Zeolite 배합세제의 세척 특성 ( Detergency Characteristics of Zeolitep-Contained Detergent )

강인숙 창원대학교 생활과학연구소 1997 생활과학연구 Vol.1 No.-

염상섭의 소설에 나타난 돈과 性의 양상

姜仁淑 건국대학교 인문과학연구소 1990 인문과학논총 Vol.22 No.-

French naturalism was connected with materialism in that it over-emphasized money and sex. Zolaism is its typical example. However, since the interest in money was not only naturalist's trait, but also realist's, what distinguishes naturalism from realism seems to be the former's stress on sex. Japanese naturalism also dealt with sex like Zolaism, yet in a different way. In Japanese naturalism, sexual decription was always concealed or omitted. As of 1910, there still remained the anti-physical tendency of Confuscianism. Erotic aestheticism appears much later in Japan. The 1920's of Korea has similar feature to Japanese naturalistic era. This similarity constitutes the background of Korean naturalism. Therefore, I want to analyze the aspects of money and sex in Yom Sangsup' s novel and compare it with Zolaism and Japanese naturalism. Through the analysis, this paper aims to clarify one of the characteristics of Korean naturalism. 1. Autobiographical Novel In Yom Sangsup's autobiographical novel of the first period (1921∼1923), the protagonists are generally young, single, and poor. Nevertheless, money and sex do not become the main source of their problems. They are interested only in double suicide with a girl, infinity, and madness in order to escape from reality. Therefore, the novels in this period are always set “on the road.” The typical works in this period are 〈Green Frog of Laboratory : 표본실의 청개구리〉 and 〈Dark Night : 암야〉. Autobiographical novels of the second period(1924∼1931) are a little different. Protagonists become more realistic. They are still single, but older than the heroes of the first period. While the heroes in the first period are poor, they are novelists or have some odd jobs. But love in this period is always one-sided longing of male protagonist for a girl, and it ends without any direct physical contact as in 〈The Waiting Room of the Court : 검사국대합실〉 and 〈Gold Ring : 금반지〉. There is no room for eroticism. The lovers never touch even the fingers of each other and this relationship is a far cry from Zolaism. The case of money is quite different. There is detailed calculations of money in 〈The Printing Machine : 윤전기〉. In this novel, money is the cause of all the troubles. But it was not protagonist's personal problems of money. Even in the second period, we cannot find protagonists who's main problems in money. 2. Non-Autobiographical Novel Non-autobiographical novel is quite different. Yom Sangsup's modeled novel begins with a female protagonist who's principle of life is money and sex. In 〈The New Year's Eve : 除夜〉, the heroine sells her beauty to many men, and to get married she becomes pregnant other man's baby. She is the first economic animal, and immoral creature in Yom Sangsup's novel. Yet she dreams about art and platonic love, just like the protagonists in autobiographical novels. Such dreams vanish from Yom Sangsup's world in non-autobiographical novels of the second period. The protagonists of this period are generally married men who know book-keeping and eroticism. A typical novel of this kind is 〈Telephone : 전화〉. The protagonist is a man who has a stable job, wife and other girls. He knows very well the calculation and technique of controlling those women. The protagonists in other novels can be divided into two groups : one belongs to rich class, the other poor. Money in rich group is usually the inherited properties. The fathers of protagonists are generally rich and have many concubines. But the protagonists do not have concubines. Since sexually immoral persons belong to father's generation, their erotic life has no importance in these novels. Therefore, obvious expression of eroticism is concealed or omitted in such novels as 〈Three Generation : 三代〉. Since poor group's problem was always extreme poverty, there is no room for eroticism, as we can see in the example of 〈Rice : 밥〉. Consequently, in the novels of Yom Sangsup, there is almost no detailed description of erotic scenes, while calculation of money is apparent and concrete in non-autobiographical novels. Considering these evidence, we can conclude that Yom Sangsup was not a Zolaist. There is an ambivalent attitude toward money and sex in Yom Sangsup's world. In autobiographical novels, money and sex are not valued, whereas in modeled, or fictional novels, their values increase apparently. Even thought he agreed with realists in the matter of money and sex, he himself had anti-physical notions of traditional Confuscianism like Japanese naturalist. We can prove this by his ambivalent attitude about money and sex. If we call him a naturalist, we mean that in sense of the Japanese naturalism, not Zolaism.

朴燕岩의 소설에 나타난 노벨의 징후 : <許生傳>을 중심으로

강인숙 건국대학교 2000 겨레어문학 Vol.25 No.-

韓·日 自然主義 比較 硏究Ⅱ-(2) : 廉 想涉과 傳統文學

姜仁淑 건국대국어국문학연구회 1987 겨레어문학 Vol.11·12 No.-

1910년대의 한국의 청소년들은 누구나 일본 유학을 꿈 꾸었다. 그러나 그들의 목적은 일본을 배우는 것이 아니었다. 그들은 일본을 통하여 서구를 배우고자 한 것이다. 그러나 현실적인 면에서 그들이 일본에서 배운 것은 서구와 더불어 일본의 1910년대의 문화였다. 문학의 경우도 마찬가지이다. 염 상섭의 말을 빌자면 한국의 근대문학을 키운 것은 母乳가 아니라 암죽과 컨덴스 밀크였다. 이 경우의 암죽은 일본문학이며, 컨덴스 밀크는 일본을 통하여 간접적으로 수입한 서구문학이라고 할 수 있다. 염 상섭은 1910년대의 일본 유학생 출신의 문인들 중에서 가장 일본과 밀착되었던 문인이다. 그는 동인이나 빙허보다 일본 유학의 기간이 훨씬 길었고, 학교도 京都府立中을 거쳐 慶應義塾에 다닌 만큼 일본의 문학적, 문화적 전통의 본질을 터득할 여건이 구비되어 있었던 것이다. 반면에 그는 한국의 전통문학과는 疎遠한 관계에 있었다. 그는 한국의 전통문학을 잘 모르고 있었기 때문에 일종의 열등감을 가지고 自國의 문학을 자학적으로 평가절하하는 경향이 있었던 것이다. 자기 나라의 문학을 모르면서 일본의 근대문학에 대한 이해도는 높았던 여건은 상섭의 경우 오히려 긍정적인 양상으로 나타난다. 일본을 통하여 일본과 서구의 근대소설의 핵심에 접하는 일을 가능하게 했기 때문이다. 그가 「三代」, 「萬歲前」같은 소설들을 쓰는 일이 가능했던 것은 일본문학과 밀착되어 있은 데 기인한다고 할수 있다. 상섭은 한국문학보다 일본문학의 심층에 접하고 있었기 때문에 오히려 한국근대소설의 한 頂點을 이루는 소설들을 産出하는 일이 가능했던 것이다.

합성세제에 첨가되는 Alkali의 세척특성

강인숙 창원대학교 생활과학연구소 1998 생활과학연구 Vol.- No.2

The effect of alkaline builders on the detergency of cotton fabric was investigated under various washing conditions.viz., alkali types. alkali concentration. washing temperature, water hardness, mechanical force and soiled fabric types. The fabrics were soiled naturally and artificially, and artificially, and washed in Terg-o-tometer. The detergency was evaluated by measuring reflectance of a fabric before and after washing. When alkali was added in detergency was evaluated by measuring reflectance of a fabric before and after washing. When alkali was added in detergent, the detergency of cotton fabric was increased regardness of alkali types, but the detergency was changed with alkali type, the washing efficiency of Na?P₃O? was the highest and that of Na?P₃O? was the highest and that of NaHCO? was the lowest. The detergency behaviors and tendencies of alkaline builder was very similar regardness washing conditions. The effect of alkaline builders on detergency was shown differently in naturally and artificially soiled cloths, which is affected by the composition of soils.

시판일제의 일치성

강인숙 창원대학교 1986 논문집 Vol.8 No.

에밀 졸라의 理論으로 照明해 본 金東仁의 自然主義

姜仁淑 건국대학교 1982 學術誌 Vol.26 No.1

The purpose of this paper is to examine Kim Tong In's naturalism compared with Emile Zola's theory of literature who has established theoretical foundation of naturalism. The reason I discuss on Zola's theory is that his theory has been served as a universal reference in the study of the literature of naturalism. Since in Korean literature the term "naturalism" itself was imported from Europe, therefore we can not discuss it without referring to it's original sense established by Zola. There seem to be several factors which distinguish Zola's naturalism from realism. The first is his belief in science. This is verified from the fact that he himself claimed to base his "The experimental nobel" on Claude Bernard's Medical theory. Zola is a novelist who tried to practice writing in a scientific method. Naturally what he aims at in his works is truth, not beauty, and the faithful reproduction of facts. He values above all objective data which serve as supporting evidences of facts, and employs a method of analysis and anatomy as natural scientists do. The second factor is Zola's materialism and determinism. Resulted from his attitude to regard human brain of the same substance as that of a stone, his materialistic view of man totally denies lyricism and religion. His determinism to refuse to admit man's free will inevitably leads him to describe the process of man's depravity and use the characters that belong to the low mimetic mode. Examined from the viewpoint of objective, analytical, anatomy, resuled from Zola's belief in science, Kim Tong In appears to have some similarities to Zola in many ways such as objectivity, faithful reproduction of facts, serious consideration of evidences, and analytical approaches‥‥etc. However, the dissimilarities are more predominant than the similarities. First, Tong In's extremistic disposition seems to contradict the naturalist's attitude of evaluating universal objectivity highly. Second, his narcissism involves a danger of exposing subjective judgments. Third, his aestheticism conflicts with naturalistic high esteem for "truth". Two other factors might be added as negative elements in Tong In's naturalism. One is immaturity of the modern Korean society, and the other the conflict of the genre of short story with naturalism. On the other hand, examined from the viewpoint of determinism, has more similarities in reverse. Denial of lyricism and religion, belief in the power of heredity and environment, and use of low mimetic mode omnipresent in his naturalistic works. However, his stories, possess many elements which are in discore with determinism and can be classified into four different groups in this connection. (1) in "감자"(Potatoes) and "태형" (Flogging), only environment is considered. (2) materialistic view of man seems to be ambiguous in "김연실전"(The Story of Kim Yun Shil) and "광염소나타"(Passionate Sonata) though both environment and heredity are dealt with in them. (3) in "태형" the first person narrator is used and free will is admitted. (4) indifferent attitude towards society is seem throughout his works. In conclusion, it can he said that between Kim Tong In's naturalism and Zola's theory, there are some similarities; however, far more striking dissimilarities between them make us hesitate to treat Kim Tong In a simple naturalist. Although he might be regarded as a naturalist when compared with such an emotive writer as Lee Kwang soo, with Zola, Tong In is a writer with a mere tinge of naturalism. This conclusion could also lead us to infer that the situations peculiar to Korea of 1920's such as the lack of positivistic thought, the social change of the period, and the short story-centered state of Korean novel did work as negative factors against the establishment of naturalism in Korea.

유리 Formaldehyde 발생 억제를 위한 포착제처리에 관한 연구

강인숙 창원대학교 1983 논문집 Vol.5 No.-

서울 진오귀굿의 서사를 바탕으로 한 도령돌기 춤의 상징적 의미

강인숙 불교의례문화 연구소 2023 무형문화연구 Vol.0 No.9

The purpose of this study is to analyze the dance movement of Hansam Doryeong, Buchae Doryeong and Kal Doryeong performed in Seoul Jinogigut Doryeongdolgi and formulate the symbolic implication innate in the dance movement based on the foregoing. In carrying out the gut (shaman dance, a shaman communicates with god or human through diverse forms, such as, Muga dance, article, gongsu mime and the like. This is attributable to the fact that the shaman has to demonstrate to humans that god it has to communicate with god unyieldingly in the process of cheongsin and osin. Therefore, the shaman applies various communication method of human in the gut just the way it is for integrated use. However, Doryeongdolgi is a unique geori processed only by the dance style differently from other geori. If the language and sound of primitive era is a mean for communication between human to human, dance is a mean of communication between god and human. Doryeongdolgi depicts the fact that the means of communication with god is the path of the other world, an unknown world that no human could know through dance. Doryeongdolgi is the dance that visually symbolize the path to the other world where a human could go only when it is dead. The path has the existence of something that could not be expressed through the language and sound of human. Henceforth, Doryeongdolgi is expressed through the commu- nication method with god, not the communication method of human. Unlike language or writing, dance has the feature to compress the prolonged contents of tens of pages in a movement. Therefore, Doryeongdolgi formulates in dance, not language or sound. However, unlike other geori, Doryeongdolgi processes through diverse methods and repetition in its process method. In other word, Doryeongdolgi formulates the unknown path to the other world through various expression methods as in Hansam Doryeong, Buchae Doryeong and Kal Doryeong, and it displays the difficulty of the path to the other world through boresome repeated motion. This researcher analyzes the dance movement performed in such Doryeongdolgi and intends to depict its symbolic implication innate within the dance movement on such foundation. 이 연구는 서울 진오귀굿 도령돌기에서 연행되는 한삼도령·부채도령·칼도령의춤사위를 분석하고 이를 바탕으로 춤사위에 내재된 상징적 의미를 도출하고자 한다. 무당은 굿을 진행하는데 있어, 무가·춤·사설·공수·마임 등의 다양한 형식을 통해서 신 혹은 인간과 소통한다. 무당은 청신·오신 과정에서 끊임없이 신과 소통함을 인간에게 보여줘야 하기 때문에 다양한 방식으로 표현하는데, 인간의 다양한 의사 소통방식을 그대로 굿에 차용하여 복합적으로 사용한다. 그러나 도령돌기는 다른 거리와 달리 유일하게 춤 형식만으로 진행하는 독특한 거리이다. 원시시대 말과 소리가 인간과 인간간의 의사소통의 수단이었다면, 춤은 신과 인간의 의사소통 수단이었다. 도령돌기는 신과 소통의 수단이 춤을 통해서 인간이 알수 없는 미지의 세계인 저승길을 보여준다. 도령돌기는 인간이 죽어야만 갈 수 있는 저승길을 시각적으로 표상화한 춤이다. 그 길은 인간의 말과 소리로는 표현할 수 없는 무엇인가가 존재하는 길이다. 그래서 도령돌기는 인간의 소통방식이 아닌 신과의 소통방식을 통해 표출하였다. 춤은 말이나 글과 달리, 수십 페이지의 긴 내용을한 동작으로 함축하는 특성을 지니고 있다. 그래서 무당은 도령돌기의 표현방식을말이나 소리가 아닌 춤으로 표출하였다. 그런데 도령돌기는 다양한 형식과 더불어반복의 형식을 통해서 진행한다. 즉, 도령돌기는 한삼도령·부채도령·칼도령과 같이다양한 표현방식을 통해 미지의 저승길을 표출하고, 지루할 만큼 반복적인 동작을통해서 저승길의 어려움을 드러낸다. 연구자는 이런 도령돌기에서 연행된 춤사위를분석하고 이를 바탕으로 춤사위에 내재된 상징적 의미를 드러내었다.

식물의 유리 Formaldehyde 발생 및 타식물의 오염

강인숙 창원대학교 1982 논문집 Vol.4 No.-