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In the beginning of the Korean modern literature since 1910's, Kim Eok played a crucial role as a translator for foreign literature and theory. During the acceptance of foreign literature, Kim realized the importance of translation and he is considered an intellectual who, as opposed to other contemporary translators, performed a bulk of translations from various countries. He was in the lead of balancing content and form, reforming he literary circles of translation in which there was abundance of arbitrary interpretations and content-concentrated translations. However, Kim Eok's translated works have been devalued by reason of erroneous and liberal translation of original works and inapt understanding. Researchers generally examine original and translated texts in tandem, after which they point out problems of the translations and attribute them to the translators' lack of capacity. The study of this paper presupposes that in-depth understanding of translated texts can be carried out only when the theory and practice of translation go in parallel. It argues that the negative evaluation for Kim's translations can be reconsidered through the study of theory. Kim argued for 'creative liberal translation,' and this paper investigates the formation and characteristics of this standpoint. This paper particularly looks into how symbolism, which Kim embraced, influenced Kim's view on translation. The acceptance of symbolism and the theory of translation are discussed in regard to the theory of translation maintained by Bejamin, a German literary critic who lived around the same time, in his book The Task of the Translator. The paper also examines Kim Eok's theory of translation in the sense that the act of translating foreign languages expands and deepens a mother tongue, which provides an opportunity to form and develop the self-identity. Kim's viewpoint on translation, which searches for the nature of poems, found modern poetic language for the Korean poetry, which was possible due to his exploration into language that represents this nature. Translating the western poems in the initial stage of modern literature implies admission and conveyance of heterogeneous culture, beyond simple written text, and creation of new culture. Kim Eok's translated works shows the creativity of cultural translation that is generated at the intersection of internal and external cultures. The literary world after 1920's, via translations, could realize the identity of modern literature by means of dialogue with others, i.e. dialogue between tradition and the West. Furthermore, it could have a foundation in creation of new culture. Along these lines of modern literature, Kim Eok's theory of translation presented ‘creative liberal translation' and ‘creative translation' as the task and direction for those who do the translation, including himself. It was an aspect of cultural action that Kim's theory evidently showed through translation.
1. Introduction A discussion on Korean film aesthetics has to be made centering on the identity of Korean film. The reason is that to discuss Korean film aesthetics is to find out the difference between Korean film aesthetics and foreign one and, furthermore, to create the originality of Korean film for the differentiation. To discuss the films of a country is to examine the spiritual and cultural value systems which the films have kept throughout the film history of the country. For the past seventy years or so, Korean film had a hard time, which prevented it from establishing its spiritual and cultural value systems. Examining the historical background of Korean film, we can find it was originated from foreign culture which was imported with other genres of modem culture from the West. Unlike other genres such as literature, music, fine arts and the theatre, the cinema was not produced soon after being imported. So, the history of Korean film-making is shorter than that of presentation. In the early days of modernizing our culture, we accepted and transplanted modem culture to ours through the imitation of foreign culture. As for the cinema, the spiritual and cultural transplantation was made only through the appreciation of foreign films. Korean film-making started poorly due to lack of capital, but was in active cooperation with other contiguous genres of culture. For a kino-drama(a screen-and-stage play), the cinema was a supporter of the theater. In the silent picture days, it depended on literature, in that traditional stories of ancient times provided the cinema with its peculiar forms and affluent contents. Many of the works of Nah, Woon-kyu, a pillar of the Korean film circle in the early days, were related to literary works. After that, Korean film accomplished a great development in terms of technology, but the simplicity of dramatic plot led to the poor content. As poorly circumstanced for the perfect accomplishment of the beauty of form, we needed to strengthen the content, but, our realities were not good enough. The audience were indifferent to the beauty of form of a film. They were swayed by its story. As goods, a film was an object of entertainment, and a means to public relations or propaganda. Controlled by capital and the masses, the cinema is inevitably restricted by social circumstances and the level of the masses. In spite of all, however, we have to realize that the cinema is a genre of culture and arts. In short, Korean film has to show the cultural and spiritual identities of Korean people in consideration of all problems related to capital and technology in our realities. For that reason, a discussion on Korean film aesthetics has to start from the questions which films were manufactured and which films will have to be manufactured. 2. The Beginning of Korean Film Aesthetics In the early days, most of the Korean silent pictures were adapted from classical Korean novels or third-rate Japanese novels. Surprisingly, however, film reviews pointed that our classical novels were not fully understood in those days. Then Korean film personalities did not have a good understanding of the manners and customes of the Choson Dynasty Period and the Old Choson Period which they dealt with(a review of Story of Shim-cheong, Maeil Newspaper, Apr. 3, 1925). On the contrary, The Long Regretful Dream, adapted from a Japanese novel, was commented better than poor Korean films(Maeil Newspaper, Mar. 21, 1926). The two works, mentioned above, were made by the same Korean director. Nevertheless, the reviews of them show one with a Korean theme is poorer than the other with a Japanese theme. It is quite meaningful; In the beginning stage of film-making, Korean film personalities neglected our spiritual and cultural identities. Such an attitude is shown in Nah, Woon-kyu's Arirang, the starting point of Korean realistic film. As a whole, Arirang is a noteworthy work, in that it depicts the realities of then Korean rural communities. However, excessive exaggeration and unrealistic description break the dramatic harmony. Another problem is that the love scene is not in a Korean style, so distorts the emotion of Korean people(Choson Daily Newspaper, Oct. 1, 1926). After some years, Nah, Woon-kyu wrote that he had tried to express our people's emotion(Samcheonri, Jul. 1930, "Arirang, Society and I"). But he reversed his previous insistence to confess that he 'mimicked a foreign film' in another writing(Choson Film, "When Making Arirang", Nov. 1936). Finally, Nah, Woon-kyu has made a conclusion of Arirang; He says that he feels ashamed of imitating the form and content of foreign films in order to attract the audience's attention although he wanted to express 'the emotion of Korean people'. On the contrary, Lee, Kyu-hwan's The Ferryboat With No Ferryman, a Korean localistic film, was favorably commented by critics that it showed 'a model of Korean populace'(Dong-ah Daily Newspaper, Sep. 15, 1932). It was also criticized for only having conflicts, not struggles(Maeil Newspaper, Sep. 15, 1932). As examined above, Na, Woon-kyu's and Lee, Kyu-hwan's films were evaluated to show relatively well the spirit of Korean film in those days. During the period of Japanese imperialism, most of Korean films were adapted from classical Korean novels and third-rate Japanese novels. In this circumstance, the two directors attempted to establish a true view of Korean film to represent Korean people's feelings. It was the starting point of Korean film aesthetics. The problem is to deduce a film from a printed material, the secondary one, not to examine closely into its form which includes its content by watching the film itself. Let's take Arirang, which is said to try employing the montage technique first in the Korean film history, as an example. It shows the realism of Korean film puts story higher than image. The reason is that montage is a characteristic of anti-realistic films. Accordingly, we can guess that Lee, Kyu-hwan's The Ferryboat With No Ferryman and Choi, In-kyu's A School Fee, which follow the realism shown by Nah, Woon-kyu's Arirang, were categorized into literary realism where the content attains superiority over the form. The Korean realistic films are divided into two trends. One of them is KAPF film which urges on 'the films as arms' and whose first work was Wandering (1928) by Kim, Yoo-young. However, as losing amateurism and popularism, it had not been mentioned until popular film appeared in the 1980's. Characterized by popular arts, the films cannot discuss the general theory of film aesthetics which targets a small number of specific groups or film mania. 3. The Tradition of Korean Film Since the birth of Korean film, Korean film aesthetics has been based on realism. As mentioned above, the realism of Korean film pursued the realism of literature, rather than being influenced by foreign realistic films. Above all, Korean film followed critical realism which was discussed actively in literature. So, the spirit of realism in Korean film was controlled by a critical point of view that deals with Korean people's deplorable life and the disadvantaged classes during the period of Japanese imperialism. This point is quite different from the current of foreign film at the same period. German expressionistic film, which depicts the realities from a subjective view-point getting out of naturalism or realism, French experimental film, which emphasizes the visualization of a film giving priority to form over content, and Soviet montage film, which emphasizes content but put more importance on form, developed foreign film while struggling for mastery in film aesthetics. Influenced by critical realism, we established the tradition of Korean realistic film from Nah, Woon-kyu's Arirang through Lee, Kyu-hwan's The Ferryboat With No Ferryman and KAPF-style tendency film in the 1930's, Choi, In-kyu's A School Fee in the 1940's and Han, Hyong-mo's Free Madam in the 1950's to Yoo, Hyon-mok's A Aimless Bullet in the 1960's. Such a critical attitude of Korean film has been consistently urged and continued up to the 1990's getting through the 1970's and the 1980's. The tradition of Korean film is critical realism led by Nah, Woon-kyu―Lee, Kyu-hwan―Choi, In-kyu before the Liberation and Yoo, Hyon-mok―Lee, Man-hee―Lee, Jang-ho, Ha, Kil-jong, Kim, Ho-seon―Bae, Chang-ho―Park, Kwang-soo, Chang, Seon-woo after the Liberation. New directors in the 1990's are participating in this line. Kim, Ki-young's expressionistic realism and Kim, Soo-yong's modem-style realism were not recognized properly. Although Yoo, Hyon-mok made noteworthy expressionistic or modem-style films, and Kim, Ki-young and Kim, Soo-yong also made noteworthy critical realistic films, Korean film critical circles neglected them. Here, we need to change our prejudice of regarding critical realism as the only spirit of Korean film and the only attitude for Korean film-making. It is urgent to change our thought to re-establish the tradition of Korean film. First, we have to re-evaluate various works by the leading directors in the 1960's. We have to find that the various identities of the times were represented by such films getting out of critical realism as Shin, Sang-ok's historical drama, The Guest and My Mother(1961), A Red Muffler(1964), and A Thirteen-Year-Old Boy(1974), Hong, Seong-ki's A Star In My Mind(1958), and When Youth Goes Into the Night(1964), Yoo, Hyon-mok's A Spring Dream(1965), The Visitors Coming By the Last Car(1967) and A Door(1977), Kim, Ki-young's A Housemaid(1960) and Hyonhaetan Knows Everything(1961), Kim, Soo-yong's A Dried Corvina Fish (1963), A Fog(1967) and A Night Trip(1977), and Lee, Man-hee's Dial 112 (1962), The Marine Corps That Did not Return(1963) and A Return Trip(1967). We will be able to find out the tradition of Korean film when we investigate with a new critical way of thinking how Korean film perceived and accepted modem images and changes in tradition and modem everyday life, and represented Korean people's feelings for various materials. Now, I suggest that we should re-establish the lineage of Korean film classified into Kim, Soo-yong's modem realism, Yoo, Hyon-mok's critical realism and Kim, Ki-young's expressionistic realism. Such a systemization will be effective in establishing the various branches and trends of Korean film, and understanding its spiritual and cultural identities. It is also useful to get rid of all confusions to systemize Korean film aesthetics. 4. A Study on Korean Film Aesthetics The cinema keeps a closer relationship with the masses than any other arts dealing with the human problems. In any society where men live, there always exist conflicts and oppositions. Realism is preferred in order to settle them. Therefore, it is inevitable that realistic films are loved as social conflicts come up to the surface. The opposed situation is possible, too. The conflict shown in Nah, Woon-kyu's Arirang is a story of long times ago. Also, the obstacle which Yoo, Hyon-mok's A Aimless Bullet and Lee, Man-hee's Seven Women Captives could not overcome have been removed. The new age of the 1990's, when Chang, Seon-woo's Send Me To You gains public favor and Im, Sang-soo's Girls' Night Out becomes the talk of all, is closing. With the 21st century coming soon, Korean film aesthetics is confused and exposed to the random invasion of foreign culture. Deplorably, Korean film is poisoned seriously by foreign culture and does nothing but managing to retain its life in film-making itself. It may be meaningless to examine Korean film aesthetics in this circumstance, but we need to grope for the rebirth of Korean film aesthetics by finding again out our spiritual and cultural identities in preparation for film culture of the 21st century. Wagner's theory of arts is still true; The form of total arts does not change, however its style does. The problem of Korean film aesthetics is that changes in the style of films have been influenced by the acceptance of foreign culture, rather than the development of the intrinsic legacy in our tradition. The tradition of Korean culture must be found in mask dance which dealt with common people's joys and sorrows of life, not in aristocratic culture. 'Taedongkut', which was regularly performed with the consciousness of a community, was both a ritual for a good harvest and the peace of a village, and the lower classes' resistance against the ruling classes. Its content was the resistance to the realities and expression was in satiric symbolism. However, the modernization of culture drove out the essence of our traditional drama and developed the dramatic form with only story borrowed. In Nah, Woon-kyu's Arirang, the consciousness of resistance is our tradition and the montage technique is a symbolic satire. After Arirang, the base of Korean film aesthetics is generalized into realism which the content conforms to the form. In traditional Korean arts, however, the content is inconsistent with the form. It is influenced by Confucianism, and caused from the modesty and submissiveness of Korean people. Although getting the feel of their deplorable realities with skin desperately and directly, they are satisfied with expressing them in an indirect way. Therefore, it is most suitable for Korean people's emotion that the realistic content is represented in an expressionistic style. But, our reality is the direct opposition. Accepting modern culture, our consciousness started to be westernized. As a result, we pursued the amusing quality, rather than the essential goal of our traditional drama. Moreover, the materialistic function of camera naturally led us to prefer to realistic expression and the critical circles followed blindly the western theories of realistic film to square content and form. At this very point, Korean film aesthetics began to go astray. In case of the films, which cannot accept the consciousness of a community directly unlike performing arts, however, long take, a realistic technique of camera, may be considered. Long take is a way to lead the audience to watch a film actively and the active attitude for film appreciation can enhance the consciousness of a community. So far, I have examined the origins of the Koreans' spiritual and cultural identities, and pointed out the essential problems of Korean film aesthetics. The tradition of Korean film aesthetics, which started from Nah, Woon-kyu's Arirang, led to literary realism, which put superiority on the critical realistic content urged by KAPF film, resisting the conflicts of the times. In the meanwhile, in Yoo, Hyon-mok's A Aimless Bullet, filmic realism putting superiority on the form was introduced from neo-realism. Critical realism continued by Lee, Man-hee, Lee, Jang-ho, Ha, Kil-jong, Kim, Ho-seon, Bae, Chang-ho, Park, Kwang-soo, Chin, Yoo-young, Yeo, Kyun-dong and Kim, Hong-joon has been widened to Kim, Soo-yong's modern realism and Kim, Ki-young's expressionistic realism by Park, Cheol-soo, Chung, Ji-young, Chang, Kil-soo, Chang, Seon-woo, Kwak, Ji-kyun, Shin, Seung-soo, Lee, Myong-se, Park, Jong-won, Kim, Yoo-jin, Kang, Woo-seok and Hong, Sang-soo. In this turmoil, Yim, Kwon-taek has been the mainstay which firmly supports the Korean films. Besides, there are such important films which show Korean images to represent the emotion of Korean people as Bae, Yong-kyun's Why has Bodhi-Dharma Left for the East?, Paek, Il-seong's In a Handful of Time and Lee, Kwang-mo's Spring in My Hometown. We also must not overlook Lee, Jang-ho's The Man with Three Coffins which quite clearly reveals one aspect of our identity through the ideological conflicts in the continuously flowing stream of the traditional spirit. 5. Conclusion Getting through the 1990's, the ideology has clearly changed. The Cold War has closed a long time ago and the ideological conflict between the South Korea and the North Korea is getting soften more and more. Also, the problem of filmic expression conflicting keenly with ideology seeks for changes intrinsic formal aesthetics, getting out of the content-superior age when a film was evaluated only with subject matters and themes. Such a change has to start from the accumulation of the inherent spirit and philosophy in our tradition. The problem is that changes are made by imported culture rather than the legacy intrinsic to our tradition. Reflecting the biased inclination of Korean film to critical realism, I would like to come to the front other streams of Korean film. The language, action, color, fashion and design, which have to keep our emotion, have already been westernized. As the policy for film promotion is bent on making films, our cultural spirit is controlled by capital to become like a losing child of unknown nationality. For this circumstance, we do not know where we can find out Korean spirit and culture however strongly we may try to emphasize them in the films. I strongly insist that it should be problematic to discuss on Korean film aesthetics only with the content and form of the present Korean films. It is desirable to examine ourselves in the past films, which are less contaminated by foreign culture, to re-find to discuss on our film aesthetics. Until that time, we cannot grope for an alternative measure to establish the identity of Korean film aesthetics.
갑신정변에 실패한 김옥균 등이 일본으로 망명한 이후, 조선정부는 이들을 역적으로 간주하고 김옥균의 본국 송환을 위해 노력해 나갔다. 이러한 조선정부와 달리, 일본정부는 국사범을 보호해 일본의 인도적 행동을 드러내고 조선과의 협상카드로 김옥균을 이용하고자 했다. 따라서 번번이 일본국내법과 만국공법, 그리고 조일간 범죄인인도조약의 부재를 이유로 조선정부의 김옥균 송환 요구를 거절했다. 그렇지만 일본정부의 김옥균 비호 방침은 오사카사건 관련자들의 김옥균에 대한 회유 모색이 발각되고 조선정부가 장은규와 지운영을 파견해 김옥균을 암살하려 하면서 변화되었다. 이로 인해 김옥균의 일본체류가 일본국내 치안을 불안하게 만들고 외교 분쟁의 빌미를 제공한다는 사실이 표면화 되었기 때문이었다. 그러자 일본정부는 김옥균문제를 해결할 방안을 강구했는데, 공교롭게도 이때 스스로를 지키고자 한 김옥균의 행동이 일본정부를 더욱 자극했다. 일본정부는 1885년까지 망명 국사범의 보호라는 명분과 대조선 정책에서의 활용이라는 실리를 모두 얻고자 김옥균의 일본체류를 묵인했다. 그렇지만 점차 조?청 양국의 반복적인 송환 요구와 일본내 반정부세력과의 연계, 암살자들의 도일 등으로 김옥균을 내치외교의 걸림돌로 판단하게 되었다. 결국 일본정부는 김옥균의 공식적인 신변보호 요청을 계기로 추방을 결정해 오가사라와에 유폐시켰다고 하겠다. The Korean government had constantly promoted the repatriation of political asylum in Japan like Kim Ok-kyun(金玉均) who led a failed coup and fled to Japan. At that time, the Korean government recognized Kim was a threat to the regime and made the feelings of the people disturb. However, the Japanese government opposed the Korean government for they permitted Kim's residence in Japan. By the way, the Japanese government's policy had changed because of the discovery of the Osaka plot(大阪事件) with Kim Ok-kyun and an assassin dispatched by the Korean government. The Japanese government had to prevent a coup by the opposition with Kim Ok-kyun or the assassins would kill Kim in Japan. Therefore, the Japanese government had decided on Kim's deportation from Japan because of the obstacles in diplomacy and sedition. Then Kim had consulted his personal problems with an Englishman belonging to the judiciary of Japan and moved to a hostel of France concession in Yokohama, leaving Tokyo. Kim then sued Ji un-yeong(池運永) in court. In addition, Kim asked for personal protection and asylum in Russia from the Speyer of Russian consul in Japan. However, Kim Ok-kyun's formal request for personal protection antagonized the Japanese government and made his expulsion one of force. As a result, Kim Ok-kyun was confined to Ogasawara(小笠原) Island.
In North Korea, the cinema is method to teach the masses. Especially, Kim Il-Sung and Kim Jong-Il thought that the cinema was produced in a breeze. Because the cinema moved the majority of the masses to sympathize with the emotions. In 1970s, the Kim administration was stabilized therefore Kim Jong-Il made many concrete policies about the cinema. That is to say, the North Korean cinema was formalized by Kim Jong-Il`s instruction during that time. In 1973, Kim Jong-Il published 『On the Art of Cinema』, The book was a 332-page treatise on how to act, film, direct, edit and score a movie. Aimed at North Koreans, the book had its share of stupefying ideas but also some legitimate tenets and some beliefs that might be shared by a film critic. By constitution, North korea`s all movies was influenced by the book hence understanding the book was important. It made comprehending North Korean cinema possible. In 1970s, the juche ideology was organized well and constitutional law was made public at least. So Kim Jong-Il started effort for acquiring a position of successor earnestly. He developed the concept of the `Revolutionary View of the Leader` into a more theoretical and systemized form by presenting the `Theory of the Immortal(Socio)-Political Body`. It says the Suryong. Moreover he completed Kim Il Sungism. According to the book, Kim Jong-Il claimed that all movies in North Korea was produced by juche ideology inclusive of Suryong-non and Kim Il Sungism. Then the movies on the basis of the book had a few keynotes. There were the same subjects repeatedly, standardization, narration, excessive expressions. These problems brought on deterioration in quality of North Korean cinema.
The Theory of Dotong(道統) has reigned The understanding of Confucian history in Choseon Dynasty. Therefore, the existing studies of Kim Going-pil(金宏弼), an Confucian scholar in 15thcentury, has been strongly affected by the Theory of Dotong. This misunderstanding about Kim Going-pil was due to lack of critical apparatus. Recently there are some new researches interpreting the life of Kim Going-pil and his acadmic achivements in different way from the Theory of Dotong. This article is to summary existing studies and seek the way to overcome the Theory of Dotong for understanding Kim Going-pil. The existing studies about Kim Going-pil has called his thought as Moral Philosophy(道學) and called him as the progenitor of Moral Philosophy. However this view has caused the problem of subjectivity. Since the concept of Moral Philosophy had been existed before Kim Going-pil, and it can be interpreted in various ways. Therefore, this article would suggest that his thought should be interpreted in historical context of Moral Philosophy. 『SoHak(小學)』 is one of the most important subject to explain Kim Going-pil`s Moral Philosophy. The point is the difference between his 『SoHak』 and the 『SoHak』 before his study. 『SoHak』 had been emphasized as textbook for KwaGeo(科擧) and for children`s education. In opposition, Kim Going-pil`s 『SoHak』 had no relationship with KwaG대 and he studied 『SoHak』 for his lifetime. 『SoHak』 had so large part of Kim Going-pil`s study that most researches on him leaned toward 『SoHak』. In the result of those biased studies, Kim Going-pil has been seen that he only focused on moral training(修己) instead of governing(治人). But, this article insist of the view that 『SoHak』 and 『DaeHak(大學)』 were connected in his Moral Philosophy organizationally would be appropriate. Kim Going-pil`s personal relations are also useful way to understand his academic and political position in history of Chosun Dynasty. The relationship between Kim Going-pil and Kim Jong-jik(金宗直), his master, is very important part to understand Kim Going-pil. Most researches about them has focused on the differences rather than common ground between them. And the researches have insisted that those differences created conflict. But recent studies has revealed that the conflict between Kim Jong-jik and Kim Going-pil made progress in The Theory of Chulcheo(出處) which is core concept of Neo-Confucianism. Meanwhile, Jo Kwang-jo(趙光祖) has been regarded the only disciple of Kim Going-pil. Besides him, however, there were a few more literary men who had to be noticed. The researches on Kim Going-pil`s literary men are very insufficient. This paper would review advanced researches on Kim Going-pil`s life and studies, and suggest that follow-up studies find out the new meaning of Kim Going-pil in Confucian history of Chosun-Dynasty. 사에 대한 인식은 더욱 그러하며, 15세기 후반기에 활동한 金宏弼에 대한 인식 역시 마찬가지이다. 최근에 김굉필에 대한 역사학계의 연구가 진행되면서 도통론의 영향을 벗어날 수 있는 기초가 마련되었다. 그러나 그 연구의 양은 그리 많지 않다. 자료의 한계라는 근본적인 제약 때문이다. 이글에서는 김굉필에 대한 역사학계의 연구 성과를 정리하면서 그 제약을 넘어설 수 있는 방법을 모색하고자 했다. 김굉필을 연구한 거의 모든 글은 그의 학문을 道學이라고 부르며, 그가 도학을 처음으로 정립한 인물이라고 한다. 그러면서 도학 역시 성리학이라는 범주 속에 포함되며, 김굉필 이전에도 도학이라는 개념이 사용되었다는 사실도 인정한다. 이 문제를 해결하기 위해 이제까지는 주로 도학의 개념을 어떻게 정의할 것인가에 초점을 맞추어왔다. 그러나 먼저 도학의 개념을 규정하고, 이 개념에 맞추어 김굉필의 학문·사상을 이해하는 방법은 한계가 있다. 도학의 개념 규정이 주관적일 수 있는 위험이 항상 있기 때문이다. 이 보다는 15세기에 도학이라는 개념이 다양한 의미로 사용되었다는 사실, 그리고 그 개념이 역사적 변화를 겪었다는 사실을 살피는 것이 우선이다. 그리고 그 변화 속에서 김굉필의 도학을 살피는 것이 바람직해 보인다. 김굉필의 도학에 관한 설명에서 가장 중요하게 취급되는 내용이 『小學』공부이다. 그러나 『小學』을 중시한 것은 이미 성리학 도입 초기부터이다. 따라서 김굉필의 『소학』공부가 그 이전과 어떤 차이가 있는지를 밝혀야 한다. 기왕의 연구를 통해 김굉필 이전의 『소학』은 어린 아이들이 읽어야 하는 책으로, 혹은 과거 시험을 준비하기 위해 읽어야 하는 책으로 강조되었음이 밝혀졌다. 이에 반해 김굉필의 『소학』공부는 과거공부와는 아무런 관련이 없었고, 또 평생의 공부였다는 사실도 밝혀졌다. 그러나 김굉필의 『소학』공부가 그 이전과 다른 점이 이 정도에 그치지는 않는 것 같다. 그 차이를 밝혀나가는 것은 앞으로의 과제이다. 김굉필의 도학에서 『소학』공부가 차지하는 비중이 워낙 커다보니 대부분의 연구는 그 방면에만 관심을 집중하였다. 그 결과 김굉필은 성리학 공부의 두 가지 측면인 修己와 治人 가운데 수기에만 관심을 둔 것처럼 보였다. 그러나 최근 김굉필의 도학에서 『소학』과 『대학』이 유기적으로 연결되어 있다는 연구가 이루어져 그의 학문에 대한 새로운 이해를 기대할 수 있게 되었다. 김굉필에 대한 연구에서 빠지지 않고 거론되는 사실이 그의 스승인 金宗直과의 관계인데, 대부분의 연구는 그 두 사람의 공통점보다는 차이점에 주목한다. 그리하여 학문적 차이나 정치적 견해의 차이 때문에 결국 두 사람이 갈등을 겪게 되었다고 이해한다. 최근의 연구는 이 두 사람의 갈등 속에서 出處論이 정착되어가는 모습을 발견하고 있다. 출처론은 성리학의 이념체계 속에서 핵심적인 내용이다. 그러나 이제까지 이 이념에 대해 주목한 연구는 거의 없다. 성리학 도입 이후 출처론이 어떻게 받아들여졌고, 출처론의 전개 과정 속에서 김굉필의 출처론이 어떤 의미를 갖는지 살피는 것은 앞으로의 과제이다. 김굉필이 조선시대의 유학사에서 차지하는 위치를 설명하기 위해서는 그의 門人에게도 관심을 기울일 필요가 있다. 기왕의 연구는 그의 문인 가운데 趙光祖에게만 관심을 집중하였다. 그 외에 거론되는 문인으로는 김안국 정도를 들 수 있을 뿐이다. 그러나 실제 김굉필의 문인 가운데는 이들 이외에도 중요하게 취급되어야 할 인물들이 있었다. 그들에 대한 연구 역시 앞으로의 과제로 남아있다. 김굉필의 문인과 관련된 또 하나의 문제는 그의 문인으로 거론되는 인물들 가운데 師弟관계를 확인하기 힘든 인물이 있다는 점이다. 특히 김굉필 연구에서 중요한 자료로 취급되는 <寒氷戒>와 관련이 있는 潘佑亨이라는 문인은 자세한 검토가 필요한 인물이다.
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It is becoming significant for individuals to find their own individual identities, as the today's ongoing globalization has become much more complicated. A similar situation occurred when the British Empire influenced the world politically, economically, and culturally in the nineteenth century. In order to grasp human intrinsic identities, my thesis aims to use postcolonial theories to examine characters' identities in a nineteenth-century British novel, Kipling's Kim (1901). In Kipling's Kim, I examine Kim, an Irish boy who experiences racial identity confusion by living in British India. Kim's identity is ambiguous as his background is complicated: his parents are Irish, Kim was born in India, he was educated in a British school, and he participated in the Great Game. It would prove inadequate to try to see Kim's identity based on binary oppositions, as Kim's identity is neither British nor native Indian. Aside from simply being a person named Kim, Kim's identity consists of being someone who has cultural hybridity. Through the main character of Kim, Kipling suggests that a Brit who understands the local Indian culture and society, as Kim does, would govern India with ease. Overall, Kipling's Kim elaborates on why or how India should be governed by Britain and also seems to justify the British rule of India. In Kim, Kipling creates the main character of Kim, who has cultural hybridity and whose process of personal growth throughout the novel depicts Kipling's ideas on how to govern India easily. In order to justify British rule in India, Kipling also depicts how British-Indian society was developed by Britain, also through the character of Kim. Looking into characters' identities throughout nineteenth-century British novels helps modern readers who live in this complicated world to grasp human intrinsic identities.
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Kim Yu-shin(596-673.A.D.) has been the main target of criticism since the late 19th century among many Korean common people, and even historians, in respect with the way he suceeded to be related by marriage with Kim Chunchu, who was a man of influenceable as grandson of a dethroned king. Kim Yu-shin enticed Kim Chunchu to have sexual relationship with one of his two sisters, Bohee and Munhee. Kim Yu-shin's original plan was to make the coulple of Kim Chunchu and Bohee, the older of two. But Kim Yu-shin had to replace Bohee with Munhee. So what happened to Bohee? One of the two aims in my these is this. Historical documents relating to it says (1) Bohee had an illness, (2) she was faced with an accident. Any document says what kind of an illness or accident she had. But I found the illness or accident was her monthky period by comparative study of the related documents. Kim Yu-shin found it out to make the other sister Munhee Kim Chunchu's air. His maneuvering suceeded, and Munhee becamed pregnant with Kim Chunchu's baby. But Kim Yu-shin was compelled to do another maneuver, because Kim Chunchu kept on evading the wedding with pregnant Munhee. Facing with an unexpected obstacle, Kim Yu-shin sent an ultimatum to Kim Chunchu. It was a threat to burn his sister to death by reason of her pre-marriage pregnancy without permission of his or his parents. But such a threat was a shrewd trick. Anyway Kim Yu-shin was about to fulfill the ritual of burning his sister in the open air at that time Sunduk, Princess and a successor to the throne was going on a picnic out of her palace. Kim Yu-shin's trick was brilliantly successful by Sunduk's command to Kim Chunchu to go quickly and save ‘your wife' fron the fire. Then where are the trick of the burning of a woman concieved by Kim Yu-shin at the stake from? This was my second aim in the these. I proved it resulted from the ritual of Pokmu(暴巫), which literally means forcing a shaman out to the blazing sun especially in midsummer. Such a Pokmu was often fulfilled to pray for rain to Heaven in pre-modern Eastern Asia. Eastern Asian people believed that Heaven drops rain on pity of the suffering shaman. Kim Yu-shin extraordinarilly filled his purpose by advantage of the ritural of Pokmu.
This article attempts to explore some autobiographical elements in the three novels written by Richard E. Kim: The Martyred (1964), The Innocent (1968), and Lost Names (1970). A diaspora writer, Kim finds his subject matter in the major historical events of Korea. In his first internationally acclaimed novel, Kim draws much on some incidents in his own personal and family history; its protagonist the Reverend Shin, for example, is modelled on his maternal grandfather, the Reverend Hak Bong Lee, who were not only persecuted but also executed by the North Korean Communists. Kim's active involvement with the Korean Army as a liaison officer during the Korean War, as well as the military coup detat led by General Park in 1961, provide material for his second novel. In the third novel, Kim borrows the characters, incidents and settings not only from his family history but Korean history as well. His own childhood experiences under the Japanese colonial occupation and the strong nationalist sentiments of his father, play a pivotal role in the third and last novel. At his best, however, Kim explores universal themes that are far beyond geographical as well as temporal limitations.
본 연구의 목적은 상해 경험이 있는 무용수가 Kim's body conditioning program 후 무용동작 수행 시 무용수의 신체 움직임 느낌을 통해 프로그램의 효과를 규명하고자 하였다. 본 연구의 목적에 따라 연구대상자들은 2007년 ADF(America Dance Festival)에 참석한 무용수들 중 Kim's body conditioning program 수업에 참석한 60명 중 6주간 수업에 결석하지 않은 31명을 대상으로 설문조사를 실시하였다. 연구 대상자들의 평균 연령은 22.06(±1.590)이며, 무용경력은 3년 미만이 54.8%로, 3년 이상이 38.7%이다. 조사 설문 내용은 무용전문가 3명과 의학전문가 1명, 설문조사 전문가 1명 등 5명으로 구성되어 설문조사 문항을 위해 협의, 의논하여 문항들을 선택하였으며, 자료 분석 방법으로는 기술통계의 빈도분석과 X2 분석 방법이 사용되었으며, 분석결과는 다음과 같다. 첫째, 전체적인 움직임에 대해 Kim's body conditioning program 수행 후 무용동작 수행 시 보다 편안함을 느낄 수 있으며, 원활하게 움직일 수 있다는 것으로 응답하였다. 둘째, 무용의 기본 동작에 대해 기본 브러쉬(brush) 동작, 그랑 바뜨망(grands battements) 동작, 데벨로뻬 (develope) 동작, 쁠리에 (plie) 동작, 아라베스크(arabesque) 동작에서 움직임 수행 시 편안함을 느꼈으며, 관련된 근육들에 움직임에서 원활하게 움직일 수 있었다고 응답하였다. 셋째, 무용수들의 Kim's body conditioning program 평가에서 이 프로그램은 전체적인 근력 및 하지의 유연성을 강화할 수 있다고 응답하였으며, 무용 동작 수행 시 움직임에 도움을 줄 수 있는 것으로 무용수들에게 도움이 된다고 응답하였다. 또한 이 프로그램이 무용수들뿐만 아니라 비전공자들에게도 필요한 프로그램이 될 수 있다고 응답하였다. 그러나 무용 표현 기술적인 측면에서는 높은 동의를 얻지 못했다. 이와 같은 결론을 통해 Kim's body conditioning program이 상해를 가진 무용수들에게 재활의 프로그램 중 하나로 제시될 수 있다. The purpose of this study was investigating about previously injured dancers' execution of movements and comfortableness after Kim's body conditioning program. 31 participants joined the six weeks of ADF of the year 2007 after undergoing Kim's body conditioning program. Contents of research were examined by three dance expertise, one medical doctor, and one research expertise. Frequency of descriptive statistics and X2 were used to analyze the collected data. The results were as follows. First, the 31 participants answered they were comfortable executing their movements and greater control over their muscle movements after Kim" body conditioning program. Second, they responded that they could comfortably execute their basic movements then previous to participating in Kim's body conditioning program and move their muscles more readily. Third, after undergoing Kim's body conditioning program, the participants answered Kim's body conditioning program can improve muscular power, become more flexibleness and help execution of movements. In addition, Kim's body conditioning program can help people who are not dance major. Kim's body conditioning program, however, cannot improve executing difficult dance movements. In conclusion, Kim's body conditioning program could be a rehabilitation program for previously injured dancers.
The Diffie-Hellman Key Exchange scheme can produce a common session key between the two communicators, but its problem is that it makes a man-in-the middle attack possible. To solve problems like these, several protocols have been put forward, and the Simple Authenticated Key Agreement (SAKA) Protocol is among them. Seo-Sweeney suggested a SAKA protocol initially and the protocol has weakness that a malicious 3rd party can masquerade a valid user. Tseng suggested another protocol that advances this problem but this protocol can still be attacked when the messages in key verification phase are identical. Ku-Wang suggested a new protocol that advances this problem. Kim-Kim-Hwang also suggested a new SAKA protocol and confirmed that their protocol has same safeness and better performance compared to the other SAKA protocols. In this paper, we reanalyze the safeness of SAKA protocols and find out that Kim-Kim-Hwang protocol has not only better performance but also better safeness. Diffie-Hellman의 키 인증 기법에 대한 제 3자 공격 (man-in-the middle attack)에 강한 간단한 인증키 동의 프로토콜인 SAKA (Simple Authenticated Key Agreement Protocol)가 제안된 바 있다. SAKA는 초기에 Seo-Sweeney에 의해 제안되었으며 이 방법은 침입자가 중간에 메시지를 가로채서 정당한 사용자임을 가장할 수 있는 단점이 있다. Tseng은 이 단점을 개선한 방안을 제안하였는데 이것도 키 확인 메시지 두 개의 값이 같을 경우 공격을 받을 수 있음이 밝혀졌다. Ku-Wang은 Tseng 방법의 문제점을 개선한 알고리즘을 제안하였다 그리고 Kim-Kim-Hwang은 새로운 SAKA 알고리즘을 제안하고 이것이 기존 SAKA 프로토콜들과 안전성은 동일하면서도 성능이 개선된 것임을 밝힌바 있다. 본 논문에서는 안전성 분석의 재고찰을 통하여, Kim-Kim-Hwang의 방법이 기존 SAKA 프로토콜들보다 성능면에서뿐만 아니라, 안전성 면에서도 우수함을 밝힌다.