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      • KCI등재

        족궐음간경(足厥陰肝經) 오수혈 주치(主治)의 특성(特性)과 시동병(是動病)의 연관성(聯關性)에 관한 연구(硏究) -<침구갑을경(鍼灸甲乙經)>을 중심(中心)으로-

        성수민,이성수,오세형,황민섭,윤종화,Sung,,Su-Min,Lee,,Seong-Su,Oh,,Se-Hyoung,Hwang,,Min-Sub,Yoon,,Jong-Hwa 대한침구의학회 2006 대한침구의학회지 Vol.31 No.3

        Objectives : It is known that the five Su points are very useful clinically. The following study was undertaken in order to find out the general characteristic and the origin of the five Su points. Methods: We investigated the relation of symptoms that are treated by five Su points and Shi-Dong Suo-Sheng-Bing(是動 所生病). The main reference book was Zhen Jiu Jia Yi jing(鍼灸甲乙經) and the author took Liver Meridian of Foot Gworeum(足厥陰肝經) as an example. Results : 1. Five Su point of Liver Meridian of Foot Gworeum(足厥陰肝經) treats Shi-Dong-Bing(是動病) of Liver Meridian of Foot Gworeum. It is peculiarity of Five Su point of Liver Meridian of Foot Gworeum, differed from the others acupoints. Symptoms of Shi-Dang-Bing appears with the abnormal pulsation of Merdian Gi(脈氣), and the special feature of Shi-Dang-Bing is the symptoms are consisted of disorders of whole body, trobles of an internal organ, and psychosomatic disorders. 2. In <Su Wen San Bu Jiu Hou Lun (素問 三部九候論)>, it is described the part of pulse feeling for Shi-Dong-Bing(是動病) of Liver Meridian of Foot Gworeum(足厥陰肝經) as ‘A region that is 2 Chon(寸) from the basic digital joint of the first toe'. This region is agree with the acupoint of Liver Meridian of Foot Gworeum in <Mai-Jing(脈經)>, <Qian-Jin-Yao-Fang(千金要方)>. And Haeng-gan(行間) Tae-chung(太衝), members of five Su-points of Liver Meridian of Foot Gworeum is situated the same region. So we suppose that the part of pulse feeling for Shi-Dong-Bing of Liver Meridian of Foot Gworeum is transformed into Haeng-gan(行間) Tae-chung(太衝), among the five Su points.

      • KCI등재

        김수영 시에 나타난 우울증의 양상과 치유기제 : 현대성을 기원으로 하는 우울증의 세 차원을 중심으로

        김수이(Kim Su-yi) 한국시학회 2010 한국시학연구 Vol.- No.28

        Kim Su-young's poem is the first case that figured in earnest the depression which originated from modernity in our poem history. As a text in which the narration and representation of modern depression are recorded, Kim Su-young's poem figures the loss of three dimensions the subject, the object and the other. First, the subject means the one that was deprived of its position by the exchange system of capital and became the object. Kim Su-young expresses the sorrow that the position of the subject is not guaranteed constantly as insider/outsider of an office, a modern social space. Second, the object the endlessly reproduced ghostlike object, that is, products made by the exchange system of modern capital. Kim Su-young, overlooking 'depression' that capital conceal itself through 'liveliness' of products, identifies the discarded and superfluous objects with himself. Third, the modern society intercepts the route enabling cooperation between the subject and the other by ruining lots of 'social ideas'. Kim Su-young finds 'skill of love' that re-discovers the other and the world as the targeted love, sorrowing loss of ideas such as Kim Su-young makes for himself the defense and cure mechanism of depression in the process of reflecting on depressive self. It is the very ‘skill of love' and ‘glance of an analyst'. If ‘skill of love' is the skill of 'becoming the subject' that the depressive subject, retreated to one's own inside, re-discovers and re-creates the lost object in the other and the world, 'glance of an analyst' is the skill of 'becoming of the other' continuously renewing oneself, seeing the identity of the depressive self from the viewpoint of a third party. The skill=methodology for coping with the depression created by the depressive subject itself has a significant meaning. This means going forward from passive ethical selection suffering from depression instead of sharing the sin of modern civilization to positive ethical selection curing depression. Kim Su-young, based on modern viewpoint of an analyst reflecting on modernity, pioneered the rare, modern and ethical poetic world in our poetic history.

      • KCI등재

        석주 권필의 <감회(感懷) 3수(首)> 연구

        황수정 ( Hwang Su-jeong ) 한국시가문화학회(구 한국고시가문화학회) 2018 한국시가문화연구 Vol.0 No.42

        본고는 석주 권필의 <감회 3수>를 연구한 것이다. <감회 3수>에 나타난 진정성을 고찰하였다. 감회시(感懷詩)는 감구지회(感舊之懷)의 시로 마음에 느낀 생각과 회포(懷抱), 감상(感想) 등 지난날을 생각하며 느낌이 일어 쓴 시를 말한다. 이처럼 감회시는 보통의 느낌과 서정, 또는 제목 달기가 모호한 서정시일 경우 감회의 제목을 달기도 한다. 석주의 <감회 3수>는 시국에 대한 강한 페이소스와 지식인로서의 자세를 담았다. 석주의 감회시에서는 주로 나그네의 회포 등을 다룬 내용이 많다. 그러나 <감회 3수>는 감회에 의탁하여 시국에 대한 근심과 비판을 진솔하게 그려냈다. <감회 3수>에서 보여준 시인의 진솔한 정회(情懷)는 감회시의 진정성을 가늠할 수 있게 하였다. 일반적으로 감회시에서는 세월의 덧없음, 인생무상, 곤궁함, 정치적 불운에 대한 회포를 읊는다. <감회 3수>에서는 시국에 대한 비애감과 냉철한 현실 인식과 풍자, 그리고 지식인의 자세와 절조를 실었다. 백성들의 고충을 눈앞에서 목도하면서, 조선의 산천과 백성에 대한 연민을 표출하였다. <감회 3수>는 세 수의 연작시로써 개인적인 정치적 불운과 침울에만 머물지 않았고, 시대에 대한 냉철한 인식과 함께 지식인으로서 절조의 자세를 담은 것이다. This study speculated on Seokju Gwon Pil's < Gamhoi 3su >, focusing on truthfulness he intended to express in his poems. Gamhoisi means sentimental poems to express what one feels while reflecting the past. Gamhoisi is entitled as usual feelings, lyricism, and Gamhoi for lyric poems which are ambiguous to be entitled. Seokju's < Gamhoi 3su > expresses strong pathos on the situation and attitudes as an intellectual. Most of the Seokju's Gamhoisi dealt with criticism on reality and lonesome feeling through a traveler's inmost thoughts. In particular, < Gamhoi 3su > honestly described anxiety and criticism about the situation depending on his feelings. We could make a guess of truthfulness of Gamhoisi through truthful feeling the poet showed in < Gamhoi 3su >. Usually, Gamhoisi expresses evanescence of time, the frailty of human life, poverty and political misportune, < Gamhoi 3su > published in pathos on the situation, stoical recognition and parody of reality, and virtuous integrity. That is, < Gamhoi 3su > has meaning in that it was intended to make us meditate on the situation and attitudes as an intellectual beyond the poet's political misfortune and depression.

      • KCI등재

        죽어야 사는 여자 -이인상과 김종수의 여성 제문 연구-

        김수진 ( Kim Su-jin ) 한국한문학회 2021 韓國漢文學硏究 Vol.- No.82

        조선시대 여성의 명성은 남성의 증언 없이는 성립될 수 없었으므로 여성을 향해 남성은 話者로서 절대적 특권을 보유하였다. 그러나 그들의 발화와 증언을 통해 결국 도달한 곳은 여성이 아니라 남성 사대부 작가 자신에 대해서이다. 본고는 이인상과 김종수의 여성에 대한 제문을 대비적으로 고찰함으로써, 여성을 보는 시각을 주요 쟁점으로 해서 이인상과 김종수 간의 접점과 변별점을 진단하였다. 본고의 대비적 고찰은 다음 두 개의 복선 궤도를 오가며 전개되었다. 첫 번째 경로는 남성 사대부 작가와 글 속 대상 여성 간을 오가는 노선이다. 작가의 증언을 고구해보면, 이인상의 아내 장씨와 김종수의 며느리 홍씨는 매우 다른 성격과 얼굴을 지닌 여성이다. ‘知己'와 ‘烈女'라는 이 양극의 여성상은 그녀들의 자화상이 아니라 남성 작가의 일련의 해석이 가해진 초상이다. 이에 그녀들의 모습에서 작가 자신의 초상을 읽어낼 수 있었다. 두 번째 경로는 이인상과 김종수 간을 오가는 노선이다. 이인상과 김종수는 각각 丹壺 그룹의 핵심 멤버와 후속 세대로서 18세기라는 동일한 시기를 살다간 남성 사대부이다. 그럼에도 불구하고 그들이 추구한 생의 지향과 물리적 존재 여건에 따라 주변 여성의 삶을 수용하고 기억하는 방식은 대단히 상이하다는 점을 논구하였다. 여성에 대한 글쓰기를 본격적으로 파고들어갔을 때 그간 모호하게 파악되던 이인상과 김종수 간의 접점이 구체적으로 포착되고, 그들 간의 간과할 수 없는 차이가 유표하게 노정되며, 그들을 둘러싼 생활 환경과 시대의 흔적도 명료하게 드러난다. 남성의 여성 인식은 그의 실체적 진실에 다가서는 주요한 길임을 이인상과 김종수의 글은 예증해주고 있다. During the Joseon dynasty, women's reputation could not be established without the testimony of men. In this regard, men held absolute power, being the very narrators of women's lives. However, what can be seen from these testimonies and word utterances do not throw light on the women, but on the aristocratic male writers themselves. This article seeks to comparatively analyze the funeral odes written for women by Lee In-sang and Kim Jong-su, focusing on how the women were viewed by the two writers and observing the points of contact and separation between their ideas. This paper develops this comparative analysis through alternating between two main thematic tracks. The first focuses on the connection between the aristocratic male writer and the woman who appears in their writing. Upon studying the two writers' testimonies, Lee In-sang's wife Jang-ssi and Kim Jong-su's daughter-in-law Hong-ssi come across as having very different personalities and outlooks. The contrasting personality types of “wise friend”(知己) and “chaste woman”(烈女) do not arise from self-portraits drawn by the women themselves, but from an image created of them through a series of interpretations drawn by the men. Through the portrayal of these women, it is rather the men's image of their own selves that come across to the reader. The second thematic track is the thread that connects Lee In-sang and Kim Jong-su. As aristocratic men in the eighteenth century, both were part of the literary group Danho(丹壺), where Lee was a central member whereas Kim was part of the later generation of the group. In spite of these similarities, the two men's ways of recalling and accepting the lives of the women around them, in accordance with their particular life choices and conditions of material existence, were observed as being quite opposed. Through in-depth analysis of their writing about the two women, the points of contact between Lee In-sang and Kim Jong-su, which were not explored deeply in the past have been pointed out in all their specificity, the glaring contrasts between the two, their life, as well as the traces of the era they lived in, have all come into clear view. The writings of Lee In-sang and Kim Jong-su exemplify how central portrayals of women by men are in revealing the substantive truth of the writer himself.

      • 鄭芝溶의 詩 <鄕愁>論

        박경수 釜山 外國語 大學校 1997 外大論叢 Vol.16 No.1

        Jung Gi-Yong(鄭芝溶) is one of Korean famous poets mainly acted in 1930s. <Hyang-su> (鄕愁, i. e. Nostalgia) is his representative poem, which is well known to everybody up to the present. In this paper, I tried to grasp the princeple of poetic construction and the meaning of passage context in <Hyang-su>. According to the results so far examined, I can emphasize as follows: 1) <Hyang-su> is wroted for the first time in March of 1923, and published by various papers after that time. The most good text of <Hyang-su> is a poetic work which is recorded in 『Jung Gi-Young Sigip』(published in 1935). 2) <Hyang-su> is composed of 10 stanza including 5 refrains, and shows us the formation of concentric cercle. Particularly refrain in this work plays a role of syntheses and emphasis to feeling nostalgia as independent stanza. The objects of foreground descripted by each stanza comes within the category of traditional farm family, and shows us the world of patriarchal order that gets not the authoritical power but the human affection. For instance, a spotted bull, a father, myself, a younger sister and a wife, and a family are such objects. 3) <Hyang-su> arouse broadly sympathy from the world of humanity descripted in work, the new and striking use of metaphorical image, and the use of folk-languages and dialects.

      • KCI등재

        보르헤스 시간의 재조명 : 신학자들을 중심으로

        손관수 한국서어서문학회 2000 스페인어문학 Vol.17 No.1

        Las prosas metacri′ticas borgesianas enfocadas en el problema del tiempo se encuentran densamente en su Historia de La Eternidad (1936) y terminan con $quot;Nueva Refutacio′n del Tiempo$quot; en Otras Inquisiciones (1957). La repetida aparicio′n de las palabras $quot;atemporal$quot; e $quot;intemporal$quot; en estos textos causo′ un malentendimiento entre los lectures y los cri′ticos que habi′an llegado a creer que $quot;Borges niega el tiempo.$quot; Los lectures y cri′ticos dieron en olvidar que Borges so′lo repitio′ esas palabras para poder mejor confutarla tal como lo habi′a hecho San Agusti′n en su Civitate Dei (Plato′n en Atenas ensen ̄o′ que $quot;todas las cosas recuperara′n su estado anterior, y e′l, en Atenas, ante el mismo auditorio, de nuevo ensen ̄ara′ esa doctrina.$quot;) Borges no niega el tiempo. Lo que niega Borges es el concepto ci′clico del tiempo de la tradicio′n metafisica griega. Borges no reconoce ni la metafi′sica plato′nica ni el concepto del tiempo metafi′sico. Borges cree so′lo en el concepto del tiempo bi′blico, que es lineal. El tiempo, segu′n Borges, empezo′ a fluir desde la Creacio′n del universo del Dios y dejar de ser cuando El cumple el plan de la salvacio′n del hombre hasta el u′ltimo. Pero Borges asegura nada porque el tiempo es cosa del Dios. Esto se cristaliza en su metaficcio′n $quot;Los Teo′logos$quot;(1949) en El Aleph (1951). Se trata del conflicto entre la ortodoxia y la hereji′a en el organismo de la iglesia cato′lica medieval europea que se distinguen segu′n su creencia en el concepto del tiempo: el tiempo lineal para el ortodoxo y el ci′clico para el hereje. Dos teo′logos, Juan de Panonia y Aureliano figuran como campeones de la teologi′a en contra de los heresiarcas, pero son rivales entre si′. El tratado del teo′logo Juan de Panonia era breve basado simplemente en los versi′culos de la Epi′stola a los Hebreos, la de San Mateo y en el precepto bi′blico y era li′mpido, universal: Aureliano queri′a superar a Juan de Panonia para curarse del rancor que e′ste le infundia. Aureliano, laboriosamente trivial, los equiparo′ con Ixio′n, con el hi′gado de Prometeo, con Si′sifo, con Oedipo, y con silogismos bicornutos. En fin, el teo′logo encargado de impugnar los errores de los mono′tonos fue Juan de Panonia. Su docta y mesurada refutacio′n basto′ para que Euforbo, heresiarca, fuera condenado a la hoguera. Cayo′ la Rueda ante la Cruz en la montan ̄a. Aureliano sintio′ humillacio′n. Juan de Panonia fue acusado de profesar opiniones here′tieas. Fue sentenciado a morir en la hoguera. Ambos murieron y se pusieron de pie ante el Dios. Aureliano converso′ con Dins y que Este se interesa tan poco en diferencias religiosas que to tomo′ por Juan de Panonia. Aureliano supo que para la insondable divinidad, e′l y Juan de Panonia (el ortodoxo y el hereje, el acusador y la v ctima) forman una sola persona. Borges ignora si su lector precisa argumentos de la doctrina plato′nica que son tan confusos porque son fabricados a imagen de las criaturas, que repiten esas mismas anomali′as que quiere resolver.

      • P239 : Solar urticaria in Korean patients

        ( Sung Min Kim ), ( Young Ah Cho ), ( Ji Su Lee ), ( Ji Youn Hong ), ( Jin Hee Kim ), ( Joo Ran Hong ), ( Hye In Cheon ), ( Yang Won Lee ), ( Yong Beom Choe ), ( Kyu Joong Ahn ) 대한피부과학회 2020 대한피부과학회 학술발표대회집 Vol.72 No.2

        Background: Solar urticaria (SU) is an uncommon type of photodermatoses characterized by erythematous wheal with pruritus after sunlight exposure, which shows a female predominance. Only a few studies to analyze the clinical features of SU were reported in Asia. Objectives: We aimed to analyze the clinical and photobiological characteristics of SU in Korea. Methods: We retrospectively investigated the medical records of patients with SU who visited the department of dermatology, Konkuk university medical center from January 2005 to January 2020. Results: Of a total of 44 patients, 36 (81.8%) were male and 8 (18.2%) were female. The mean age at onset was 17.6 years (range, 5-47) and the mean threshold time was 19.7 minutes. Among 32 patients who underwent phototesting, the action spectrum most commonly implicated was ultraviolet (UV) A only in 12 (37.5%), and then visible light (415nm) only was responsible for SU in 8 (25.0%). Three patients (9.4%) were induced by both UVA and visible light (415nm). Even 4 patients (12.5%) were triggered by only natural sunlight. Serum immunoglobulin E levels were measured in 33 patients, and 17 (51.5%) showed values higher than normal. The treatment most widely used were oral antihistamine (43.2%), followed by phototherapy (13.6%). Conclusion: SU is a rare photodermatosis in Korea, which shows a male preponderance. In this study, UVA and visible light (415nm) were predominant action spectrum of SU.

      • KCI등재후보

        광엽잡초 물옥잠의 Sulfonylurea 제초제에 대한 저항성 작용기작

        박태선(Tae-Seon Park), 임양빈(Yang-Bin Lhm), 경기성(Kee-Sung Kyung), 이수헌(Su-Heon Lee), 박재읍(jae-Eup Park), 김태완(Tae-Wan Kim), 김길웅(Kil-Ung Kim) 한국농약과학회 2003 농약과학회지 Vol.7 No.4

        본 실험은 한국 논에서 발생하고 있는 물옥잠의 SU계 제초제에 대한 저항성 메카니즘을 구명하기 위하여 ALS 활성, (¹⁴C]bensulfuron의 홉수이행 및 ALS 유전자의 DNA 염기서열을 분석하였다. 한국 논에서 광범위하게 사용 중인 6 종류의 SU계 제초제들에 대하여 저항성이 확인되었는데, 저항성 생태형에 대한 생체중 50% 저해 제초제 농도(GR??)는 감수성 생태형에 비하여 약 4배에서 64배까지 높았다. SU계 제초제들에 대한 저항성 생태형의 ALS 활성은 감수성 생태형 보다 훨씬 덜 민감하게 반응하였으며, 저항성 생태형에 대한 SU계 제초제들의 I??값은 감수성 생태형 보다 14배에서 76배까지 높게 나타났다. 생태형간 ALS 활성 차이의 원인을 구명하기 위하여 [¹⁴C]bensulfuron의 흡수이행 차이를 조사한 결과 생태형간 뚜렷한 차이가 없는 것으로 나타났다. 그러나 저항성 및 감수성 생태형의 ALS 유전자 염기서열을 분석한 결과 저항성 생태형의 ALS 유전자 아미노산 서열 중 각각 하나의 염기치환에 의하여 168번째 threonine이 serine으로, 189번째 histidine이 arginine로, 247번째 aspartic acid가 glutamic acid로 변이 된 것이 확인되었다. This experiment was carried out to study the resistant mechanism of sulfonylurea(SU) herbicides to Monochoria korsakowii occurring in the rice fields of Korea. The activity of acetolactate syntbase(ALS), absorption and translocation of [¹⁴C]bensulfuron-methyl, and DNA sequence of ALS genes were studied. The apparent SU resiatance to Monochoria korsakowii was confirmed in greenhouse testes. Fresh weight accumulation(GR??) in the resistant biotype was about 5- to 64-fold higher in the presence of six SU herbicides compared to the susceptible biotype. The ALS activity isolated from the resistant biotype to herbicides tested was less sensitive than that of susceptible biotype. The concentration of herbicide required for 50% inhibition of ALS activity(I??) was 14- to 76-fold higher as compared to the susceptible biotype. No differences were observed in the rates of [¹⁴C]bensulfuron uptake and translocation. However, the DNA sequence from the resistant biotype differed from that of the susceptible biotype by single nucleotide substitution at three amino acid each in the middle region excluding the ends of ALS genes. We found three point mutations causing substitution of serine for threonine at amino acid 168, arginine for histidine at amino acid 189, and a aspartic acid for phenylalanine at amino acid 247, respectively, in the resistant biotype.

      • KCI등재

        현대독일영화의 한 경향: 포스트모던 시대의 역사영화 -오스카 뢸러의 < 유대인 쥐스-양심 없는 영화 >(2010)를 중심으로

        조수진 ( Su Jin Cho ) 한국독어독문학회 2016 獨逸文學 Vol.57 No.2

        Der Film Jud Suß - Film ohne Gewissen von Oskar Roehler thematisiert die Geschichte Ferdinand Marians, der im dritten Reich die Hauptrolle des Propagandafilms Jud Suß von Veit Harlan gespielt hat. Der Film zeigt einige postmoderne asthetische Strategien, namlich eine Fiktionalisierung der historischen Fakten, oder vielschichtige Narrativstrukturen, unter anderem auf der Basis der Hommage, und Selbstreferenzialitat. Zunachst sind die Figuren dieses Films historische Menschen, doch ihre Charakterzuge und die sozialen Verhaltnisse, in denen sie agieren, werden durch Roehlers Einbildungskraft rekonstruiert und neu erschaffen, um sie als Mittel, ein Sittenbild der Nazizeit zu prasentieren, einzusetzen. Der Film beinhaltet die Spiegelstruktur, den Film im Film und das Drama im Drama. Das Publikum hat dabei die Moglichkeit, Identifizierung und Verfremdungseffekte abwechselnd zu erleben. Die postmoderne Asthetik des Films Jud Suß - Film ohne Gewissen tragt einerseits dazu bei, die Naziideologie zu karikieren und zu entlarven. Doch andererseits verhindert sie, dass man die historischen Fragen erkennt, und der Film bußt so an Historizitat ein.

      • KCI등재

        소무蘇武의 충절의식이 한국문화에 끼친 영향

        장윤수(Jang, Yun-Su) 동양사회사상학회 2009 사회사상과 문화 Vol.19 No.-

        '스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.

        한국과 중국은 가까운 거리에서 오랜 시간 문자를 같이해 왔고, 사상을 같이해 왔다. 그러므로 한국인과 중국인은 그 누구보다도 문화적 상근성相根性을 확보하고 있으며 서로를 잘 이해하고 있다. 비록 최근 한 세기 동안 두 나라에 불어 닥친 엄청난 변화들로 인해 두 나라의 문화가 상당 부분 이질성異質性을 띠기도 했지만, 두 나라 사람들이 갖고 있는 전통문화는 여전히 서로를 잘 이해할 수 있는 통로가 된다. 이 논문의 목적은 소무蘇武의 충절의식이 한국문화에 끼친 영향에 대해 고찰하는 것이다. 소무는 중국이 자랑하는 충절지사忠節之士일 뿐만 아니라 전통사회 한국인들이 존숭하던 삶의 모델이기도 하다. 소무가 보여 준 빛나는 충절과 역경을 이겨내는 인내심은 분명 오늘에 있어서도 상당한 의의를 가지며, 특히 한․중 두 나라 사람들에게는 서로를 좀 더 가깝게 이해할 수 있는 문화적 계제階梯가 될 수 있다. Korea and China use equal character and shared similar thoughts for a long time as the adjoined country. Therefore, Korean and a Chinese are having more cultural similarity, and understand well each other than anyone. There were a lot of changes in the two country during last one century, culture of the two country also changed much so. However, traditional culture of two country people is still important channel that understand each other. As well as Su-Wu is person of loyalty that the China is proud of, it is model of life that tradition society's korean people respect. The Spirit of Loyalty of Su-Wu and endurance which overcome adversity gives us a lot of impression today. Specially, Su-Wu is bridge which Korea and China two country people make each other intimate.

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