향부자의 성분 및 Nitric Oxide 생합성 저해효과

김선기,황방연,강신정,이정준,노재섭,이경순,Kim, Sun-Kee,Hwang, Bang-Yeon,Kang, Shin-Jung,Lee, Jung-Joon,Ro, Jai-Seup,Lee, Kyong-Soon 한국생약학회 2000 생약학회지 Vol.31 No.1

Five compounds were isolated from the methanol extract of the tubers of Cyperus rotundus (Cyperaceae). They were identified as cyperol(1), ${\alpha}-cyperone(2)$, cyperotundone(3), sugetriol triacetate(4) and ${\beta}-sitosterol(5)$ on the basis of spectroscopic and physicochemical analysis. Among them, cyperol, ${\alpha}-cyperone$ and cyperotundone were shown inhibitroy effects on LPS-induced nitric oxide production in RAW 264.7 cells in a dose dependent manner.

김수장의 김천택 시조 수용에 대하여

김선기(Kim, Sun-kee) 한국언어문학회 2012 한국언어문학 Vol.83 No.-

Cheontaek Kim and Sujang Kim were in a senior-junior relationship, walking the same path during a similar period in the Korean sijo (three-verse Korean poem) literature history. Cheontaek Kim published ‘Cheong-Gu-Young-Ean’by compiling his sijos and passed-down sijos in 1728. From his own works, he carefully selected and included 30 sijos that intensively show his life. Sujang Kim carefully selected already existing sijos and his own sijos, and published a collection of sijos called ‘Hae-Dong-Ga-Yo’ over two times. In ‘Hae-Bak’ in 1755, he assigned a certain number of works of each artist to be included, however, in 1767 in ‘Hae-Ju’, he did not put limits on the number of works to include. Sujang Kim exhibited his desire to exceed the achievements of Cheontaek Kim by publishing ‘Hae-Ju’. As a result of deleting unnecessary partsfrom Cheontaek Kim’s works in ‘Cheong-Gu-Young-Ean’ and publishing such works in ‘Hae-Ju’, 16 sijos were exchanged to new sijos, and Sujang Kim did not hesitate on criticizing Cheontaek Kim’s sijos. In addition, Sujang Kim showed confidence by including 117 of his own sijosin ‘Hae-Ju’, which is a significantly higher number than the 57 sijos of Cheontaek Kim. In addition, by drastically revising Cheontaek Kim’s sijos when accepting the works, he expected to lower Cheontaek Kim’s status while enhancing hi sown. Sujang Kim’s insight in selecting sijos shown when selecting Choentaek Kim’s sijos receive a positive response from compilers, as shown by the frequency of citation in future poet compilations. However, including a significantly higher number of one’s own works in a book published by oneself while arbitrarily fixing another’s works fitting to one’s own taste will not be able to evade the criticism that such act was an excessive overstep of one’s authority.

만횡청류의 형태와 그에 따른 몇 가지 문제

김선기(Kim, Sun-kee) 충남대학교 충청문화연구소 2014 충청문화연구 Vol.13 No.-

Cheong-jin is included in 116 poems of Man-hoeng-cheong-ru being different from Pyeongsijo which is a traditional three-verse Korean poem. Their length is shorter than Gasa, but longer than Pyeongsijo. They are conjectured by Kim Cheon-taek copied Cheong-gu-yeong-eon and I-won-sin-bo of Hong Man-jong’s poetical works. Man-hoeng-cheong-ru is a form adding story song to Pyeongsijo in a definite method. In other words, two or four or six meters are added to more than one in three verses. Futhermore, it is same as Pyeongsijo syllabic meter in case of adding story song(Saseol). Therefore, it is the misconceptions that Man-hoeng-cheong-ru is disordered. Viewed in the form of Man-hoeng-cheong-ru, Jang-jin-ju-sa and Maeng-sang -gun-ga are match to it. Nevertheless, the reason that two poems are not included in Man-hoeng-cheong-ru is to consider of a complimentary review unlike underbred Man-hoeng-cheong-ru. The scholars don’t disagree with the forms are blurred between Eotsijo and Saseolsijo. The writer of this thesis consults ancestor’s stance, classifies into Eotsijo six meters maximum expanded and Saseolsijo more than six meters in a criteria of Sim-ui-san.

속미인곡의 네가지 쟁점에 대하여

김선기(Sun-kee, Kim) 어문연구학회 2012 어문연구 Vol.71 No.-

〈속미인곡〉은 가장 수준 높은 작품으로 평가받고 있다. 작품의 비중만큼이나 〈속미인곡〉에 대한 연구 논문 또한 많다. 그러다 보니 숱한 이론들이 제기되어 연구자로서 정리할 필요를 느낀다. 본고에서는 〈속미인곡〉 이해에 관건이 되는 본문의 구성ㆍ갑녀와 을녀의 사설 경계ㆍ제48행의 해석ㆍ양미인곡의 우열 평가 등 네 가지 사항에 대해 쟁점의 실상을 알아보고 필자의 견해를 밝혀 보았다. 첫째, 연구자들은 〈속미인곡〉이 서사ㆍ본사ㆍ결사로 구성된 것으로 파악하였다. 필자는 〈속미인곡〉이 갑녀와 을녀가 주고 받은 문답 형태의 글이라는 점에 주목하여 구성을 살폈다. 그 결과 갑녀의 사설은 인사를 건네는 장면을 서사, 질문하는 장면을 본사로 보고, 을녀가 대답한 사설 역시 같은 방법으로 인사에 응대하는 부분을 서사, 물음에 대답하는 부분을 본사로 파악하였다. 따라서 〈속미인곡〉은 서사+본사가 중첩된 모습을 보이고 있을 뿐 결사는 없다. 둘째, 학자들은 대체로 〈속미인곡〉의 발화를 감녀ㆍ을녀ㆍ갑녀ㆍ을녀ㆍ갑녀로 파악하지만, 세 번째 갑녀의 발화 경계 설정에는 이견을 보이고 있다. 필자는 세 번째 갑녀의 발화가 제14행 네 음보임을 밝혔다. 그 논거로 제14행이 제48행과 동질적이라는 점, 제14행의 앞 두 음보만으로는 의미가 불완전하다는 점, 제14행의 뒤 음보의 내용이 바로 이어지는 글과 부합되지 않는다는 점을 제시했다. 따라서 갑녀와 을녀의 발화는 갑녀(①-③) 을녀(④-⑬) 감녀(⑭) 을녀(⑮-47) 갑녀(48)로 경계가 설정된다. 셋째, 달과 궂은비, 그리고 니와로 엮어진 제48행은 작품상의 중요성에 비해 해석이 미진한 상태이다. 필자는 두보의 〈몽이백〉시에서 낙월을 연상하고, 말도 꺼내지 못하고 꿈을 깼던 본문의 연장선상에서 궂은비의 해법을 구하는 한편, 문맥과 갑녀의 말투를 고려하여 니와의 해석을 시도하였다. 그 결과 제48행을 “각시님, 그리운 임을 멀리서 잠시 비추었다 사라지는 낙월이 되지 마시고, 가까이에서 소리를 내며 오래 내리는 궂은비가 되시어, 마음에 서린 회포를 실컷 풀어 보세요”라고 해석하였다. 넷째, 김만중과 홍만종이 〈속미인곡〉 우월론을 제기한 뒤 학자들이 이를 수용하고 있는 실정이다. 필자는 두 분의 주장에 대해 새로운 검토를 시도하였다. 김만중의 우리말 옹호적 취지의 〈속미인곡〉 우월론은 두 작품에 쓰인 한자어의 빈도 측면보다는 호사성 한지어의 가식적 측면에 비중을 둔 논평으로 이해하였다. 홍만종은 〈사미인곡〉 보충설과 〈속미인곡〉 우월론을 제기했다. 필자는 보충설이 〈사미인곡〉 의 내용 보충 뿐만 아니라, 각시의 젊은 마음으로 노파의 늙은 육신을 보충한 사실까지 포괄하는 것으로 파악하였다. 그리고 우월론은 양미인곡의 창작 동기가 상호 보완성에 있고, 두 작품이 각시와 노파의 특색을 탁월한 솜씨로 그려 낸 점을 고려하여, 특색 구명을 전제하지 않은 일방적 우열 비교는 수긍하기 어렵다고 보았다. This article aimed at studying the four issues of Sokmiingok of Cheol Jeong, Songgang. As Sokmiingok is considered as the finest Gasa work, scholars’ opinions are accumulated to make people confused. Therefore, it is necessary to examine and organize the opinions synthetically in order to develop the study of Sokmiingok, The author of this article decided to take consideration of the four key issues in understanding Sokmiingok like the structure of the work, the boundary of Woman A’s speaking and Woman B’s speaking, the meaning of the 48th line, and the assessment that which of the two works, Sokmiingok and Sarniingok, is better. In order to achieve this goal, the author pointed out the problems of various scholars’ opinions, corrected them, and complemented them, The opinions of the author for the issues are as follows; First, there is no conclusive speaking in the main body of Sokmiingok, and there are only an introductory speaking and a main speaking. Second, when the boundaries between Woman A’s speaking and Woman B’s speaking are set by changes in topics, the boundaries are shown like Woman A(l-3)ㆍWoman B(4-13)ㆍWoman A(l4)ㆍWoman B(15-20)ㆍWoman B(21-47)ㆍWoman A(48). Third, the author translated the 48th line as “Miss, please take a positive attitude of staying with your lover like an untimely rain rather than take a negative attitude like a setting moon.” Fourth, the author explained in the new point of view Man-Jung Kim’s argument that Sokmiingok is superior to Samiingok in terms of the usage of Chinese-Korean words. In addition, the author criticized the argument of Man-Jong Hong that Sokmiingok is better than Samiingok in terms of contents and expressions; The author thought that he could not take a deep consideration of motives of creation and characteristics of the two works

연재(淵齋) 송병선(宋秉璿) 가(家) 수증(受贈) 선물단자(膳物單子)에 대(對)하여

김선기 ( Sun Kee Kim ) 충남대학교 인문과학연구소 2008 인문학연구 Vol.35 No.3

<속미인곡>의 창작 기법 고찰

김선기 ( Sun Kee Kim ) 한국고시가문학회 2012 한국시가문화연구 Vol.0 No.29

정송강은 53세경에 <사미인곡>을 짓고, 그것으로 만족할 수 없어 <속미인곡>을 지었다. 그 이유는 자신의 젊은 마음을 작품에 불어 넣고 싶었기 때문이다. 이 같은 사정이 <사미인곡>을 짓고 나서 읊은 한시 구절 "此身雖老此心新"에 잘 나타나 있다. 이로써 보면 <사미인곡>은 송강의 육신적 분신이요, <속미인곡>은 정신적 분신이라 할 수 있다. 임에 대한 온전한 사랑이 육신과 정신의 통합에 있다고 본다면, <사미인곡>과 <속미인곡>은 상호 보완적 관계에 있다고 할 수 있다. 그러므로 <사미인곡>의 노파가 못다 펼친 임에 대한 사랑을 <속미인곡>의 각시를 통해 보충함으로써, 선조 임금을 향한송강의 간절한 사랑이 온전히 작품으로 구현될 수 있었던 것이다. 이 글은 송강의 젊은 마음이 각시로 투영된 작품 <속미인곡>의 창작 기법을 살피는데 목적이 있다. 필자는 <속미인곡>의 창작 기법의 특징이 각시 화자(話者) 내세우기·시간대(時間帶) 압축하기·문답형(問答形) 사설 엮기에 있다고 보고, 본론에서 이들의 활용 양상을 세 장으로 나누어 살펴보았다. <속미인곡>이 <사미인곡>과 쌍생적 관계에 있으므로 두 작품을 비교 거론하는 방식을 취하였다. 그 결과 <사미인곡>의 화자는 노파답게 소극적이고 정적(靜的)인 방식으로 임을 그리워하는 반면, <속미인곡>의 화자는 각시답게 적극적이고 동적(動的)인 방식으로 임을 찾아 나서는 모습을 보인다. 따라서 이들 세 가지 기법이 절묘하게 어울림으로써, 송강의 젊은 마음이 <속미인곡>에 효과적으로 반영되었음을 확인할 수 있다. Song Gang Jeong Cheol(1536~1593) composed <Samiingok> and <Sokmiingok> circa 53 of his age, whose main theme is both for the longing for the King. After writing <Samiingok>, he recited a Chinese poem to express his feelings at that moment; "Thinking a beautiful lover with one melody but a long ballad, I am old but my mind is refreshed." When considering that the speaker of <Samiingok> is an old woman and a bride for <Sokmiingok> respectively, it is evident that Song Gang created <Samiingok> and <Sokmiingok> in terms of both the old body and young mind. In that sense, they are very interesting because the two works show how yearning for the King could be different from the perspective of the opposite characteristics of the old woman and the bride. The purpose of this paper is to study creation techniques that contribute to writing <Sokmiingok> where the young mind of Song Gang is reflected as a bride. I think some noticeable characteristics shown in the creation of <Sokmiingok> are asking-answering narration·bride the speaker making stand·compression of time zone and I analyze each of them in three chapters. <Sokmiingok> and <Samiingok> are considered a kind of the relation of twins for each other, and to properly compare the works would make it easier to get creation techniques. As the results, differences are revealed between <Sokmiingok> and <Samiingok>. The speaker in <Samiingok> has the feature of a passive and static old woman, while the speaker in <Sokmiingok> showing a positive and dynamic bride. It is thought that the three techniques effectively help to bring out a young mind, the intention that Song Gang has in his mind.

兩美人曲에 投影된 杜甫의 詩

김선기(Kim, Sun-kee) 한국어문학회 2011 語文學 Vol.0 No.114

Yangmiingok referring two songs, ‘Samiingok’ and ‘Sokmiingok,’ is ranked as the greatest work in the literary history of Korean Gasa. However, there have not been enough studies on its literary accomplishment. With viewing that Yangmiingok was influenced in part by Doobo’s poetry, the study was to investigate the literary accomplishment of Yangmiingok through its adaptation and modification. Yangmiingok consists of the serial works form of Samiingok and Sokmiingok in which an old woman and a bride are the narrators of each work, which is the literary characteristic that, however, has not been recognized. The author identified that the serial works form and the alternation of narrators in Yangmiingok are affected by Doobo’s poetry, and also the topic of dreams and the poetic language, Nakwol in Sokmiingok are associated with the poem of Doobo, Mong Yibaek Si. This can be evidenced by the fact that Jung Chul possessed Doosieonhae, and he had profound knowledge in Doobo’s poetry. Yangmiingok has some aspects by adapting Doobo’s poetry in macro perspective. In micro perspective, however, Yangmiingok differed from Doobo’s poetry in terms of modifying other aspects including the serial works form, the alternation of narrators, the topic of dreams, and even languages. With its modification, Yangmiingok secured the creativity. This is because Jung Chul lived in different time and place from Doobo’s, along with the dissimilarity in individual characteristics and poetic tastes. What is more, the distinction between Doobo’s poetry and Jung Chul’s can be derived from the diversity between Chinese and Korean poetry. In short, Jung Song-Gang would be appraised for the extraordinary literary accomplishments by adapting Doobo’s techniques and modifying them in line with his own literary taste and capability when he wrote the Gasa work, Yangmiingok.

<續美人曲>의 敎材的 考察

김선기(Sun-kee, Kim) 어문연구학회 2011 어문연구 Vol.67 No.-

This study aims to investigate the body and interpretation of <Sokmiingok> which is included in the existing highschool reference book. Since the original of <Sokmiingok> doesn't exist, the Panbon(woodblock-printed book) such as Yiseonbon, Gwanseobon and Seongjubon have been used as substitutional documents for relevant researches. Upon comparison, the Yiseonbon was recognized to have the least scratches among the three Panbon. Meanwhile edited on the basis of both Yiseonbon and Seongjubon, <Sokmiingok> in the reference book has therefore more or less errors, so only the Yiseonbon should be chosen as a Seonbon(the best selected book). Although the interpretations of <Sokmiingok> appear quite similar in the various reference books, their details show some problems which interrupt proper understanding of <Sokmiingok>'s contexts; errors made in transcription and selection, the different views among reference books or between the reference book and the academia, and insufficient interpretation. As there are some problems found in the reference book of <Sokmiingok>, the related academic circles, compliers and researchers should all join forces to present the body and accomplish the faithful interpretation. The education is impossible without the true reference book.