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A thesis insisting that Sugjong’s medical doctor Yoo Itae(劉以泰) and the author of Marjinpyeon Yoo Itae(劉爾泰) are not a same person and his activities were in Heonjong(현종) period, and his writing Marjinpyeon is in 1846, is published. In this study, I’d like to reveal that Yoo Itae(劉爾泰), the Marjinpyeon’s author and Yoo Itae(劉以泰), Sugjong’s medical doctor are a same person through analysis of Geochang Yoo’s genealogy, articles, The True Record of the Joseon Dynasty, Seungjeonilgi, Taeweonseonsaengan, Sancheong-gun’s paper, Sancheong Hyanggyo’s paper, Sancheong-gun’s paper, The geographic paper, Dongyuhagan, Sawoo Munjib, and analysis of folk story, the wrote year of his Marjinpyeon and Inseomunkyunrok and his birth year. According to my analysis, Yoo Itae(劉爾泰) the Maninpyeon’s author and Yoo Itae(劉以泰), Sugjong’s medical doctor are a same person. And Marjinpyeon is written in 1696, the year of Byongja, and other his books, InseoMungyonlok at 1709, the year of Gichug. In conclusion, Yoo Itae(劉以泰劉爾泰) was a famous medical doctor at Sancheong, born in 1652 (HyoJong the 3rd year) and passed in 1715 (SugJong the 41th year), left books of Marjinpyeon, Silheomdanbang, and Inseomunkyunrok.
This study was to suggest tourism resource development strategies of Yoo-yang dong, Yangju city using Space Syntax. Space Syntax is a analytical tool to abjectly evaluate structural characteristics of a space. In particular, it quantitatively analyzes the relationship between spatial structure and tourists`` use pattern using three elements: average depth, degree of integration, and degree of control. Results found that the degrees of integration of some historical places in Yoo-yang dong were relatively low even though it was not far away from entrance places. Based on the Space Syntax, two alternative trails were proposed. Results from this study imply that Space Syntax could provide a guideline for place marketing and installation of trails.
본 논문은 18세기 전반에 활동한 중인층 문인인 靑泉 申維翰(1681~1752)의 의고주의 한시창작의 일환으로서 『楚辭』의 학습과 수용양상을 살피는 것을 목표로 하였다. 신유한은 先秦古文에 대한 애호에서 나아가 그것들의 문학적 가치와 수사적 탁월함의 인식을 기반으로 이를 詩文에 적극적으로 도입하려 하였다. 그는 『詩經』 이후에 정감의 진솔한 표현을 실현하고 계승한 것이 『楚辭』라 하여 그 가치를 인정하였는데, 이는 난초와 佩玉 등에 가탁하여 시인의 울결된 감정을 기탁하고 시적으로 형상화하여 詩道를 완전히 구현한 것이라는 인식에서 비롯된 것이다. 또한 『楚辭』에 쓰인 수사법을 사물에 감정을 가탁하는 수법(實中有虛)과 가설적 수법(虛中有實)로 나누어 분석하고, 시인의 내면에 있는 감정과 의지가 그것을 표상하는 사물과 상황의 설정을 통해 표현되고 있다고 보았다. 한편 신유한 한시의 실제 시작에 있어서 의고주의적 태도가 『楚辭』 등에 나타난 전통적 상징을 수용하면서도 그것이 개인적 상징체계로 변용되는 양상을 고찰하였다. 신유한 한시에 높은 빈도로 등장하며 중요한 의미를 지니는 상징들을 검출하여 분석한 바, 龍과 봉황 등은 주로 자신의 불우한 처지와 관련된 의미를 내포하고 난초, 계수나무 등은 자신의 고결한 인격의 표상으로써 작용하고 있음을 보았다. 아울러 『초사』에 담긴 道家的·遊仙的 사상과 모티브가 그의 한시에 어떠한 양상으로 도입되었는지를 살펴보았는데, 기질적으로 중국 고대 남방문화권과 친연성을 보이면서도 완전히 신선적 사상으로 경도되지 않고 현실참여적인 태도에서 벗어나지 않음을 알 수 있었다. The purpose of this manuscript is to study a receptive aspect and learning of the Chu-Ci as a part of writing of Chinese poetry with pseudo-archaism [擬古主義] by Shin Yoo-Han who was active as a literary man of the middle class in the first half of the 18th century. He intended actively to introduce something to have been based on their value of literature and recognition of a rhetorical excellence as well as loving of Pre-Qin archaic texts[先秦古文] into poetry and prose. Following the Shih-Ching[詩經], he recognized the value of the Chu-Ci as it realized and succeeded a true expression with sentiment. This came from recognition that it made an orchid or a jade commit the care of a poet`s sentiment with a depressed mood what expresses thought or feeling through things, and it embodied a poetic ideal to be of imagery with poetry. Also, it analyzed to divide a rhetorical method which was written in the Chu-Ci into Expression of feeling through things[實中有虛] and Expression of supposition[虛中有實]. It found that the poet`s inner sentiment and will would be expressed through setting of situation and things which symbolized it. On the other hand, in an actual poem writing of his Chinese poetry it considered such aspects that his attitude of pseudo-archaism was diverted it into a personal symbolic system as well as accepting a traditional symbol appeared on the Chu-Ci. This manuscript analyzed the symbols with a significant meaning and a high frequent appearance on his Chinese poetry, so that it found that the dragon and a Chinese phoenix have a meaning related to himself who was in adverse circumstances and the orchid and a cinnamon tree was worked as a representation of himself own noble-mindedness. Besides, it studied that motive and thought of Taoism which was contained within the Chu-Ci was introduced into his poetry with any aspect. Thesis found that he was of a friendly disposition to Southern cultural area in Chinese ancient history, however he did not devote himself to a perfect Taoism and also he did not escape from himself own attitude of participation in reality.
본 논문은 대용량의 텍스트 문서를 효율적으로 처리하기 위해 단어 분별도(term discrimination) 개념을 이용한 2단계 합성 요약화일 방법(THM)을 제안한다. 또한 보다 더 나은 검색성능을 위해 2단계 합성 요약 파일 방법에 고분별력 단어들의 유사성에 의해 유사한 요약들을 함께 결집하는 Yoo가 제안한 요약 결집 방법을 적용한다. 검색 시간, 부가 저장 공간의 측면에서 제안된 2단계 합성 요약화일 방법(THM)의 성능 분석 모델을 제공하고 기존의 방법들 즉, 비트 슬라이드 방법(BM), 2단계 요약화일 방법(TM), 합성방법(HM)들과 성능 평가를 수행한다. 성능 비교결관 일치하는 레코드의 수가 160이하일 때 100,000개의 대용량 데이터베이스에서 제안된 THM이 검색 성능면에 있어서 가장 좋은 성능을 보인다. In this paper, we propose a two-level hybrid signature file method(THM) to efficiently deal with large text database that use a term discrimination concept. In addition, we apply Yoo's clustering scheme to the two-level hybrid signature file method. The clustering scheme groups similar signatures together according to the similarity of the highly discriminatory terms so that we may achieve better performance on retrieval. The space-time analytical model of the proposed two-level hybrid method is provided. Based on the analytical model and experiments, we compare it with the existing methods, i.e., the bit-sliced method(BM), the two-level method(TM), and the hybrid method(HM). As a result, we show that THM achieves the best retrieval performance in a large database with 100,000 records when the number of matching records is less than 160.
이 연구는 1960년대 동시의 형식 실험을 분석하고, 이러한 형식 실험이 추구한 동시의 현대성과 미학성의 성격을 고찰하고자 했다. 1960년대 동시의 형식 실험을 대표할 수 있는 조유로와 이석현의 작품을 분석하고, 그들의 창작이 개인의 창작론과 창작 지향에 따른 면밀한 실천임을 살펴보면서, 이것이 오늘날 동시 장르에 여전히 유효한 질문과 모색임을 분석했다. 현재 동시 장르의 새로운 형식에 대한 모색은 ‘어린이 독자’라는 아동문학 장르의 대명제 아래서 실험과 전위의 범주가 상당 부분 제한적으로 규정되며 되풀이되고 있다. 따라서 동시의 형식 실험이 가장 전위적이고 광범위하게 일어났던 1960년대의 창작 양상과 의미를 밝히는 일은 단지 특정 시대나 특정 작가의 개별 창작 시도를 문학사적으로 복원하는 데 그치지 않고 2000년대 후반부터 다시 활발해진 오늘날 동시의 창작 실험에 대한 모색과 연결되며 확장될 수 있다. In the 1960s, several children’s poets introduced various forms in their works the most in the history of children’s poetry in South Korea. Of those, Joe Yoo-ro is incomparable. He tried various forms in his six children"s poetry books published in the 1960s. Also, he clarified the underlying philosophy and purpose in the preamble of each book. Therefore, the meaning of his works can be better understood when linked to his purpose and philosophy about creation. The narrative poems of Lee Suk Hyun are also noteworthy. Lee Suk-hyun coined his second poetry book <House of echoes> (St. Paul Publisher), published in 1966, ‘a book of the narrative poems’. Lee Suk Hyun is the representative poet of creating the narrative poems in the 1960s. He also had a clear purpose of the narrative poems as a form experiment. According to the magazines and critics of children’s literature in those days, he took the creation of narrative poems very seriously in the area of the form experiment in children’s poetry, by participating in the discourse of the narrative poems or encouraging other poets such as Park Kyung-yong to create such poems. Therefore, his narrative poems should be also analyzed considering his philosophy about creation. Because the form experiment in children’s poetry has been limitedly repeated under the assumption of ‘children as readers’, the form experiment in the 1960s still contributes to the current creation practices. The examination of the creation trend and its meaning in the 1960s, the era when the form experiment in the children’s poetry was the most radical and extensive, is not just limited to a cultural and historical restoration of a specific era or a specific poet’s individual try of creation. This is related to and expands through the pursuit of the creation experiment in children’s poetry that has been revived since the late 2000s.
Connectivity effects have been central issues in dealing with specificational pseudoclefts. While syntactic approaches motivate their analysis in order to explain connectivity effects in terms of a connected clause, these accounts have numerous problems including a wide range of anti-connectivity effects that constitute crucial counterevidence. On the other hand, semantic accounts of connectivity effects treat BV and BT connectivity by independent interpretive mechanisms providing a more fundamental explanation for connectivity effects. Yet existing semantic accounts have limitations in explaining syntactic properties and syntactic connectivity effects in SPCs, and in accounting for BV anti-connectivity effects in English. Focusing on BV connectivity, this paper explores how the relevant (anti-)connectivity facts can be accounted for by an analysis that provides both an elaborate syntactic analysis of SPCs and a semantic mechanism for bound anaphora. Based on Yoo's (2005) non-deletion based, question-answer pair analysis of SPCs, this paper shows that a functional question analysis of a specificational subject, when combined with a theory of operator scope and a non-configurational condition on bound anaphora, can explain various BV (anti-)connectivity patterns in SPCs and related constructions.
역사, 혹은 문학사의 기술에서, 무엇을 ‘선택’하고 ‘배제’할 것인가의 문제는, 곧 무엇을 ‘정전(canon)’으로 삼을 것인가, 우리가정전이라고 받아들였던 것의 실체와 그 선택의 기준은 무엇인가, 연구자가 선택한 방법론은 무엇인가의 문제와 깊이 연관되어 있다. 기존 역사에서 주목되어진 것들, 혹은 문헌으로 남아 전승되어오는 과거의 유산, 그리고 다른 연구자들의 -미국의 입장에서 는 한국학자들의- 축적된 연구 성과를 비판적으로 검토하고, 다시 일정한 기준과 방법론에 의해 새로운 해석을 도출하고, 이를 통해 현재적 의미의 또 다른 정전 성립을 시도하는 것이다. 본 논문에서 다루고자 한 ‘구술성(orality)’이라는 주제는 넓은 의미에서 정전(canon) 성립의 문제와 맥락을 같이한다. 필자는 최근 ‘한국문학을 처음 접하는 벽안의 연구자들이 처음 주목한 한국문학의 특징은 무엇이었을까, 그들은 이것을 어떻게 학문적으로 이론화하였을까, 그리고 이러한 시도가 우리에게 시사하는 바는 무엇인가’ 등의 문제를 살펴볼 기회가 있었다. 그리고 개인적으로 바로 이 ‘구술성’이라는 개념이 미국학계에서 한국문학을 이해하는 데에, 나아가 다른 인접 학문과의 연계의 맥락에서도 중요한 위치를 차지한다고 파악하였다. 본고에서는 주요한 몇 가지 저작을 중심으로 한국문학에서의 구술성 문제, 서구문학사의 전통, 중문학계의 적용사례 등의 순서로 살펴보았다. 1. Perspective: Nature of Literary Canon Formation My paper explores the question of how well can we understand the reality of the literary situation of the past by reading traditional literary histories that have been widely used for college curricula and popular readings. Although several famous writers and model texts are being chronologically listed, the scope of many literary history narratives has been limited to the existing sources of some written and printed materials, which were mostly typeset on paper and transmitted to us successfully. Regardless of how coherent and convincing the historical narratives may be, however, there is always the danger of misleading readers into blindly believing that the compilers selection of the authors and model works are able to deliver the whole picture of the literary past. What if there had been influential writers of the day, however, who, because of the modern compilers' oversight or subjective judgment, were never registered as canonical figures? It is also possible that handwritten manuscripts by original authors underwent a certain degree of revision, or even distortion, while being printed into book format. Consequently, there could be a great disparity between what we believe are the most significant works of past eras and what the literati of the day produced. Writing a literary history means, in a way, 'canonizing' a couple of selected literary works. A 'literary canon' signifies a body of 'superior texts' and those canons are placed in the hierarchy of literary works and assigned authority by institutional fiat. In this regards, I must point out that, first, this canonizing process can vary and be altered, depending on who it is that conducts the selection and compilation. Consequently, the chosen canons are not always stable or perfect, although they are 'fluid' and 'potential' and are always open to being substituted later. 2. Studies on the Notion of 'Orality' The topic of this paper, the notion of 'orality,' can be understood in the context of writing literary history. I argue that the conventional literary histories are frequently based on very limited extant sources, and that the more the canonizing process itself is heavily filtered by a particular medium, such as 'writing' or 'printing.' The genre of Sijo, for example, is often introduced as a written text in many high school and college textbooks. As Kevin O'Rourke persuasively indicates, however, it was originally a 'performative' genre presented in song form, and as late as 1920s it became ossified as a literary text by some nationalist intellectuals, such as Yi Kwang-su and Ch'oe Nam-son, who saw the inherent possibilities of the uniquely Korean Sijo as a vehicle of raising national consciousness. To understand the significance of the notion of 'orality' in literary history-writing, a few important authors can be referenced. More than any earlier scholar, Milman Parry succeeded in understanding Homeric poetry, a primitive genre, on poetry's own terms. According to Parry, Homeric Greeks valued cliche, because not only the poets but the entire oral inspirational world of the day relied upon the formulaic constitutions of thought. By constantly repeating the same formulaic phrases, that is cliches, knowledge could be transmitted, and remembered, in an oral culture. The 'conventionality' or 'banality,' which implies somewhat negative connotation in literature, would be the key essential concept in understanding the oral tradition. At Harvard, the Widener library has invaluable resources for the study of oral culture the Milman Parry Collection. It includes the audio recordings and notes of South Slavic songs, made by Milman Parry in 1933-35, as well as recordings collected by Albert Lord, the author of the Singer of Tales. Gregory Nagy, a current Harvard professor, acceded to the tradition of the research on the oral literature and offers diverse classes on the performative quality of literature. Walter Ong is another remarkable figure in the study of 'orality.' In his Orality and Literacy, Ong distinguished the 'pristine oral culture' from the 'subsequent writing culture,' and then argued that writing practice made words appear similar to 'things,' a sort of visible mark, which signals words to decoders. Although I agree with Ong's idea about the impact of writing on orality as well as on human consciousness, I claim that his understanding of the orality and literacy is too dichotomized: It may give the false impression that the two concepts are mutually exclusive, that they never coexist. Furthermore, Ong's perspective is based heavily on the idea of 'progress' of the production of knowledge, emphasizing the unilateral shift from oral culture to the literal/written world and then to the electronic age of second orality. I prefer to examine the 'vitality' of tradition, springing from the mutual interaction between the two.