齊如山《中國劇之組織》譯註-臉譜

윤현숙 韓國交通大學校 2022 한국교통대학교 논문집 Vol.57 No.-

Qi Rushan is a theorist of Chinese play in the 20th century. In his youth, he went to Europe to learn foreign plays, and after return to Chinese devoted himself to studying plays.《The Organization of Chinese play (中國劇之組織)》counts among his major works. This paper is translated and annotated the part of types of facial mask. Each facial mask is a unique element that only traditional Chinese play have, and the patterns and colors painted on their faces are defined according to the personality characteristics of the character in the play.

경기도 일부 지역 청소년들의 치과공포 및 불안에 대한 연구

심연수,김아현,안소연 大韓小兒齒科學會 2011 대한소아치과학회지 Vol.38 No.4

본 연구의 목적은 경기지역 일부 중학생의 치과치료 관련 공포 및 불안 수준을 측정하고, 그와 관련된 요인 및 이에 영향을 미치는 요인에 대해 분석하여 불안과 공포감을 완화시킬 수 있는 방법을 모색하여 보다 편안하고 효율적인 구강건강관리가 이루어 질 수 있도록 하는데 있다. 본 연구는 경기도 일부 중학생 622명을 대상으로 설문조사를 실시하여 남학생 337명, 여 학생 277명으로서 과거 치과치료 경험이 있는 총 614명의 자료를 이용하였다. 분석 방법은 각 문항별 답변의 분포를 알아보 기 위해 빈도분석을 실시하였고, 남녀별 응답의 차이를 검정하기 위해 교차분석을 실시하였으며 공포점수의 비교를 위하여 Mann-whitney U 검정을 실시하였다. 연구 결과 경기도 일부 중학생들은 치과 전문가가 일반적으로 생각하지 못한 부분에 서도 치과공포를 느끼는 것으로 나타났고, 진료실에서 직접 치료를 하는 경우와 관련된 항목에서 공포를 느끼는 경우가 많은 것으로 나타났다. 마지막으로 여학생이 남학생보다 높은 수준의 치과공포도를 보였다(p<0.05). The objective of this study is to measure the fear and anxiety levels of some middle school students in Gyeonggi Province, to analyze the relevant factors, to seek how to alleviate such fear and anxiety and thus enable to make a comfortable and efficient oral management. Six hundred twenty two middle school students in Gyeonggi Province participated in the survey, which used the data of 614 respondents, i.e. 337 males and 277 females. A frequency analysis was conducted to determine the distribution of answers for each question, a crosstabulation analysis was performed to verify the gender differences in answer and an Mann-whitney U test was used to compare fear scores. According to the results patients feared even in unexpected circumstances. In addition, they feared when receiving direct treatment. In terms of gender, female students showed higher levels of fear than male ones (p<0.05).

齊如山《中國劇之組織》譯註-動作

윤현숙 한국교통대학교 2019 한국교통대학교 논문집 Vol.54 No.-

Qi Rushan is a theorist of Chinese play in the 20th century. In his youth, he went to Europe to learn foreign plays, and after return to Chinese devoted himself to studying plays. In 1931, he formed the Peiping National Opera Society with Mei Lanfang, Yu Shuyan, and established the National Opera Interpretation Institute to engage in education of Chinese play.《The Organization of Chinese play (中國劇之組織)》counts among his major works. But this book received little attention in Korea. Therefore, I am going to introduce this book. I believe this book will be very helpful in the study of Chinese play.

중국 유학을 위한 안내

윤현숙 충주대학교 학생생활연구소 2002 學生生活硏究 Vol.9 No.-

李玉의 生涯와 그 作品

尹賢淑 忠州大學校 1999 한국교통대학교 논문집 Vol.34 No.1

Li Yu was a playwright of the traditional Chinese opera who lived at the end of the Ming Dynasty and the beginning of the Qing Dynasty. His plays have a great influence on classic drama of Ming Qing Dynasty. But because of lacking in materials, no final conclusion has yet been reached on Li Yu's life and plays. This paper studied all the materials that can find and put forward some opinions.

李玉 時事劇의 套數藝術

尹賢淑 忠州大學校 1998 한국교통대학교 논문집 Vol.33 No.1

Li Yu was a playwright of the traditional Chinese opera who lived at the end of the Ming Dynasty and the beginning of the Qing dynasty when all kinds of social contradictories were becoming more and more acute. Li Yu's current-event plays were not only the products of the day but also the products of his concern with the age when the society was undergoing dramatic changes. Li Yu is considered as a dramatist of pronounced realism. His realism was particularly embodied in current-event play's, which included Wan Min-An, Qing Zhong-Pu, Liang Xu-Mei, Wan Li-Yuan. Li Yu is also considered as have gained distinctive achievements in the arrangement of the artistic form. However, still more problems about his achievements in that field remained unsettled. For example, his achievement in Qu Lu is barely touched upon. So I decided to study Tao Shu art of his current-event plays. Tao Shu of Li Yu current-event plays is the composite of Nan Qu Tao Shu, Bei Qu Tao Shu, Nan Bei He Tao. The various Tao Shu were closely combined with the plot, which made Li Yu's achievements in artistic forms more eminent.

군집분석법에 의한 안면비대칭의 분류

윤일선,황현식,이기헌,성재현 전남대학교 치의학연구소 2001 구강과학 Vol.13 No.4

The purpose of this study was to classify the facial asymmetry by cluster analysis using the variables of the posteroanterior cephalogram, and to find out the characteristics of each group. The posteroanterior cephalogram and frontal facial photograph of one hundred orthodontic patients were used. Cluster analysis was executed using the measurements which indicated the degree of facial asymmetry. The resultant groups were compared each other according to the measurements to find out the characteristics of each group. Through the statistical analysis, following results were obtained. 1. Facial asymmetry was classified into five groups, A, B, C, D, and E, on the basis of menton deviation, apical base midline discrepancy and vertical difference of distance between right and left antegonions. 2. The degree of Menton deviation was severe in the group A, moderate in the group C and D, and mild in the group B and E. 3. Apical base midline discrepancy showed high value in the group A and C. 4. Antegonion was superiorly positioned on the same side of menton deviation in the group A and D, whereas it was superiorly positioned on the opposite side of menton deviation in the group B. 5. All measurements except the curvature of mandibular inferior border showed high value in the group A whereas very low in the group E. 6. While the characteristics of the group D were similar with those of the group A, the degree of difference was less in the group D. The group B showed unique characteristics as many measurements showed negative value. The above results suggest that facial asymmetry can be simply classified by cluster analysis on the basis of menton deviation, apical base midiine discrepancy and the vertical positional difference of antegonion between right and left sides.

李玉의《北詞廣正譜》

윤현숙 忠州大學校 2007 한국교통대학교 논문집 Vol.42 No.-

Li Yu is a dramatist who created 42 works during the late Ming Dynasty and early Ch'ing Dynasty era. Up to this time, the evaluation of Li Yu was done mainly in the criterion of his works. However, Bei Ci Guang Zheng Pu displays his talents in other criteria. Before Li Yu's Bei Ci Guang Zheng Pu, there were some other Qu Pu′s, including Zhong Yuan Yin Yun and Tai He Zheng Yin Pu. However, they were so short and simple that their application was not easy. Compared to Zhong Yuan Yin Yun and Tai He Zheng Yin Pu, Bei Ci Guang Zheng Pu is much more abundant and rich. Bei Ci Guang Zheng Pu contains more than 100 Qu Pais and each Qu Pai has Yao Pians again. Of special note is that its new attempt to include the form of Tao Shu for the actual application of the plays.

李玉 時事劇의 主題와 意義

尹賢淑 충주대 2000 한국교통대학교 논문집 Vol.35 No.1

李玉歷來被看做現寶主義色彩復濃厚的劇作家. 我認爲李玉的現責主義意識突出表現在時事劇這一類作品中. 李玉的時事劇是 <淸忠譜> · <兩須眉> · <萬里圓> · <萬民安>這些作品反映了李玉劇作的現實主義傾向. 在本文的第一節, 李玉的時事劇爲了引起人民對時代的關心 ·反思, 深刻地揭示了周順昌對關黨的政治鬪爭, 葛成起義, 開讀之變, 農民戰爭,漢滿之間的民族感情等時代矛盾. 因此, 可以看出李玉對時代矛盾的批判態度和"濟時救世"的意識. 在第二節, 李玉時事劇宣揚了 "忠", "孝", "節", "義"意識. 李玉時事劇體現的 "忠","孝", "節", "義"是一種 "濟時救世"約具體方法 李玉時事劇的 "忠", "孝", "節", "義"意識,受了時代變化對這些意識的影響.

齊如山《戱劇脚色名詞考》譯註-論凈·末行

윤현숙 한국교통대학교 2016 한국교통대학교 논문집 Vol.51 No.-

齊如山是20世紀中國的戱曲理論家. 早年留學歐洲, 曾涉獵外國戱劇, 歸國後畢生硏究中國戱曲. 1931年與梅蘭 芳·餘叔岩等人組成北平國劇學會, 并建立國劇傳習所,從事戱曲教育. 1928年出版的《戱劇脚色名詞考》, 是對 脚色名詞作詳細的解釋, 讓我們可以知道脚色的擅變過程. 這本書應該說是有着重要的歷史貢獻, 但目前爲止, 在 韓國國內還沒有引起很大的關注. 因此, 要介紹這本書, 以便對中國戱曲研究有幫助.