1980년대를 배경으로 이성복의 시를 읽는 방식과 의의

이승은(Lee, Seung-eun) 한국시학회 2016 한국시학연구 Vol.- No.47

This paper studies the significance of reading Lee, Seong-bok’s poetry, specifically his love poems, with the 1980s, as the background which is referred to as the “Era of Grand Narrative.” It is difficult to deny that national popular literary discourse was a dominant trend in the 1980s, in terms of literary themes, and in consideration of that background, the concept of romance itself, which is the most intimate and private, may sound heterogeneous in those years. In fact, even if the 1980s was referred to as the Era of Grand Narrative, it was also a time when a lot of books of poetry were sold. In terms of poetry, the aspect of popular poetry was strong, but thanks to the significant response of readers, the genre of love poetry was also one of the best sellers at times. The fever of love poems that existed at the time when mentioning individuals itself, especially the love and romance of individuals, was considered extravagant and it seems insufficient to dismiss as a temporary popular literary phenomenon when explaining the 1980s. Therefore, this study discusses Lee, Seong-bok’s poetry in connection with love poetry and the 1980s, taking into account the fact that he was a representative poet of the 1980s and many readers take note of his love poems. I find that there is a common aspect between the 1980s and Lee, Seong-bok’s love poems: melancholy. The 1980s was a period when it was commonplace to see deaths from the pursuit of the aspirations for social reforms. Therefore, mourning was necessary after the deaths, but mourning was prohibited institutionally for the subjects of discourse. The subjects who were prohibited from mourning became melancholika. The speakers of Lee, Seong-bok’s poems are also melancholika. The former was the subjects of the grand discourse, and they were also the readers of Lee, Seong-bok’s poetry. They encountered each other as melancholika, and reading love poems for the subjects to whom mourning was forbidden was to replace the mourning process with a love poem. Because mourning is a symbolic register for the dead through a communal ritual. It means that the subjects who read love poems were replacing the act of mourning with the symbolization of parting in love poems. It is because the love poems belong to the work of symbolization of parting that laments the sadness of parting. Lee, Seong-bok’s love poems are melancholika that sing the hurt and pain of love, not the joy of love. In conclusion, the love poems in the 1980s can be seen as a response to the unconscious request of subjects of the 1980s for a mourning ritual.

이보상 作 〈姜邯贊傳〉의 서사구성 방식 연구

이승은(Lee Seung-eun) 우리문학회 2014 우리文學硏究 Vol.0 No.42

이 글은 이보상이 『매일신보』에 연재한 <강감찬전>의 서사구성 방식을 분석하고 지향점을 도출한 것이다. 이보상은 1935년 4월 11일부터 1936년 1월10일까지 214화에 달하는 <강감찬전>을 연재하였다. 『고려사』?의 주요 사건들을 순서대로 배치하고 그 속에 강감찬의 행적을 삽입하는 형식으로 구성하였는데, 주로『고려사』? 열전, 『삼국사기』?등 역사서의 문면을 그대로 가져다가 현토만 하는 방식으로 수용하였다. 이 과정에서 강감찬의 일대기와는 관련 없는 역사적 사실도 강감찬의 공적으로 바꾸어 서술하는 등, 실제 역사와는 거리가 있는 허구적 텍스트가 탄생하였다. 한편, 강감찬의 신이한 능력을 강조하기 위해서는 『용재총화』??,『보한집』등에 실려있는 설화를 차용하였다. 이보상이 적극적으로 개입하여 변개하거나 확장한 부분은 거란과의 전투장면, 태후와 김치양의 불륜 등 통속적이고 자극적인 내용이었다. 전투 장면은 군담소설과 흡사하게 서술되었고, 김치양의 모습을 악인으로 형상화하고 흉계를 구체적으로 묘사하여 독자의 흥미를 간취하려 하였다. 애초에 이보상은 강감찬을 다루었던 기존 서사의 미진했던 부분을 보충하고, 역사를 부연한다는 의식에서 <강감찬전>을 창작했지만, 신문연재라는 조건 속에서 흥미소를 완전히 배제할 수는 없었던 것으로 보인다. 이보상의 <강감찬전>은 이전 시기의 역사전기물이 1930년대 어떤 방식으로 재창작되고 또 읽히고 있었는지를 보여주는 한 사례이자 근대계몽기부터 국난을 극복한 민족의 영웅으로 소환되었던 강감찬 서사의 또 다른 변화를 보여준다는 점에서 의미가 있다. This article analyzed and deduced the method of narrative plot in Gang Gam-chan Jeon which was serialized in 214 installments from April 11th, 1935 to January 10th, 1936 at Maeil Shinbo by Lee Bo-sang. He arranged the milestones of Goryeo history in chronological order and put achievements of Gang Gam-chan into it, for the most part he brought the contents from history books such as Goryeo-sa Yeoljoen, Samguk-sagi and supplied the particle. Meanwhile Lee Bo-Sang created fictional texts far different from real history, described some historical facts that have no correlations with Gang Gam-chan into his achievement. Besides, he borrowed some stories from Yongjaechongwha, Bohanjib, ect. to emphasize Gang Gam-chan’s extraordinary ability. Lee Bo-Sang aggressively modified some vulgar and provocative stories such like a battle with the Kithan, immorality of Kim Chi-yang and the Empress Dowager. To entertaining the readers, the battle scene was narrated as a martial novel, Kim Chi-yang was described as a villain and exposed the detail of his wicked plan. At first, Lee Bo-sang wrote Gang Gam-chan Jeon to make up for inadequate part of existing narration and amplify the history. However he could not totally exclude the interest elements on condition of the serial story of a newspaper. Gang Gam-chan Jeon which is written by Lee Bo-sang, is an example of how classical novel was created and read, and it is significant to show another variation of narrative history of Gang Gam-chan, who is the hero that overcame the civil war at patriotic enlightenment period.

수단-목적 사슬이론(Means-End Chain)을 적용한 국내 와인애호가의 가치추구 분석

이승은(Lee Seung-Eun),한학진(Han Hagchin),전혜진(Chun Hejin) 한국관광레저학회 2011 관광레저연구 Vol.23 No.3

19세기 폴란드 국민악파의 작품에 관통하는 민족적 표현양식

이승선 ( Seung Sun Lee ) 세계음악학회 2012 음악과 문화 Vol.26 No.-

The concept of a ``National school`` seems to be highly controversial. The very term ``school`` is ambiguous and is used by music historians in various, to refer both to geographic centers, and to type of music as well as in terms of a national group. Usually this concept implies a distinctive style of music, within which other stylistic categories can be distinguished. Above all, however, it is associated with a cycle of pupils, trained under one master, and grouped around a prominent figure. In the 19th-century the crystallization of a national character in art occurred in the new socio-political situation arising from the French Revolution. The victory of ``Third Estate`` as the presentative of wide social strata over the cosmopolitan aristocracy contributed to a marked intensification of the feeling of national consciousness, the deciding factor in the question of whether a certain collectivity of people forms a nation. Accepting as one of the basic features of 19th-century art the strengthening of the national element, we ought to widen the concept of ``national school`` to include the music of all the countries of Europe. This does not mean that 19th-century music developed in closed national circles; it drew stronglt on the whole of European art. The demand for nationalism in art did not imply isolationism in native art. The concept of a ``national school`` is a historical category typical of the music of the 19th-century. It applies not only to the manifestations of a national style, symptomatic of that century, obviously perceptible in compositions in which the composer transforms the folk music of his country, or clearly refers to his native artistic tradition. A clearly defined ``Polish national school`` stance appeared in Poland in the 19th-century is as follows; In solo and chamber instrumental music, thanks to his master of the composer`s skill, Jozef Elsner, Frederic Chopin took advantage of folk creativity I an unparalleled way. In his mazurkas and polonaises he introduced the Polish national style in music. Karol Szymanowski, who was prominent in the pursuit of Chopin`s idea, fully realized this. In vocal music, the works of Stanislaw Moniuszko selected text by the composer from the works of Mickiewicz, Malczewski for his indisputable Polishness he relied not so much on musical devices the dance rhythms of folk music. The work of Oskar Kolberg not only played a fundamental role in the history of ethnography, but also had a decisive influence on the direction in which music turned in the second half of the 19th-century. Abandoning his practice of adding piano accompaniments to the folk melodies, as he had done in his first publications, Oskar Kolberg presented in authentic form over 13,000 folk songs from various regions of Poland. In Opera, Stanislaw Moniuszko`s opera, Historical opera only gained the designation national when a folk thread was introduced next to the historical thread; the more folk elements it contained, the more national it was considered to be. It is revealed above all in the introduction of Polish dances, masterfully presented in Stanislaw Moniuszko`s opera, in the wider utilization of folk rhythms in vocal, and especially choral, parts, and in the modification of folk melodies. His role in Poland at that time was like Glinka in Russia and Smetana in Bohemia. These four artistic individuals, Frederic Chopin, Stanislaw Moniuszko, Oskar Kolberg, Karol Szymanowski, form as it were the essence of the ``Polish national school; The most typical features of 19th-century Polish music culture are concentrated in their activities. Chopin created the model for approaching the wealth of folk music and raised Polish piano music to a European level; Moniuszko established the line of development for the national opera and song; ``Songs of the Polish Peasantry``, collected by Kolberg, became a boundless source of artistic inspiration; Szymanowski, a father of Polish contemporary music in the beginning of 20th-century.

상호작용하는 부상화염의 특성에 관한 연구

이승,이병준,Lee, Seung,Lee, Byeong-Jun 대한기계학회 2001 大韓機械學會論文集B Vol.25 No.4

The characteristics of nonpremixed interacting flames are investigated in the parameter of nozzle configuration and nozzle separation distane, s. Three nozzle arrangements - diamond 4 nozzle, linear 5 nozzle and cross 5 nozzle- are used. When s is about 10 nozzle diameter, flames lift from the nozzle at the highest fuel flowrate compared with the other s cases. Normally flames are extinguished at the lifted states. Flowrates when blowout occurs are affected by the nozzle configuration, nozzle seperation distance. Blowout flowrates for the diamond- or cross-shaped nozzle cases are parabolic function of s. For 5 cross nozzle case, flames extinguished at 3.3 times higher flowrate than that of single equivalent area nozzle. Turbulent liftoff heights are not function of flowrates for these cases.

평면형 주행 로봇의 정속도 추정 알고리듬

이승은(Seung- Eun Lee),김희국(Wheekuk Kim),이병주(Byung- Ju Yi),유범재(Bum- Jae You) 제어로봇시스템학회 2001 제어로봇시스템학회 국제학술대회 논문집 Vol.2001 No.10

직접효소측정법에 의한 HDL-cholesterol 측정법의 평가

이승관(Seung Gwan Lee),이창규(Chang Kyou Lee),김상섭(Sang Sup Kim),류정록(Jung Rok Ryu),남현철(Hyun Chul Nam),이국성(Kook Sung Lee),최명재(Myung Jai Choi),김승희(Seung Hee Kim) 고려대학교 보건과학연구소 1996 보건과학논집 Vol.5 No.1

제조 산업에서의 CRM 기대성과 분석

이승아(Seung-A Lee),금진권(Jin-Gwon Geum),권영직(Young-Jik Kwon) 한국산업정보학회 2004 한국산업정보학회 학술대회논문집 Vol.2004 No.6

비교쇼핑 에이전트를 위한 Wrapper의 자동생성에 관한 연구

이승아(Seung-A Lee),김종완(Jong-Wan Kim),김병만(Byeong Man Kim),권영직(Young-Jik Kwon) 한국산업정보학회 2002 한국산업정보학회 학술대회논문집 Vol.2002 No.11

프랙탈 이미지를 이용하여 본 미적 경험의 뇌 활성화: 기능적 자기공명영상 연구

이승복 ( Seung Bok Lee ),정우현 ( Woo Hyun Jung ),손정우 ( Jung Woo Son ),조성우 ( Seong Woo Jo ) 한국감성과학회 2011 감성과학 Vol.14 No.3

본 연구에서는 객관적인 아름다움에 대한 주관적인 미적 경험으로서의 인지적, 감정적 경험에 관여하는 뇌활성화 과정을 기능적 자기공명영상을 이용하여 검토해 보았다. 우선, 프랙탈 이미지에 대한 미적평가 행동과제로 보편적인 아름다움의 준거를 확인하였다. 평정 결과에 기초하여, 전체 270개 이미지 중 가장 점수가 높은 50개를 아름다운 이미지로, 점수가 낮은 50개를 아름답지 않은 이미지로 선정하였다. 두 가지 조건을 블록으로 제시한 신경영상 연구 결과, 아름답다고 평가한 이미지에 대해서는 미적 경험에 관여하는 인지적, 정서적 처리에 관여된 부위인 전두엽과 대상회와 뇌섬엽이 활성화되었으며, 아름답지 않다고 평가한 이미지에 대해서는 부정적인 정서와 관련된 중후두회와 전설소엽의 활성화가 관찰되었다. 아름다움 평가에 대한 조건별 접속분석의 결과, 미적평가가 긍정적인 이미지에 대해서는 측두엽의 활성화가, 부정적인 이미지에 대해서는 두정엽의 활성화가 특징적으로 나타났다. 이에 대해 의미론적 해석과 추상화 과정과 연결하여 논의하였다. The current study examined brain regions associated with aesthetic experience to fractal images using functional MRI. The aesthetic estimations of the images showed that there is a general consensus regarding the perception of beautiful images. Out of 270 fractal images, fifty images rated highest(beautiful images) and fifty images rated lowest(non-beautiful images) were selected and presented to the participants. The two conditions were presented using the block design. Frontal lobes, cingulate gyri, and insula, the areas related to the cognitive and emotional processing in aesthetic experience, were activated when beautiful images were presented. In contrast, the middle occipital gyri and precuneus, the areas associated with experience of negative emotions, were activated when non-beautiful images were presented. The conjunction analysis showed activations in temporal areas in response to beautiful images and activations in parietal areas in response to non-beautiful images. These results indicate that beautiful images elicit semantic interpretations whereas non-beautiful images facilitate abstract processes.