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권호별목차 / 소장처보기

H : 소장처정보

T : 목차정보

한국시학연구 = Korean poetics studies 12건

  1. [국내논문]   '경계시' 연구  

    강은교
    한국시학연구 = Korean poetics studies 2001 no.5 = no.5 ,pp. 7 - 39 , 2001 , 1229-1943 ,

    초록

    The purpose of this paper is to show "Kyungaesi" (poetry including the traits of boundary), that is, the idealistic form of poetry, which can be led by studying prose poetry, one of the contemporary poetry forms. Therefore, this study has dealt with three main poets" works that have shown the occurrence of prosaic expression in poetry, an important element consisting of prose poetry and represented a turning point in Korean literature history. They are Joo, Yo-Han(the 1910"s-1920"s), Lim, Wha(the 1920"s-1930"s), and Kim, Soo-Young(the 1950"s-1960"s). Firstly, Joo, Yo-Han"s poetry considering the first modern lyric poems in the late 1910"s in Korean literature history practiced release of emotion and language. By pursing "new form in poetry", he showed "Yurosung"(the tremendous abundance in emotion and poetic words) in the beginning of the colonial period, the tine that the old era of the 1910"s-1920"s was gone and new period started. Secondly, in the example of Lim, Wha(the 1920"s-1930"s), we can also see a wide range of characteristics of boundary. Written as form of letters, Lim"s poetry have shown the boundaries between present and dream, ideal and reality, present and past. Especially, as he was the member of KAPF, Lim made his poems the method to propagandize for KAPF. As a result, Lim was naturally able to achieve successful "Kyungaesi" by the occurrence of prosaic expression in poetry. Lastly, Kim, Soo-Young (the 1950"s) realized the mixed phenomenon by the mixture of the occurrence of prosaic and versified expression in poetry. Thus, this awareness enabled him to form an idea of "Kyungaesi" by expressing both prose and verse characteristics in a piece of poetry, Kim also produced "Chamyusi"(realistic poetry) showing the avant-garde traits. In addition, this formal appearance of poetry by the occurrence of prosaic expression in poetry generated aphorism in his works and provide Korean literature history with the poetry which was mixed the avant-garde and aphorism properly. Consequently, the main characteristics of "Kyungaesi" are as follows; "Yurosung"(as in the examples of Joo, Yo-Han"s works), a characteristic of literary channel as a turning point by ordinary characters (as in Lim, Wha"s works), criticism of reality by the avant-garde characteristics and aphorism(as in Kim, Soo-Young"s works). In conclusion, there is no little doubt that "Kyungaesi" is the most comtemporary poetry form.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

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  2. [국내논문]   개화기 한시의 현실 인식 연구  

    김영철
    한국시학연구 = Korean poetics studies 2001 no.5 = no.5 ,pp. 41 - 63 , 2001 , 1229-1943 ,

    초록

    The Korean Chinese poetry of the civilized period (開化期) is divided into three groups, namely ① the poetry of literary scholars, Hwang Hyun (황현), Kim Taeg-young (김택영), Lee Geon-chang (이건창), etc ② the poetry of the righteous army, Choi Ig-hyun (최익현), Yu In-sug(유인석), Jeon Rae-san (전해산), etc ③ the poetry of the contemporary journals. The Chinese poetry of that period showed remarkably the conservative thought among the rest contemporary poetry. It was the representative genre of resistance literature among that period"s poetry. It speaked for the conservative thought of "wi-geong-chuk-sa" (衡正斥邪), namely the main stream of thoughts in that period. From a conservative standpoint, it commented on the political, economical situations of Korea and Asia. It remarkably payed attention to the aggressive situation of Japan and Europe, In this dangerous situation, it encouraged the fighting spirit of the people and inspired the patriotism of Lee Sun-shin (이순신), Sa Myung-dang (사명당), Non Gae (논개) according to the historical heroism "Madoilgi" (馬鳥日記) is a important decument of the patriotic poetry in that period. It contains the poetry of righteous army who fighted with Japanese army and were taken to Daema Island in Japan. The Chinese poetry of that period is connected with the patriotic spirit of literary style and the thought of the poets, The Chinese poetry of the civilized period acted honestily the historical responsibility of literature, therefore it gained the meaning of treasury of Korean resistance literature.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

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  3. [국내논문]   한국현대여성문학사 - 시  

    김현자 , 이은정
    한국시학연구 = Korean poetics studies 2001 no.5 = no.5 ,pp. 65 - 91 , 2001 , 1229-1943 ,

    초록

    The literary works of women have hem alienated without being properly included or evaluated in the history of Korean literature. The subjects of women"s poetry, such as self-consciousness and frustration, free will and desires, yearnings for independent being, have been undervalued considering its literary achievements and significance. Moreover, the poetry of women, who have been awakened to realize they are modern women, have been neglected as "crazy women"s gibberish." Based on the consciousness of this problem, this study is intended to look into the genealogy of women"s poetry by examining the Korean literature in three periods. The first period was the quickening period of women"s poetry, from 1910 to the 1945 Liberation. The second period was the seeking period, from the Liberation to the 1960s. The third period was the growth period, from the 1970s to the 1990s. This study states the history of women"s poetry by using two major approaches. examining the most noticeable subjects of each period, and typical discourse and techniques of expression used to deal with each subject effectively. In the first period, that is, the colonial period, the women"s poetry gained its position with poems showing warren"s consciousness as pioneers, of national identity, and of womanhood. The poems in this period sought self-consciousness in the conflicts between the consciousness of modern self" and the internalized consciousness of the traditional image of women In the second period, the poets" consciousness of their public being heightened. Some poets wrote regressive poems romantically pouring out women" s inner heart, while others wrote coherent poems inquiring into ontological matters and realizing their identities. In this period, the Korean war and the succeeding partition of the Korean peninsula threw the whole country into chaos. Therefore, women poets suffered from futility of life and scars of reality and probed ontological matters. Since the third period, the poetry of women has rapidly grown and diversified. One of the major subjects in this period is negative recognition of violent reality, which has been dealt with dismantling and fragmentary discourse. Another subject is motherhood body and sexuality with which poets have pursued women"s identity and maintained the growth of women"s consciousness by looking at them from negative as well as positive viewpoints. The third stream has been made up of poems describing the history of women"s lives and daily lives with women"s narrative discourse. The fourth have sought for poetic language in order to restore lyricism In the fifth stream, poets have rejected otherness of women and the differences of sex by using grotesque and nonsexual words. These are the important subjects and discourses of the women" s poetry which have been dealt with so far. Many researchers have shown fruitful results on the literary works of women. They have realized that the previous history of literature was lame because it connived at the absence of women" s literature. In addition, they "reread" the classics from the viewpoints of warren to correct misreadings. Furthermore, after they read warren"s poetry with women"s viewpoints in the foreground they have newly found that more positive and active consciousness of warren was needed in the poetry. Based on the brisk growth of women"s poetry and serious research results on it, this study expects to find the significance of the history of women"s poetry which has been ignored in the history of Korean literature, so as to restore the status of the history of Korean women"s poetry and its critical values.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

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  4. [국내논문]   이육사의 「광야」에 대한 실증적 접근  

    박호영
    한국시학연구 = Korean poetics studies 2001 no.5 = no.5 ,pp. 93 - 106 , 2001 , 1229-1943 ,

    초록

    This paper insists that Yuk-Sa Lee"s "Wild Plain" is the work that reflected his will of restoration of his hometown status from the ruined state to the flourishing one. Therefore, the setting of the work should be his hometown, Dosan-Myun(도산면) Wonchon-Ri(원촌리) Andong-Goon(안동군) Kyungsangbuk-Do(경상북도). This interpretation could be supported by his works, such as "The Milky Way(은하수)" and "The Five Elements of the Seasons(계절의 오행)," or a poem "The Song of Midnight(자야곡)." Furthermore, his hometown is geografically placed between the Taebaek Mountains and the Sobaek Mountains, and Nakdong River runs through the town, as the poem mentions significantly. An arguable clause("에데 닭 우는 소리 들렷스랴"), which has been interpreted as "A cry of a cock is heard nowhere" by some critics, should be interpreted as "A cry of a cock is heard somewhere," if the stream of the context and the poet"s empirical cognition are considered. He has never expressed the negative situation: "a cry of a cock" has never been heard in his poetry, I think that Won-Jo Lee, the poet"s younger brother and reviser, revised the clause not considering the poet"s intention as he revised many clauses in the poet"s another work, "The Song of Midnight." The act of "seeding down" in the poem is the poet" s expectation of richness. The poet is "seeding down" for the change of his hometown to a prosperous one. "The superman riding a white horse" could be thought as a man who is from the town and can bring the old prosperity to the town The poet knows that he can not do that and expects someone in a long time. My interpretation is based on the practical approach, but some can raise a question, how much practical. I presume it on the support of some references including the social situation of that titre, but I do not have the concrete proofs. My interpretation, however, at least gives an answer to the old argument about the interpretation of "The Wild Plain"

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    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

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  5. [국내논문]   『黃昏歌』의 서정성과 전환적 의미  

    배영애
    한국시학연구 = Korean poetics studies 2001 no.5 = no.5 ,pp. 107 - 134 , 2001 , 1229-1943 ,

    초록

    In modern history of poem poet Kim kwang-gyun is considered as a modernist who created poems on the basis of sensitive image and picturesque method Such reputation, however, is only true of his early works such as 『Wasadung』, 『Kihwanggi』. In his latter part of life, he published three poetry, which are very important in studying his entire poetic characteristics and to study his poems diachronically. In this thesis, I studied the transitional meaning of his poetry.『Hwanghonga』, which was written in the middle period of his poetic history. The main characteristic of his early poems before the 『Hwanghonga』 was sensitive and picturesque technique, but the third poetry 『Hwanghonga』 showed delineation of his feeling and deep emotion, which was due to uneasy and desolate agony of life. The sad emotion caused by the death of friends and lost hometown were described in the poetry of 『Hwanghonga』. So in this poetry, the nihilistic meditation of life and destiny was expressed as a dominent emotion. As the poetic there was to express his own sorrow and nihility caused by the death of friends and neighbor, he used the autobiographical and confessional discourse rather than picturesque method which made a distance between himself and object Though such discourse weakened the poetic tension and aesthetic effects, it had a strong meaning in revealing his inner consciousness properly. In other words, the reason why his technique to describe object and feelings changed was due to social changes and the feeling of crisis in life. Kim"s feelings on such crisis was expressed in the form of retrospect of past titre and space and sometimes in direct delineation of emotion. He recognized helplessness as a poet when he saw the negative social reality deprived of universal human value. His recognition of society was expressed in his poetry 『Hwanghonga』. His deep agony on life made him contemplate theme of a poem and caused him to think highly of the importance of the inner sense or emotions rather than poetic skill and artificial aspect of object. This attitude of Kim kwang-gyun enabled him to change his poetic mood and allowed him to change his poetic tendency. So he described his transitional feelings in this poetry. In the poetry of 『Hwanghonga』, he was a delineator of emotion rather than of poetic technique. In respect of his poetic changes, 『Hwanghonga』 had a transitional meaning of his poetic history which caused him to change his poetic tendency not only in his lyrical mode but also in poetic emotion.

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    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

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  6. [국내논문]   김수영의 시간 의식 연구  

    오문석
    한국시학연구 = Korean poetics studies 2001 no.5 = no.5 ,pp. 135 - 154 , 2001 , 1229-1943 ,

    초록

    What is the freedom? This question is the most important theme in Kim Su-young"s poetic thought. For him the essence of freedom is the time which makes everyman live their own life. But by the everyday life the essence of time is concealed Most of the people miscognize an identity that is genuinly the being-in-time. They believe that identity is the solid sameness which is the sign who I am But Kim Su-young rejects this concept of identity which forget the time as an always changingness. For him true identity is the consciousness of making change and permitting difference. But by the false identity the essence of true identity is concealed and repressed Freedom which recovers the time conciouness is the "Ereignis" that means an outbreak of genuineness. Through the freedom people can recover their genuin ego which has been repressed by the only one ideology with which everdayness is the conspiracy. But human being"s essence is that he has no essence from past and future. He must make the essence of his own existence from which he originates. Therefore his rootedness call for the free attitude of origin-making, This is the genuine origin which produces differences and changenesses.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

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  7. [국내논문]   정지용의 「鴨川」다시 읽기  

    이미순
    한국시학연구 = Korean poetics studies 2001 no.5 = no.5 ,pp. 155 - 170 , 2001 , 1229-1943 ,

    초록

    This essay aims at disclose the poetic ambiguity that is shown in the Cheong Ji-Young(정지용)" 「Ap-Chun」(압천). Cheong Ji-Young is a poet who use skillfully language and elaborate it in his poetry, Thus his poetry is filled with poetic ambiguity. Probably, the ambiguous line in 「Ap-Chun」 may be "Moki Jajutda" (목이 자졌다). The line has been interpreted literally. But in this essay I interpreted it rhetorically and I exposed its poetic ambiguity. On the one hand, Cheong Ji-Young often used the regional dialect or the ancient language in his poetry, with which he presented the poetic diction. In 「Ap-Chun」 the Choong-Chung Do regional dialect was used, which is "basiyura"(바시어라). "basiyura" is substituted with "basuera"(바수어라), the mean of which is "shatter". Finally, in 「Ap-Chun」 the "swallow" image is a contrast to the "water cock" image. The "swallow" image is the personal symbol with which that Cheong Ji-Young presents the exoticism in poetry. In 「Ap-Chun」 it is used so. Using the "swallow" image contrast to the "water cock" image, Cheong Ji-Young presented the double consciousness to the modernity.

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    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

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  8. [국내논문]   오규원 초기시의 창작 방법과 이미지 연구  

    이연승
    한국시학연구 = Korean poetics studies 2001 no.5 = no.5 ,pp. 171 - 194 , 2001 , 1229-1943 ,

    초록

    The purpose of this paper is to analyse of ell Kyu-won"s early poetry presumed to have influenced on Korean modernism literature. For this purpose, the poetry of Oh kyu-won are focused on the lately years of 1960"s and the early years of 1970"s. He awakes his concern about "language", but he doesn"t imitate concrete society or world Moreover his poetics that was published in the early years of 1970"s shows that the concern on the distrust of idealism and representative aesthetics are the most important concerns. Therefore the study on his poetry and poetics mist pay attention to the creative method of the idealism and anti-representative aesthetics. His poeics shows that inferred to the absolute language. The pursuit of the absolute lanuage is the pursuit of the world of pure meaning instead of the representative conception. He has a tendency of the modernist essentially. His early poetry show another world. of a false image and semi-abstact world that investigation of the" inside unconsciousness or things to be the chief object, The negative imagination of actual world is the first princple to the modernist and Oh Kyu-Won irreconcilabe to his self, contemporary titre, space and history. The purity of the years of 1960"s modern poetry are equal to an abstract art. According to Maier, pure abstraction or tragic abstration, abstraction is a reacton to the contemporay disaster. Oh Kyu-won"s pure language has a fixed direction forward a kind of a autonomous sign and self-object, This concentrates on "reformation poetics" which oriented to autonomous form "Deformation poetics" is to analyse actual world which has cognizant senstively. In this paper I have intended to probe into the attrbutes of modernity in Oh" s poetry and to prove then closely related with a semi-abstract that poety is a product of autonomous image. What I try to shed new light on here is the modern tendency in Oh"s poetry, as product of his modernity, is basically inclined towords the loss literaure of the world Montage and the amusement of signifiant are attributed to montage paradigm, and the fact Oh" s poetry is based on them proves that his poems begin with modernity, Oh Kyu won concerns to the self- object and images in hispoetics. The imaginaion in Oh"s early poetry has extraordinariness comparable to the contemporary realistic poems. Such poems are "Obvious occurence", "The Trees of west wood", "Experimentation of an pheonomenon", Oh, writing poems from fantasy and intition, stands against the viewpoint that the poetry is a product of concrete mimesis. In his view, a poem is creatd when one dissociates oneself from reality and logic. Oh"s poetry is direted toward the world before the self-referential world. In the end, Oh" s poetry is returning to the concern of modern language, enlightening us to understand the inside world, that is, to realize modernity by way of montage and autonomous image.

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  9. [국내논문]   현대시 자료의 검증과 해석  

    조창환
    한국시학연구 = Korean poetics studies 2001 no.5 = no.5 ,pp. 195 - 217 , 2001 , 1229-1943 ,

    초록

    We can find some significant clues to the interpretation of debating points in modern Korean poetry by identifying and analyzing literary materials. Collecting" and ordering materials, identifying the originals, establishing authors and the motivations of writings are basic, preliminary tasks in literary study as well as all the other fields of learning. Studies on poets, poetics and literary history must be based on the meticulous examination of bibliographical materials. The versification of Choi Nam-sun(최남선) and the other writers in the enlightenment period thoroughly followed a syllabic system of sound which was deeply influenced by Japanese poems. It can be discovered by the study of notation, spelling and word spacing in their works. It is also important for verifying the works of Kim So-wol(김소월), since there are some different versions of his works. There were some spelling mistakes in Chu Yo-han(주요한)"s poem, which originated" in republishing and which distorted the original meaning seriously. We can also find similar examples in the poems of Han Yong-un(한용운) and Chong Ji-yong(정지용), distributed by contemporary publishers. The study of dialects and semantics is helpful in correcting these mistakes. Style and symbol are also important. We can settle the debating points of interpretation of the poems of Lee Yuk-sa(이육사), Lee Sang-hwa(이상화) and Chong Ji-yong(정지용) by the study of the other writings of same authors.

    원문보기

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    무료다운로드 유료다운로드

    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

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    Fig. 1 이미지
  10. [국내논문]   김광균 시의 자연과 모더니티  

    진순애
    한국시학연구 = Korean poetics studies 2001 no.5 = no.5 ,pp. 219 - 238 , 2001 , 1229-1943 ,

    초록

    This paper is approached by the point of view why Kim Kwang-Kyun"s poetry is modernistic poetry, Especially I researched that Kim Kwang-Kyun"s description of nature is not so much classical as modernistic. The nature has been not only the key object but also the key subject on the way of writing lyric poem. But the nature in Kim Kwang-Kyun"s poetry is not the key subject but the key object. Because the nature in Kim Kwang-Kyun"s poetry is designed with artificiality for the modernistic poetry. Kim Kwang-Kyun studied his poetry was not so much lyric poem as modernistic poetry, Furthermore, he thought that the modernistic poetry was made rather than creating by rhetorical device as synaesthetic expression. Consequently the nature in his poetry was made from mindlessness, and his tragic ego was concealed under the mindlessness. That is, his poetry was not identical nature by assimilation but independent nature by description of image, But the nature in some of his poetry was not only artificial but also tragic projected as his empathy, Nevertheless this style of his poetry was also modernistic, because of his paradoxical and ironic rhetoric, and his separated ego which stood for tragic Ich-in-Welt. This paper clarified that Kim Kwang-Kyun"s poetry settled on a genealogy of modernistic poetry in 1930s as the rhetorical devised nature without assimilation. Furthermore, his poetry settled on antinomic genealogy, which one genealogy of them was lyric poem as nature object, and the other was modernistic poetry as nature object. Nevertheless the nature objected by rhetoric in Kim Kwang-Kyun"s poetry belonged to modernism rather than traditionalism. The difference between lyric poem and Kim Kwang-Kyun"s poetry or modernistic poetry was the modernistic rhetoric, for example paradoxical and ironic rhetoric, mindlessness, narcissist ego, and separated ego am so on. To put it concretely, it was the devised nature with artificiality.

    원문보기

    원문보기
    무료다운로드 유료다운로드

    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

    이미지

    Fig. 1 이미지

논문관련 이미지