광역학 치료후 발생한 원형의 맥락망막위축 1예

손대현,조성원,김순현.Dae-Hyun Son. M.D.. Sung-Won Cho. M.D.. Soon-Hyun Kim. M.D. 대한안과학회 2005 대한안과학회지 Vol.46 No.7

Purpose: To report a case of chorioretinal atrophy after photodynamic therapy to subfoveal choroidal neovascular membrane. Methods: We followed up the photodynamic treatment to a 57-year-old woman who complained of the falling of vision in her right eye for 2 months and was diagnosed with subfoveal choroidal neovascular membrane at our institution. Since the size of neovascular membrane increased 3 month after the first photodynamic treatment, the patient underwent retreatment. Concentric chorioretinal atrophy developed around the laser applied site 3 months after retreatment, and enlargement of the atrophy area occurred 2 years later. In multifocal electroretinography, the retinal function of the chorioretinal atrophic eye was not decreased compared with the other eye. Results: The choroids collateral circulation damage or direct drug photochemical effect was thought to be the cause of the chorioretinal atrophy after photodynamic treatment at the laser applied site but there is no functional decline of the atrophic retina.

관광학의 궁극적 관심과 제언

손대현,Son, Dae-Hyeon 한국대학교육협의회 1987 大學敎育 Vol.29 No.-

<昭君出塞圖>의 전래와 제화시의 양상

손대현(Son, Dae-hyun) 한국어문학회 2014 語文學 Vol.0 No.123

In this study, we are to reveal how <Sogunchulsaedo> on Wangsogun’s cross-border marriage has been handed down from China to Korea and the aspects of related painting poetry were. <Sogunchulsaedo> has been a material for paintings since the Northern Song and can be classified into paintings focusing only on cross-border marriage and paintings focusing on life after cross-border marriage. Since Korea has regarded Chinese writers and their works as the literary standard, Sogunchulsaedo is also likely to have been handed down from early and it can be identified through actual paintings and painting poetry. The most prominent feature of painting poetry related to Sogunchulsaedo is the remarkable description on the cross-border marriage scene. This can be characterized by the feature that the painting depicting cross-border marriage is directly poetized. The next feature is that deep sympathy on Wangsogun’s circumstances is expressed. Loyalty and fidelity for Han shown by Wangsogun lie in this sympathy. Deeply sympathizing with Wangsogun in political upheaval and ups and downs, noblemen have recognized Wangsogun as the symbol similar to them. Third, description recognizing Wangsogun as a being who lost her fidelity and criticizing her was not made. It can be said that this is because Wangsogun’s cross-border marriage has been recognized as loyalty for Han and the painting expressing sorrow and pain through cross-border marriage has been directly faced in Korea. Wangsogun related stories have been varied and handed down until modern times. Therefore, as a clue to explain the various aspects of Wangsogun related inheritance, this study can be said to be significant in terms of the exchange of Korea-China literature.

궁장가(宮墻歌)의 작자 및 명칭 문제와 변이의 양상

손대현(Son, Dae-hyun) 국어국문학회 2019 국어국문학 Vol.0 No.188

궁장가는 집의 건축과 그 구경을 제재로 풍수적 요소의 도입과 추상의 구체화를 통한 중의적 표현을 통해 유학에 대한 학습을 권유하고 있는 작품이다. 본고는 현재 전승되고 있는 궁장가의 전체 이본을 대상으로 작품 전반의 존재 양상을 해명하고자 하였다. 또한 이를 통해 작품의 명칭과 작자, 변이의 양상을 해명하고자 하였다. 본고는 공자의 학문적 경지를 집과 담장에 비유하고 있는 궁장이라는 용어가 중국 뿐 아니라 우리나라에서도 지속적으로 사용되어 왔고, 집의 건축과 그 구경이라는 서술 내용을 가장 잘 표현하고 있다는 점에서 본 작품군의 명칭을 궁장가로 통일하는 것이 바람직하다고 보았다. 궁장가의 표현은 풍수적 요소의 도입과 추상의 구체화를 통한 중의적 표현이 활용되고 있음을 확인하였다. 또한 18세기 이후에 창작되어 19세기에 널리 향유되었을 것으로 추측하였으며 작자 또한 퇴계로 볼 수 없다고 보았다. 궁장가는 향유 방식의 변화에 따른 서술의 확대와 호명 표현의 증가, 향유 목적의 변화에 따른 도통 서술의 확대, 향유 계층의 변화에 따른 갈래간 교섭이 이루어지면서 그 변이가 제한적으로 이루어져 왔다. 그리고 이러한 변화는 조선조 후기 유학 및 사상사 전반에서 일어났던 새로운 변화와 여성의 지위 향상 및 가창 환경의 변화 등이 반영된 것이라 할 수 있다. 따라서 궁장가는 이러한 변화를 총체적으로 반영하고 있는 작품이라 할 수 있을 것이다. ‘Gungjangga’ is a gasa that promotes the study of Confucianism by means of double-meaning expressions which introduce elements of feng shui and concretize abstract ideas by analogy with the construction and the visit of a house. This paper sheds light on general aspects of ‘Gungjangga’, based on all variant versions of the gasa that have been passed down. In addition, this study aims to elucidate aspects of variation as well as the identity of the author and the title of the work. The term ‘gungjang (house wall)’, which embodies the analogy between the scholarly world of Confucius with a house and its walls, has been in use not only in China but also in Korea. As the term best describes the theme of the building and visit of a house, ‘Gungjangga’ is viewed as the most suitable title for this gasa and its variant versions. The use of the double meaning of the expression ‘gungjangga’ is demonstrated in that it introduces elements of feng shui and concretizes abstract ideas. This paper speculates that this gasa was written after the 18th century and became widely popular during the 19th century, and thereby does not consider Toegye as its author. Variations in ‘Gungjangga’ appear to be restrictively correlated to the expansion of narratives and the increase of appellations related to the changes in the way it is enjoyed, the expansion of scholarly genealogy narratives following the changes in the purpose of its enjoyment, and the deliberations between parties occurring with changes in the social category that enjoys it. These changes can be said to reflect the new changes that occurred in late Joseon confucianism and the history of thought in general, as well as those related to the singing environment and the improvement of women’s status. Thus, ‘Gungjang-ga’ can be seen as a piece of work that epitomizes all these changes.

노계 박인로의 경제적 기반과 문학적 형상화

손대현 ( Dae Hyun Son ) 한국시가학회 2010 韓國 詩歌硏究 Vol.29 No.-

작가의 경제적 기반과 생애는 작품의 해석과 문학적 성과를 해명하는 가장 기초적인 작업이요, 중요한 토대라 할 수 있다. 노계 박인로의 경제적 기반에 관한 최근의 논란이 중요한 의미를 지니는 것도 이러한 이유 때문이다. 본 논문은 노계 박인로의 문학을 해석하고 그 성과를 해명하기 위해 그의 경제적 기반을 해명하고 이를 어떻게 형상화하였는가를 고찰하자 하였다. 행장을 중심으로 논란이 되고 있는 여러 사항들을 점검한 결과 노계는 성장기에는 어느 정도의 재산을 소유하고 있었으나 점차 사정이 안 좋아져 말년에 이르러서는 끼니를 걱정 해야 하는 향반으로 볼 수 있다. 또한 관직생활을 마감하고 향촌으로 돌아온 이후에는 유력 사족 및 거유들과의 유대 강화와 유학에의 침잠을 통해 한미한 처지와 경제적 궁핍의 문제를 해결하고자 하였으나 사후 도계사우 건립과 향사 논의를 통해 비로소 향촌의 존경 할 만한 인물로 인정받게 된 것으로 볼 수 있다. 노계의 작품에서는 가난한 삶의 모습과 유학적 이상을 추구하는 모습이 형상화되고 있으며 이러한 두 측면이 한 작품에서 동시에 드러나고 있기도 하다. 이는 한미한 처지와 빈약한 경제적 기반으로 인해 현실의 완강한 힘을 끊임없이 느껴 왔으며 유학적 세계에 대한 몰입을 통해 향촌의 유력 사족으로 인정받고자 했기 때문이라 할 수 있다. 그러나 이러한 경향에도 불구하고 노계의 문학에서는 관념적 성향이 두드러지고 있는데 이는 유학적 세계에 대한 지향을 통해 현실을 극복하고자 하는 작품의 구조와 더불어 당대 유력 사족들과의 만남을 통해 작품을 창작하였으며 궁고지상의 내용을 삭제하거나 완곡한 표현으로 수정한 『노계집』의 편찬 과정 때문으로 볼 수 있다. 노계는 조선시대를 통틀어 가장 혼란한 시기를 살아간 사람이며 한미한 처지와 경제적 곤란 속에서도 당대 현실을 예술적으로 형상화하고 있다는 점에서 노계 문학을 재평가하여야 할 것이다. 따라서 체제 순응적이고 보수적인 면 또한 전대 사족들의 그것과는 달리 이해하여야 할 것이며 그의 작품에서 서술되고 있는 피폐한 현실의 모습을 더욱 정치하게 살핌으로써 노계 문학의 성과와 문학사적 의미를 올바르게 구명하여야 할 것이다. Clarifying an author`s economical situation and his or her lifetime is the most important task and can reflect one`s work along with literary outcomes. This is why recent criticism of Nogye(蘆溪) Park In-ro(朴仁老)`s economical situation have became important. This thesis will consider explanation of Nogye Park In-ro`s economical situation and how he formed it to explain and clarify his literary results. By examining the various criticized cases of his biography, his economical situation, which can be told properties, were not too poor in his period of growth but it eventually gone to bad situation that he couldn`t even have a meal. Furthermore, withdrawing from his government officer service, he went back to the country side and tried to ease his destitutioning economical situation by forming a close bond with the influential sajok(士族) and some learned confucianists, but instead, erection of Dogyesawoo(道溪祠宇) and debates of a memorial service(鄕祀) made him an honorable person in the village. The impoverished life and pursuit of idealistic confucianism are formed in Nogye`s works, and these characteristic can be seen in one literary work. The reason is that his economical situation made him to face the reality consistently and wanted to be recognized as an influential person by immersing confucianism. Despite of these characteristic tendency of Nogye`s literary, his works are quite more idealistic. This is due to his intention to confucianism which will overcome practical issues and creating works through gathering with influential sajok, along with expurgating bad circumstances contents and the process of Nogyejip(蘆溪集) editing which made the literature express indirectly. Nogye had lived in the most disordered period throughout the Cho-Sun Dynasty along with his poor economical situation. Despite of there reasons, his literary should be reassessed because it had formed the reality in a very artistic way. Therefore, his adaptation to the system and conservativeness should be comprehended differently from the sajok`s. Moreover, the impoverished conditions appearance of reality, descript in his literary works, should be examined in a stationing way to rightly establish Nogye`s literary outcomes and the history of literature.

『沂洛編芳』 소재 용화동범(龍華同泛) 관련 작품의 존재 양상과 그 의미

손대현(Son, Dae-Hyun) 한국어문학회 2021 語文學 Vol.- No.154

본고는 용화동범과 관련된 작품의 존재 양상과 의미를 고찰하고자 하였다. 인명록인 〈용화산하동범록〉에는 용화동범이 정구를 중심으로 이루어졌으며, 기록되어 있는 선비들은 정구와 인연이 있다는 점이 드러나 있다. 또한 〈용화산하동범지도〉에는 용화동범의 과정과 모습이 시와 회화를 통해 사실적 또는 비유적으로 표현되어 있다. 따라서 〈용화산하동범록〉과 〈용화산하동범지도〉는 용화동범의 모습과 사회적 의미가 드러나 있어 상보적 관계에 있다. 그런데 용화동범은 정구의 개인적 용무로 이루어졌으며, 〈용화산하동범록〉은 『기락편방』의 편찬 전까지 제대로 전승되지도 못하였으며, 전적의 형태로 간행되지도 못하였다. 또한 곽제우는 정구를 중심으로 이루어지는 용화동범을 탐탁치 않아하였다. 이러한 모습은 정구의 문인들이 철저한 계획하에 행사를 진행하고, 수 차례 수정 및 보완을 거쳐 〈봉산욕행록〉을 완성한 봉산욕행과 대비된다. 따라서 용화동범은 봉산욕행과 동일한 성격으로 파악해서는 곤란하며, 참가자들이 정구 또는 한강학파와 좋은 관계를 맺고자 이루어진 단발성 행사로, 후일 한강학파의 외연 확대를 이루는 하나의 계기가 되었다고 할 수 있다. This paper intends to examine the existence and meaning of works related to Yonghwadongbeom. It is revealed in 〈Yonghwasanhadongbeomrok〉 directory that Yonghwadongbeom was centered around Joeong Gu and the recorded scholars had a relationship with Jeong Gu. Moreover, the process and appearance of Yonghwadongbeom are expressed realistically or figuratively through poetry and painting in 〈Yonghwasanhadongbeomrok〉. Therefore, 〈Yonghwasanhadongbeomrok〉 and 〈Yonghwasanhadongbeomjido〉 have a complementary relationship as they reveal the aspect and social meaning of Yonghwadongbeom. However, Yonghwadongbeom was made for Jeong Gu’s personal affairs, and 〈Yonghwasanhadongbeomrok〉 was not transmitted properly until the compilation of 『Girakpyeonbang』, nor was it published in the complete form of a record. In addition, Kwak Jewoo did not like Yonghwadongbeom as it is centered on Jeong Gu. This is how Jeong Gu’s scholars conducted the event under a thorough plan and it contrasts with Bongsanyokheng which completed 〈Bongsanyokhengrok〉 after several revisions and corrections. Therefore, it is difficult to accept that Yonghwadongbeom and Bongsanyokheng have same nature, and it was an event where participants wanted to build a good relationship with Jeong Gu or Hangang School of Thought, and it could be said that it was an opportunity to expand the boundaries of Hangang School of Thought in the later days.

채문희 관련 문학적 형상화와 그 의미

손대현(Son, Dae-hyun) 국어국문학회 2013 국어국문학 Vol.- No.164

The purpose of this study is to explain an aspect of the literary figuration for poetry and painting poetry related to Chea-munhee(蔡文姬) and its meanings by comparing it with the literary works connected with Wang-Sokun(王昭君). The paintings related to Chea-munhee were actively painted from the North-Song period in China. The reasons were that the pain caused by other nations was becoming visible as Kum"s menace were threatened, and that the paintings about Chea-munhee related to return of the Empress Dowager - Wee(韋太后) were started actively painted as the Royal of North-Song patronized production of paintings directly. We can recognize that with these impacts, the paintings connected with Chea-munhee were enjoyed in Korea. In Korean literature, Chea-munhee have frequently been compared to a daughter left alone without siblings, and have been described as a woman who was kidnapped by Hiong Nu and passed over the border or who was suffered after passing over the border, and who nevertheless was kept loyalty to Han, and who was lost her chastity. By the way, the painting poetry connected with Chea-munhee is rare but the painting poetry connected with Wang-Sokun is numerous, and this tendency is increased when it is expanded to poemes. Because Chea-munhee had issues on serving only one husband and her morality. And as Wang-Sokun was discribed as a woman who kept loyalty to Han and endured the pain, Korean poet created more poemes connected with Wang-Sokun. But as the literary figuration connected with Chea-munhee were made up of various subjects, we don"t have to think that the literary figuration connected with Chea-munhee have been characterized losing her chastity.

윤기(尹愭)의 작품에 나타난 과폐(科弊) 비판의 양상과 근기남인의식(近畿南人意識)의 형상화

손대현(Son, Dae-Hyun) 한국어문학회 2018 語文學 Vol.0 No.141

This paper aims to elucidate the aspects and value of the criticism of the kwape (abuse of the kwakeo examinations) in the works of Yoon Ki which depict the kwape. Through prose and Chinese poetry on the kwape, Yoon Ki raises the issues of the wrong attitudes of the seonbi (classical scholars), the lack of discernment of the examiners, the selection of successful candidates based upon solicitation, the selection of the successful candidates based upon their social affiliation, and the corruption of the writing style for the kwakeo-issues that are increasingly seen in the examination halls. In his works in prose, he also describes together with aspects of the kwape its causes and solutions to it. If the examiners constitute the main agent for the kwape, he particularly criticizes the examiners’ biased behaviors. In that sense, he believes the kwape can be solved with an impartial evaluation by examiners. However, the reason why Yoon Ki is concerned with the problem of the kwape and repeatedly questions the behavior of the examiner is because he was belonged to the Geungi Nam-in. Since he appeared as a Geungi Nam-in member even in his family lineage register and his scholarly discipleship, he was directly discriminated based on his affiliation. Therefore, he points to the bias of examiners as the core issue of the kwape and insists on the impartial behaviors of the examiners as a solution to it. In this sense, Yoon Ki’s literary works embody the Geungi Na-min’s perception of the kwape of that time. The significance of his work lies in that they shed a broader and light on and discuss in depth the issue of the kwape by revealing the perception of the kwape by the village aristocracy, which differs from that of the elite aristocracy.

관광협회와 정부간의 협력관계에 관한 연구

손대현 ( De Hyun Son ),신중목 ( Joong Mok Shin ) 한국문화관광학회 2007 문화관광연구 Vol.9 No.2

<분통가>에 나타난 역대 인물 서술의 양상과 그 의미 - <역대가>와의 비교를 중심으로 -

손대현 ( Son Dae-hyun ) 한국시가학회 2022 韓國 詩歌硏究 Vol.55 No.-

본고는 <분통가>에서 드러나는 역대 인물에 대한 서술이 어떻게 이루어지고 있으며 그 의미가 무엇인가를 해명하고자 <역대가>와의 비교를 중심으로 고찰하였다. <분통가>에서는 삼국시대부터 당대에 이르기까지 우리의 역사에서 영웅적 활약을 펼친 인물들이 언급되고 있으며, 이들은 거의 절대적 다수가 외적에 대항하거나 그 과정에서 업적을 이루었다. 이에 비해 <역대가>에서는 고조선의 건국에서부터 고려시대까지 우리의 역사에서 활약한 인물들이 고르게 언급되고 있으며, 각 국가의 발전 과정과 주요 문물 등도 서술되어 있다. 이를 보면 <분통가>는 외적을 격퇴하거나 거부한 인물들을 중심으로 서술되어 있어 당대의 현실이 강하게 반영되어 있다. 또한 현실주의를 기반으로 하되 미래 세대인 청년학도를 대상으로 창작되었다. 이에 비해 <역대가>는 역대의 전개와 발전 과정을 포괄적으로 드러내고자 한 작품이며, 조선후기까지의 현실이 반영되어 있다. 또한 소중화주의를 기반으로 창작되어 역사를 알지 못하는 일반인들 및 학습 과정에 있는 초심자를 대상으로 창작되었다. This paper attempted to examine < Buntongga > through a comparative analysis with < Yeugdaega > and explains how historical figures’ descriptions are made and their significance. People who played a heroic role in Korean history from the Three Kingdoms period to their lifetime are mentioned in < Buntongga >, and most of them have either resisted the external enemies or accomplished achievements in that process. On the other hand, people who played an active role in our history from the founding of Gojoseon to the Goryeo period are mentioned in < Yeugaega >, and the development process of each state and their major cultures are also described in it. This explains that < Buntongga > is described as centering on those who repel or reject external enemies, and the reality of the time is strongly reflected in this work. In addition, this was composed based on realism style, however, for the future generations of youth students. On the other hand, < Yeugdaega > is a work that aims to comprehensively reveal the progress and development process of many generations, reflecting reality until the late Joseon period. Moreover, this work was created based on Joseon-Chinese and was created for the general public who do not know the history and very beginners in their learning process.