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.

齊如山《戱劇脚色名詞考》譯註-論旦行

윤현숙 한국교통대학교 2014 한국교통대학교 논문집 Vol.49 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

齊如山《中國劇之組織》譯註 : 衣服

윤현숙 한국교통대학교 2020 한국교통대학교 논문집 Vol.55 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 stage costume. The stage costume of Beijing opera was improved to suit the song and dance moves of actor, in Qing Dynasty. They show their cultural characteristics in color combinations, patterns, and styles. They are designed not only for the status of actor, but also for a variety of factors such as effect of movement and psychological expression.

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.

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 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 人物 形象

尹賢淑 충주대 2001 한국교통대학교 논문집 Vol.36 No.1

李玉是明末淸初的戱曲作家. 明末淸初各種社會矛盾激化, 具有獨特的時代色彩. 李玉的時事劇不僅是這一時代的産物, 而且是一位生活于大變動時期的劇作家對時代社會的憂慮的産物. 李玉的時事劇有4種 : <萬民安> . <淸忠譜> . <兩須雇> . <萬里圓> . 李玉的時事劇不僅在文學上, 而且在藝術上獲得了了不起的成就. 于是, 本論文從塑造人物方法來探討了李玉時事劇的特色. 李玉時事劇的人物都以臺富的情感色彩, 鮮明地反映出作者對時代事實的愛憎. 是非態度. 李玉的時事劇卓有成效地活用了次要角色, 這就使得時代矛盾反映得更廣泛.

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.

브라켓 부착시 실런트 레진이 법랑질 탈회에 미치는 영향

윤영아,이기헌,황현식,홍석진 전남대학교 치의학연구소 2002 구강과학 Vol.14 No.1

The purpose of this study was to evaluate the effects of a sealant resin on enamel demineralization in orthodontic bracket bonding. The forty eight extracted sound bovine teeth was subdivided into four groups and treated with Phase Ⅱ^(r) on the surface. Group 1 was not treated, Group 2 was acid etched with 37% phosphoric acid for 30 seconds, Group 3 was sealant applied after acid etching and Group 4 was resin paste applied after acid etching and sealant application. Each group was demineralized in artificial caries solution. Demineralized enamel depth was measured using by confocal laser scanning microscopy. The results were as follows. 1. The mean demineralized enamel depth was Group 1 (47.4㎛), Group 2 (61.8㎛), Group 3 (13.9㎛), Group 4 (8.2㎛). 2. The demineralized enamel depth was increased in Group 2 than Group 1 (p<0.05). 3. The demineralized enamel depth was reduced in Group 3 than Group1 and Group 2 with statistically significant differences (p<0.05). 4. Group 4 was very little demineralized. The results of the present study indicate that sealant application is useful for reducting enamel demineralization in orthodontic bracket bonding.

齊如山《中國劇之組織》譯註-盔帽·靴鞋·鬍鬢

윤현숙 한국교통대학교 2021 한국교통대학교 논문집 Vol.56 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 helmet·shoes·sideburns. The helmet, shoes, sideburns are one of the important parts of the traditional stage art of Chinese play, and become an indispensable means of shaping the character of the figures. When its formation and content are gradually fixed, it also gradually forms a set of relatively complete and rigorous rules of use in its own field, and responds to different plays with the application of whole, scattered or combined. In addition to coordinating with performance, music and costume in style, color and style, the head modeling of figures in traditional operas also plays an important role in the stage performance of Chinese play because of its function of artistic expression.