PEG Lavage와 표준 대장전처치의 비교 관찰 연구

강윤형,이기형,윤충 대한대장항문학회 1990 Annals of Coloproctolgy Vol.6 No.2

矛盾을 이해하는 韓少功의 방식 - 二律背反과 相補性, 實踐 -

강윤형 한중인문학회 2014 한중인문학연구 Vol.44 No.-

韓少功은 문화대혁명 시기 농촌에 하방 되었던 경험을 소설로 쓰면서 작가의 길로 들어섰다. 그 이후 그는 소 설가, 번역가, 농부 등 다양한 역할을 병행한다. 그는 그의 작품에서 늘농촌과 변방의 생동감 있는 삶을 이야 기 한다. 비록 물질적인 것은 부족하지만 그 결핍의 부분을 생명력 가득한 자연이 채워주는 곳, 그곳에는 자유 가 있고 여유로움이 있으며 인정이 가득하다. 그는 자연과 더불어 움직이는 삶, 시간에 따른 노동이 아닌 자연 의 섭리를 따르는 노동은 인간의 정신을 키우는 동력이며 지식을 확인시켜 주는 안내자라는 생각을 가지고 있 다. 그리고 마침내 歸鄕을 결심한다. 韓少功이 작가로써 한 창작을 ‘내적 實踐’이라고 한다면 그의 歸鄕과 독서활 동은 ‘외적 實踐’이라고 볼 수 있다. 韓少功은 세상에 존재하는 모든 것들이 각자의 존재 방식이 있다고 말한다. 그리고 그는그것을 글속에 드러내 고자 한다. 때문에 그의 작품 속에는 비현실적인 존재에 대한 탐구가 지속되며 소설이든 산문이든 마찬가지이 다. 작품 속에는 현실과 가상의 공간조차도 사실 존재하지 않는다. 그리고 어느 순간 그 자신이 그 글속에 존 재하고 있음을 보여준다. 단지 歸鄕한것만이 아닌, 자신의 작품 속에 자신을 심고 가꾸는 모습, 그것이 바로 韓少功의 實踐’이다. 韓少功은 矛盾에 대해 이야기 하지만 그가 말하는 矛盾은 논리적 의미의 모순은 아니다. 단지 矛盾으로 인식 되었을 뿐, 다른 측면에서 바라보면 해결될 수 있는 문제들이므로 화용론적의미의 모순으로 볼 수 있다. 韓少功은 세상에 존재하는 모든 것들이 각자의 존재 방식이 있다고 말한다. 그리고 그는그것을 글속에 드러내 고자 한다. 때문에 그의 작품 속에는 비현실적인 존재에 대한 탐구가 지속되며 소설이든 산문이든 마찬가지이 다. 작품 속에는 현실과 가상의 공간조차도 사실 존재하지 않는다. 그리고 어느 순간 그 자신이 그 글속에 존 재하고 있음을 보여준다. 단지 歸鄕한것만이 아닌, 자신의 작품 속에 자신을 심고 가꾸는 모습, 그것이 바로 韓少功의 實踐’이다. 韓少功은 矛盾에 대해 이야기 하지만 그가 말하는 矛盾은 논리적 의미의 모순은 아니다. 단지 矛盾으로 인식 되었을 뿐, 다른 측면에서 바라보면 해결될 수 있는 문제들이므로 화용론적의미의 모순으로 볼 수 있다. 본고는 韓少功이 ‘矛盾’을 마주하고 이를 극복하는 과정에 대하여 살펴보려 한다. 삶에서실제로 矛盾으로 인 식된 것들은 相補性과 층차적 접근을 통해 자연스럽게 극복되고 또 해체되기도 한다. 그리고 그는 ‘實踐’을 통 해 그것들을 증명한다. 마찬가지로 그의 삶 속에서 탄생한 각각의 작품 속에는 서로 모순적으로 보이는 것들 이 역사적 시각에 대한 층차적 이해를통해 극복되는 것을 볼 수 있다. While navigating the lives, people face numerous contradictions. HanXiaoGong (韓少功-Hansogong) is the one who pays earnest attention to theelements of those contradictions and observes them closely. What iscontradiction? What if we might understand the contradiction itselfimproperly? Surprisingly, it is easy to understand contradiction. Simply to say,all we need to do is to start with figuring out those contradictory in acontradiction. HanXiaoGong turned to be a writer after writing a novel based on what hehad experienced at the rural communities during the Cultural Revolution. Sincethen, he had been a writer, a translator and also a farmer. He always saidabout the life with vitality at the rural area. Despite the lack of materialaffluence, it is filled up with nature and that is where freedom, composure andaffection for human exist. Such inspiration comes from the insight that labornot following time but control of nature powers to make human spirit grow andalso guides to assure what you have known. And then, he decided to returnhome, eventually. What he did was practice. It was the way he tried to putwhat he always regarded the most valuable into practice. Living withoutpractice is meaningless. So is anything such as vain ideals and dreams. Onlypractice itself is the way to disclose the truth. And that is the truthHanXiaoGong meant to fulfill through practice. The following is a study how HanXiaoGong faced the contradictions andcoped with them. He looked into them through complementarity andmulti-dimensional approach. By adapting such approach, many ofcontradictions were resolved or dissolved. That is what HanXiaoGong provedby practice.

중국 역사속의 “팜므파탈” 여성형상 고찰

강윤형 중국인문학회 2010 中國人文科學 Vol.0 No.44

‘Femme Fatal’ means an image of enchantress that was explosively popular in the literature and art of aestheticism and symbolism at the end of the century. The people of that era used to see it as a woman of fate who had a fatal charming enough to cause a man falling in love with her to death. In Chinese history, the ancient countries, Xia, Yin and Zhou, faded out always with "liquor and girl", which was one of reasons of their fall. Many of people warn you about girls and liquor. They keep saying that you must keep away from girls. However, it is your instinct as a man to be attracted to a beautiful girl. However, the ancient Confucianism scholars considered the women's political participation being helped by men as an injustice, so that they strictly limited the education for women. Such contradictory thoughts formed double aspects of a girl: a wise wife and cute concubine or entertainer to make a birth of negativeness and positiveness of Confucianism based society. 'Enchantress' was called an extreme temptation sometimes or an object of blame on the other hand among people. Such tendency did not only make it impossible for both man and woman to see the true figure of a woman but also distorted a woman as a human. In China, an extremely beautiful girl is called 'a woman of extraordinary beauty', which means a girl beautiful enough to cause a nation's downfall'. Such girls usually made kings' thoughts dull, so that the kings could not govern their countries in right ways, and furthermore, led the kings to wild life, and then finally caused the kings to loose their countries. This is also a very negative image of beautiful girls. Such beautiful girls were, however, rather poor figures who became political and social victims due to their born beauty. In this study, I try to arrange the 'femme fatal' images reflected in the figures of the girls who have been called the beauties in Chinese history and then discuss the truth and falsehood of such images. I reveal that such ‘femme fatal' images have been faked by men in fact. Such images of ‘femme fatal’ hide truth and falsehood. Beauty itself has been only one power that women can have because there could not have been properties or free will in women who had been subordinated under men for several thousands years. Men did not accept even such power of women and rather faked the images of such beautiful women into wicked women. Such beautiful women were, however, only the victims of their eras in the patriarchal societies that had kept subordinating women.

董其昌의 ‘所行’과 ‘所論’ 상호모순樣相 고찰

강윤형 중국인문학회 2008 中國人文科學 Vol.0 No.40

Dong Gi Chang(董其昌), who lived at the end of the Ming Dynasty, China, left plenty of theories of paintings and writings through his books and their contents are mainly focused on continuous self-culture and efforts for it. In practice, however, his life got far away from those theories he emphasized. From this view, it would be meaningful to examine contradiction and inconsistency shown on his 'behavior' and 'opinion.' First, I looked closely into his 'behavior' by dividing it into two in this article and examined how he had good relationships with politicians with different political views and got the position of the minister of culture and public information during the confused era. And the main causes for this could be found in his talent of paintings and writings and the art of living. He did not care at all about ideology and mixed with various types of people who were considered to benefit him. And I investigated his graft-happy official-like behaviors in Songgang where he lived after the retirement from his public official. He committed plunder, swindle including kidnap, violence and even rape of women. And he finally lost his all fortunes and got expelled by a popular uprising. I examined the importance of the relations between art and personality expressed in his ‘opinion’ and then based on this, I inspected closely the theory of 'mind stillness and no desire', a completion of self-culture, he pursued in his old age. He did little speak about 'personality' himself but saying that the 'mind stillness and no desire' is a model that he had to pursue through his entire life. From many theories and pre-studies of this thought, 'mind stillness and no desire' could be said the highest accomplishment of personality. When considering it, we could find that such theory disagreed with his behaviors. Emperor Qian Long of the Qing Dynasty, China, liked very much Dong Gi Chang's paintings and writings. In reality, it may not be easy to criticize or defame persons who were supported by rulers, which makes it more difficult for us to fully understand Dong Gi Chang's works. But I think any discussion of the theories of his paintings and writings could not be enough without a severe consideration of the relations between art and personality of him.

≪詩人之死≫,≪人啊,人!≫에 透映된 作家의 “實在와 不在”에 관한 小考

강윤형 중국인문학회 2011 中國人文科學 Vol.0 No.48

The Presence and Absence of the Author Seen through ≪The Death of Poet≫ and ≪Humans, Ah Humans!≫ What is literature in one's life and what role the literature has in it? The answers naturally vary. "Every literary work is the author's autobiography," Yu Dafu once asserted. Even if not every literary work is the autobiography as Yu Dafu said, it is true that all literature contains a certain degree of autobiographical elements. Especially the past experiences are important material for an author's writing and it is inevitable that the author's image is reflected there. Dai Houying (戴厚英)'s novels, ≪≪The Death of a Poet 詩人之死≫ and ≪≪Humans, Ah, Humans 人啊,人!≫ are autobiographical novels based on her experiences during the tumultuous time of the Cultural Revolution. She agonizingly asks where the right value that a human should pursue lies by reflecting on the intellectuals' attitude of the time that did not see any alternative but choosing between the left and the right. Dai Houying describes in her ≪≪The Death of a Poet≫ the imprisoned lives of intellectuals like poets, painters, singers, actors, and teachers who had been suddenly taken as the useless ghosts. The author seriously and painfully asks where a human stands when everyone should monitor and accuse each other to survive, how one can preserve one's dignity, and what has been lost. It makes us to reflect on what was the last thing that the poet who loved the party and the people cannot give up even by choosing death. ≪≪Humans, Ah, Humans!≫, with the memory of the Cultural Revolution as a theme, depicts the process that the author and the people around her was healing the long seething wounds by looking into their minds. Though the apparent heroine of the novel, Son Yue, seems to depict Dai Houying, all people around her actually show some elements of her to a certain degree. This is the characteristic of the two novels and why this paper attempts to understand Dai Houying's autobiographical novels by comparing these two novels. The author portrays various attitudes and thoughts of herself in the two novels to make it seem like an attempt for a kind of self-healing process.

1990년대 이후 韓少功의 문화비평 考察 -탈포스트모더니즘적 경향을 중심으로-

강윤형 중국인문학회 2014 中國人文科學 Vol.0 No.58

Although Han Shaogong created works by accepting unconventionality from postmodernism in 1986 but since 1990, his directivity has turned toward realism. The realism mentioned here can be considered ‘Han Shaogong’s realism’ rather than existing forms. Han Shaogong absorbed what he should learn from Western trend, digested and trained them on his own to attempt to take solid roots in Chinese soil. His attempt bore fruit including Maqiao Dictionary (馬橋詞典) in 1996, a novel where literature, history and philosophy are integrated and prose-styled novels of Anshi (暗示, Suggestion) and Shannan Shuibei (山南水北, South of Mountain and North of River) and I would name his novel creation procedure as ‘practical realism.’ Han Shaogong has fostered his values that human life can only be proved by practice. Life with practice of labor and healthy people working and living with nature – this is the very livelihood of work which Han Shaogong desires to write. It caused him to turn toward realism with practice. There are two reasons why Han Shaogong started to distance himself from postmodernism. First, a theory without honest description of everyday life falls into the shade over time and technique of postmodernism cannot seriously express this course of life. Second, he thinks that neither postmodernism nor realism can exert its power in modern society dominated by material civilization over moral one.

『駱駝祥子』에 나타난 祥子의 奴隸性 考察 - N. 베르쟈예프의 『노예냐 자유냐』의 관점을 중심으로 -

강윤형 한국중국언어문화연구회 2009 한중언어문화연구 Vol.- No.19

In his novel 『Rickshaw Boy』, Lǎoshe (老舍 (1899~1966): A Chinese novelist / play writer) describes a contradictory society encroaching upon a man. Lǎoshe places the cause of the main character Xiángzi's misfortune on individualism and the structural contraction of the society, which neglects the lives of people in the lower classes. However, he does not present specific breakthroughs for the cause. Is a human a slave or free being? It is never easy to answer this question since human being can be a slave or be free by himself or herself. If Xiángzi was in different circumstances, could he be free? What if he got a rickshaw that he always had wanted to have? Yet, the answers to these questions are already exhibited in the novel. The result is the same. Considering this, N. Berdyaev's『Slavery and Freedom』suggests a considerable number of points. And here is the reason why it can not be determined that Xiángzi's life, in Lǎoshe's novel『Rickshaw Boy』, was like that of a slave resulted from the contradictory society of those times or was a destruction caused by individualism. The main character of 『Rickshaw Boy』, Xiángzi, had many chances to choose and he did make a choice by his own free will whenever he faced one. Yet, the reason for the failure of the choices he made was the different servilities that existed inside him. Servility is presented in the properties that we each possess or the sexual seduction; it is also exhibited in individuality that is hiding inside human beings. Xiángzi, in the novel, seemed to make an attempt to free himself from all that subdued him, yet he could not do so ultimately. The freedom comes when one acknowledges his or her personality and tries not to lose his or her life from outer thing. This study intends to point out that Xiángzi was doomed to be a loser because of his servility within; he was already a slave to himself before being affected by the contradictory society. Such phenomenon could be due to the servility of Xiángzi but also to that of inside all human beings.

孔稚珪〈北山移文>의 修辭的 特徵 考察

강윤형,袁晓鹏 중국인문학회 2010 中國人文科學 Vol.0 No.45

Puksanimun北山移文 is the work by K'ung Chih-kwei (孔稚珪 447~501) of the Qi dynasty during the South and North Dynasties period. Puksanimun, while utilizing correspondence (對遇), characteristic of Pyŏngryŏmun (騈儷文) and harmony (和諧) and authentic precedents (典故) through phrase rhymes (押韻), well succeeds in presenting it as a 'Kyŏkmun (檄文),' the prime function of the writing. Originally 'Kyŏkmun' is a kind of writing that denunciates an opponent while summoning up sympathizers' unity. Especially, the tone of the guardian spirit of the mountain who exposes the hypocrisy of the hermit Ch'uong is exaggerated and humorous. While a Pyŏngryŏmun, it shows a phrasing of Chosa (楚辭) and embodies properties of Pu (賦) too. It thus is not a slavish following of the rigid Pyŏngryŏmun form. This paper seeks to explore the rhetorical characteristics of Puksanimun. Firstly, it reviews the historical circumstances of the North and South Dynasties period and the characteristics of Pyŏngryŏmun. Then, it delves into the rhetorical characteristics of Puksanimun. Those characteristics are 1) "4ㆍ6 phrasing," one of the characteristics of Pyŏngryŏmun, is its rhetorical technique and effect, which not only gives the rhythmic sense but also expresses the emotional colors. Nextly, there are the "Hye-letter (兮) operation" that expresses the slowness and rapidity and "authentic precedents, exaggerations, anthropomorphism" that give the vitality to the writing; 2) The operation of "correspondence method" seen in correspondences and rhymes is one of the most important element of Pyŏngryŏmun and Puksanimun fully utilizes this characteristics with the "operation of rhymes" to bring it into a perfection; 3) Puksanimun's stylistic beauty is heightened when it is read out loud, as a typical Pyŏngryŏmun is. Thus, the paper also asserts that even a prose can be read out loud to show its stylistic beauty when it has a rhythmic element.

농촌공동체 정신에 대한 무형유산적 고찰 - 소설 “황만근은 이렇게 말했다”를 중심으로 -

강윤형 한국문화융합학회 2023 문화와 융합 Vol.45 No.2

This study is aimed at looking for social meaning and value shown by the functional mechanism of the rural community as a symbol in Hwang Man-geun said so by Seong Seok-je and intangible cultural heritage dwelling in a such rural community. The discussion process of the rural community of the novel consists of firstly showing the meaning and value of the rural community character symbolized by the novel’s main role Hwan Man-geun; secondly, checking the cultural properties belonging to the life beyond labor in the rural community activity and value of intangible heritage coming out of the such life; thirdly, revealing isolation of the cultural activity existing in the rural activity caused by the rural policy implemented by the government coping with the globalization in the novel that focuses only on the improvement of labor productivity a such as mechanization, development and suggesting the community model that can be realized in modern society regarding the cause of individualism, anxiety and isolation that our society is currently suffering from as missing of existing community character.

마을공동체미디어의 사회적 가치 창출에 대한 고찰 - 전주 <평화동마을신문>을 중심으로 -

강윤형 한국문화융합학회 2023 문화와 융합 Vol.45 No.8

This study looks into Pyeonghwa-dong Village Community Newspaper, a village community media that represents Jeonrabuk-do and is assessed as a sustainably growing model in order to analyze whether it practically creates social values in the city and what value it creates if it creates any value. It is independent, expandability and continuity that shall be paid attention onto with regards to Pyeonghwa-dong Village Newspaper, which began to be published first in 2010 and has been issued without any skip till 2023 so far since its first publication thanks to pay-free volunteer journalists’ volunteering. Furthermore, it does not only deal with various kinds of local issues through corporation with neighboring small communities but also operate ‘on-line Dure’ motivated from Dure, a traditional community activity, to enhance the communication with community people. Based on both quantitative and qualitative assessments, this study has verified that Pyeonghwa-dong Village Community Newspaper has been creating social values through its activities of 13years.