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박재민 한국어문교육연구회 2022 어문연구(語文硏究) Vol.50 No.4
This paper examined how hyangga as transcribed in Samguk yusa in the late 13th century differed from the original songs that were performed orally in the Silla Kingdom. Hyangga recorded in Samguk yusa contain not only the voices of the people of Silla, but also the language of the Goryeo people. In several works, written elements from Goryeo instead of Silla are found. Uido (矣徒) in “Pungyo,” gyogyeon (敎遣) in “Heonhwaga,” yeoha (如可) in “Cheoyongga,” and baekhoeun (白乎隱) in “Dosolga” are a few examples. In addition, this study investigated the oral and literal characteristics of extant hyangga songs in Samguk yusa. As hyangga songs were incorporated into the text, editorial intervention filled the gap between the original songs and the transcription. Editors inserted comments into the songs or removed exclamations and expressed them through special phrases, such as hugu (後句), or erroneously altered certain characters during transcription 박재민, 2022, 구송되던 향가의 기록과 그 변모에 대하여, 어문연구, 196 : 111~146 본고는 13세기 후반 편찬된 三國遺事 에 ‘記錄’된 鄕歌와 원래 신라에서 ‘口誦’되던 향가의 차이를 고찰한 결과물이다. 시간적 거리 측면에서 살필 때, 삼국유사에 기록된 향가는 신라인의 목소리만을 담고 있는 것이 아니라 고려인의 어법도 섞인 것으로 판단되었다. 적지 않은 작품들에서 신라가 아닌 고려의 借字表記 요소들을 발견할 수 있었다. 「風謠」의 ‘矣徒’, 「獻花歌」의 ‘敎遣’, 「處容歌」의 ‘如可’, 「兜率歌」의 ‘白乎隱’ 등이 본고가 지목한 고려 기록의 흔적들이다. 삼국유사 향가에 남아 있는 口述的 특성과 文字的 특성에 대한 고찰도 진행하였다. 구술이 문자로 정착되면서 작품과 정착 사이에는 거리가 생기게 되는데 그 틈에 편집자적 개입이 생겨남을 보았다. 그 개입은 노래 속에 주석을 넣는다거나, 감탄사를 없애고 後句 등으로 표현하는 방식으로 실행되었다. 또 기록 과정에서 문자들이 잘못 변질되기도 함을 확인하였다.
박재민,김무한 한국전통조경학회 2018 한국전통조경학회지 Vol.16 No.-
The tradition of landscape painting and gardening provokes cultural landscape theory in 1900~20's. In the early stage of cultural landscape research focused on morphology with visual objects and images. It flows into phenomenological place or sense of place studies after World war Ⅱ. From postmodern paradigm in the 1980's, there is a various way of seeing a landscape such as text, iconography, politic, gender or economy. The purpose of this study is to illustrate and classify the concept of place memory as a new way of seeing for cultural landscape study. And it interprets the industrial city, Janghang case by using Place memory. This study conducts semi-standardized interviews to extract for the collective memory of residents. As a result, the landscape images in collective memory were stacked like strata, which were distorted, shrank or emphasized by specific outer forces. In the case of Janghang, factors such as economic growth and the national system were in operation. These landscape images were accumulated around places of memory with strong visual and materiality. It illustrates four cultural layers based on places of memory; for instance, the identity of the city on Janghang smelter and the chimney, the ordinary and laboring landscape with port, mills, and warehouses, the symbol of industrial prosperity of city on gold and Golden village and the modernity on the road system. This study has significance as a basic study that examines the concept of place memory for cultural landscape theory. Unlike cultural landscape study goes to large-scale discussion recently, place memory theory starts from living place and locals. It can help to practical design and planning for landscape architects and designers. Place memory can be, especially, useful for Modern landscape disciplines.