十五一言에 對하여

李正浩 서경대학교 1977 論文集 Vol.4-5 No.-

"The Words of Ten and Five Accorded with One"(十五一言) may sound strange to those not acquainted with Jeong Yeok (正易). It is a condensed expression of three principles, namely, Ten the Illimitable(無極 Mu-geuk), Five the Central Ultimate(皇極 Hwang-geuk), and One the Great Ultimate(太極 Tae-geuk). Ten(Mu-geuk) and Five(Hwang-geuk) are the central numbers of the Yellow River Map (河圖). And One the Great Ultimate, when accompanied by Ten the Illimitable, makes "Ten and One Rendered to the Same Body"(十一歸體) as was noted as the Illimitable (being) the Great Ultimate(無極而太極). It is the point of departure and arrival of all the things dead and alive, and is represented to be the very middle of Five the Central Ultimate. Many crucial facts of Jeong-Yeok―e.g., Ban-go(盤古)'s transformation(盤古化), the origin of the Orthodox Learnings(道學) and its successors, and the arrangement and realization of the Jeong Yeok's Map of Trigrams (正易八卦圖), etc.―are derived from the principle of "The Words of Ten and Five Accorded with One." The general scheme of the observations the author made is as follows: 1. The problems of 'Ban-go'(盤古) In I Ching(or the Book of Changes 周易) it is noted that He (Pao Hsi 伏羲, 포희) proceeded directly from the human body and indirectly from natural objects" (近取諸身, 遠取諸物). In accordance with this the author analyzed both human birth and universal creation into four embryological steps, namely, Fertilization, Pregnancy, Nourishment and Birth(胞胎養生). These four steps were contrasted with the numbers of changing features of heavenly bodies (i.e., Heaven, Earth, Sun, Moon). And it was explained why they have their causes in the activities of Ban-go with special emphasis on the meaning of the Ban-go's transformation(盤古化) and the Ban-go's fifth transformation(盤古五化). 2. The origin of the Orthodox Learnings(道學) The principle of Stagnation and Communication(否泰) which is characteristic of the Yellow Rive Map(河圖) and of the River Lo Writing(洛書) gives some light to the understanding of the origin of the Orthodox Learnings. One passage which may account for the Learnings of Jeong Yeok is that Suppressing Yin and Elevating Yang is the main theme of the learning in the former Heaven and Harmonizing Yang and Rythmizing Yin is the Way of the latter Heaven. (抑陰尊陽先天心法之學, 調陽律音後天性理之道) As the Orthodox Learnings has it origin "The Words of Ten and Five Accorded with One" in the Yellow River Map and the River Lo Writing, so have the fifteen sages who have been the successors of the Learnings. Fourteen of them are sages of the former Heaven whose missions are to be eventually fulfilled by Il Bu(literally 'One Man', the sage of the latter Heaven. This is what the following line implies: All movements under Heaven become One in due course. (天下之動 貞夫一者) 3. The problem of the Jeong Yeok posited to the Golden Mean(中位正易) The Jeong Yeok posited to the Golden Mean implies the accomplishment of Jeong Yeok as Heaven and Earth receive their deserved positions, Thunder and Wind do not act contrary to each other, Water and Fire attain together and Mountain and Lake interchange their infuences. (天地正位, 雷風不相悖, 水火相逮, 山澤通氣) Some points are made here: 1) According to the theory of Thunder and Wind posited to the Golden Mean, Ten the Thunder (Che^n 震) and Five the Wind (Sun 巽), having accomplished the role of directors in the former Heaven in the title of Ch'ien(乾) and K'un(坤), recede to the positions of One and Six. Thus to the positions of Ten and Five come the deserved members of Ch'ien and K'un and their administrative authority and musical virtuosity are conceded to "Ten and One rendered to the same body(十一歸體)" of Mountain and Lake. Now the principle that the filial son doesn't contradict (his parents) (孝子不相悖) is observed and way of humility (Ch'ien 謙) is followed. 2) From the theory of Water and Fire attaining together the following points are made. The changes meant by I Ching are changes of the Sun and the Moon. The phase of the Moon is ceaselessly changing while constancy is characteristic of the Sun. The changes of the Moon especially noted in Jeong Yeok are the changes in months and years. A month (lunar) in the former Heaven begins on the day Mu Jin(戊辰), and that in the latter Heaven on the day Kye Mi(癸未). Hence the calendar without intercalation is to be used in the latter Heaven, which means a year consisted of 360 days net. To keep pace with this astronomical change which is simply beyond man's reach everyone should become a man of complete virtue by ever changing his inner self―this is what is emphasized in the hexagram Ko(Molting 革). The Great Man changes himself like a tiger. The Superior Man changes himself like a panther. (大人虎豹, 君子豹變) 3) As is shown in the treatise on "Moutain and Lake Interchanging their Influences" (山澤通氣) there are two levels on which the Wei Chi(Before Completion 未濟) of the former Heaven changes into the Chi Chi(After Completion 旣濟) of the latter Heaven. On the personal level a harmonious marital life and domestic courteousness lead to the production of men of complete virtue and harmony, and on the social level Union of Ken (Moutain) and Tui (Lake) (艮兌合德) and the Administration of Ten and One(十一用政) make for the construction of the New World Illimitable(无量世界). The way to it is―to enhance and enlarge human love to the extent that One makes one's fellowship in the open(同人于野) and One bears with the uncultured in gentleness(包荒). 4) The theory of Ch'ien and K'un posited to the deserved positions(乾坤正位論) is that Ten the Thunder (Che^n 辰) and Five the Wind(Sun 巽) recede to the positions of One and Six from the positions of Ten and Five, and to the positions Ten and Five come Ch'ien(乾) and K'un(坤). Now Ch'ien and K'un are at the blank position(空位) as the result of Sublimation(of Ch'ien and K'un to the blank positions 乾坤尊空). Everything comes to be in order. Filial piety in the latter Heaven firmly takes root, and all the mischievous disappear. Besides, modest Che^n(震) and Sun(巽) concede their administration to Ke^n(艮) and Tui(兌) (i.e., Mountain and Lake that interchange their influences) a penetrating brotherly love is fulfilled. Thus filial piety and brotherly love are fulfilled all over the world. As Ch'ien and K'un are posited to their deserved positions, the Jeong Yeok's year arrives―a year consisting of 360 days with every season and month ever mild and fresh. All the people become peace-lovers. In this way the Rule of the Being Himself(己位親政) and the construction of the New World Illimitable become inevitable. 4. On the hexagram Ch'ien (Modesty 謙) According to the Sequence of Hexagrams(序卦), Ch'ien(謙) is the 15th hexagram of I Ching. Generally specking the orderly sequence displayed in the Sequence has some specific meaning. In the former part of I Ching it is closely related with the phasic changes of the Moon such as Obscure, New Moon, Quarters, and Full Moon. Why is the hexagram Ch'ien(謙) at the fifteenth of this Sequence while the hexagram of the full moon (namely, Ta Yu, 大有, Possession in Great Measure) comes to the fourteenth? The answer we find in I Ching: He who keeps to be modest in spite of his possession in great measure, carries things through(有大而能謙…君子有終). Ten and Five are numbers of Che^n(震) and Sun(巽) as well as of Ch'ien(乾) and K'un(坤). As are shown by the Jeong Yeok's Map of Trigrams, Thunder and Wind recede ro the positions of One and Six to sublimate Ch'ien(乾) and K'un(坤) to the blank positions(乾坤尊空) and to make Mountain(山) and Lake(澤) do their administration of Ten and One in the East and West. This is the realization of the proposition that Thunder and Wind do not act contrary to each other, and is the true reason why "Thunder and Wind" becomes the Master of the hexagram Ch'ien(謙). With no danger of exaggeration we affirm it is there that we can find the gist of Jeong Yeok. The theory above also constitutes a part of "Words of Ten and Five Accorded with One." 5. The problem of the Complication by Three and Five(三五錯綜) In I Ching the passage The three and five operations are undertaken in order to obtain a change. Divisions and combinations of numbers are made. (參伍以變 錯綜其數) discusses the process of manipulating stalks to obtain the hexagram. But in the context of Jeong Yeok the Complication by Three and Five is suggestive of complication by three and five in the Former Heaven. They are the numbers of the ultimate change(至變度數), a change from Kap Jin(甲辰) to Mu Jin(戊辰) in sexagenery cyclic(六甲) terms, or a change from the Yellow River Map to the River Lo Wrting. From it comes Before Kap(甲), three days. After Kap(甲), three days. (先甲三日, 後甲三日) The same logic is found in the diagram of basic initial sounds of Hun-Min Jeong-Eum(訓民正音). In Jeong Yeok the complication by Three and Five implies the Three Cardinal Numbers in the system of the former Heaven, where Kap Ja is brought forth in the midnight of Kap and Ki(甲己夜半生甲子). Besides in the relationship of the Three Abilities(三才) and the Five Primary Currents(五行), mutually functioning as the fundamental(體) and the practical(用) for each other, we find another example of the complication by Three and Five. The same may be said of Five and Central Ultimate(皇極 ??) of the Yellow River Map. From the above observation it is clear: the Jeong Yeok of the Golden Mean(中位正易) is the Jeong Yeok of Thunder and Wind(雷風正易), which is the same thing as the Jeong Yeok of Il Bu(一夫正易). It is "the Jeong Yeok of the initial Ban-go(盤古一元)" "Words of Ten and Five accorded with One" is the structure, essence and the function of Ban-go.

1950-60년대 북한의 정선(鄭敾)에 관한 인식

김미정 ( Kim Mi-jeong ) 덕성여자대학교 인문과학연구소 2021 인문과학연구 Vol.- No.33

이 글에서는 1950-60년대 북한의 문예 정책 속에서 정선(鄭敾, 1676-1759)에 관한 인식이 변화하는 양상을 살펴보았다. 북한에서 정선은 1950년대 전반부터 탁월한 사실주의 풍경화가로 규정되면서 그의 위상과 회화의 가치가 높이 평가되었다. 그리고 1960년대 후반까지 민족미술의 특질을 규명하는 과정에서 각종 매체의 지면에 정선의 작품이 민족의 보물로 소개되었다. 정선의 생애정보에 맞춘 기념행사는 1950-60년대에 3차례 치러졌으며, 그중에서 1956년과 1959년에는 전람회도 개최되었다. 그러나 정선에 관한 북한의 인식은 초기에 부여받았던 높은 위상으로 고정되었던 것이 아니라, 시기와 문예 정책에 따라 달라지면서 1970년대에 이르러서는 평가가 낮아지기도 했다. 김홍도가 인민의 낙천성을 표현한 사실주의 인물화의 대가로서 시종일관 그 가치가 변하지 않은 것에 비하면 정선은 비교적 짧은 기간 위상이 높았던 화가였다. 이러한 현상은 남ㆍ북종화풍을 절충한 독창적 필법과 적묵의 효과가 특색인 정선 화풍이 사회주의 리얼리즘 미술에 적합하지 않았기 때문일 것이다. 정선의 화풍은 1950년대 후반 서정적인 풍경화의 허용과 함께, 자유로운 표현과 예술적 기교가 인정되었던 스탈린 사후 ‘미학적 해빙기’에 일시적으로 주목받을 수 있었다. 1950-60년대 북한의 정선 관련 문헌들을 살펴보면, 문예계 정책에 따른 자의적인 해석이 가미 되었음을 간과할 수 없다. 하지만 한국 학계에서 1960년대 후반에 이르러 정선을 주목하기 시작했던 상황과 비교해 보았을 때, 이 연구에서 살펴본 북한의 정선 관련 문헌들이 지닌 미술사적 의의는 되새겨볼 필요가 있으리라 생각된다. In this paper, the author examined the aspect of changing the recognition of Jeongseon(鄭敾, 1676-1759) in North Korea’s literary policy in the 1950s and 1960s. The North Korean art world defined Jeongseon as a realism landscape painter from the early 1950s and highlighted his stature and the value of his painting. Also, it defined the character of national art in the late 1960s and introduced the works of Jeongseon through various media as a treasure of the nation. According to the lifetime information of Jeongseon, a commemorative event was held three times in 1950s and 60s, and an exhibition was also held in 1956 and 1959. However, the recognition of Jeongseon in North Korea was not fixed at high stature in the early period, but changed according to the period and literary policy, and the evaluation on Jeongseon were lowered in the late 1960s. Kim Hong-do was evaluated as a master of realistic figure painting that expresses the optimism of people, and the evaluation was not changed to the present, while Jeongseon received high evaluation for a relatively short period of time. This is because Jeongseon’s rough strokes and unique style of painting were not suitable for the style of socialistic realism. The painting style of Jeongseon could be temporarily highlighted during the “aesthetic thawing season” in the late 1950s after Stalin’s death, when free expressions and artistic craftsmanship were recognized along with the permission of a lyrical landscape. Even though the North Korean Jeongseon-related literature in the 1950s and 60s reviewed in this study was interpreted politically and arbitrarily, it is meaningful to ruminate over its artistic significance compared to the situation of South Korea’s academic world in the late 1960s when Jeongseon started to be studied.

-고의 범주와 자질에 관하여

정용길(Yong kil Jeong) 서울여자대학교 인문과학연구소 2013 인문논총 Vol.27 No.-

Jeong(1990)은 한국어의 동사접사인 -고와 대격조사인 -를과 통일한 환경에서 허가된다는 사실에 근거하여 -고가 대격표지라는 분석을 제시한다. 한편 Yoon(2013)은 -고를 대격표지로 분석하는 Jeong(199)의 주장을 반박하며 -고는 대격표지가 아니고 보문소라고 주장한다. 그러나 Yoon(2013) 의 이러한 주장에는 이론적, 경험적 문제가 있다. 먼저 Yoon(2013)은 대격표지와 보문소가 서로 대비되는 개념으로 가정하고 있는데 이는 명백히 잘못된 가정이다. 보문소는 문법범주에 해당하는 반면에 (대)격표지는 문법범주가 아니라 문법자질에 속하는 것이기 때문이다. 다시 말해서 Jeong(l999)은 -고를 대격자질을 지니고 있는 보문소로 분석하고 있다. 따라서 Yoon(2013) 의 주장이 논리적인 타당성을 얻기 위해서는 -고가 격표지가 아니라 보문소다라고 주장하는 대신에 ‘보문소는 격자질을 포함할 수 없다‘라고 주장해야 한다. Yoon(2013)은 격표지들인 - 가나 -를이 생략되는 환경에서 -고가 생략될 수 없다는 점을 지적하면서 -고가 격표지일 수 없다고 주장한다. 그러나 이 주장에도 문제가 있다. 먼저 여기서 언급된 환경에서 어떤 접사가 생략되었다는 사실이 그 접사가 격표지라는 것을 의미하지 않는다. 즉 격표지 이외의 다양한 표지들도 동일한 환경에서 생략될 수 있다. 그리고 생략현상을 좀 더 확대해 보면 오히려 -고와 -를이 같은 속성을 보여준다는 것을 확인할 수 있다. 그러므로 -고가 격표지가 아니고 보문소라는 Yoon(2013) 의 주장은 설득력이 약하다. 그리 고 Jeong(l999) 에 대한 반박이 설득력을 얻으려면 -고와 -는의 대조적인 분포를 설명할 수 있어야 한다. Jeong (1999) proposes that the verbal particle -ko is a morphological realization of accusative case feature. Criticizing Jeong's (1999) argument, Yoon (2013) argues that -ko is not a case marker but a complementizer. Yoon's (2013) criticism, however, reveals serious problems both theoretical and empirical. First, Yoon (2013) does not distinguish between syntactic categories and morphological features. Yoon's (2013) main point is that -ko is not a case marker but a COMP. Note, however, that the latter refers to a syntactic category but the former to a morphological feature. Jeong (1999) assumes that -ko is a COMP and therefore Yoon's (1993) criticism against Jeong (1999) is not valid theoretically. Yoon (2013) also shows that unlike -ka and -lul, -ko cannot be deleted in some cases, which he argues provides evidence against Jeong's analysis of -ko as a case marker. If we consider more examples regarding the deletion phenomenon, however, we find that -ko patterns with case markers -ka and -lul. This implies that the phenomenon mentioned in Yoon (2013) has nothing to do with the discussion of whether -ko is a case marker or not. A valid criticism of Jeong' s (1999) analysis of -ko should provide a principled account of the fact that -ko is licensed by verbs but not by nouns or adjectives.

딥러닝 기반 실시간 인체 영역 세그멘테이션 및 포즈 추정

이민영(Minyoung Lee),전혜원(Hyewon Jeon),김인중(Injung Kim) 한국정보과학회 2020 한국정보과학회 학술발표논문집 Vol.2020 No.7

한남금북·금북정맥 일대의 찬공기 특성 분석을 통한 청주시 찬공기 관리방안

손정민 ( Jeong-min Son ),엄정희 ( Jeong-hee Eum ) 한국지리정보학회 2019 한국지리정보학회지 Vol.22 No.2

본 연구는 한남금북정맥과 금북정맥을 대상으로 정맥에서 생성되는 찬공기의 특성을 분석하고 이를 관리하기 위한 방안을 마련하였다. 또한 한남금북정맥에 위치한 청주시를 대상으로 상세 찬공기 흐름을 파악한 후 관리전략을 제안했으며, 청주시 내에 설치된 지상기상관측소의 관측자료를 이용하여 정맥의 야간기온저감 특성을 분석하였다. 찬공기 특성 분석을 위해서 독일에서 개발된 KALM(Kaltluftabflussmodell) 모형을 활용하여 야간 6시간 동안 생성되는 찬공기 흐름 및 풍속, 그리고 찬공기 층 높이를 파악하였다. 분석 결과, 시간이 경과함에 따라 정맥에서 생성되는 찬공기는 강해졌으며, 특히 한남금북정맥의 서쪽과 금북정맥의 북쪽에서 뚜렷하게 나타났다. 찬공기 생성 360분 경과 후에는 평균적으로 약 0.45m/s의 찬공기 풍속이 분석되었으며, 최대 2.70m/s의 풍속이 관찰되었다. 찬공기 층 높이는 평균적으로 104.27m, 최대 255.00m의 두께로 쌓였다. 청주시의 찬공기 흐름의 풍속은 상당구가 0.51m/s로 평균적으로 높게 나타났으며, 찬공기 층의 높이는 흥덕구가 48.87m로 높게 분석되었다. 야간기온저감 효과 분석 결과는 찬공기 층이 높은 청남대관측소(-3.8℃)에서 저감정도가 가장 크게 나타남으로써, 정맥에서 생성된 찬공기의 영향이 야간기온저감에 효과를 미치고 있음을 확인할 수 있었다. 이러한 찬공기 특성 분석 결과를 바탕으로 찬공기 생성이 활발한 정맥의 주요 산지 일대를‘온도조절기능 보전지역’으로 지정하여 현재의 산림 및 지형 보전에 대해 제안했으며, 생성된 찬공기의 흐름을 원활하게 해주는 지역을 ‘온도조절 기능 확대지역’으로 지정하여 정맥의 기능을 보완할 수 있도록 제안하였다. 본 연구의 결과는 한남금북정맥과 금북정맥의 체계적인 관리계획을 수립하고, 향후 청주시의 바람길 계획 수립시 기초자료로 활용할 수 있을 것으로 기대한다. In this study, we analyzed the characteristics of the cold air generated in Hannamgeumbuk and Geumbuk-Jeongmaek and proposed their management strategies. We also suggested management strategies after analyzing detailed cold airflows for Cheongju located Hannamgeumbuk-Jeongmaek and we compared the degree of nighttime temperature reduction of the Jeongmaek by using data obtained from observatories located on Cheongju. We used KALM(Kaltluftabflussmodell), a cold air simulation model developed in Germanay and identified both cold airflows and altitude of cold air layers generated during 360minutes at night. As a result, the cold airflow generated in the Jeongmaek became strong and the cold air was appeared clearly in the western part of the Hannamgeumbuk-Jeongamek and in the northern part of the Geumbuk-Jeongmaek. The average velocity of cold airflow was recorded at 0.45m/s, and the maximum speed of cold airflow was recorded at 2.70m/s. The average height of the cold air layer was 104.27m/s and the maximum thickness was 255.0m. The average velocity of cold airflows in Cheongju was 0.51m/s and the average height of cold air layer was 48.87m high. The highest degree of nighttime temperature reduction appeared in the Cheongnamdae observatory(-3.8℃), where the altitude of the cold air layer is high. The results showed that cooling effect of Jeongmaek actually affected the temperature reduction during nighttime. Based on the results, we designated the main mountain area of the Jeongmaek with active cold air generation as “cold air conservation areas” and proposed the current forest and topography conservation. We also proposed to designate areas that facilitate the cold airflows as “cold air management areas” and to complement the function of Jeongmaek. This study could support the establishment of systematic management plans of the Jeongmaek. In addition, it is expected that the results can be applied as basic data for ventilation paths of Cheongju.

정철(鄭澈) 전설에 나타난 사건의 계열화와 인물상의 의미 분화

한정훈(Han, Jeong-hoon) 국어국문학회 2016 국어국문학 Vol.- No.176

본 논문은 정철의 인물상을 통해서 정철전설에 내재한 역사적 의미와 이야기 전승주체의 의식에 대해서 살펴본다. 전설은 전유하지 못한 사건에 대한 기층민의 역사비평이다. 정철전설은 바로 기층민의 역사비평을 수행하면서 전승되고 있으며, 정철의 인물상은 사건에 대한 지역적 이해가 결합되면서 다양하게 분화된다. 정철은 위대한 시인이며, 관료로서 정승의 지위까지 오른 인물이다. 이런 인식이 정철의 인물상을 형성하였고, 문인-관료로서 이상적 가치를 실현하는 모습으로 전설 속에 기입되었다. 하지만 정철은 붕당정치의 중심에 있었던 인물이고, 조선시대 최대의 옥사인 ‘기축옥사’를 처리한 인물이다. 붕당정치가 심화되는 과정에서 정철이 첫 외직을 수행했던 강원도는 정철을 부정적 외부인으로 형상화하면서, 자신들의 삶을 파괴한 관료로 묘사했다. 반면 호남은 정철이 유년시절을 보냈던 곳이지만, 정철로 인해서 정치적 피해를 크게 본 곳이기도 하다. 이러한 호남 사람들의 역사적 경험은 긍정과 부정이 혼효된 복합적 인물상으로 전설의 정철을 주조하였다. This study aims to explore the historical meaning and the subject’s consciousness of story transmission inherent in Jeongcheol legend through Jeongcheol’s figure. A legend is folks’ historical critics on an affair that failed to be exclusively possessed. Jeongcheol legend was handed down performing folks’ historical critics, and his figure was combined with regional understanding of the affair to variously be discriminated. Jeongcheol was a great poet and bureaucrat to rise to be a prime minister in Joseon dynasty. This perception formed a figure of Jeongcheol, and he was entered in a legend as a literary man and a bureaucrat who made ideal values come true. However, Jeongcheol was in the center of factional politics and he was the one who executed ‘Gichukoksa’ that was one of the worst Oksas in Joseon era. In the process that factional politics was intensified, Gangwondo where Jeongcheol performed his first provincial government post gave shape to him as a negative outsider, depicting him as a bureaucrat who destructed their lives. On the other hand, Honam was a region where he spent his childhood but it had a big harm in politics owing to him. These historical experiences of people in Honam casted Jeongcheol in a complicated figure mingled with positive and negative.

‘집-나무-산’의 공간기호체계 연구

정유화(Jeong Yu-hwa) 우리문학회 2008 우리文學硏究 Vol.0 No.25

정지용의 시 텍스트는 ‘上/下’의 대립적 코드를 변환해 가며 ‘집-나무-산’이라는 수직상의 공간기호체계를 건축하고 있다. 먼저 ‘상/하’의 대립적 코드로 건축된 ‘집’의 기호체계를 보면, 오로지 自我(지상)와 神(천상)의 교섭만을 중심으로 수직 운동을 한다. 그의 집은 그 수직 운동에 의해 집의 내부와 천상의 세계가 소통ㆍ융합하게 된다. 이에 따라 그의 집은 세속적, 육신적인 집에서 정신적, 종교적인 집으로 전환한다. 하지만 ‘집’의 기호체계는 그 특성상 안팎의 운동을 하기는 쉬워도 상하의 운동을 하기는 매우 어렵다. 그는 이러한 한계를 극복하기 위해 ‘집’의 변환코드로써 ‘나무’의 기호체계를 창조하게 된다. ‘나무’의 기호체계는 ‘집’처럼 천상으로만 운동하는 것이 아니라 땅속으로도 동시에 운동하는 수직성을 보여준다. 천상으로의 운동은 神의 성령을 수육하려는 운동이고, 땅속으로의 운동은 원죄의 땅인 ‘검은 흙’을 정화하려는 운동이다. 그리고 이 ‘나무’의 기호체계는 신적인 삶의 원리를 매개해주는 것으로서 육체적 자아를 영혼의 자아로 재생시켜주는 의미작용을 한다. 하지만 문제는 자아와 神이 이미 완전한 합일을 이루고 있기 때문에, 이러한 텍스트를 지속적으로 산출할 필요가 없게 되었다는 사실이다. 이에 따라 그는 ‘나무’의 변환코드로써 ‘산’의 기호체계를 창조하게 된다. 지상과 천상을 매개하는 ‘산’의 기호체계는 ‘나무’의 범주를 벗어나 인간적 삶의 원리와 자연적 삶의 원리를 보여준다. 그래서 ‘산’의 기호체계는 두 층위의 의미작용을 한다. 그중의 하나는 산정을 향한 그의 등정이 다름 아니라 곧 인간적 기표를 해체하고 사물로서의 기표가 된다는 것을 의미한다. 다른 하나는 이와 달리 인간적 가치를 지닌 ‘산장(방)’을 수직상승하게 하여 그 속에서 산정과 천상의 세계를 향유한다는 층위이다. 이러한 구조를 지닌 ‘집-나무-산’의 수직적 공간기호체계를 수평으로 눕힌다면, ‘집-기차-배’의 수평적 공간기호체계와 대응하게 될 것이다. The texts of Jeong's poems switch the codes of 'up' and 'down', and thereby construct a symbolic system of space: 'house-tree-mountain'. The symbolic system of 'house' constructed from these two opposite codes first shows a vertical extension centered on the sole connection between God and the Self. This extension permits the house described by Jeong to connect and unify its interior space and the Heaven. The house is converted accordingly from its physical and secular nature to a spiritual and religious character. However, it is difficult to see that this symbolic system represents an upward-downward extension though susceptible to the inward-outward counterpart. In order to overcome this limitation, Jeong creates another symbolic system of 'tree' instead as a switching code. The symbolic system of 'tree' does not merely indicate an upward extension to the Heaven, as does that of 'house', but also reveals its simultaneous vertical nature of downward extension underneath the Earth. The upward extension is a motion of embodying the spirit of God, and the downward counterpart a motion of purifying the 'black soil' of the Earth of the Sin. The symbolic system of 'tree' also signifies the reproduction of the spiritual Self from the physical as a mediator of the principles of divine life. The problem is however that, because God and the Self have already been unified here, it is not necessary to produce such texts constantly. Accordingly, Jeong devises another symbolic system of 'mountain' as a switching code for that of 'tree'. The symbolic system of 'mountain' mediating between the Earth and the Heaven while freeing itself from the bounds of the category of 'tree' shows the principles of human and natural life. Therefore, this symbolic system has two layers of signification. One of these two layers signifies that Jeong's climb towards the summit of a mountain deconstructs the signifier of being human and becomes a true signifier as being a thing. Unlike this layer, the other signifies that the vertical rise of the mountain hut or cabin bearing a human value alludes to the enjoyment of the Heaven's world and the mountain's summit both in that shelter. The horizontal layout of the vertical symbolic system of 'house-tree-mountain' in this structure enables it to correspond to a horizontal symbolic system of 'house-train-boat'.

『東人詩話』에 수용된 중국 詩學書 연구

류화정(Ryu, Hwa-jeong) 동양한문학회(구 부산한문학회) 2013 동양한문학연구 Vol.36 No.-

서거정 비평이 黃庭堅 및 江西詩派의 영향을 받았다는 것은 널리 알려진 사실이다. 하지만 그 연원을 정확하고 실증적으로 밝히는 연구는 다소 미진하다. 『東人詩話』에는 ‘古人’으로 시작되는 비평 문구들이 곳곳에 등장한다. 이것은 서거정이 특정 텍스트에서 인용한 것이다. 그 텍스트의 출처를 추적하고 내용을 분석해본다면, 서거정 비평의 연원을 좀 더 명확하게 인지할 수 있을 것이다. 『동인시화』에 인용된 텍스트는 대체로 송ㆍ원대 비평서들이었다. 특히 송대 詩論書인 『詩人玉屑』은 『동인시화』 속 비평의 근원이 되는 대표적인 책이다. 서거정은 『시인옥설』의 특정 내용을 한 글자도 다르지 않게 그대로 인용하는가 하면, 『시인옥설』의 소제목을 배열하여 문장으로 만들어 썼다. 이것은 서거정이 『시인옥설』을 그만큼 열독하였고, 자신의 비평 의식을 형성하는 데 적극적으로 활용하였다고 할 수 있다. 그 외에 『동인시화』에 주로 인용된 텍스트는 『詩話叢龜』와 『苕溪漁隱叢話』이다. 이들은 당시 중국 문단에서도 중요한 의의를 가질 뿐만 아니라 고려와 조선에서 대표적인 詩學書로 활용된 시화총집이다. 간접적으로 영향을 주었다고 추정되는 텍스트로는 『唐詩鼓吹』ㆍ『瀛奎律髓』ㆍ『精選唐宋千家聯珠詩格』이 있다. 이것들은 조선 전기에 수차례 간행되고 지속적으로 열독되었던 詩選集이다. 서거정은 위의 서적들을 누구보다 빨리 접했으며, 그들과 밀접한 관련이 있었다. 예를 들어 서거정은 『영규율수』를 읽고 조선에서 가장 먼저 비평을 남겼으며, 『연주시격』의 언해와 주해 작업을 모두 主任했다. 요컨대 서거정은 고려와 조선에서 시학서로 활용된 서적들을 통해 비평 의식을 형성하여 『동인시화』를 저술했다. 그 중에서도 『시인옥설』이 가장 큰 영향을 끼친 것으로 보인다. 이후에 『동인시화』는 서거정이 文衡의 지위에 있을 때에 독립적으로 간행되었기 때문에 당시에 어느 정도 영향력을 행사하였을 것이다. It has been known for Seo Geo-Jeong to accept Hwang Jeong-Gyun(黃庭堅) and a criticism of poems in Gangseo(江西詩派). But it is not enough an empirical study related to the origin of Seo Geo-Jeong`s poetic criticism yet. In Dongin-Sihwa(『東人詩話』), it can be easy to find lots of sentences written on ‘Go-In(古人)’. They are quoted by other books. Analyzing a source of these books, we can find out the origin of Seo Geo-Jeong's poetic criticism clearly. It is in the textbooks on poetic criticism in Dang and Sung dynasty(唐ㆍ宋代) that sentences quoted in Dongin-Sihwa. Especially, Siin-Okseol(『詩人玉屑』) written in Sung dynasty(宋代) is a representative book of the source of poetic criticism in Dongin-Sihwa. For example, Seo Geo-Jeong quoted in full some sentences in Dongin-Sihwa from Siin-Okseol. Also, he wrote sentences using the subtitle of Siin-Okseol. It means he studied Siin-Okseol carefully and made use of it for setting up his poetic criticism. Other books quoted in Dongin-Sihwa is Sihwa-Chonggui(『詩話總龜』), Chogye- Eun-Chonghwa(『苕溪漁隱叢話』). They have been a representative book of textbooks on poetic criticism since Goryeo and Joseon dynasty(高麗ㆍ朝鮮). The rest of books concerned with writing Dongin-Sihwa is Dangsi-Gochui(『唐詩鼓吹』), Yunggyu- Yulsu(『瀛奎律髓』), Thousands of an Annotated edition of Ryenju-Sigyeok(『精選唐宋千家聯珠詩格』). They have been a representative book of textbooks on poetic criticism since Joseon dynasty, too. Seo Geo-Jeong got above books and up to date information related to poetic criticism more quickly than anybody else. It is he that wrote reviews for the first time after reading Yunggyu-Yulsu(『瀛奎律髓』) and took charge of annotating Ryenju-Sigyeok(『聯珠詩格』). In short, he set up his poetic criticism through above books. Siin-Okseol(『詩人玉屑』) is the most impact to him and Dongin-Sihwa among others. And Dongin- Sihwa affected many scholars and nobility in Joseon dynasty, because he worked in director of Culture(Mun-Hyeong, 『文衡』) when Dongin-Sihwa was published.

高麗再雕大藏目錄考

정필모 韓國圖書館學會 1989 圖書館學 Vol.17 No.1

This study intends to examine the background and the procedure of the carving of the tablets of the second edition of Dae-Jang-Mock-Lock(再雕大藏目錄), the time and the route of the moving of the tablets into Haein-sa, and the contents and the system of it. This study is mainly based on the second edition of Dae-Jang-Mock-Lock. But the other closely related materials such as restored first edition of the Dae-Jang-Mock-Lock, Koryo Sin-Jo-Dae-Jang-Byeol-Lock(高麗新雕大藏校正別錄), Kae-Won-Seok-Kyo-Lock(開元釋敎錄), Sok-Kae-Won-Seok-Kyo-Lock(續開元釋敎錄), Jeong-Won-Sin-Jeong-Seok-Kyo-Lock(貞元新貞釋敎錄), Sok-Jeong-Won-Seok-Kyo-Lock(續貞元釋敎錄), Dea-Jung-Sang-Bu-Beob-Bo-Lock(大中祥符法寶錄), and Kyeong-Woo-Sin-Su-Beob-Bo-Lock(景祐薪修法寶錄), are also analysed and closely examined. The results of this study can be summarized as follows: 1. The second edition of Tripitaka Koreana(高麗大藏經) was carved for the purpose of defending the country from Mongolia with the power of Buddhism, after the tablets of the first edition in Buin-sa(符仁寺) was destroyed by fire. 2. In 1236, Dae-Jang-Do-Gam(大藏都監) was established, and the preparation for the recarving of the tablets such as comparison between the content, of the first edition of Tripitaka Koreana, Gal-Bo-Chik-Pan-Dae-Jang-Kyeong and Kitan Dae-Jang-Kyeong, transcription of the original copy and the preparation of the wood, etc. was started. 3. In 1237 after the announcement of Dae-Jang-Gyeong-Gak-Pan-Gun-Sin-Gi-Go-Mun(大藏經刻板君臣祈告文), the carving was started on a full scale. And seven years later (1243), Bun-Sa-Dae-Jang-Do-Gam(分司大藏都監) was established in the area of the South to expand and hasten the work. And a large number of the tablets were carved in there. 4. It took 16 years to carve the main text and the supplements of the second edition of Tripitaka Koreana, the main text being carved from 1237 to 1248 and the supplement from 1244 to 1251. 5. It can be supposed that the tablets of the second edition of Tripitaka Koreana, stored in Seon-Won-Sa(禪源寺), Kang-Wha(江華), for about 140 years, was moved to Ji-Cheon-Sa(支天寺), Yong-San(龍山), and to Hae-In-Sa(海仁寺) again, through the west and the south sea and Jang-Gyeong-Po(藏經浦), Go-Ryeong(高靈), in the autumn of the same year. 6. The second edition of Tripitaka Koreana was carved mainly based on the first edition, comparing with Gae-Bo-Chik-Pan-Dae-Jang-Kyeong (開寶勅板大藏經) and Kitan Dae-Jang-Kyeong(契丹大藏經). And the second edition of Dae-Jang-Mock-Lock also compiled mainly based on the first edition with the reference to Kae-Won-Seok-Kyo-Lock and Sok-Jeong-Won-Seok-Kyo-Lock. 7. Comparing with the first edition of Dae-Jang-Mock-Lock, in the second edition 7 items of volumes of Kitan text such as Weol-Deung-Sam-Mae-Gyeong-Ron(月燈三昧經論) are added and 3 items of 60 volumes such as Dae-Jong-Ji-Hyeon-Mun-Ron(大宗地玄文論) are substituted into others from Cheon chest(天函) to Kaeng chest (更函), and 92 items of 601 volumes such as Beob-Won-Ju-Rim-Jeon(法苑珠林傳) are added after Kaeng chest. And 4 items of 50 volumes such as Yuk-Ja-Sin-Ju-Wang-Kyeong (六字神呪王經) are ommitted in the second edition. 8. Comparing with Kae-Won-Seok-Kyo-Lock, Cheon chest to Young chest(英函) of the second edition is compiled according to Ib-Jang-Lock(入藏錄) of Kae-Won-Seok-Kyo-Lock. But 15 items of 43 volumes such as Bul-Seol-Ban-Ju-Sam-Mae-Kyeong(佛說般舟三昧經) are added and 7 items of 35 volumes such as Dae-Bang-Deung-Dae-Jib-Il-Jang-Kyeong(大方等大集日藏經) are ommitted. 9. Comparing with Sok-Jeong-Won-Seok-Kyo-Lock, 3 items of the 47 volumes (or 49 volumes) are ommitted and 4 items of 96 volumes are added in Caek chest(策函) to Mil chest(蜜函) of the second edition. But the items are arranged in the same order. 10. Comparing with Dae-Jung-Sang-Bo-Beob-Bo-Lock, the arrangement of the second edition is entirely different from it. But 170 items of 329 volumes are also included in Doo chest(杜函) to Kyeong chest(輕函) of the second edition, and 53 items of 125 volumes in Jun chest(遵函) to Jeong chest(精函). And 10 items of 108 volumes in the last part of Dae-Jung-Sang-Bo-Beob-Bo-Lock are ommitted and 3 items of 131 volumes such as Beob-Won-Ju-Rim-Jeon(法苑珠林傳) are added in the second edition. 11. Comparing with Kyeong-Woo-Sin-Su-Beob-Bo-Lock, all of the items (21 items of 161 volumes) are included in the second edition without any classificatory system. And 22 items of 172 volumes in the Seong-Hyeon-Jib-Jeon(聖賢集傳) part such as Myo-Gak-Bi-Cheon(妙覺秘傳) are ommitted. 12. The last part of the second edition, Joo chest(奏函) to Dong chest(洞函), includes 14 items of 237 volumes. But these items cannot be found in any other former Buddhist catalog. So it might be supposed as the Kitan texts. 13. Besides including almost all items in Kae-Won-Seok-Kyo-Lock and all items in Sok-Jeong-Won-Seok-Kyo-Lock, Dae-Jung-Sang-Bo-Beob-Bo-Lock, and Kyeong-Woo-Sin-Su-Beob-Bo-Lock, the second edition of Dae-Jang-Mock-Lock includes more items, at least 20 items of about 300 volumes of Kitan Tripitaka and 15 items of 43 volumes of traditional Korean Tripitaka that cannot be found any others. Therefore, Tripitaka Koreana can be said as a comprehensive Tripitaka covering all items of Tripitakas translated in Chinese character

소파 방정환에 의해 재창조된 번안동화의 작품세계 -『사랑의 선물』을 중심으로-

김미정 ( Mi Jeong Kim ),임재택 ( Jea Tack Lim ) 한국어린이문학교육학회 2010 어린이문학교육연구 Vol.11 No.2

본 연구의 목적은 방정환이 ‘소년운동’ 차원에서 기획한 번안동화집인 『사랑의 선물』중 임의로 선정한 총 4편을 원작과 비교하여, 원작이 ‘어떻게’, ‘얼마나’, ‘왜’ 다르게 번역되었는지 원작에 대한 번역 일치성 및 개작의 중재 전략을 알아보는 데 있다. 연구 결과 방정환은 번역자로서 내용의 의도적인 첨가, 삭제, 수정의 방법으로 원작을 개작하는 과정을 수행하였다. 또한 이러한 개작은 화합, 자국화, 윤색의 중재 전략이 사용되었는데, 방정환은 이러한 중재전략을 통하여 첫째, 순수한 동심의 세계 존중, 둘째, 외래문화에 대한 주체적 수용, 셋째, 문학적 감성과 상상력을 통한 애국 교육 등의 세계관을 뚜렷이 드러내었다. 이에 본 연구를 통하여 방정환은 『사랑의 선물』번안을 통하여 외국 동화가 문학텍스트로서 가지는 문학적·심리적 가치를 그대로 어린이에게 전달하는 동시에 유교 전통을 극복하고 우리나라 현실에 맞게 아동존중사상을 농축하여 표현한 문화변용의 주체였다는 사실을 알 수 있었다. Bang Jeong-Hwan tried to transfer foreign fairy tales in itself which was worth of literary and psychological value as a literary text to children and simultaneously express realistically condensed ideological contents of DongHak through the adaption of Sa-rang-ui-Suon-mul(A Gift of Love). This study chose four sub-titles of the Sa-rang-ui-Suon-mul to investigate how, how much different, why these translations(adaptions) were different from original on the base of the level of fidelity to original and the intervention strategy. As the results of this study, Bang Jeong-Hwan as a translator performed the process of these translations as a significant difference from original by introducing the method of intensely insertion, elimination, modification. Furthermore, Bang Jeong-Hwan could attain the following three purposes and express a distinguishing his outlook on the world through these adaptations: 1) the respect for the world of pure child mind 2) the creative and independent acceptance of foreign cultures 3) the patriotic education through a literary sensitivity and imagination. As results of this study, we surely knew that Bang Jeong-Hwan was a main agent of acculturation by means of maintaining the literary value of original and realizing an idea of children respect.