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김선태 현대문학이론학회 2009 現代文學理論硏究 Vol.0 No.39
The purpose of this thesis is to explore the characteristics of rhythm in Soo-kwon Song's poetry by categorizing it into the following four types: 1) the traditional and the transformed rhythm; 2) the rhythm of masculine sound; 3) aboriginal rhythm of the Southern province; 4) the rhythm of lengthy curve. The the main part of this thesis can be summarized as follows. First, the rhythm in Soo-kwon Song's poetry is based on our traditional rules of versification, yet it attempts a new transformation and development. In other words, the rhythm of his poetry is based on the pattern of 3 foots or 4 foots, but it is not limited by the basic pattern. He creates his own unique rhythm by lengthening or dividing the line. Especially the long and shady-hanging rhythm is the unique merit of his poetry, which is distinguished from those of Yong Woon Han, Baek Seok, and Jeong Joo Seo. Second, we can find the masculine power in the rhythm of Soo-kwon Song's poetry, and the sound imagery is so dominant that it has a big boom. This sound effect is the result of his consideration that sound imagery is an important element to represent musicality of poetry and adds moist shine to the rhythm. In particular, he auralizes vision by endowing the static object with dynamic sound imagery. Third, the rhythm of Soo-kwon Song's poetry is mostly adopted from the rhythm of Southern province. The traditional rhythm of the Southern province is made up of Pansori, folk song, farm music, dance, warrior song, and a brisk and lively folk tunes including aboriginal dialect of Southern province. Therefore, the rhythm in his poetry is very close to the reorganization of all the rhythms in the Southern province. His poetic rhythm is superior to those of his senior poets, Young Lang Kim and Jeong Joo Seo, from Jeon La Province. Fourth, the rhythm of his poetry meanders with lengthy curve. This rhythm of curve, which embodies aesthetics of slowness, is brought from the ridge line of mountains, the flow of rivers, the sound of bells, unpaved country roads, and evening smoke. Each of these four characteristics has its own point of difference, but they are interconnected organically. In other words, they can be converged into the rhythm of flexible curve. This rhythm of flexible curve is the rhythm of the Southern province and the archetypal breath of Korea. It can be epitomized by this one phrase “the rhythm of the allness of curve.”
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부비동 수술시 중비갑개-비중격 봉합에 의한 OMU 개방성 유지방법
김선태,정유삼,최진호,전형규,고상현,차흥억,한규철 대한이비인후과학회 2003 대한이비인후과학회지 두경부외과학 Vol.46 No.4
Background and Objectives:Midle turbinate lateralization is a comon complication of endoscopic sinus surgery, and many methods are employed to avoid it. We tried to suture middle turbinate-septum-opposite middle turbinate for middle turbinate stabilization. Materials and Method:A prospective study was done for 32 patients who had floppy or paradoxically curved midle turbinate at the time of endoscopic sinus surgery. A 3-0 Vicryl suture on 20 mm 1/2 curved round bodied needle was used for suture. The needle was pased through the left middle turbinate from lateral to medial, transversing the nasal septum to the right side and continued through the middle turbinate from medial to lateral. It is then passed again in the opposite direction through the same structures and tied. All cases were followed up until complete healing was confirmed by endoscopic visuali-zation at the final ofice examination. Results:OMUs (Ostiomeatal Units) were patent in 93.7% (30/32) of patients. Middle (12.5%), patients complained temporary hyposmia during the imediate postoperative period. In 2 cases, patients continued to have hyposmia at 3 postoperative months, but recovered at 6 postoperative months. Crust was observed about 6 weeks. Granulation tisue was presented in 3 cases (9.4%). Conclusion:Suture technique is an efective method to stabilize middle turbinate and it can be performed in selected cases of paradoxical middle turbinate or flopy midle turbinate. (Korean J Otolaryngol 2003 ;46 :309- 12)
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김선태,허현승,홍성주,최일환 한국냄새환경학회 2006 실내환경 및 냄새 학회지 Vol.5 No.4
The application of gas sensors for the measurement of environmental odor was investigated. The test chamber systems were consist of three parts, as it were, sample injection, odor sensing and data process parts. Four type of sensors were tested with regard to sensor performance like baseline stability, sensitivity and reproducibility to H2S, CH3SH, NH3, and (CH3)3N gases. As the results, two kinds of sensors were content with the circuit conditions used in this study. In addition, the influence of relative humidity to the selected two types sensors was tested. The final sensor, which was appeared to be the most stable sensor against relative humidity, was selected, and applied practically to measure the real odor from the manure odor source. 본 연구에서는 네 종류의 악취센서를 이용하여 가스에 대한 감도 및 성능을 비교하기 위한 실험을 하였다. 센서를 평가하기 위한 챔버 시스템은 크게 측정부분, 시료주입부분, 신호처리부분으로 구성하였다. 가스(H2S, CH3SH, NH3, (CH3)3N)에 대한 감도 및 재현성을 평가한 결과, 두개의 센서가 각각 초기값이 불안정하며, 또한 본 연구에서 사용한 회로구성에 부적합한 것으로 나타났다. 사용조건을 만족하는 두 개의 센서의 경우 상대습도 변화에 따른 초기값 변화는 각각 최대 0.05 V와 0.63 V로 나타났다. 상대습도의 영향이 작은 센서를 이용하여 악취 발생사업장의 복합악취를 대상으로 한 반응성 실험을 한 결과 안정적으로 반응을 하여 악취 발생사업장에의 적용 가능성을 확인하였다.
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김선태 현대문학이론학회 2005 現代文學理論硏究 Vol.0 No.25
This study has its purpose on figure out the expressive features shown in Lim Young-jo's poetry. This study divides his achieving expression aesthetics into three parts; 1) easy expression and simple sentence structure, 2) exquisite combination with an object and an ego, 3) discourse, wit, and humor. Each part has its own meaning. For example, 1) becomes a good model of a poem, read in the isolated era from a reader. 2) is an ideal poetic methodology for reaching at an ultimate of a lyric poetry. 3) is the device for making a grave and concrete mood into a smooth and funny one. Furthermore, these are the unique vessel contained his poetic spirit which can be summarized on a self-reflection and a structure. This study can make sure not only that he has held fast to the upper-mentioned features from his first anthology to the last one, but also that the deeper his poetic annual ring, the closer a state of perfect self-effacement. These features can be from his innate character, but generally can be understood as his own unique writing way which observe the greatest proprieties to readers, and at the same time, nobody can imitate. Therefore, some people's indication worried about "the simplicity of writing a poet" can be a baseless anxiety because his literary style never can be accomplished easily. In Korean field of poetry, there is still remained the tendency that the difficult poem is good and a poem understood easily is despised. This is the representative case misunderstood the real meaning of "abstruse poetry". This study considers the poem that can express all of hardness to be easy as a real abstruse poem. At this point, Lim Young-jo's poetry is an outstanding one in Korea.
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