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尹承旼,安昌根 中央醫學社 1972 中央醫學 Vol.23 No.5
From the analysis of data of 54 cases of minor operation on children with Ketalar with a doses of 5 mg or 10 mg per kg. of body weight for each injection, IM and 1 mg per kg, of body weight I.V., which was given simultaneously with Hydroxyzine, we concluded following results. 1. A dosage of 10- I. M. per kg. of body weight poduced good results in more than 90% of cases. But the effect on debilitated infants is not certain. 2. It acts stimulously on the cardiovascuslar system. 3. The depressive effect on the respiratory system are not remarkable, except in debilitated infants. 4. Using. with a tranquilizer(Hydroxyzine), the side reactions seem to be markedly decreased in incidence and severity.
『源氏物語』蜻蛉巻の薫の独詠歌の意義についての一考察 ―物語の終焉との関わりを中心に―
윤승민 한국일본문화학회 2020 日本文化學報 Vol.0 No.87
Kaoru, the protagonist of the third part of The Tale of Genji, composes 18 soliloquy poems, which describe his emotions in various scenes. In the volume of Kagero, three poems are recited in three scenes: (i) the scene where Kaoru heard about the death of Ukifune in Uji; (ii) the scene where Kaoru, who failed to be in a relationship with Onna-Ichinomiya, reflects his life; (iii) the final scene of the volume of Kagero where Kaoru melancholically reminisces Uji. There are several motives which led Kaoru to create these poems, one of which is his desire to express his vacant emotion, but what is notable here is that Kaoru narrated his emotions through these poems and sort out his feelings, which drastically shifted several scenes of the story. All of what Kaoru has sought is Kagero, or impermanence. Kaoru feels the sense of loss as if he lost everything, and he feels alone and lonely when he recites poems. These are indicative that Kaoru realized the death of Ukifune and he would never be in a relationship with her no matter how he seeks to meet her again. 『源氏物語』蜻蛉巻における薫の独詠歌は、彼がこの歌を詠んだきっかけはさまざまであるが、歌の 内容は薫の空しい心情を表しているという共通点がある。この三首はただの薫の独詠歌として受けとめても 物語を理解するにはさほど問題はないようにも思われる。しかし、「画賛的和歌」という概念をこの独詠歌 に導入すれば、物語を総合的な観点からより的確に把握することができるのであろう。 この三首はいずれもこの歌を詠むことによって薫の心境が改めて語られ、かつ整理され、局面が転換す る機能を果たしている。ひとつの話題がいったん締め括られた印象を与え、一連の話題を一つの場面として 定位させるという作中和歌の役割をここでも見出すことができると思われる。つまり、より広い意味での「画 賛的和歌」として理解してもよいのではないだろうか。 これらの歌を詠むことによって我々読者は喪失感を抱き、さびしく一人ぼっちの薫の姿を想像することがで きる。それぞれの場面で、薫を主人公とした一幅の絵をみているような印象も受ける。まるで聴覚的な和歌 が視覚的な一つの場面を演出させているともいえよう。
모노가타리 작품의 효시, 지브리 애니메이션으로 재탄생 - 『가구야공주 이야기(かぐや姫の物語)』의 『다케토리 모노가타리(竹取物語)』 수용과 변용을 중심으로 -
윤승민 일본어문학회 2020 일본어문학 Vol.90 No.-
The Tale of the Bamboo Cutter, which has been evaluated as “the father of narratives,” is the oldest extant narrative work. This work, where Kaguyahime, the female protagonist of the narrative, was found inside a bamboo, has had a huge impact on the classical Japanese literature, the contemporary Japanese culture, and so on. In 2013, the Studio Ghibli created the animation film the Story of Kaguyahime based on the Tale of the Bamboo Cutter. The director is Isao Takahata, and whilst he carefully depicted the original, he also introduced his intentions thoroughly. Still, the animation film differs from the original in quite a few respects. The director attempts to carefully embody his intentions or his reinterpretations of the original through the acceptance and transformation of the original, by introducing the fictious character Sutemaru, describing the relation of Kaguyahime to the emperour, and so on. This attempt, however, seems to have spoiled the beauty and value of the original. Furthermore, the present article considers the ideality of Kaguyahime. In both the original and the animation film, she exists not only as an ideal person but also the one who possesses complex emotions. This point reveals the new aspect of Kaguyahime in terms of ideality and human’s inherent ego and limitation.