근대 재담집 『소천소지(笑天笑地)』 연구 ― 등장인물의 관계 양상과 그 특징을 중심으로 ―

이홍우 한국구비문학회 2012 口碑文學硏究 Vol.0 No.34

The aim of this study is to inquire the characteristics of witticisms based on the aspect of relationship shared by the characters of a modern collections of witticisms; 『Socheonsoji(笑天笑地)』322 witticisms of the collections were studied and similar characters were arranged depending on the relationship shared by them in the tales. As a result, the following relations could be extracted; family relationship, relationship between the higher and the lower, relationship between the host and the guest, relationship between the central character and peripheral characters, relationship between disabled and non-disabled characters, relationship between special family name and relationship between A(甲) and B(乙). Then, the characteristics were analyzed from the view point of ‘changes in the leadership under the relationship’, ‘formation of superiority relationship between the central character and the peripheral characters’, ‘characters breaking away from relationship’. First, ‘changes in the leadership under the relationship’ were discussed and it could be verified that in traditional humorous Tales, the ‘confrontation between the man in power and the one not in power’ was the central topic. This was seen in cases of family relationship, relationship between the higher and the lower, or relationship between the host and the guest. However, in modern witticisms, this confrontation changed to ‘confrontation of the old and the new regarding the advanced ideas’. Secondly, if we take a look upon ‘formation of superiority relationship between the central character and the peripheral characters’, then it could be verified that ‘1st relation of superiority and inferiority’ was established between a villager who went to Seoul and a resident of Seoul. And then, ‘2st relation of superiority and inferiority’ was again established between a villager who had been to Seoul and another villager who had never been to Seoul. As a result, such witticisms were created because of a feeling of superiority complex in a person who had embraced the modern civilization earlier than the one who had accepted it comparatively later. Finally, it could be seen that ‘relationship’ factor does not largely participate in arousing interest in the witticisms such as in cases of ‘first and second relationship’ which do not aim at specific relationship. In such witticisms, rather than the relationship between the characters, the action between unspecified characters or the conversation itself became the core factor for inducing laughter. So, witticisms kept under specific relations seek for ‘collective laughter’ that brings out the meaning of laughter under the sociocultural context of the traditional society. While it can be noticed that witticisms in ‘A and B relation’ escape from such contexts and seek ‘individual laughter’. Also, it seems that such witticisms have a strong tendency of depending upon the conversation between the characters and they somewhat cast an effect even on the play forms of these witticisms. 이 글의 목적은 근대 재담집 『소천소지(笑天笑地)』에 보이는 등장인물들의 관계 양상을 살펴 본 다음 이를 바탕으로 수록된 재담의 특징을 규명하는 데 있다. 이 재담집에 수록된 322편의 재담들을 대상으로 동일한 행위주체들을 항목화하여 관계를 중심으로 정리한 결과 가족 관계, 상하 관계, 주객 관계, 중앙인과 주변인 관계, 장애인과 비장애인 관계, 특정 성씨 관계, 갑을 관계를 추출할 수 있었다. 그런 다음 이를 바탕으로 이 재담집에 수록된 재담들을 ‘관계 내 주도권의 변화’, ‘중앙인과 주변인의 우열관계 형성’, ‘관계 지향을 탈피한 등장인물의 설정’이라는 관점에서 그 특징을 분석하였다. 첫째로, ‘관계 내 대결 주도권의 변화’를 살펴보면, 가족 관계나 상하 관계, 주객 관계의 경우 전통적인 소화(笑話)에서는 ‘권력자와 피권력자의 대결’이 중심이었다면 근대 재담들에서는 ‘신지식에 대한 신구(新舊)의 대결’로 대결 양상이 변하고 있음을 확인할 수 있었다. 둘째로, ‘중앙인과 주변인의 우열관계 형성’를 살펴보면, 서울사람과 시골사람의 관계에서는 서울사람과 상경한 시골사람 사이에 ‘1차적 우열관계’가 성립하고, 하향한 시골사람과 상경 경험이 없는 시골사람 사이에 ‘2차적 우열관계’가 다시 성립하고 있음을 확인할 수 있었다. 이는 결과적으로 근대적 문명을 시간적으로 먼저 받아들인 사람들이 상대적으로 그것을 늦게 수용한 사람들에 대해 우월감(優越感)을 가지게 됨으로써 이러한 재담이 만들어졌다고 할 수 있다. 셋째로, ‘관계 지향을 탈피한 등장인물의 설정’에서는 특정 관계를 지향하지 않는 이른바 ‘갑을 관계’의 경우 ‘관계’라는 요소 자체는 재담이 흥미유발에 크게 관여하지 않음을 알 수 있었다. 이러한 재담들은 등장인물 사이의 관계보다는 불특정 인물 간의 행동이나 대화 자체에서 웃음을 유발하는 핵심적인 요소가 드러나고 있었다. 그러므로 특정 관계에 놓인 재담들이 전통사회에서부터 이어져 온 사회문화적인 맥락 속에서 웃음의 의미가 드러나는 ‘집단적인 웃음’을 추구한다면, ‘갑을 관계’의 재담들은 이러한 맥락에서 벗어난 ‘개인적인 웃음’을 추구한다고 볼 수 있다. 또한 이러한 재담들은 등장인물들의 대화에 의존하는 경향이 강하고 그 표현방식 또한 희곡적인 형태를 취하고 있어 공연재담(公演才談)인 만담(漫談)에도 어느 정도 영향을 끼쳤을 것이라 생각된다.

越南漢喃古籍《千字文解音》所見喃字研究

李宇,何華珍 경성대학교 한국한자연구소 2018 한자연구 Vol.0 No.22

The development of Nom characters is promoted on the basis of and in attachment with Chinese characters, and in this regard The Phonetic Annotation of The Thousand Character Classic《千字文解音》 compiled in the late Nguyen Dynasty in Vietnam was a very practical textbook for learning Chinese characters and Nom characters. Based on categorizing Nom characters, the paper intends to clarify several notions on Nom characters of The Phonetic Annotation of The Thousand Character Classic. In the beginning, Nom characters can be divided into two major types: the directly borrowed Chinese characters and the independently invented ones. The former includes borrowing sounds, meanings, and both. The latter, according to the components of Chinese character formations, can be divided into the pictophonetic of Chinese characters and that of Nom characters. In the last part of the article, we summarize the relationship between Chinese characters and Nom characters. It is necessary not merely to consider the relationship but to understand the comparisons between them. With the aid of studying Nom characters, we can find that irrespective of whether they are directly-borrowed from Chinese or independently invented, the sound of Chinese characters is the most important feature for them. But we cannot ignore the ideographic parts of Nom characters because they, on the one hand, make up the phonetic deficiency of Chinese characters while promoting the development of Nom characters on the other. In our modern society, Chinese characters and Nom characters came to drift apart, and the latter especially was withdrawn from the historical stage, but the traditional culture of Vietnam is still recorded in literature both in Chinese characters and Nom characters. Moreover, the Nom character is one of the most important representatives of Vietnam’s traditional culture. For this reason solely, this research shall be a great help to further understanding of significant cross-cultural aspects between China and Vietnam, and more specifically of histories related to the spreading, application, and development of Chinese characters in Vietnam. The development of Nom characters is promoted on the basis of and in attachment with Chinese characters, and in this regard the Phonetic Annotation of the Thousand Character Classic《千字文解音》 compiled in the late Nguyen Dynasty in Vietnam was a very practical textbook for learning Chinese characters and Nom characters. Based on categorizing Nom characters, the paper intends to clarify several notions on Nom characters of the Phonetic Annotation of the Thousand Character Classic. In the beginning, Nom characters can be divided into two major types: the directly borrowed Chinese characters and the independently invented ones. The former includes borrowing sounds, meanings, and both. The latter, according to the components of Chinese character formations, can be divided into the pictophonetic of Chinese characters and that of Nom characters. In the last part of the article, we summarize the relationship between Chinese characters and Nom characters. It is necessary not merely to consider the relationship but to understand the comparisons between them. With the aid of studying Nom characters, we can find that irrespective of whether they are directly-borrowed from Chinese or independently invented, the sound of Chinese characters is the most important feature for them. But we cannot ignore the ideographic parts of Nom characters because they, on the one hand, make up the phonetic deficiency of Chinese characters while promoting the development of Nom characters on the other. In our modern society, Chinese characters and Nom characters came to drift apart, and the latter especially was withdrawn from the historical stage, but the traditional culture of Vietnam is still recorded in literature both in Chinese characters and Nom characters. Moreover, the Nom character is one of the most important representatives of Vietnam’s traditional culture. For this reason solely, this research shall be a great help to further understanding of significant cross-cultural aspects between China and Vietnam, and more specifically of histories related to the spreading, application, and development of Chinese characters in Vietnam.

영유아 그림책에 표현된 노인과 대상의 관계 및 관계유형 분석

육길나,최경 인문사회 21 2020 인문사회 21 Vol.11 No.5

According to the increasing number of elderly characters in picture books in the aging and nuclear family centered society, the purpose of study is to examine the relationship between the elderly and the characters, which has an important meaning in life in old age, and the relationship type in a picture book where young children experience the elderly indirectly. To this end, 76 picture books for young children featuring the elderly were analyzed. First, grandchildren and elderly were the most common relationship and books that express two people in family, social, or natural relationships were next. Second, in the relationship type between the elderly and the characters, books expressing mutual intimacy in a favorable relationship were the most common, followed by changed relationship from a hostile relationship to a favorable relationship, and then hostile relationship. This study is helpful in understanding the relationship and relationship type of the elderly expressed in picture books. It is significant in that it provided an idea for the direction of expressing the relationship with the elderly for picture book producers. 본 연구는 고령화, 핵가족화시대에 그림책 속 노인 등장인물이 증가하는 추세에 따라 영유아가 노인을 간접적으로 경험하게 되는 그림책에서 노년기 삶에 중요한 의미를 가지는 노인과 대상의 관계 및 관계유형이 어떻게 표현되었는지 살펴보고자 하였다. 이를 위해 노인이 등장하는 영유아 그림책 76권을 분석하였다. 첫째, 노인과 관계를 맺는 대상은 가족관계 중 손자녀가 가장 많았고, 다음으로 가족, 사회, 자연관계 중 두 개가 함께 표현된 책이었다. 둘째, 노인과 대상과의 관계유형에서는 호의적 관계유형에서 상호친밀이 표현된 책이 가장 많았고, 대립적 관계유형에서 호의적인 관계유형으로 변화한 책, 대립적 관계유형이 표현된 책의 순이었다. 본 연구는 그림책에 표현된 노인이 맺는 관계와 관계유형을 이해하는데 도움이 되고, 그림책 창작자에게 노인의 관계를 표현하는 방향에 대한 시사점을 제공한다는 의의가 있다.

한국어 조음위치에 대응하는 일본어 음독 한자 교육 방안

최정희 한국일어일문학회 2023 日語日文學硏究 Vol.127 No.-

In this study, the initial consonants of Korean Chinese characters (the sounds of Korean Chinese characters) and the initial consonants of Japanese Kanji characters (the sounds of Japanese Kanji) were compared in terms of the places of articulation during the education of Japanese Kanji vocal reading, and according to the results, the sounds of Korean Chinese characters and those of Japanese Kanji characters correspond to each other maintaining certain system relationships according to the phonological series. ⓵ Bilabial consonant: The sounds of Korean Chinese characters and those of Japanese Kanji characters correspond to each other. ⓶ Alveolar consonant: The sounds of Korean Chinese characters and those of Japanese Kanji characters correspond to each other. ⓷ Palatal consonant: The sounds of Korean Chinese characters and those of Japanese Kanji characters are in closely corresponding relationships. ⓸ Velar consonant: The sounds of Korean Chinese characters and those of Japanese Kanji characters correspond to each other. ⓹ Guttural consonant: The sounds of Korean Chinese characters and those of Japanese Kanji characters are in closely corresponding relationships. When teaching Japanese Kanji character vocal reading in classroom lectures, it is necessary to establish and present a systematic order that exists between phonemes from the viewpoint of articulation places. When the corresponding relationships in the articulation places are examined, it can be seen that in the case of bilabial consonants, the sounds of Korean Chinese character「ㅂ〔p〕」is frequently pronounced as the sound of Japanese Kanji character 「フ [ɸ]」. In the case of velar consonants, the sounds of Korean Chinese character 「ㅇ [ŋ]」 is pronounced as the sound of Japanese Kanji character 「ガline〔g〕」.

“牴”組字之字際關係研究

程蕭林,趙家棟 경성대학교 한국한자연구소 2022 한자연구 Vol.- No.33

The meaning of the word Di Chu (抵觸) was first carried by the character Di (牴). Due to the changes in the structural features of the glyphs that represent meaning, Di (牴) changed its semantic symbol to get other glyph Di (觝). Afterwards, due to the continuous generalization of word meaning, Di (抵) is used to express the generalized meaning of Di Chu (抵觸). Through in-depth analysis, it can be seen that because they have the same phonetic symbol Di (氐), the three words Di (牴), Di (觝) and Di (抵) have the same etymological meaning contact. And then, the three words can be used interchangeably with each other. In the process of using the literature, Di (牴), Di (觝) and Di (抵) can be replaced by other different Chinese characters to express the same meaning of Di Chu (抵觸), such as Di ( ), Di ( ), Di ( ), and so on. By combing and analyzing the the relationships between this group of characters in practical use, we can see that this group of characters constitute a complete inter character relationship in practical use by changing semantic symbols, changing phonetic symbols, making errors in semantic symbols, making errors in phonetic symbols, moving the position of phonetic symbols, complicating phonetic symbols, simplifying phonetic symbols, and loaning phonetic. In the process of the evolution of Chinese characters, there will often be some changes in the shape of the characters, which brings some difficulties to our learning and research process to a certain degree. Therefore, the study of the relationships between this group of characters in practical use can provide a variety of help for the in-depth study of Chinese characters. Firstly, it can provide more abundant materials for the study of the history of Chinese characters. Then, it is beneficial to promote the process of Chinese character related research. Furthermore, it has some guiding functions for improving the collection and revision of dictionaries.

관계론적 인물 이해를 위한 시론 -힘과 욕망의 양에 따른 관계를 중심으로-

김성진 ( Sung Jin Kim ) 한국어교육학회(구 한국국어교육연구학회) 2016 국어교육 Vol.0 No.153

A new approach to novel characters starts from understanding the characters not as separated individuals but as relationships. This study labeled this approach to characters ‘relational approach.’ This study examined critically the limitations of flat characters/round characters and the typical characters of the theory of realism. As all of these theories understood characters as independent beings, they were not able to grasp relationships among the characters or the roles of the characters in the narrative structure. This study paid attention to what relationship is formed by the personalities exhibited by main and minor characters. For this, it used the concepts of ‘will to power’ and ‘productive desire for life’ suggested by Nietzsche and Deleuze. Depending on the amount of power exercised by main and minor characters, a different power relationship appears: (1) main characters>minor characters; or (2) main characters<minor characters. (1) is a monologic character relationship in which a main character with strong personality utilizes minor characters as a tool of self growth. This type of relationship appears in monologic novels as in < The Square > where the voice and world view of the main character dominate the entire story. (2) is a dialogic character relationship in which a passive main character meets strong minor characters and observe their words and behaviors. This type of relationship is found in dialogic novels as in < Petit bourgeois > where the heterogeneous values and behaviors of various characters are exhibited.

투고논문 : 『옥수기』의 여성인물과 결연 양상

권경순 ( Kyong Soon Kwon ) 한국한문교육학회 2010 한문교육논집 Vol.35 No.-

19세기 한문 장편소설의 하나인 『玉樹記』는 小楠沈能淑(1782~1840)이 그의 만년인 1835년~1840년 사이에 창작하고 1883년 남윤원이 한글로 번역한 작품이다. 『옥수기』를 번역한 남윤원도 발문에서 밝혔듯이 『옥수기』의 중심 내용은 ``남녀의 결연``이다. 『옥수기』에서 결연을 맺는 주요 남성등장인물들은 모두 문장에 뛰어난 능력을 가지고 있으며 대체적으로 비슷한 모습을 가진다. 즉, 이렇게 유사하게 형상화된 남성들이 각기 다양한 모습을 가진 여성들과 결연을 맺는 것이 『옥수기』의 주요 내용이 된다. 따라서 작품의 정확한 이해를 위해서는 남녀의 결연이 어떤 양상을 띠고 있는지, 어떻게 형상화 되고 있는지, 결연을 맺는 인물들은 어떻게 형상화 되고 있으며 그 역할을 무엇인지 파악하는 것이 무엇보다 중요하다. 『옥수기』에 등장하는 여성인물과 남녀간의 결연은 여성인물의 신분에 따라 다른 양상을 보인다. 처가 되는 인물은 절의, 효, 학식 등이 강조된 면모를 보이며 유교적 이념에 충실한 인물로 그려진다. 또한 결연은 부모에 의해 결정되고 情은 최대한 배제된다. 그녀들은 집안의 위기를 해결하고, 남성인물보다 뛰어난 능력을 가지고 있지만 자신의 능력을 드러내지 않고 남성인물을 조용히 돕는 역할을 한다. 반면에 첩이 되는 인물은 처에 비해 자유로운 성격을 가지며, 시, 무예 등이 강조된 면모를 보인다. 그들은 결연과정에서 서로 속고 속이기도 하며 남성인물과 낭만적인 대화를 나누기도 한다. 또한 유희를 즐기는 장면, 풍류적인 생활을 하는 장면에서만 주도적인 역할을 할 뿐이다. 이러한 처와 첩의 구분에서 중세적 신분길서에 충실한 심능숙의 의식을 엿볼 수 있다. Oksuki(玉樹記), one of the novels in Choson Dynasty, in the 19th century, is created by Sim-neungsuk(沈能淑: 1782~1840) at his later years. It is written in classical chinese, and later translated in Korean by Nam-Yunwon at 1883. Just as Nam-Yunwon, the translater of the novel, ascertains at his preface, the main story of Oksuki(玉樹記) is about a “union between man and woman”. Every male character who forms a relationship with a female character in this novel, has certain traits in common, such as good at writing, having similar appearances, etc. The main story of Oksuki is about that the male characters who are much alike in their talents and appearances have relationships with females within different characters. Therefore, in order to grasp the work precisely, it is essential to observe what specific aspects of their relationships are, how figures of the characters can be described, and what their roles are. The patterns of relationships between man and female characters has shown different aspects depending on female characters` status. The female characters playing a role of wife are described as learned and virtuous persons who have fidelity and devote themselves to their parents. They are all described as faithful to Confucian idea. Their marriage is arranged by their parents excluding their personal emotions. Even though they not only resolve family troubles, but also have higher abilities over the male characters, they still conceal their superiorities and always support their husbands. Conversely, the concubine characters in the novel are described as unrestricted ones compare to the wives: they surpass in poetic compositon and martial arts. They use to deceive their partners or to be deceived by them during the relationship. As they mainly focus on enjoying life, so they take an important role only in the scenes of merrymaking. Through analyzing the distinctions between the wife charater and the concubine charater shown in the novel, we find out that Sim-neungsuk(沈能淑), the writer of Oksuki(玉樹記) follows the order of social status reflecting Confucian idea.

『옥수기』의 여성인물과 결연 양상

권경순 한국한문교육학회 2010 한문교육논집 Vol.35 No.-

Oksuki(玉樹記), one of the novels in Chŏson Dynasty, in the 19th century, is created by Sim-neungsuk(沈能淑:1782~1840) at his later years. It is written in classical chinese, and later translated in Korean by Nam-Yunwon at 1883. Just as Nam-Yunwon, the translater of the novel, ascertains at his preface, the main story of Oksuki(玉樹記) is about a “union between man and woman”. Every male character who forms a relationship with a female character in this novel, has certain traits in common, such as good at writing, having similar appearances, etc. The main story of Oksuki is about that the male characters who are much alike in their talents and appearances have relationships with females within different characters. Therefore, in order to grasp the work precisely, it is essential to observe what specific aspects of their relationships are, how figures of the characters can be described, and what their roles are. The patterns of relationships between man and female characters has shown different aspects depending on female characters' status. The female characters playing a role of wife are described as learned and virtuous persons who have fidelity and devote themselves to their parents. They are all described as faithful to Confucian idea. Their marriage is arranged by their parents excluding their personal emotions. Even though they not only resolve family troubles, but also have higher abilities over the male characters, they still conceal their superiorities and always support their husbands. Conversely, the concubine characters in the novel are described as unrestricted ones compare to the wives: they surpass in poetic compositon and martial arts. They use to deceive their partners or to be deceived by them during the relationship. As they mainly focus on enjoying life, so they take an important role only in the scenes of merrymaking. Through analyzing the distinctions between the wife charater and the concubine charater shown in the novel, we find out that Sim-neungsuk(沈能淑), the writer of Oksuki(玉樹記) follows the order of social status reflecting Confucian idea. 19세기 한문 장편소설의 하나인 『玉樹記』는 小楠 沈能淑(1782~1840)이 그의 만년인 1835년~1840년 사이에 창작하고 1883년 남윤원이 한글로 번역한 작품이다. 『옥수기』를 번역한 남윤원도 발문에서 밝혔듯이 『옥수기』의 중심 내용은 ‘남녀의 결연’이다. 『옥수기』에서 결연을 맺는 주요 남성등장인물들은 모두 문장에 뛰어난 능력을 가지고 있으며 대체적으로 비슷한 모습을 가진다. 즉, 이렇게 유사하게 형상화된 남성들이 각기 다양한 모습을 가진 여성들과 결연을 맺는 것이 『옥수기』의 주요 내용이 된다. 따라서 작품의 정확한 이해를 위해서는 남녀의 결연이 어떤 양상을 띠고 있는지, 어떻게 형상화 되고 있는지, 결연을 맺는 인물들은 어떻게 형상화 되고 있으며 그 역할을 무엇인지 파악하는 것이 무엇보다 중요하다. 『옥수기』에 등장하는 여성인물과 남녀간의 결연은 여성인물의 신분에 따라 다른 양상을 보인다. 처가 되는 인물은 절의, 효, 학식 등이 강조된 면모를 보이며 유교적 이념에 충실한 인물로 그려진다. 또한 결연은 부모에 의해 결정되고 情은 최대한 배제된다. 그녀들은 집안의 위기를 해결하고, 남성인물보다 뛰어난 능력을 가지고 있지만 자신의 능력을 드러내지 않고 남성인물을 조용히 돕는 역할을 한다. 반면에 첩이 되는 인물은 처에 비해 자유로운 성격을 가지며, 시, 무예 등이 강조된 면모를 보인다. 그들은 결연과정에서 서로 속고 속이기도 하며 남성인물과 낭만적인 대화를 나누기도 한다. 또한 유희를 즐기는 장면, 풍류적인 생활을 하는 장면에서만 주도적인 역할을 할 뿐이다. 이러한 처와 첩의 구분에서 중세적 신분길서에 충실한 심능숙의 의식을 엿볼 수 있다.

현대 한국한자음 초성과 중국어 성모 “x[ɕ]”의 대응관계 고찰

기혜민(Ji Hui-min) 어문연구학회 2017 어문연구 Vol.94 No.-

한국한자음 초성은 중국어의 성모와 일대일의 대응관계가 아니다. 한·중 한자음에 대 한 연구는 주로 이전 시기의 자료들을 기준으로 많이 이루어져 왔는데 본 연구는 현대에 통용되는 하나의 중국어 성모 “x[ɕ]”를 가지고 한국한자음 초성과의 대응관계가 이루어 진 원인을 다루었다. 그 원인을 고찰하기 전에 사전준비를 통해 “x[ɕ]”에 대응하는 한국한자음 초성 “ㅎ, ㅅ”이 비교적 많고 “ㄱ, ㅇ[ø], ㅊ, ㅈ, ㄷ”은 소수인 것을 알게 되었다. 현대 중국어 성모 “x[ɕ]”는 구개음이다. 이 구개음은 처음부터 존재했던 음이 아니라 현대에 이르는 동안 새로 생긴 음이다. 따라서 이러한 대응관계의 형성은 중국어 성모의 역사적 변화와 관련이 있다고 생각된다. 마찬가지로 현대에 이르기까지 한국한자음도 음운변화가 많이 일어 났다. 그러므로 한국한자음 초성자음과 중국어 성모의 통시적 변화를 통해 목적 달성을 도모코자 하였다. 한국한자음이든 중국어이든 모두 중국 중고음을 모태로 하기 때문에 본 연구는 중국 중고음과 연결하여 진행하도록 하였다. 2장에서는 중세한국한자음훈집성(2009)을 주요자료로 초성 “ㅎ, ㅅ, ㄱ, ㅇ[ø], ㅊ, ㅈ, ㄷ”을 가진 한국한자음의 통시적 변화를 살펴보았다. 그 결과로 초성 “ㅎ, ㅅ, ㄱ, ㅇ[ø], ㅊ, ㅈ, ㄷ”의 표기가 안정성이 강해서 중세 시기부터 현대에 이르기까지 극소수를 제외하고 나머지는 표기가 변하지 않았음을 알게 되었다. 따라서 3장에서 2장의 바탕으로 중세 시기의 한국한자음에 “ㅎ, ㅅ, ㄱ, ㅇ[ø], ㅊ, ㅈ, ㄷ”으로 실현된 중국 중고성모를 찾아내고 이 성모들의 변화가 “x[ɕ]”와 어떤 관련이 있는지 살펴보았다. 그 결과로 현대에 이르기까지 중국 중고성모들의 구개음화가 이러한 대응과 깊은 관련이 있음을 알 수 있었 다. 이처럼 2장과 3장을 종합해 보고 한국한자음 초성 표기의 유지와 중국어의 구개음화가 이러한 대응관계가 형성된 원인인 것을 밝히었다. The initial sounds of Korean Chinese characters and Chinese initials do not correspond one-to-one. So far researches on the sounds of Korean Chinese Characters and Chinese are mainly based on the previous materials, but this paper will probe into the cause of the corresponding relationship between the generally used modern Chinese initial “x[ɕ]” and the initial sounds of Korean Chinese characters. Previous preparations have found that there are more initial sounds of Korean Chinese characters that correspond to “x[ɕ]”, such as “ㅎ, ㅅ”, while “ㄱ, ㅇ[ø], ㅊ, ㅈ, ㄷ” correspond scarcely. The modern Chinese initial “x[ɕ]” is a newly emerged palatal sound, rather than existing since ancient times. Therefore, the cause of the corresponding relationship should relate to the historical changes of Chinese initials. Correspondingly, the sounds of Korean Chinese characters also varied much in phonology from ancient times to now. Because of the common basis of ancient Chinese phonology for the sounds of Korean Chinese characters and Chinese, so this research bears some relation to ancient Chinese phonology. Chapter Two mainly observes the historical changes of Korean Chinese characters initialed “ㅎ, ㅅ, ㄱ, ㅇ[ø], ㅊ, ㅈ, ㄷ” in Collection of Sounds and Meanings of Korean Chinese Characters of the Middle Ages(2009). It found that the marks of the initial sounds of Korean Chinese characters are stable, except only a few changes from the Middle Ages to modern times. Therefore based on what have found in Chapter Two, Chapter Three will try to find ancient Chinese initials that correspond to “ㅎ, ㅅ, ㄱ, ㅇ[ø], ㅊ, ㅈ, ㄷ” in sounds of Korean Chinese characters of the Middle ages, then observe the relationship between the historical changes of these Chinese initials and “x[ɕ]”. Finally, it found that there existed close relationship between the palatalization of ancient Chinese initials and the correspondence. Comprehensively Chapter Two and Chapter Three drew a conclusion that the cause of the correspondence lies in the stability of the marks of the initial sounds of Korean Chinese characters and the palatalization of Chinese.

漢語 音變構詞와 通假字의 상관관계 및 유형 연구

염재웅(Yum, Jae-Ung) 중국문화연구학회 2018 중국문화연구 Vol.0 No.41

본 연구에서는 漢語의 通假字와 音變構詞를 비교하여 上古漢語의 語彙生成方法을 비교 고찰하고자 하였다. 이 두 종류의 어휘는 예전부터 큰 범주에서 通假字의 개념 안에서 혼용 되어왔다. 이러한 까닭에 通假字를 수록한 사전에는 音變構詞 어휘들이 대량으로 수록되어 왔다. 또한 상고한어 시기부터 생성된 성격이 유사한 이 두 어휘는 상고한어 시기에 출현한 동일하거나 유사한 문헌증거를 가지고 通假字인지, 音變構詞인지를 판단하고 있다는 것이다. 본 연구에서는 다음과 같은 결과를 얻을 수 있었다. 첫째, 通假字와 音變構詞는 어휘의 활용과 어휘의 파생이라는 서로 다른 층위의 속성을 가지고 있기 때문에, 비록 이 어휘들 고증할 때 서로 유사하거나 동일한 문헌증거를 사용할 수 있다. 그러므로 단순한 本字와 借字은 단순한 假借關係만 있을 때는 通假字로 보아야 하지만, 原始詞와 滋生詞의 엄격한 音義關係가 존재할 때는 더 이상 通假字로 혼동하지말고 音變構詞로 보아야 한다. 둘째, 通假字를 詞義 발전 양상의 관점에서 쌍향성이 있는 유형과 단향성이 있는 유형의, 두 가지 유형으로 나누었다. 본 논문 通假字에서 쌍향성(雙向性)을 가지는 용례는, “疑”字와 “擬”字의 通假字, “福”字와 “富”字의 通假字, “直”字와 “值”字의 通假字이며, 通假字에서 단향성(單向性)을 가지는 용례는, “之”字와 “志”字의 通假字, “采”字와 “菜”字의 通假字, “直”字와 “植”字의 通假字이다. 셋째, 音變構詞의 原始詞와 滋生詞, 通假字의 本字와 借字 사이의 대응관계는 두 가지 유형으로 나눌 수 있는데, 본 논문에서 音變構詞와 通假字의 대응관계를 논할 수 있는 용례들은 모두 音變構詞의 原始詞가 通假字의 借字로 대응하고, 音變構詞의 滋生詞는 通假字의 本字로 대응하는 관계였다. The purpose of this study is to compare the vocabulary generation methods of the ancient Chinese by comparing the Chinese Pronunciation-Change Words and the Chinese Phonetic Loan Characters. These two types of vocabulary have long been mixed in the concept of the Chinese Phonetic Loan Characters in a large category. For this reason, the dictionary containing the Chinese Phonetic Loan Characters has been stored in large quantities in the Chinese Pronunciation-Change Words. In addition, these two vocabularies, which are similar in characteristics to each other, are judged to be the Chinese Phonetic Loan Characters or the Chinese Pronunciation-Change Words with the same or similar documentary evidence that emerged during the Ancient Chinese period. The results of this study can be summarized as follows. First, it is possible to use similar or identical documentary evidence when these vocabularies are identical, since the vocabulary and the sound dative have attributes of different levels of vocabulary use and vocabulary derivation. Therefore, a simple main character and a borrower should be regarded as the Chinese Phonetic Loan Characters when there is a simple transitive relation. However, when there is a strict Phonetic and semantic relation between primitive and derivative words, they should not be confused with the Chinese Phonetic Loan Characters but as the Chinese Pronunciation-Change Words. Second, from the viewpoint of the direction of the development of acceptation, we divided those words into two types: a bi-directional type and a univocal type. In this paper, the examples of bi-directional type are “疑”字: “拟”字, “福”字: “富”字, “直”字: “值”字. the examples of unidirectional type are “之”字: “志”字, “采”字: “菜”字, “直”字: “植”字. Third, the correspondence relationship between the primitive and derivative words in the Chinese Pronunciation-Change Words, and the original character and borrowed character in the Chinese Phonetic Loan Characters can be divided into two types. In this paper, we just have one type that the primitive word of the Chinese Pronunciation-Change Words corresponds to the borrowed character in the Chinese Phonetic Loan Characters, and the derivative word of the Chinese Pronunciation-Change Words corresponds to the original character character in the Chinese Phonetic Loan Characters.