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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.
윤승민 일본어문학회 2018 일본어문학 Vol.81 No.-
As its name suggests, the volume of ‘Eawase’ describes the power relationship in the Imperial Court and the transition of the change, together with the splendid whole picture of Eawase (A Picture Contest) held in the Imperial Court. Eawase that took place twice is not merely a confrontation between Saigu no Nyogo and Kokiden no Nyougo, the empress of Emperor Reizei. Actually, it was a confrontation between Hikaru Genji and Gon Chunagon (a provisional vice-councilor of state) behind it. In Eawase that did not draw superiority and inferiority, Genji grabbed a victory with a picture diary of the Suma retreat era. As a result, the Emperor’s affection for Saigu no Nyogo was increasingly deepened, and she rose to the first position of the emperor’s courtyard. At the same time, her guardian, Genji’ was able to gain a political power, supported Emperor Reizei and built a foundation on which to lead the Imperial Court. However, the significance of this picture contest is not just that Genji won politically. By redefining Hikaru Genji’s ideals as a man of culture and a politician, it also shows that the future world of story does not merely seek a visible power, but a greater emphasis is placed on the spirit that is its essence. The portrayal of Eawase is based on various aspects of ‘Tentoku Dairi Uta-awase’ which were accepted thoroughly. The portrayal of this picture contest is that it thoroughly accepted Tentoku Dairi Uta-awase (Imperial Palace Poetry Contest of the Tentoku era) in various aspects. However, considering the theme of the story of building the era that leads to the reign of Emperor Murakami as well as the development from this, it created a new court event called a picture contest, which could not be found before The Tale of Genji.
미야케(宮家)의 여성 묘사를 통해 본 헤이안조 문학의 서사구조 - 역사적 컨텍스트의 수용과 변용 -
윤승민 일본어문학회 2023 일본어문학 Vol.101 No.-
In this paper, I analyse how historical facts relating to the second princess have been received and transformed into fictional narratives. In ancient times, the second princess, a granddaughter of the emperor, was treated similarly to a daughter of the emperor. They contributed to their country by serving as ‘Saigu’ or ‘Saio’, but the decree of Enryaku 12th year caused a significant change in their status. In particular, in the case of the second princesses who had been treated as a sacred figure supporting the imperial family, some of them became the wife of the Fujiwara clan and led a glamorous life. Most of them, however, faced harsh destinies. Even if a princess held a high position, if her parents (where the father was her guardian) pass away, she might have fell into a pitiable state, a position worse that that of the daughters of their subordinates. Such records are hardly found in historical materials, but it is highly likely that Murasaki Shikibu, who lived during that time, fully understood the harsh realities of these noble but pitiful women, and her recognition of these women was reflected in her depiction of women of noble families in The Table of Genji. In spite of their decline and desperate destinies, they made every effort to maintain the pride of their royal lineage and the honour of their family. Their struggle is what Murasaki Shikibu repeatedly portrayed even though she made caustic remarks on them. Her repeated mentions of them seem to be based on her desire to understand their life.
『源氏物語』の新たな受容と変容-NHKドラマ『いいね!光源氏くん』を中心に-
윤승민 경북대학교 인문학술원 2022 동서인문 Vol.- No.20
본 논문은 일본 고전문학을 대표하는 『겐지모노가타리(源氏物語)』를 바탕으로 하여 각색된 드라마 『좋아요! 히카루 겐지 군(いいね! 光源氏くん)』을 대상으로 원전(原典)을 어떻게 수용하고 또한 변용하여 현대적 콘텐츠로 재생산하고 있는지에 대해 분석한 논문이다. 『겐지모노가타리』는 오랜 기간 다방면에 거쳐 다양한 장르로 수용되어온 유서 깊은 작품인데 드라마는 원전의 요소를 어느 정도 차용하면서도 현대인의 입맛에 맞게 코믹하게 그려내고 있다. 특히 드라마 속 와카를 분석하여 헤이안 시대에 읊어졌던 와카라는 소재를 이 드라마에서 강조한 목적과 효과에 대해서도 고찰하였다. 소통과 공감을 통해 등장인물들의 관계를 새롭게 정립하고, 또한 와카에 대해 잘 모르는 시청자들에게는 와카라는 장르의 특성과 기본사항들을 알려주는 교육적 효과도 발견할 수 있었다. 그리고 히카루 겐지와 함께 등장하는 도노쥬조(頭中将)라는 인물에 대한 분석을 실시하여, 이 드라마가 히카루 겐지를 중심으로 다루고 있지만, 겐지와는 성격이 상이한 도노쥬조 묘사를 통해 주체적인 삶을 살아가고자 하는 그의 성장기적 요소를 강조함을 밝혔고, 이를 통해 얻어지는 드라마적 요소를 분석하였다.