Сэтгэлийн тухай үг хэллэгийг танихуйн зүйрлэлийн үүднээс шинжлэх нь

어트겅체첵 한국몽골학회 2017 몽골학 Vol.0 No.51

In this paper author explained semantic features, positive and negative approach to the word ‘’Mind’’ by linguistic facts, especially, many types of unstabilities of the mind are how expressed as comparing with essence of real world phenomena, also author gave examples of the concept ‘Mind’’ that how Mongolians realize ‘’Mind world’’ and ‘’Mind colors’’, furthermore, illustrated main cognitive metaphorical models of this concept.

БНСУ-д монгол хэл заан сургаж ирсэн түүхэн байдал, тулгамдсан асуудлууд

어트겅체첵 한국몽골학회 2012 몽골학 Vol.0 No.33

This small article presents an overview of the history and present stateof Mongolian language education in Korea, with focus on Mongolian language pedagogical materials currently in use at academic institutions the Republic of Korea. Historically, Kitan (an early Mongolic language) was first taught in Korea (Koryŏ高麗) in 995 A.D. After this point in time, there is no clear evidence regarding to the teaching of Mongolic languages in Korea until the Chosŏn朝鮮 period (1392-1897), when we have information that there was a regular exchange of teachers and students from and to Mongolia. After this period, there is no information on the teaching of Mongolian in Korea until modern times. In 1990, Mongolia became a democratic country. Not long after March, 26,1990—the date that Mongolia and Korea established diplomatic relations—Mongolian language education in Korea began to resume. Beginning in the early 1990s up to the present, various institutions of higher education in Korea have established Mongolian language programs, including Dankook University, Hankuk University of Foreign Studies, Korea University,Seoul National University, and so on. This article will largely focus on pedagogical materials employed in post-1990 Mongolian language education at such institutions in Korea, including textbooks, language handbooks, and dictionaries. Mongolian language textbooks, handbooks, and dictionaries are being in use widely at academic institutions in Korea. These materials can be divided into two kinds: 1) Those written by Korean scholars, and 2) those written by Mongolian and other scholars. 1. Mongolian language textbooks, handbooks, and dictionaries written by Korean professors and other scholars: Korea is one of leading country interms of Mongolian educations. They established various academic programs in Mongolian studies, offering bachelor’s degree programs, master’s degrees, and doctoral degree programs. Most oldest institutions in Korea is the Dankook University Department of Mongolian Studies, and the associated Institute for Mongolian Studies established in 2008. Owing to the efforts of these institutions, as well as professors and scholars at other private and national universities in Korea, Mongolian studies in Korea has reached its present state of development. 2. Below I provide a list of Mongolian language textbooks, handbooks, and dictionaries written by Korean professors and other scholars in Korea in the past 15 years: Below I provide a list of Mongolian language textbooks,handbooks, and dictionaries written by Mongolian scholars, as well as scholars outside of Mongolia. These works are also used for research at teaching at academic institutions in Korea. 3. Issues relating to the textbooks and handbooks: Most of the textbooks tend to be mechanical, focusing on grammatical rules accompanied by several example sentences for review and practice. Since there are only a few example sentences provided for each grammatical rule, the textbooks do not provide enough practice for students to learn to speak. The texts do not focus enough on Mongolian culture, society, life style and daily interests, Mongolian youth,and other essential topics for accurately learning Mongolian language. For this reason, the student may feel less interest about the textbooks. The textbooks do not include sufficient supplementary materials, such as video and audio files or other media-based activities for students to catch students’ interest and give them an opportunity to study at home and positively reinforce language skills.

한국인과 몽골인의 결혼 내력 및 전망

어트겅체첵 국제한국언어문화학회 2010 국제한국언어문화학회 학술대회 Vol.2010 No.10

Зохиолын баатрын хэв шинжийг айх эмээх үйлдэлтэй холбох нь (Ч. Лодойдамбын “Тунгалаг Тамир” романы баатруудын жишээгээр)

어트겅체첵 한국몽골학회 2020 몽골학 Vol.0 No.62

This article, a continuation of the author’s research on such speech acts as smiling, crying and anger in Mongolian, examines the typological features of lexical and non-lexical means of expressing the speech act of fear as exhibited by the main protagonists of Tungalag Tamir (The Clear Tamir) by Ch. Lodoidamba, a work forever immortalized as the most famous novel of modern Mongolian literature. Specifically, this article identifies verbal and non-verbal instances of the verb ai- ‘to fear, to be afraid’ and its synonyms, as well as instances of laughter, crying, and anger in this famous novel. Out of the 38 characters mentioned by name in the novel, we have analyzed 24 characters who are described expressing the speech act of fear, including monks, Chinese merchants, school children, Chinese revolutionary soldiers, and others. Based on examples in the text of the above-mentioned characters expressing speech acts of fear, we can state the following: a. As for specifically whom or what the characters were afraid of, the following are mentioned in the novel as inciting fear in specific characters: wolves, dogs, skulls, abstract and paranormal phenomena such as demons, and sins. b. As for how many times each of these characters is described as expressing fear, the following summary can be made: - The person who incites fear in the most people the most number of times is Tsakhiur Tömör. Tsakhiur Tömör scared the following characters from one to eight different times each: Specifically, he scared Tügjil eight times, Pürew Taij six times, Takhar Badarch twice, Takhar Damdin twice, a wealthy local twice, Pürew Taij’s servant boy once, and a young boy named Khongor once. He himself was scared once by a shaman in a trance who said he would rip out his lungs and heart. - Itgelt the Rich usually incites fear in Dulmaa, Doljin, Khongor, Dolgor, Solongo, Galsan, and Old Man Nyam, and he himself is on one occasion afraid of Khatanbaatar Magsarjaw. - Erdene incites fear in Dolgor, Bat, Dowchin, and Pavlov, and he himself is afraid of his wife Dolgor and the great general Sükhbaatar. As for the forms, structures, and semantic and functional characteristics of instances of fear expressed by characters in the novel through their personal expressions, as well as expressions of the opposite speech act -- i.e. that of anger -- as well as laughter and smiling, crying and melancholiness, the following can be said: - Fear, as a human emotion, as well as anger, laughter, and crying, are widely expressed by means of verbal and non-verbal means of communication. - In the Mongolian language, fear is expressed with verbs such as ai-, emee-, tsochi-, sandar-, xalshir-, xulchii-, xulgana-, xulchigana-, xulmalz-, nawtai-, nawtalz-, nawtagana-, serwelz-, and xashxir-. - Phrases, expressions, and verbal and nominal compounds containing the verb ai- ‘to be afraid’ are highly productive. For example, ichix aixaa martax, aix setgel töröx, aix setgel ayalax, ain emeesen setgel, aix emeexiin zeregtsee, bayarlax aix zeregtsex, bayarlax aix xolildox, aix emeex bodol, aix emeex tuyaa zangirax, aix gaixax setgel, etc. - In expressing the speech act of fear, human-related terms such as zürx ‘heart’, setgel ‘mind, emotion’, ünxeltseg ‘pericardium’, tsös ‘bile’, and süns ‘soul, spirit’, as well as nouns denoting abstract concepts such as intuition and instinct are actively used. - Fear is also expressed through the description of human body functions. For example, zürx lüg lüg tsoxilox ‘heart pounding’, xooloigoo chichrüülex ‘trembling voice’, xooloi xerjignen muuxai duugarch nüd n’ gyalalzan magjrax ‘eyes glistening and voice gagging’, and am n’ ewlej yadan baix ‘unable to squeeze words out’. - Words and phrases expressing certain peripheral human senses are also used. For example, büx biye n’ chichrex ‘entire body trembling’, zürx n’ chichrex ‘heart fluttering’, xüiten x...

Монгол хэлэнд инээх үйлдэл илэрхийлэх нь

어트겅체첵 한국몽골학회 2014 몽골학 Vol.0 No.37

In this small article the author analyses the verbal means of expressing laughter in the Mongolian language. In Mongolian laughter is expressed by both verbal and non-verbal means, which are mutually associated with each other. Since a detailed study has already been undertaken by the Mongolist G.Ts.Pyurbeev on the non-verbal means of laughter in Mongolian, in the present study we have attempted to define the verbal means of expressing laughter in Mongolian and have reached the following conclusions:-A most popular verbal means of expressing laughter in Mongolian is through the use of verbs which express the action of laughter. -The analytic contractions, “үйл үг + инээх”, “тэмдэг нэр + инээх”, “чимэх үг + инээх”, “нэр үг + тай3 + инээх”, “нэр үг + гүй + инээх”, “нэр үг + аар4 /-д, -т + инээх” are widely used to express laughter in Mongolian. - When used in conjunction with non-verbal means, the verbal means of expressing laughter can elucidate in detail on the internal and external psychological state of the person laughing and their interlocutor.

Зохиолын дүрийн хэв шинжийг уйлах уярах үйлдэлтэй холбох нь (Ч. Лодойдамбын “Тунгалаг Тамир” романы баатруудын жишээгээр)

어트겅체첵 한국몽골학회 2019 몽골학 Vol.0 No.59

This article, a continuation of the author’s research on certain speech acts in Mongolian, examines the typological features of lexical and non-lexical means of expressing the speech act of crying as exhibited by the main protagonists of Tungalag Tamir (The Clear Tamir) by Ch. Lodoidamba, a work forever immortalized as the most famous novel of modern Mongolian literature. Specifically, this article identifies verbal and non-verbal instances of the verb uil- ‘to cry’ and its synonyms, as well as instances of laughter in this famous novel. The main conclusions reached include the following: - Wealthy Itgelt laughs 45 times—more than any other character—but does not cry at all; Takhar Badarch laughs 20 times and only cries once when he begs for his life after committing a crime against the Revolution; Tömör laughs 20 times and “cries” to himself 3 times; Revolutionary Erdene laughs 15 times and “cries” 2 times to himself; Beautiful Dulmaa laughs 10 times and cries 15 times; the naive Khongor laughs 10 times and cries 7 times. The frequency of these acts may become a powerful tool in defining the unique characteristics and typologies of each particular character in the story. - In this novel, of the 24 characters who cry not in a group but alone, 11 are male and 13 are female. This indicates that the number of males and females is generally approximately the same. - The characters who cry the most—Dulmaa, Dolgor, and Bat—are the characters who endure the most life difficulties. Thus, the fact that Dolgor and Bat laugh less than 10 times and its connection with their life situations is doubly proven. Although Dulmaa cries the most, she also cries 10 times, proving that she is a typologically unique character who is also “hearty, friendly, brave, courageous, and cheerful”. - The act of crying of Dulmaa, Dolgor, Bat, and Solongo is expressed using the most lexical patterns and with many different imageries, connected with the life situations they endure. However, as for Solongo, since she usually cries together with Süren and Doljin, this needs to be explained differently. - The fact that most of the findings of the fields of psychology and psycholinguistics on the act of crying as expressing individual people’s physical and emotional states generally conforms with the changes and growth of the characters in this novel is not a coincidence, and is solid proof that the author was able to create truly lifelike characters in his novel in terms of their language and actions.

몽골인의 전통적 효경사상과 효 문화 연구

어트겅체첵 한국몽골학회 2011 몽골학 Vol.0 No.31

Having adapted to the geographical condition and four seasons, Mongolian developed a nomadic tradition and moved following the nature’s law. Nomadism is considerably invaluable in protection of Mongolian traditional nomadic culture and lifestyle. This custom is transmitted from generation to generation in home life. Therefore, this article divides traditional filial piety into three categories: Mongolian home education method, Mongolian piety and respect towards their parents, Mongolian piety and respect in wedding ceremony. In the first part discussing Mongolian home education method, I examined how Mongolian children are brought up, and how they are educated at home. Then, I compared the present education to how classic literature and documents describe, focusing on the devotion and respect towards the parents. The essence of Mongolian education is that parents take care of their children, and the children become respectful to their parents. Taking over the tradition is even more important in that this is vital today as well. In the second part of this research discussing Mongolian respect and devotion towards parents, I classified the subject into three parts: the history and the aspect of Mongolian traditional filial duty towards parents, and ways to encourage this traditional duty. Among many Mongolian traditions, honorific forms of speech and the following respects between family members still exist. The Mongolian government is therefore bringing the traditions up with by regulating related laws. The traditions are shown in the wedding ceremony as well. Considering this, the third part of the study about the etiquettes of respecting parents in the wedding ceremony is classified into mutual respect between the parents and children, groom’s manner to respect his wife’s parents, and bride’s manner to respect his. I compared these etiquettes to how classic literature and documents describe as well. In Mongolia, wedding is a matter of congratulation which the new family composed by bride and groom continue to carry on the occupation and the lifestyle of their ancestors. In this joyful occasion, both families and the relatives have a quality time to harden their strong relationship by giving well-wish remarks, valuable lessons they learned, and valuable presents. The bride and groom are imposed of the duty to respect each other’s elders and at the same time obtain right to be loved from the elders and to live following their lessons. The positive thinking that the bride and groom could have happiness, laughs and pleasure in life through this process is reflected on the tradition. Synthetically speaking, Mongolian culture, lifestyle, and customs are derived from the nomadic life that is harmonious with nature. Especially the filial piety is based on the role-modeling and mutual respects. This tradition is still important today, and government is recently trying to raise this tradition with regulations. Thanks to the active international cooperation between Mongolia and Korea taking place in both governmental and nongovernmental way, there are more and more people from both countries that learn the languages and cultures. Moreover, the number of international marriages between the countries increase and people from both countries are getting closer. However, there are also problems that could devaluate this positive image between the countries. In that sense this research does have significance in that it could offer proper understanding on Mongolian traditional filial piety not only to Korean, Mongolian, and the international family, but also people who learn Mongolian language and culture, and who are interested in Mongolian culture and custom.

МОНГОЛ ХЭЛЭНД УУРЛАХ ХИЛЭГНЭХ ҮЙЛДЭЛ ИЛЭРХИЙЛЭХ НЬ

어트겅체첵(OTGONTSETSEG.D) 한국몽골학회 2022 몽골학 Vol.- No.69

This brief article is a continuation of the author’s observations and research findings on verbal and non-verbal means of expressing the rather active and productive speech acts of laughter and smiling, fear, crying, and anger in Mongolian. In previous studies, the author attempted to analyze the basic qualities, specific semantic features, and means of expression, as well as their forms, structures, functions, and semantic peculiarities of the modern Mongolian speech acts of laughter and smiling, fear, and crying, based on Mongolian literary examples. Along this same vein, in this article, the author observes how these speech acts are expressed and how they are formed based on examples from the characters of the bestselling novel Tungalag Tamir by Ch. Lodoidamba, identifying and categorizing the features and distinctive traits, and the characters’ expressions of these three emotions based on specific events that happen in the story development. Based on the author’s attempt to identify the three highest frequency, relatively productive speech acts among the many forms of emotional states of the main characters and supporting characters in the above-mentioned selected literary work — i.e., laughter, fear, and crying — and their interrelationships, this article similarly studies the speech act of anger. This time, the primary objective is to expand the linguistic data expressing the features, methods of expression, usages, and forms. Based on the author’s previous research findings, multiplicity of verbs denoting ‘laugh’, ‘cry’, ‘fear’, and ‘anger’ in the Mongolian language have unique interrelationships, and form a major semantic field expressing human emotions, and can overlap with each other in specific contexts. The Mongolian speech act of anger is semantically broad in scope, and in terms of expression, it is comparatively productive, as it can be expressed with both analytical and synthetic linguistic methods with almost any level of language usage. Based on the above-mentioned considerations, the following points can be highlighted: - The speech act of anger, a major feature of Mongolian language speech acts, can be expressed at both the basic and peripheral levels, and is relatively productive. - This speech act is a productive action, which is expressed not only by phonetic means and usages, but also by non-linguistic factors and non-verbal usages. - Among the other speech acts, the speech act of anger is most closely related to fear and crying, to which it has both direct and indirect connections. This speech act has features which contrast with laughter, but if this speech act occurs because of fear, then it is an action leading to the speech act of crying.