南北朝 後期에서 唐代 初期 地域文化圈과 文化接變

姜必任(강필임) 한국중어중문학회 2011 중어중문학 Vol.50 No.-

鼓吹曲辭의 儀式樂的 變遷

강필임(姜必任) 한국중어중문학회 2009 중어중문학 Vol.44 No.-

동아시아 詩會文化의 기원

姜必任(강필임) 한국중어중문학회 2014 중어중문학 Vol.59 No.-

In the ancient East Asia, literary men were subjects of spiritual culture. The poetry was the center and a poetry club was an important medium for creation, consumption and exchange of spiritual culture. Such poetry clubs were based on the tradition of ‘conveying the meaning by creating the poem (賦詩言志)’ and awareness of ‘getting along through the poem (詩可以群)’. As appreciation culture for the arts of the Elegant Assembly in the WeiJin(魏晉) Courts Period was developed, exchange culture of literary men was formed. In particular, in the WeiJin-Northern and Southern Courts Period, the value of literature, the awareness of pure literature, the sense of sovereignty of literary men was enhanced. With this background, non-political horizontal exchange culture was born and the social atmosphere appreciating talented people with ability to create the poetry was formed. Moreover, the paper was generally used. Taken all together, it could be born. Of course, human playful instinct pursuing the pleasure and artistic instincts were added. The poetry club was the intellectual and artistic exchange culture of the intellectuals in the East Asia through the poetry and the open human meeting sharing ideological and cultural tastes. It was the cultural meeting enjoying the advanced culture, the elegant exchange culture and intellectual amusement. Poetry and poetry culture which ancient literary men enjoyed do not have effective value any longer, because of various reasons such as uniqueness of expression media which are Chinese characters and westernization of academic cultural areas. However, the size of its spiritual value, aesthetic depth and social and cultural meaning are not useless yet. It is required to find the current meaning and revive the intellectual exchange culture, even though we do not create the poetry using Chinese characters.

唐代의 詩會文化

姜必任(강필임) 한국중어중문학회 2016 中語中文學 Vol.0 No.63

While there are many influences that nurtured the development of the Poem of Tang, one of the important influences is the full-scale expansion of the class that created and enjoyed the poetry and the time and space for poetry as the culture of collective literary exchange through the poetry party became established. The poetry party which began to form during the period of Wei, Chin, and the South & Northen Dynasties of China held meetings mainly in Changan and Luoyang regions centering on court poets and few aristocrats during the early and Mid-Tang periods. It gradually evolved into the exchanging culture in the literary societies from the Mid-Tang period and expanded throughout the region and nation. Also, the xingjuan(行卷) culture which prevailed during the Tang Dynasty as a supplementation of the state examination system induced literary people to directly participate in the exchange through poetry partys to let themselves known, giving direct and indirect influence on the development of poetry partys. Poetry partys during the Tang Dynasty pursued interactivity and instantaneity and developed formats such as changhe poetry(唱和詩), lianju poetry(聯句), and heyun poetry(和韻詩). Owing to the openness of the society during the Tang Dynasty, poetry partys also pursued the openness and eliminated the status-oriented exclusion to allow anyone with excellent poetic capacity to join in the party. Also, poetry partys pursued sharing in addition to poem writing to share and spread the great works of each other. For literary people could enjoy the honors and even be appointed to important positions when they win fame as poetic genii, competition was essential and poetry partys also pursued competitiveness. However, poetry partys also pursued enjoyment through drinking and dancing, discussion, and writing of miscellaneous style poems, reversible poem, lianju poem. In other words, the poetry party during the Tang Dynasty formed an important cultural exchange among literary people and could lead the expansion of the creation of the Poem of Tang and the class that enjoyed it.

하퇴의지 착용 장애인의 평지 및 계단보행 시절단단과 소켓 사이의 압력분포 비교

강필 한국장애인재활협회 2008 재활복지 Vol.12 No.2

본 연구는 실리콘 하퇴의지 착용 장애인의 평지 및 계단 보행 시에 절단단과 소켓 사이에 압력 분포에 미치는 영향을 알아보고자 7명의 하퇴절단자를 대상으로 절단단과 소켓 사이에 정적, 동적 압력을 측정하였다. 측정에 사용된 장비는 F-socket system (Tekscan사)을 사용하였다. 소켓 내부의 전면과 후면에 압력 센서를 고정시켜 전방과 후방에 각각 근위부, 원위부의 4개 영역을 설정하였고, 기록된 자료를 중심으로 보행의 입각기 동안에 평균 압력(mean pressure during stance phase, MP), 최대 압력(peak pressure, PP), 최대치 80% 이상의 평균 압력(mean pressure over 80% of peak pressure, MP_(80+)), 최대 압력이 발생한 시기(time of peak pressure occurrence, Tpeak), 최대치 80% 이상의 압력이 적용된 시간(time in which pressure exceeded 80% of peak pressure, TP_(80+))을 계산하였다. 평지보행에 비해 계단을 내려갈 때, 평균 압력, 최대 압력, 최대치 80% 이상의 평균 압력은 전방 근위부에서 유의하게 감소하였으나(p<.05), 전방 원위부에서 유의하게 증가하였다(p<.05). 최대치 80% 이상의 압력이 적용된 시간(TP_(80+))는 계단을 올라갈 때에 비해 계단을 내려갈 때 전방 원위부에서 유의하게 감소하였다(p<.05). 따라서 계단을 내려올 때 전방 원위부에 압력의 증가로 인한 불편함이나 피부 문제 등이 발생할 가능성이 높다고 생각된다. This study examined the effects of socket flexion angle in trans-tibial prosthesis on stump/socket interface pressure. Seven trans-tibial amputees voluntarily participated in this study. F-socket system was used to measure static and dynamic pressure in stump/socket interface. The pressure was measured at anterior area(proximal and distal) and posterior area(proximal and distal) in different gait patterns(walking on a flat surface, going upstairs and going downstairs). We analyzed data with one-way ANOVA and Tukey's honestly significant difference test at the 95% of confidence level. Mean pressure(MP), peak pressure(PP), mean pressure over 80% of peak pressure (MP_(80+)) during stance phase in going downstairs decreased significantly in anterior proximal area and increased significantly in anterior distal area compared with walking flat. Time of peak pressure occurrence(T_(peak)) during going downstairs occurred significantly slower in anterior distal area and occurred significantly faster in posterior distal area compared with walking flat.

[우수작] 광주 노인건강문화타운

강필서(Kang, Pil-seo),이재홍(Lee, Jae-hong),조성호(Cho, Sung-ho) 현대건축사 2004 월간 CONCEPT Vol.- No.66

위진(魏晉) 연악가사(宴樂歌辭) 淸商三調歌詩 -위진 시기의 상화가사(相和歌辭) 수용과 발전

강필임 한국중국학회 2012 중국학보 Vol.66 No.-

淸商三調歌詩是配合平調、淸調、瑟調等淸商三調而歌唱的, 以曹魏三祖作品和古辭爲主, 是魏晉宴樂歌辭. 原爲三十六曲, 現在所存者十九曲, 不存者只傳曲名和作者. 因爲主要是宴會上所唱的歌詞,內容也主要是以三祖要給賓客所顯示、傳達的、或者希望與賓客共享的感情爲主. 武帝以表現自己建功立業、經世濟民的渴望爲多, 慷慨悲哀. 文帝以相思、想念亡父之情、鄕愁等人間普遍的感情爲多, 這表現重視眞實感情的時代精神. 如此, 曹魏三祖通過在宴會上所唱的淸商三調歌詩, 能反映出現實社會, 探索人生不朽價値, 表現建功立業之志, 以形成了建安風骨, 促使了樂府民歌的文人詩化、抒情詩化, 但也導致相和歌詞的雅化和魏晉樂府藝術的衰落. 淸商三調指稱平調、淸調、瑟調, 以絲竹爲主, 悲哀凄凉. 淸商三調歌詩是配合淸商三調而同時歌唱的, 故促使樂府歌詞的齊言化. 又分段爲解而歌, 給人以反複重疊的感受. 淸商三調都以``∼行``爲名,這也是由此而發生的.淸商三調歌詩是繼相和曲, 開拓``大曲``這綜合藝術形式. 這是作爲漢代娛樂性民歌的相和歌詞逐漸被雅化的過程, 也是淸歌向歌弦化發展, 再向大曲這大型綜合藝術發展的過程.

중국의 한국드라마 연구와 수용 -별에서 온 그대 관련 중국학술논문 내용분석

강필임,이귀옥,손승혜 한국중국학회 2015 중국학보 Vol.74 No.-

本文以2014年在中國所發表的有關``來自星星的니``(以下``星星``)的學術性論文爲硏究對象,分析作爲韓流接受國中國如何受容``星星``,如何接納新韓流和新韓劇。硏究``星星``的論文,其內容可分爲硏究``星星``的內容、硏究``星星``的制作環境、硏究``星星``的銷수方式等。硏究``星星``內容,他們所分析出的``星星``的熱播原因有,흔成功地融合靑春偶像劇、科幻、穿越、歷史劇等多方面的類型,而且其融合也非常自然非常現實,서事上運用陌生化方式來添加了創意性。不僅如此,人物形象都具有現實性和理想性兩面來使得收視者滿足,成功地運用傳統文化和現代都市文化來調和文化的普遍性和特殊性,也充分發揮大衆需要和大衆情感等。硏究``星星``的制作環境,硏究視角主要是針對於韓中兩國制作環境的差異,編劇方面,韓國編劇主管寫作內容和挑選演員等,編劇還高度理解收視者的心理和需求,因此能將타積極反映於劇本寫作。韓國電視劇制作方面還有講究藝術性的制作觀念、商業性運用方式、拍攝時特別講究精美的視覺藝術效果等制作文化特征。硏究``星星``的銷수方式,他們硏究主要是針對新媒體時代的銷수方式、如何用領先意見者和微信微博等來進行銷수等,也對粉都文化進行硏究他們在網上的文化消費特征。總之,中國硏究者集中分析韓中兩國電視劇制作上的個個不同點,也堅持認眞學習態度。我們要爲未來韓流持續發展樹立長期計劃和有效戰略。

위진상화대국(魏晉相和大麴)의 연행(演行)과 속악(俗樂)의 아화(雅化)

강필임 한국중국학회 2013 중국학보 Vol.68 No.-

魏晉時期相和大麴15麴是以漢樂府相和歌麴和曹魏三祖及曹植作品爲主,是主要用於小會的宮廷宴樂。相和大麴有鹽、麴、趨、亂段組成,各段綜合組織歌、樂、舞等的演척形式,是個大型歌舞劇,這些表演形式是說明漢樂府民歌藝術形式的體係化、高級化,是樂府藝術上的髮展成熟,同時也意味著不能再有創新性髮展。 相和大麴,將漢樂府相和歌辭的古辭和曹魏三祖、曹植作品的本辭進行改造,改造時一定要註意歌辭配樂, 改造歌辭有增有減, 有時所改造的歌辭在整體內容上不順通,

어문학부 : 십육국 지북위시기 한위문화 전통소원 - 이문화주체화 문학창조위주 -

강필임 ( Pil Yim Kang ) 한국중국학회 2002 중국학보 Vol.46 No.-

This thesis is intended to renew the existing understanding that the cultural changes from South North Dynasty(南北朝) to Tang Dynasty(唐朝) was led by South Dynasty(南朝) or inclined to Han(漢) race. Firstly, I noted that even though it was continued in such a confusion as 16 countries`s rise and fall in North Dynasty(北朝) after the fall of West-Jin(西普), the native gentry of Han race maintained their academical tradition in family and continued to play a role as a cultural successor among them. They formed a cultural sphere centering around Luoyang(洛??), Changan(??安), Hexi(河西) and so on, and succeeded to the context of Han-Wei`s(漢魏) culture. After North Wei Dynasty(北魏) the whole culture was developed to be centered in Han(漢) culture because rulers employed a Han culture-centered policies. The native gentry of Han race who constantly maintained the tradition of family had played a central role in processes of these development after the times of 16 countries(十六國). However, the spread of culture was implemented by both directions. It means that other race(胡族) was influenced by Han culture as well as Han race also received other race`s culture and developed it. Accordingly, It will be that Han culture which was under the administration of 16 countries and North Wei Dynasty have already had a large part of its characteristics by the other race`s culture(胡文化) that was different with Han-Wei`s culture. In other words, Han culture under North Wei Dynasty was not a result of receiving the Han culture of South Dynasty one-sidedly, but it was formed in basement of Han-Wei`s traditional culture that was succeeded by the native gentry of North Dynasty. Therefore, it shows that the minority of other race in North Dynasty as well as the Han-Wei culture of North Dynasty made a great contribution toward the formation of culture in Tang Dynasty.