江戸作品に見られる女房詞の一般化について

李炳萬(이병만) 동아시아일본학회 2013 일본문화연구 Vol.46 No.-

본 연구에서는 현대 일본어의 부인어(婦人語)에 많은 영향을 끼친 『뇨보고토바』가 에도시대에 어떠한 위치에 있었으며, 어떻게 발생되며, 일반화 되어 가는지를 조사 연구 하였다. 발생과 관련하여 지금까지의 연구에서는 『뇨보고토바』를 단순히 은어적인 측면에 비중을 두고 고찰하는 연구가 많았는데, 『뇨보고토바』의 은어적인 요소를 인정한다고 하더라도 그 발생이 직접적으로 관계한다고는 생각하기 어렵다고 할 수 있다. 왜냐하면 특정의 동료들만이 통하는 말. 즉 은어가 갖는 성격에서 생각해보면 과연 당시의 궁중 여성들 사이에서 은어를 꼭 사용할 필요가 있었을까 하는 의문이 든다. 다시 말하면 은어를 사용하지 않으면 안될 만큼 그녀들이 외부와 접촉을 했을까 하는 점이다. 은어를 사용하면서까지 자기들의 이야기를 감출 필요가 있었겠는가 라는 측면보다는 여성 본연의 미의식이 작용하여, 화려한 궁중생활과 어울리면서 자연스럽게 『뇨보고토바』라는 새로운 미의식이 싹트지 않았나 생각된다. 그리고 그녀들의 『뇨보고토바』를 사용함으로써 일종의 우월감을 느끼려는 귀족 부인의 심리도 반영되었으리라 사료된다. 또한 『뇨보고토바』가 에도시대에 어느 정도 일반화 되었는가에 대해서 많은 이론(異論)이 있는데, 이번에 조사한 자료에서 보면 상당히 일반화 되었다는 것을 알 수 있었다. 여성들은 지위가 높고 낮음을 가리지 않고 자연스럽게 사용하고 있었으며, 남자 어린이는 물론 성인 남자나 고용된 하인에 이르기까지 폭넓게 사용하고 있었으며, 당시의 지식층으로 알려져 있는 승려들 사이에서 까지도 『뇨보고토바』를 사용하고 있었다는 것은 생각보다 훨씬 일반화가 진행되었음을 반영해주는 사례라 할 수 있을 것이다.

The Aristocracy in Edward II

이병은 한국중세근세영문학회 2008 중세르네상스 영문학 Vol.16 No.2

Edward II's weakness is the subject of the play, but Marlowe neither impugns his right to the throne nor offers any explanation for his appearance in a line of strong and efficient kings. Marlowe even omits an interesting history about a claimant to the throne: he asserted that he was the rightful kingof England and Edward the son of a carter. This paper argues that the play deals with many matters bearing on Elizabethan concepts of the aristocratic family. The source of the chief conflict between the king and the barons is based on the barons's aristocratic pride; the chief complaint of the barons is that the king constantly associates with one substantially his inferior in birth. Edward's lack of interest in his family is more than incidental to his characterization as a weak and irresponsible king: for examples, Edward addresses Gaveston, Spencer, and Baldock as "thou," the young prince as "you"; in the same way, he addresses Gaveston as "brother," and banishes his real brother. However, young Edward, the ideal prince, is dedicated to his family. The contrasts make a responsibility for family relationships an important virtue in the play. Edward II's weakness is the subject of the play, but Marlowe neither impugns his right to the throne nor offers any explanation for his appearance in a line of strong and efficient kings. Marlowe even omits an interesting history about a claimant to the throne: he asserted that he was the rightful kingof England and Edward the son of a carter. This paper argues that the play deals with many matters bearing on Elizabethan concepts of the aristocratic family. The source of the chief conflict between the king and the barons is based on the barons's aristocratic pride; the chief complaint of the barons is that the king constantly associates with one substantially his inferior in birth. Edward's lack of interest in his family is more than incidental to his characterization as a weak and irresponsible king: for examples, Edward addresses Gaveston, Spencer, and Baldock as "thou," the young prince as "you"; in the same way, he addresses Gaveston as "brother," and banishes his real brother. However, young Edward, the ideal prince, is dedicated to his family. The contrasts make a responsibility for family relationships an important virtue in the play.

북경정부의 교육행정기구 설립과 변화, 1912-1928

이병인(李丙仁) 중국근현대사학회 2019 중국근현대사연구 Vol.83 No.-

The Elizabethan Concept of Children in Shakespeare’s Plays

이병은 한국고전중세르네상스영문학회 2016 중세근세영문학 Vol.26 No.1

This paper begins with the assumption that children are described in various works of the Shakespeare canon as “miniature adults,” in which they possess upon birth all the attributes which would be potentially manifested in their adulthood. Roles given to children lend themselves to this interpretation, and many line references to children further substantiate such a view, as Antonio in Much Ado About Nothing says, “[T]herein do men from children nothing differ.” This is an approach to Shakespeare based on the premise that blood was a chief reason since high aristocratic blood which endowed its possessor with many unlabored advantages was supposed to invest its container with an air of distinction that would manifest itself even in unlikely circumstances. So, Shakespeare's concern of the Elizabethan concept of children comes from the notion of order which was a very significant part of Elizabethan thought. For example, in The Merry Wives of Windsor, William Page pictures the Elizabethan idea of children as expressed by Shakespeare. The son of a gentleman, William is able to answer those questions which the servant, Quick, does not even understand. William is bewildered, yet very articulate and clever in his replies. Arthur in King John is another case of the Elizabethan idea of children, showing natural intellectuality or intuitive knowledge upon birth, which can not be explained by the Elizabethan aristocratic education. Arthur is represented as reflecting his gentle birthright, as much as Joan of Arc in Henry IV, Part 1 reflects her base heritage. This paper also deals with Lucius in Titus Andronicus, Clarence’s children of Richard III, the Macduff child in Macbeth, young Marcius in Coriolanus, and Mamillius in The Winter’s Tale.

악마의 나만코스와 바요나 요새: 『리시다스』에 나타난 밀턴의 영국주의

이병은 한국중세근세영문학회 2009 고전·르네상스 영문학 Vol.18 No.2

In lines 161-62 of Lycidas Milton imagines that the body of Lycidas might be driven down to the southwestern end of Cornwall where “the great vision of the guarded Mount / Looks toward Namancos and Bayona’s hold.” This paper attempts to explain why Milton specifically chose these two small places which had hardly been considered as representing Spain. Milton’s reference to the two places carried many connotations: Namancos and Bayona belonged to Galicia where Roman Catholic background including a saint’s tomb was especially strong; this region had a reputation for lawlessness of the nobles; the province was notorious for the severity of the Inquisition; the province had the main ports for the “infamous” Armada to attack England; the national hero Francis Drake failed to conquer Bayona more than a couple of times; and the despised Gondomar succeeded in defending Bayona. Furthermore, Galicia’s location in the northwest corner of Spain corresponded to the directional symbolism used by Milton himself in other works.

Anti-Préciosité in the Drama of Thomas Shadwell

이병은 한국중세근세영문학회 2016 중세르네상스 영문학 Vol.24 No.1

England’s literature, as well as her society, was affected by préciosité which originated in France and made its appearance in England during the reign of Charles I. Prevalent during the first decade of Charles II’ reign was the comic theme of the love-game in which a gay hero and heroine in accordance to the inflexible code of the time would make a point of not being serious, carry on a witty courtship, but would never marry. This code called préciosité, in which the lady was accorded divine characteristics, appeared in many of the Restoration dramas including those of John Dryden, William Congreve, William Wycherley, and George Farquhar. Not all seventeenth-century dramatists, however, were in favor of préciosité as we can see in the comedies of Thomas Shadwell. It is the purpose of this paper to show evidence of anti-préciosité as it appears in the plays of Shadwell. Serving best to illustrate this point are the following comedies: The Sullen Lovers: or, the Impertinents (1693), The Virtuoso (1691), The Squire of Alsatia (1693), Bury Fair (1689), and The Scowrers (1691). For example, since the précieuse, the heroine, was the center of préciosité, much of Shadwell’s ridicule is of her. Most prominent of his comedies in this aspect is Bury Fair. Wildish says of Madam Fantast, “I must confess, God has given her one good Face; but by her most insupportable Affectation, she screws it into twenty bad ones.” As well as making jabs at the précieuse, Shadwell ridicules the lovers. This is perhaps best seen in The Sullen Lovers, and even narrowed down in the character of Sir Positive-At-All. Since préciosité was often seen in Restoration comedies, and, the précieuse was the center of Restoration comedy, and, moreover, when Restoration comedy deals with love, it is a conscious mixture of préciosité and anti-préciosité elements, and a knowledge of préciosité increases the appetite for the mock-précieuse and furnishes a target for manners wit, it seems that Shadwell’s attack on préciosité would be an important part of seventeenth-century drama.

[특집] 백제미륵사의 창건연대에 대하여 : 백제 미륵사 조사연구

이병도(李丙燾) 원광대학교 마한백제문화연구소 1975 馬韓, 百濟文化 Vol.1 No.-

韓国における集団的労働関係法上の使用者

李炳雲(이병운) 한국비교노동법학회 2013 노동법논총 Vol.28 No.-

집단적 노동관계법상의 사용자 개념에 대해서는 한국은 물론 일본에서도 중요한 연구주제가 되고 있다. 한국에서도 이에 관한 일본의 논의현황을 검토하면서 연구를 하고 있기 때문에 이 글에서는 한국의 현행 노동관계법상의 사용자 개념을 개관한 후, 집단적 노동관계법상 문제가 되는 사용자성에 대해서 한국의 판례를 중심으로 검토하기로 한다. 집단적 노동관계법상의 사용자 개념이라고 하면, 주로 노조법상의 개념이라고 할 수 있다. 한국의 현행 노조법(정식명칭은 「노동조합 및 노동관계조정법」이라고 한다.) 제2조 2호에서 “「사용자」라 함은 사업주, 사업의 경영담당자 또는 그 사업의 근로자에 관한 사항에 대하여 사업주를 위하여 행동하는 자”라고 하고 있다. 그리고 노조법상 사용자는 법 제3조·제4조에 따라 노동조합의 노동쟁의조정과 정당한 쟁의행위를 감수하여야 하고, 법 제30조의 단체교섭의무를 부담하며, 부당노동행위를 할 경우 법 제81조, 제90조에 따라 노동위원회의 구제명령이나 형사처벌의 대상이 되기도 하기 때문에 노조법상의 사용자는 중요한 지위가 된다. 이러한 사용자 개념은 직접 고용의 경우에는 별로 문제가 되지 않지만, 예를 들어 사내 하도급관계와 같이 간접고용의 형태에서 근로계약의 당사자인 사업(고용)주 외에 배후에 근로자들의 근로조건 및 조합활동과 관련하여 일정한 영향력을 행사하는 제3자가 있는 경우에 그 제3자에게도 사용자성을 인정할 수 있느냐는 것이 문제가 되고 있다. 한국의 집단적 노동관계법상의 사용자성에 관하여 대법원은 간접고용에 있어서도 단체교섭이나 단체협약 등에 관한 노동조합법상의 사용자 개념과 같은 논리, 즉 실질적인 지배개입으로 판단하고 있다. 원청회사가 자신의 책임을 회피하려는 수단으로 이름뿐인 형식적인 하청회사를 이용한 것이라고 볼 수 있는 경우 그 하청회사의 근로자에 의해서 조직된 노동조합과의 관계에서도 사용자로서의 지위를 인정하고 있다. 사견으로서도 원청회사가 사내하청회사를 통해서 구체적으로 업무지시와 감독을 하는 등 실질적으로 근로조건을 결정하고 있었다면 예를 들어 조합의 존부, 조합의 사무실이나 휴게실의 설치, 연장근로, 업무범위의 조정 등의 사항에 관하여 원청회사는 단체교섭의무가 있다고 본다. 따라서 하청회사의 근로자들이 구성한 노동조합인 경우에도 본래의 노조법 등의 입법취지에 비추어 그 존폐나 조합활동의 보호라는 관점에서 그 실질적 지배개입의 여부를 판단해야 한다고 생각한다. 다만 구체적 사안에서 그 판단대상이 되는 내용이 개별적 노동관계의 문제인지 집단적 노동관계의 문제인지 불분명하거나 중첩적일 경우에 어떻게 구분하여 그 한계를 정하여 자의적 판단을 배제할 것인지가 향후의 과제가 될 것으로 생각한다.

[이달의 광고] 製品의 싸움이 아닌 認識의 싸움

李柄仁(이병인) 한국마케팅연구원 1995 마케팅 Vol.29 No.4

A Study of Selected Biblical Types in Milton's “Nativity Ode”

이병은 한국중세근세영문학회 2012 고전·르네상스 영문학 Vol.21 No.2

A number of critics have noted the role of typology plays in the Nativity Ode but have not observed detailedly the connection between Milton’s handling of time in the poem and the types they identify. Though the casual use of typology indicates a lapse of time between the appearance of the type and its fulfillment in the antitype, some Scriptural formulations of typology suggest that the antitype exists at the same time as the type. For example, Christ is not only the antitype or fulfillment of the old covenant, He is also the type, “an high priest of good things to come,” of man’s salvation by virtue of His own death. Old Testament events also function as both shadows of heavenly things and foreshadows of events which occur later even than events and persons in the New Testament in the history of man’s salvation, and it is this use of typology which necessitated the mixing of tenses or the negation of time in the poem. By way of preparing his reader for this use of types and antitypes in the “Hymn,” as an example, Milton introduces in stanza ii of the proem the idea of the pre-Nativity Christ as a “glorious Form” who willingly came to earth as a shadow of His former heavenly essence, forsaking “the Courts of everlasting Day” and choosing instead “a darksome House of mortal Clay” which both imperfectly imitates His previously “glorious Form” and types His ultimate reclaiming of that “Form” when He completes the task of working mankind “a perpetual peace.”Milton uses types like the sun, the Creation, the Nativity, and the waters in the Ode. For example, if Milton treats the Creation as a type of the Nativity, he also treats it and the Nativity as types of the Last Judgement. Milton makes this idea an explicit part of the Ode by expanding on the notion of the sea as a type of Hell in his reference to the Nativity as the beginning of the Last Judgement. In stanza 18 Milton, drawing on the account in Revelation 20 depicting the binding the Dragon, images Satan as an aspect of the sea he had introduced in stanzas 5 and 12 by describing him as a sea-monster. By linking all of the types to the dominant type of the poem, light, Milton forces all the types into a dual role; on the one hand they image or represent vertically the eternal divine plan for man’s redemption, and on the other hand they prophesy horizontally future events in the history of that redemption. Thus in order to set forth his theme of the eternal nature of Christ’s gift to man, Milton had to establish poetically a timeless world in which biblical types both image an eternal plan and adumbrate a temporal enaction of that plan.