경계인으로서의 윤동주와 본향의 자리

윤지은(Yun, Ji-eun) 한국근대문학회 2017 한국근대문학연구 Vol.18 No.2

윤동주와 그의 시세계를 재구성하는 과정에서 주목되는 것은 그에게 영향을 준 외부적 요인을 살피는 작업이다. 이 작업은 윤동주 작품의 창작 시점과 발표 시점이 시차를 갖기 때문에 당대의 맥락을 필수적으로 살펴야 한다는 점, 과작을 했던 만큼 시인의 시세계 전반을 구성하기 위해서 영향관계에 있던 요인을 빠짐없이 조망할 필요가 있다는 점 등에서 중요하다. 이러한 문제의식에서 출발하여, 본고는 윤동주의 애송가 〈黑人의 望鄕歌〉를 새롭게 소개함으로써 시인의 이력을 세밀하게 조직해보고자 했다. 번안곡인 〈黑人의 望鄕歌〉는 미 대륙에 끌려온 아프리카 흑인노예가 그의 고통을 위로받을 공간인 유토피아적 고향을 불러내는 노래다. 나아가 노래와 시의 관련성을 토대로 윤동주 시에 나타난 ‘고향’의 의미를 해명하였다. 윤동주 시에서 고향은 부조리한 현실을 뛰어넘어 진정한 자유를 성취할 수 있는 미래에 대한 욕망을 포함한 공간이다. 이 공간은 ‘진정한 고향’ 혹은 ‘본향’으로 구체화된다. 제국 일본과 식민지 조선, 그리고 간도라는 중층의 경계를 의식했던 윤동주에게 ‘진정한 고향’을 형상화하는 것은 현실에 저항하고 시대를 전복하려는 혁명적인 시도였다. The external factors that affected Yun Dong-ju’s poetry and poetics attract much attention when we study his poetry. The most important of such external factors is the contemporary context of Yun’s writing. This is because the time when he composed poetry was different from the time when he published it. Furthermore, the poet’s works are few, thus the external factors must be carefully examined iso that we can construct Yun’s whole poetry. Taking this issue of order of composition as its starting point, this paper discovered Yun’s favorite song 〈黑人의 望鄕歌〉, and organized his career in detail. 〈黑人의 望鄕歌〉 was a song based on African-American Spiritual 〈Carry me back to old Virginny〉. This song is about black slaves in America wishing to return to their homeland. Based on the relationship between 〈黑人의 望鄕歌〉 and Yun’s poetry, this paper explains the meaning of ‘home’ in Yun Dong-ju‘s poetry. In Yun’s poetry, home is a place that embeds the desire for the future that can achieve true freedom beyond the absurd reality. Yun Dong-ju defines this space as the ‘true home’ or ‘homeland’. It was a revolutionary attempt to overthrow the era’s oppressors and resist their reality, who was conscious of the boundary between the imperial Japan, the colonial Joseon, and Gando.

윤이상의 주요음기법을 통하여 나타난 도교사상(Interludium A를 중심으로)

양윤선 ( Yun Seon Yang ) 한국피아노학회 2009 피아노음악연구 Vol.3 No.-

Isang Yun is one of the great artists from 20th century who combined East Asian art and philosophy to Western music, and produced a music that is performed by Western instruments. In Germany, he got the title of `The Most Important 56 composers in 20th century`, `Living 5th Composer in Europe`, and `The Most Important Composer in 20th century`. Isang Yun`s musics are considerable to European artists. His musics contain unique characteristics in which artists from Europe can not modify. Isang Yun who recognized Western and Eastern culture in a principle of music got spotlight from European musicians. Ideas Isang Yun focused on are Taoism, Buddhism, and `tone` concept from East Asia. He concentrated especially on Taoism. Idea of `Hauptton` which is basis of Isang Yun`s music originated from Eastern sound concept. Therefore, this thesis will be discussed on musical presentation and Taoism that are indulged in Isang Yun`s music through "Interludium A". This piece was created with creativity and unique characteristics of Isang Yun. His life in Korea and Europe, style of music during his life time, what is Taoism and balance of yin and yang, and analysis of hauptton in each parts will be discussed to prove the understanding and hidden meaning of "Interludium A".

조형예술의 측면에서 본 윤이상의 주요음(향)작곡

윤신향 한국음악학학회 2004 음악학 Vol.11 No.-

This study tries to investigate the relation between maintone(sound)-composition of Isang Yun and formative arts. The first two chapter summerize the music historical primise for the integrative-artistic aesthetic and the process of establishment of Isang Yuns identity as a composer in europe. Therby it is characteristic, that Yun is interested in the relation between music and pictures, while the western composers in the 1950s deal with graphical music and accidental music: the compositional situation tends to weaken the traditional note system, to expand the traditional instrumental medium, and to dismantle the traditional genre. The third chapter describes the relation between the formative image of west side in the acient tomb mural 'Sasindo', which is an about 1500 years old Korean traditional heritage. The line image of this mural is similar with the line image, which Yun draws in the dialog with the japanese composer Nishimura Akira about his maintone(sound)-model. An archetype of this line image is implemented in the beginning of the piece <flute-etu¨de>(1974) in the first section, and it is transformed in the beginning of the fifth section of the same work. Specially amorphous form ending of the maintone(sound)-model displays in this part an expanded form. The expansion of the amorphous form at the end of the maintone-model occurs also three times in <Re´ak>(1966). It is deduced, that this amorphous part form shaws alike in <Images> as a connecting part of the sound-surface. The last two chapter deal with the means of change the Korean traditional format image to modern sound. Yun saw always the picture of the mural in his living room and emphasized the line image of this picture in the explanations of his work, and draw this form in the air in the introduction of play. This phenomen is interpreted under two aspects: at one hand side, the image depicts the taoistic thouhgt, which Yun himself wont to identify with his work. On the other hand side, the connection of Yun's music with a Korean traditional image shaws the fusion aspect of composer. The formative essence of maintone(sound) based on spatial form. The formative mean is created through tile fusion of the line and colorful images. This aura of an image is consistently and endless open. As a result, his maintone(sound) -composition can be interpret as a try to form of an Asian image in the real space 'modern'.

벤조피렌으로 유도된 마우스 폐선종에 대한 인삼분말의 연근별 항발암효과

Yun, Taik-Koo,Lee, Yun-Sil The Korean Society of Ginseng 1994 Journal of Ginseng Research Vol.18 No.2

The authors have already shown that 6 year old red ginseng extract or its powder has remarkable anticarcinogenic effects. In this study, we further investigated whether fresh ginseng or white ginseng has similar anticarcinogenic effects and also if their anticarcinogenic effects are related to the types and ages of ginseng using Yun's anticarcinogenicity test (9 week medium term bioassay model). Dried fresh ginseng and red ginseng at 1.5, 3, 4, 5 and 6 years, and while ginseng at 3, 4, 5 and 6 years were used. The following results were obtained: 1) In the dried fresh ginseng treated groups, the incidence of lung adenoma induced by benzo(a)pyrene was 41.39) and its incidence was reduced to 31.2%, 30.0%, 31.3%, 30.7% and 27.8% after co-treatment with 1.5, 3, 4, 5 and 6 year-dried fresh ginseng, respectively. A significant effect was observed only in 6 Year-dried fresh ginseng. 2) In the white ginseng treated groups, the incidence of lung adenoma induced by benzo(a)pyrene was 45.0% and its incidence decreased to 41.3%, 38.0%, 31.6%, and 25.3% after co-treatment with 3, 4, 5 and 6 year-white ginseng, respectively. Five and 6 year-ginsengs showed significant inhibition of lung adenoma. 3) In the red ginseng treated groups, the incidence of lung adenoma induced by benzo(a) pyrene was 48.6% and its incidence diminished to 37.9%, 41.7%, 31.7%, 28.3% and 25.5% after co-treat-melt with 1.5, 3, 4, 5 and 6 year-red ginseng, respectively. In 4, 5 and 6 year-ginsengs, the anticarcinogenic effect was prominent. From the above results, we concluded that a significant anticarcinogenic effect was observed in 6 year-dried fresh ginseng, 5 and 6 year-white ginsengs, and 4, 5 and 6 year-red ginsengs.

Vowel Compression due to Syllable Number in English and Korean

Yun, Il Sung 한국음성과학회 2002 음성과학 Vol.9 No.4

Strong compression effects in a stressed vowel due to the addition of syllables have been adopted as evidence for stress-timing. In relation to this, Yun (2002) investigated the compression effects of number of syllables on Korean vowel. The results generally revealed that Korean had neither significant nor consistent anticipatory or backwards compression effects, especially when it came to the sentence level. This led us to claim that Korean would not be a stress0timed language. But the language investiga5ted in the study was only Korean, and further cross-linguistic research was needed to confirm the claim. In this study, Yun's (2002) sentence level data are compared with Fowler's (1981) English data. The comparison reveals that Korean seems to be similar to English inthe backwards compression effect, whereas the two languages are markedly different in the anticipatory compression effect. Thus, if English is a stress-timed language and the strong anticipatory compression effect is evidenct in favour of stress-timing as is claimed, the present cross-linguistic study confirms Yun's (2002) suggestion - Korean is unlikely to be stress-timed. On the other hand, compression effcts are revisited: the differences in vowel compression between English and Korean arediscussed from the syntactic and phonological points of view.

Estimation of the Extreme Value Index Ⅱ : Efficiency Optimal Estimators 효율 및 최적 추정량

Yun, Seok Hoon 수원대학교 기초과학연구소 1997 基礎科學論文集 Vol.6 No.-

극단값 지수의 추정량으로서 Falk(1994)가 제시한 추정량과 Yun(1997)이 제시한 추정량은 모두 Pickands 추정량의 저효율을 개선시키는 효과가 있다. 본 논문에서는 Falk의 추정량과 Yun이 제시한 추정량이 각기 최적의 방법으로 선택되었을 경우 점근적으로 동일한 효율을 가짐을 보인다. 또한, 유한표본의 경우 시뮬레이션을 통하여 Yun의 추정량이 Falk의 추정량보다 우수함을 보인다.

윤이상의 <고풍의상>: 박, 박자 및 리듬적 특징 연구

주윤영 ( Yun Young Joo ) 세계음악학회 2012 음악과 문화 Vol.27 No.-

Yun`s early art song <Traditional Attire> successfully represents the rhythmic characteristics of Korean traditional music, which is the coexistence of duple and triple meter in musical time. However, it has never been studied in depth. Thus, this paper will discuss how Yun brought out the rhythmic characteristics of Korean traditional music, not depending on any particular changddan (rhythmic patterns of Korean traditional music), and rhythmic features of the Korean text within the musical texture. In the course of the study, "Si-Jo," one of the three genres of traditional Korean classical art song, will be mentioned, and Pyongsijo <Dong-chang-i> will be examined to provide background discussion.

벤조피렌으로 유도된 마우스 폐선종에 대한 인삼분말의 연근별 항발암효과(II)

Yun, Taik-Koo,Lee, Yun-Sil The Korean Society of Ginseng 1994 Journal of Ginseng Research Vol.18 No.3

In this study, we investigeated the anticarcinogenicity of various types and ages of ginseng extracts as an extended study using Yun's anticarcinogenicity test. Fresh ginseng at 1.5, 3, 4, 5 and 6 years was dried and powdered. And white ginseng was processed in the same way that of fresh ginseng after removal fo the ginseng cortex and fine root. For red ginsneg, fresh ginseng was steamed and dried. Each ginseng powder was extracted and extracts was freeze dried. Newborn N:GP(S) mice were given a single subcutaneous injection of 0.5 mg of benzo(a)pyrene(BP). Various types and ages of ginseng extracts at 2.5mg/ml were orally administered. All the mice were sacrificed at the 9th week. The following results were obtained. In the dried fresh ginseng extract treated group, the incidence of lung adenoma induced by BP was 63.9% and its incidence was reduced to 48.3%, 52.5%, 51.8%, 47.5% and 44.1% after co-treatment with 1.5, 3, 4, 5 and 6 year-dried fresh ginseng, respectively. The incidence of lung adenoma induced by BP on the white ginseng extract treated group was 41.3% and decreased to 31.0%, 46.0%, 44.0% and 26.5% after co-treatment with 3, 4, 5 and 6 year-white ginseng, respectively. In the red ginseng extract treated group, the incidence of lung adenoma induced by BP was 47.5% and its incidence diminished to 40.7%, 35.0%, 30.1%, 30.0% and 26.3% after co-treatment with 1.5, 3, 4, 5 and 6 year-red ginseng, respectively. From the above results, we concluded that a statistically significant anticarcinogenic effect was observed in extracts of 6 year-dried fresh ginseng, 6 year-white ginseng, and 4, 5 and 6 year-red ginseng and it is suggested that the anticarcinogenicity of ginseng varies according to the types and ages Key words Ginseng extract, types and ages. anticarcinogenic, newborn mice, lung tumor.

최제우의 세계인식(世界認識)을 통한 민중미술의 미의식(美意識)연구

김윤주 ( Kim Yun Ju ) 한국동양예술학회 2020 동양예술 Vol.49 No.-

Choi Je-u presented a few perspectives while explaining the meaning of the character ‘Si(侍)’ of ‘Sicheonju(侍天主, serving the heavenly God)’. The first is a perspective on human beings of mind[心, emphasizing mind] through ‘Naeyusillyeong(內有神靈, having the divine spirit inside)’. The second is a perspective on nature of life[生, respecting for life] through ‘Oeyugihwa(外有氣化, harmonizing with the energy of heaven outside)’. The third is a perspective on morality of service[侍, unifying all things]’ through ‘Gakjiburi(各知不移, recognizing that human is heaven and having an attitude to put it into practice). In this paper, considering these three perspectives as the characteristics of his world perception, I examined artistry based on them. Choi Je-U considered that nature and human as an equal relationship that cannot be superior to each other saying that the Heaven mind is the very Human mind[天心卽人心]. It is because he thought that human and the universe cannot be thought of separately and each other itself refers to the other. Based on the perspective on human being of Naeyusillyeong(內有神靈), Park Saeng-gwang acknowledged the shamanic value of the mediator who connects the heaven and humans in < Mudang 12(Shaman 12) >, and O Yun realized the aesthetics of ugliness(醜) through the dokkaebi in < Natdokkaebi(Daytime Goblin) >. In the same context, in addition, Chusa Kim Jeong-hui’s < Panjeon(板殿) >is the art work that completed the aesthetics of abnormality(怪). Choi Je-U also argued that the principle of completing the law of calligraphy lies in one mind. In addition, Choi Je-u regarded the energy of life as an aesthetic value and respected for it based on the perspective on nature of ‘Oeyugihwa(外有氣化)’, and that was found through the representation of respecting for the earth that was foundation of human beings in Shin Hak-cheol's < Monaegi(Rice Transplantation) >. In addition, Kang Yo-bae, through the pi hexagram(天地否卦), embodied the fact that humans managed to cling on to life in a situation where the principle of life of yin and yang is collapsed due to the gap between the nature(human) symbolized as farmers and the material civilization. In addition, O Yun showed the feeling of movement through the simplification of the shape using a sword in < Bukchum(Drum Dance) >, and Park Saeng-gwang showed life force through the contrast of our original color sense in < Tohamsan Haedoji(Sunrise of Mt. Toham) >. Lastly, Choi Je-u had the perspective of morality of ‘Gakjiburi(各知不移)’ that everyone should recognize that human is heaven and have an attitude to put it into practice. Through his perspective of morality, we can see that he considered the pursuit of peace through solidarity as an aesthetic value. Hong Seong-dam contains a dream for a world of peace in which all people become one transcending all kinds of discrimination and violence through solidarity in < Daedongsasang(Thought of Great Unity > and < Hwaetbulhaengjin(Torch March) >. Moreover, O Yun’s < Kalnorae(Sword Song) > and Park Saeng-gwang’s < Jeon Bongjun > contains the ideological background of the struggle for democracy and human rights. They tried to deliver the message of Great Unity and lead the people into the right path through the works with their devotion based on Choi Je-u’s thought of arguing to recognize the dignity of all things and to respect it.

『閒汨董』 所載 <韋生傳> 硏究

간호윤 ( Kan Ho-yun ) 한국고전문학교육학회 2007 고전문학과 교육 Vol.14 No.-

This article is focused on ‘the significance of excavated material < Wisaengjeon > which takes 『Hangoldong』 as the subject material, and the misunderstanding about < Wigyungcheonjeon >’. 『Hangoldong』 may have been transcribed in the mid-seventeen century by a transcriber who lived in a period near the disturbances of war. Summaries of inquiry are as followed: ① So far there exist several kinds of < Wisaengjeon >, including ‘kan Ho Yun’ version of < Wisaengjeon >, Korean version of < Wi Dyeon >, ‘Jeo Cho’ version and ‘Yu Jae Young’ version in one category, and < Wigyungcheonjeon > based on 『Godamyoram』 which is along a different path of transcription in the other category. The official title is < Wisaengjeon >. ② The < Wisaengjeon > category is closer to the original copy, while the < Wigyungcheonjeon > was transcribed from a different version copied out of the same bottom book with the < Wisaengjeon >’s. ③ The transcriber of 『Hangoldong』 presumably had experienced the disturbances of war, was morally indignant at invaders, was a person of wide reading, and was an righteous intellectual in a noble family who had an indistinct consciousness of novels. ④ While it can be said that < Wigyungcheonjeon > has lower-quality sentences and less tension compared to < Jusaengjeon >, < Wisaengjeon > may be generously assessed. ⑤ Issues of the representative version and the author of < Wisaengjeon >, which have not been dealt with in this article, may still remain as the future subjects. Particularly, the authors can be studied in the positive point of view, by connecting the Korean version of < Wi Dyeon > with the 『Hangoldong』-based < Wisaengjeon >. Additional articles are expected regarding this matter. In conclusion, clear solutions about authors and in-depth discussions on literary works are encouraged, by informing fellows, seniors and gentlemen that ‘Gan Ho Yun’ version of < Wisaengjeon > has been added to the history of Chinese novels in 17th century.