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2006, Vol., No.57

  • 1.

    소설 <태백산맥>의 화용론-담화 표지 ‘와, 웨, 잉’을 중심으로-

    강희숙 | 2006, (57) | pp.5~32 | number of Cited : 4
    Abstract
    The purpose of this study is to observe and analyze the syntactic characteristics and the pragmatic functions of discourse markers ‘wa(와), we(웨), ing(잉)’ of the Jeonnam dialect found in Cho Jeong-Rae's novel, <Taebaeksanmaek>. In this study, I argue that these three discourse markers exhibit certain pragmatic functions by means of connecting ending markers of sentences at the end of a speech as a whole. I also find that there are syntactic and pragmatic differences among these discourse markers. First of all, ‘wa(와)’ is connected with ending markers representing the lowest honorific level and functions as a discourse marker ascertaining and emphasizing the truth of a speaker's words. Another discourse marker ‘we(웨)’ is used along with ending markers representing the lower honorific level and functions as a discourse marker implying a speaker's negative attitude and regret for the most part. Finally, ‘ing(잉)’ is free from restraints of honorific level and mood, and functions as a discourse marker emphasizing the speaker's claim and expressing the speaker's close friendship with a listener.
  • 2.

    15세기 호칭어 체계 구축을 위한 시론

    양영희 | 2006, (57) | pp.33~62 | number of Cited : 2
    Abstract
    This study is to observe address-terms system in the fifteenth century at the angle of ‘solidarity’ and ‘power’ because the present sight about the study could not accept all examples. The summary and ordering of contents are following. we divide address-terms in the fifteenth century into ‘nominal form’ and ‘pronominal form’. ‘Nominal form’ means that the speaker uses the listener's position(position-form) like ‘sejon(세존), inja(인자)’ or the speaker uses the listener's name(name-form) like ‘munsu(문수), sudal(수달)’, and ‘pronominal form’ means the second personal pronoun like ‘neo(너), guedui(그듸)’ and addresses(pronoun-form) the listener. With this basis, it is systemized in the view of ‘power’ and ‘solidarity’. It is more possible to address 'position-form’ and ‘guedui(그듸)’ to the upper-class person and ‘name-form’ and ‘neo(너)’ to the lower-class person. On the other hand, it is often used ‘neo(너)’ and ‘name-form’ with close solidarity between people, ‘position-form’ and ‘guedui(그듸)’ with less close solidarity. In addition, it is selectively used between ‘neo(너), name-form’ and ‘guedui(그듸), position-form’ with the situation of people's solidarity.
  • 3.

    전남 방언 ‘실겅’과 ‘살강’에 대한 음운론적 분석

    위 진 | 손희하 | 2006, (57) | pp.63~86 | number of Cited : 3
    Abstract PDF
    The purpose of this thesis is to analyze the etymology and phonetic changes of Jeollanamdo dialelct, syilgəŋ(a wall shelf) and salgang(a kitchen shelf). For this purpose, I looked over the ancient books of Korean language history in diachronic method and referred to dialect data in synchronic method. The results are as follows; (1) Jeollanamdo dialect syilgəŋ corresponds to syirəŋ or syiɦəŋ according to the ancient books of Korean language history and corresponds to syilgəŋ or syirəŋ on dialect data. I concluded that syilgəŋ was derived from the combination of the root of ‘syil-(load)’ and suffix ‘-gəŋ’. Syilgəŋ was transformed into syiɦəŋ or syirəŋ according to ‘-ㄱ(g)-’ deletion rule which was applied among voiced sounds. Therefore, Jeollanamdo dialect syilgəŋ is previous form before ‘-ㄱ(g)-’ deletion rule was applied(which was happened in late Koryo period.). (2) Salgang corresponds to sarang or salgang according to the ancient books and dialect data. Salgang is derived from the combination of the root of ‘sal-’ and suffix ‘-gang’. I presumed salgang was compounded after ‘-ㄱ(g)-’ deletion was completed because salgang was appeared later than syiləŋ on the ancient books. (3) I proved that syilgəŋ and salgang have been changed into different phonetic forms from the same pedigree in order to distinguish meanings. According as the meaning of syilgəŋ was diversified as ‘a wall shelf’ and ‘a kitchen shelf’, salgang was derived from syilgəŋ as a form of taking charge of ‘a kitchen shelf’. Also I investigated the process of phonetic changes on syilgəŋ and salgang. /i/ of syilgəŋ was changed into /a/ which was the farthest from the vowel system for hearing effects and /ə/ was changed into /a/ for the vowel harmony.
  • 4.

    현대 국어 상호동사 구문 연구

    조경순 | 2006, (57) | pp.87~110 | number of Cited : 9
    Abstract
    The aim of this paper is to make clear reciprocal verbs sentence and to examine the formation of reciprocal verbs sentence. In this paper, reciprocal verbs sentence is regarded as the sentence in which noun phrase can be realized in two or more other elements. Moreover, in order to clarify the formation phenomena of reciprocal verbs sentence, Jackendoff's theory is employed. This paper presented the propriety that ‘-Wa’ noun phrase as case marker is complement through comparison of the lexical structure and the syntactic structure, in reciprocal verbs phrase. Reciprocal verbs phrase shows reciprocal acts of two argument and provides an intransitive verb phrase and a tranditive verbs phrase. In an intransitive verbs phrase, ‘-Wa’ noun phrase is agent, in a tranditive verbs phrase, ‘-Wa’ noun phrase is agent or theme. This noun phrase is complement.
  • 5.

    李舜臣 <閑山島歌>의 전승과 성격

    김신중 | 2006, (57) | pp.111~128 | number of Cited : 4
    Abstract
    This paper examines a transmission aspect and literary characteristic of sijo written by Lee Sunsin, Hansandoga. Hansandoga was created in the war, the special conditions. So there has been a different view about the writer, the position where it was created, and the times when it was created. First, I investigated a transmission aspect of Hansandoga and confirmed that Hansandoga was written by Lee sunsin in hansando considering this fact. Next, I examined literary characteristic of Hansandoga concerning muin sijo. As a result, I found that Hansandoga actualizes writer's inner agony effectively in diffrent way comparing with preexistent sijo. Besides, I pointed out it realizes the feeling of movement of writings using subject matters from people's lifestyle and nature of the boarder areas adequately. And I especially appreciated that it metamorphoses speaker's inner conflict into strongest intention using contrast techniques concerning inner side of literary work. For the last time, I confirmed that Hansandoga is representative of muin sijo in chosun dynasty from that consideration.
  • 6.

    朱鳳傳과 中國作品의 影響關係(2)-蘇知縣羅衫再合과의 影響關係를 中心으로

    민영대 | 2006, (57) | pp.129~160 | number of Cited : 4
    Abstract
    As the result of contrasting Joobongjeon with the Chinese literary works, Joobongjeon is influenced by intervening Korean literary works such as Sowoonjeon(蘇雲傳), Wolbongki(月峯記), or Oksojeon(玉簫傳) rather than being directly influenced by Chinese ones. We cannot ignore that Sowoonjeon, Wolbongki, or Oksojeon show a certain degree of similarity to Chinese literature in creating characters, setting and geographical background, or developing plot, but it is considered that Joobongjeon is not influenced by Chinese literary works for setting backgrounds and characters at all, and has unique characters and an original plot. This work has no connection with Choiweejajeon(崔尉子傳) or Sojihyu- nnasamjaehap(蘇知縣羅衫再合). After the Chinese-influenced Sowoonjeon, Wolbongki, and Oksojeon become popular, new stories were created with the same frame but a new method of describing. The basic structure is based on Chinese works, but specific descriptions, characters and their roles, background, and theme are recreated by our own national emotions. Therefore this work is influenced indirectly by such techniques as adaptation, original writing or the recasting of Sowoonjeon, Wolbongki, which spread naturally when Chinese novels were translated into Korean discourse patterns rather than directly. Joobongjeon is influenced by these techniques, not the result of direct framework of Sojihyunnasamjaehap. Therefore, these two works differ greatly in the techniques employed by their authors.
  • 7.

    圭南 河百源 시에 나타난 情懷의 변모 양상

    박명희 | 2006, (57) | pp.161~186 | number of Cited : 2
    Abstract
    This paper examines the changes in sentiments along his life cycle shown in the 201 Chinese poems by Gyunam Ha Baek Won. The collection of his works contains his poems written from 21 to 62 years old in chronological order. This study recognized that those poems express different state of minds according to his age. In this paper, Ha Baek Won's life is divided into four: learning period, period of making progress in studies, period of entering public life, and exile period. Each work shows different aspects of feelings according to his circumstances. Contrary to his well-known image of a realist, this displays his other characteristics. It is worthy of praise that he perceived literature something independent not subordinate and had consciousness to create his own unique works emphasizing “truth”
  • 8.

    <둥당애타령>의 연행 양상과 문학적 특징

    서영숙 | 2006, (57) | pp.187~216 | number of Cited : 1
    Abstract
    This paper investigated the performing aspects and literal characteristics of Dungdangaetaryong. Dungdangaetaryong is women's traditional folk- song transmitted in the southwestern seashores and islands of Jeolla province. It is the game song that women sing playing and taking a rest after co-work. Women sing it beating the water bowl or bow which are the working tools, they are called ‘Mulbanggu’ and ‘Whalbanggu’. Women sing Dungdangaetaryong with the compound method of front-rear singing and a circular canon. Dungdangaetaryong has the various types of the leading and the refrain. According to the beat number of refrain, it can be divided to three types; the 1 beat type, 2 beats type and 6 beats type. The subject of Dung- dangaetaryong are as follows; love and hatred about a lover, longing between a mom and daughter, nature and amusements, lamentation about the misfortune and life with a husband's family. They are expressed with the method of indirect figuration, so Dungdangaetaryong shows the sentiments of joy and pleasure. As the result of this study, we could know that Dungdangaetaryong gives the young women the power to bear and overcome their hardships. It shows the various and specific features in the form and substances. The ideal and the purpose of studying Dungdangaetaryong is to succeed it in the present life and arts. In order of that, we should investigate the performing aspects of Dungdangaetaryong precisely and search the methods for recreating them as the contemporary performing arts.
  • 9.

    尹善道에게 있어서의 ‘理想鄕’의 의미 작용 연구-杜甫와의 비교를 중심으로-

    신은경 | 2006, (57) | pp.217~242 | number of Cited : 4
    Abstract PDF
    This article intends to explore the meaning of Puyong-dong in Pogildo where has been considered to be a significant place in understanding Yun Seon-do's literature, notably sijo poems such as “The New Songs in the Mountain” and “The Fisherman's Song of Four Seasons.” Unlike related other studies, which see this place as a background for the composition of the sijo poems, this article considers the place as Utopia for Yun Seon-do. Utopia, usually, refers to an imaginary ideal place where does not exist in real world. However, given that, as an ideal residence, Yun had dreamed a place where was located apart from worldly life and he made a companion with nature, Puyong-dong can be said a kind of embodied Utopia. A poem entitled “Inscription on Jeongingwan Rock” composed while in his exile at Kyongwon exhibits that Tu Fu's thatched house in Ch'engtu functions as a model of Utopia for Yun. Although Puyong-dong and thatched house in Ch'engtu function as Utopia for respectively Yun and Tu Fu, the characteristics of the places as Utopia is rather different. Given two types of Utopia, the type of Mureung-dowon where is deeply related with human's daily life and that of Mt. Pongrae where is transmitted that a Taoist hermit(神仙) live, we can categorize Yun's Puyong-dong as the first type and can do Tu Fu's thatched house as the second type.
  • 10.

    <흑룡일기> 연구(2)-개별 이야기 단락의 의미(1)-

    임철호 | 2006, (57) | pp.243~270 | number of Cited : 0
    Abstract
    This paper aims to analyze the underlying meanings of individual and separate stories appearing in <Hungnyong-ilgi>. <Hungnyong-ilgi> foretells war through unusual stories, which appeared as the hints of breaking war, and blames the politicians who could not catch the hints for being incompetent. We could read another criticism of the society through an interesting story about the conflict between a Japanese commander and his sister. In that story, commander's sister, who was described superior to her brother in her judgement and competence, was flatly ignored by her brother, but later her judgement was proved to be right. By revealing her competence this story tells us the inappropriateness of the unreasonable gender discrimination at that time. There are many stories in which our generals won the battles thanks to the supernatural beings' patronage. Through these stories, we could read the elitism of our people. In <Hungnyong-ilgi>, the narrator is exposed overtly and directly tells us the story in many cases. Although this kind of setting could have merits of conveying themes clearly, it reveals that <Hungnyong-ilgi> has not overcome factors of narratives(sulwha), so it could not be said to be a “novel”(sosul).
  • 11.

    <온달설화>의 역사수용 의식과 재창조 양상

    정소영 | 2006, (57) | pp.271~296 | number of Cited : 2
    Abstract
    The Ondal Narrative is described in section Ⅴ, Volume 45 of Samkuksaki, personal section of Pyeongyangbu of Sindongkukyeojiseungram, and Yeomeui section of Myeongsimbogam, and orally transmitted four pieces are recorded in Gubimunhakdaegye. This study is to review historical acceptance consciousness projected in epic structure of the Ondal Narrative and historical acceptance consciousness and recreation aspects of the Ondal and Princess Pyeonggang by Lee Hyo-sung which adapted Ondal Narrative. Based on the results, it aims at organization of what meaning historical consciousness has. For historical acceptance consciousness shown in The Ondal Narrative and Ondal and Princess Pyeonggang as a Korean folk fairy tale, back- grounds of this narrative are the upper area of Namhan River which was a battle place of Ondal in Goguryeo period. The back side of the legend reflects historical truth that pursues national self-esteem through heroic narrative of Ondal. The public strengthened national power through appearance of an inordinary hero, were engaged in collective unconsciousness that pursued prosperity of their life through several proofs of the region and respected him as a religious guardian. The Ondal and Princess Pyeonggang reproduced from Ondal Narrative shows heroic actions of Ondal and Princess Pyeonggang through historical background in reality, which reveals historical acceptance consciousness of the author who is to intensify moralism. Likewise, historical acceptance consciousness shown in Ondal Narrative describes the hope of the public who would reinforce national power to protect and expand the national territory through tragic life of the hero.
  • 12.

    박초월 바디 <흥보가>의 전승과 변모

    최혜진 | 2006, (57) | pp.297~328 | number of Cited : 4
    Abstract PDF
    This focus of this thesis is on the Park, Cho-Wal version <Hungboga>, while studying the alterations in the Pansori traditions in modern times. Specifically, the main points will be Park, Cho-Wal's handing down relation and words of song, aspects of the song, and furthermore the words changes and characteristics of modern singers Cho, Tong-Dal and Kim, Su-Yeon, who are the active followers. Park, Cho-Wal's <Hungboga> holds a significance in that it is a unique song in itself apart from the master's. But seen as a part of the whole tradition of <Hungboga>, it also acts as an important link in studying the history of its transfiguration. Given the fact that <Hungboga> of Kim, Jung-Moon's version is not handed down beyond the scene of Nolbo's opening gourd in the later parts, it can be concluded that, however incomplete it may be, Park, Cho-Wal sang <Hungboga> in its initial entirety. It also includes distinct words of song contents that are not handed down in the present, representing the traditionary state of <Hungboga> in the 20th century. Cho, Tong-Dal, a successor of Park, Cho-Wal, went on to expand the Aniri and a witty talk parts, adding a few parts that Park, Cho-Wal didn't sing, while still being true to the Park, Cho-Wal version. All this can be seen as an act aimed towards narrative completion. These changes seem to have occurred through the addition of Dong-Pyun-Je characteristics. Kim, Su-Yeon excluded Park, Cho-Wal's Chusuknoli part, and included 4 new part of words of song. The conclusion part was rather cut short and left incomplete. But we can say that Kim, Su-Yeon is the better successor of Park, Cho-Wal's pansori's aesthetics. Through these facts we were able to see the traditionary aspects of the Park, Cho-Wal version <Hungboga>.
  • 13.

    대학 작문 교육의 전략적 접근

    도애경 | 2006, (57) | pp.329~356 | number of Cited : 6
    Abstract
    This paper has focused on either planning or making effective strategies for college composition class. Considering theoretical tendency about teaching composition, and emphasizing dialogical class plan which appeared as a new paradigm in teaching composition can be apply to college composition class efficiently. Presenting dialogical composition activities that can be apply to real college composition class in each stages. Dialogical composition class is based on having talk with other fellows and cooperating with them. Learners are in the center of the class that focusing on conversation, discussion, and argumentation among the members. First, search topics from written materials, newspaper, texts, and visual-auditory materials. And then, ready for composition by creating ideas and constructing outlines from brainstorming, brainwriting, and mindmap. After framing first draft by oral composition and rapid writing, try to rewriting it by feedback that comes from talking with others. The learner obtains composition skills and knowledges, needed in all of composition process, from talking with fellows and teachers. Conversation during the class internalized, and this improves learner's self-control ability. And after all, it makes learner to have independent problem solving ability. Dialogical class can both accommodate and fulfill social requirement about teaching composition of college. Writing and listening training can go hand in hand, and integrated curriculum is possible. It has strength in magnifying abilities for self-expressing his or her thoughts, logical thinking, originality, cooperation, and etc. All these abilities are from activities among students. And also, it is possible to have spontaneous and active class. It is remained as an task to have more specific and particular composition teaching program.
  • 14.

  • 15.

    金煥泰의 印象批評과 尹圭涉의 傾向批評

    오하근 | 2006, (57) | pp.379~400 | number of Cited : 4
    Abstract
    Kim Hwan-Tae and Yoon Kyu-Sub who were literary critics in the 1930's were from the same village(Jeonbuk) and were born in the same year(1903) and went to the same school(Jeonju High School), but their literary orientation were just the opposite. The 1930's were an age of ‘post ideology’. Japanese imperialism's suppression on professional literature removed ideology from literature and made literature pursue the artistry. This can be understood as oblivion of the spirit of the age and surrender to Japanese imperialism. Kim Hwan-Tae professed to be a supporter of this pure literature. He said that the reinvention of impression acquired from works of literature is critic's duty and advocated the impressionistic criticism. On the contrary, Yoon Kyu-Sub said that the overflow of works of literature free from ideology was owing to not writer's responsibility but the actuality of the period, and consistently insisted that writers should concretely express the abstract spirit of the age acquired from generalization of the status quo. Most leaders of the pure literature and professional literature betrayed and practiced the pro-Japanese literature in the late Japanese occupation period, but Kim Hwan-Tae and Yoon Kyu-Sub remained faithful to their honor to the last. When the pro-Japanese literature overwhelmed the Korea, Kim Hwan-Tae gave up writing and retired into the country in 1940 and died in 1944. Yoon Kyu-Sub did not yield in the period of suppression and betrayal, and advocated anti-Japanese resistant literature. He gave up writing until the emancipation of Korea after the literary journals ceased to publish in 1941. But his honorable conscience was shackles in the broken period of Korea and he has become forgotten. Now setting up their position in the literary history is our duty.
  • 16.

    여성 패러디 소설과 문학 교육-나무꾼과 선녀 패러디 작품을 중심으로-

    윤영옥 | 2006, (57) | pp.401~428 | number of Cited : 2
    Abstract
    This research tried to investigate the relations between feminist parody novels and literary education. It took the way that compare the popular fairy tale <A Woodman and A Fairy 나무꾼과 선녀> with women's parody novels about that. Through comparison, it explored the similarities and differences between them. Parody is repetition with difference, and parodist produces the his text through critical interpretation of the target text. Parody is the literary form that makes the reader from accepter into the producer by interpretation, discussion, presenting the alternative proposal. In literary education, parody text related at it’s creation and acception. So it should be useful in interpretations, debates, creations of the text. The reading of parody novels is concerned about the comparison the target text with parody text and the context that circulates them. The education of parody novels promotes the reader’s literary aesthetics of the text, and enlarges the category of interpretation by consideration the context of producing the text. The women’s parody novels have used the strategy of identification and non-identification. This strategy is useful to cancel the patriarchal tyranny and open the various themes and visions. The strategy of non-identification (difference) makes readers get the new interpretation and resistance, and the strategy of identification (similarity) makes readers converses with various cultures.
  • 17.

    金東里의 단편 소설 <黃土記> 연구

    이 찬 | 2006, (57) | pp.429~452 | number of Cited : 1
    Abstract
    A Study on Kim, Dong-Ri's a short story, HwangtogiLee ChanThis paper aims at investigating the characteristic of aesthetics and tragedy of Kim, Dong-Ri 's a short story, Hwangtogi. In the period of colony, Hwangtogi is a masterwork that achieves the very specific aesthetics. Literature of KAPF sublimated a problem of a life of distress and class struggle into a theme of the Korean novel. On the other hand, Kim, Dong-Ri gave a living description of the movement of microscopic disposition which the unconscious drive and desire is connected with the body.Hwangtogi sublimated it's tragedy and psychological rhythm which productive desire is came to a conclusion an destructive act of violence into a aesthetics of novel. Moreover, It is possible for us to make evaluation that Hwangtogi accomplished a superior product which both vividly described ultimate essence of mankind as physical sense and the parts of the body and gave expression to symbolic words of colors.Kim, Dong-Ri 's representative works, Bawi, moonyeodo, Yeokma and all that could be admitted of new interpretation in this dimension. Until now his novel mainly has been researched in dimension of a thought and a theme or in dimension of a narrative and a plot. But it is necessary to make an detailed analysis of languages of delicate sense and colorful words which give expression to the body and emotional state in Kim, Dong-Ri's works for an in-depth study of his works. This paper make an attempt to new direction research of Kim Dong-Ri's novel in this side.
  • 18.

    일제강점기 재만 조선인 소설 연구-이주 정착 양상을 중심으로-

    정덕준 | 정현숙 | 2006, (57) | pp.453~478 | number of Cited : 3
    Abstract PDF
    This study sought to examine the immigration pattern and settlement process of the Korean immigrants described in the Korean immigrant literature on Manchuria in the period of Japanese colonial rule and by doing so, to identify the nature of the Korean immigrant literature on Manchuria and the meaning of a national literature. The Korean immigrant literature on Manchuria described the tragedy of the early Korean immigrants as well as a strong intention for resettlement in Manchuria. An Sugil's “Byu” “Bookhangdo”, Kim Changgul's “Armya”, Hyun Kyungjoon's “Sungusidae” are the representative literature. Besides, the Korean immigrant literature on Manchuria criticized on the Manchuria's policy and expressed strong resistance toward it. Sihn Seoya's “Chusuk”, Hyun Kyungjoon's “Milsoo” “Byul” are the exemplary literature on the above described critique and resistance. Furthermore, these literature criticized the contradiction of Manchuria's policy through the phenomena of drug addiction and articulated a despair of the intellectual. Those characteristics are well described in Hwang Gun's “Jehwa”, Kang Kyungae's “Mayack”, Hyun Kyungjoon's “Mayemye kumsun”, Choi Myungik's “Simmoon”. All of these literature realistically described the migration experience and resettlement process by focusing on the various life styles and experiences of the Korean immigrants on Manchuria.
  • 19.

    백석 시 <修羅>의 분석적 연구

    최명표 | 2006, (57) | pp.479~500 | number of Cited : 1
    Abstract
    In Baek Seok's poem 「Sura(修羅)」, he decolorized self-consciousness of intellectual under the Japanese colony by putting up spider without any adjustment. He excluded conventional imagination given to the spider and personified the spider as same as himself. He expressed “anxiousness which cannot remove” in the depression of time and limited situation through meeting with a spider while wintering in his house isolated from the real world. As he was spending winter night in the isolated space from the world like a hermit, he was confessing his hard life placed in between impossibility of restoring the past time and uncertainty of future prospect. In this point of view, the burden of colonial life, with which Baek Seok had to deal, was cruel and severe so as not to raise the poetic ideal. Therefore, his work shows the psychological internal disturbance finding out the transformation of individual emotion from the collective emotion. Also, with the matter of history, this poem provokes our attitude to reflect ourselves from days that we neglected in the past. Baek Seok externally put up a spider as the main subject but he spoke out sadness of his life as an intellectual under the Japanese colony. He charged the power for its outrageous violence, which influenced the actual life of Korean people under the colonial period through the repetition of behavior turning the spider out of his house. This poem exemplifies the fact that the subject described in the work should be emphasized in its importance starting from the point that the subject not only frames the poem but also functions as the main motive forming the consciousness of poet ahead.