儒士들의 시에 나타난 禪趣 연구 : 완당 김정희의 <雲外夢中> 詩帖을 중심으로

조태성 한국고시가문학회 2004 한국시가문화연구 Vol.0 No.14

The Poem-Book named <Unoemongjung> is a famous calligraphic work made by Kim, Jeong-Hee. It was knowned by Yoo, Hong-Jun and contained 13 poems written by Hong, Hyeon-Joo, Sin, Wi and Kim, Jeong-Hee. This is a work which is paid attention in Calligraphy and the related arts. But this paper gave attention to its poetic contents. And so I concentrated on giving a full discussion of Zen-fondness[禪趣] in this work. Besides I examined together with primary factors on Zen-fondness[禪趣] as a poetic elements. Also I considered views of Zen Poetry about the 19th century. Through these definite working, I refered to the features of them as Zen-fondness[禪趣]. Also, I considered a motiv of making this Poem-Book and association with this book. Then, I was going to discuss on a Buddist Literature. Finally, the ideal of beauty that these man had was not difference to that of zen priest. Because it is no diferrence between the form of life that zen priest followed home to that of these man.

봉약침액(蜂藥鍼液)의 NO 소거 및 Chemokine 유전자 발현에 대한 효과

조태성,윤현민,송춘호,장경전,안창범,Cho, Tae-sung,Youn, Hyoun-min,Song, Choon-ho,Jang, Kyung-jeon,Ahn, Chang-beohm 대한침구의학회 2003 대한침구의학회지 Vol.20 No.4

Although the effect of Bee Venom has been reported, its mechanism has not been fully elucidated. Nitric Oxide(NO) is one of the free radicals and mediates in inflammation diseases. Chemokines contribute to the pathogenesis of several disorders such as allergic rhinitis and rheumatoid arthritis and so on. The objective of this study was to investigate the scavenging effect of Bee Venom on NO and on expression of chemokine genes. There was no significant NO scavenging effect in Crude Bee Venom, Apamin, Melittin, and MCD-peptide. The expression of chemokines was examined by RT-PCR using the human mast cell line(HMC-1), which is known to secrete and express chemokines. In order to investigate the protective effect of Bee Venom, HMC-1 cells were incubated with pretreatment of Bee Venom for 24 hrs and stimulated with 1 uM calcium ionophore A23178 for 2 hrs. RT-PCR analyses of chemokine genes showed that expressions of RANTES and MCP-1 were increased compared to the calcium ionophore-only treated group. But IL-8 and MCP-3 did not express increasing effect compared to control group. This study may provide important basic data on the possibility of the clinical treatment of Bee Venom in inflammation diseases.

참요, 감성적 근대성의 한 징후-조선후기 공감장의 형성과 투쟁을 중심으로-

조태성 전남대학교 호남학연구원 2017 호남학 Vol.0 No.61

The purpose of this study is to examine the concept of the sympathetic field and its constitutional requirements. so this article noted the revolt of the Donghak(東學) Peasant Revolution and its prophetic song. There is no doubt that the role of sympathy is great in the formation of the sympathetic field. But it can not be overlooked that such sympathy is constituted by specific public opinions. Above all, I tried to reveal through the song that the way of revealing such public opinions can be more effective than text. In particular, I paid attention to what kind of purpose it was intended to use rather than the content of the song. In other words, I wanted to talk about the formation of community and the way of forming sympathy through the prophetic song. Also, based in this, I tried to reveal what the desires of the contemporaries wanted to form this movement. In conclusion, they became aware of 'people' through Donghak, wanted to reveal it, and tried to live 'humanly' through it. Such desires have singed songs, and they have formed their own communities through singing. The community has struggled with the existing communities and eventually failed, but the emotional experience of forming a community or a sympathy field has not disappeared. 이 글은 참요를 대상으로 공감장에 대한 대략적인 개념과 그 구성 요건들을 통해 농학농민혁명이라는 봉기를 다시 보고자 하였다. 공감장의 형성에 있어 공감의 역할이 지대하는 점은 두말 할 나위가 없을 것이다. 그러나 그런 공감이 특정 공론들에 의해 구성된다는 점을 간과할 수 없으며, 무엇보다도 그런 공론들을 드러내는 방식은 문자라기보다는 노래가 더욱 효과적일 수 있음을 참요를 통해 밝혀보고자 하였던 것이다. 이를 통해 궁극적으로 참요의 문학사회학적 의의를 찾는 것도 이 글의 주요 목적이었다. 특히 노래의 내용보다는 그것을 어떤 방식으로 어떠한 목적으로 이용하고자 했는가를 살피는 일에도 주목하였다. 즉, 참요를 통한 공동체의 형성과 나아가 공감장의 형성 방식 등을 말하고자 했던 것이며, 이런 움직임을 형성시키고자 했던 당대인들의 욕망은 무엇이었는지를 밝히는 일이었다. 결론적으로 그들은 동학을 통해 ‘사람[人]’임을 자각했고, 그것을 드러내고 싶어 했으며, 그것을 통해 ‘사람답게’ 살고자 했다. 그런 욕망이 노래를 부르게 했고, 노래를 통해 자신들만의 공동체를 결성하였으며, 그 공동체는 기존 공동체들과의 투쟁을 벌였고, 결국은 실패했지만, 공동체 형성 혹은 공감장의 형성이라는 감성적 경험만큼은 사라지지 않았다고 할 수 있다. 또한 그런 경험들이 결국 감성적 근대성의 한 징후라고 할 수 있는 것이며, 이러한 징후가 곧 민중에 의한 공감장의 체현과 그 발현에 다름 아니라고 볼 수 있다는 것이다.

法宗 虛靜의 <瀟湘八景次韻> 연구 - 내용과 구성에 나타난 불교적 감성을 중심으로 -

조태성 한국언어문학회 2009 한국언어문학 Vol.69 No.-

Sosangpalgyeong[瀟湘八景] as a theme of poet has been treated as a concern of the Confucian writer. However, I found that it was frequently borrowed as a poetical idea by Zen priest. Then, what Sosangpalgyeong meant to Zen priest? The purpose of this article is to seek this question. Namely, it was the process to solve questions about the views of the space having eyes on the completion of spiritual awakening in a Buddhist above an element of the mood of Zen. To solve these questions, I considered Beopjong(法宗, 1670~1733)'s <Sosangpalgyeong-Chaun[瀟湘八景次韻]> in this article. As a consequence, I could find that his works recited the process of ascetic exercises for spiritual awakening, a desire arose from the process, and metal attitude after spiritual awakening. However, this study could have fundamental limitations because these kinds of poems have found rarely in a Buddhist. They were too little to study the comprehensive meaning of works in the expansive aspect. In spite of that, the important thing is that there were different points of views on Beopjong(法宗)'s <Sosangpalgyeong-Chaun> and it is significant.

차별의 표방, 욕망의 충돌-<계녀가>류 가사를 중심으로-

조태성 한국문학이론과비평학회 2011 한국문학이론과 비평 Vol.53 No.-

This study attempted to review that the trend of lyrics such as <Gaenyoka> is correlated to the satisfaction with the desire to dominate through family-centered ideologic protection or to keep vested rights. In the process, it was found that satisfaction with the desire began from control of emotion. 「Sakugo」 was a practical case that shows thorough control on women not to express any feelings they have. In addition, such controlled emotion was fixed, led to discrimination, and it was accepted naturally. That is, such fixed emotion control made discrimination natural. The control of emotion was expressed in a way of controling languages. In a lot of literary works, we can meet the demand ‘Not to see what you're see’ and ‘Not to listen to what you listening to’. It is a overall control of emotion requesting not to see, say, and think of. The discrimination disclosed in this control is disguised as duty to the family. Eleven items shown in <Gaenyoka> are all for daughter-in-law's duties and obligation. The completion of the duty is all the daughter-in-law's responsibility. As a result, it produces a vicious circle because the "duty" and "obligation" can not help forcing control, and the fixed control brings discrimination. Next this research reviewed that in social confusion in the end of Chosun Dynasty, the nobility selected using an ideology as a way to get out of the crisis. As we know from the background of <Gaenyoka>, the first step to mobilize an ideology was a family. <Gaenyoka> was moral lessons for daughters, but the subjects who read and practice them was already daughter-in-laws and the place for the practice was the in-law's. Thus, the in-law's for the daughters-in-law was where they had to practice forced ideology, and their feelings and emotion are completely controlled. It was discrimination for them to accept as a social factor during the practice and repression. But on the contrary, the discriminative factors at in-law's can be a factor to attract social recognition for women, which means that the ideology that time existed as distorted. We can see it through <Gaenyoka> at the point where the nobility's desire to dominate meets conflict with women's desire for recognition. Of course, it can be said that completely controlled emotion and human discrimination have the distortion in themselves. The beginning of distortion was from women's awareness and insight as the subject of discrimination and control. In this process, there exists a conflict between the nobility's desire for domination and women's desire for recognition. When women's desire for recognition was satisfied, they may feel out of discrimination for the time being, but soon they shall be in another way of repression. So, 「The Management of House Affairs」 is under inconsistency itself. Through 「The Management of House Affairs」, women could obtain some recognition from man, but their obligation for support of household was strongly fixed on them. ‘Distorted ideology’ means this contradiction. That is, it is man-centered distortion in that the positive value of ideology gets broken, and at the same time it is woman-centered distortion in that it weigh heavier responsibility on women. According to the above mentioned review, I could confirm the state of family power under patriarchism, its discriminative factor, and the process of its dissolution through lyrics such as <Gaenyoka>. In addition, I could read man's desire to dominate shown as ‘"Bongjesa and Jupbingaek" and woman's desire for recognition through ‘The Management of Household Affairs’ And their desire is finally to meet at a certain point as a conflict, The conflict was a motive to generate the distortion of Confucian ideology.

동씨침(董氏鍼)을 가미(加味)한 치료(治療)가 중풍환자(中風患者)의 NIH Stroke Scale과 MBI상의 기능 회복에 미치는 영향

조태성,손인석,김철홍,서정철,윤현민,장경전,송춘호,안창범,Cho, Tai-sung,Son, In-seok,Kim, Cheol-hong,Seo, Jung-chul,Youn, Hyoun-min,Jang, Kyung-jeon,Song, Choon-ho,Abn, Chang-beohm 대한침구의학회 2002 대한침구의학회지 Vol.29 No.6

Objective : The aim of this study was to investigate the effect of tong's acupuncture on recovery of motor disorders in stroke patients. Methods : Twenty two patients with poststroke-hemiplegia were randomized into two groups. Ten patients(test group) treated by 2 methods-tong's acupuncture and body acupuncture. The other twelve patients(control group) treated only by body acupuncture. The activity of daily living was measured with a National Institutes of Health stroke scale(NlHSS) and Modified Barthel Index(MBI). The therapy was performed one a day for 2 weeks. Results: In terms of score of NIHSS. the test group showed statistically meaningful decrease after 2 week treatment. but the control group showed statistically meaningful decrease after I week(p<0.05). And in terms of score of MBI. the test group showed statistically meaningful increase after 2 week treatment. but the control group showed statistically meaningful increase after I week(p<0.05). There was no statistically meaningful difference after 1 and 2 week treatment between the groups. Conclusions: These results support that test group has almost same effectness compared with control group in improvement of the activity of daily living of poststroke-hemiplegic patients.

기녀(妓女)의 ‘사랑’, 감정의 진위(眞僞)

조태성 한국시가문화학회 2023 한국시가문화연구 Vol.- No.52

참사랑만을 노래한 시를 구별해 내기는 쉽지 않다. 텍스트 자체만 놓고 보면 더욱 어려운 일이다. 그럼에도 불구하고 여기에서 사랑이라는 감성의 진위를 논구하는 까닭은 문학의 순연한 기능을 다시 읽어보기 위한 시도이기 때문이다. 사랑을 노래하는 어떤 텍스트이든 단지 표면적으로 드러난 감정만을 담아내고자 하지는 않았을 것이다. 물론 이와 반대로 표면적으로 드러난 그 이상도 그 이하도 아닌 경우도 많다. 그런 이유로 이 글은 고전 텍스트의 양대 산맥이라고 할 수 있는 한시와 시조를 중심으로 특히 기녀들의 사랑 표현과 관련하여 그것의 진위에 대해 살펴보았다. 먼저 거짓 사랑 노래라고 판단되는 작품들의 경우 대개 관습적 작시 태도에 기인한 바가 크다는 사실을 알 수 있었다. 참사랑을 열망하는 노래들은 사적인 공간에서 주로 제작되었음도 살펴보았다. 이들 노래에는 또한 답시가 존재한다는 특징도 가지고 있었다. 결론적으로 이 글은 기녀들의 사랑이라는 감정이 긍정과 부정이라는 이분법적 가름의 문제가 아닌 당대 사회의 구조적 문제에서 비롯하였음을 설명하고, 나아가 그것이 여성성의 박탈과정에서 비롯되었음을 확인하려는 과정이었다고 할 수 있다. It is not easy to distinguish poems that sing only true love while ignoring any poetic background. Nevertheless, the reason why the authenticity of the emotion of love is discussed here is because it is an attempt to re-read the sheer function of literature. Any text singing love would not have intended to contain only superficial emotions. Of course, on the contrary, there are many cases where it is no more or less revealed on the surface. For that reason, this article examined its authenticity, especially in relation to the expression of love of Gisaeng, focusing on Chinese poetry and Sijo. First, in the case of works judged to be false love songs, it was found that it was largely due to the customary writing attitude. And it was also examined that songs that aspire to true love were mainly produced in private spaces. These songs also had the characteristic of the existence of a reply poem. In conclusion, this article explained that the feelings of love of Gisaengs were not a matter of dichotomy between positivity and denial, but a structural problem of contemporary society, and furthermore, it was a process to confirm that it originated from the process of deprivation of femininity.

< 목우도(牧牛圖)>의 십게송과 선시 : 곽암선사(廓庵禪師)의 < 십우도 >를 중심으로

조태성 한국고시가문학회 2000 한국시가문화연구 Vol.7 No.1

감성 메커니즘으로서의 ‘哀而不悲’ - 서정시의 계보학적 고찰을 중심으로-

조태성 한국문학이론과비평학회 2012 한국문학이론과 비평 Vol.55 No.-

This study defined that how sadness is embodied through the writing, and how aspect is. <Gongmudohaga>, <Gasiri> and <Jindalraeggot>, etc. are important text for this discussion. A common denominator of this literature is 'loss', and the sadness from it. I think that is Aeibulbi. The basic premise that Aeibulbi can be established is 'expression of sadness' that represented of 'Ae'. And 'hiding sadness' that represented of 'Bulbi'. In that sense, I try to explain that 'Bulbi' must be directing point of 'Ae'. In this case, <Gongmudohaga> was literature that can't be explained neither 'Ae' nor 'Bulbi'. Rather can be confirmed that 'Aeibulbi' is 'made' in later. Also, can explain the point of 'Ae' in <Gasiri>, in contrast can explain the point of 'Bulbi' in <Jindalraeggot>. As a result, Aeibulbi basically is work that secure some space in the literature. That work is that make 'Bulbi' as the point of 'Ae', on the one hand, introduce impossibility of sorrow, and find solution point for this. 이 글은 ‘애이불비(哀而不悲)’라는 미적 매개어를 들어 슬픔이 글쓰기를 통해서 어떻게 형상화되는 지, 그리고 그런 형상화 과정에서 발생하는 슬픔의 정서적 치환 양상은 어떠한지 밝히고자 하였다. <공무도하가>, <가시리>, 그리고 <진달래꽃> 등이 이 논의를 위한 주요 텍스트였다. 이 작품들의 공통분모는 ‘상실’이며, 그로 빚어진 슬픔이라고 할 수 있다. 이들 작품을 통해 ‘애이불비’가 함축하고 있는, 곧 슬픔을 처리하는 고유한 문학적 방식은 무엇인가를 탐색하는 것이 이 글의 주요한 목적이었다. 애이불비가 성립할 수 있는 가장 기본적인 전제는 ‘애’로 표상되는 ‘슬픔의 표현’이었다. 그리고 ‘불비(不悲)’로 표상되는 ‘슬픔 감추기’였다. 그런 면에서 ‘불비’는 ‘애’의 지향점이어야 함을 설명하고자 하였다. 이는 애이불비가 단순히 슬픔을 이겨내는 정화의 양상이라거나, 비감의 미학 차원을 넘어서는 어떤 지점의 설정만을 의미하는 용어는 아니라는 말이다. <공무도하가>는 그런 점에서 보자면 애와 불비라는 두 축 중 어느 한 가지도 설명되지 못한 작품이었다. 오히려 후대에 이르러 ‘만들어진’ 애이불비라는 점을 확인할 수 있었다. 또한 <가시리>에서는 ‘애’의 지점을 설명할 수 있었고, 반대로 <진달래꽃>에서는 ‘불비’의 지점을 설명할 수 있었다. <가시리>와 <진달래꽃>에 관통하는 애이불비의 모습이 정반대의 지점으로 설정되었다는 것이다. 그렇다고 해서 이 두 작품이 애이불비라는 감성 메커니즘의 작동 실패를 의미하는 것은 아니다. <가시리>는 ‘불비’를 보여주지는 않았지만 그것을 위한 ‘여백’을 남겨두었다는 점에서, 그리고 <진달래꽃>은 애이불비의 현재성을 고민할 수 있는 여지를 남겨두었다는 점에서 각각의 의미가 있다고 보았다. 결론적으로 문학에서 애이불비는 기본적으로 어떤 여지를 확보하는 일이라고 할 수 있다. 그것은 애의 지향으로서의 ‘불비’, 즉 애도 가능한 슬픔으로서의 어떤 지점을 남겨 놓는 것일 수도 있을 것이며, 한편으로는 애도의 불가능성을 상정하고, 이를 위한 해결 지점을 모색하는 일일 수도 있을 것이다. 문학의 감성적 지향점을 설정하기 위해서는 단순히 작품에 드러나는 미적 특성뿐만 아니라 그 미적 특성을 산생하게 하는 심리적 기제의 구조화 양상을 살펴보는 일도 병행되어야 하기에 이를 애이불비를 통해 살펴보고자 했던 것이다.

‘고쳐 쓰게 하기’를 통한 글쓰기 수업 모형

조태성 겨레어문학회 2007 겨레어문학 Vol.38 No.-

The Writing Class Model through‘Improving a composition’ ‘고쳐 쓰게 하기’를 통한 글쓰기 수업 모형