최근 제주도 도심과 배경지점에서의 CO2 농도 변화 및 복사강제력 영향 연구

이수정 ( Soo-jeong Lee ),송상근 ( Sang-keun Song ),박연희 ( Yeon-hee Park ) 한국환경과학회 2016 한국환경과학회지 Vol.25 No.7

The spatial and temporal variations of CO2 concentrations and radiative forcing (RF) due to CO2 were examined at urban center (Yeon-dong) during 2010-2015 and background sites (Gosan) during 2010-2014 on Jeju Island. The RF at the two sites was estimated based on a simplified expression for calculating RF for the study period. Overall, annual mean CO2 concentrations at the Yeon-dong and Gosan sites have gradually increased, and the concentrations were higher at Yeon-dong (401-422 ppm) than at Gosan (398-404 ppm). The maximum CO2 concentrations at the two sites were observed in winter or spring, followed by fall and summer, with higher concentrations at Yeon-dong. The RF at Yeon-dong (annual mean of up to 0.70 W/m2 in 2015) was higher than that at Gosan (up to 0.46 W/m2 in 2014), possibly because of higher CO2 concentrations at Yeon-dong resulting from population growth and human activities (e.g., fossil fuel combustion). The highest monthly mean RFs at Yeon-dong (approximately 0.92 W/m2) and Gosan (0.52 W/m2) were observed in spring 2015 (Yeon-dong) and spring 2013 (Gosan), whereas the lowest RFs (0.17 and 0.31 W/m2, respectively) in fall 2011 (Yeon-dong) and summer in 2012 (Gosan).

현행 처용무 "상대무(相對舞),상배무(相背舞)" 춤동작의 무용서사 연구

최미연 ( Mi Yeon Choi ) 대한무용학회 2011 대한무용학회논문집 Vol.69 No.-

The purpose of this study is to interpret the epic of dance for the dance movements of Cheoyong dance ``Sangdea Sangbae dance.`` First of all, it was compared with the bibliographic explanation of Jeong-jae-mu-do-hol-gi (Suyangsu-Mureupdipimu in Ak-hak-gue-bem) known as the base of Sangdea Sangbae dance. The result showed many differences, and the comparison between the current dance movements of Cheoyong dance ``Sangdea Sangbae dance`` and the choreography of Cheoyong dance initially created in 1929, was made to find out the difference. And, these two Cheoyong dances were compared with the dance movements of ``Jang-saeng-bo-yeon-ji-mu`` and ``Yeon-baek-bok-ji-mu`` of court dance of five people Jeongjaemu which was performed in Yiwangjik Ahakbu (Yiwangjik Court Music Division) in the Japanese imperial period. The result showed that current Cheoyeong dance and that of 1929 were greatly similar to ``Jang-saeng-bo-yeon-ji-mu`` and ``Yeon-baek-bok-ji-mu`` in terms of order and formation. Specially, the part of ``Sangdea Sangbae dance`` was the one in which Sawubang formation was inserted. Sawubang is the formation appeared in all of the court dances of five people Jeongjaemu like ``Mansumu, Ohyangsun, Choiwhamu, Jang-saeng-bo-yeon-ji-mu, and Yeon-baek-bok-ji-mu.`` In addition, it was found that wish for king`s longevity became the major content of the court dance of five people Jeongjaemu when the words of song and admiration were observed. Thus, in Korean court dance, the formation of five people Sawubang in ``Sangdea Sangbae dance`` can be interpreted as the meaning related with ``longevity.`` And what Cheoyong dance used the dance movements of five people Jeongjaemu court dance alternately without resistance in terms of imagnation, means that there is epical common feature. In other words, it can be interpreted that Cheoyong dance ``Sangdea Sangbae dance`` contains the wish for ``longevity,`` the epic of Korean dance.

김연수 소설의 생태문학적 가능성과 실제

정연희(Yeon Hee Jeong) 한국현대소설학회 2010 현대소설연구 Vol.- No.44

This study tries to look into the potentialities as a ecological literature on Kim Yeon-Soo`s Novel. Especially, His two novels, 「Newyork confectioner`s shop」, 「When I go to the rigida-pine tries」bear the brunt of an criticism. If we can say that a ecological literature pursue a value which is lost in this ecological crisis, his two novels should be discussed within a category of ecological literature. A effective value of literature gets some elements like internalization of morality as well as joy of feeling. In the same meaning, A ecological literature pursues an alteration of existing perception as well as internalization of ecological value through the esthetical sense. His two novels warn the abnormal aspect of modern life, and awake `the nature`, `the remembrance` as a very important value that should be recovered. The two novels seem to be produced, as a potentialities, on the based of the ecological literature. That is a kind of gole that has oriented on Kim Yeon-Soo`s novel. The potentialities as a ecological literary on Kim Yeon-Soo`s novel bears relation to his novel`s sensitive reflection toward the contemporary individual and the individual existence. They have not certain meaning and value in their life, and they are seized with feeling of isolation. The feeling of isolation turns the individual into the broken existence. Therefore, the important thing is the possibility to communication and solidarity of them. The author seems to have taken great pains over the work in order that he may contact with the real of life and try to relate to the other and seek to the trout of life has been disappeared in the discourse, under the existent condition of contemporary. This is the concentration toward subjective sense and standardization of sense. The desire for communication and connection is a desire that he pursues through his work. It is the spirits and mind of ecological literature that endeavor to grow the extensive self-consciousness rising over the broken and the isolated individualism. Conclusionally the author`s literary spirit is relation to the spirit of ecological literature.

金炳淵 詩集 飜譯 檢討

류연석,양동식 한국고시가문학회 2005 한국시가문화연구 Vol.0 No.15

Kim Rip Shi Jib is the original text of Kim, Byeong-Yeon's(1807∼1863) collected poetry. The research about the original text of Kim Rip Sin Jib is based on Lee, Eungsoo's first, second, and final editions of which the title was changed into Satirist Kim, Satkat. The secondary texts that are used for the comparison with the main text are Kim Rip Sin Jib by Baek, Gilsoon, Park, Oyang and Chinese poetry written by Kim, Byeong-yeon and translated by Heo, Munsub, Keon, Yonghan, Kim, Yonghan, Lee, Myoungwoo which has the same contents as 『Kim Rip Shi Jib』 but only changed its title. Leaving the wrong words as unsolved led to serious mistranslation. Therefore, the wrong words handed down since Lee, Eungsoo should be thoroughly corrected. Questions can be raised about the authenticity of the poems in the collection given the problems mentioned above. Appropriate measures should be taken to solve the problem.

김연수 소설에 나타나는 소통의 욕망과 글쓰기의 윤리

정연희 ( Yeon Hee Jeong ) 현대문학이론학회 2010 現代文學理論硏究 Vol.0 No.41

본고에서는 김연수의 소설에 나타나는 `소통의 욕망`과 윤리적 행위로서의 `글쓰기`를 검토하였다. 김연수 소설의 소통의 욕망은 근본적으로 `이해할 수 없음`과 `소통할 수 없음`이라는 실존의 조건에서 벌어지는 실존적 성실성과 유관하다. 불가해한 세계에서 소통의 욕망은 불가능한 욕망이지만 포기되지 않는다는 점에서 라캉적 욕망의 역설적 순환운동을 따른다. 같은 맥락에서 작가의 글쓰기는 소통불가능의 세계에서 생겨나는 역설적인 소통의 욕망을 포기하지 않는 행위라는 점에서 정신분석학적 의미의 윤리적 행위가 된다. 윤리적 행위로서의 글쓰기는, 우연한 개인의 진실이나 상상이나 이해가 고스란히 살아 있는 생생한 삶의 이야기를 지향한다. 인과적 합리성이 가능한 모든 것을 의미 함으로써 어떤 특수한 것을 의미하지 않는다면, 생생한 삶의 이야기란 그런 인과적 합리성에 희생되는 우연한 삶의 사적 기록이다. 김연수의 소설에 의하면 그런 이야기가 세상에 존재하는 한, 개인의 삶은 서로 공명하고 모두 연결된다. 작가의 이런 자각적 글쓰기는 `소설은 합리적인 이성이나 과학적 논리로만 충분히 해명되지 못하는 예외적인 삶과 우연한 삶을 지탱할 수 있는 정서적이고 심리적인 이해와 공유를 제공한다`는 소설론에 조응한다. 소설은 인과적 언어 사이의 공백을 생생하게 살려서 이를 구체적인 삶으로 재현해준다. 독자는 미학적 이야기를 통해 재현된 삶을 되짚어 살게 되며 삶의 미세한 울림에 감각적으로 공명하게 된다. 그런 모든 이야기에는 삶이 있으며 모든 삶에는 이야기가 존재한다. 김연수의 소설은 이와 같은 소설론에 자각적으로 반응한다. 또한 그에게 있어서 글쓰기란 불가해한 세계 속에서 번번이 좌절하고 그래서 고통스럽고 외롭지만, 그렇더라도 소통의 욕망을 포기하지 않는 것이다. 그런 의미에서 김연수의 글쓰기는 `이야기(삶)의 소통`을 위한 `소통의 이야기(삶)`라고 말할 수 있다. This study tries to look into `a writing` as a ethical behavior on Kim, Yeon-su`s novel. Especially, the point, such a ethical behavior connect with `a desire for communication`, is in focus. Basically, a desire for communication is concerned with existential sincerity that happened in non mutual understanding reality in his novel. So, this desire for communication in the non communication world seems like a impossible desire, but the desire is not forgiven. This ceaseless trying for communication is alike to paradoxical circle of Lacan`s desire. And consequently, his wirting as a forgiveness for communication becomes a ethical behavior in the meaning of psychoanalysis. The writing as a ethical behavior heads for the story described vividly. There are the imagination and understanding of the accident individual in the story. The cause and effect and rationality is meaning all points as possible, with this not meaning certain a peculiarity. On the contrary the story of vivid live is an individual record, sacrificed by an official record. His novel insists that individual life cause resonance and connection mutually, as long as vivid story is existent. Such the author`s writing psychological and emotional understanding especial and accident life which human is minunderstanding by rational reason and scientific logic. The novel fills the blank of logical language and reappears the concrete life vividly. The reader sympathy an echo of concrete life sensually in accordance with the esthetic story witch is reappeared. So that, there are the life in the all narrative and there the narrative in the all live. The Kim, Yeon-su`s novel responds to a novel theory of this sort consciously. On that point the writing of author is the narrative of communication for the communication of narrative(life).

연구논문 : 제주지역 미세먼지의 장기변동 및 농도변화에 관한 국지기상 분석

박연희 ( Yeon Hee Park ),송상근 ( Sang Keun Song ),이수정 ( Soo Jeong Lee ),김석우 ( Suk Woo Kim ),한승범 ( Seung Bum Han ) 한국환경과학회 2016 한국환경과학회지 Vol.25 No.1

Long-term variations of PM_{10} and the characteristics of local meteorology related to its concentration changes were analyzed at 4 air quality sites (Ido-dong, Yeon-dong, Donghong-dong, and Gosan) in Jeju during two different periods, such as PI (2001-2006) and PII (2007-2013), over a 13-year period. Overall, the long-term trend of PM_{10} was very slightly downward during the whole study period, while the high PM_{10} concentrations in PII were observed more frequently than those in PI. The concentration variations of PM_{10} during the study period was clarified in correlation between PM_{10} and meteorological variables, e.g. the low (high) PM_{10} concentration with large (small) precipitation or high (low) radiation and in part high PM_{10} concentrations (especially, Donghong-dong and Gosan) with strong wind speed and the westerly/northwesterly winds. This was likely to be caused by the transport effect (from the polluted regions of China) rather than the contribution of local emission sources. The PM_{10} concentrations in “Asian dust” and “Haze” weather types were higher, whereas those in “Precipitation”, “Fog”, and “Thunder and Lighting” weather types were lower. The contribution of long-range transport to the observed PM_{10} levels in the urban center (Ido-dong, Yeon-dong, and Donghong-dong), if estimated by comparison to the data of the background site (Gosan), was found to explain about 80% (on average) of its input.

<萬憤歌>의 內容的 考察

柳年錫 한국고시가문학회 2004 한국시가문화연구 Vol.0 No.14

The automatic concept that "Manbunga" must be "Yeon-gun-ga-sa" because of the author's origin as a Korean noble class so called "Yangban" is not always correct, especially in this case "Manbunga". The intensive efforts to research on the author's biographical environment had made to understand the author's exact intention to write "Manbunga". To get a grip on the content of "Manbunga", the work on a understanding the sentence structure and characteristic of "Manbunga" had been required'. The most important thing has found from this research is that the author's emotion to the king during the work on "Manbunga" was not the same as other authors who wrote the "Yeon-gun-ga-sa" expressing their loyalty with love to the king. The "Manbunga" had written by the author who had a loyalty with anger to the king. The new approach to understand "Manbunga" has been possible by this additional consideration and efforts above.

평양 첨성대의 서사구조와 연개소문의 탄생

정연식(Chung Yeon-sik) 한국역사연구회 2011 역사와 현실 Vol.- No.79

The "Annals of the Joseon Dynasty" says that there were nine ponds(九池), nine shrines(九廟) and a Cheomseong-dae tower in Pyeong'yang, and also that nine 'luminaries(九曜)' flew into the aforementioned nine shrines. In ancient myths, water sources such as wells, ponds, fountains or swamps, combined with the essence of the stars or the sun, usually gave birth to greatly heroic figures. Such narrative structure can also be identified from the myths that chronicled the birth of progenitors -the founders- of several ancient political entities like Buyeo, Goguryeo, Silla and Gaya. The wells, ponds, fountains or swamps represented themselves in the form of females. They laid eggs after having a relationship with the sun or the stars, which displayed themselves as a male figure, and then, a great person was either hatched or born. The Na'jeong well, as well as the Cheomseong-dae tower, both in Gyeongju, feature stories that share the same narrative structure. Cheomseong-dae in the Pyeong'yang area seems to have been built in the 7th century, and the owner, or the 'protagonist manager' of the facility so to speak, seems to have been no other than Yeon'gae'so'mun, who was the de-facto ruler of Goguryeo at the time. It must have been built as a symbol -his dignified birth from a water source- that would show off the divinity of his power. In the year 2009, the remains of a heptagonal building were excavated near the site of the An'ag Palace. North Korean archaeologists are claiming it as another Cheomseong-dae tower of Goguryeo, but without further evidence, we cannot be sure.

한기팔 시의 불교생태학적 특징 및 의의 : 『섬, 우화』를 중심으로

김지연 ( Kim Ji-yeon ) 동국대학교 한국문학연구소 2020 한국문학연구 Vol.0 No.64

본고에서는 한기팔의 자연친화적 시세계에 내포된 불교생태학적 의의에 초점을 맞추어 진행하였다. 진행된 한기팔 시의 논의 내용을 정리하면 다음과 같다. 첫째, 『섬, 우화』의 기저에 깔려 있는 것은 공(空)의 사유이다. 공이란 삼라만상의 모든 존재에 본질적으로 실체가 없음을 의미한다. 삼라만상의 모든 존재는 변화하며 이 모든 것들에게는 고유한 불변의 실체성[自性]이 없다는 것이다. 둘째, 한기팔의 시세계에서는 비실체성을 띤 개체들 사이의 의존적인 관계성이 구현되고 있다. 그의 작품들 속에는 존재들 간 다양한 방식의 연기 실상이 드러난다. 이 바탕에는 삼라만상의 모든 존재가 상호의존하여 작용하고 있다는 인식이 전제된다. 셋째, 한기팔 시의 화자는 자연 대상들을 스스럼 없는 친교의 대상으로 여기거나, 불이의 존재들로서 자연 대상들을 동일시하기도 한다. 이자타불이(自他不二)의 사유로부터 비롯된 자비심의 자연스러운 분출이 바로 불교사상에서 제시하는 상호존중의 윤리이다. 그의 시는 연기의 실상에 대한 인식을 바탕으로 하여 우리에게 상생과 조화로 나아가는 자비의 윤리를 제시하고 있다. 이러한 불교생태학 관점의 평등관과 윤리는 이분법적 사고체계에서 비롯된 환경·생태 파괴의 해결책으로서도 중요한 의미를 갖는다. This paper studies Han Gipal's poems based on the thoughts of buddhist ecology. Firstly, Island, fable is based on thought of Gong. Gong means that all creations have essentially no substance. All beings change and they don't have inherent immutable substantiality. Secondly, in Han Gipal's poetic worlds, co-dependent relationships among insubstantial beings are implemented. His works reveal the reality of Yeon-gi between beings in various ways. It is based on the assumption that myriad creatures are interdependent. Thirdly, Persona of Han Gipal's poems regards nature as objects of friendship, or even identifies them with non-dual beings. The natural outburst of compassion from Jatabuli is the ethics of mutual respect presented in Buddism. This can be the solution to ecological problems and crisis we encounter.

판소리에 엇중모리 대목의 전승과정에 관한 고찰

최지연(Choi Ji yeon) 국립국악원 2017 국악원논문집 Vol.36 No.-

This paper examines the lyrics, the positioning, and the musical features of eotjungmori passage in pansori starting from the period that it was established through its hand-down process afterwards. In this study, we analyzed pansori related literature, mainly the change in rhythmic structure evinced in musical transcriptions of pansori, and audio materials that included recordings of passages with eotjungmori rhythm. As a result, it was found that there was a change in the hand-down pattern of eotjungmori passage through the first half of the 20th century. In the early and mid 20th century, eotjungmori passages can be found in the musical transcriptions of Shim Chong-sun and Kim Yeo-ran. In pansori batang (story), it appears not in conjunction with particular lyrics but is scattered in various passages. After the mid 20th century, while there are differences depending on the singer or batang, the number of eotjungmori passages has generally been reduced to one or two per batang. Although this period usually shows a trend toward reduction in the number of eotjungmori passages, Kim Yeon-soo’s works illustrate an increase, differing from other schools and singers at the time. Likewise, the addition of eotjungmori passages in the performances of Oh Jung-suk can be attributed to those composed by her mentor Kim Yeon-soo. The tendency of reduction in the number of eotjungmori passages converges to combine with particular lyrics through the mid and late 20th century. A good example is the epilogue (huildam) that concludes pansori performance. In addition, it also appears in the form of some ‘background lyrics’ by combining with lyrics such as background lyrics for Chunhyang’s mother in Chunhyangga or background lyrics for the crow in fighting for high seat scene in Soogoongga. However, the epilogue in this era is often referred to as a different rhythmic pattern. For example, in recordings by Jung Ung-min, Park Bongsul or of Lim Bang-ul’s Jeokbyeokga, the epilogue called Jungmori. After the reduction of the number of eotjungmori passages at the end of the 20th century, eotjungmori passages that converged to combine with a particular lyric became completely fixed while still exhibiting a hand-down pattern. The end of the 20th century was the time when the terminology for the epilogue that had been referred to by various names including eotjungmori, jungjungmori, jungmori, and eotmori through mid and late 20th century became standardized as eotjungmori. On the other hand, the musical features of eotjungmori passages showed a general similarity regardless of the school or singer. Except for the sound that makes a one-time appearance among the emergent sounds, eotjungmori passages contain the sound of “sol,” “do ”, “re ”, “mi ”, “fa ”, “sol ”, “la ” and all end with “do ”. In comparison to other passages, the appearances of sigimsae or yoseong are relatively rare, but there are some suggestions of chuseong in the progression of “So”-“Do.” Also, in sequential descent progression such as “mi ”-“re ”-“do ” or “sol ”-“re ”-“do ”, it is characterized by a thick yoseong of “re .” The main melodic features are leap progression and sequential descent progression. For leap progression, regardless of the direction of the leap, the leap is mainly 4 or 5 intervals, and sequential descent progression leads to sigimsae or repetition of same note. These musical features are the characteristics of ujo and are universal characteristics of pansori eotjungmori which are commonly found today. Through this, it was found that the musical features were passed down without a great change, unlike the process in which the lyric of eotjungmori passage became fixed. In other words, it is in the middle of the 20th century that passages with eotjungmori rhythm in pansori were used at the end of each batang and the epilogue was typically sung in place of lyrics. 본고는 판소리에서 엇중모리 대목이 확립되는 시기와 그 이후의 전승과정에 대해 사설 및 배치되는 위치, 그리고 음악적 특징과 관련해 살펴보았다. 엇중모리장단 대목이 포함된 판소리 관련 문헌자료와 음원자료를 대상으로, 문헌자료의 경우 장단이 병기된 판소리 창본들을, 음원자료의 경우 엇중모리장단 대목이 녹음된 음반자료들을 중심으로 다루었다. 그 결과 20세기 전반에 걸쳐 시기에 따라 엇중모리 대목의 전승 양상에 변화가 있음을 알 수 있었다. 20세기 초중반의 엇중모리 대목은 심정순과 김여란의 창본에서 살펴볼 수 있었으며 판소리 한바탕에서 특정 사설과 결합하지 않고 여러 대목에 산재하는 형태로 등장한다. 이후 20세기 중반을 지나면서 엇중모리 대목은 창자별, 바탕별 차이는 있으나 대개 한 바탕에서의 엇중모리 대목이 한 두 대목으로 축소된다. 이 시기는 대개 엇중모리 대목이 축소되는 방향성을 보여주지만 김연수의 경우만 예외적으로 엇중모리 대목의 수가 다른 유파나 창자들에 비해 추가된다. 김연수의 제자인 오정숙에게도 공통적으로 나타나는 엇중모리 대목 수의 추가는 김연수가 작창한 대목이다. 엇중모리 대목이 축소되는 방향성은 20세기 중후반을 거치면서 특정 사설과의 결합으로 모아지는데, 대표적인 사설이 판소리 한바탕의 끝을 맺는 후일담이다. 그밖에 춘향가 중 월매 과거 내력, 수궁가 상좌다툼 중 까마귀 내력과 같은 사설과도 결합하여 ‘○○내력 사설’형태로 나타난다. 그러나 이 시기의 후일담은 종종 다른 장단으로 불리기도 했는데 정응민, 박봉술의 창본이나 임방울의 적벽가 음반을 보면 후일담이 중모리로 부르고 있어 좋은 예라 하겠다. 엇중모리 대목이 축소되는 과정 이후인 20세기 말이 되면 특정 사설과의 결합으로 모아졌던 엇중모리 대목이 완전히 고착화되어 변함없이 전승양상을 보여준다. 20세기 말은 20세기 중·후반에서 후일담이 엇중모리를 포함하여 중중모리, 중모리, 엇모리 등의 장단으로 불렸던 것이 모두 엇중모리로 고착화되는 시기로 이로써 후일담이 엇중모리 대목으로 정착하게 된다. 한편 엇중모리 대목의 음악적 특징은 유파나 창자에 관계없이 전반적인 공통점을 보여주었다. 출현음 중에서 일회적 출현을 하는 음을 제외하면 ‘솔’, ‘도 ’, ‘레 ’, ‘미 ’, ‘파 ’, ‘솔 ’, ‘라 ’의 출현음을 보여주고 모두 ‘도’로 종지한다. 시김새나 요성이 다른 대목들에 비해 전반적으로 적은 편이나 솔 - 도 의 진행에서 추성이 일부 나타나고, ‘미 ’-‘레 ’-‘도 ’ 또는 ‘솔 ’-‘레 ’-‘도 ’ 로 순차하행시 ‘레 ’에 굵은 요성이 특징적이다. 선율적 특징은 도약 진행과 순차적 하강진행을 꼽을 수 있는데 도약진행은 방향에 관계없이 주로 4도, 5도 도약이 많고 순차적 하강진행은 시김새나 동음반복을 만들어낸다. 이러한 음악적 특징은 우조의 특징과 같으며 오늘날 확인되는 판소리 엇중모리의 보편적인 특성이다. 이를 통해 엇중모리 대목의 사설이 고착되는 과정과 달리 음악적 특징은 큰 변화 없이 전승된 것을 알 수 있었다. 즉, 판소리에서 엇중모리 장단 대목이 각 바탕의 가장 마지막에 사용되고, 해당 사설로 주로 후일담을 부르게 된 것은 20세기 중반이고 이러한 형태가 완전히 고착화 된 것은 20세기 후반이라 할 수 있겠지만, 그 음악적 특징은 엇중모리 장단 대목의 생성 이후 변화 없이 전승된 것으로 보인다. 즉, 판소리 엇중모리장단 대목의 전승에 있어서는 그 음악적 특징은 별다른 변화가 없었으며, 사설 내용과 그 대목이 불리는 위치가 20세기 중반 이후 오늘날과 같이 확립되고 그 이후 고착화되는 과정을 거쳤다고 할 수 있겠다.