한국 서예의 정체성에 관한 연구 -羅末麗初를 중심으로-

송종관 동방문화대학원대학교 문화와예술연구 2015 문화와예술연구 Vol.6 No.-

Looking for the identity of Korean Calligraphy is quite important but not easy work also hard to define what it is in a sentence. However, it is needed to find out what is identity of it. The reason why it is hard to find out is that Korean have basic identity but the identity of Calligraphy has been different by centuries. It can be largely divided into three reasons. Firstly, the period from three Kingdoms to the beginning of Goryeo, Secondly, the period between the end of Goryeo and the middle of Joseon, this is the time when the doctrines of Chu-tzu was dominated to the society. Thirdly, the end of Josen is the period when scholars of the Realist School of Confucianism were appeared. In this periods, Buddhism was flourished but Buddhist insisted the intercommunication of three religions named Confucianism, Buddhism and Immortal Taoism. The ancient tasteful ideas was called Geupbaek(皀帛) scholar in Koguryo, Hwarang(花郞) scholar in Shilla and Taoist in Goryeo that could be unique. This intercommunication of three religions was expressed as scholar or Taoist by the people named Choi Chiwon, Lim Chun, Lee Gyubo and etc. They could have different the period of their lifetime or ages, but have the similarity of the selection of words through their articles. Thus, it could be known that the identity of calligrapy was considered by the articles about calligraphy or poems of these three people mentioned formerly. From this research, the identity of calligraphy from late Shilla to early Goryeo was influenced by the intercommunication of three religions based on tasteful ideas followed by Hwarang sprit and the scholar thought. And, it is summarized that the identity of calligraphy is Taoist ideology because this scholar thought could be concluded to Taoist ideology through the directivity of great writing and conduct.

한국음악 ‘도드리[還入]’의 미학적 의미

강유경(Kang Yu kyoung) 한국동양철학회 2016 동양철학 Vol.0 No.45

본 논문의 연구 목적은 한국전통음악에 있어 파생 및 반복을 거듭하며 시대 속에 함께 해 온 도드리음악에 주목하여 도드리 음악의 내면성 및 그 음악이 추구하는 경지와 의미를 儒家美學적으로 알아보는 것이다. 본 연구의 주제인 도드리는 한국 전통음악 중 正樂에 포함되는데 정악의 대부분에서는 다양한 도드리[還入]의 이름을 확인할 수가 있다. 그런데 ‘정악’이라는 글자의 의미에서 알 수 있듯이, 이 음악이 추구하는 ‘바른 음악’은 도드리 용어와 관련하여 ‘되돌아든다’라는 본원세계지향의 내면사상과 연계 할 수 있다. 왜냐하면 도드리는 한국 전통음악에 있어 풍류음악과 관련되는데, 이는 신라시대 玄妙之道라는 풍류사상에서 출발하여, 조선시대에 이르러 儒家의 학문ㆍ사상과 접목되면서 선비의 실천적 수양공부와 밀접한 상관관계를 갖게 되기 때문이다. 즉 조선시대 선비의 실천적 수양공부의 궁극적 목표는 “사사로운 자기의 욕심을 극복하고 예를 회복 함[克己復禮]으로써 뜻을 정성스럽게 하고 마음을 바르게 하고[誠意ㆍ正心] 참마음으로 돌아가 자기의 본성을 분명히 깨달아 알며[盡其心者, 知其性也.], 궁극적으로는 천명을 깨달아[知其性則知天矣.] 천인합일의 경지에 이른다.”는 것인데, 이는 거문고음악의 내면적 지향이라 할 수 있는 琴道와 맥락을 같이하고 있다. 따라서 도드리는 유가미학적 입장에서 볼 때 본원세계의 道를 지향하는 음악 내면의 철학적이고도 상징성을 띤 악곡의 명칭이라고 할 수 있으며, 또한 여러 시대를 거치면서 변천을 거듭해 왔지만 끊임없는 도의 작용을 음악적으로 형상화하면서 오늘날 향악의 구심점 역할을 하고 있는 대표적인 악곡에 대한 명칭이라고 할 수도 있다. 한편 한국 전통음악의 정악과 관련하여 그것이 궁극적으로 추구하는 경지는 그 향유층 및 문인 선비들의 이념적 사고로만 끝나는 것이 아니라 실제 악곡에 있어서도 ‘도드리’라는 이름으로 시대와 함께 거듭 내려 온 것에 매우 큰 의미를 둘 수 있다. 이는 곧 ‘이상적인 정감의 실천적인 예술작품의 구현’이라는데 의의가 있기 때문이다. 또한 도드리의 ‘되돌아든다’는 의미와 관련하여 본원세계로의 환원과 도의작용이라는 상징적 원리는 미래음악의 핵심적 역할로 거듭될 것임을 확신한다. 이것은 수 세기를 통해 많은 변화를 거쳐 음악적 파생을 거듭하며 형성ㆍ발전되어 오면서도, 끊임없는 도의 작용을 음악적으로 형상화 하고 있다는 의미로 과거에도, 오늘날에도, 미래에도 함께 할 예술의 끊임없는 구동력이 되는 용어이자 ‘도드리 정신’이라고도 할 수 있다. ‘Dodeuri music’ have been together in age with repetitive reiteration and derivatives in Korea Traditional Music Area. The purpose of this research paper is to examine the inner essence, the pursuit state and means of ‘Dodeuri music’ with a Confucian Aesthetics view. ‘Dodeuri’ which is the research topic comes under the Jeong-ak(正樂) of Korea s traditional music. A veriety of name ‘dodeuri[Reversal(還入)]’ are verified in most of Jeong-ak (正樂) field. As we can see in the sense of the letter of ‘Jeong-ak’, ‘The proper music[jeong-ak(正樂)]’ which is pursuit of this music can be connected with the inner world-oriented thought to accomplish one s long-chrished wishes by the related terms of ‘Dodeuri[Reversal(還入)]’. Because ‘Dodeuri’ is related with Tasteful Music[風流音樂]of Korea s traditional music, It is starting from Tasteful thought[風流思想] of profound idea[玄妙之道] in Silla Dynasty, and grafted onto confucian academic ideas in Joseon Dynasty. In doing so, ‘Dodeuri’ has been closely related with praitcal self-discipline of Confucian Scholar in Joseon Dynasty. In other words, the ultimate goal of praitcal self-discipline of Confucian Scholar in Joseon Dynasty period is reach a high degree of ‘The Unity of Nature and Human[天人合一]’. The goal is achieved by recover the proprieties of his through overcome his own personal greed[克己復禮], and by establish elaborate will and be a person with an upright soul[誠意ㆍ正心], and by clearly find out his human nature by virture of an upright soul[盡其心者, 知其性也.]. By the way this is in line with a ‘Geum Spirit[琴道]’ which is inner-oriented goal of ‘Geomungo [琴]’ music. Therefore, ‘Dodeuri’ can be philosophical and symbolic name of music which is inner world-oriented music thought to accomplish one s long-chrished wishes with a Confucian Aesthetics view. And it can be the representive name of music which is acting as the pivotal role of today s Hyang-ak(鄕樂). Because it has been musically exemplified the continuous action of “Do(道)” which has been changed throughtout the ages. Meanwhile, with reference to “the Jeon-gak” of Korea s traditional music, the ultimate state of ‘Dodeuri’ is not finished with philosophical thought of Confucian Scholar and enjoyer group but has been handed down among actual name of music area by the name of ‘Dodeuri’ together with ages. Because it has the significance that it implement the practical works of art with ideal emotion. Also, with reference to the meaning of ‘Dodeuri[Reversal(還入)]’, it s symbolic principle which are return to the inner world-oriented music thought and action of “Do(道)” will surely perform a key role in the future music. It is the meaning of that notwhitstanding ‘Dodeuri’ has been repeated musically derived, formed, developed with several changes for ages, it has been kept musically exemplified the continuous action of “Do” which has been changed throughtout the ages. That is to say, ‘Dodeuri’ is the terms of continuous Actuating Force of art together with past, today, and future. We can say this as a ‘Dodeuri Spirit’.

1910년대 근대적 "취미(趣味)" 개념과 연극담론의 상관성 고찰

문경연 ( Kyoung Yeon Moon ) 우리어문학회 2008 우리어문연구 Vol.30 No.-

19세기 연행록에 표현된 연행활동 -춤을 중심으로-

최성애 한국무용사학회 2010 한국무용사학 Vol.0 No.6

본 논문의 목적은 조선 후기 문학 중 19세기 연행록(燕行錄)에 표현된 공연양상을 살펴보고, 춤 종목의 분류와 성격을 파악하고자 하는 것이다. 19세기 연행록에는 사신들을 위로하는 연향(宴饗)을 베풀 때 행해진 다양한 연희(宴戱)를 보고 느낀 것들이 기록되어 있으며, 작가들이 당시 사행노정에서의 예인들의 공연 활동을 특히 사실적이면서 생동감 있게 묘사하고 있다. 또한 연행록에는 사행원이 연희 종목들을 감상하고 느낀 감흥과 흥취를 자유로운 글쓰기 형태로 다양하게 기록하고 있는데, 이 글들을 통해 사행의 길목에서 연희된 공연활동과 춤 종목과 목적 및 성격을 살펴볼 수 있다. 19세기는 많은 연행록 있지만, 이 중 각 지방의 연행활동과 춤 종목을 자세히 기록한 이해응(李海應, 1775-1825)의 『계산기정(薊山紀程)』(1803), 박사호(朴思浩, 1784 -1854)의 『심전고(心田稿)』(1837) 「연계기정(燕薊紀程)」(1828), 김경선(金景善, 1788-?)의 『연원직지(燕轅直指)』(1832), 이우준(李遇駿, 1801-1867)의 『몽유연행록(夢遊燕行錄)』(1848), 홍순학(洪淳學, 1842-1892)의 『연행가(燕行歌)』(1866), 유인목(柳寅睦, 1839-1900)의 『북행가(北行歌)』(1866), 저자미상의 『연원일록(燕轅日錄)』(1889) 등을 살펴보았다. 그 결과 19세기의 연행록에 표현된 춤 종목에는 궁중에서 유입된 춤 및 지방에서 연희된 춤 그리고 연행자인 기녀들이 스스로 창작한 춤이거나 기녀 자신만이 배워 전승되고 있는 춤들이 있음을 확인할 수 있다. 이러한 춤 종목은 사행원을 위한 유희적․무사귀환을 목적으로 흥취적(興趣的)이고 풍류놀이의 성격과 송축(頌祝)․축수(祝壽), 그리고 태평성대의 성격으로 파악할 수 있었다. 또한 <검무>는 사행에서 빠지지 않고 연행된 춤 종목으로 사행원의 사기를 고조시키는 것을 목적으로 공연되어 애국심과 상무정신(尙武精神)을 고양시키는 성격으로 중요한 역할을 하였음을 파악할 수 있었다. 본고는 관찰기록에서는 느낄 수 없는 공연 현장의 생동감을 상세히 전달하고 있는 문예적 표현을 기록한 연행록을 살펴본 것으로서, 19세기 춤의 다양한 공연양상을 파악하는 데뿐만 아니라 조선 후기에 추어졌던 춤을 복원하는 데 앞으로도 큰 기여를 할 것이라고 생각한다. 또한 문학적 측면에서 무용에 관한 사료를 연구하여 미흡하나마 성과를 얻을 수 있었다는 점도 가치를 갖는다고 할 수 있다. Envoys’ visits to Peking expressed in records on envoys’ visits to Peking in the 19th century -centering on a dance- Sengae Choi* The purpose of this thesis is to explore the aspect of performance expressed in records on envoys’ visits to Peking in the 19th century among the literary works in the latter period of the Josun dynasty, and understand the classification and character of dancing items. The records include impressions on the various performances at a banquet for comforting envoys. The authors described particularly realistically and vividly the performances of artistes on envoys’ visits at that time. Also, the records include envoys’ inspirations and interests after appreciating performing items which were variously recorded in the form of free writing. The texts reflect the purposes and characters of the performances and dances performed on envoys’ visits. Among many records on envoys’ visits to Peking in the 19th century I have explored Haeeung Lee(李海應, 1775-1825)’s Gyesangijung(薊山紀程, 1803), Saho Bak(朴思浩, 1784-1854)’s Simjungo(心田稿, 1837) and Yungyegijung(燕薊紀程, 1828), Gyungsun Gim(金景善, 1788-?)’s Yunwonjikji(燕轅直指, 1832), Woojun Lee(李遇駿, 801-1867)’s Mongyuyunhaengnok(夢遊燕行錄, 1848), Sunhak Hong(洪淳學, 1842-1892)’s Yunhaengga(燕行歌, 1866), Inmok Yu(柳寅睦, 1839-1900)’s Bukhaengga (北行歌, 1866) and anonymous “Yunwonillok”(燕轅日錄, 1889), which recorded in detail the visits to Peking and dancing items in each area. As a result, I could confirm that the items of dance expressed in records on envoys’ visits to Peking in the 19th century involved a dance flowing in from court, a dance performed in local areas and dances created personally by prostitutes as performers or dances which prostitutes themselves learnt and handed down. I could understand such items of dance as playful for envoys, tasteful for the purpose of their safe return, a play of writing a poem, singing a song, drinking and dancing, blessing, wishing a long life and wishing a peaceful reign. Also, I could understand that Sword Dance as an item of dance performed necessarily on envoys’ visits for the purpose of enhancing their morale played an important role with the character of promoting patriotism and militarism. This thesis explored records on envoys’ visits to Peking including the literary expressions conveying in detail the vividness of a performing scene which cannot be felt at a record of my observations. I think that also in the future it will greatly contribute not only to understanding the various performing aspects of the dances of the 19th century but also restoring the dances performed in the latter period of the Josun dynasty. Also, it can be said to be valuable that I could obtain insufficient but good results by studying historical material about dancing at a literary aspect.

고전문학 : 허엽(許曄)의 삶과 시(詩)

권혁명 ( Hyok Myong Kwon ) 한성대학교 한성어문학회 2015 漢城語文學 Vol.34 No.-

The purpose of this study was to illuminate the life and poetry of heoyeop. In the second chapter to this first chapter reveals the life will reveal the contents of poetry. The important thing in the life of a teacher heoyeop. Heoyeop learned from the study at the time was a great mentor nasik, seogyeongdeok. This name was because it reminds as a Confucian scholar. There are three themes heoyeop the world of poetry. The first friendship. Vanity was sworn abiding friendship with Sim su yeong and Yyungyeo to <重興寺, 題燈月軸>. Heoyeop is <箕城, 呈李東皐觀察>, shows the appearance playing happily at <高城海山亭>. You can see the elegance. In front of poetry expresses the look is playing with the parasite in the Taedong River bubyeokru. The poetry behind the constant appearance playing in dissolution in Gangwon-do Goseong. Mourning is <退溪挽詞> appears on. The heoyeop refers to as the scholar Yi Hwang. It expresses the heart grieved party at the time of the famous Confucian saying.

19세기 연행록에 표현된 연행활동 - 춤을 중심으로 -

최성애 무용역사기록학회(구 한국무용사학회) 2010 한국무용사학 Vol.11 No.-

Taste Characteristics of Commercial Low-Salinity Kimchi

이기의,정하율 한국산업식품공학회 2020 산업 식품공학 Vol.24 No.2

The preparation of commercial, low-salinity kimchi needs to be carefully monitored to maintain the taste of kimchi. To address this, the taste profiles of three brands of commercial kimchi were examined using a taste sensing system, as well as a sensory evaluation. The average sensory score (4.3/9.0) in the overall taste of low-salinity kimchi (A', B', and C') was significantly lower than that (5.1/9.0) of conventional kimchi (A, B, and C). The explanation for the result of A' seemed to be its decrease in saltiness (3.51) and increase in bitterness (8.55) compared to those (6.55 and 7.65, respectively) of A. In B', the saltiness (4.25) and the overall taste (3.7) were significantly decreased compared to B (6.23 and 4.8, respectively). Interestingly, no significant difference was observed in the overall taste (5.1) and saltiness (6.70) of C' when compared to C (5.3 and 6.46, respectively), confirming that salinity is a crucial factor in determining overall taste. Consistent with this finding, the overall taste of low-salinity kimchi correlated positively with its saltiness (>0.98) and umami (>0.82). These results advocate the careful determination of salinity required to maintain the taste of conventional kimchi in preparing low-salinity kimchi, while also pointing towards the need to develop effective taste enhancers for supplementing overall taste.

맛에 대한 언어 표현 연구

권우진 한국언어문화학회 2020 한국언어문화 Vol.0 No.72

This study focused on the various expressions that occurred in the process of eating food. This study specifically looked at how people describe the taste of food in language, including vocabulary such as taste and mouthfeel. Thus, food-related advertisements, blog posts that introduce dishes and restaurant foods, including examples of corpus data, and various broadcast program(public broadcasts and Internet broadcasts) were transcribed and analyzed. As a result of the study, vocabulary of various tastes and textures are used lexically, and a lot of symbolic words such as ‘jjolgitjjolgit’ and ‘jjilgitjjilgit’ are observed. In the process of delicately conveying the taste and texture, various vocabulary changes such as liquid repeat(asakasak), consonant replacement (kotulkotul/kkotulkkotul), vowel replacement(phakphakhata/ phekphekhata), syllable replacement(saykhomtalkhom) was observed. In addition, general speakers tended to actively and productively combine such as ‘talkhomccontuk(달콤쫀득), ccontukkoso(쫀득고소), ccontukmallangtal khom(쫀득말랑달콤)’. As the saying, “Eat food first with your eyes,” people did not eat food right away, but looked at it with their eyes before eating and observed food and expected taste. And when explaining the taste after actually eating the food, the expected contents were used as the main explanation criteria. The impression of chewing food for the first time and the feeling of chewing food in succession have become a major factor in explaining taste. Every sense responds to ‘difference’. It was interestingly mentioned that various food ingredients stimulate the taste of the food at the same time or sequentially even when eating food. Judgment on taste is influenced not only by the senses, but also by information on how to understand the food. Therefore, when referring to the taste of food, people often mention information about the source of the ingredients, distribution process, nutrients, and cooking method. Through this study, it was confirmed that taste is not limited to the taste vocabulary but is transmitted in various linguistic expressions in more detail. 본 연구에서는 식생활과 관련한 생활 수준의 발달에 부응하여 음식을 먹는 과정에서 일어나는 다양한 표현에 주목하였다. 언어학계에서 오랜 연구 주제가 되었던 미각어의 한계를 벗어나 다양한 식감어를 다루었으며, 그러한 어휘 단위를 넘어서서 음식의 맛을 어떻게 언어적으로 설명하고 구체화하는지 살펴보고자 하였다. 이에 기존의 사전에 등장하는 미각어, 식감어와 관련한 예문들을 포함하여 만두, 라면 등의 음식 관련 광고, 요리와 식당의 음식을 소개하는 블로그 글, 다양한 먹방(지상파 방송과 인터넷 방송) 등의 컨텐츠를 수집, 전사, 고찰하였다. 연구 결과, 어휘적으로는 다양한 미각어와 식감어가 사용되고 있으며 이와 더불어 ‘쫄깃쫄깃, 찔깃찔깃’과 같은 상징어가 관찰되었다. 이들 어휘는 맛과 식감을 섬세하게 전달하기 위해 유음반복(아삭아삭), 자음교체(고들고들/꼬들꼬들), 모음교체(팍팍하다/퍽퍽하다), 음절교체(새콤달콤) 등의 다양한 어휘 변화가 주요한 특징으로 관찰되었다. 또 ‘달콤쫀득, 쫀득고소, 쫀득말랑달콤’ 등 일반 화자들이 활발하게 생산적으로 조합하는 경향이 있었다. 음식은 ‘먼저 눈으로 먹는다’는 말처럼 음식을 바로 먹지 않고 먹기 전에 눈으로 보면서 음식을 관찰하고 맛을 예상하는 발화가 반복적으로 관찰되었으며, 실제로 먹어본 후 맛을 설명할 때는 예상한 내용을 주요한 설명 기준으로 삼았다. 첫 번째 저작(咀嚼)에 대한 인상, 음식물을 연속으로 씹을 때의 느낌도 맛을 설명하는 주요 요소가 되었다. 모든 감각은 ‘차이’에 반응하기 마련인데 음식을 먹을 때에 다양한 식재료가 동시에 또는 순차적으로 입맛을 자극하는 것이 흥미롭게 언급되었다. 맛에 대한 판단은 감각만이 아니라 음식에 대한 정보에 영향받는 까닭에 식재료의 출처, 유통 과정, 영양소, 요리 방법 등에 대한 정보가 유용하게 언급되었다. 본 연구를 통하여, 맛은 미각어에 국한되지 않고 다양한 언어적 표현으로 전달되는 것을 좀 더 구체적으로 확인할 수 있었다.

미각형용사의 의미전이 및 확장 양상 비교 연구: 한국어, 독일어, 영어의 단맛 표현 형용사를 중심으로

윤혜준 고려대학교 언어정보연구소 2012 언어정보 Vol.0 No.15

This paper aims to compare the meanings of sweet-taste adjectives in Korean, German and English. According to previous studies, it is well-known that sweet-taste adjectives show the highest frequency in usages among various taste adjectives. This paper is based on the assumption that the expressions of taste adjectives may reflect the cultural and linguistic characteristics of speakers because taste adjectives are closely related to the food life which is one of the important aspects of the human culture. In this paper, first, the morphological and semantic characteristics of Korean, German and English sweet-taste adjectives are surveyed, and various expressions with sweet-taste adjectives are observed and analyzed with concrete examples in contexts of each language. In particular, the various aspects of the meaning shift and meaning extension are intensively examined.

광주지역 대학생의 사원미에 대한 감지 역치와 인지 역치에 관한 연구

이소연,방연미,허영란 전남대학교 생활과학연구소 2009 生活科學硏究 Vol.19 No.-

In this study, we tested the taste detection threshold and taste recognition threshold values of four taste for 61 female college students. the taste threshold values were assayed by stepwise chemical stimulate method. Detection threshold of four basic taste were measured sweet for 0.0109M, salty for 0.0044M, sour for 0.0001M, bitter for 0.0011M. and Recognition threshold of four basic taste were measured sweet for 0.0255M, salty for 0.0145M, sour for 0.0004M, bitter for 0.0011M. Both of taste detection and recognition threshold values were follow in this order; sweet > salty > bitter > sour. In taste threshold of four basic taste, detection threshold for sweet was higher than that of sour by 100 times, and recognition threshold for sweet was higher than sour by 60 times. The detection threshold for sweet, salty and sour were higher than those of recognition threshold, however in case of bitter the detection threshold and recognition threshold were same. There were no significant correlation between taste threshold and anthropometric factor as weight, body mass index. Further research should be needed for various sensory test method and more factors affecting taste.