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李炳萬(이병만) 한국일본어학회 2020 日本語學硏究 Vol.0 No.64
일본에 있어서 한자음에 대해서는 呉音 漢音 唐音으로 나뉘어져 있어, 각각 전래되어온 사정에 따라 차이가 있다고 널리 인식되어지고 있다. 이와 같이 생겨난 한자어는 어떤 한자음을 채용할 것인가를 선택해야 한다. 대부분의 사례를 비추어 알 수 있듯이 漢音을 선택하고 있는데, 일반상식을 벗어나는 한자음이 사용되어지고 있는 것은 어떤 이유에서 일까에 대하여 고찰하여 왔다. 아래와 같이 간단히 정리해본다. 1) 「京浜」「京成」의 한자음이 왜「キョウ」가 아니라「ケイ」인지, 「京」의 일반적인 한자음은「キョウ」이다. 「京浜」도「京成」도, 그리고 「京葉」도 漢音으로 음독을 하면 「ケイヒン」「ケイセイ」「ケイヨウ」가 되는 것이 일반적이다. 「都」를 의미하여 오음(呉音)으로 「きやう」라고 불려졌던「京」이 明治의 수도「東京」를「とうきやう」로 읽기는 했지만, 그 도쿄의 근린지대를 말하는 「京浜」의「ケイ」가 되돌아와 교토 근린의「京阪」이나「京阪神」까지도 「ケイ」라는 한자로 사용하게 되었다. 2) 「白夜」를「ハクヤ」라고 읽는 것이 바른지, 원래 그런지는 알수 없지만, 「白」라는 글자를 「ハク」로 읽는 것은 漢音이라고 할수 있고, 「ビャク」로 읽는 것은 呉音이라 할 수 있다. 근대어로서 성립했다면 漢音으로 읽는 것이 당연할 것이다. 그 「白夜」는「はくや」라고도 읽고, 「びゃくや」라고도 읽는데, 「白夜」라는 한자표기를 변환해보면 어렵지 않게 알 수 있다. NHK방송문화연구소에 의하면 「白夜」의 본래 음은 「はくや」였는데, 1970年에 加藤登紀子가 레코드로 발매한「知床旅情」의 히트곡이 「ビャクヤ」의 음독을 널리 알리는 계기가 되었다고 설명하고 있다. 3) 「兄弟」의 음독에 대해서 고찰해 본 결과 呉音으로 읽는「キヤウダイ」, 漢音으로 읽는「ケイテイ」, 그리고 「キヤウテイ」의 3종류로 읽을 수 있다. 물론「キヤウテイ」는 呉音과 漢音이 반씩 섞인 음이다. 그리하여 漢音을 呉音으로 읽어버린 「キヤウダイ」가 친근한 일본어로서 널리 침투하게 되었다고 생각된다. In Japan, readings of Chinese characters are divided into Go-on, Kan-on and Tō-on, and it is widely recognized that these different readings have been determined through the circumstances that each one was delivered into Japan. As such, it is necessary to choose readings when kanji words are newly created. As can be seen in most existing cases, Kan-on is generally selected in such a case. However, there are also cases where this general rule has not been employed. The current study has investigated grounds for these cases. Here is a brief summary of findings. (1) Why is the reading of 京 in 京浜 and 京成 is “kei” and not “kyou” while the general reading of 京 is “kyou”. It is common to read 京浜, 京成, and 京葉 as "kei-hin", "keisei", and "keiyou", respectively, which are Kan-on. 京 meant 都, and once was read as “kyou” in Go-on thereby 東京, the capital city of Meiji, was read as Toukyou. However, the reading “kei” in 京浜 ‘regions near Tokyo’ came back, and was adopted even to 京阪 and 京阪神 , nearby areas of Kyoto. (2) It is not known whether it is correct to read 白夜 as "hakuya", but it is said that the reading “haku” for 白 is Kan-on and the reading “bihak” is Go-on. If the kanji word was established as a modern language, it will be natural to read it in Kan-on, “hakuya”. However, 白夜 is also read as "byakuya", as well as "hakuya", as can be seen easily through the kana-kanji convertion of 白夜. According to the NHK Broadcasting and Culture Research Institute, the original reading of 白夜 was “hakuya”, but the hit song of SIRETOKORYOJOU, released by Tokiko Kato in 1970 in the record, provided the opportunity to spread the reading of byakuya. (3) As a result of investigating the reading of 兄弟, it has been revealed that it can be read in three ways: "kiyaudai" read by Go-on, "keitei" read by Kan-on, and "kiyautei". Of course, “kiyautei” is a reading in which Go-on and Kan-on are mixed in half. It is thought that "Kiyaudai", which read Kan-on as Go-on, has spread widely as a friendly Japanese.
이병일(李炳溢),한상연(韓相璉) 한국지방자치학회 2011 韓國地方自治學會報 Vol.23 No.4
Recently along with the local government’s interest in culture and art, the number of municipal art center has sharply increased amounting to 190 in 2011. Many of them costed more than 10 billion won for their construction, and more than 40 additional centers are expected to be constructed in the near future. The performance of these art centers, however, is so poor with less than 40% of annual operation rate and more than 80% of budget deficit on average. Because of the low operational efficiency, Korean local governments have faced great challenges in dealing with art center management. To shed lights on this issue this study attempts to analyze the relationship between managerial outputs of municipal art center and the factors affecting these outputs. Research findings include the negative relationship between the rate of elderly population used as a proxy variable of economically active population and three managerial output variables. This result explains the need for government policy to help economically inactive population to enjoy art programs. Another important finding is the positive relationship between the accessibility of public transit and the managerial output variable, implying the need for effective public transportation plan connecting art centers with major residential areas.