元雜劇의 敍事構造 分析을 위한 試論

鄭元祉 성곡언론문화재단 1991 성곡논총 Vol.22 No.-

‘大儺’를 통해 본 韓中 兩國의 逐疫의 諸樣相과 意味

정원지 중국인문학회 2018 中國人文科學 Vol.0 No.70

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南戱 ≪張協狀元≫: 愛情과 科擧權力의 變奏

정원지 중국인문학회 2018 中國人文科學 Vol.0 No.68

“Zhang Xie Zhuang Yuan" is a work of literature written in the late Ming dynasty and early Qing dynasty. By comparing with short stories of the early Ming dynasty, we can discover the unique characteristics of “Zhang Xie Zhuang Yuan". The 5 representative short stories of early Ming dynasty are based on the simple structure such as meeting-parting-reunion. On the other hand, “Zhang Xie Zhuang Yuan" has more complex structure than former. It has meeting-parting-reunion-parting-reunion process containing the variations of affection and imperial examinations. “Zhang Xie Zhuang Yuan" does not merely contain literary element in the meeting to final reunion between Zhang xie and Pin nǚ, it shows the marriage custom reflecting the general desire and sentiment of ordinary people in those days. “Zhang Xie Zhuang Yuan" was a ‘unfaithful type’ in the stage of drama text in the early Song dynasty which can be regarded as pure literary fiction, and it was gradually adaped as a ‘reeunion type’ in the version of Yongle Ming dynasty which contains social and cultural factors. In other words, the version of Yongle Ming dynasty has much more realistic factor than the drama text version. “Zhang Xie Zhuang Yuan" contains the concept of Men Dang Hu Dui (a marriage between families of equal social status) and the concept of conjugal knot, therefore it probably aroused sympathy from the people in those days and even it can evoke sympathy of people today. In addition, we admit that the "Zhang Xie Zhuang Yuan" made a true depiction of realistic human character. All along we have easily regarded the endings of ‘reunion type’ shown in the Ming and Qing dynasties novels and operas as trite stereotyped endings and belittled their importance. But if we look at these "reunion" endings from a broader cultural perspective, there may be more extrapolated values awaiting us to discover just as we found in “Zhang Xie Zhuang Yuan".

遊牧文化的 觀點에서 본 傀儡子의 發生과 傳播經路 試論

정원지 중국인문학회 2019 中國人文科學 Vol.0 No.72

This paper wanted to look at the background and propagation path of the wandering performance group, referred to as kui-lei-zi傀儡子(A performing group that travels across the region, performing puppet shows and acrobats.). The wandering entertainer(kui-lei-zi傀儡子) has often been described starting from India and the gradual shift of the group to the east. In this paper, we looked at the three characteristics of Comitatus, the system of the Huns' group, primarily be based on historical references to central Eurasia, in order to look at the trajectory of the middle ground to reach China, depending on these existing theories. We looked at what was regarded as the characteristic of the Comitatus of the Huns and the Huns, namely, the device for performing the task of protecting both life and death with external hostile forces, i.e. the association of the Comitatus was discussed over three items, including the ImHyop Group(a group of brave and strong men united in their determination to give their lives for the leader by drinking the blood of the beast and vowing to die together the same day). The task of protecting the present world and the afterlife states is maximized in the same post as Bangsangsi, and the three items can each have a consistent meaning, given that the Impeachment group formed around one martial art is a mechanism for establishing the relationship between the master and warrior in the real world, and that the Sunjang custom(A burial system in which a person belonging to the ruling class of a group is forced or voluntarily buried together after that person when he or she dies) is a mechanism for performing the same role as the clinician group of life in the afterlife. Against this backdrop, a wandering group performing puppet shows, acrobats, etc. who would have been born cannot specify its path of propagation, but it is assumed that it was spread to China and Korea, respectively, through China, and gradually to Central Eurasia along the path of medicine, exchange and Buddhism. Among these arguments, it is at the center of the discussion that it is thought that the Xiongnu group had the most influence on the propagation path. In particular, since the discussion of the relationship between 'the wandering entertainer(kui-lei-zi傀儡子) and the comitatus discussed in this paper was based mainly on the contextual reasoning, there is still work to prove the original logic by securing more objective and concrete details.

여유자유도 매니퓰레이터의 국소 관절토오크 최적화를 위한 안전성 조건에 기초한 방법

정원지 산업기술연구소 1994 産技硏論文集 Vol.8 No.-

압전 MEMS의 가상신속시작을 위한 유한 요소해석이용 수치해의 개발

정원지 國立 昌原大學校 産業技術硏究所 1997 産技硏論文集 Vol.11 No.-

이 논문에서는 압전 MEMS에 대한 유한요소해석(FEA)응용이 연구되었다. 압전 MEMS와 관련한 특수재료 및 기하학적 형상에 대한 몇 가지의 두드러진 특징 및 앞으로의 연구가치가 있는 주제도 아울러 다룬다. 압전능동박막을 이용한 센서 및 액츄에이터를 포함하는 단순구조에 대한 FEA모델링이 제시되었다. ZnO가 압전재료로 사용되었다. 정적 전기 기계적 해석이 두 가지 모델에 대해 수행되었다. 압전효과로 발생한 처짐 및 센서의 출력전압에 대한 FEA 결과는 해석치 혹은 실험측정값과도 우수하게 일치하였다. 세번째 모델에 대한 FEA이용 조화해석을 수행하여 공진주파수에 대한 결과가 이론근사해석 결과와도 근접하였다. ANSYS가 P-MEMS의 가상신속시작체계를 위한 우수한 FEA도구임이 본 논문을 통해서 보여졌다. P-MEMS에서는 Top-Down 모델링이 Bottom-Up 모델링에 비해 보다 효과적이라는 사실도 제시되었다.

韓國 판소리와 中國演劇의 公演 藝術的 特性 比較

鄭元祉 중국인문학회 2002 中國人文科學 Vol.25 No.-

한대 각저희 <동해황공>의 원형의의

정원지 중국인문학회 2005 中國人文科學 Vol.0 No.30

한중오방관념(韓中五方觀念)의 전개(展開)와 의미(意味)

정원지 한국중국학회 2017 중국학보 Vol.79 No.-

본문은 한중 오방관념의 대표적 사례를 통해 오방관념의 전개와 의미, 그리고 유래에 대해서 논의했다. 한중 양국에 다양한 사례들 經書 史書 詩歌 繪畵 風俗志 劇作品 舞蹈 假面劇 巫俗 등을 통해 양국간의 異同을 살펴보고자 했다. 오방관념과 색채에 대한 대비관계에 대해 집중적으로 논구한 결과, 일차적으로는 시공간의 관점에서 청홍백흑이라는 색채의 의미가 천지자연의 순조로운 운행의 반영이라는 점을 확인하였다. 나아가 오방관념의 유래와 그 기제에 대해서는 양국 모두 불교 특히 밀교에서의 오방불에서 색채와 방위개념이 한중양국의 제 사례와 거의 일치하고 있는 점을 살펴보았다. 한중 오방관념은 후대 밀교와 같은 종교와 사상을 위시하여 여러 문학예술과 민속에 이르기까지도 장시간 동안 막대한 영향을 끼쳤음을 대표적인 사례를 통해 확인하였다. Based on the representative examples of five cardinal points in China and Korea, the author discusses the development, meaning and origin of the concept of five cardinal points. The discuss proceeds through different cases of China and Korea, such as classical books, historical books, poetry, paintings, custom records, dramas, dances, masques and shamanism in terms of the similarities and differences between two countries. Focus on contrast between the concept of five cardinal points and five cardinal colors of China and Korea, the thesis argues that five colors mean smooth running of the earth and the sky, that is to say the natural world. We also can see the origin and mechanism of five cardinal concepts especially in esoteric Buddhism with five Buddhas` symbol colors and cardinal points which have similarities in both cultures. The paper claims that Korean and Chinese concepts of five cardinal points had a great influence on religions, thoughts - such as the later esoteric Buddhism - literature, art and folk culture over a long period of time.

韓國乞粒(埋鬼)과 中國打夜胡·秧歌比較

정원지 중국인문학회 2015 中國人文科學 Vol.0 No.60

本文以打野胡為本文討論的中心點,對韓國的洞祭中農家樂乞粒和中國秧歌進行比較研究,倂以比較結果為根據來探討兩國傳統文化的傳承和變化以及其中的內容和意義。 我們對宋代的打夜胡,以跳鐘馗·跳竈王·打野狐·秧歌等名稱(形式)傳承至今的現象進行了一番討論。就清代的情況而言,打野狐作為地方民俗的事例極少。從這點上,我們可以推出,打夜胡已被吸收到元宵節民俗表演的之一的社火——即秧歌中。 韓國的乞粒吸收了宋代的儺禮,在經歷了朝鮮時代、日本殖民時期,迄近仍持續着,其繼承了宋代的打夜胡帶有的辟邪進慶的特點。 就打夜胡的性質而言,除了討論其所内含的沿門驅邪和民俗活動的特點之外,我们更應關注的是它具體有多少的影響力。而在打夜胡乞粒秧歌这三者之間相互影響的關係 来看,我们需给予宋代打夜胡更多的關注。民俗文化乞粒是韓國部落祭一部分的活動,它從高麗,朝鮮一直延续至今, 僅從这一点来看就不能小看乞粒這一文化形態。 本文歸納出韓國的乞粒和中國的秧歌兩個共同點後,可以以它為基點進行更深一步的研究,甚至可以以此研究兩國的文化源流。