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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.
『겐지 모노가타리(源氏物語)』 「마쓰카제(松風)」권의 의의와 특징- 히카루겐지(光源氏)의 영화와 관련하여 -
윤승민 일본어문학회 2018 일본어문학 Vol.83 No.-
The volume of Matsukaze concerns Hikaru Genji, who came back from Suma. Since space is not devoted much to this volume, the main part of the volume is concerned with Akashi-no-himegimi’s move to the capital and the conception of Rokujouin and the description of Hikaru Genji is rather scarce. Together with the preceding volume, however, the volume of Matsukaze is crucial for describing the prosperity of Hikaru Genji. In this volume, Akashi-no-himegimi moves from Akashi to the capital of Ooi, and this scene is a first step towards the completion of the prophecy and it also serves as the departure point from which the Akashi family flourishes. The author describes this scene very tactfully, based on hiistorical fact. In the latter part of the volume of Matsukaze, the author writes about details of Genji’s visit to the capital of Ooi and the banquet in Katsura-in. The author makes use of the description of this scene, together with the scene of the banquet in the preceding volume, as an advance hint of further prosperity of Hikaru Genji. The two volumes are thus interconnected deeply, and they presage the prosperous life of Hikaru Genji, which will be portrayed in the subsequent volumes. 松風巻は須磨から復帰した光源氏を語る巻ではあるが、比較的に短い分量のため、主に明石の姫君の京への引き取りや六条院の構想と関連して多く語られ、全体的にその印象が薄いのも事実である。しかし、この巻は前の絵合巻と合わせ、光源氏の栄華を本格的に語るための出発点という意味で非常に重要な巻である。明石の姫君はこの巻で明石から上京し、大堰へ移ったが、このことは源氏にとって宿曜の予言を完成させるための第一歩でもあり、また明石の一族にとっても繁栄の始発点であった。物語はこの場面を織りなす際、史実との関連を生かし、非常に巧みに描き出している。松風巻の後半では、源氏の大堰訪問と桂院での宴の詳細が語られているが、この宴は、これまた絵合巻の宴の場面と合わせ、光源氏のさらなる栄華の伏線として機能している。松風巻は前に位置する絵合巻と非常に深い影響関係を持ちながら、これから物語世界で完成していく光源氏の栄華の起点としてその役割を果たしているのである。
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.