한국 대중가요사의 동력과 세대 간 양식·취향 갈등

이영미(Lee, Young Mee) 한국대중음악학회 2013 대중음악 Vol.- No.11

이 글은 우리나라 대중가요사의 흐름을 당대에 주도했던 양식의 변화로 굵직굵직하게 훑어보면서, 세대 간의 양식·취향 갈등의 양상이 대중가요사 각시기의 변화를 어떤 방식으로 추동해왔는가를 살펴보고자 한다. 결론부터 이야기하자면 이러하다. 1920년대 후반부터 시작된 한국인(조선인)에 의해 작사·작곡되어 대중매체를 통해 대중가요 시장에서 유통된 대중가요의 흐름은 여러 시기로 구분이 가능하다. 그중 기존의 음악과 이질적인 새로운 양식이 솟아오르며 젊은 세대와 중·장년 세대의 취향 갈등을 수반하는 시기가 있는가 하면, 비교적 여러 세대가 함께 공감하며 음악의 기량 발전과 안정감이 상승하는 시기가 있다고 보인다. 후자가 여러 세대를 아우르는 넓은 공감과 기량 발전이 돋보인다면, 전자는 처음 시도하는 파격적인 음악 관습이 급격히 솟아오름으로써 새로움과 참신함에서 비롯한 불안정함을 지니는 시기라고 보인다. 대중가요 양식의 혁명적이고 단층적인 변화는 전자의 시기에 이루어지고, 이 성과를 바탕으로 다소 개혁적인 수준의 발전이 이루어지는 시기가 후자의 시기라고 할 수 있다. 한국 대중가요사에서 젊은 세대가 주도하는 새로운 취향의 음악이 기성세대의 취향과 충돌하면서 급격히 상승했던 시기는, 1930년대·1970년대·1990년대라고 보인다. 이 시기는 각각 식민지 세대, 전후 세대, 산업화 이후 세대가 청소년기에 도달했던 시기로, 1930년대의 트로트, 1970년대의 포크, 1990년대의 댄스뮤직과 얼터너티브 록은 모두 이전 세대의 취향과 갈등을 빚었다. 이에 비해 1960년대, 1980년대는 새로운 음악 경향이 나타났음에도 이전 시기의 경향과 결합하는 등, 세대 간 취향 갈등이 상대적으로 적게 나타나는 시대였다. This paper is to roughly review Korean Pop history through changes of trend which dominated distinctive periods in the local music scene and to examine how the generational conflicts in style and taste have generated changes in the respective periods. If I leap to a conclusion, it goes like this. The trends of Korean pop which have been written and composed by Koreans and which have been distributed through mass media since the end of 1920s could be divided into several periods. In some of them, new styles, foreign to the established music of the day, came out, entailing conflicts of taste between young and older generations. Meanwhile, there are others in which the different generations sympathized with each other’s esthetics, musical skills were developed and the music scene was stabilized. The latter could be distinguished for a wide empathy shared by different generations and progresses achieved in musical techniques, however, the former could be defined as a unstable time when a unprecedented music convention thanks to its novelty and originality surged. In a unstable period, revolutionary and unsuccessive changes were made, meanwhile, based on the former’s achievements, somewhat reformative developments were accumulated in the other one. In the Korean Pop history, the 1930s, 1970s and 1990s could be characterized as the times when new trends of music led by the young generations ruled the music scene, revolting the older generations’ taste. These periods are when the generation under the Japanese Rule, that of the post-Korean War and that of the Industrialization reached the adolescence, and trot music of the 1930s, falk music of the 1970s and dance and alternative music of th 1990s came into conflict with their previous generations respectively. Despite the advent of new musical trends, the 1960s and the 1980s, however, suffered little generational conflict, accommodating the previous generation’s taste.

조선후기 동래지역 화원 활동과 회화적 특성

이현주(Lee, Hyeon-Ju) 부산경남사학회 2012 역사와 경계 Vol.83 No.-

朝鮮後期東萊는 關防과 對日貿易의 중심지였다. 壬亂이후 東萊는 조선과 日本과의 交流에 있어 유일한 통로였던 까닭에 國防과 善隣外交사이에서 늘 경계를 늦추지 않아야 했다. 그러나 긴장된 關防體制속에서도 東萊는 通信使의 출발지이자 倭館이 있었던 까닭에 兩國에 流行하던 文化潮流가 집결하는 공간으로 거듭 변모하게 되었다. 이 같은 東萊地域의 정치적, 지리적 입장은 다양한 성격의 繪畵製作을 요구하였고 그에 따른 繪畵製作者의 階層도 다양해질 수 밖에 없었다. 朝鮮後期東萊地域에서 繪畵活動을 隨行했던 畵家들의 성격은 크게 세 가지로 분류 가능하다. 하나는 東萊水營에서 활동한 中央에서 파견된 圖畵署派遣畵員이고 다른 하나는 東萊武廳의 武任職을 겸한 그 지역 출신 在地畵師이다. 그리고 倭館을 중심으로 求貿品및 書畵市場의 需要를 감당한 交易畵家群들이 있었다. 이들은 繪畵的特性에서도 차이를 보인다. 圖畵署畵員이 派遣되었던 東萊水營의 그림은 섬세하고 정교한 圖畵署畵風이 반영된 繪畵式地圖가 대부분이었고, 在地畵師에 의한 東萊武廳에서는 각종 記錄畵와 繪畵式地圖등이 다수 제작되었다. 그리고 倭館에서 거래되었던 交易畵家들의 작품에서는 수요자의 성격상 日本의 武士的趣向을 반영하는 매, 호랑이 등이 거의 유사한 구도로 반복 제작되었으며, 南畵風의 山水畵역시 압도적이다. 그런데 在地畵師들이 제작에 참여했던 東萊武廳의 경우 殉節圖와 繪畵式地圖의 경우에는 地域的特色이 다소 엿보이는 眞景山水畵風이나 金弘道畵風이 나타나는 반면 日本求貿品의 경우에는 交易畵家들의 그것과 구분이 어려울 정도로 日本趣味가 반영되었으며, 이 같은 경향은 私的인 교류에 의한 제작되는 東萊地域의 일부 작품에도 영향을 미쳤다. 이처럼 朝鮮後期東萊는 비록 中心이 아닌 邊地중 하나였으나 개방적인 공간을 근거지로 삼아 다양한 繪畵製作階層이 집결한 장소였으며, 역동적인 繪畵製作地域으로서도 그 의의가 크다고 하겠다. Dongrae was an important region for defense and trade with Japan in the late Joseon period. The region had to be always vigilant between national defense and good diplomatic relations because it became only the bridge connecting Joseon with Japan since the Imjinwaeran War. Despite it was in tension for the purpose of national security, Dongrae was where cultural waves of Joseon and Japan concentrated since it was the starting point of Tongshinsa and the location of the Waegwan as Japan’s overseas agency. The unique political and geographical situations of Dongrae requested paintings of many different characteristics, so different classes of people served as painters in that region. Persons who served as painters in Dongrae in the late Joseon period are largely classified into three groups. One group is official painters that an agency of the central government, or the Dohwaseo dispatched to Dongrae. Another is local painters who were natives in the region and served for the Dongrae Mucheong without portfolio. And the other is painters who supplied calligraphic paintings and other trades to meet the demands of customers including Waegwan. These groups were different in the characteristics of painting. Paintings that were made by the Dohwaseo painters dispatched to Dongrae Suyoung were delicate and sophisticated, reflecting the painting style of the central agency. Most of them were pictorial maps. Paintings by local painters at the Dongrae Mucheong were mostly record paintings and pictorial maps. Paintings by trading painters who dealt their works with the Waegwan show Japanese warriors-preferred animals like falcons and tigers that were reiteratively drawn in almost the same composition. An absolute majority of the paintings were landscapes of the Southern Painting Style. Paintings made at the Dongrae Mucheon include the drawings of Sunjeoldo and pictorial maps in which the style of the true-view landscape, which implies the geographical features of Dongrae, or Kim Hong Do’s painting style is found. Other items than painting that were dealt by trading painters with Japan were never different from those painters’ works in reflecting Japanese tastes. This trend influenced some paintings that were made and privately exchanged in Dongrae. Though it was a remote region far away from the center of the country, Dongrae was an open place where different classese of painters concentrated and where dynamic styles of paintings were made.

적에서 동맹으로: 20세기 중반 미국미술 속의 일본 내셔널리즘

조은영 서양미술사학회 2009 서양미술사학회논문집 Vol.31 No.-

During the postwar and Cold War period, the status and image of Japan in the United States took on a rapid transformation—from America’s enemy to an indispensable ally. As the US needed Japan as a valuable partner in the Cold War, American efforts to recreate and circulate a new and agreeable image of Japan appeared in various areas, ranging from political arenas to Hollywood films and art museums. In tandem with American endeavors and in an effort to promote its national image as a new cultural power, Japan attempted to replace its jingoistic image with an aesthetic one and circulated its art and ideas throughout the US. Demonstrations of Japanese art and culture, including Zen aesthetics, were positively and often enthusiastically received among Americans in general despite the strong nationalistic stance of prominent New York critics who championed Abstract Expressionism as “the American-type painting” and denied/ignored any kind of “oriental” influence on mainstream New York artists. The study and utilization of Zen became a widely spread phenomenon among postwar American artists and intellectuals. Many American artists, including Mark Tobey, Morris Graves, Ad Reinhardt, Isamu Noguchi, Ibram Lassaw, John Cage, and the Beats, took part in the “Japan boom” and “Zen boom.” The appropriation of Zen and Asian aesthetics by American artists during the postwar and Cold War era is now viewed as a summit of cultural/artistic interchanges between the US and East Asia, an aesthetic fusion of the West and East in the history of American art. However, in a discussion about Zen in the field of American art, we are bound to ask: whose Zen and which Japanese aesthetics did American artists encounter? Zen in American art has kept much stronger ties with Japanese Zen rather than with either Chinese Chan or Korean Sun. In disseminating Japanese aesthetics, Japanese art and Zen experts played the role of cultural diplomats by fostering specific aspects of Japan’s cultural heritage and advocating their ideal of Japanese Zen and art among American artists and the public. The popularity of Zen Buddhism was generated by the teaching and proselytizing activities of Japanese Zen proponents and popularizers such as Shaku Soen, head abbot of the Engakuji branch of the Rinzai Zen sect, and his protégé, D.T. Suzuki, as well as Okakura Kakuzo, Alan Watts, and Sabro Hasegawa, who visited or lived in the US from 1893 onward to cultivate Japanese Zen Buddhism and aesthetics in the US. In postwar America, Sabro Hasegawa, while formulating Japan’s modern art of national identity, took an important part in boosting the Zen boom and love for Japanese aesthetics in the US, to the extent that people joked the Japanese government should appoint him as an “art ambassador” for his role. Also, D.T. Suzuki, known as the most influential figure on Zen Buddhism in the West and whose teachings were employed by American artists, aggressively promulgated Zen. He contributed to making Japanese Zen more appealing and less threatening to Western audiences through his universalization of Zen by underlining its applicability to all cultures and areas as well as its aesthetic aspect. This examination of the presence of Japanese nationalism in postwar American art suggests that a particular sect of Japanese Zen worked as a means of cultural diplomacy to build, recreate, and restore the ideal and supreme image of Japan in the West from the last decade of the 19th century onward. A sect of Japanese Zen, introduced and popularized in America, was rooted in “New Buddhism (shinbukkyo),” which was originally produced in order to be in line with the Japanese government’s nationalist and imperialist policy, as expounded in recent studies by Robert Sharp and Brian Victoria. Accordingly, Zen of “New Buddhism” was presented to American and European audiences as the heart of Japanese culture as well as the spiritual and aesthetic quintesse... During the postwar and Cold War period, the status and image of Japan in the United States took on a rapid transformation—from America’s enemy to an indispensable ally. As the US needed Japan as a valuable partner in the Cold War, American efforts to recreate and circulate a new and agreeable image of Japan appeared in various areas, ranging from political arenas to Hollywood films and art museums. In tandem with American endeavors and in an effort to promote its national image as a new cultural power, Japan attempted to replace its jingoistic image with an aesthetic one and circulated its art and ideas throughout the US. Demonstrations of Japanese art and culture, including Zen aesthetics, were positively and often enthusiastically received among Americans in general despite the strong nationalistic stance of prominent New York critics who championed Abstract Expressionism as “the American-type painting” and denied/ignored any kind of “oriental” influence on mainstream New York artists. The study and utilization of Zen became a widely spread phenomenon among postwar American artists and intellectuals. Many American artists, including Mark Tobey, Morris Graves, Ad Reinhardt, Isamu Noguchi, Ibram Lassaw, John Cage, and the Beats, took part in the “Japan boom” and “Zen boom.” The appropriation of Zen and Asian aesthetics by American artists during the postwar and Cold War era is now viewed as a summit of cultural/artistic interchanges between the US and East Asia, an aesthetic fusion of the West and East in the history of American art. However, in a discussion about Zen in the field of American art, we are bound to ask: whose Zen and which Japanese aesthetics did American artists encounter? Zen in American art has kept much stronger ties with Japanese Zen rather than with either Chinese Chan or Korean Sun. In disseminating Japanese aesthetics, Japanese art and Zen experts played the role of cultural diplomats by fostering specific aspects of Japan’s cultural heritage and advocating their ideal of Japanese Zen and art among American artists and the public. The popularity of Zen Buddhism was generated by the teaching and proselytizing activities of Japanese Zen proponents and popularizers such as Shaku Soen, head abbot of the Engakuji branch of the Rinzai Zen sect, and his protégé, D.T. Suzuki, as well as Okakura Kakuzo, Alan Watts, and Sabro Hasegawa, who visited or lived in the US from 1893 onward to cultivate Japanese Zen Buddhism and aesthetics in the US. In postwar America, Sabro Hasegawa, while formulating Japan’s modern art of national identity, took an important part in boosting the Zen boom and love for Japanese aesthetics in the US, to the extent that people joked the Japanese government should appoint him as an “art ambassador” for his role. Also, D.T. Suzuki, known as the most influential figure on Zen Buddhism in the West and whose teachings were employed by American artists, aggressively promulgated Zen. He contributed to making Japanese Zen more appealing and less threatening to Western audiences through his universalization of Zen by underlining its applicability to all cultures and areas as well as its aesthetic aspect. This examination of the presence of Japanese nationalism in postwar American art suggests that a particular sect of Japanese Zen worked as a means of cultural diplomacy to build, recreate, and restore the ideal and supreme image of Japan in the West from the last decade of the 19th century onward. A sect of Japanese Zen, introduced and popularized in America, was rooted in “New Buddhism (shinbukkyo),” which was originally produced in order to be in line with the Japanese government’s nationalist and imperialist policy, as expounded in recent studies by Robert Sharp and Brian Victoria. Accordingly, Zen of “New Buddhism” was presented to American and European audiences as the heart of Japanese culture as well as the spiritual and aesthetic quintessence o...

유영국(劉永國)의 초기 구성주의: <랩소디>(1937)에 나타난 유토피아니즘

유영아 한국미술이론학회 2010 미술이론과 현장 Vol.9 No.-

This study is about Yoo Young-kuk's early works which show constructivism, especially focus on his debut painting, <Rhapsody> for the 7th Dokuritsu Bijutsu Kyokai(独立美術協會, the Independent Fine Arts Association) in Tokyo in 1937. The work was painted 2 years after he had started his study in Japan in 1935. It was the first painting that applied Constructivism. <Rhapsody> played an important role for Constructivism to be a leading art in his abstraction. After this picture, Yoo was soon devoted to the principles of Constructivism-- Faktura(material), Tektonika (tectonics), Tekhnika(technique), space, construction-- in his painterly reliefs. This article examined why Yoo concentrated on Constructivism for <Rhapsody>, what the characteristics were, and what influences were on other works from 1935 to 1949. In addition, I investigated in which period <Rhapsody> was painted and how Constructivism was spread in 1930s and early 1940s in chapter 2. I scrutinized Rhapsody in chapter 3. When Yoo created <Rhapsody> Japan was under the Fifteen Years War(1931- 1945), and a major discourse was the Japanese Spirit at that time. It was connected with construction of an ideal nation which the Japanese ultra-national fascism pursued. This ideological pursuit was intended to unite the Japanese people for total war system and to restore a national dignity which had been fallen down due to Manchurian Incident(1931). Thus, on the hand, Kokusai Bunka Shinkokai(国際文化振興会, The Society for International Cultural Relations) and the Nippon Kosaku Bunka Renmei(日本工作文化連盟, Japanese Werkbund) were supported financially by the Japanese government. On the other hand, the government enacted regulations to opposing parties which would distract Japanese people's unification. As for the Japanese art world, the merge of art groups was carried out through remodeling of Teikoku Bijutsuin(帝国美術院, The Imperial Fine Arts Academy) in 1935. This brought out continuous dispute and disorder. Young artists who felt difficulty of entering an entry of Imperial Fine Arts Exhibition repeatedly grouped and disbanded for small art groups to build their standing, which they pursued Surrealism and Abstract art. Among them Constructivism was considered as the latest trend and was popular in craft, design, architecture as well as fine arts. In the year before he painted <Rhapsody>, Avant-garde theatres including Constructivism theatre were introduced in a feature article of September, 1936 in Atelier, which was dealing with mainly avant-garde arts. Books related with Constructivism were translated into Japanese, and Gestaltung Education had become active since the publication of A Compendium of Gestaltung Education( 構成敎育大系 (1934)), Salvador Dali(1904-1989) was also introduced, so Surrealism was drawn more attention by young artists. <Rhapsody> reflected popular trends. Yoo analyzed the Japanese avant-gardists' archaic taste in the Independent Art Association that he submitted his painting to. And then he entitled ‘Rhapsody’ which derives from Ancient Greek's epic poetry and deliberately set up images in a scene. In chapter 3, I examined a theme which was planned carefully by sorting favorite images from the Japanese Surrealism. <Rhapsody> was a result that Yoo Young-kuk observed objectively the phenomenon that young artists dreamt of Utopia or longed for Nostalgia passively and lethargically under wars. And then he otherized himself from that circumstance. First of all, for <Rhapsody> he used the typical icons of Japanese Surrealism such as the horizon, flowing clouds, and vast plain that were considered stereotypes of Arcadia. He, however distinguished himself form those Japanese Surrealists. He made his own vision about Utopia by referring Lyubov Popova(1889-1924)'s stage design. His objective point of view was expressed by positive and dynamic images of structure and human's actions. Constructivism which was attempted in <Rhapsody> had an effect on other early constructive works, and the principles of Constructivism were sought hard in reliefs, paintings, and photos.

현대 일본 젊은이들의 음식 맛의 기호(嗜好) 변화에 관한 문화적 요인 연구 - 지역사회로의 환류를 위한 인큐베이팅 -

정연욱,이형재 한국일본어문학회 2019 日本語文學 Vol.83 No.-

食べ物は、ある民族の文化生活の形を表す象?的で、神話的な要素である。しかし、このような神話的な食文化は、文化的境界が曖昧になった21世紀に入って可?的な?況におかれている。日本の人?は、飛鳥時代から西?2000年まで、山葵をもとにして辛味が嗜好であった。つまり、日本人にとって山葵は固有の食文化で誇りであった。最近、日本では、唐辛子をもとにした辛味が山葵をもとにした日本固有の味と、それに?する嗜好を?えつつある。2018年に岐阜大?の辛味の嗜好性に?するアンケ?ト調査結果によって明らかになった。なぜ、このような現象が起きたのであろうか。文化的側面から言うと韓流という出?事がキ?ワ?ドになる。現在の日本の若者が認知能力が付いた頃に韓流は、もはやエスニックの文化ではなく普遍であった。?然、食べ物においても同じである。日本人の漬物に?する嗜好順位にキムチが常に上位にあることを考えれば理解しやすい。日本の若者において唐辛子をもとにした辛味は?純なエスニックに?する好奇心の表しではなく日常であったと言える。結局、韓流という出?事は、せめて辛味において山葵という日本の?民的味を唐辛子というリ?ジョン(region)の味に?えたのである。 Food, as part of culture, has symbolic and mythical elements. However, in the 21st century, as cultural boundaries have become blurred, the mythical traditions of food culture have become more fluid. Japanese people have invariably preferred the spicy taste of wasabi from the beginning of the Asuka period to the end of the 20th century. To the Japanese, traditionally, wasabi has been a unique spice and a point of pride in food culture.Recently, however, the spicy taste of chili peppers has been changing Japan's unique taste preferences based on wasabi. A 2018 survey with Gihu University students indicated that modern Japanese youths’ preferences for spicy food are changing from wasabi to chili pepper. Why did this happen? To answer this from a cultural point of view, the Korean Wave is the key factor.As modern Japanese youths’ awareness of the Korean Wave grew, it became integrated with local culture. Thus, the spicy flavors of chili peppers were no longer a curiosity but became part of everyday eating habits. This is why kimchi became the most popular type of pickle in Japan. The Korean Wave merged with Japan's traditional national flavors, which turned these new preferences into a regional cuisine in East Asia.

초상에 담지 못한 사대부의 삶

이경화(李京和) 한국미술연구소 2012 美術史論壇 Vol.- No.34

This study is an attempt to understand the art and culture of the officialliterati in the eighteenth century Joseon by tracing Seo Jiksu(徐直修, 1735-1811)’s personal life and exploring his cultural taste and self-identification. The study investigates the two most important paintings, Portrait of Seo Jiksu and Shipudo(十友圖) illustrating the meaning of his study’s name, Shipu-heon (pavilion of ten friends), which were commissioned by Seo Jiksu. This article also attempts to explore the material culture of Joseon literary society in socio-historical and cultural historical perspectives. Seo Jiksu did not make academic achievements and political success as an official. Moreover, he was not a man of erudition or artistic talents. He did not devote all his ability to study Confucius classics and pass the civil examination, which are the most important responsibilities of the aristocratic male in Joseon dynasty. It does not mean Seo pursued his own ideal by living a reclusive life. On the contrary, he was able to take the low-ranking official post given to privileged member of meritorious vassal and upper class family. It is comparatively easy for him to accumulate amount of wealth. With wealth and social status, Seo Jiksu lived his life of abundance and stability rather than anyone else. He eagerly pursued his pleasure of enjoying refined cultural activities in daily life. His unique self-esteem derived from his elegant life style and sophisticated taste through his whole life. Seo Jiksu might not be a man of lofty character but was a quite ordinary man to pursue secular pleasures. He eagerly collected rare antiques such as Samurai swords of Kamakura Japan, appreciated literary paintings and calligraphies of Ming China, and enjoyed travelling famous scenic sites, gardening, housing and so forth. Gaining practical knowledge for the activities, he read books on taste of the Chinese professionals published in the Ming Ching China. Lee Inmun, an excellent painter of Dohwaseo (Royal Academy of Painting) painted Shipu-do, which shows a portrait of Seo Jiksu accompanying with ten favorites called friends. In colophon of the paintings written by Seo Jiksu, we can find out that he intended to represent his sophisticated taste and elegant life style to enjoy cultural activities and collect antiques through his paintings. He requested the most representative painters of his period, Kim Hongdo and Lee Myeonggi to paint his portrait in which he wore plain clothes of literatus. Even though his feature was painted elegantly and sophisticatedly, Seo Jiksu wrote that the two painters should have painted the essence of his lofty mind on the portrait. It reveals not only Seo’s self-respect of the refined cultural taste but also his desire to show off his elegant life through the portrait. Seo’s artistic taste and various cultural activities are at the heart of building up his self-awareness throughout whole life. It is required to focus on the life and taste of Seo Jiksu in that his case epitomizes the upper class literati to have refined taste for the arts in the eighteenth century Joseon.

文学の「趣味主義者」梁啓超と日本語小說翻訳

陳華栄 ( Chen Huarong ) 동서대학교 일본연구센터 2020 次世代 人文社會硏究 Vol.16 No.-

梁啓超は、中国近代史における多くの政治事件に深く関わっていた政治的人物であり、彼の文学が政治思想と大きな関わりを持ち、明らかに政治性が強いということもあり、これまでの梁啓超の翻訳に対する先行硏究、特に彼が改革言論を鼓吹した時期と言われる日本滯在期間に翻訳した小說に対する硏究は、「文学救国」や啓蒙的意図などの政治的な要素に集中する傾向があると言われる。しかしながら、彼は多くの文章において、何度も自分が「趣味主義者」であることを主張し、「興味を持ってすること」と「することから面白みを味わうこと」を強調したことを踏まえれば、果たして彼の文学には啓蒙と政治の要素しかないと言い切れるだろうか。本論は梁啓超が書いた「趣味主義」に関する文章を踏まえたうえで、彼の日本語小說翻訳において、彼自身が強調していた「趣味」が実際にあったかどうかについて明らかにする。 As a political person concerned with many political cases in the Chinese modern history, it may be said that Liang Qichao's literature has a deep relation with his political thought. Additionally, the political characteristics are obviously in his translation. The conventional research about Liang Qichao's literature, particularly the research on the novels which he translated when he stayed in Japan was during a period said to be at the time that he strongly advocated to save the nation and enlighten the citizens through literature, and tended to concentrate on political elements. However, Liang Qichao has wrote many articles about taste, which emphasized that he was a man who attached great importance to interest, and advocated that he was very interested in everything that he did and drew enjoyment from his work. Based on his view, the conclusion that there are only political factors in his translation, becomes a contradiction. Based on his articles on interest and fun, this paper attempts to analyze whether there are factors of interest and fun besides political factors in his Japanese novel translation.

The Influence Factors on Customer Satisfaction and Loyalty in Distribution: An Empirical Study on Sushi Tei Restaurant, Jakarta

Nova ANDRIYANI,Z. HIDAYAT 한국유통과학회 2021 유통과학연구 Vol.19 No.6

Purpose: A restaurant is a business of the physical distribution of food and beverages which includes intercultural interaction. This research paper aims to examine the influence of Japanese taste as a product advantage, determining service quality factor in the restaurant business, the e-CRM that involves technology, social media campaigns to reach the target market of young people, and customer satisfaction on customer loyalty in Sushi Tei restaurant. This study also intends to find direct and indirect influence between the variables. Research design, data and methodology: Quantitative research was conducted using a survey method by distributing 100 questionnaires to Sushi Tei customers in Jakarta, consisting of Gen Z and Millennials. Samples were taken at each outlet in the Jakarta area on weekend and weekdays by purposive sampling. Data was generated by path analysis Results: The results showed that Japanese taste, service quality, and e-CRM significantly influence customer satisfaction and customer loyalty. However, social media campaigns failed to influence customer loyalty. As a result, customer satisfaction has a significant influence on customer loyalty within Sushi Tei restaurant. Conclusion: The study also proposed significant implications to develop and maintain a relationship with the customer to gain satisfaction and loyalty in the food and beverage industry.

탁발승 료칸(良寬)의 한시 작품세계

최귀묵 ( Choi Kwi-muk ) 한국문학치료학회 2016 문학치료연구 Vol.40 No.-

본고는 일본 에도 시대의 시승(詩僧) 료칸(1758~1831)이 살아가는 방도로 탁발(托鉢)을 택함으로써 나타나게 된 시문(詩文)의 독특한 면모를 살펴보고자 했다. 논의를 통해서 얻은 결과를 요약하면 다음과 같다. 첫째, 료칸의 작품세계를 일관성 있게 해명하고, 그 독자성을 규명하기 위해서는 료칸이 탁발승이었다는 사실을 각별히 주목해야 한다. 둘째, 료칸의 작품세계를 한중한거(山中閑居)의 흥(興)을 노래한 작품, 무애행(無碍行)의 흥(興)을 노래한 작품으로 대별해 볼 수 있다. 셋째, 산중한거의 흥을 노래한 작품은, 비록 고독감이 두드러지지만 전통적인 시승문학의 계승이라고 할 수 있다면, 무애행의 흥을 노래한 작품은 료칸만의 독자적인 작품들이다. 넷째, 무애행의 흥을 노래한 작품을 일본문학사는 물론이고 동아시아 시승문학사의 관점에서 새롭게 평가해야 한다. 세속은 물론 사원 공동체마저도 멀리하고 홀로 살아가면서 수행하면서 느끼는 고아(高雅)한 흥치를 노래한 작품, 민중 또는 중생이라고 할 수 있는 농민이나 어린이와 어울리면서 느끼는 흥치를 노래한 작품이 있어 료칸의 작품세계를 독특하게 만들고 있다. 특히 료칸은 민중과 함께하는 삶을 보시(布施)라고 하고, 민중과 함께 하는 흥을 시로 담아냈다. 동아시아 불교의 저변에 흐르는 한 줄기 흐름을 살려낸 功이 료칸에게 있고, 시승의 시문에서 흔히 보지 못했던 흥을 담아 낸 공이 료칸에게 있다. 료칸의 문학적 성취가 독창적이고 탁월하여, 일본은 물론 동아시아 시승문학사에서 우뚝한 자리를 차지한다고 보아야 할 근거가 바로 여기에 있다. This study concerns Ryokan(良寬, 1758~1831), a Buddhist priest-poet(詩僧) who lived during Japan`s Edo Period, and is written with the purpose of examining the particularities of his poetic texts that surfaced as a result of his choosing religious mendicancy(托鉢) as a way of living. The conclusions from the discussions can be summarized as follows. First, in order to consistently elucidate Ryokan`s literary universe, and to define its unique characteristics, we need to particularly focus on the fact that Ryokan was a mendicant Buddhist priest(托鉢僧). Second, we may generally classify Ryokan`s literary universe into works that describe the pleasure(興) of living freely in the mountains(山中閑 居), and works that describe the pleasure(興) of free associations(無碍 行). [The enjoyment one feels when one does not discriminate between the high and low classes, young and old ages(上下老少), and socializes with peasants or children.] Third, while we may consider the works that describe the pleasure of living freely in the mountains as a continuation of traditional priest-poet literature even as they show a salient theme of loneliness, we find that works that describe the pleasure of free association are unique to Ryokan. Fourth, we should re-evaluate these works that describe the pleasure of free association not only in the perspective of Japanese literary history but in the perspective of East Asian priest-poet literary history. Ryokan`s literary universe is exceptional because it includes works that describe an elevated(高雅) enjoyment that comes from meditating and living alone apart from not only secular society but also the religious community of the temples, as well as works that describe the enjoyment that is felt in socializing with peasants and children, who may be called the general public, or all living beings. In particular, Ryokan called the life lived in community with the general public as a temple offering(布施), and poetically presented the enjoyment that comes from being with the general public. Thus Ryokan may be credited with reviving a thematic current that was deep-flowing beneath East Asian Buddhism, and he may also be credited with presenting a type of enjoyment that is not commonly found in the poetic texts of priest-poets. In this aspect we find the reasons by which to recognize that Ryokan`s literary achievements are unique and eminent, and thus occupy a prominent place in not only Japanese but also East Asian priest-poet literary history.

나카무라 킨페이(中村錦平)의 작품에 관한 연구

원경환(Won, Kyung-hwan),김현숙(Kim, Hyun-suk) 한국조형디자인학회 2013 조형디자인연구 Vol.16 No.4

Japan has rapidly modernized itself after the 2nd World War. Nakamura has experienced American Modern Crafts which reflect the social phenomenon in 1960s for the first time, and realized that Japan was not the 'Kingdom of Crafts' but was sunk in the 'Cultural Poverty'. In fact, Japan could not reflect the phases of the times and only stuck to the old tradition and focused on acquisition of technology at that time. Ceramics in Japan obtain their names according to the local color and origin. As an example, potteries in area of Kutani(Kanazawa in present) are called 'Kutani yaki', and 'Hagi yaki' is a unique name for the pottery in 'Hagi' area. Each name of local potteries reveals very distinctive qualities of the relevant places. Nakamura judged that Tokyo where there are no local color and tradition would be more effective place to make 'progressive history reflecting the phases of times' rather than the places, such as Kutani Yaki or Imari Yaki where there are powerful tradition trends. Then he issued his challenge to the Japanese unsociable traditional method based on Tokyo, his jumping-off place. The Japanese obsessions for ornamentation appear in the act of filling space blindly with the 'aesthetic consciousnesses' based on spirituality that established by Sen no Rikyu. Therefore, there is no 'beauty' underlies that. Nakamura tries to reproduce tradition through the denegation of tradition with his works of art consist of dry fakes which parody Japanese exoteric sense of beauty and tradition for ornamentation. The purpose of this research is reconsidering the enlargement of expression realm and the value of handicraft in modern crafts through the world of artworks of the leader of post-war Japanese ceramics, Nakamura, who has made an efforts to go beyond pottery tradition and material limitations, and to reflect the phases of the times with his new perspective and challenge spirit. 전후 일본사회는 근대화를 위한 움직임이 빠르게 진행된다. 1960년대 미국의 사회현상을 반영한 미국현대도예를 처음 접한 나카무라는 일본을 ‘도예왕국’이 아닌, 동시대상을 반영하지 못하고 전통양식의 답습과 기술습득에만 머무른 ‘문화적 빈곤’ 상태에 빠져 있다는 것을 자각한다. 일본 도예는 산지나 지방색에 따라 도예의 명칭을 달리하는 특징이 있다. 쿠타니(현재의 가나지와)지역 도자는 ‘쿠타니 야끼’라 칭하며, 하기지역의 도자는 ‘하기 야끼’라고 부르기 때문에 도예의 명칭만으로 산지나 지방색이 확연히 드러난다. 나카무라는 이러한 ‘쿠타니 야끼’나 ‘이마리 야끼’와 같이 전통적 경향이 강한 도예보다는 지방색도 전통도 산지로서의 특징도 없는 토오쿄가 시대상을 반영한 ‘현재진행형 역사’를 잘 만들 수 있다고 판단하여, 토오쿄를 기점으로 폐쇄적인 일본 전통방식에 도전장을 던진다. 또한 일본인은 ‘장식’에 대해 센노리큐에 의해 정립된 다도정신에 입각한 미의식을 비판 없이 받아들여 공간을 채우려고 한다. 그 의식의 저변에는 ‘아름다움’이란 존재하지 않는다. 나카무라는 장식에 대한 일본인의 통속적인 미의식과 전통을 패러디한 무미건조하게 복제된 모조품으로 구성된 작품군을 통해 전통을 부정함으로써 전통을 재생시키려고 한다. 본 연구는 도예의 전통과 재료의 한계를 넘어서 새로운 시각과 도전정신을 가지고 시대를 반영하기 위해 노력한 전후 일본도예의 대표주자, 나카무라의 작품세계를 통해 현대도예에 있어서의 표현영역의 확장과 수공예의 가치에 대해 고찰하고자 한다.