무가 <당금애기>와 민요 ‘중노래ㆍ맏딸애기’류의 교섭양상과 변이

류경자 한국민요학회 2008 한국민요학 Vol.23 No.-

This study is to examine the interaction between the shamanistic song Danggeumaeggi and folk songs like ‘JoongnoraeㆍMaddalaeggi’ The inter-influence between the two genres is based on the narrative or made in the form of inserted lyrics. One of interaction based on the narrative is Joongnorae(Songs about Monk), a folk song from the narrative of the Shamanistic Song Danggeumaeggi. Absorption of the shamanistic songs into the folk songs occurs in the fun-centered contents and somewhat ludicrous scenes, rather than in the parts related to ceremonies or the sacred and complicated narrative explaining the history of a god. The balladation develops a lot in the shamanistic songs of south areas of the Han River, where is in the progress of secularization, especially in those of Jeolla-do areas. And there happen some re-alterations in folk songs based on the altered narrative, which are the mixture phenomena with songs for a married life under the parents-in-law and with legendary narrations. In addition, these narrative folk songs give birth to a variation focusing more on the love affair of the main men and women characters and having the more weakened narrative of the shamanistic songs while spreading over the other different area. Furthermore, this variation, when facing the folk songs based on no shamanistic songs or weakened ones, turns into an exception(rule-breaking form), which settles down in the realistic world of the folk songs with the mythical world dying out. Throughout the these changes, some parts of them are merged into other narrative folk songs and also used as motifs to make a song having different styles. To examine the ways of the interaction in the form of inserted lyrics, the study goes through Joongtaryeung(A Ballad with Certain Kind of Tune about Monk) andMaddalaeggi(The Eldest Daughter). These songs are not in the shamanistic songs of north areas of the Han River, which means that the interaction is made in the course of seculization of the shamanistic songs. These songs has no function both indicative and narrative of an event, preferably used to stand out the character's characteristics. It is showed that these songs are lengthened or mixed with other songs within the folk songs. Joontaryeung, one of these songs, pursues to be lengthened and gets transformed into a narrative folk song. Meanwhile, even though the songs of Maddalaeggi can speak for the desire for beauty of the women enjoying the folk songs, run among many women’s songs(sung by women), and get inserted as a part of other narrative folk songs, it is noticed that they have little influence on the development of the narrative, just used as a device to make prominent the beauty of a character in the narrative. This study is to examine the interaction between the shamanistic song Danggeumaeggi and folk songs like ‘JoongnoraeㆍMaddalaeggi’ The inter-influence between the two genres is based on the narrative or made in the form of inserted lyrics. One of interaction based on the narrative is Joongnorae(Songs about Monk), a folk song from the narrative of the Shamanistic Song Danggeumaeggi. Absorption of the shamanistic songs into the folk songs occurs in the fun-centered contents and somewhat ludicrous scenes, rather than in the parts related to ceremonies or the sacred and complicated narrative explaining the history of a god. The balladation develops a lot in the shamanistic songs of south areas of the Han River, where is in the progress of secularization, especially in those of Jeolla-do areas. And there happen some re-alterations in folk songs based on the altered narrative, which are the mixture phenomena with songs for a married life under the parents-in-law and with legendary narrations. In addition, these narrative folk songs give birth to a variation focusing more on the love affair of the main men and women characters and having the more weakened narrative of the shamanistic songs while spreading over the other different area. Furthermore, this variation, when facing the folk songs based on no shamanistic songs or weakened ones, turns into an exception(rule-breaking form), which settles down in the realistic world of the folk songs with the mythical world dying out. Throughout the these changes, some parts of them are merged into other narrative folk songs and also used as motifs to make a song having different styles. To examine the ways of the interaction in the form of inserted lyrics, the study goes through Joongtaryeung(A Ballad with Certain Kind of Tune about Monk) andMaddalaeggi(The Eldest Daughter). These songs are not in the shamanistic songs of north areas of the Han River, which means that the interaction is made in the course of seculization of the shamanistic songs. These songs has no function both indicative and narrative of an event, preferably used to stand out the character's characteristics. It is showed that these songs are lengthened or mixed with other songs within the folk songs. Joontaryeung, one of these songs, pursues to be lengthened and gets transformed into a narrative folk song. Meanwhile, even though the songs of Maddalaeggi can speak for the desire for beauty of the women enjoying the folk songs, run among many women’s songs(sung by women), and get inserted as a part of other narrative folk songs, it is noticed that they have little influence on the development of the narrative, just used as a device to make prominent the beauty of a character in the narrative.

日本語のリズム習得に關する一考察

류경자 한국일어일문학회 2008 日語日文學硏究 Vol.64 No.1

일본어 교재에 관한 연구 : 방송교재 니즈에 관한 조사

류경자 상명대학교 어문학연구소 2001 語文學硏究 Vol.11 No.-

남해군의 장례의식요(葬禮儀式謠) 연구

류경자 한국민요학회 2009 한국민요학 Vol.25 No.-

This thesis aims to investigate the transmission aspects and actual conditions of funeral-rite folk songs in Namhae Goon on the basis of the process of the funeral rite. The funeral-rite folk songs of Namhae Goon can be largely divided into two kinds. One is <Sang-yeo-so-ri> which is sung during the process of moving the coffin with the departed in it to the burial site, and the other one is <Gwaeng -yi-so-ri> which is sung during Seong-boon, which means burying the dead body and making a grave mound. First of all, with the result of classifying those songs according to the refrains of the subsequent part, the basic refrains of <Sang-yeo-so-ri> all belong to the category of ‘Oe-heo Oe-yi-ga-ri Neom-cha’ which is part of the tune-typed refrain. Besides, According to the geographical features in which the movement of the bier is conducted, the refrains of funeral songs vary. For instance, when the coffin is moved along narrow and rough ways, 'Na-moo-ah-mi-tah-bool' is chanted, which is the Bulmyungho-typed refrain (Bulmyungho means calling Buddha’s name.), and near uphills or graveyards, the category of ‘Oe-heo Neom -cha’ is chanted, which the tune-typed refrain. On the other hand, there are also some places where ‘Ah-eu-nim (the loved one leaving) Bo-sal’ is chanted, meaning ‘Please take good care of the loved one leaving’ in the event of someone’s passing by, which is the significance-typed refrain. ‘Ah-eu-nim Bo-sal’ is a transformation of ‘Gwan-eum-bo-sal’, the Bulmyungho-typed refrain, and the original meaning seems to have broadened afterwards and settled as a leave-taking chant as it is now. Interestingly, the chant of burying the dead body has been handed down only in Changsun Region in Namhae Goon, and only <Gwaeng-yi-so-ri> chanted as ‘Oe-hoe-rang-sang Gaeng-yi-ya’ exists as a single form, which is named since the main tool used to build grave mounds is Gwaeng-yi, meaning a hoe in English. The following step was to investigate the ritual world of the local people shown in the funeral-rite folk songs by classifying all the stages of the funeral process, such as carrying the coffin out of the house, leave-taking, son-in-law riding, moving the coffin to the burial site and Sung-boon, which is burying the dead body, while examining the role of each stage, mainly focusing on the lyrics. The day before carrying the coffin out of the house, people rehearse the stage of carrying the coffin out of the house in the exactly same way they are supposed to do while lifting the empty coffin and going around the village. At this point, this study found there is a variation in the process of carrying the coffin out of the house, depending on areas. In some areas, the preceding chanters necessarily play Gweng-ga-ri, (A kind of Korean traditional musical instrument, looking like a small gong) while making leading chants, but in other areas, they don’t. With the reference to documentary records, it was a custom to play Gwen-ga-ri in the whole area of Namhae long ago, but as time went by, it hasn’t been handed down as some of the preceding chanter failed to learn how to play Gwen-ga-ri from the previous generations, resulting in such a regional variation as it is now. In the chant of leave-taking, the preceding chanter plays a role as a mediator between the dead and the living by asking and answering questions. The chant includes the sorrow of separation caused by bodily mortality and the spirit reincarnation based on the belief in spirit immortality while reflecting people’s present world-oriented and community-focused ideas on the basis of the present lives and existences. Especially, the community-focused idea appears through the mouth of the dead asking for the community harmony and bond, which indicates the expression of what one should do, internalized in the local people’s lives, and a means of making their lives harmonious in isolated and hardscrabble environments. Moreover...

구비설화 속 속신(俗信)의 형태와 구술담화적 기능 - ‘호랑이이야기’를 중심으로 -

류경자 한국문학회 2017 한국문학회 학술대회 발표집 Vol.2017 No.2

경남 남해군의 전승민요 연구 ­<모심기소리>를 중심으로­

류경자 한국민요학회 2002 한국민요학 Vol.10 No.-

This researcher sampled 17 villages from the whole region of Namhae consisting of one eup and nine myeon districts in accordance with livelihoods. Then the researcher collected total 420 folk songs from the villages. When they classified according to district-based distribution and singing frequency, the songs were largely occupied by one style, that is, <the song of rice-planting>. Thus this study focuses mainly on it. 1. Regarding styles of folk songs of Namhae, First, unlikely in other regions, existing methods of performing folk songs such as Sunhuchang, Kyohwanchang, solo and chorus are all often used for those songs of Namhae. Solo and chorus are frequently used while planting rice at narrow paddy fields between mountain valleys. Second, the researcher discussed how folk songs of Namhae changed in function, lengthened in description and differentiated in style. Third, onomatopoeic and imitative words, Idioms are repetitively used in folk songs of Namhae, tending to pursue aesthetic qualities. Metaphorical and metonymical expressions are used to describe biological properties of a woman. 2. Regarding their contents, first, folk songs of Namhae employ general themes of Korean peasants' songs, but add wishful descriptions to their later parts to express the resolution of separation or conflicts. Second, folk songs sung in Namhae imply living environments unique to the region, particularly semi-agricultural and semi-marine production. Third, there are several folk songs in Namhae reflecting historical events such as the opening of 'Namhae Grand Bridge', the period of Japanese colonial rule and the Korean War.

<박제상 설화>의 전승적 측면에 따른 성격과 의의

류경자 釜山大學校 韓國民族文化硏究所 2013 한국민족문화 Vol.46 No.-

This study is about the various traditional aspect an characteristic of Park Jae-Sang’s tale through the oral tradition, folk literature, genealogy of family clan and history books such as Samguksagi and Samgukyusa. In history books, as Park Jae-Sang’s tale based on the Samguksagi and Samgukyusa spread out among the people who lives in that period. It's been mentioned in different constructions and these are presented unswerving loyalty as a symbol reflecting period ideology. Oral tradition has a strong characteristic from a region of legend. Above all things when they try to guaranty and to proof real existence of all the legendry facts, when there effort has made to collect lots of proof of evidence about this legendry facts. A consequence of this effort has made these legendry facts more affluently. These things are trying not to have a fixed idea only in ideology and the history, they are trying to expropriate lots of different ideas and facts, and showing flexibility of democratic alteration of the masses. Folk literature mentioned a region tale with historical evidence from the document and these are combined with the tale of oral tradition. Also by proving tale of region and relative historical vestiges in very certain, folk literature has been helpful to proof the real existence of tale of region. In genealogy of Younghae Bakssi has an achievement of the originator and by his relative stories that came from oral tradition, they harden the binding between the close relatives and to make higher expectation in family clan, and shows awareness of family clan very strongly. These facts are still continues as a family event by shape of sacrificial. Nowadays tale of Park jae sang has a influence in area’s culture, and being an item of development of an area’s culture exercise. Park’s tale has value in area’s personal characters and evidence, also legendry fact in the area. An locality organizations want to make area’s culture value commercial market. 이 글은 『삼국사기』와 『삼국유사』를 비롯한 역사서와 구비전승물, 그리고 각 지역의 향토지 및 문중의 세보(世譜)를 통해 <박제상 설화>의 다양한 전승적 측면과 그 성격에 대해 살핀 것이다. 역사서들에는 『삼국사기』와 『삼국유사』를 근간으로 한 박제상의 이야기가 세간에 회자되면서 여러 형태로 수록되어 전하고 있는데, 여기에는 시대적 이데올로기를 반영한 충렬(忠烈)의 표상으로 제시되고 있다. 구비전승물은 지역전설적 성격을 강하게 띠고 있는데, 무엇보다 전설의 실재성를 담보하기 위한 노력으로 여러 증거물들을 끌어들인 결과 지역전설을 더욱 풍성하게 만들고 있다. 이러한 것들은 이데올로기나 역사에만 고착되지 않고 주변의 여러 요소들을 수용하여 끊임없이 변이하는 민중적 유연성을 보여준다. 향토지들은 지역설화를 수록함에 있어 문헌을 통한 고증과 함께 구비설화까지도 놓치지 않고 아우르고 있다. 뿐만 아니라 설화와 연관된 유적들까지도 소상히 밝혀 설화의 실재성을 드러내는데 일조함으로써 전승력을 강화시키는 매개체 역할을 하고 있다. 그리고 이러한 향토지들의 역할 수행과정 중에는 해당 인물과 지역 간의 친연성 확보를 위한 의도적 개입도 어느 정도 이루어지고 있음을 볼 수 있다. 영해박씨의 세보에는 시조(始祖)의 행적과 그에 얽힌 이야기들의 전승을 통해 문중의 결속을 다지는 한편 가문의 위상을 드높이고자 하는 가문의식이 강하게 반영되어 있다. 이는 기록만으로 끝나지 않고 가문의 연중행사로 이어지는데 제례(祭禮)를 통해 구체화되고 있다. 이러한 <박제상 설화>는 문헌의 신화적, 인물전설적 성격을 벗어나 구비전승하고 있는 각편들을 통해 설화의 시대적, 전승적 변이를 보여주는 좋은 예를 제시하기도 한다. 뿐만 아니라 오늘날 지역문화 창출의 아이템으로도 새롭게 조명되고 있다. 이는 지역의 인물이나 증거물을 대상으로 하는 지역전설이 문학적 가치와 더불어 지역의 정신문화적 가치도 부여하기 때문이다.

言いあやまり硏究の一考察 : 日本語子音について 日本語子音에 대해서

류경자 상명대학교 논문집 1993 상명대학교논문집 Vol.31 No.-

本 論文은 日本語子音의 音聲(音響)學的인 面에 그 焦点을 두면서, 韓國語를 母語로 하는 學習者 (日本語專攻者)가 日本語를 말할때 (읽을때)에 일어나는 Speech Erros에 대한 實驗을 한다. 또한 本 論文에서는 다음의 2가지 側面에 對해 重点的으로 硏究하려고 한다. 하나는 本 論文의 最終目標인 發話 mechanism을 解明하기 위한 理論的인 approach 를 하려고 하는 것이고, 또 하나는 보다 現實的으로 達成되어야 할 硏究로서 日本語子音에 대한 Speech Errors의 實例를 分類, 分析해 發話 mechanism解明을 위한 근거를 提案하려고 하는 것이다.

장용학 소설에서의 ‘역사’의 의미

류경자 한국현대문학회 2012 한국현대문학회 학술발표회자료집 Vol.2012 No.2

Neuroendocrine Control of Pituitary Gonadotropin Release

류경자,Ryu, Kyung-Za The Korean Society for Reproductive Medicine 1980 Clinical and Experimental Reproductive Medicine Vol.7 No.1

뇌하수체의 성선자극 홀몬 분비 세포는 혈액내 estradiol양의 변화에 따라 LH와 FSH를 분비하므로써 주기적인 변화를 보인다. 성선 자극 홀몬의 분비는 성선 자극 홀몬을 합성하고 보유하는 두가지 형태의 능력의 크기에 의하여 조절되며 이들을 조절하는 것은 시상하부에서 분비되는 황체형성 홀몬-분비 홀몬(LH-RH)과 난소에서 분비되는 estradiol이다. LH-RH는 성선 자극 홀몬 분비세포에 작용하여 성선 자극 홀몬 합성, 저장 및 분비를 촉진시키며 estradiol은 LH-RH의 기능을 확대하고 LH-RH가 self-priming효과를 나타내도록 유도하기도 하며 LH-RH의 성선 자극 홀몬 분비 기능을 저해하기도 한다. Estradiol은 기저성 성선 자극 홀몬을 분비시키기 위하여 negative feedback작용을 하고 배란성 성선 자극 홀몬을 분비시키기 위하여는 positive feedback작용을 하며 feedback작용 부위는 시상하부 및 뇌하수체 전엽이다. 또한, estradiol이 feedback작용을 하여 성선 자극 홀몬의 분비를 조절하는 데는 LH-RH뿐만 아니라 중추신경-시상하부에서 분비되는 dopamine, norepinephrine, prostaglandin등이 참여한다. Pituitary gonadotropes, as target cells, exhibit cyclic changes in terms of LH and FSH release in synchrony with the estradiol levels. The ultimate release is determined by the relative size of the two pools of gonadotropins, which is regulated by the two controllers: LH-RH and estradiol. LH-RH appears to serve as a primary drive on the gonadotrope, stimulating gonadotropin synthesis, storage, and release. Estradiol amplifies the action of LH-RH and induces the development of a self-priming effect of LH-RH except that it impedes LH-RH mediated gonadotropin release. Negative and positive feedback action of estradiol is revealed to operate by different mechanisms. The pituitary capacity increases severalfold from early to late follicular phase, which is considered to be prerequisite for the development of mid-cycle surge. CNS-hypothalamic dopamine, norepinephrine, and prostaglandins, as well as LH-RH, are involved in the negative and positive feedback effects of estradiol. The possible mechanisms in the triggering of LH-RH release for the initiation of midcycle LH-RH surge are considered.