HfO₂ 열처리 온도 및 두께에 따른 RRAM의 전기적 특성

최진형,유종근,박종태,Choi, Jin-Hyung,Yu, Chong Gun,Park, Jong-Tae 한국정보통신학회 2014 한국정보통신학회논문지 Vol.18 No.3

본 연구에서는 RRAM (Resistive Random Access Memory) 소자의 $HfO_2$ 열처리 온도와 두께에 따라 소자의 전기적 특성을 측정하였다. 제작한 소자는 상부전극이 Pt/Ti(150nm), 하부전극은 Pt(150nm), 산화층 $HfO_2$의 두께는 45nm와 70nm이고, 열처리를 하지 않은 소자와 $500^{\circ}C$, $850^{\circ}C$ 로 열처리를 한 3 종류이다. 온도에 따라 소자의 전기적 성능으로 셋/리셋 전압, 저항변화를 측정하였다. 온도에 따른 기본특성 분석 실험 결과 온도가 증가함에 따라 셋 전압은 감소하고 리셋 전압은 증가하여 감지 여유 폭이 감소하였다. 열처리 온도가 $850^{\circ}C$ 소자가 고온 특성이 가장 우수한 것을 보였다. $HfO_2$ 산화층의 두께 45nm 소자가 70nm 소자보다 감지 여유 폭이 크지만 결함으로 LRS(Low Resistive State)에서 저항이 큰 것으로 측정되었다. $HfO_2$ 산화층 증착 시 결함을 줄일 수 있는 공정조건을 설정하면 초박막의 RRAM 소자를 제작할 수 있을 것으로 기대된다.

「흥부전」의 전승(傳承) 양상(樣相) - 출판문화(出版文化)와의 관련을 중심으로 -

최진형 ( Choi Jin-hyung ) 한국어문교육연구회 2006 어문연구 Vol.34 No.4

In the 19th Century buyers and sellers were interested in published book : banggakbon and hwaljabon, because buyers wanted enjoyment from reading book and sellers wanted profit from selling book. This paper brings to a focus at culture of publishing about Heungbujeon's transmission. Many pages are allotted to nolbu-baksaseol in kyungpanbon. These pages represent the purpose of physical punishment to nolbu in the first place, in addition to represent the pursuit of entertainment at city in 19th century. Yeonuigak's adaptor was Lee, Hae-jo who had illuminism and had tried to adapt classical novels according to his ideology. But Yeonuigak was adapted version of Heungbujeon and it had many characteristics of pansori, because of its original text was Shim, Jeon-soon's oral text. Six coin novel Heungbujeon was published at Shinmungwan that belongs to Choi, Nam-sun. He had publishing business and carried out a project that kept and popularized important books by publishing. So Six coin novel Heungbujeon was result of his project. Bakmunseogwanbon has some characteristics of adaption that was made by publisher Roh, Ik-hyung.

▣ 일반 논문 : "판소리계 소설" 개념 재론

최진형 ( Jin Hyung Choi ) 성균관대학교 인문학연구원(성균관대학교 인문과학연구소) 2016 人文科學 Vol.0 No.60

판소리계 소설``은 국문학계에서 별다른 개념 규정이나 검증없이 널리쓰고 있는 명칭 중 하나이다. 판소리와 소설은 ``서사(敍事)``라는 이론적장르에 속한다는 공통점을 지니고 있지만, 그 구체적 실체인 역사적 장르로서는 매우 다른 별개의 양식이다. ``판소리계 소설``이란 명칭에는 그양식적 소속을 ``소설``로 전제하고 있음이 선명하게 드러난다. 하지만, 판소리계 소설로 통칭되는 작품들을 간단하게 살펴보기만 해도 이러한 명칭에 어긋나는 사례가 적지 않다는 점을 쉽게 파악할 수 있다. 우리나라 문학사에서 소설 작품이 본격적으로 등장한 것은 17세기부터이며, 판소리의 경우는 19세기를 전후해서이다. 소설이 서사문학에서 주도권을 장악하던 무렵, 새롭게 등장한 판소리와 긴밀한 소통과 교섭의관계를 맺게 되었고 이 과정에서 이른바 판소리계 소설이 등장했다고 볼수 있다. 판소리에 유입된 소설 양식의 영향은, 완문(完文)으로 기록되면서 일관성을 추구하게 된 점, 문장체 소설의 관습적 표현이 사용되게 된점을 들 수 있다. 소설에 유입된 판소리의 영향은 문체적인 면이 가장주목되는데, 율문 지향을 보이거나 말건넴의 어투를 보이는 점 등을 들수 있다. 판소리의 독서물화 양상을 구체적으로 살펴보면 판소리계 소설이란 명칭을 붙이는 데 망설일 수밖에 없는 이유를 확인할 수 있다. 작품 전체의 맥락에서 인물의 성격이 불일치 되는 등 서사적 당착이 존재하는 점을 우선적으로 거론할 수 있다. 치레적 묘사를 고수함으로써 디테일의사실성을 얻지 못하는 경우도 적지 않으며, 다양한 결말이 존재함으로써필연성과 유기성을 갖추지 못한 플롯(plot)을 지니게 되는 문제도 지적할수 있다. 특히, 신재효, 이인직, 노익형 등 특정 개작자들이 보여준 돌출적인 변화 시도 역시 판소리계 소설이라는 명칭의 부적절함을 방증하는것이라 생각한다. 판소리는 연행물로서의 실현과 독서물로서의 실현으로 선명하게 구분된다고 판단된다. 그렇다면 이들을 아우를 때는 ``판소리 서사체``로, 전자는 ``판소리(연행물)`` 후자는 ``판소리 독서물``로 칭하는 것이 합리적이라고생각한다. The pansori-based novel`` is one of the widely used terms in the academic circle of Korean literature without having any particular definition or verification of the concept. Pansori and novels fall into the same theoretical genre, narratives, but in terms of their historical genre which is their specific substance, they have an entirely different mode. It is obvious the term ``pansori-based novel`` has ``novel`` as a stylistic status. But, one can tell just by briefly looking at the literary works categorized as the pansori-based novel that there are too many examples that don`t correspond to this term. In the history of Korean literature, it was not until the 17th century that novels began to appear in earnest, while pansori emerged around the 19th century. During the time when novels were taking hold of the initiative in narrative literature, pansori comes on to the picture and makes a relationship with novels by close communication and interaction, and with this process the so-called ``pansori-based novel`` emerged. Some effects of novel writing styles on pansori are that they pursue coherence as they are written in complete texts, use conventional expressions of literary style novels, and so forth. In the effects of pansori on novels, the literary style is taken most interest in, and a few examples are appearing to be orientated towards rhythmical texts, or showing pansori`s unique introduction style in the way of speaking, and so on. If one looks thoroughly at the aspect of changing pansori lyrics into texts for reading, one can find out the reason why it`s not easy to name it the pansori-based novel. First, the contradiction of narrative can be mentioned. This comes from describing classes (social statuses) differently. Second, by using the description of chire, they fail to describe details realistically, and also have plots that lack inevitability and organic composition because there are various endings. In particular, the protruding attempts to change made by Shin Jae-hyo, Lee In-jik, Rho Ik-hyeong and other adapters are also collateral evidences that the pansori-based novel is an inappropriate term. Pansori should be clearly classified as either ``text for performance``, or ``text for reading``. So when they are embraced, the term should be ``pansori narrative``, the former being ``pansori (text for performance)``, and the latter being ``pansori text for reading``.

<헌선도>와 <만수무>의 관련 양상

최진형 ( Choi Jin-hyung ) 한국예술종합학교 세계민족무용연구소 2005 민족무용 Vol.8 No.-

This paper deals with the hypothesis that court dance items which performed at Yoengyungdang-jinjak(演慶堂進爵) in 1828 were produced by Hyomyung-seja(孝明世子). Hyomyung composed 3 items of court dance and replaced with < Heonseondo(獻仙桃) >. He separated a formality into 3 steps, so capacity and function of court dance were maximized. Nevertheless < Gyungpungdo(慶豊圖) >, < Mansumu(萬壽舞) >, < Heoncheonhwa(獻天花) > were duplicated in formality of court dance, they had close relationship and worked together effectively in appearance of theme. Three items of creative court dance composed by Hyomyung, were consisted with effective organization and they maintained the proper balance between pointings of court dance that national prosperity, long life good health of king.

자유수평축 조류발전 시스템의 3차원 유동특성

최진형(Jin Hyung Choi),도덕희(Deog Hee Doh),조효제(Hyo Je Jo),이연원(Yeon Won Lee),Suzuki K,Kato S 한국가시화정보학회 2010 한국가시화정보학회지 Vol.8 No.2

Flow characteristics of a free-horizontal-ax is-turbine (FHAT) current power generation system have been investigated by the use of a volumetric PTV. Three types of FHAT system (S50, SE50, S65) have been tested under the current speed 1.35 knot, 1.5 knot and 2 knot. The width of the blade installed around the body is 50 ㎜. Based upon the power generation characteristics of the FHAT, the flow features of the blade have been investigated. Among the three models it has been verified that the S65 is the most appropriate for power generations.

고소설 향유 관습의 한 양상 -〈장끼전〉 작품군을 중심으로-

최진형 ( Jin Hyung Choi ) 한국고소설학회 2004 古小說 硏究 Vol.18 No.-

In the many way of classical novel enjoyment, `manuscript` is the positive and active one. So `manuscript` bring about many changes. Most versions of Jangkijeon(장끼전) `s ending are different from each others. That is result of manuscripter`s intervention on a course of transmission. Jangkitaryung, Jachiga and Jangkijeon are very important subjects. Because, they are related to pansori, gasa and classical novel, and according to subject the versions have wide intertextuality. At first Jangkijeon was performed with pansori, but that got to change with subject, ending and theme. Finally Jangkijeon gained in public favor at Gyubang-cultural area. And that was reborn in hand written novels through the account. This course of changes let us know, 19C`s cultural trend that there is various communications of text and literature of life.

판소리의 제시형식과 장르 실현

최진형(Jin Hyung Choi) 판소리학회 2001 판소리연구 Vol.12 No.-

규방문화권에서의 고소설 향유 양상 - <자치가>를 중심으로 -

최진형 ( Jin Hyung Choi ) 반교어문학회 2004 반교어문연구 Vol.16 No.-

고전문학 : 판소리 서사체의 주제에 대한 일고찰

최진형 ( Jin Hyung Choi ) 반교어문학회 2009 반교어문연구 Vol.0 No.27

It is necessary to give extra attention to study on literary theme of Pansori narrative differing from on other fields of Korean Classical literature. Because the concept of Pansori narrative implies `Pansori(being played)`, `Pansori Saseol(being presented by language)` and `Pansori Saseol as a textbook(being a textbook with changing process)`. So we should not argue generally with the idea such as the novel based on Pansori that the Pansori narrative have limited themes without concerning different versions. The understanding of the theme has been realized with answering demands of the times and the horizon of expectation by readers and audience, therefore each of the general participants, Yangban classes·Jungin classes and contemporary readers have their own understanding of the theme separately. Now I argue that we need an attitude to research themes with considering vary possibilities. Elements of the realization of the theme are consist of the attitude of the narrator, the character description, the development of complications and the process of closing. These elements have a high chance of reflecting the consciousness of readers and audience, so they make easy to figure out the times understanding of the theme and diachronic changes of the understanding of the theme. I conclude that we need to have a positive consideration for the elements and a proper reading for the message of Pansori in order to figure out the theme.

<심청전>의 전승과 재담의 관련 양상

최진형 ( Choi Jin Hyung ) 성균관대학교 인문학연구원(성균관대학교 인문과학연구소) 2017 人文科學 Vol.0 No.64

<심청전>은 특별한 `갈등 관계`가 나타나지 않고, `비장미`를 주된 정조로 삼는다는 점에서 다른 판소리 작품과 구별된다. 언어의 묘미를 살린 재미있는 이야기를 가리키는 `재담`이 <심청전>에 그리 많이 존재하지 않는 이유가 여기에 있다. 아버지를 위해 숭고한 희생을 실천한 인물의 행위와 그에 대한 보상을 위해 천상계가 개입하는 문제 해결 방식 사이에 재담이 자리 잡을 수 있는 여지는 거의 없다. 하지만 지나치게 진지하고 엄숙하며 이념적인 인물의 모습은 때로는 작품의 완성도에 부정적 영향을 끼칠 수도 있다. 이에 매우 현실적이고 비속하며, 희극적인 인물이 작품 전체의 조화와 균형을 위해 필수적으로 요구되었을 것이고, 이러한 요구를 충족하는 데에 재담의 필요성이 제기되었을 것으로 여겨진다. 심봉사를 중심에 두고 <심청전>을 요약하면, 모든 것을 잃고 추락했다가 회복하는 이야기라 할 수 있다. 추락하는 과정에서 심봉사는 한없이 비루하고 비속해진다. <심청전>에서 `심청의 서사`와 `심봉사의 서사`는 상반되는 관계 속에서 절묘한 균형을 이루고 있다. 말하자면, 경건한 심청과 비루한 심봉사의 이야기가 두 개의 중심축을 이루고 있는 것이다. 심청이 인당수에 빠지는 대목을 중심에 두고 볼 때, 이전 대목에 거의 없던 재담이 이후 대목에 집중적으로 나타나는 이유는 주목할 만하다. 심봉사를 묘사하는 데에 재담이 중요한 역할을 담당하기 때문이다. 엄숙성과 비속성, 비장미와 골계미가 조화를 이루면서 균형을 잡은 것이 <심청전>이 애호를 받으며 전승될 수 있었던 중요한 이유라고 판단되며, 비속성과 골계미를 표현하는 데에 재담이 매우 중대한 역할을 했다는 점은 눈여겨볼 필요가 있다. Jaedam (才談), or a joke, is considered to have taken on a very important role in the structure of pansori narratives. But when one examines the transmission and transfiguration of pansori in a diachronic way, one can know jaedam hasn`t always been treated positively. Pansori as a performance art commonly had the tendency to reduce the amount of jaedam and seek musical completion. On the other hand, pansori as a text for reading takes on an entirely different tendency. It didn`t simply use jaedam but actively utilized it or expansively transformed it. Pansori as a performance art put top priority on the singers` talents and highly valued “popularity,” and pansori as a text for reading focused on `interest` through defamiliarization. So if this can be generalized, the relation between pansori and jaedam can be explained more clearly. Simcheong-jeon (A Story of Sim Cheong) can be distinguished from other pansori works because it doesn`t have an apparent “conflictual relationship,” and it has the aesthetics of `tragic beauty` as its main mood. That is why jaedam, which means amusing jokes that contain textual beauty, is hardly employed in Simcheong-jeon. There is little space for jaedam to settle in between the character`s action of noble sacrifice, and the method of resolving a problem by the intervention of the heavenly mandate aimed at rewarding the character for her behaviors. The overly serious, solemn, and ideological behavior of the character can sometimes cause negative influences on the completion of this piece. That is why a realistic, vulgar, and comical character was vitally required for maintaining the piece`s harmony and balance. So it is considered that the necessity of jaedam was brought up to meet these needs. To summarize Simcheong-jeon by putting Sim Cheong`s father Sim Hak-gyu in the center of the story, it is about losing everything and then restoring it. Sim Hak-gyu, the blind man who had lost his wife but had a daughter, lost his daughter and got a second wife, and then loses not only his second wife but also all the possessions and honor. But he recovers almost all things after losing everything. In the process of losing everything and falling into the bottomless pit, the elder Sim turns vulgar and unhandsome. Simcheong-jeon is balanced sublimely between Sim Cheong and her father`s narrative. In other words, the solemn Simcheong and her vulgar father are forming two central axes. When one puts the part where Sim Cheong plunges into Indangsu Waters (印塘水) as the main scene, it is notable to see that jaedam, which hardly appeared prior to this scene, appears frequently. That is because jaedam takes an important role of describing Sim the blind father. The fact that solemnity and vulgarity, tragic beauty and comic beauty formed harmony and balance is regarded as the important reason why Simcheong-jeon has been loved and passed down to the present times. And it`s worth noticing that jaedam took on a very important part in expressing vulgarity and comic beauty.