아주대병원 사회사업팀의 활동사례

강흥구,Gang, Heung-Gu 대한병원협회 1998 대한병원협회지 Vol.27 No.5

병원 운영의 효율성 제고를 위한 자원봉사자 활용 방안

강흥구,Gang, Heung-Gu 대한병원협회 1991 대한병원협회지 Vol.20 No.5

사회복지사의 활동을 통한 의료서비스의 향상 방안

강흥구,Gang, Heung-Gu 대한병원협회 1995 대한병원협회지 Vol.24 No.3

병원이용에 관한 조사 연구

강흥구,Gang, Heung-Gu 대한병원협회 1994 대한병원협회지 Vol.23 No.9

울진 방언 가사문학 작품 ≪유람일기≫의 운율의 분석적 연구

강흥구(Heung-gu Gang) 어문연구학회 2007 어문연구 Vol.54 No.-

  In this paper, I studied the metrical system of Gasa literary work with the form of an old Korean verse" written and recited by a Uljin native speaker. The major metre of Uljin dialect is tone. Therefore, In this research, I was focusing on the tonemic pattern(/side-dot pattern) of the tonemic patterns of the feet of the work and it"s construction. The name of this work is a Travel Diary through Korean Noted Places.<BR>  This Gasa was written and recited by Madam Jeongnam Ju, a Uljin native speaker, about in 1994. Uljin is a county to the east coast of Korea belonging to Gyeongbuk Province.<BR>  This Gasa consists of 262 lines, and each lines, four feet with four syllables.<BR>  The first and third foot of each line is stressed(sounded loud-voiced), and the second and fourth are unstressed.( a little weak.) The last syllable of each foot was lengthened with a falling pitch.<BR>  Each foot consists of a tonemic pattern usually, but two in some case. When a foot consists of two tonemic patterns, it has the structure of phyungchuk pattern#chukseong pattern, phyungchuk pattern#phyungchuk pattern, phyungseong pattern, #chukseong pattern, chukseong pattern# phyungchuk pattern, or chukseong pattern#chukseong pattern, but not phyungseong pattern# phyungseong pattern or phyungseong pattern# phyungchuk pattern. And in the structure of A pattern#B pattern, A pattern has to be pronounced in the strong pitch form, be B pattern in the weak one.<BR>  Uljin dialect is three-tone system: an unmarked plain "pyeonseong" (□), two marked tones, geoseong "departing tone" ( □) and sangseong "rising tone"(:□). In the case of four-syllable foot, there are 6 side-dot patterns: 4 pyeongcheuk(/complex) patterns (□□□□, □□□ □, □□ □ □, □ □ □ □) one geoseong pattern( □ □ □ □) and one sangseong(:□ □ □ □). Therefore n-syllable foot has n+2 side-dot patterns ― n pyeongcheuk patterns, one geoseong pattern and one sangseong(:□ □ □ □).<BR>  The reason why these kinds of side-dot patterns are restricted so strongly is because of the strong neutralizing force of the two marked tones and the weak neutralizing force of the plain tone affecting the following syllable.

남부지역 방언의 운율체계 비교 연구

강흥구(Heung-gu, Gang) 어문연구학회 2011 어문연구 Vol.68 No.-

The purpose of this study is to analyse and describe the tonemic systems of Hadong county and Gwang-yang county dialect contrastively, which belong to the southwestern extremity of Gyeongnam Province and the southeastern extremity of Jeonnam Province. Hadong and Gwangyang county lie east and west with a swift running river ‘Geumgang River’ between. Main data of this study are multisyllabic stems of verbs and adjectives of the two dialects. For the analysis of tones and setting up the unified tonemic systems of south Korean tone dialects I brought in the side-dots theory initiated by King Sejong the Great and a few 15th to 16th century Korean linguists and upgraded by Prof. Gim Chagyun, an eminent Korean phonemist in our generation. The outcome of this study may be summarized as follows. The two dialects have three tone system: They are divided into one unmarked plain tone ‘phyeongseong’ and two marked tones ‘geoseong and sangseong’. The three tones are symbolized as □, ㆍ□, and :□ respectively. Every tone exerts weak or strong neutralizing force upon the tone along behind it. Phyeongseong □ neutralizes geoseong ㆍ□ and sangseong :□ with one dot ㆍ□. cheukseon. geoseong and sangseong neutralize all kind of tones with one dot ㆍ□. In Hadong dialect as well as Gwangyang dialect, the pyeongseong(□) is H ‘high-level’, the geoseong(ㆍ□) is M ‘mid-level’. But the sangseong(:□) of Hadong dialect is L ‘low-long’ and the sangseong(:□) of Gwangyang dialect ‘mid-rising’). Because of neutralizing forces of the tones mentioned above and some other tonological rules, the kind of tonemic patters are extremely restricted. The two dialects have three side-dot patterns: □₁ㆍ□ⁿ(the side-dot pattern consisted of more than one plain tone ‘□’ followed by n marked tone ‘ㆍ□’), ㆍ□₁(the side-dot pattern of which the first is departing tone geoseong, ‘ㆍ□’), and :□₁(the side-dot pattern of which the first is rising tone sangseong, ‘:□’). For example, four syllable tonological words of the two dialects have the six patterns: □ㆍ□ㆍ□ㆍ□ (□ㆍ□³), □□ㆍ□ㆍ□ (□²ㆍ□²), □□□ㆍ□ (□³ㆍ□), □□□□ (□⁴), ㆍ□ㆍ□ㆍ□ㆍ□ (ㆍ□⁴), and :□ㆍ□ㆍ□ㆍ□ (:□⁴). Side-dot patterns of Hadong dialect can be deciphered into tonemic patterns one to one. Thus we can change the four side-dot patterns ‘□₁ㆍ□ⁿ, ㆍ□₁ and :□₁respectively, because □ is H, ‘high tone’, ㆍ□, M ‘mid tone’, :□, L, ‘normal low tone’. In like manner, we can decipher □ㆍ□⁴, □²ㆍ□³, □³ㆍ□², □⁴ㆍ□, □⁵, ㆍ□⁵, and :□⁵ into HM⁴, H²M³, H³M², H⁴M, H⁵, M⁵, and L⁵ respectively. Tonological representations are realized into surface pitch forms through following rules. (1) the pitch form realizing rules of Hadong dialect a. (pyeongcheuk form) H₃Mⁿ→ [MнH₁Mⁿ]/#-# b. (geoseong form) M₂→ [HHM₀]/#-# (provided that it is not informational forcus, M² → [MM]) c. ①(sangseong form) L₂→ [LMм]/#-# ②(sangseong form) [LMм₁] → {[ĽMм₁, LMMм₀]}/#-# (optional) (2) the pitch form realizing rules of Gwangyang dialect a. (pyeongbok form) ① H₂Mⁿ→ [Mн₀HMⁿ]/#-# (pyeongil form) ② HM₁→ {[HнM₀], [HHM₀]}/#-# (optional) b. (geoseong form) ① M₂→ {[HHM₀], [MHM₀]}/#-# (provided that it is not informational forcus, M² → [MM]) c. (sangseong form) ₂→ {[ HM₀], [ḦM₁]}/#-# Important tone sandhi, I have to mention here, are neutralization rules, the internal progressive plain-tone assimilation and the last syllable converting into cheukseong rule in the two dialects. (3) neutralization rules: a. {ㆍ□, :□} → ㆍ□ / □ ― b. (□, ㆍ□, :□} → ㆍ□ / {ㆍ□, :□} ― (4) the internal progressive plain-tone assimilation rule (optional) □mㆍ□ⁿ → □m+n/―# (here, m≧2, n≧0, m+n≧3) The following rule is also obli

국어 보조동사 구조 유형과 구문적 특성 연구

강흥구(Gang Heung-Gu) 한국중원언어학회 2002 언어학연구 Vol.- No.6

삼척방언과 울진방언 성조체계의 비교

강흥구(Gang Heung-Gu) 한국중원언어학회 2004 언어학연구 Vol.- No.8

In this article, we compared the tone systems and its realization, that is pitch pattern various tonological phenomena of Samcheok dialect of Gangweon Province and Uljin Dialect of Gyeongbuk Province. For the dscription of tone systems in phonological level, we employed markedness theory and generative tonology. In the underlying level, Samcheok dialect and Uljin dialect are three tone systems which consist of one unmarked tone, and two marked tones (cheuk-sheongs). The unmarked tone is H (the plain tone) and two marked tones are M (the phonetically simple tone), and ? (the phonetically complex tone). The plain tone H permits the opposition of H and M in the following syllable. And the marked tones are neutratralized as M in the environment of 'H-'. Any tone (H, M or ?) is neutratralized as M in the environment of '{M,?}-'. The relation between traditional three tones and three underlying tones is as the following table 〈이미지 참조〉 Because of the neutratralization effect, the kinds of tone-conection, tonological patterns, are extremely restricted in a prosodic word. Thus we can find three tonological patterns-phyeong-cheuk pattern, complex tone pattern HlMn', geosheong pattern 'Ml' and shangsheong pattern '?' in Samcheok and Uljin dialect. The tonological patterns of the two dialects are 〈이미지 참조〉

울진 방언 가사문학 작품의 성조 연구

강흥구 ( Heung Gu Gang ) 한말연구학회 2006 한말연구 Vol.- No.19

울진 방언 가사(歌辭)의 운율 연구

강흥구 ( Heung Gu Gang ) 한말연구학회 2008 한말연구 Vol.- No.23