http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
정철성,천득염 대한건축학회 1999 대한건축학회 학술발표대회 논문집 - 계획계/구조계 Vol.19 No.2
The study aims to present the methods of conservation and improvement of the historical remains as well as the immediate natural environment with particular reference to the Si-Ga[詩歌] cultural areas in Mt. Moodeung. The field survey has been carried out W examine the present situation of the environment and mainly the architectural remains such as pavilion, in those area, to he expected for rural community developments.
치누아 아체베의 소설 『모두 산산이 부서진다』의 오콩코는 비극적 주인공인가?
정철성 대한영어영문학회 2019 영어영문학연구 Vol.45 No.1
Things Fall Apart has been recognized as one of the best African novels since its publication in the middle of the 20th century. It tells the story of the village of Umuofia from within, retrieving the lost voice of the colonized. Some critics have praised the book’s endeavor to search for lost roots and identity. I think the romantic idealization that all was well before white people came to the land is of little use for the post-independence era. It is not very helpful to try to purify Umuofia completely from Western influences, either. Okonko tried to be one of the greatest in his clan, only to fall. He was as much a tragic hero as Macbeth was, for they share similar goals and temperament. Okonko’s case, however, has its peculiarity. He did everything to preserve what was traditional in his culture, but then eventually killed himself, going against his cultural code. This paradoxical choice makes him an example of a post-colonial tragic hero.
The Scope of Henrik Ibsen’s Influence on Ham Seduk’s The Sea Swallow
정철성 한국현대영어영문학회 2017 현대영어영문학 Vol.61 No.3
Ham Seduk borrowed quite a few dramatic techniques from J. M. Synge. Likewise, he was indebted to Henrik Ibsen in writing The Sea Swallow. It is certain that he was acquainted with Ibsen’s three plays: A Doll’s House, Ghosts, and The Lady from the Sea. He did not, however, use those three plays evenly and equally. He imitated freely Ibsen’s style of handling background, characters, storyline, and stage props from The Lady from the Sea, of which he made the most use among the three plays. He took over a couple of motifs from Ghosts: a revolting daughter and half-sibling lovers. He might have considered using Nora’s theme for The Sea Swallow, but it is not clear whether Ham depicted the women’s issues in his play as Ibsen did in A Doll’s House. His contact with European literature made his dramaturgy quite skillful, which asks for more academic attention.
존 씽의 『말을 타고 바다로 가는 사람들』의 배경 속 신화와 시장의 병치
정철성 ( Juhng Chullsung ) 대한영어영문학회 2014 영어영문학연구 Vol.40 No.1
John M. Synge’s reputation as a playwright has been swayed between two extremes. The first repulsion has given its way to complements, which naturally raises a question: what happened in between? Scholarly approaches, which began to see Riders to the Sea as a tragedy, found out that it is not as impressive as Greek and/or Shakespearean tragedies. Other researchers put more emphasis on nature’s ferocious power to interpret the inevitability of events. They failed to look into the real life of the Aran Islands where primitivism kept its traces but the process of modernization was making its steady advance. Maurya and her children live in the two different worlds: the traditional and the modern. The young priest plays a role as a mediator between the island and the mainland. Bartley who is attracted by the profit he can get from a market in Galway defies his mother’s traditional wisdom. Among these people lies a conflict that tears them up between Maurya’s mythical explanation of what happens in the island and the logic of mainland market that attracts the younger generation. Primitivism, inevitability and even tragic lyricism belong to the island myth while modernization is represented as a force that is invisible but ever-influential over the islanders. In the first half of the play, the myth and the real occupy their respective territory on the stage. After Maurya’s vision with her “second sight,” however, mythical lamentations and prayers presides over the atmosphere. The play shows the fear of remote islanders who will face the inevitable modernization sooner or later. (Jeonju University)
Tunneled Cuffed Catheter (Permcath(R)) 기능 장애의 Fibrin Sheath Stripping
정철성 ( Chull Sung Jung ),남대익 ( Dae Ik Nam ),박동양 ( Dong Yang Park ),김대성 ( Dae Sung Kim ),최치훈 ( Chi Hoon Choi ),이영기 ( Young Ki Lee ),김성균 ( Seong Gyun Kim ),오국환 ( Kook Hwan Oh ),윤종우 ( Jong Woo Yoon ),구자룡 대한신장학회 2004 Kidney Research and Clinical Practice Vol.23 No.4
정철성 ( Juhng Chullsung ) 대한영어영문학회 2016 영어영문학연구 Vol.42 No.1
Ham Seduk won a literary contest in 1940 with his play, The Sea Swallow, and then rewrote it after working for several years in the theater industry. The motive behind his rewriting has not been clearly explicated. Ham’s Sanhuguri is often said to have been influenced by J. M. Synge’s The Riders to the Sea. In the similar vein, he wrote The Sea Swallow, using Henrik Ibsen’s The Lady from the Sea as a source. There are some irrefutable similarities between the two plays: characters, their jobs and relations, props, and so on. They do not exactly match, though. Ham used his source skillfully to make his a totally independent play. It is not clear which of Ibsen’s texts he used. He did not have the ability to read Ibsen’s original. He might have read the second text translated into Japanese and/or Korean. Ibsen was first introduced to Asian readers in English and German translation. Korean translators got help from Japanese versions, but tried to utilize the English versions, two of which can be identified. Compared with Ibsen’s The Lady of the Sea, the meaning of Ham’s rewriting can be more specifically traced down. Furthermore, Ibsen's influence on Ham can be reviewed in order to analyze how intertextuality works between the plays of the two playwrights. (Jeonju University)
포스터 발표 : Tunneled Cuffed Catheter Dysfunction에서의 Fibrin Sheath Stripping 1예
정철성 ( Jeong Cheol Seong ),이영기 ( Lee Yeong Gi ),김성균 ( Kim Seong Gyun ),서장원 ( Seo Jang Won ),오국환 ( O Gug Hwan ),윤종우 ( Yun Jong U ),구자룡 ( Gu Ja Lyong ),김근호 ( Kim Geun Ho ),노정우 ( No Jeong U ),신상준 ( Sin Sa 대한신장학회 2003 춘계학술대회 초록집 Vol.22 No.1