• Cross-Cultural Studies
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• v.45
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• pp.167-194
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• 2016

V.V. Rozanov, a well-known writer and thinker, has wrote many critical essays about Russian literature and writers. The most famous literary criticism written by him is an essay about F. Dostoevsky - Legend of the Grand Inquisitor (1894), which has been highly appraised by N. Berdyaev. If Dostoevsky was the best and the most admirable writer by Rozanov, Gogol was one of the most condemned one by him. This paper, first of all, aims to analyze Rozanov's literary essays about Gogol. At this time, our subjects of analysis included writer's critical essays about Pushkin and Dostoevsky because Rozanov tried to investigate the nature of a creation of Gogol through comparative studies. Based on these analyses, we attempted to deduce an overall view of Rozanov about Russian literature. We also examined the influence of Rozanov on the later criticism.

• KOREAN POULTRY JOURNAL
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• v.38 no.8 s.442
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• pp.80-81
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• 2006

다한영농조합법인(조합장 이만형)은 우리나라 채란농가를 대표하면서 양계산업의 발전과 양계협회 회원의 노고에 대한 감사를 표하는 의미에서 2000년부터 매년 본회직원을 초청해 단합의 장을 열고 있다. 지난 3일 경기도 하남시 소재 고골산장에서 다한영농조합법인(조합장 이만형) 회원과 대한양계협회 직원들이 모여 2006년 단합대회를 개최하였다. 이 자리에서 조합인들을 만나 취재한 내용을 정리하였다.

• Cross-Cultural Studies
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• v.37
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• pp.51-79
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• 2014

Seriously depressed by the failure in the first performance of his own drama ${\ll}$The Government Inspector${\gg}$, N. Gogol sought out a space, Italy, which is obviously a turning point for the writer. Here in Italy, the writer could be able to explore an essential foundation for the national identity as well as self-identification of Russian traditional culture, all of which have already been epitomized in the Renaissance period in Italy. The city Rome itself provided Gogol with its grandness and harmonious perfectness, influencing something 'spiritual being' upon the writer. The work under discussion, "Rome," is thus created through these literary circumstances. Though it is made under the different title as "Annuntiata" and it delivers a love story between lovers, the story lines gradually turned into a fiction about the city, Rome. In comparison with city Paris, Gogol himself presents a negative view of the French metropolitan, saying that it is nothing but a by-product of the 19th century civilization. Interestingly enough, Rome for Gogol is totally different; it is the place of sublimity, that is a locus of harmonious, holy, and eternal city. Likewise, this pattern can be said of another description on the two contradictory cities: Paris and Rome. Again, Gogol fully pictures the city Paris as centripetal and Rome as centrifugal, in which the main protagonist makes the reader indulge in his own world. Throughout the story the writer tells us a transformation experienced by his character, and the work ends with an open denouement. Like Jerusalem, Rome is the city of resurrection for Gogol. Yet, this kind of possibility of transformation in the story is exposed to the hero, and it arguably depends on the extent to which he explores the readiness for encountering of 'eternity' in this "eternal city."

• Proceedings of the KIEE Conference
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• 2009.07a
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• pp.1968_1969
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• 2009

한의학에서 맥진을 하는 위치인 좌, 우 요골동맥상의 촌(寸), 관(關), 척(尺) 위치는 손목에 있는 요골 경상돌기(styloid preocess) 부근의 볼록한 지점인 고골(高骨)을 기준으로 맥이 느껴지는 위치를 검지, 중지, 약지를 이용해 찾는다. 각각의 위치는 한의학적인 관점에서 각기 다른 장부의 기능과 연결되며 그 차이를 인지하여 맥을 진단하는데 그 결과에 따라 병증을 진단하는 요소로 활용되게 된다. 그러나 생리학적으로 좌, 우 요골동맥의 차이는 크지 않다고 알려져 있으며 차이에 대한 연구도 많지 않다. 본 연구에서는 기존연구에서 밝혀진 좌, 우 요골동맥의 혈류속도의 차이를 근거로 한의사 맥진시 센서 역할을 하는 손가락에서 감지된 좌, 우 맥진위치의 차이가 실제 맥진기에서도 나타나는지를 측정을 통해 확인 해 보고자 한다. 건강한 20대 남자 135명을 대상으로 맥파를 측정하여 맥파 파라메터 중 차이를 보이는 파라메터를 통계분석하였다. 그 결과, 11개의 파라메터가 좌, 우 맥진위치에서 차이를 보이는 것을 확인하였다. 차이를 보이는 변수는 특정 변수로 한정되지 않고 맥압과 관련된 (h1~5) 변수와 피크가 나타나는 시간의 변수, 맥파 파형의 면적 등 다양한 변수에서 차이를 확인할 수 있었다.

• Proceedings of the KIEE Conference
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• 2008.07a
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• pp.1989-1990
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• 2008

한의학에서 맥진은 한의사가 손가락으로 환자의 손목의 요골동맥을 짚어 맥박이 손가락에 닿는 느낌에 근거하여 병세를 감별하는 진찰방법으로 인체의 건강상태를 살피고, 정상인의 평맥(平脈)으로부터 환자의 병맥(病脈)을 분석하는 진단법이다. 손목에 있는 요골 경상돌기(styloid preocess) 부근의 볼록한 지점을 고골(高骨)이라하는데 이 돌기를 기준으로 맥이 느껴지는 위치를 검지, 중지, 약지를 이용해 진맥위치를 잡는다. 맥진 시 한의사는 맥진위치에 압력을 서서히 가하면서 손끝에 느껴지는 감각을 이용해 진단한다. 이 과정에서 맥진위치 요골동맥의 혈관이 서서히 occlusion 된다. 본 논문에서는 맥진과정 시 요골동맥의 혈류역학적인 변화를 초음파를 이용해 분석해보고자 한다. 건강한 남자 피험자(34세)를 대상으로 초음파 장비(Voluson 730Pro, GE Medical, U.S.)를 이용해 맥진 위치의 혈관특성을 관찰한다. 혈압계를 이용해 혈관에 압력을 0에서 130mmHg까지 10mmHg씩 단계별로 가압한 후 초음파를 측정한다. 그 결과, 요골동맥에 압력을 가할수록 혈류속도가 서서히 감소함을 알 수 있었으며, 회귀식을 분석할 수 있었다(y = -0.3509x +44.323, $R^2$ = 0.9547). 또한, 가압 단계를 0$\sim$10mmHg, 20$\sim$40mmHg, 50$\sim$70mmHg, 80$\sim$100mmHg 110$\sim$130mmHg으로 가압단계를 나누어 보면, 각 단계별로는 42.32cm/sec, 33.08cm/sec, 24.8cm/sec, 14.3cm/sec, 0cm/sec로 혈류속도가 변화를 보였다. 각 단계별로 혈류속도가 평균 10.58cm/sec의 차이를 보임을 알 수 있다. 본 연구를 통해 가압력에 대한 맥진위치의 혈류변화를 관찰하였다. 그러나 직접 맥진위치를 가압하면서 초음파를 통해 혈류속도를 측정할 수 있는 방법이 없어, 맥진 위치 바로 위쪽을 가압하고 초음파 측정을 하였다. 직접 혈관을 가압하고 그때의 혈류속도를 측정하면 보다 정확히 맥진시의 혈류역학적 특성을 분석할 수 있을 것으로 판단된다. 장비의 고안을 통해 다음 연구에서는 직접적인 가압 후 혈슈속도를 측정해 봄으로써 본 결과와 비교 분석해 보고자 한다.

• Cross-Cultural Studies
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• v.46
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• pp.281-296
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• 2017

Andrei Amalrik's plays are a unique phenomenon in the 70 years' history of Soviet drama. Half a century after the Soviet theater had intentionally forgotten its own achievements of avant-garde dramaturgy in the early 20th century, his bizarre plays suddenly emerged in the Soviet theater environment, completely separated from contemporary Western practices of the experimental theater. Surprisingly even now, Amalrik's plays have almost been forgotten not only in Russia but also by foreign Russian literary scholars. Amalrik's autobiographical essay is his only book published in Russia after the collapse of the Soviet regime. There is no collection of his works, and reevaluation of his work is not found even in Russia. However, Amalrik is a writer who should get a proper evaluation. The purpose behind studying his plays is to restore the tradition of Russian grotesque-absurd dramaturgy, which has been inherited from Gogol, Khlevnikov, Mayakovsky, and Oberiu. In this paper, we will analyze the mechanism of composition in Amalrik's plays.

• (The) Research of the performance art and culture
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• no.39
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• pp.167-196
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• 2019

Geugyesuryeonguhoe founded the Silheommudae and chose Nikolai Vasilevich Gogol's Revizor as the founding performance. This Revizor theater performance was a performance equivalent to the founding performance of the Geugyesuryeonguhoe, so it had to be based on the discussion and consensus of the members. Nevertheless, the reasons for selecting this work, the actual performance situation, and whether or not it was successful were not properly addressed in the research data so far. As a result, Revizor performance of Silheommudae did not escape the powerful influence of Revizor theater performance performed at Tsukiji(築地) theater in Japan. In addition, the original design of stage, acting and acting concept of Silheommudae was not confirmed. After this performance, the change of the performance method of Geugyesuryeonguhoe was inevitable. And Geugyesuryeonguhoe was forced to carry out its own reflection on the problems in the stage process.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.79-88
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• 2014

Vampilov, who is not well known as a playwright in domestic, is acknowledged comparable to Anton Chekhov in Russia. This paper was planed in order to promote a unsatisfied study until now in domestic for works by Vampilov and studied a part of composing play to put on the stage for , a drama written by Vampilov. This paper, originated from a viewpoint that actor have to complete the final text of the play for audiences to read depending on the drama and based on work features and characters of Vampilov, established an analysis scheme according to segments of unit actions for actions of Sarafanov, the character of the play, in order to achieve a purpose under suggested situation at the drama and focused on completing purposes per units individually. We have analyzed Sarafanov and his actions referring patterns and probabilities of the characters in the other works by Vampiov and regarded it as the important item together with logical basis of actions. Lyric and humanism emphasizing works by Vampilov, affected by Anton Chekhov and Nikolai Vasilevich Gogol, are acknowledged as realistic descriptions using contingency and a play within a play outstandingly and emphasized an importance of human relation. We have selected as a primary way to compose action text that audiences would read on the stage and used it as the method to design action of the characters in order to activate natural good of Sarafanov and general absurdities that human, does creative works, never give up purposes of ideal life.

• Journal of the Korean association of regional geographers
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• v.10 no.2
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• pp.313-340
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• 2004

Namhansan fortress of Kwangju in Kyonggi Province has remained a traumatic historical landscape of Manchu invasion in the year 1636. Skirted by the mountain fortress and on the ground of the uplifted flatland was the county seat which was relocated in 16Z7 from Kogol at the underneath ravine and later removed in 1917 to a crossroad place at the low-lying river plain. Once a secluded mountain village, Sungnaedong was at the outset planned as a county town of Kwangju, achieving thereafter a dramatic transformation from a small town of three hundred households into a nascent urban settlement of approximately six hundred households by the mid-18th century. The townscape of Sungnaedong features shrines, a second palace, a magistrate-commander's office, administrative buildings, and a periodic marketplace which were all decreed by the Neo-confucian template of the scheme of county seats. Townspeople managed to live on tilling tax-alleviated crop lands, trading merchandise, and selling their labor. Changing socio-economic situations led to the relocation of the administration center to the gateway village of Jumakri, which consequently heralded the decline of the mountain-fortress settlement of Sansungri at Namhansan.