重層分析序說

민병욱 부산대학교 사범대학 국어교육과 1978 語文敎育論集 Vol.3 No.-

김화랑의 <사랑의 城>의 구조와 의미구조

민병욱 한국문학회 2019 韓國文學論叢 Vol.83 No.-

This paper summarizes the structure and its’ meaning of Kim Hwang Rang's “SaLang ui Seong”. His musical creation and performance was concentrated in 1953 and 1954, when he joined Ho Hwa Seon in 1952. In the meantime, his creative scripts are 31 and the performances are 33 times. In 1957, he went on to become a Film Director. The text “SaLang ui Seong” is a script of the drama. The original author is Kim Hwang Rang, the performance group is Ho Hwa Seon (Representative Chung Sung-il). The period of permission for performance is from October 1, 1957 to September 30, 1958. From the point of view of the performance license period, the text as a script was created around 1957 when he switched from popular theater to film. In the title page of the text, “Permission to the Ministry of Education" and "Ministry of Education” permission to perform the theatrical performance. The texts have passed the censorship of the bylaws of the criterion of performance permits on the basis of ‘anti-communism and rule of law’, ‘morals’ and ‘obscenity’, and ‘cruelty and youth edification’. The intention of the text is revealed in the first ‘creative intention’ which is presented first, as ‘life record and reflection’ in the theater, and as ‘humanitarianism’ so as not to have my secret that distresses others. The ‘story’ presented following the ‘creative intention’ suggests the plot to occur in all four acts. The text evolves into love, jealousy, tricks, runaway and suicide among characters. In the development of ‘story’, the text has a tragic structure: the purpose of love, the passion of oneself, and the perception of love. Following the story, the content of the text embodies the specific events of the story in four quadrants. The first part deals with the formation of lover relationships and frustration among the characters as central events. As a criterion for determining the relationship of lovers, the ‘virtue of women’ is emphasized. The virtue of women is not being influenced by the fate of the times, the gentleness of heart, the respect of personality and human values, and the attitude of being sincere. In the second part, the central events are the tricks of other characters surrounding the heroine. These events are generalized as ‘tricks and ridiculous means’ of the contemporaneous customs of the remarried women while reconstructing family relations. In the third part, the relationship between the characters and the relationship between the characters can not be achieved. As a criterion, it is promoting the ‘vanity and pride’ of women. In the fourth part, the case related to the secrecy and completion of the disbanded family due to the division of the South and the North is centered. These events show contemporary social customs - class differences between maid and landlord, and regional discrimination between Seoul and rural people. Rather, it emphasizes the individual's will and conscience of society and nation. Therefore, the text makes the dismantling and completion of the family due to the division system into a tragic structure of purpose, passion, and perception for the continuation of love. This tragic structure of text means the disintegration of the family created by the contemporary division system, and the completion of the family is done in the completion of the role of the member. In addition, the text expresses the customs of contemporary remarriage family, the love affair between men and women, and the social customs of Seoul and the region due to the division system. Therefore, the text emphasizes the individual's family social role while revealing the contemporary style through the tragic structure. 본고의 텍스트 <사랑의 城>은 악극 대본이며, 원작자는 金火浪, 공연단체는 豪華船(대표 鄭成一), 공연 허가 기간은 1957년 10월 1일부터 1958년 9월 30일까지이다. 공연허가기간에서 본다면 악극 대본으로서 텍스트는 그가 악극계에서 영화계로 전환하는 1957년 무렵에 창작된 것이다. 텍스트의 창작 의도는 가장 먼저 제시되는 ‘작의’에서 연극을 ‘생활기록과 반영’으로 보면서 ‘남을 괴롭히는 나의 비밀이 없도록 하자는’ 인도주의로 밝히고 있다. ‘작의’에 이어서 ‘이야기’ 곧 전 4경에서 일어날 줄거리를 미리 제시한 것에서 본다면 텍스트는 하녀 희숙과 서생 병구 간의 사랑, 윤첨지와 호영 처의 간계, 희숙과 서생과 경옥 간 사랑의 경쟁, 희숙의 자살로 전개된다. ‘이야기’의 전개에서 본다면 텍스트는 희숙의 사랑(purpose), 스스로의 의지(passion), 사랑의 지속(perception)이라는 비극적 구조로 되어 있다. 그 구조는 4경으로 나누어서 전개된다. 제 1경에서는 연인관계의 형성과 좌절을 다루면서 시대의 사조에 휩쓸리지 않는 것, 온후하고 어진 마음씨, 인격과 인간 가치의 존중이며, 남몰래 행하는 정성스러운 태도로서의 ‘부덕’을 전경화 한다. 제 2경에서는 가족관계의 해체와 재구성을 중심으로 재혼녀에 대한 동시대의 풍속을 기준으로 ‘재혼녀, 간계, 야비한 수단’을 등식화 한다. 제 3경에서 연인관계의 성립과 불성립을 중심 사건으로 하여 여성의 ‘허영심과 자존심’을 다루고 있다. 제 4경은 남북으로 인하여 해체된 가족의 비밀과 완성으로 인하여 이루어지는 사건을 중심으로 하녀와 집주인, 서울사람과 시골사람에 대한 동시대 풍속을 드러내면서 사회와 민족에 대한 개인의 도리와 양심을 강조하고 있다. 따라서 텍스트는 분단체제로 인한 가족의 해체와 완성을 비극적 구조로 담고 있다. 아울러 텍스트는 분단체제로 인한 동시대 재혼 가정의 풍속, 남녀 간의 연애 풍속, 서울과 지역의 사회 풍속을 그대로 잠재하고 있다. 따라서 텍스트는 비극적 구조를 통하여 동시대 풍속을 밝히면서 개인의 가정적 사회적 역할을 강조하고 있다.

대장암의 동시성 병변

민병욱,김완배,김경래,엄준원,문홍영 대한외과학회 2003 대한외과학회 학술대회 초록집 Vol.2003 No.5

三老人의 장르 생성과 정착과정 연구

민병욱 한중인문학회 2008 한중인문학연구 Vol.25 No.-

본고는 동시대 공연사회학적 상황을 통하여 역사적 장르로서 중국조선족 연극 三老人의 생성과 정착과정을 살펴 본 것이다. 三老人은 동시대 중국 동북 조선족집거지역에서 가장 중요한 당면과제 호조조의 조직의 참여를 독려하는 선전도구로 공연양식화 되면서 전국적으로 널리 공연된다. 역사적 극장르로서 三老人이 성립되기까지 장르 생성과정을 거치는데 그 첫 번째 형식이 <일로인>이다. <일로인>은 ‘호조조의 조직’라는 설정된 비전을 직접적으로 호소하는 단정적 담화형식으로서 객체를 가면(분장)의 주체로 만들려는, 주체화 하려는 정치적 담화형식이다. 이런 의미에서 <일로인>은 설정된 비전을 객체에게 직접적으로 호소하는 준-극적 담화형식이다. 이러한 <일로인>은 ‘2인 즉흥극’으로 생성된다. ‘2인 즉흥극’은 <일로인>의 준-극적 담화형식을 역할놀이와 극적 대화 속의 주제적 진술을 통하여 극적 담화양식으로 바뀐 결과이다. 그 결과, ‘일노인의 역할, 분장, 동네노인과의 대화’가 ‘역할놀이, 분장, 역할들 간의 대화’로 이어지면서 ‘2인 즉흥극’은 극적 담화양식이 된다. 이러한 ‘2인 즉흥극’에 이어서 三老人이 생성된다. 三老人은 ‘2인 즉흥극’의 극적 담화양식에서 인물들 간의 지배/피지배 관계를 본질로 하는 공격적 적대적 행위의 갈등이 아니라 인물들 간의 앎의 범위 속에서 시각적 차이를 본질로 하는 극 양식으로 전환된다. 이런 의미에서 ‘역할놀이, 분장, 역할들 간의 대화’가 ‘그 역할들 간의 대화체적 상황, 그 상황 속에서의 시각 차이→쟁론→ 화해의 서사화’로 이어지면서 三老人은 민간극으로 정착한다. 민간극 三老人은 중국 동북 조선족집거지역에서 1950년에 발생하여 전승되다가 1958년에 창작대본으로 정착한 역사적 극 장르이다. 역사적 극장르로서 三老人은 인물, 사건, 구성, 언어의 사용과 처리가 정형화 된 조선민족적, 민간적, 지방적, 통속적 연극이다. This paper aims to examine and summarize the generation and settlement processes Samnoin as a historical genre through a contemporary sociological situation. and substitute the result for the conclusion. 1) The most important immediate task in the area of the northeastern district of Chine where the Chinese of Korean descent are living together is an organization of Hojojo(호조조) and to encourage the Chinese of Korean decent to participate in it. As Samnoin becomes performance patterns as its publicity tool, it is widely performed throughout the country. 2) Samnoin is a vulgar drama, so that it is free from contemporary drama reformation problems. 3) Samnoin, is settled via a two man-improvisational drama from <Ilnoin>. 4) Samnoin, handed down as a vulgar drama via dramatic mode of discourse from a quasi-dramatic form of discourse, is settled as a historic dramatic genre. 5) Ilnoin is a quasi-dramatic form of discourse directly informing the object of the established vision as a first form of Samnoin. 6) A two man-improvisational drama is the result that a quasi-dramatic form of discourse of <Ilnoin> was changed into a dramatic discourse form through a role play and dramatic conversation. 7) Samnoin is the result that a dramatic form of discourse of ‘a two man-improvisational drama’ was changed into a vulgar drama. 8) Samnoin, a vulgar drama, is a civilian, local and popular drama and a historic dramatic genre which occurred in 1950 and was being handed down and created as a book for lent in 1958. 9) This paper is yet to look into the effect relation of Samnoin, Pansori and Changeuk, the effect relation of Samnoin and contemporary Chinese northeastern district drama and new Seolchang form of Samnoin.

교육연극의 현황과 전망

민병욱 한국어문교육학회 2001 어문학교육 Vol.23 No.-

유방암의 변형 근치 유방 절제술 후 예후인자 분석

민병욱,이재복,배정원,김애리,구범환 대한외과학회 2001 대한외과학회 학술대회 초록집 Vol.2001 No.5

대장암 조직내 Thymidylate Synthase 발현정도가 예후에 미치는 영향

민병욱,문홍영 대한외과학회 2001 대한외과학회 학술대회 초록집 Vol.2001 No.5

서울 여의도 시범아파트단지를 통해 본 공동주택단지 외부공간의 변화

민병욱,정윤천 전북대학교 부설 휴양및경관계획연구소 2022 휴양및경관연구 (J East Asian Landscape Studies) Vol.16 No.4

In Korea's urban context, it is hard to be denied that the outdoor space of the apartment complex has been one of the most encountered everyday landscape for the citizens in a city. Space changes over time as reflecting the ever-changing socio-cultural needs from the society. This study aims to examine the role and meaning of landscape architecture by examining various historical and social discourses contained in the creation and change of the outdoor space of Sibum Apartment in Yeouido, known as Korea's first large-scale high-rise apartment complex. In particular, the relationship between the various social discourses and the spatial practice from the very beginning of its establishment is analyzed. For this, extensive literature and newspaper data on planning and design at the time were reviewed, and physical changes and usage status of the apartment complex were identified through drawings, aerial photographs, field visits, and interviews with officials. As a result of the study, first, it was confirmed that the pedestrian-oriented superblock was the structural framework of the entire space based on the Perry’s Neighborhood Theory, a universal concept of housing planning at the time, dreaming of a modernist 'ideal city' as a theoretical background and technique. Second, in the initial plan, the intention to create an image of living in an abundant green space was clearly identified, but the landscape architectural expertise of the creation of green areas and public open spaces as actual community living spaces were hardly noticed. Third, despite various restrictions, the green and public spaces change according to the needs of the times, revealing how the use of outdoor spaces in the residential complex of the same time has developed. This study is of academic significance in determining how the profession of landscape architecture has developed in modern and contemporary residential complexes by examining the early appearance of the outdoor space of residential complexes created in Korea.

1920년대 전반기 희곡텍스트의 제목 연구

민병욱 부산대학교 사범대학 국어교육과 1992 語文敎育論集 Vol.12 No.-

Der Begriff Verantwortung und seine Verwendung in der Unternehmensethik im Hinblick auf Max Weber, Hans Jonas und Karl-Otto Apel

민병욱 한독사회과학회 2019 한독사회과학논총 Vol.29 No.4

The present work shows the content of the concept of responsibility and its application in corporate ethics using the example of Max Weber, Hans Jonas and Karl-Otto Apel. The various concepts of responsibility put forward by Max Weber, Hans Jonas and Karl-Otto Apel have made a major contribution to the conceptual economy in Germany and they find their validity in the traditional anchoring of the sense of responsibility in German companies. Corporate governance requires that ethical considerations and stakeholder expectations be taken into account when making business decisions. It is questionable how realistic the concept of responsibility can actually be in everyday business life. From this, an integrity approach of corporate ethics is derived. From an integrative-ethical point of view, the legitimacy and accountability of doing business can not be achieved by outside activities, but must extend to the management in all its dimensions. Die vorliegende Arbeit zeigt den Inhalt des Begriffs der Verantwortung und seine Anwendung in der Unternehmensethik am Beispiel von Max Weber, Hans Jonas und Karl-Otto Apel, um eine systematische Konzeption unternehmerischer Verantwortung zu entwickeln und zugleich Hinweise für ein nachhaltige(re)s Verantwortungsmanagement geben zu können. Die von Max Weber, Hans Jonas und Karl-Otto Apel vorgestellten verschiedenen Verantwortungskonzepte haben in Deutschland eine große Begriffskonjunktur erlebt und sie finden ihre Geltung in der traditionellen Verankerung des Verantwortungsbewusstseins in den deutschen Unternehmen. Verantwortliches Handeln von Unternehmen erfordert, bei unternehmerischen Entscheidungen ethische Überlegungen sowie Erwartungen von Stakeholdern zu berücksichtigen. Fraglich ist, wie realistisch wirkungsvoll das Konzept der Verantwortung tatsächlich im Unternehmensalltag sein kann. Daraus wird ein Integritäts-Ansatz der Unternehmensethik hergeleitet.