문화관광축제 캐릭터의 현황 및 분석 연구

김소연,박영진 한국기초조형학회 2008 기초조형학연구 Vol.9 No.6

Now is the time that design should be the culture of its period and be the yardstick of measuring the level of the society. Culture and Tourism Festival initiated by the Ministry of Culture, Sports and Tourism will be a valuable asset in the development of tourism to South Korea and will be the driving force of its growth. The character which is the main symbolic figure that reflects rapid cultural paradigm shift and needs of the field can determined the appropriateness and the standard of the Culture and Tourism Festival. We analyze the design materials and the expressions and suggest directions to how it should be developed through different features in the future. Following the result of the analysis from Culture and Tourism Festival 2008 by the presence of the character of the festival only, the purpose of the festival name and the character of the material had relatively a good match and it has been implemented well at Specialties Festival. The existing rules from characterizing in cultural images and material are followed, The anthropomorphism made by only character images and the character which introduces the festival experience appears to be the center of activity. Culture and Tourism Festival needs to consider the character development to be centered on the experience and not of seeing. The expression of the character's form is receptive and shows aggressiveness. The character development within the same material has its limits. However, the solution can be found in defining the characteristics of the festival and the character design. Now is the time that design should be the culture of its period and be the yardstick of measuring the level of the society. Culture and Tourism Festival initiated by the Ministry of Culture, Sports and Tourism will be a valuable asset in the development of tourism to South Korea and will be the driving force of its growth. The character which is the main symbolic figure that reflects rapid cultural paradigm shift and needs of the field can determined the appropriateness and the standard of the Culture and Tourism Festival. We analyze the design materials and the expressions and suggest directions to how it should be developed through different features in the future. Following the result of the analysis from Culture and Tourism Festival 2008 by the presence of the character of the festival only, the purpose of the festival name and the character of the material had relatively a good match and it has been implemented well at Specialties Festival. The existing rules from characterizing in cultural images and material are followed, The anthropomorphism made by only character images and the character which introduces the festival experience appears to be the center of activity. Culture and Tourism Festival needs to consider the character development to be centered on the experience and not of seeing. The expression of the character's form is receptive and shows aggressiveness. The character development within the same material has its limits. However, the solution can be found in defining the characteristics of the festival and the character design.

중국 전통 문화를 바탕으로 한 애니메이션 캐릭터 디자인 연구

육 단(Lu, dan),안혜신(Ahn, Hye-shin) 한국조형디자인학회 2018 조형디자인연구 Vol.21 No.4

애니메이션 산업에서 느린 발전 속도를 보여 온 중국은 디지털 시대의 발전에 발맞추어 다양한 가능성을 모색하고 있다. 특히 중국이 가진 전통 문화에 대한 새로운 시각을 바탕으로 전통 문화의 영감과 효과를 지닌 애니메이션의 개발이 다양하게 이루어지고 있다. 이에 본 연구는 중국의 전통 문화 요소와 애니메이션의 특성을 바탕으로 중국의 애니메이션과 전통 문화의 관계를 분석 하고자 한다. 또한 애니메이션 캐릭터 디자인에서 전통 문화의 구체적인 역할을 분석하고 전통문화를 바탕으로 한 캐릭터의 감흥 요소를 추출하여 스토리와의 융합 가능성을 모색하여 애니메이션 작품 제작 및 개발을 위한 새로운 방안을 제공하고자 한다. 연구결과 전통문화는 연극예술 분야에서 등장인물의 모습과 움직임에서 전통요소를 가져오기도 하고, 회화에서 잉크 페인팅과 같은 중국 전통 문화의 독특한 양식을 빌어 잉크의 두께와 잉크의 색으로 캐릭터의 특징을 표현하기도 함을 알 수 있었다. 또한 전통 의상을 통해 캐릭터의 특징과 성격 등을 직접적으로 표현한다. 이처럼 다양한 요소를 통해 애니메이션 캐릭터 디자인에도 전통 문화요소를 적용할 수 있다. 애니메이션 캐릭터 디자인에 중국 전통 문화를 적용하는 데에는 캐릭터의 이미지, 라인 및 개성이 주로 포함되며 또한 캐릭터의 성별, 연령, 국적 및 의복이 캐릭터의 이미지에 포함된다. 이처럼 애니메이션 캐릭터 디자인에 전통 문화를 적용하는 것은 중국 애니메이션 산업 발전에 중요한 역할을 할 것이며, 이는 전통 문화의 보급 보호에도 많은 기여를 할 것으로 보인다. 또한 중국 전통 문화에 대한 새로운 시각을 제공하고 중국 전통 색상, 전통 미학 및 전통 드라마와 같은 중국 전통 문화 요소는 애니메이션 디자인과 결합되어 더 많은 중국 전통 문화적 의미를 지닌 애니메이션 캐릭터의 발전 가능성을 가능하게 할 것이라 기대한다. China, which has shown slow progress in the animation industry, is looking for various possibilities in line with the development of the digital era. In particular, the development of animations with inspiration and effect of traditional culture is diverse based on a new perspective on traditional culture in China. Therefore, this study purports to explore China s relationship between animation and traditional culture based on its elements of traditional culture and animation. It also analyzes the specific role of traditional culture in the design of animated characters. In addition, this study extracts the sensibility elements of characters based on traditional culture and explore possibilities of convergence with stories to provide new ways to produce and develop animation works. Study shows that traditional culture brings traditional elements from the appearance and movement of characters in the theater and art field, and expresses character characteristics in ink thickness and ink color by taking unique forms of Chinese traditional culture such as ink painting in paintings. Also characteristics of characters directly can be expressed through traditional costumes. Through these various factors, traditional cultural elements can be applied to animation character design. Applying the Chinese traditional culture to the animation character design usually includes the image, line and personality of the character, and also the sex, age, nationality, and clothing of the character are included in the character s image. Applying traditional culture to animation character design will play an important role in the development of Chinese animation industry, which will also contribute greatly to protecting the distribution of traditional culture. It also hopes to provide a new perspective on Chinese traditional culture and enable the development of animated characters with more traditional Chinese cultural significance by combining them with animation design.

“새로운 캐릭터 문화산업 만들기”: 『위니 더 푸우』와 『푸우 코너에 있는 집』

이충수 ( Choong Soo Lee ) 한국영미문화학회 2017 영미문화 Vol.17 No.3

The writer who created Winnie-the-Pooh and The House at Pooh Corner was Alan Alexander Milne. The characters occupy an important place to share in the form of culture of people. The characters are now being created and disappearing repeatedly. However, the character that started as a fairy tale from the time of childhood is a character that recalls the nostalgia with the memories of childhood even after becoming an adult. We understand the character of the Disney company which has the most loved and fans in the world and try to find a way to share literature and culture by trying to create a new character culture industry in literature. The characters in Winnie-the-Pooh are used in various fields such as animation, clothing, stationery, toys and publishing. Character culture industry is an industry that uses characters to fuse with culture. The character culture industry is expanding into all areas of life because it is extended to all areas where emotion is applicable as well as animation, games, cartoons and fancy. Characters are effective in reminding images in publications, visual media, corporations, organizations, organizations, sports clubs, and increasing visibility of product images. Winnie the Pooh is the first appearance. A bear doll brought by Christopher Robin is not an animal. In fairy tales, animals usually appear personified. However, here, bear dolls are personified and appear as heroes. In countries such as the United States, Japan, and Europe, the character culture is developed constantly through character development, character image, and continuous management to develop brand character. In order to revitalize the cultural industry, it is urgent to cultivate professional manpower such as scenario writer and character designer. It is necessary to create a unique atmosphere in which we can create a new culture industry with the world`s culture by moving away from the cultural industry centered on Japan and Disney. It is difficult for any one person to make efforts to raise and maintain the character brand value. Therefore, a foundation should be laid for a cultural enterprise with strong capital and technical power with systematic and comprehensive management capability. We should not hesitate to make animations to animate the images by applying letters and pictures that are embedded in the works in order to make the arts, plants, and characters in the fairy tale into a cultural industry and personify them for the times.

外國人을 위한 韓國語 敎育에서 漢字 語彙 敎育의 問題

송병렬 한국한문교육학회 2012 한문교육논집 Vol.38 No.-

본 논문은 外國人을 위한 韓國語 敎育에 있어서 漢字 語彙 敎育의 問題에 관한 연구이다. 韓國語의 語彙에서 漢字 語彙 占有率은 매우 높다. 漢字 語彙의 比率이 높은 것은 韓國의 漢字 文化圈의 傳統 때문이다. 語彙의 內容에 있어서도 實辭의 大部分을 차지하고 있다. 近代의 韓國은 自國語 言語 中心 政策을 지향해왔다. 이 결과로 5元體制의 語彙를 갖게 된다. 固有語, 漢字 語彙, 北方 民族語, 日本語, 西歐語 등이 그것이다. 이 가운데 實辭로서 가장 言語의 中心役割을 하는 것은 漢字 語彙이다. 따라서 韓國語 敎育에서 語彙의 敎育은 必須的이다. 韓國語의 漢字 語彙는 東아시아의 漢字 文化圈의 歷史的인 普遍 言語로 쓰여 왔다. 때문에 外國人을 위한 韓國語 敎育에서 漢字語 語彙 敎育은 漢字 文化圈과 非漢字 文化圈 外國人에게 달리 適用되어야 한다. 漢字 文化圈의 學習者들은 漢字 語彙에 대한 先行 學習이 되어 있는 상태와 같으며, 非漢字 文化圈의 學習者들은 漢字 語彙에 대한 先行 學習이 전혀 되어 있지 않은 상태이다. 따라서 여기서 발생하는 경우와 상황이 매우 달라질 수 밖에 없다. 漢字 文化圈의 學習者들은 漢字 語彙에 대해 先行 學習이 되어 있으므로 自身의 母國語의 漢字 語彙와 韓國의 漢字 語彙의 同異를 중심으로 해서 學習해야 한다. 특히 漢字 文化圈 國家들의 漢字 語彙에 대한 發音 方式의 差異로 因해 韓國의 漢字 語彙와 同一하거나 類似한 發音일 때에는 混同이 없이 빠른 學習 效果를 볼 수 있지만, 發音의 差異가 클 때에는 語彙 學習에서 留意하여야 할 것이다. 또한 漢字의 表記 方法의 差異도 考慮가 되어야 한다. 우리나라나 대만, 홍콩 등은 漢字의 正字(繁體字)를 사용하고, 中國, 北韓은 簡化字(簡體字)를 사용하며, 日本은 略字의 漢字를 사용하고 있다. 簡化字나 略字를 쓰고 있는 中國, 北韓, 日本의 경우도 전체의 漢字가 아니라 일부만 適用하고 있다. 簡化字나 略字는 正字의 草書體 또는 일부 字形을 省略해서 사용하므로, 形態素에서는 正字와 一定한 聯關性을 갖는다. 따라서 漢字 文化圈의 漢字 語彙의 學習은 이러한 差異를 克復해주는 學習 體系를 세워 주어야 한다. 그러나 非漢字 文化圈의 學習者들은 漢字 語彙에 대해 先行 學習이 없는 것과 같으므로 生疎한 漢字 語彙를 學習할 때에 漢字 文化圈의 學習者와는 전혀 다른 內容과 方法으로 接近해야 한다. 漢字 語彙를 한글 形態素로 表記할 때에는 ‘同音 形態素’의 範圍가 넓어진다. 語彙 辨別力이 낮아진다. 따라서 ‘한글 同音 形態素’의 範圍가 많은 單語일수록 學習 難易度가 높아진다. 게다가 發音은 더욱 複雜해서 難易度가 높아진다. 따라서 이러한 ‘한글 同音 形態素’의 語彙를 漢字를 倂記하면서 漢字의 學習을 竝行하면 한글 同音 形態素 學習이 쉬워진다. 따라서 外國人을 위한 韓國語 敎育의 語彙 學習에서는 漢字 文化圈 學習者와 非漢字 文化圈 學習者를 나누어서 敎授․學習하여야 한다. 漢字 文化圈의 學習者에게는 正字(繁體字), 簡化字(簡體字), 略字 등과 같은 ‘漢字 形態素’ 差異와 漢字 語彙의 음과 뜻의 同異를 위주로 學習하여야 한다. 非漢字 文化圈 學習者에게는 반드시 初步的인 ‘漢字 形態素’ 學習을 竝行하되, ‘한글 同音 形態素’의 範圍가 넓은 語彙의 경우 ‘漢字 形態素’로 區分하는 學習을 하도록 해야 한다. In Korean vocabulary, the rate of Chinese Character vocabulary occupies is very high. The reason why Chinese Character vocabulary accounts for the high rate is because of the tradition of Chinese Character culture-round in Korea. Also, in the contents of the vocabulary, it occupies most of the morphemes. Modern Korea aims the linguocentric policy. As a result for this, it comes to have the vocabulary in the system based on five languages; the native language, Chinese Character vocabulary, the language of the Northern people, Japanese and the Western language. Above them, what plays the most important role for language is the Chinese Character vocabulary. Therefore, the education of its vocabulary is essential thing in Korean education. Because Chinese Character vocabulary in Korean has used historically as a universal language in East-Asian Chinese Character culture-round, the Chinese Character vocabulary education in the Korean education for foreigners has different situations for them which are from Chinese Character culture-round and not. Chinese Character culture learners are put in the same condition in that the prerequisite learning of Chinese Character vocabulary was already done, whereas non-Chinese Character culture leaners are not ready for that at all. As a result, the cases and situations that occur from this have no choice but to have differed. Chinese Character culture learners got a precedent education for Chinese Character vocabulary. So they have to study concentrating on the same and different points between the Chinese Character vocabularies in their native language and those in Korean. In particular, when vocabulary in Korean Chinese Character and that in their native Chinese Character has similar or same pronunciation, they can have immediate learning effects without confusing by the difference of pronounce in Chinese Character words, however, when they have a great difference, the learners need to be careful learning it. Also, it has to be considered that there are gaps in the orthography of Chinese Character. South Korea, Taiwan and Hong Kong use traditional Chinese Characters, China and North Korea use simplified Chinese Characters and Japan writes in acronym for that. Though they use simplified one and acronym in China, North Korea and Japan, they apply them to not all the Chinese Characters but parts of them. They have certain connection with the traditional Chinese Characters in the morphemes because simplified Chinese Character or the acronyms were made by dropping out grass characters or some shapes from the traditional characters. For this, We have to organize the learning system that overcomes these differences in terms of learning Chinese Character vocabulary of Chinese Character culture-round. However, non-Chinese Character culture learners are almost same as they don't have any precedent experience of the Chinese Character vocabulary is why they have to contact to it in the completely different contents and ways. When it is transcribed by Hangul morpheme, the range of 'homomorphs' becomes wider. So, the wider the extent of 'Hangul homomorphs',the higher the level of study. Therefore, the situation changes ,when it is learned marking on vocabularies made in 'Hangul homomorph' with Chinese Character together. Especially, in the case of the pronunciation for morphemes, they have more complex aspects. Thus, foreign learners have to be taught and study Korean vocabulary, divided into Chinese Character culture learners and non-Chinese Character culture learners. Chinese Character culture learners have to study Korean concentrating on the distinction of 'Chinese Character morpheme' like traditional character, simplified character and acronym and the same and different points of sound and meaning in Chinese Character vocabulary. Otherwise, non-Chinese Character culture learners necessarily should perform it accompanying basic 'Chinese Character morpheme' study ,and dividing vocabularies that have ...

외국인(外國人)을 위한 한국어교육(韓國語敎育)에서 한자어휘교육(漢字語彙敎育)의 문제(問題)

송병렬 ( Pyung Nyul Song ) 한국한문교육학회 2012 한문교육논집 Vol.38 No.-

In Korean vocabulary, the rate of Chinese Character vocabulary occupies is very high. The reason why Chinese Character vocabulary accounts for the high rate is because of the tradition of Chinese Character culture-round in Korea. Also, in the contents of the vocabulary, it occupies most of the morphemes. Modern Korea aims the linguocentric policy. As a result for this, it comes to have the vocabulary in the system based on five languages; the native language, Chinese Character vocabulary, the language of the Northern people, Japanese and the Western language. Above them, what plays the most important role for language is the Chinese Character vocabulary. Therefore, the education of its vocabulary is essential thing in Korean education. Because Chinese Character vocabulary in Korean has used historically as a universal language in East-Asian Chinese Character culture-round, the Chinese Character vocabulary education in the Korean education for foreigners has different situations for them which are from Chinese Character culture-round and not. Chinese Character culture Learners are put in the same condition in that the prerequisite learning of Chinese Character vocabulary was already done, whereas non-Chinese Character culture leaners are not ready for that at all. As a result, the cases and situations that occur from this have no choice but to have differed. Chinese Character culture Learners got a precedent education for Chinese Character vocabulary. So they have to study concentrating on the same and different points between the Chinese Character vocabularies in their native language and those in Korean. In particular, when vocabulary in Korean Chinese Character and that in their native Chinese Character has similar or same pronunciation, they can have immediate learning effects without confusing by the difference of pronounce in Chinese Character words, however, when they have a great difference, the Learners need to be careful learning it. Also, it has to be considered that there are gaps in the orthography of Chinese Character. South Korea, Taiwan and Hong Kong use traditional Chinese Characters, China and North Korea use simplified Chinese Characters and Japan writes in acronym for that. Though they use simplified one and acronym in China, North Korea and Japan, they apply them to not all the Chinese Characters but parts of them. They have certain connection with the traditional Chinese Characters in the morphemes because simplified Chinese Character or the acronyms were made by dropping out grass characters or some shapes from the traditional characters. For this, We have to organize the learning system that overcomes these differences in terms of learning Chinese Character vocabulary of Chinese Character culture-round. However, non-Chinese Character culture Learners are almost same as they don`t have any precedent experience of the Chinese Character vocabulary is why they have to contact to it in the completely different contents and ways. When it is transcribed by Hangul morpheme, the range of ``homomorphs`` becomes wider. So, the wider the extent of ``Hangul homomorphs``,the higher the level of study. Therefore, the situation changes ,when it is learned marking on vocabularies made in ``Hangul homomorph`` with Chinese Character together. Especially, in the case of the pronunciation for morphemes, they have more complex aspects. Thus, foreign Learners have to be taught and study Korean vocabulary, divided into Chinese Character culture Learners and non-Chinese Character culture Learners. Chinese Character culture Learners have to study Korean concentrating on the distinction of ``Chinese Character morpheme`` like traditional character, simplified character and acronym and the same and different points of sound and meaning in Chinese Character vocabulary. Otherwise, non-Chinese Character culture Learners necessarily should perform it accompanying basic ``Chinese Character morpheme`` study ,and dividing vocabularies that have wide ``Hangul homomorphs`` range into ``Chinese Character morphemes``.

敎育課程의 變化와 漢文敎育의 正體性 摸索의 方案

송병렬(Song Pyung Nyul) 동양한문학회(구 부산한문학회) 2013 동양한문학연구 Vol.37 No.-

本稿는 근대 이후 한국에서의 한문의 위상 변화와 그에 따른 自己 正體性을 어떻게 추구해왔는지를 밝혔다. 또한 敎育課程 編制 變化에 따른 한문과의 위기는 새로운 正體性과 漢文文化의 新談論이 요구되고 있음을 밝혔다. 中世 東아시아에서 한문은 동아시아의 다양한 思想을 담아내는 그릇이었다. 동아시아의 근대는 동아시아의 漢文文化로 형성된 여러 價値와 思想을 밀어내는 것으로 시작했다. 한국에서는 20세기 초에 漢文廢止論으로 漢文文化를 排除하고자 했다. 이에 한문문화는 國漢文體로 대응했다. 또한 1945년 이후 語文政策에서 한글 專用論으로 漢文文化를 排除하고자 했다. 이에 國文學界는 漢文學을 '國文學 속의 漢文學'으로 定義하였다. 이는 한문을 傳統文化 繼承과 東아시아 國家 交流의 주요한 敎科로 槪念 定義하는데 중요한 影響을 미쳤다. 이에 3, 4, 5차 敎育課程에서 漢文은 中學校, 高等學校 모두 必修 敎科가 되었다. 그러나 6차 敎育課程에서 中學校는 選擇 科目, 高等學校는 課程別 必修 科目으로 되었다. 7차, 2007년, 2009년 敎育課程에서는 중학교는 裁量活動 科目, 高等學校는 選擇科目으로 되면서 계속 編制 單位 時數가 줄었다. 大學入試에서도 豫備考査ㆍ本考査, 學力考査를 치르던 시절에는 國語 敎科에 漢文 領域으로 3~10問題 出題되다가, 1990년대 초 6차 敎育課程期中 大學 修學能力試驗 3년 정도 言語 領域에 出題되다가, 이후 漢文 問項이 除外되었다. 2002년 大學修學能力試驗에 제2外國語/漢文으로 出題되면서 僅僅히 命脈을 維持해오고 있다. 이러한 상황은 현재 漢文 敎科의 位相을 위태롭게 하고 있다. 近代 이후 漢文文化는 한국 사회에서 사회문화적으로 位相 變化를 강요받았다. 그때마다 새로운 談論과 變身으로 漢文文化의 基盤을 유지해왔다. 21세기의 東아시아는 새로운 秩序가 形成되고 있다. 東아시아의 言語와 文字의 普遍性이 다시 漢字 語彙의 側面에서 提起되고 있다. 이는 漢文文化圈의 再形成 되었음을 意味하는 것이다. 따라서 韓國 社會가 漢文文化를 바라보는 視角의 矯正이 필요하다. 이에 漢文文化에 대한 새로운 談論을 要求한다. '漢文文化 新談論'이 大衆化되면 동아시아에서 漢字와 漢字 語彙를 가지고 문화적 보편성의 중요성을 인식하게 될 것이며, 그에 따라 한자ㆍ한문 교육의 방향도 희망적으로 바뀔 수 있을 것이다. This paper enunciated the change of the Chinese character's statue since the Modern age, and how has sought self-identity following this. Also, it says the crisis of Chinese character department following the change of curriculum formation requires the new identity and discussion for Chinese character culture. In East Asia of the middle age, Chinese character was a container that holds various East Asian ideas. The Modern age of East Asia started pushing the ideas and values that formed with East Asian Chinese character culture. In Korea, Chinese character culture was intended to push as 'Chinese character abolition' in the early 20's. In response to this, Chinese character culture coped with it as a mixed style of writing Korean with Chinese characters. And also, since 1945, in the language policy, there was a attempt to push Chinese Classics as a theory of exclusive usage of Hangul. For this, the academia of Korean literature accepted Chinese Classics as Korean literature and defined Chinese Classics into the category of 'Chinese Classics included in Korean literature'. This had an important influence on the concept definition of Chinese character as a succession of traditional culture and a major subject for the exchange among the East Asian countries. Accordingly, Chinese character had become the required subject in both middle school and high school from the 3rd curriculum to 5th curriculum. However, in the 6th curriculum, it became an optional subject in the middle school and a required subject following each course in the high school. In the 7th curriculum, in 2007 and 2009, the formation unit hours of Chinse Character consecutively decreased, becoming a discretionary activity in the middle school and an optional subject in the high school. Even, in the university entrance examination, while there were preliminary exam, main exam and achievement exam, Chinese character was set from 3 to 10 questions in the Korean subject. And then, in the early 1990's, on the 6 th curriculum term, it was set in the Korean subject of College Scholastic Ability Test for 3 years, and it was excluded in the Korean subject. After that, Chinse character barely keeps itself in existence, being set as Chinese character subject of the second foreign language in the College Scholastic Ability Test, in 2002. This situation is undermining the statue of the present Chinese character subject. Since the Modern age, Chinese character culture has forced socioculturally the change of the statue in the society of Korea. On all such occasions, it keeps the foundation of Chinse character culture as a new discourse and change. In East Asia in the 21 st century, the new order is being formed. The universality of language and character in East Asia is being brought up in terms of Chinese character vocabulary. It means the reconstitution of Chinese character culture sphere. Therefore, Korean society should have the new vision to see the Chinese character culture. And also, the new discourse of Chinese character culture is required. If the 'new discourse of Chinese character culture' become popular, the importance of cultural universality with the Chinese character and its vocabulary will be recognized in East Asia. Following this, the direction of Chinese Character education will be changed hopefully.

기조 발표(基調 發表) : 한자문화권(漢字文化圈)의 재형성(再形成)과 한국(韓國)의 한자(漢字),한문교육(漢文敎育)의 현황(現況)

송병렬 ( Pyung Nyul Song ) 한국한자한문교육학회 2011 漢字 漢文敎育 Vol.26 No.-

근대 이전 동아시아 여러 나라의 글쓰기는 한문이었다. 당시 동아시아의 세계는 한자·한문 문명권에 속해 있었기 때문에 정치·외교·문화적인 소통을 위하여 당연히 한문의 글쓰기가 필요했다. 그런데 19세기 후반 이후 이런 전통의 글쓰기와 인식체계에 큰 변화가 있었다. 표기체계의 획기적인 전환과 함께 문체의 구조적 문제가 발생하였다. 한문을 보편적으로 구사해오던 동아시아 어문의 질서로부터 이탈, 근대적인 국민어가 탄생하였다. 근대적인 전환·변혁이 하나의 구체적인 사회적 현상이 되었기에 그에 대한 언어적인 표현으로 드러난 것이다. 동아시아의 근대적인 전환과 변혁은 과거의 문물제도와는 다른 학술문화와 지식 체계의 전환을 의미했다. 그런데, 이 시기에 동아시아는 근대 문명의 새로운 언어로 ``한자 어휘``를 대량 산출한다. 그것은 당시 서구의 지식과 학문의 체계를 동아시아권의 언어로 번역하는 과정에서 일어난 일이다. 흥미로운 것은 그렇게도 부정하려고 하고 타자화하려 했던 한자·한문의 문화에서 비롯된 한자 어휘로 서구어를 번역했다는 사실이다. 즉 통사구조는 자국의 구어와 일치시키고, 문장의 내용을 구성하는 어휘는 ``근대 한자 어휘``로 대체했다. 이는 서양을 수용하면서 언어에 있어서 자국어 운동을 전개하며 문자표기와 문장을 언어와 일치시키려는 운동이다. 그러나 20세기의 중국을 제외한 동아시아 각국은 한자 어휘마저도 거부하는 어문 정책을 폈다. 이런 상황 속에서 한국은 2007년 개정 교육과정과 2009년 개정 교육과정에서 초등학교는 여전히 한자 교육을 배제하고, 중·고등학교의 한문 교육도 이전에 비해 훨씬 축소되었다. 따라서 근대 형성된 동아시아의 한자 어휘 문화권도 위기를 맞고 있다. 이에 아시아 여러 나라들의 학술활동의 국제적인 연대가 필요하다. In East-Asia, before modern times, writings in several country were written in Han Character. At that time, because the world of East-Asia belonged to Han Character and Classics cultural sphere, for the political, diplomatic and cultural communication naturally they needed Han Character writing. However, after the late 19th century, a great change happened that these traditional writing and recognition system faltered from the foundation. With the innovative changeover of writing system, structural problem of writing style occurred. It shed the order of East-Asian language and writing which used Han Character in common, modern national language was born. Movement of modern national language was not launched unexpectedly on the linguistic side. Modern change and innovation has been a concrete social phenomenon so that it emerged linguistic expression. Modern change and innovation of East-Asian entering upon 20 century were the replacement of academic culture and knowledge system different from the past civilization and regime. For that, East-Asia which had interchanged in a culture sphere before was disorganized by force. It is what changed the linguistic order, which is usage of Han Character that keep East-Asia for a long time modernistic. Each countries came to persue the sentence system and orthography coinciding with their spoken English from linguistic system which had written sentences in Han Character. Thereupon, the circumstance of East-Asian empire has changed largely and got to where we are today. They were boycott of Han Character and Classics culture. Boycott of Han Character and Classics culture was the course that each countries had to experience in the modern age of innovation and connected to dissolution of Han Character culture sphere. But, in other side, it was the consequence that obsession of East-Asia overwhelmed by Occidental civilization had operated in those days. However, in this period East-Asia produce ``Han Character vocabulary`` for new language of modern civilization in large scale. It happened on the course of translating Western knowledge and learning system into East-Asian language at that time. East-Asian countries tried to translate knowledge and information about Occidental civilization into national language they newly supported. What is the interest thing on this process is that they translated Western language into Han Character vocabulary originated from Han Character and Classics they tried to boycott. That is, it is that syntactic rules confirmed to national spoken language and the vocabulary which compose contents of sentences replaced it with ``Modern Chinse Character Vocabulary``. This means that accepting the West and developing the national language movement about language they doesn`t replace new Western knowledge with Western language or native tongue but did it with Chinse Character and Classics` coinage. However each country of East-Asia except China in 20th century carried out policies that broke with even Han Character Vocabulary. In this situation, Han Character education of Korean in elementary school was excluded in 2007 and 2009 revised education curriculum, also, Han Character education of middle and high school was minimuzed much better than before. So, Han Character vocabulary culture sphere of East-Asia is in pinch. Therefore, it needs the research activities of many Asian countries and international bonds.

漢字文化圈의 再形成과 韓國의 漢字·漢文敎育의 現況

송병렬 한국한자한문교육학회 2011 漢字 漢文敎育 Vol.26 No.-

In East-Asia, before modern times, writings in several country were written in Han Character. At that time, because the world of East-Asia belonged to Han Character and Classics cultural sphere, for the political, diplomatic and cultural communication naturally they needed Han Character writing. However, after the late 19th century, a great change happened that these traditional writing and recognition system faltered from the foundation. With the innovative changeover of writing system, structural problem of writing style occurred. It shed the order of East-Asian language and writing which used Han Character in common, modern national language was born. Movement of modern national language was not launched unexpectedly on the linguistic side. Modern change and innovation has been a concrete social phenomenon so that it emerged linguistic expression. Modern change and innovation of East-Asian entering upon 20 century were the replacement of academic culture and knowledge system different from the past civilization and regime. For that, East-Asia which had interchanged in a culture sphere before was disorganized by force. It is what changed the linguistic order, which is usage of Han Character that keep East-Asia for a long time modernistic. Each countries came to persue the sentence system and orthography coinciding with their spoken English from linguistic system which had written sentences in Han Character. Thereupon, the circumstance of East-Asian empire has changed largely and got to where we are today. They were boycott of Han Character and Classics culture. Boycott of Han Character and Classics culture was the course that each countries had to experience in the modern age of innovation and connected to dissolution of Han Character culture sphere. But, in other side, it was the consequence that obsession of East-Asia overwhelmed by Occidental civilization had operated in those days. However, in this period East-Asia produce 'Han Character vocabulary' for new language of modern civilization in large scale. It happened on the course of translating Western knowledge and learning system into East-Asian language at that time. East-Asian countries tried to translate knowledge and information about Occidental civilization into national language they newly supported. What is the interest thing on this process is that they translated Western language into Han Character vocabulary originated from Han Character and Classics they tried to boycott. That is, it is that syntactic rules confirmed to national spoken language and the vocabulary which compose contents of sentences replaced it with 'Modern Chinse Character Vocabulary'. This means that accepting the West and developing the national language movement about language they doesn't replace new Western knowledge with Western language or native tongue but did it with Chinse Character and Classics' coinage. However each country of East-Asia except China in 20th century carried out policies that broke with even Han Character Vocabulary. In this situation, Han Character education of Korean in elementary school was excluded in 2007 and 2009 revised education curriculum, also, Han Character education of middle and high school was minimuzed much better than before . So, Han Character vocabulary culture sphere of East-Asia is in pinch. Therefore, it needs the research activities of many Asian countries and international bonds. 근대 이전 동아시아 여러 나라의 글쓰기는 한문이었다. 당시 동아시아의 세계는 한자·한문 문명권에 속해 있었기 때문에 정치·외교·문화적인 소통을 위하여 당연히 한문의 글쓰기가 필요했다. 그런데 19세기 후반 이후 이런 전통의 글쓰기와 인식체계에 큰 변화가 있었다. 표기체계의 획기적인 전환과 함께 문체의 구조적 문제가 발생하였다. 한문을 보편적으로 구사해오던 동아시아 어문의 질서로부터 이탈, 근대적인 국민어가 탄생하였다. 근대적인 전환·변혁이 하나의 구체적인 사회적 현상이 되었기에 그에 대한 언어적인 표현으로 드러난 것이다. 동아시아의 근대적인 전환과 변혁은 과거의 문물제도와는 다른 학술문화와 지식 체계의 전환을 의미했다. 그런데, 이 시기에 동아시아는 근대 문명의 새로운 언어로 ‘한자 어휘’를 대량 산출한다. 그것은 당시 서구의 지식과 학문의 체계를 동아시아권의 언어로 번역하는 과정에서 일어난 일이다. 흥미로운 것은 그렇게도 부정하려고 하고 타자화하려 했던 한자·한문의 문화에서 비롯된 한자 어휘로 서구어를 번역했다는 사실이다. 즉 통사구조는 자국의 구어와 일치시키고, 문장의 내용을 구성하는 어휘는 ‘근대 한자 어휘’로 대체했다. 이는 서양을 수용하면서 언어에 있어서 자국어 운동을 전개하며 문자표기와 문장을 언어와 일치시키려는 운동이다. 그러나 20세기의 중국을 제외한 동아시아 각국은 한자 어휘마저도 거부하는 어문 정책을 폈다. 이런 상황 속에서 한국은 2007년 개정 교육과정과 2009년 개정 교육과정에서 초등학교는 여전히 한자 교육을 배제하고, 중·고등학교의 한문 교육도 이전에 비해 훨씬 축소되었다. 따라서 근대 형성된 동아시아의 한자 어휘 문화권도 위기를 맞고 있다. 이에 아시아 여러 나라들의 학술활동의 국제적인 연대가 필요하다.

기획논문 : 타자화(打字化)된 문자의 발화성(發話性) 획득이 갖는 의미

김우필 ( U Pil Kim ) 한민족문화학회 2014 한민족문화연구 Vol.47 No.-

구술문화는 개연성, 첨가성, 상황성을 바탕으로 기억정보를 짜깁기하는 스토리텔링 문화다. 반면 문자문화는 인과성, 선형성, 체계성을 바탕으로 기억정보를 해석하는 내러티브 문화다. 그런데 인쇄매체가 기술적 매체와 결합하면서 문자문화에 청각성이 부각되었고, 문자문화와 구술문화 사이에 트랜스미디어 현상이 나타나면서 제2의 구술문화가 등장했다. 특히 디지털미디어는 문자언어의 기록-저장-소통방식에 변화를 일으켜 시각중심적인 문자를 복합적 감각을 추구하는 멀티미디어콘텐츠로 변모시켰다. 이 과정에서 문자문화와 구술문화는 기술적 매체와 문화적 대중의 이해관계로 상호보완관계를 형성했다. 오늘날 대중문화는 인쇄매체, 방송매체, 전자매체로 형성된 문자성과 구술성이 서로 경합하고 융합하면서 전개되고 있다. 이러한 변화를 살펴보기 위해서 ≪뉴욕타임스≫와≪아시아경제≫(인쇄매체), EBS FM 라디오(방송매체), 버즈피드와 트위터(전자매체)를 사례로 분석하였다. 먼저 EBS FM <책 읽어주는 라디오>는 문자문화가 구술매체로 재매개화가 되는 현상을 대표적으로 보여준다. 그러나 매체의 형식적 변화만으로는 내용의 변화를 충족시킬 수 없다. EBS FM은 문자문화를 재활용하여 대중문화를 교양화하려 했지만 구술문화의 장점과 문자문화의 가치 모두를 활용하는 데 실패했다. 한편 문자매체를 기반으로 하지만 구술문화의 장점인 친밀감을 바탕으로 신뢰의 관계망을 구축한 버즈피드와 트위터는 트랜스미디어의 성공적인 사례라 할 수 있다. 사람들은 가까운 관계(인접성)와 공감하는 관계(신뢰성)에 주로 의존하여 수많은 정보 중에서 자신에게 필요한 정보를 획득하려는 경향이 있다. 버즈피드와 트위터는 이러한 구술문화의 특징을 매체의 기술적 개념으로 적극 활용했다. 또한 ≪뉴욕타임스≫와 ≪아시아경제≫의 스토리텔링 뉴스는 디지털미디어에 적합한 뉴스의 생산-소비 방식이 더이상 내러티브에만 의존할 수 없다는 사실을 보여주었다. 대중매체의 핵심콘텐츠인 뉴스마저도 구술문화의 전통을 기술적으로 재현하고 있으며 의식화와 오락성 모두를 충족시키기 위해서 문자성과 구술성의 융합을 시도하고 있다. The patchwork storytelling culture to remember information based on probability, additivity, and situation oral culture. While the narrative culture to interpret the remember information based on causality, linearity, and system character culture. However, the nature of the text was highlighted auditory culture media and technology combined with print media, emerged between the character appears on the trans-media culture and oral culture is an oral culture phenomenon of the second. In particular, the change Caused stored, the recording, the digital media is a communication method of written language, was transformed into a multimedia content to pursue a combination of visual sensory central character. In this process, forming a complementary relationship with the public interest in culture media and technology culture is an oral culture and character. Conflict with each other have been developed and formed by the fusion of print media, broadcast media, electronic media, popular culture, character and oral character today. To examine these changes, “New York Times” and “Asian economies” (print media), “EBS FM radio” (broadcast media), were analyzed in cases with “Buzz Feed” and “Twitter”(electronic media). Shows a typical phenomenon remediated character culture to the oral media first, EBS FM <to read the book Radio> is. But it can not meet the change of the content of the media changes are formally. Failed to take advantage of all the value of character cultural benefits of oral culture and trying to recycle educated character culture popular culture, but the EBS FM. The character is based on the medium, but can be called successful examples of trans-media, and building trust based on the closeness of the advantages of oral culture Buzz Feed and Twitter. The technical concept leverages the features of the oral culture of the media Buzz Feed and Twitter. Also showed that it can not rely on narrative methods suitable for digital media news production and consumption more than the "New York Times" and the "Asian economic" storytelling news. Even the content of the news media is a key technology to reproduce the tradition of oral culture, so the fusion of the character and orality attempt to meet all of conscious and entertainment.

原三國時代 中東部文化圈 住居 硏究

박경신 ( Park Kyoungshin ) 중부고고학회 2020 고고학 Vol.19 No.3

원삼국시대 중부지역은 주거, 분묘, 물질자료 등의 구성 요소 차이를 바탕으로 중동부와 중서부로 문화권을 나눌 수 있다. 中東部文化圈은 여ㆍ철자형주거, 중도식무문토기, 타날문토기 등으로 구성되어 있으나 中西部文化圈은 방형주거가 분포한다. 그리고 중동부문화권은 다양한 평면형태의 여ㆍ철자형주거, 외줄구들, 적석분구묘로 구성된 중도유형권과 이러한 요소가 발견되지 않는 가평리유형권으로 다시 세분된다. 중동부문화권의 중도식무문토기, 여ㆍ철자형주거, 외줄구들은 단결-크로우노브카문화가 파급된 결과이다. 단결-크로우노브카문화는 웅기 송평동 패총에서 확인된 외줄구들, 중도식무문토기 등으로 볼 때 東北韓을 경유하여 중부지역에 유입된 것으로 볼 수 있다. 동북한에서 중부지역으로의 유입로로 중도유형권은 안변-(추가령)-평강-철원(임진ㆍ한탄강), 안변-(철령)-회양-춘천(북한강)의 루트, 가평리유형권은 덕원-안변-통천-고성(동해안)의 루트가 상정된다. 여ㆍ철자형주거의 주축방향은 편서향을 띠는데, 이것은 편서풍 지대라는 지리적 특징을 최대한 고려한 선택이었으며, 바람의 영향이 가장 적은 남동쪽에 출입구를 개설한 것과 연동된다. 중동부문화권은 원삼국Ⅰ-1∼Ⅰ-2기까지 전통적인 방형주거 및 점토대토기가 공존한다. 그러나 원삼국Ⅰ-3기에 여ㆍ철자형주거가 등장하면서 선행 문화요소는 점차 소멸한다. 또한 원삼국Ⅱ기에 외줄구들의 등장, 낙랑계토기의 폭발적 유통을 통해 주거의 평면형태가 다양화됨으로써 중도유형과 가평리유형의 차이가 발생하기 시작한다. 원삼국Ⅲ기에는 적석분구묘, 부뚜막이 등장하면서 주거의 평면형태가 육각형으로 변화하는데 가평리유형권은 4C 후반부터 육각형으로 변화하여 지역 간 시차를 보인다. 이후 중도유형은 낙동강 상류의 문경ㆍ점촌, 가평리유형은 울진, 울주, 영주까지 확산된다. 삼국시대에는 호서 및 호남지역에서도 여ㆍ철자형주거와 유사한 출입구를 갖는 주거 형태가 확인된다. The central region in the Proto-Three Kingdoms Period can be divided into the Middle Eastern Culture Area and Middle Western Culture Area on the basis of components such as dwelling, tomb, and material remains. The Middle Eastern Culture Area has such features as ‘yeo (呂)’-character and ‘cheol (凸)’-character shaped dwellings, Jungdo style plain pottery, and Tanalmun pottery (with stamped design), whereas the Middle Western Culture Area features square-shaped dwellings. The Middle Eastern Culture Area can also be further classified into the Jungdo Assemblage with various flat types of ‘yeo (呂)’-character and ‘cheol (凸)’-character shaped dwellings, tunnel-shaped heating systems, stone-mound tombs, and into Gapyeong-ri Assemblage which lacks these features. In the Middle Eastern Culture Area, Jungdo style plain pottery, ‘yeo (呂)’-character and ‘cheol (凸)’-character shaped dwellings, and tunnel-shaped heating systems were influenced by Tuanjie-Krounovka Culture. Given that tunnel-shaped heating systems and Jungdo style plain pottery were found at the Unggi Songpyung-dong Shell Midden, it appears possible to suggest that the Tuanjie-Krounovka Culture reached the central region via northeastern Korea. The Jungdo Assemblage may have spread through the following pathways from northeastern Korea to the central region: 1) the Anbyon-(Chugaryeong)-Pyonggang-Cheorwon (Imjin River and Hantan River) route, and 2) the Anbyon-(Chullyoung)-Hoeyang-Chuncheon (Bukhan River) route. The Gapyeong-ri Assemblage may have had spread along the Deokwon-Anbyon-Tongchon-Goseong (Eastern coast of Korea) route. The direction of the main axis of ‘yeo (呂)’-character and ‘cheol (凸)’-character shaped dwellings coincides with that of the Westerlies (winds from the west toward the east in the middle latitudes between 30 and 60 degrees latitude). In this study, the geographic features of the Westerlies was taken into consideration as much as possible and it was proposed that the location of the entrance and exit at the southeast side of the dwelling may have been due to the fact that it was where the influence of wind was the weakest. The Middle Eastern Culture Area maintained the co-existence of traditional square-shaped dwellings and clay-band rim pottery until Phases I-1 and I-2 of the Proto-Three Kingdoms Period. With the emergence of ‘yeo (呂)’-character and ‘cheol (凸)’-character shaped dwellings in Phase I-3 of the Proto-Three Kingdoms Period, previous cultural factors gradually disappeared. In addition, with the emergence of tunnel-shaped heating systems and the explosive spread of Nangnang (Lelang) influenced pottery in Phase II of the Proto-Three Kingdoms period, dwelling floor plans became varied. As a result, the Joongdo Assemblage came to be distinguished from the Gapyeong-ri Assemblage. In Phase III of the Proto-Three Kingdoms, stone-mound tombs and kitchen ranges emerged, and dwelling floor plans changed into a hexagonal shape. In the Gapyeong-ri Assemblage, this change in dwelling floor plan to a hexagonal shape took place in the latter half of the 4th century, illustrating a regional difference. From that time, the Joongdo Assemblage expanded to the MungyeongㆍJeomchon areas of the upper Nakdong River, and the Gapyeong-ri Assemblage expanded to Uljin, Ulju, and Yeongju. In the Three Kingdoms Period, a type of dwelling with an entrance and exit was similar to that of ‘yeo (呂)’-character and ‘cheol (凸)’-character shaped dwellings came to be found in the Hoseo and Honam regions.