raising the level of Joseon Confucianism to the highest point and Nam-myeong(南冥) showing the scholastic practice made Seongju the town of learning, creating waves of Confucianism in Seongju. After that, the pupils and their descendants leading the cultural atmosphere, the town of literature turned to the town of confucianism. This situation made Seongju the Land of Two Gangs(兩岡), meaning Dong-gang and Han-gang. This article examines what the real aspect of the Land of Two Gangs was. The Two Gangs, the counterparts of those days having 50 persons as early scale of Pupil list, showed the difference of status descending the periods. The pupil of Han-gang was finally 342 persons and Dong-gang humbly had only 56 persons. Examination of this situation assumes the pupil of Han-gang boosted the status of the Two Gangs. Also by illustrating the Lee family at Hangye village(한개마을), this article explains the fact that the pupils of Han-gang made endeavors for their master and their descendants respected them and Han-gang. In conclusion, Seongju, the town of literature turned into the townof Confucianism by the cooperative efforts of Han-gang and Dong-gang. But the status of Han-gang became higher than that of Dong-gang with the activities of pupils of Han-gang and their descendants.

한국 현대소설의 서술 기법 및 전략 연구

조동길(Cho Dong-keel) 한국비평문학회 2008 批評文學 Vol.- No.29

In case that we discuss the notion and category of modern novels, we should think of its period, contents, writers' consciousness and narrative techniques all together. However generally until now we have attached importance on the preceding two factors. In the discussion of the novels modernity, the narrative techniques and strategies have not been is hardly created enough. In the discussion of our modern novels, Kim Dong-In is more important than anybody else for the following reason. To begin with, in the dawning of the modern literature he started literary activities as he put the modernity of literature in question. In the next place he studied literature in Japan that influenced on the formation of our modern literature. In succession few Koreans had a good knowledge of literature theories as he was at a literary history of ours. Up to now the study of Kim Dong-In have attached importance on the preceding two elements. And the study of his literature theories are not treated well. There are several points of Kim Dong-In's theories on novels that we should watch out for. They are consciousness of modern novel's genre, the theories on the novels' constituent factors and the theories on the novels' narrative techniques. That's what I want to say. In consciousness of genre and theories on the navel's constituent factors he can stand comparison with contemporary theories. Only it feels nor quite satisfied on the theories of the novels' narrative techniques. Because the studies of this field have been progressing steadily. Nevertheless, it is worth noticing that he divides it into observer[viewer] and narrator. Kim Dong-In had an important bearing on the formation and development of our modern novels through the creative writing novels. And he set up the framework of our modern novels through the theories on the novels. In conclusion, Kim Dong-In contributed to the completion of our modern novels because he took the issue with modern narrative techniques & strategies and practice it.

동씨침을 시술한 안면경련의 치험 3례

김태우,김효은,조명제,강영화,이재동,Kim, Tae-woo,Kim, Hyo-eun,Cho, Myung-je,Kang, Young-hwa,Lee, Jae-dong 대한침구의학회 2003 대한침구의학회지 Vol.20 No.1

Objective : Hemifacial spasm is painless uncommon disorder characterized by involuntary paroxysmal movement of one side of face, In this study, the effect of Dong-Si acupuncture therapy for three patients with hemifacial spasm were evaluated. Methods : We have treated them with acupuncture treatment of Dong-Si acupuncture points(Cheuk-Samni and Cheuk-ha-Samni) and evaluated the effect by Scott's scale, For the first two weeks, it was dine once a day, and after two weeks, the other day. Results : Before therapy, the grades of spasm intensity classified by Scott's description in three cases were 3. And after Dong-Si acupuncture therapy, the grade of one case was 0, and two cases were 1. Conclusion : The Dong-Si acupuncture therapy for hemifacial spasm was effective and will be attempted to the patients with it.

새 자료 「관동신곡」연구

秦東赫 단국대학교 1993 論文集 Vol.27 No.-

Kwan Dong Shin Gok(관동신곡), a kasa (an old from of Korean verse) of pleasure trip to Kwan Dong District which I found out very recently, is believed to have been written by Cho, Yoon-hee(1854-1931?) while he was on a pilgrimage to Mt. Gumgang with his foster father Cho, Byoung-shik for about 50 days presumably from April 20 through to the beginning of June, 1894, by the lunar callendar. That Kwan Dong Shin Gok has been ascribed to Cho is widely acknowledged-the writers of many other kasa books remain anonymous-and of the songs (kasa) of pleasure trip to Kwan Dong District whose authors are known to the public, this collection of regular poems with 1238 lines is the longest except for Kwan Dong Jang Ga(관동장유가), the writer of which is not known yet. Kwan Dong Shin Gok is highly evaluated in that the descriptions of the scenery are ingenious and realistic as well. The work is also replete with anti-Japanese sentiments the then Korean nationals harbored at the time of the Reformation of kabo (1894), giving vent to their anger with those invaders. It is much to be regretted that some parts of the substances were damaged, which, fortunately enough, causes little trouble in grasping the general purport of the work.