近松の時代浄瑠璃における謎ㆍ難題の趣向

韓京子(Han Kyoung-ja) 한국외국어대학교 일본연구소 2006 日本硏究 Vol.28 No.-

지카마쓰 조루리의 불빛을 이용한 연출과 그 효과

한경자 ( Han Kyoung-ja ) 한국일어일문학회 2016 日語日文學硏究 Vol.99 No.2

In the Edo period, lamplights allowed people to enjoy their activities longer at night and extend the scope of their space. Therefore, in a way, these lights introduced them to a world of night. It is noteworthy that the literature during the Edo period captured and expressed these lights that were extensively used among the general population in different ways. More specifically, when it came to Joruri, a type of drama that was performed on stages, the effect of using lamplights was more visibly pronounced. While Chikamatsu`s works of Joruri featured lamplights and lighting fixtures as onstage props, theatrical methods to use lights for performances, such as representing will-o`-the-wisps or shadows, on stage were developed and became diversified. This had to do with the changes in subject matters of Ningyo Joruri from the period drama, which handled historical events or Monogatari, to the modern drama, which was concerned with contemporary themes. The theatrical scenes in Chikamatsu`s Joruri that used lights actually highlighted the dark, rather than the bright, side of the society. In the end, Chikamatsu, who first introduced Sewamono (a genre of contemporary plays) to Joruri, wanted to describe in his works of art ordinary people who enjoyed the world in his days and, more importantly, at the same time, the sorrows hidden behind their joyful appearance.

W.G.애스턴의 일본고전문학에 대한 인식 -『일본문학사』를 중심으로-

한경자 ( Han Kyoung-ja ) 한국일어일문학회 2021 日語日文學硏究 Vol.117 No.-

영국의 외교관이자 메이지 시대 일본학 3학자 중 한 명인 W. G. 애스턴은 1899년 영국에서 『일본문학사』를 출판하였다. 본 논문은 애스턴이 일본고전문학에 어떠한 평가를 하고 있는지 『일본문학사』를 통해 고찰한 것이다. 애스턴의 『일본문학사』에 대해서는 “애스턴의 『일본문학사』는 영어권뿐 아니라 일본에서도 『겐지모노가타리』야말로 '일본문학'을 대표하는 작품이라는 평가를 만드는데 크게 기여했다.”(스즈키 사다미)라고 하는 긍정적인 평가가 있다. 그러나 애스턴은 편집인의 일본문학사 집필 의뢰 답변에 일본문학을 찬양하는 의견을 갖고 있지 않다는 뜻을 분명히 밝히고 있었다. 이 논문에서는 애스턴의 『일본문학사』 중에서 주로 『만요슈』와 『겐지모노가타리』에 대한 애스턴의 견해를 검토했다. 애스턴은 항상 유럽 문학과 비교하면서 일본 문학을 평했다. 일본시가 전반에 대해서는 평가가 낮지만 『만요슈』는 작시의 규범을 따르며 세련된 언어를 구사하여 섬세하게 감정표현이 되어있어 그 후의 시가 보다는 우수하다고 보고 있었다. 『겐지모노가타리』에 대해서는 동시대 다른 나라와 비교해도 이야기 전개와 묘사, 일본어의 매력을 크게 끌어낸 탁월한 문장으로 구성됐다고 평한다. 다만, 스즈키 사다미의 말처럼 『만요슈』와 『겐지모노가타리』를 격찬하고 있었다는 점은 확인할 수 없었다. 애스턴의 『일본문학사』를 처음 번역한 시바노의 번역문과 스즈키의 번역문이 원문보다 긍정적인 뉘앙스를 담은 문장으로 되어 있는 데에 기인하는 것으로 보이지만, 그 결과 일본에서는 애스턴이 『겐지모노가타리』에 대해 절찬했다는 인식이 확산되었다고 말할 수 있을 것이다. W. G. Aston, a British diplomat and one of the three Japanese scholars of the Meiji period, published A History of Japanese Literature in England in 1899. This paper is a review of Aston's assessment of Japanese classical literature through A History of Japanese Literature. As for Aston's A History of Japanese Literature, there is a positive assessment that "-Aston's A History of Japanese Literature has contributed greatly to making Genji Monogatari representative of "Japanese Literature." (Suzuki Sadami) Aston, however, made it clear that he did not have an opinion praising Japanese literature in response to the editor's request to write a history of Japanese literature. In this paper, Aston's views on Manyoshu and Genji Monogatari were examined mainly among Aston's A History of Japanese Literature. Aston always compared to European literature and commented on Japanese literature. Although Japanese poetry has a low overall evaluation, Manyoshu followed the norms of writing and spoke sophisticated language, which was delicately expressed in emotion, which was considered superior to that of the later poetry. Regarding Genji Monogatari, it is said that it consists of excellent sentences that greatly drew the charm of the Japanese and story development compared to other countries in the same era. However, as Suzuki Sadami said, it was not possible to confirm that Manyoshu and Genji Monogatari were highly praised. Shibano's first translation of Aston's A History of Japanese Literature and Suzuki's translation seem to be attributed to a more positive nuance than the original, but the result is a widespread perception in Japan that Aston praised Genji Monogatari.

식민지대만에서의 일본전통예능 공연-1913년 이치무라 우자에몬의 가부키공연을 중심으로-

한경자 ( Han Kyoung-ja ) 한국일어일문학회 2017 日語日文學硏究 Vol.101 No.2

The aim of this research paper is to identify the aspects of the cultural mechanism of colonialism employed by the Empire of Japan to dominate its colonies by contemplating the actual background of and purpose for holding Kabuki performances in colonial Taiwan in 1913. During the pre-war period, it was rare for Kabuki theatre troupes to perform in othercountries. The so called `Okabuki`, a Kabuki performance where first-class Kabuki actors appeared, was unheard of, except for Ichikawa Sadanji`s performance in Russia in 1938. However, Ichimura Uzaemon`s Kabuki performances were held in colonial Taiwan, colonial Korea, and the Manchuria regions under the power of the Empire of Japan. The performances in colonial Korea and the Manchuria regions happened in 1935; however, in colonial Taiwan, they were held in 1913. While the Kabuki performances by Uzaemon in colonial Korea and Manchuria were meant to provide entertainment and comfort to the Japanese citizens in the colonial regions as well as to serve as part of the commercial strategies of entertainment companies, the nature of the Kabuki performances in colonial Taiwan was different. The intention of Takamatsu Toyojiro, the promoter of the performances, was to break cultural barriers and to further promote friendly relations between colonial Taiwan and the Empire of Japan by improving impressions of Japan in colonial Taiwan through performances by the noted, well-liked, and famous actor, Uzaemon. Foreign tours of traditional Japanese theatre troupes were used to facilitate the smooth functioning of the mechanism of colonialism for the domination of the Empire of Japan over its colonies.

문학,문화 : 지카마쓰 후기 작품군에 대한 고찰

한경자 ( Han Kyoung Ja ) 경희대학교 비교문화연구소 2011 비교문화연구 Vol.25 No.-

The academic world in Korea demands internationally competitive researches at the moment. However, there is a lack of understanding on research trends of Western countries. This research aims to understand how discussions on early modern Japanese plays are developed in Western countries such as America. Also, it aims to consider and compare the present situation of researches on earlymodern Japanese plays in Western countries, Japan and Korea. In Western countries, modern Japanese plays such as Kabuki and Joruri is accepted and enjoyed as universal plays of the world. It is not only because there is a background of enjoying plays such as Shakespeare`s but also researches and translations are accumulated continuously from the early 20th century. In the early 20th century, the main theme of researches was about Kabuki actors in Ukiyoe which was collected because of an interest in orientalism. After 1930s, Japanese arts and handcrafts were sent to art museums in America in order to promote Japanese culture. Also, many Japanese books were donated to university libraries in order to form institutes of Japanology. The war was started when the foundation of Japanology was about to be laid. Students who were interested in Japan were mobilized to the war as agents to understand Japan. After the war, those students started to do researches on Japan on a full scale. There were researchers such as Donald Keen who did researches on Kabuki and Joruri. In western countries, there are researches on patterns of behavior and thoughts of Japanese people, comparison with Shakespeare`s plays, dramaturgie, theatricalism as well as censorship of Kabuki during the war and mobilization of Kabuki to the war. It is necessary to understand where my researches are positioned in those research trends. It is also necessary to break away from overlapped and repeated researches of the same point of view and find out new research paradigms.

近松の淨瑠璃における「劍」の物語

한경자 ( Kyoung Ja Han ) 고려대학교 일본학연구센터 2014 일본연구 Vol.22 No.-

本稿は, 江戶時代の劇作家, 近松門左衛門が, 淨瑠璃の中で, 劍にどのような意味を持たせ, 何を描き出そうとしたのか, また, どのように物語として展開させているのかを考察するものである。これらの作品が近松の晩年に集中していることから, 近松の晩年の作品の特徵である, 爲政者や政道のあり方を說いたり, 日本の起源についての關心などが, 劍の物語として, どう組み入まれているのかを考察した。劍の物語は近松の賴光物や所謂天皇劇に描かれているが, 從來の硏究においては注目されてこなかった。『平家物語』「劍卷」をはじめとする一連の『劍卷』物語が作られるなど, 劍への關心は中世から近世にかけて高まっていた。さらに, 近世になって高潮した武國觀もその背景にあるものと考えられる。賴光四天王物は, 古淨瑠璃である金平淨瑠璃の流れを組むが, 近松は, 正德期以降に集中して作品化している。その中で劍は, 源家重代の寶劍としてだけでなく, 日本を治める劍として, 意味付けるなどの變化が見られた。それは, 賴光に日本の爲政者を價託したものといえるのである。また, 近松の神代物や古代物において, 劍は三種の神器の一つとして, 國の安泰を保證するものとして描かれていた。そこには, 劍の威力が强調されていた。武威の强調は當時の神國意識, 武國意識など自國意識の高揚の雰圍氣の中, 自國優越主義と結び付きもしていた。ただ, それは外國に向けられただけではなく, 國內の世の安泰を導くものとしてのとらえ方であった。近松は, 世の泰平を保つための理想的な爲政者像や政道を「劍の物語」に價託したのであった。 This study examines what Chikamatsu Monzaemon, Japanese dramatist of the Edo period, tried to represent in his joruri, what he intended to depict with the motif of swords in joruri, and also how he unfolded the plots of his dramas in general· Considering that these works were produced mostly in the latter years of Chikamatsu`s life, this study examined how his interest in politics, society, and the origins of Japan, along with his thoughts on the attitudes of contemporary politicians and the course of politics are depicted in the “Tales of Swords·” The interest in swords increased from medieval to modern times, creating many tales such as the series of Tsuruginomaki tales, including “Tsuruginomaki” in the Heike Monogatari· Chikamatsu`s heightened view of a military nation in medieval times may also have influenced his adoption of “Tales of Swords” in his work· In his Raiko series (with Minamotono Yoritomo as the main character), Chikamatsu gave a new meaning to the sword, stating that it was not only a formal sword of honor that had been passed down for many generations in the Genji family, but also a sword that ruled over Japan· Thus, he is representing Yoritomo as a statesman of Japan· In Chikamatsu`s works where the setting is the age of the gods or ancient times, the power of swords is emphasized and swords are portrayed as guaranteeing the peace of the country· This emphasis on military prestige also led to an ethnocentrism within an atmosphere of heightened patriotism, boosted through the focus on Japan as a divine land and military nation· However, these representations did not really pertain to the relations between Japan and foreign countries but merely to the idea that leaders brought stability to their own country by the monopoly of legitimate force symbolized by their weapons Chikamatsu depicted an image of the ideal politician and the ideal course of politics in the “Tales of Swords·” An aspect of the dramaturgy of Chikamatsu`s later works can be found here·

淨瑠璃における呪術性の考察

한경자 ( Kyoung Ja Han ) 韓國日語日文學會 2009 日語日文學硏究 Vol.71 No.2

近松の浄瑠璃における「剣」の物語

Han Kyoung ja(韓京子) 고려대학교 글로벌일본연구원 2014 일본연구 Vol.22 No.-

This study examines what Chikamatsu Monzaemon, Japanese dramatist of the Edo period, tried to represent in his joruri, what he intended to depict with the motif of swords in joruri, and also how he unfolded the plots of his dramas in general. Considering that these works were produced mostly in the latter years of Chikamatsu's life, this study examined how his interest in politics, society, and the origins of Japan, along with his thoughts on the attitudes of contemporary politicians and the course of politics are depicted in the "Tales of Swords." The interest in swords increased from medieval to modern times, creating many tales such as the series of Tsuruginomaki tales, including "Tsuruginomaki" in the Heike Monogatari . Chikamatsu's heightened view of a military nation in medieval times may also have influenced his adoption of "Tales of Swords" in his work. In his Raiko series (with Minamotono Yoritomo as the main character), Chikamatsu gave a new meaning to the sword, stating that it was not only a formal sword of honor that had been passed down for many generations in the Genji family, but also a sword that ruled over Japan. Thus, he is representing Yoritomo as a statesman of Japan. In Chikamatsu's works where the setting is the age of the gods or ancient times, the power of swords is emphasized and swords are portrayed as guaranteeing the peace of the country. This emphasis on military prestige also led to an ethnocentrism within an atmosphere of heightened patriotism, boosted through the focus on Japan as a divine land and military nation. However, these representations did not really pertain to the relations between Japan and foreign countries but merely to the idea that leaders brought stability to their own country by the monopoly of legitimate force symbolized by their weapons Chikamatsu depicted an image of the ideal politician and the ideal course of politics in the "Tales of Swords." An aspect of the dramaturgy of Chikamatsu's later works can be found here. 本稿は、江戸時代の劇作家、近松門左衛門が、浄瑠璃の中で、剣にどのような意味を持たせ、何を描き出そうとしたのか、また、どのように物語として展開させているのかを考察するものである。これらの作品が近松の晩年に集中していることから、近松の晩年の作品の特徴である、為政者や政道のあり方を説いたり、日本の起源についての関心などが、剣の物語として、どう組み込まれているのかを考察した。剣の物語は近松の頼光物や所謂天皇劇に描かれているが、従来の研究においては注目されてこなかった。『平家物語』「剣巻」をはじめとする一連の『剣巻』物語が作られるなど、剣への関心は中世から近世にかけて高まっていた。さらに、近世になって高潮した武国観もその背景にあるものと考えられる。頼光四天王物は、古浄瑠璃である金平浄瑠璃の流れを組むが、近松は、正徳期以降に集中して作品化している。その中で剣は、源家重代の宝剣としてだけでなく、日本を治める剣として、意味付けるなどの変化が見られた。それは、頼光に日本の為政者を仮託したものといえるのである。また、近松の神代物や古代物において、剣は三種の神器の一つとして、国の安泰を保証するものとして描かれていた。そこには、剣の威力が強調されていた。武威の強調は当時の神国意識、武国意識など自国意識の高揚の雰囲気の中、自国優越主義と結び付きもしていた。ただ、それは外国に向けられただけではなく、国内の世の安泰を導くものとしてのとらえ方であった。近松は、世の泰平を保つための理想的な為政者像や政道を「剣の物語」に仮託したのであった。

외래 및 퇴원환아 부모의 전화상담요구와 간호중재에 대한 조사연구

강화자,한경자,최명애,박승현,김영미,권원경,김선구,안혜영,허미영,Kang Hwa Ja,Han Kyung Ja,Choe Myoung Ae,Park Seung Hyun,Kim Young Mi,Kwon Won Kyoung,Kim Sun Gu,Ahn Hye Young,Heo Mi Young 한국아동간호학회 1996 Child Health Nursing Research Vol.2 No.1

The purpose of this study was to investigate the current status of the need of telephone call and to identify the status of nursing intervention through telephone. Head nurses of the pediatric nursing unit and a nurse of pediatric outpatient clinic wrote down the telephone record of calls by parents of children discharged from hospital from 7 am to 3 pm during the period of March to June, 1995. Content of 120 telephone calls but for 26 calls with incomplete record among 146 calls were analyzed into frequency of general characteristics, needs and nursing intervention. The needs of telephone call were identified and classified into 11 areas and analyzed into frequency of detailed content by 11 areas. Nursing intervention was identified and classified into 10 categories, and analyzed into frequency of detailed content by 10 categories. The findings of this study were as follows ; The need of telephone call was identified with nutritional state, medication, vital signs, language retardation, personal hygiene, vaccination, administration procedure, physical symptoms, follow up care management and others. The most frequent needs were physical symptoms and vaccination. A kind of food among nutrition dose of drugs among medication, fever among vital signs, cough among physical symptoms, and content of vaccination among vaccination was the most frequent needs. Nursing intervention through telephone was identified with instruction, knowledge offer, information offer, judgement, solicitation, referral and instruction, referral, connection, reassurance, reservation, and regulation. Instruction, knowledge offer and information offer was the most frequent nursing intervention by telephone call. Instruction was about a visit to hospital, a visit to nearby clinic, instruction about symptoms,, instruction about nursing care procedure, retelephoning and vaccination. Knowledge offer was about vaccination, knowledge related to medication, and dental care. Information offer and judgement was about vaccination and medication. Referral and instruction delivery was about instruction delivery following consultation to doctor, visit to emergency room and a visit to hospital following consultation to doctor. These results suggest that telephone call intervention program should be established as a field of extended pediatric nursing role in health care delivery system for the children.

가정·방문간호 수요추계

박정호(Jeong Ho Park),윤순녕(Soon Young Yun),김매자(Mae Ja Kim),한경자(Kyoung Ja Han),홍경자(Kyoung Ja Hong),박성애(Seong Ae Park),허정순(Jeong Soon Heo) 한국간호행정학회 2002 간호행정학회지 Vol.8 No.4