Fabrication of Nanostructured Melanin Films by Directed Assemblies

엄태식,위정재,심봉섭 한국고분자학회 2016 한국고분자학회 학술대회 연구논문 초록집 Vol.41 No.1

<안빙몽유록>의 양식적 특징과 서사의 의미

엄태식 국어국문학회 2022 국어국문학 Vol.- No.200

Anbing, the protagonist of Anbingmong-yurok, is a character who pleasantly strolls the garden every day despite having failed the state examination. He sees a locust tree one day and recalls the story of Goean-guk, following which he has a dream. His dream has no other motive as it is merely a combination of the structure of the garden carved into his memory and the story of Goean-guk associated with the locust tree. The characters appearing in the world in Anbing’s dream are flowers in human form. Their embodiment, and acts of speaking and writing poems do not deviate from the associations stimulated by traditions related to the nature of objects. Therefore, although “Ibuin and Banheui” are perceived to be mean men, and “Joraeseonsaeng, Suyangcheosa, and Dongrieunil” to be hermits and virtuous men, the conflicts among them are not concretized and readers are unable to determine whether this is a political allegory. Anbing’s act of checking the garden after waking up from the dream perfectly explains the events in the dream world. Therefore, readers can no longer read the dream as a political allegory. Anbing, like Dongjungseo, closes the curtains and does not look back at the garden, indicating that he returned to devote himself to his studies. Anbingmong-yurok is a combination of Mongyujeon-gi and Gajeonche, which was utilized to increase the ambiguity of meanings and prevent allegorical reading. Anbingmong-yurok was written by the author Sin Gwanghan as one of his later works. It is believed to have been written with the purpose of demonstrating that he had no political desires during his seclusion in Wonhyoungri. However, if the “political situation at the time” is directly exposed to such ends, that in itself would be evidence of interest in politics as well as political desire. Therefore, rather than to directly mention the chaos taking place in the royal court at the time, he had to imply it and immediately remove evidence thereof. This is why the narrative of Anbingmong-yurok has felt vague.

<최척전>의 창작 배경과 열녀 담론

엄태식 한국고전여성문학회 2012 한국고전여성문학연구 Vol.0 No.24

It is difficult to say that Choecheok in Gukdangbaeeo is the same person as Choe Cheok in Choecheokjeon. The postscript of Choecheokjeon is likely fictitious. Moreover, the relationship between Hongdo and Choecheokjeon can be defined as literature succession. Considering each character’s name in Hongdo and Choecheokjeon, the reasonability of narration, etc., it is reasonable to say that Jo Wihan wrote Choecheokjeon by rewriting Hongdo. In Jechoecheokjeon, Yi Minseong wrote, “a scholar in Sangsan at that time said he wrote Choecheokjeon by himself.” Jo Wihan came to Hanyang to attend the funeral of his eldest brother, Jo Gyehan. He then went to Sangsan with his younger brother Jo Chanhan, the governor of Sangsan. ‘A scholar in Sangsan’ described in Jechoecheokjeon confirms that Jo Wihan was in Sangsan at that time. Jo Wihan stayed in Sangsan between 1622 and 1623, thus meaning that Jo Wihan wrote Choecheokjeon between 1622~1623. However, the postscript of Choecheokjeon states that Jo Wihan wrote Choecheokjeon in Jupo, Namwon, in 1621. This record needs to be revised. The main reason why Jo Wihan wrote Choecheokjeon essentially by using Isaenggyujangjeon, Manboksajeopogi, and Hongdo is to describe the heroine Okyoung as a virtuous woman who came back alive from enemies. Meanwhile, the story of Okyoung is similar to the story of Jo Chanhan’s wife, Yussi, who helped her husband escape from the camp besieged by enemies during the Jeongyu War and killed herself. Although Jo Wihan wrote Choecheokjeon to express his sympathy to this couple, he failed to be free from the conservative idea that chastity must be maintained, even in inevitable and special situations like war. 『菊堂排語』에 나오는 崔陟은 <최척전>의 최척과 동일인으로 보기 어려우며, <최척전>의 後識는 허구일 가능성이 높다. 또 <紅桃>와 <최척전> 사이에는 문헌 전승에 의한 영향 관계가 있다고 보는 게 타당한데, <홍도>와 <최척전> 간의 인명 표기, 서사의 합리성 등을 고려한다면, 조위한이 <홍도>를 변용하여 <최척전>을 창작했다고 보아야 한다. 李民宬은 <題崔陟傳>에서 ‘당시 商山의 어떤 士人이 스스로 <최척전>을 지었다고 말했다’고 썼다. 趙緯韓은 1622년에 맏형 趙繼韓의 訃音을 듣고 上京했다가 商山 牧使였던 아우 趙纘韓과 함께 商山으로 갔다. 그렇다면 <제최척전>에서 말한 ‘상산의 사인’은 결국 ‘상산에 가 있었던 조위한’을 가리키는 것인데, 조위한이 상산에 있었던 시기는 1622~1623년이다. 이로써 볼 때, <제최척전>의 언급은 결국 조위한이 1622~1623년에 <최척전>을 지었다는 뜻을 담고 있다고 이해할 수 있는바, 그간 <최척전> 後識에 의거, 조위한이 1621년에 南原의 周浦에서 <최척전>을 창작했다고 본 견해는 수정될 필요가 있다. 조위한이 <李生窺墻傳>․<萬福寺摴蒱記>․<홍도>를 활용하여 <최척전>을 창작한 주된 이유는, 여주인공 玉英을 ‘賊의 수중에 떨어졌다가 살아 돌아온 烈女’로 형상화하기 위함이었다. 그런데 옥영의 이야기는, 丁酉再亂 때 남편 조찬한을 적의 포위망에서 벗어나게 하고 스스로 목숨을 끊은 柳氏의 이야기와 밀접한 관계가 있다. 조위한은 조찬한․유씨 부부에 대한 연민 때문에 <최척전>을 지었지만, 그 역시 전란이라는 특수하고 불가피한 상황 속에서도 정절은 반드시 지켜져야 한다는 사고방식에서 벗어나지 못했다.

<김일선전> 연구

엄태식 한국고소설학회 2019 古小說 硏究 Vol.47 No.-

Kimilseonjeon, a Korean manuscript collected by the National Library of Korea, is classified as a heroic novel. It is assumed to have been transcribed by a Ginyeo, who is an entertaining lady, in 1891. Although the work was inspired by some of the famous Korean novels in the late Joseon period, such as Sukhyangjeon, Sassinamjeongki, Leedaebongjeon, and Yuchungnyeoljeon, it doesn't follow the common narration rules for classical novels and, thus, lacks narrative probability. While it may be attributable to the author's limited capability, Kimilseonjeon could be merely a work for study of the author. <김일선전>은 국립중앙도서관 소장 국문필사본 소설로서, 영웅소설에 속하는 작품이다. 필사 연도는 1891년으로 추측되며, 필사자는 기녀이다. <김일선전>은 <숙향전>·<사씨남정기>·<이대봉전>·<유충렬전> 등 조선 후기에 유행했던 통속 국문소설들의 영향을 받아 창작된 작품이지만, 고전소설의 일반적인 서사 문법을 따르지 않거나 서사의 개연성이 부족한 부분들이 보인다. 이는 작자의 역량 부족에서 비롯된 현상으로 보이는데 <김일선전>은 습작(習作)수준에 머문 작품으로 추측된다.

〈최랑전〉의 양식적 특징과 서술 시각

엄태식 국어국문학회 2024 국어국문학 Vol.0 No.206

〈최랑전〉은 효종조를 배경으로 한 애정전기소설로, 실사를 소설화한 작품으로 알려져 왔다. 본고에서는 『승정원일기』 등에 나타난 이여택의 행적이 작품의 내용과 대부분 일치함을 확인하였고, 『경주선생안』의 기록을 통해 작품 속 계림부백이 이천기일 가능성이 높음을 밝혔다. 〈최랑전〉의 창작에 가장 큰 영향을 끼친 작품은 『전등신화』의 〈애경전〉이다. 〈최랑전〉과 〈애경전〉은 여주인공이 미천한 신분으로 재색을 겸비하였다는 점, 남주인공이 여주인공의 구원자라는 점, 여주인공이 남주인공을 위해 목숨을 바친다는 점 등에서 영향 관계가 확인된다. 이여택과 최랑이 만났을 때, 이여택은 51세, 최랑은 13세였다. 둘은 나이가 38세나 차이 남에도 불구하고, 작자는 이 둘을 여타 애정전기소설의 재자가인처럼 묘사하였다. 그러나 실존 인물 이여택은 여색을 탐하는 관료였을 것이고, 최랑은 침선 이외에 별다른 재주는 없는 미소녀였을 가능성이 높다. 최랑은 작품 전반부에는 거의 나타나지 않다가 후반부에서 갑자기 열녀의 면모를 드러낸다. 그녀는 우여곡절 끝에 안주까지 가서 이여택과 상봉했으나, 이때 폭동이 일어나 이여택과 헤어지게 되는데, 작자는 이여택과 최랑의 ‘상봉’과 ‘피난’ 사이에 과거사를 삽입함으로써 이여택과 최랑이 어떻게 헤어지게 되었는지를 모호하게 서술했다. 최랑은 이여택을 걱정해 식음을 전폐하다가 다시 경성으로 돌아와 이여택 앞에서 숨을 거둔다. 중요한 것은 이로 인해 이여택이 최랑의 죽음에 직접적 책임이 없다는 논리가 마련된다는 사실이다. Choirangjeon is a romantic Jeon-gi Novel set during the reign of King Hyojong, and has been known as a novelization of a actual event. In this paper, it was confirmed that Lee Yeotaek's actions as shown in Seungjeongwon-Diary are mostly consistent with the contents of the work, and through the records in Gyeongju Seonsaengan, it was revealed that Gyerimbubaek in the work is highly likely to be Lee Cheon-gi. The work that had the greatest influence on the creation of Choerangjeon is Aegyeongjeon from Jeondeungsinhwa. Choirangjeon and Aekyeongjeon have an influential relationship in that the female protagonist is of humble status but possesses talent, the male protagonist is the female protagonist's savior, and the female protagonist sacrifices her life for the male protagonist. When Lee Yeo-taek and Choi Rang met, Lee Yeo-taek was 51 years old and Choi Rang was 13. Even though the two are 38 years apart in age, the author described them as if they were Jaejagain from other romantic Jeon-gi Novels. However, it is highly likely that the real person Lee Yeo-taek was a bureaucrat who lusted after women, and Choi Rang was a beautiful girl who had no special talents other than sewing. Choi Rang barely appears in the first half of the work, but suddenly reveals the aspect of a virtuous woman in the second half. After many twists and turns, she went to Anju and reunited with Lee Yeotaek, but at this time, a riot broke out and she was separated from Lee Yeotaek. The author vaguely described how Lee Yeo-taek and Choi Rang broke up by inserting past history between their ‘reunion’ and ‘refuge’. Choi Rang stopped eating because he was worried about Lee Yeo-taek, and then returned to Gyeongseong and died in front of Lee Yeotaek. What is important is that this provides the logic that Lee Yeotaek is not directly responsible for Choi Rang's death.

「개씨영광루보허문(介氏靈光樓步虛文)」을 통해 본 한국한문소설의 한 단면

엄태식 동방한문학회 2024 東方漢文學 Vol.- No.100

「개씨영광루보허문」은 8,560자가량의 중편 한문소설로 작자 및 창작 연도는 미상이며, 필사 연도는 1857년 또는 1917년으로 추정된다. 「개씨영광루보허문」은 무신군(武信君)이 영광루(靈光樓)라는 신기루(蜃氣樓)를 만들자 왕발(王勃)이 수부(水府)로 초청을 받아 상량문(上樑文) 등을 짓는다는 내용의 소설이다. 이 작품은 소설로서의 서사성이 매우 미약하며 등장인물 간의 갈등도 거의 없다. 작자는 작품을 통해 자신의 문재(文才)를 드러내고자 했던 것으로 추측되는데, 이 점에서 「개씨영광루보허문」은 희작(戲作)으로 볼 수 있다. 「개씨영광루보허문」은 조선 중기 이후 창작된 신루기(蜃樓記) 및 용궁(龍宮) 소재 전기소설(傳奇小說)의 영향으로 탄생한 소설인데, 가장 직접적인 영향을 미친 작품은 전등신화(剪燈新話) 의 「수궁경회록(水宮慶會錄)」이다. 신루기와 「수궁경회록」은 가공(架空)의 건물을 대상으로 글을 짓는다는 점, 용궁을 배경으로 하고 있다는 점 등의 공통점이 있는바, 이것이 「개씨영광루보허문」 창작의 동인이 되었다고 본다. 「Gaessiyeonggwangruboheomun」 is an 8,560-character Sino-Korean novella whose author and year of composition year are unknown, though it is believed to have been written down in either 1857 or 1917. In the story, as Musin-gun creates a mirage named Yeonggwangru, Wangbal gets invited to the palace of sea king and writes a ridge beam prayer. The narrative of this novella is very weak, with almost no conflict among the characters. The author seemingly intended to showcase their literary talent through 「Gaessiyeonggwang- ruboheomun」 which was written as a casual and playful work. 「Gaessiyeonggwangruboheomun」 was influenced by Sillugi written after the mid-Joseon era, and Jeon-gi novels about the palace of sea king. 「Sugunggyeong- hwerok」 of Jeondeungsinhwa , which had the most direct influence. Both Sillu-gi and 「Sungunggeonghwerok」 feature a fictional building as a significant element and use palace of sea king as a setting, which led to the creation of 「Gaessiyeonggwangruboheomun」.

[기술뉴스] 세계 태양전지 기록 효율 업데이트 (2021년 5월) 외

엄태식 한국고분자학회 2021 고분자 과학과 기술 Vol.32 No.4

<최척전>의 창작 배경과 열녀 담론

엄태식 한국고전여성문학회 2012 한국고전여성문학연구 Vol.0 No.24

한국 고전소설의 여성주의적 연구에 대한 반성적 검토

엄태식 한국고전여성문학회 2020 한국고전여성문학연구 Vol.0 No.40

This study looks at 48 papers on classical novels that have been published during the past 10 years (2010~2019) in the journal Korean Classical Woman Literature Studies. The characteristics of these papers may be summarized as follows: the majority of the studies focused on Korean full-length and heroine novels, consisted primarily of character studies, and made attempts to overcome the limitations of male-centric readings of the works. In that they meticulously interpreted the works from a feminist perspective, attempted an understanding of women’s issues within their links with society and ideology, and sought new interpretations of works through critical distancing away from male-centric views, these studies have realized substantial achievements. Feminist studies of classical literature are significant in that they allow for the reading of meaning that had gone unnoticed by previous research methods, and in that they contribute to fulfilling the goals of the feminist movement. In view of this, there is a need to persuasively present a reason for why ‘classics’ of the past should serve as a reference for ‘women’s’ issues of the present. 본고는 지난 10년(2010~2019) 동안 한국고전여성문학연구에 실린 고전소설 연구 논문 48편을 검토한 것이다. 그 결과 국문장편소설과 여성영웅소설 연구가 큰 비중을 차지한다는 점, 인물론이 주를 이루었다는 점, 기존의 연구방법론 및 남성 중심적 독해가 지닌 한계를 극복하고자 했다는 점이 주된 경향임을 확인하였다. 여성주의적인 시각에서 작품을 정밀하게 해석하였고, 여성의 문제를 사회 및 이데올로기와의 관계 속에서 이해하려 하였으며, 남성중심적 시선에 대한 비판적 거리 두기를 통해 새롭게 작품을 읽어내려 했다는 것이 큰 성과이다. 고전문학에 대한 여성주의적 연구는 기존 연구방법으로는 포착할 수 없었던 의미를 읽어낼 수 있게 한다는 점, 그리고 여성운동의 목표 달성에 기여할 수 있다는 점에서 의의가 있다. 다만 현재 ‘여성’의 문제를 과거의 ‘고전’ 속에서 찾아보아야 하는 이유가 보다 설득력 있게 제시될 필요가 있다.

「남염부주지」의 패러디와 풍자 : 남염부주의 모순적 형상을 중심으로

엄태식 동남어문학회 2013 동남어문논집 Vol.1 No.36

The reason why Paksaeng in Namyeombujuji denied underworld is that he believes in illiron, and the reason for his believing in illiron is because he was a confucianist. Parksaeng became write a thesis of illiron after he heard the theory of punitive justice from a Buddhist monk, the reason is that he was shocked by the punitive justice theory to such an extent to discard his usual conviction. Namyeombuju that Paksaeng had been to in his dream appears to be underworld but actually is not. The reasons reside in that Namyeombuju is merely the dream world of Paksaeng. Namyeombuju is not only the space complexly embodied with Paksaeng’s belief for punitive justice and his conviction to ‘illiron,’ but also the inconsistent world that Yeomraguk being reflected with belief for his punitive justice was refracted by his conviction to ‘illiron.’ Awaked from a dream, Paksaeng finally realized that the world created by his unconsciousness of believing that there is no another world beyond this world is exactly the same as the world he is eagerly willing to deny. That’s why he was shocked. Furthermore, the fact that Paksaeng became Yeommawang after his death symbolizes his giving up to illiron. Gim Siseup wrote Namyeombujuji after he read Jeondeungsinhwa, and his point in Yeonghosaengmyeongmongrok and Suemunsainjeon included therein is that the punitive justice theory is realized. Namyeombujuji is the work about a neo-confucianist Paksaeng’s frustrated belief, and consequently Gim Siseup tried to tell how worthless Confucianism of the age is, which is far from the reality.(Ajou University)