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1990년대 초에 이혜구와 이보형에 의해 본격적으로 시작된 장단 연구는 장단을 ‘박’과 ‘박자’라는 개념 과 관련지어 어떻게 정의할 수 있는지에 대한 연구로 이어졌다. 이혜구는 “장단은 2개 이상의 박자의 결합 체이다”라고 정의했으며, 한국음악의 장단을 구성하는 박자의 유형은 고악보에 근거해서 8박자, 5박자, 3박자, 2박자라고 보았다. 이보형은 “박자는 장단 주기와 일치한다”고 보았으며, 이러한 인식 하에 다양한 측면에서 박자와 박자 구조에 따른 장단을 연구했다. 또한 이보형은 전통음악의 양악보 기보에 있어서의 박자 설정과 관련해서 ‘장단주기 박자’와 함께 ‘강약주기 박자’, 그리고 두 박자 개념의 상위에 다시 ‘박자’ 라는 개념을 설정하자는 의견을 제안하기도 하였다. 이혜구와 이보형의 박자론을 종합해 보면 두 학자가 주장하는 ‘박자’의 개념이 서로 달랐고 각각 한계를 가지고 있기도 했지만, ‘박이 모여서 형성된 것’이라고 보는 관점은 공통적이었다. 본고의 고찰 결과, 장단 과의 관련성 속에서 장단의 구성 요소로서 ‘박이 모여 형성된 단위’를 뜻하는 용어로 사용되기에는 서양음 악 용어인 ‘meter’를 번역한 기존의 ‘박자’라는 용어 대신 ‘박의 모음(grouping)’이라는 용어가 보다 적절하 리라고 판단된다.

The study of changdan, which began in earnest by Yi Hye-gu and Yi Bo-hyeong in the early 1990s, led to a study on how changdan can be defined in relation to the concepts of “beat” and “meter.” Yi Hye-gu considerd that “changdan is a combination of two or more meters,” and that the types of meter that make up the changdan of Korean music were eight, five, three, and two meters based on the old scores. Yi Bo-hyeong insisted that “a meter is consistent with the cycle of changdan,” and under this perception, he studied changdan according to the meter and the structure of meter in various aspects. In addition, Yi Bo-hyeong newly established the concept of “the meter determined by changdan cycle” and “the meter determined by accent cycle” in relation to notating Korean music on staff notation. Comparing the meter theory of Yi Hye-gu and Yi Bo-hyeong, the concepts of ‘meter’ claimed by the two scholars were different. However, the view that meter and changdan were “formed by the grouping of beats” was common. In this paper, the concept of the term ‘meter’ in Korean music was reviewed again in relation to the ‘changdan’, and it was concluded that the term ‘grouping’ instead of the term ‘meter’ used in Western music was more appropriate to explain the concept of the changdan of Korean music.

Robert Frost sticked to the traditional poetry forms such as blank verses or sonnets. However, he did experiments on various modification to the traditional meters. In his poetry, sentence sound, which is Frost's poetic principle and which is based on speaking voice, affects on the meter. The modifications to the meter sometimes strengthen the meanings and sometimes it imply irony, satire, or paradox. Additional syllables, flexible feet, modified rhymes in his sonnets, intended rhyme patterns in his blank verses could suggest something more than the words on the paper mean, so careful attention is needed to understand his poetry perfectly.

본고는 5언과 7언의 음수율을 기반으로 하는 한시의 리듬이 한국어와 일본어로 번역될 때 어떻게 구현되는지 살펴보는 것을 목적으로 한다. 이를 위해 우선 원시 의 리듬을 고찰하고 한역과 일역의 리듬 번역 가능성을 확인하였다. 한시 번역에 관한 연구는 다양한 방면에서 이루어져 왔으나 지금까지의 번역은 의미를 중심으 로 하여 원시의 운율과 리듬에 대해서는 소홀히 여긴 측면이 있다. 이에 본 연구는 한시의 번역 방법론을 리듬론에 초점을 맞추어 한․중․일 삼국 정형시의 리듬을 비교 분석하여 한역과 일역의 리듬적 대응 방법론을 제시해 본 시도이다. 본고는 우선 한․중․일 정형시의 공통 기반인 음수율적 체계를 비교 고찰하였 는데, 그 결과 그 언어적인 차이점에서 기인하는 율격적 특성은 번역 불가능성의 연장선에 있음을 확인할 수 있었다. 특히 한․중․일 전통시가는 각각 음보율, 고 저율, 음수율의 다른 율격적 자질을 갖고 있어 한시 번역에 있어서 율격에 대한 고려가 필요하다는 점은 대체로 동의하나 결론적으로 운율 번역은 대안이 될 수 없 다고 보고 있다. 그러나 한자 문화권에서의 한시는 중국 문학으로만 존재한 것이 아니라 동아시아의 공동 문학으로 한국과 일본에서는 그동안 한시를 한자어로 율 독하고 향유하였다. 한․일 양국의 한문 율독을 살펴보면 한국은 한국어의 어순에 맞추어 현토화를 통해 한문을 이해하고 한시를 읊은 것에 비해, 일본은 훈독으로 한문에 가명을 달아 한자의 뜻을 새겨서 율독하였다. 이러한 율독 양상을 통해 한․중․일 시가는 율격론의 공통 기반으로 음수율적 체계를 갖고 있으며 리듬론 의 차원에서 또한 등시성을 이루는 음보를 통해 음보율상의 유사성을 확인하였다. 한시는 돈(頓)에 의해 5언시는 2․2․1 또는 2․1․2, 7언시는 2․2․2․1 또는 2․2․1․2의 음수율적 체계를 지닌다. 리듬의 측면에서 5언시는 ‘OO OO O*’의 3 음보 율조를 이루며 7언시는 ‘OO OO OO O*’의 4음보 율조로 구성되는데, 이는 돈에 의한 것이며 뒤에 휴지가 온다. 이처럼 음률 기반의 돈 분할은 두 글자가 1음 보로 마지막 한 글자는 행말 휴지와 아울러 1음보를 충족한다. 시행의 각 음보는 이로써 ‘등시성(等時性, isochrony)’을 이루는 것이 한시의 음영 법칙이다. 한역(韓譯)의 경우 한국 고전시가의 3음보와 4음보 계열의 음보율적 대응을 감 안해 볼 때, 5언절구는 3음보로, 7언절구는 4음보로 번역하되 원시의 의미 리듬을 고려하면서 의미량을 전달하는 것이 적합해 보인다. 이에 반해 일역(日譯)의 경우 에는, 훈독을 중심으로 하여 의미 전달에 치중할 수밖에 없기에 음보율적 대응에 는 다소 무리가 있다. 하지만 일본 전통시가는 2음보(2박절)와 4음보(4박절)를 지 니며 음보율의 고정성이 강하고, 휴음과 자 넘김의 균형적인 활용을 통해서 3음보 의 율독이 가능하게 된다. 따라서 한시의 일역에 있어서 본고는 원시의 리듬적 대 응으로 음보율 번역을 시도해 보았으며 그 결과 의미량의 전달에도 무리가 없다는 결론에 도달하였다. 리듬론의 이러한 관점으로 볼 때, 앞으로 한시의 한역과 일역에 있어서 원시의 정확한 의미 전달과 함께 한시 리듬의 이해를 바탕으로 번역시에도 리듬이 재현 가능하며 이로써 의미와 형식이라는 두 축을 모두 놓치지 않으면서 조화로운 미감 을 구현할 수 있을 것으로 생각된다.

This study explores how the rhythm of Chinese poetry, based on 5- and 7-syllable metrical patterns, is realized when translated into Korean and Japanese. First, we examined the rhythm and confirmed the possibility of rhythm translation in Korean and Japanese. Although research on the translation of Chinese poetry has been conducted in various fields, translation trends have often overlooked the prosody and rhythm of the original text, primarily emphasizing semantics. Thus, as a formal component, this study focuses on rhythm theory in the translation methodology of Chinese poetry. Via comparative analysis of the rhythmic structures of poetry from Korea, China, and Japan, this study endeavors to present the rhythmic correspondences between Korean and Japanese translations. First, we compared and examined the syllable-timed systems that form the common foundation of formal poetry in Korea, China, and Japan. The results revealed that the metrical characteristics arising from linguistic differences are generally indicative of the impossibility of translation. In particular, traditional poetry in Korea, China, and Japan each have different prosodic qualities based on feet meter, tonal patterns, and syllable counts. While there is general agreement on the necessity of considering prosodic structures in Chinese poetry translation, metrical translation cannot serve as a viable alternative. However, Chinese poetry in the Chinese character culture did not exist only as Chinese literature but has also been shared as a common literary heritage in East Asia, where reading Chinese poetry in Classical Chinese has traditionally been enjoyed in Korea and Japan. Regarding the metrical reading of Chinese characters in both Korea and Japan, in Korea, postpositions were used in accordance with the word order of the Korean language to understand Chinese characters and recite Chinese poetry, while in Japan, Chinese characters were read by adding hiragana characters and engraving the meaning through reading. Through this aspect of metrical reading, Korean, Chinese, and Japanese poetry have a “syllable-timed system” as a common basis for rhythm theory. Furthermore, at the level of rhythm theory, similarity in metric rhythm was confirmed through isochronous foot division. At the level of rhythm theory, similarity in note rate was confirmed through isochronous rhythmic unit. Chinese poetry has a syllable-timed system of 2·2·1 or 2·1·2 for 5-character poems, and 2·2·2·1 or 2·2·1·2 for 7-character poems by caesura. In terms of rhythm, the 5-character poem is composed of the three feet meter of “OO OO O*,” and the 7-verse poem is composed of the four feet meter of “OO OO OO O*.” This is followed by caesura. This division is governed by tonal structure, where two characters comprise one rhythm unit, with the final character satisfying the tonal requirement along with the following one-character pause. Thus, the caesura based on rhythm ensures that each unit maintains isochrony, thereby constituting the metrical reading of Chinese poetry. In traditional Korean poetry, a consistent structure exists with three and four feet meter patterns, while in Chinese poetry, 5-character poems consist of three rhythmic units, and 7-character poems consist of four rhythmic units, thus forming a consistent rhythmic foundation throughout the poem. In the case of Korean translations, translating 5-character poems into three feet meter and 7-character poems into four feet meter patterns while taking the original semantic rhythm to effectively convey the intended meaning into account seems appropriate. On the other hand, in Japanese translations, focusing on reading Chinese characters, inevitably emphasizes the conveyance of meaning; therefore, responding in terms of metric rhythm is somewhat difficult. However, traditional Japanese poetry possesses both two and four feet meter patterns, thereby demonstrating a strong adherence to metric consistency, which allows for the possibility of reciting in three feet meter patterns through balanced utilization of pauses and excessive letters. Therefore, in Japanese translations, the current study attempts rhythm translation based on the original rhythmic correspondence, which seems to present no difficulty in conveying the intended meaning. From this perspective of rhythmic analysis, in both Korean and Japanese translations of Chinese poetry, rhythm can be reproduced by ensuring accurate conveyance of the original meaning while also considering an understanding of the rhythm of Chinese poetry as the basis for translation. Consequently, a harmonious sense of aesthetics could be realized.

Sijos is a traditional Korean poem. The purpose of this article is to clarify the differences between ancient Korean sijos and modern Korean ones, and between modern Korean sijos and free verses, and seek the direction for modern Korean sijos to coexist with free verses while finding the way for modern Korean sijos to go. The results of the foregoing efforts are summarized as follows. First, there exists a fundamental difference in the formats of presentation between ancient Korean sijos and modern Korean ones. Whereas ancient Korean sijos are implemented in the musical structure of song chang or sijo chang, modern Korean sijos are implemented based on the inner order of language regardless of music. Second, the two types of sijos are different in their forms. The most primary difference is in the principles of meters. Modern Korean sijos are given the a priori principle of meters termed three verses, six phrases, and 12 metres. On the contrary, free verses are given no principle whatsoever in advance and only the freedom according to the breath of the poet is given as ex post facto necessity. Third, ancient Korean sijos have ‘formal frames’, which are; completing the poetic concept with three verses that form syntax semantic links, composing each verse with four metres (syllable nodes), and creating a change for the transition of the poetic concept by making the first node of the last verse into three syllables and the second node into at least two syntactic words. Such ‘formal frames’ contain the beauty of a high level of modesty, the beauty of peaceful lengthiness, the beauty of stable balance, the beauty of temperate breakaway, and the beauty of flawless plainness and this is the identity of ancient Korean sijos. Since modern Korean sijos are a genre based on the ambilaterality of ‘the property of sijos’ and ‘modernity’, they have a task to contain ‘modernity’ in ‘the property of sijos’, which is three verses, six phrases, and 12 metres because they can secure the status and identity of modern Korean sijos only by doing so. Fourth, modern Korean sijos and free verses should not go toward postmodernism together, but should establish their directions to form a ‘complementary relationship’ so that they satisfy the poetic needs that cannot be fulfilled by each other. The roles of free verses and modern Korean sijos should be divided so that avant-garde, free, and abstruse emotional needs are satisfied by free verses and the needs for stable and tranquil order are satisfied by modern Korean sijos thereby satisfying each others needs for mutual coexistence. Fifth, the way for modern Korean sijos to go in the high-tech age is to make the refined and temperate ‘short sijo’ completed with three verses, six phrases, and 12 metres neatly escape from the triteness coming from the reckless freedom, being in distress, and weird destruction of meters of free verses. The short sijo, which is completed with three verses, six phrases, and 12 metres should be the alternative to heal the reckless morbid pathos of free verses with the neat and balanced ethos of sijos.

Waka poems usually have syllabic rules, whereby the words that form a verse of poem are arranged according to the number of syllables regardless of the pitch, rhythm, or dynamics in those syllables. This paper contains a careful consideration of the retention or loss of rhythm (and, by implication, meaning) in the Korean translation of a waka. The rhythms in Japanese poetry are syllabic meters based on the pentameter and heptameter, which are divided into the beat structures 5-7 and 7-5. Translation of the 5-7 beat structure is particularly challenging as it could create a rather awkward rhythm or lose stability resulting from a widening of the gap between the synthetic and phonetic meter. Furthermore, the faithful translation of the rhythmic beauty of original works containing harmonized synthetic and phonetic meters is only possible to a certain extent. The translation of Korean folk music is an exception in that the rhythmic patterns of the original lyrics were successfully converted by quoting a 7-5 beat structure. On the other hand, the melody of a waka is intended as a so-called Pa-Jo breaking rhythm, constructed by adding or subtracting the rhythmic numbers, based on 5-7 or 7-5. However, if the function of Pa-Jo is not given careful attention during the process of translation, the meaning will differ from that of the original work. This is because the rhythm is as much connected with the meaning as it is with the sound. Additionally, we might think that the syllabic rhythm of the waka should be transferred to 3-4 or 4-4, which is the standard for lyrics of a sijo, i.e. a Korean ode poem. Even though the translation of the fixed syllabic rhythm of a waka is based on 5-7 and is therefore done literally, it is possible for this rhythm to have a natural flow. The translation would retain the fluid syllabic rhythm of a Korean ode poem, because of the variety of rhythmic meters and the flexibility of poetic transformation of Korean poems. That is, the direct translation of poetic rhythm should conjure feelings of familiarity rather than incompatibility and the effectiveness of the translation should be obvious.

和歌は、音節の高低․長短․強弱とは関係なく、詩の一行を構成することばが一定の音節の数によって整えられる音節の律格を持っている。本論文では、このような和歌が韓国語に翻訳されるときに韻律の側面で何を失い、何を可能にするのか、といった問題について考察してみた。日本詩歌の韻律は５音と７音を基調とする音数律といえるが、これは調べのうえで57調と７5調に分けられる。57調の歌が翻訳では、通辞的韻律と音声的韻律の距離をあけて落ち着かないリズムを生んだり、57調の持つ安定感と重量感を失ったりする。そして75調の翻訳においては、韓国の民謡調とされる75調を援用することによって、原作のリズムのパターンを成功的に変換することもできるが、通辞的韻律と音声的韻律が調和している原作の韻律的形式美を忠実に移すには限界がある。一方、和歌の律調は57調、または75調を基調としながらも、音数を足したり(字余り)、引いたり(字足らず)することによってリズムを破る、いわば破調を意図したりする。このような破調は、単純に音の問題ではなく、意味の問題と関わっているがゆえに、翻訳の過程で繊細にこの調べの機能と効果に注意しないと、翻訳詩は原作の意図から離れたものとなってしまう。そこで、韓国の伝統の詩歌である時調や歌辭の一般的な音数律とされる３４調や４４調に合わせて和歌の韻律を移さないと、我々になじんだ韻律への翻訳はできないと考えがちである。しかし、韓国の詩歌の音数律は実に多様で変容しやすい流動音数律であるので、５７音を基調とする和歌の固定音数律を５７音の歌に直訳しても、まるで韓国詩歌の音数律の一類、または変形のように受け入れられる。すなわち、５７音の韻律を直訳しても、その結果物に韻律的な違和感よりは親近性と有効性とを認めることができるといえよう。

현대시조의 형식적 면모는 시조장르의 본질 및 존립과 관련하여 논란거리가 되 고 있다. 고시조의 형태를 전제로 창작되어지는 시조 중에서 어느 정도의 일탈을 현대시조로 이해해야 하는가 하는 점이 문제가 되고 있는 것이다. 이와 관련하여 본고에서는 현대시조의 율격적 변이 양상을 살피고 그 의미에 대해 논의하였다. 제2장에서는 시조의 율격이 “반행 내의 앞마디가 뒷마디보다 짧거나 같으며(단, 마지막 반행은 종결부로서 그 반대), 각 마디는 3․4음절로 주로 구성된다.”라는 음수율적 성격을 지닌 것임을 밝혔다. 이어 제3장에서는 그러한 율격의식이 현대 시조에서 어떻게 변화되었는지 이호우 시조의 예를 들어 살펴보았다. 먼저, 3․4 음절을 넘는 過音節로 시조의 마디가 구성된 경우를 검토한 후, 이어 ‘앞마디≦뒷 마디’의 반행 형태가 전도된 경우에 대해 분석하였다. 그 결과, 이러한 변격이 고 시조에 비해 이호우 시조에는 훨씬 잦았음을 보았으며, 이는 시적 주제 및 시의식 과 관련하여 일어난 결과임을 알 수 있었다. 과음절의 다용은 불안정하고 부조화 스러운 정서의 표현과 관련되어 있었으며, 반행 형태의 전도는 심상과 구어에 대 한 중시, 그리고 시상과의 부합을 꾀하는 내재율적 의식 등과 관계가 있었다. 본고의 논의를 요약하면, 첫째, 시조에는 음수율과 관련된 율격 의식이 존재하 며, 둘째, 그러한 율격 의식과 작가의 리듬 충동이 교섭하는 가운데 현대시조의 율격 변이는 이루어진다는 것이다. 만일 음수율과 관련된 시조의 율격 의식을 체 득하지 못하고 그것을 무시한 채 작품을 짓는다면 난삽한 작품이 형성될 것이요, 반대로 예민한 시의식과 내재율의 감각이 부족한 채 시조의 이른바 기준 음수율만 준수하려 한다면 고루한 작 품이 만들어질 것이다. 따라서 현대시조를 짓고 감상하 는 일은 시조의 율격 의식과 시인의 리듬 충동 사이의 팽팽한 긴장감을 느끼는 일 이 되어야 한다.

The formal aspects of the modern sijo have been controversial with regard to the essential features of the sijo genre and its survival. The formal deviation of modern sijo poems raised the question such as how much deviation could be allowed. In this regard, this paper investigated the transformation of the sijo metrics in modern sijo and its implication. In chapter2, the metrical features of the sijo genre were discussed because they had still been controversial. This paper suggested that the metrics of the sijo should be understood as syllabic. Although the syllabic number of a colon is not fixed in a sijo, it follows less strict rules; a colon is often composed with three or four syllables, and the latter colon is greater than or equals to the former one in a half line of a sijo poem. In chapter3, the transformation of the sijo metrics in modern sijo was discussed. In Lee Ho-woo's sijo poems, which were selected as examples, the metrical features of the sijo were often transformed with regard to the poetic themes and the poet's literary consciousness. The longer colons that were often used in Lee's works were related to the anxiety and disharmonious feeling of his time. The reversed form of the half-lines also had connection with the modern poet's consciousness, which considers the poetic imagery and colloquialism as important and pursues the rhythm of free verse. In summary, the transformation of the sijo metrics in modern sijo poems occurs while the sijo metrics negotiates with the rhythmic sense of modern sijo poets. Disregarding the existing metrics would result in abstruseness, whereas sticking to the metrical rules would produce antiquated works. Therefore, the writers and the readers of modern sijo poems should be able to feel the tension between the sijo metrics and the poets' rhythmic sense and poetic consciousness.

예이츠는 전통적 시 형식을 고수하였다. 그럼에도 불구하고 무운시의 형식은 다른 형식에 비해 드물게 사용하였다. 그의 초기와 중후기의 대표적인 무운시를 통해 무운시의 율격과 그 다양한 변용의 양태를 살펴보고 시의 내용과 주제에 미치는 효과를 알아보고자 한다.

Yeats rarely wrote free verse, which was new and very popular in the early 1900s. He used various traditional rhymed verse, but interestingly he wrote not so many blank verse in view of the considerable number of his poems. In this article, first, Yeats’s idea about blank verse is examined based on his essays and letters, and then the characteristic aspects of poetic diction, syntax, tone and regular and irregular meters in alternate lines of his blank verse are studied in such poems as “Ephemera,” “Ego Dominus Tuus,” “In the Seven Woods,” and “The Second Coming.”

현대시조는 대략 다음 세 가지가 문제점으로 지적될 수 있다. 첫째, 각 음보나 구에 주어진 융통성의 부여가 시조형식 파괴의 주된 이유로 작용하 고 있다는 점이요, 둘째, 그로 인해 자유시적 분방성을 최대한 얻고자 하는 노력이 의식적으로 시도된다는 점이요, 셋째는 앞서의 두 결과로 나타나는 운율의 심각한 파괴현상이다. 운율의 파괴현상은 잦은 행갈이와 빈번한 연갈이라는 두 가지 현상으로 나타나는 것이 일반적이다. 이로 인해 잦은 휴지 현상이 초래되고 그 결과 음보의 파괴와 율격의 이탈현상이 초래되어 이미 정형시 본래의 음악성은 거의 사라지게 되었다. 그 원인은 시조가 지닌 정격의 미덕을 기피하는 데 에서 기인한다. 그로 말미암아 시적 자유가 주어진 자유시에의 최대한의 접 근과 지향이라는 오늘의 현상을 초래하게 되었다. 이 결과 오늘날 정형시의 속성으로 남아 있는 것은 다만 궁색한 변명처 럼 된 자수개념의 허약한 잔존뿐이다. 시적 분방성의 정신을 정형시의 운율 적 속성의 정신보다 선행시킨 결과이다. 굳이 형식적 구속이 부담스럽다면 자유시를 쓰는 수밖에 없다. 분방성이 독창성을 빌미 삼아 율격의 무한파괴 로 이어진다는 것은 결코 시조의 지향점이 될 수는 없을 것이다. 이 시점에 서 시조형식의 반성이 요구되는 소이이다.

It could probably be pointed out such three problems in Modern Sijo(Korean Poem) as： First, given flexibility to each metrical unit or phrase become the cause of its pattern destruction. Second, it makes an effort to gain an unrestraint style in the free verse on purpose. Third, there happens a destruction in rules of versification. It generally turns up in two types of cases like frequent line-change and continual stanza-change. It causes frequent pauses, and the result leads to destruction of metrical unit and breakaway from rules of versification. It results in disappearing of the original musicality in rhymed verses. It comes from avoiding the strong point in Sijo’s regular pattern. That has caused the present situation of optimizing an approach and an aim to the poetic licence of free verses. As a result, there has been left just the weak remain of numeral concept like an excuse in the quality of the rhymed verse today. The reason is that the poetic unrestraint has preceded the metrical quality of rhymed verse. If the formal confinement is burdened, there is no other way but free verse. It would not be supported by leading to unlimited destruction of metre in the poetic unrestraint using creativity as an excuse. That is why now it is demanded to reflect on the pattern of Sijo.

본고는 향가의 음보율을 어구의 해석을 통해 구체적으로 살펴본 결과물이다. 그간 향가의 기저 음보율은 학자에 따라 이견이 있어, 3음보 혹은 4음보라는 추정을 받아 왔다. 그러나 본고가 구체적으로 검증하여 본 결과 향가의 음보율은 2음보로 산정되었다. 이를 확인하기 위해 먼저 한 작업은 음보의 매커니즘 규명이었다. 음보는 緊密性과 音節量의 상호보완 속에 설정되고 있었는데, 일반적으로 음절의 양적 비율을 우선시하나, 특수한 경우—助詞와 語尾—는 긴밀성이 우선시되어 설정되는 것으로 보았다. 이 기준에 따라 향가의 음보율을 살펴보면, <普賢十願歌>가 가진 110개 행 가운데 88개의 행, 즉 80%가 2음보로 구성된 것을 확인할 수 있는데, 이는 여타 장르에 비해 볼 때 상당히 높은 비율의 정격성을 띠는 것이라 할 수 있다. 따라서 향가의 음보율은 2음보라 제기할 수 있다.

This paper examined the metrics of the hyangga through the investigation of <Bohyunsipwonga>, a series of hyanggas of the Koryo dynasty, which is relatively easier to translate. The metrics of the hyangga is still controversial. Some scholars argued that the meter of the hyangga is tetrameter while others assumed it is trimeter. However, this paper investigated the lines of <Bohyunsipwonga> thoroughly and drew the conclusion that the meter of the hyangga is dimeter. First, the mechanism of the poetic foot was revisited. In Korean poems, a poetic line can be divided by a certain number of syllables, but the meaning of the syllables is also crucial in dividing a line into feet. In most cases, the basic rule is the number of the syllables. However, in some cases, coherence is more significant; postpositional particles and the endings of words are never separated from their preceding syllables. On the basis of the assumption as mentioned above, this paper verified that the 88 lines of the 110 lines in <Bohyunsipwonga> consist of two feet; it means that the 80 percent of its lines are dimeter. Compared to other genres such as the sijo, the meter of <Bohyunsipwonga> presents more regularity. Therefore it can be concluded that the meter of the hyangga is dimeter.

This paper describes a positioning system for ultra-precision that will be utilized in semiconductor manufacturing field and precision machinery. This system is composed with laser scale unit with 10nm resolution, ball screw with LM guide, brushless DC servo motor, vibration isolator and is equipped in chamber for continuous measuring environment. The dynamic of table, the problem of servo control and the traceability for micro step motion are described. These data will be applied for getting more stable system with 50nm resolution.

The clamp meter maintains electric safety as a non-invasive method while measuring the absolute value of tube current with it has been recently developed for an X-ray high-tension cable. Especially this can show high accuracy at short X-ray exposure time. Considering such a condition, this study is to evaluate the feasibility of a clamp meter in measuring X-ray tube current by taking the measurements and comparing with those of the Dynalyzer III which has been considered as a standard measuring device. From measuring the tube current accuracy depending on changes in tube voltage and exposure time, the clamp meter showed higher accuracy rate which was -1.3~4.2% difference. Thus clamp meter can be used for clinical radiologists who are not familiar electric circuit to manage X-ray devices easily and correctly in the future.

Due to low cost, low-power, and scalability, ZigBee is considered an efficient wireless AMR infrastructure. However, these characteristics of ZigBee can make the devices more vulnerable to unexpected error environments. In this paper, a fault-tolerant wireless AMR network (FWAMR) is proposed, which is designed to improve the robustness of the conventional ZigBee-based AMR systems by coping well with dynamic error environments. The experimental results demonstrate that the FWAMR is considerably fault-tolerant compared with the conventional ZigBee-based AMR network.

Dynamic sensor network(DSN) technology which is based on swarming flight type air node offers analyzed and acquired information on target data gathered by air nodes in rotation flight or 3 dimension array flight. Efficient operation of dynamic sensor network based on air node is possible when problems of processing time, data transmission reliability, power consumption and intermittent connectivity are solved. Delay tolerant network (DTN) can be a desirable alternative to solve those problems. DTN using store-and-forward message switching technology is a solution to intermittent network connectivity, long and variable delay time, asymmetric data rates, and high error rates. However, all processes are performed at the bundle layer, so high power consumption, long processing time, and repeated reliability technique occur. DSN based on swarming flight type air node need to adopt store-and-forward message switching technique of DTN, the cancelation scheme of repeated reliability technique, fast processing time with simplified layer composition.

Background: This study examined the detection limit of thyroid screening monitoring conducted at the time of the Fukushima Daiichi Nuclear Power Plant (FDNPP) accident in 2011 using a Monte Carlo simulation. Materials and Methods: We calculated the detection limit of a NaI(Tl) survey meter to measure 131I accumulation in the thyroid gland of children. Mathematical phantoms of 1- and 5-year-old children were developed in the simulation of the Particle and Heavy Ion Transport code System code. Contamination of the body surface with eight radionuclides found after the FDNPP accident was assumed to have been deposited on the neck and shoulder area. Results and Discussion: The detection limit was calculated as a function of ambient dose rate. In the case of 40 Bq/cm2 contamination on the body surface of the neck, the present simulations showed that residual thyroid radioactivity corresponding to thyroid dose of 100 mSv can be detected within 21 days after intake at the ambient dose rate of 0.2 μSv/hr and within 11 days in the case of 2.0 μSv/hr. When a time constant of 10 seconds was used at the dose rate of 0.2 μSv/hr, the estimated survey meter output error was 5%. Evaluation of the effect of individual differences in the location of the thyroid gland confirmed that the measured value would decrease by approximately 6% for a height difference of ±1 cm and increase by approximately 65% for a depth of 1 cm. Conclusion: In the event of a nuclear disaster, simple measurements carried out using a NaI(Tl) scintillation survey meter remain effective for assessing 131I intake. However, it should be noted that the presence of short-half-life radioactive materials on the body surface affects the detection limit.

본 논문은 스마트워터그리드의 핵심기술 중 하나인 수도미터 원격검침(AMR)을 LoRa IoT 네트워크를 이용하여 구현하는 방법에 대한 연구이다. 연구의 주된 내용은 한 대의 PC 서버에서 LoRa 통신으로 다수 세대의 수도미터기 검침 값을 수신받아 데이터베이스에 저장하는 한편 인터넷을 통하여 웹 서버의 클라우드 저장을 하여 사용자의 스마트폰으로 검침 데이터를 열람할 수 있는 네트워크를 구성하는 시스템을 개발하고 테스트 결과를 보인다. 시스템 구성을 위하여 디지털 수도미터기 메인보드의 하드웨어와 펌웨어를 자체적으로 설계 제작하고, PC 서버프로그램으로서 계량데이터운용시스템(MDMS) 프로그램을 비주얼 C#으로, 사용자 스마트폰에서 구동되는 앱 프로그램은 안드로이드 스튜디오로 자체 설계 제작한다. 제작된 각각의 구성을 연결하여 전체 시스템을 실험실 내의 유량 테스트벤치에 장착하여 테스트하여 결과를 보이고, 실제 사용환경 테스트를 위하여 대학 주변의 5곳을 선정하여 전송 거리 테스트를 하여 개발된 시스템이 실사용 현장에 사용 가능함을 보인다. 본 연구결과는 워터그리드에서 충분히 활용할 수 있어 물 사용량 소비패턴, 위치 정보 등을 분석하여 효과적인 물 사용량 관리뿐만 아니라 독거, 치매 어르신 등이 정상적인 생활을 하는지를 추정까지 가능하다는 등 다양한 사회안전망으로도 확대 가능하다.

In this paper, water meter AMR(automatic meter reading), one of the core technologies of smart water grid, using LoRa IoT network is studied. The main content of the research is to develop the network system and show the test results that one PC server receives the readings of water meters from multiple households through LoRa communication and stores them in the database, and at the same time sends the data to the web server database through internet. The system also allows users to monitor the meter readings using their smartphones. The hardware and firmware of the main board of the digital water meter are developed. For a PC server program, MDMS(meter data management system) is developed using Visual C#. The app program running on the user's smartphone is also developed using Android Studio. By connecting each developed parts, the total network system is mounted on a flow test bench in the laboratory and tested. For the fields test, 5 places around the university are selected and the transmission distances are tested. The test result show that the developed system can be applied into the real field. The developed system can be expanded to various social safety nets such as monitoring the living alone or elderly with dementia.

Pneumatic cylinder is widely used for mechanical handling systems. Often, the impact occurs at the both ends points of pneumatic cylinder and generates destructive shock with in the structural operating members of the machine or equipment. To reduce the damage of system, therefore, shock absorbing devices are required. Cushioning of pneumatic cylinders at one or both ends of piston stroke is used to reduce the shock and vibration. The cylinder body have to withstand under high velocity and load. In this research, the pneumatic cushioning cylinder moving tests have been conducted for different load mass and supply pressure. The velocity of pneumatic cylinder actuation system with multiple orifice cushion sleeve which is set vertically controled with meter-in/out system. This study examines the dynamic characteristics of pneumatic cylinder with cushion devices. It turns out that the cushion pressure is mainly a function of the external load rather than the supply pressure. The cushion region characteristics was also revealed in the meter-in system.