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김명석 한국중어중문학회 2003 中語中文學 Vol.33 No.-
I regard the plagiarism problem commonly exists in the history of Ease and West. As Mandarin Ducks & Butterflies(MDB)'s transfer to Shanghai School Fiction(SSF) became more apparent, MDB's writing dearly has close relationships with the then current commercial trend at the litreray world. More significantly, the plagiarism problem and the criticism co the writing mind also took the rise in the group writing or adaptation and Imitation. It is notable that the bestseller form of popular tradition makes a deep Impression on the reader's mind and then raises the appearance of similar works. The problem of abundant production and the plagiarism, however, is not their own abuses just remarkable in the writing mind of MDB or SSF. The debate on the plagiarism and appropriation is longranged phenomena in all ages and countries. In fact, the literary history can be regarded as the history of misgivings, intentional misunderstandings, and intentional revision. The Chinese writers also wanted to create new work by imitate intentionally and consciously. At this point, it was not regarded as the defect but as the virtue in Chinese novel. In spite of that, the west literary world regarded this phenomena as the burden of the past or the anxiety of influence. There exists misreading, however, that is, creative revisional act between two authoratative writers, who make literary influence. In fact, this misreading phenomena broadly appears in the longranged history of Chinese novel. It is not too much to say that the name of the modernity in Chinese literature is exactly this history of anxieties, intentional misunderstandings, and intentional revision. This agnostic attitude, however, not on]y can be misused for the authority of selfjustification or rationalization, but also can be misused for the intellctual nihilism that abandons the human rationality and knowledge irresponsiblly. At this point, the attempt to revaluate the Shanghai School's adaptation and imitation would not begins with accepting monism or absoluteness but begins with accepting pluralism or relativism. What's the standard of plagiarism and appropriation at work of art including literary works? First of all, 'publicity at form' and 'intention at contents' would be the standard prescribing creation and plagiarism. Secondly, the standard to judge the suspicion of plagiarism and appropriation is not microscopic aspect but is the macroscopic aspect. The third judging standard is not external elements as the form or literary style, but is the internal elements as the theme or plot, motif. Above all things, the most important standard to judge the plagiarism and appropriation of completed work would be whether it has individuality or not. From the genuine writers' viewpoint, however, there can occasionally be aroused considerable suspicion of plagiarism on. SS writers even though they clearly traced a quotation to its original source. Most of all, we can't deny thar commercial motive rook the rise in their adaptation and imitation, and they lack of pursuit and effort of transforming other writer's elements into new matter as alchemist did.<br/>
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김명석 한국현대소설학회 2005 현대소설연구 Vol.- No.25
이 연구는 돈황을 중심으로 한 실크로드 지역을 공간적 배경으로 삼은 대표작들을 고찰하여 ‘돈황’이라는 장소가 갖는 상징적 의미가 자아 탐구라는 작가의 주제 의식과 어떻게 관련되는가를 고찰한다. 여기서는 ‘돈황 소설’의 원류인 윤후명의 <돈황의 사랑>과의 상호관계를 출발점으로 윤대녕의 <피아노와 백합의 사막>, 조성기의 <돈황의 춤>을 분석하였다. 윤후명이 갈 수 없는 나라 돈황이라는 상상속의 도시로 자아를 향한 사랑의 모험을 떠났듯이, 윤대녕의 <피아노와 백합의 사막>에서 자아를 찾아 떠나는 내면의 여행지로 설정된 장소가 아득한 ‘저쪽’ 돈황의 사막이다. 그러나 돈황의 ‘이쪽’에도 서울이라는 일상의 사막이 있다. 사막에 오아시스가 숨어 있듯이 서울의 사막에도 사랑이 있으며, 사랑을 통해 영원성을 획득하려는 작가의 목마름이 거기에 있다. 이점이 바로 윤후명과 윤대녕이 만나는 지점이다. 조성기의 <돈황의 춤>에 나오는 비천녀 이미지와 우주적 무도의 은유는 이 작품의 창작 모티브이다. 돈황의 사막은 생성과 소멸의 우주적 무도를 상징화하는 공간이며, 이 우주적 무도의 본질이 육화된 존재로서의 비천녀는 우주의 무희이다. 비천녀의 상징적 이미지는 바로 <돈황의 사랑>과 궤를 같이 하는 것이다. 이름모를 소녀의 ‘공후인’ 노래 대신에 한 여인의 ‘돈황송’(敦煌頌) 가락이 명사산 모래언덕에 흐르면서, 윤후명이 상상의 세계에서 추구하던 ‘사막의 상상력’이 한국소설의 새로운 현장에서 다시 한번 모습을 드러낸다. This paper explores famous novels which focus on Dunhwang and the Silk Road area. And this study deals with the relation between the symbolic meaning of the place Dunhwang and the subject consciousness of the writer. And I compare The desert of piano and lily and The Dance of Dunhwang with the love of Dunhwang, the originater of Dunhwang novels. In Yoon Dai-neyong's The desert of piano and lily as like Yoon Hu-myung's adventure toward the self the hero leaves from Seoul, the desert of everydayness to Dunhwang. But The desert of everydayness exist in seoul too. There is a love in the desert of Seoul as like there is an oasis in desert. And the longing of the writer which gets the eternity through the love. This is the point that Yoon Dai-neyong meets Yoon Hu-myung. In Cho Sung-gi's The Dance of Dunhwang the image of Bichunyeo(the woman flying the sky) and the metaphor of cosmic dance is the motive. she is the dancer of the embodyment of the true nature of cosmic dance. Her symbolic image succeed the tradition of the love of Dunhwang.
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Effect on activated carbons of surface functional groups for methane storage
김명석,박수진 한국공업화학회 2016 한국공업화학회 연구논문 초록집 Vol.2016 No.1
The effect on methane storage of activated AC surface functional groups behavior and cycling properties were investigated. Chemical activation process was conducted by treatment with KOH. Structural properties were evaluated by X-ray diffraction (XRD) and morphology properties were studied by scanning electron microscopy (SEM) and transmission electron microscope (TEM). Textural properties and microporosity were determined from N2/77 K adsorption-desorption isotherms using the Brunauer-Emmett-Teller (BET) equation and the Horvath-Kawazoe (HK) method. Surface functional groups were indicated by Fourier-transform infrared spectroscopy (FT-IR) and were made clear functional groups by X-ray photoelectron spectroscopy (XPS). In this paper, the functional group of the activated carbon surface were investigated the effects of methane storage capacities. Also, the activated carbon was performed charge and discharge cycle experiment methane storage.
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