1930년대 일본애니메이션 속 ‘미키마우스’ : 캐릭터의 수용과 변화양상을 중심으로

정향재(Chung, Hyang-Jae) 일본어문학회 2021 일본어문학 Vol.95 No.-

本研究は1930年代、日本のアニメーションにおけるミッキーマウス像について考察してみた。アメリカで｢蒸気船ウィーリ｣が製作され、その翌年に日本にミッキーマウスが紹介された。その後、ミッキーは映画、パンフレット、広告などで親しまれ、消費されていた。日本で製作された、ミッキーマウス関連物は ｢鼠の留守番｣(1931)が最初であった。以前のミッキーの外見やイメージとあまり変りのないキャラクターで造形され、アニメとしての面白さも備えていた。それが激変するのは｢オモチャ箱シリーズ第3話 絵本1936年｣による。ミッキーの悪役はシリーズの第一話から見え始めていたが、三話では敵として描かれている。平和な島に襲撃してきた鼠はミッキーマウスの外見をしている。島を渡せと脅かすが、断わられ、ミッキーは軍隊を進撃させる。島の動物らは昔話の本から桃太郎を呼び出す。一寸法師、浦島太郎、猿、蟹らとともにミッキーに対抗し、結局退陣させる。この時期、架空の敵を想定しておいたことと、その敵を打ち破るのが昔話の英雄を登場させたことで、それ以来の日本の宣伝映画へ方向性が読み取れるところであった。 This paper studied aspects of accepting Mickey Mouse and the transformation in Japanese animations in the 1930s. <Steamboat Willie> was produced in the U.S. and Mickey Mouse was introduced to Japan in the following year. After that, Mickey has been consumed in movies, leaflets, advertising, and popular songs to be familiar to the general public. Especially in the movies, Mickey Mouse was highly commended all the time, and it has become the character which represents the U.S. through advertising. For Mickey Mouse produced in Japan, ｢A Mouse Takes Care of a House｣(1931) was the first animation. It was modeled as the character which does not change its appearance or image and it also had fun elements. The character of Mickey Mouse rapidly changed in ｢Episode 3 Picture Book in a series of Toy Box, 1936｣. The villain of Mickey Mouse began to be shown in Episode 1 of the series and it was described as an enemy in Episode 3. The mouse which made a surprise attack on a peaceful island was Mickey Mouse. After its threat to transfer the island was denied, it advanced to attack by driving the military. Toys in the island called Momotaro and other characters in old narrative books in Japan, faced the enemy with the main characters of the old stories that come out together, and made it retreat. The introduction of the formidable enemy and appearance of heroes in the old stories that defeated it in this period show the direction of war propaganda in the Japanese war after that time.

20세기 일본시의 국제성

정향재(Chung, Hyang-jae) 한국외국어대학교 외국문학연구소 2007 외국문학연구 Vol.- No.28

니시와키 준자부로는 모더니즘 최전성기인 유럽에 유학하여 직접 모더니즘 문학과 예술을 체험하고 귀국하여 일본 모더니즘의 리더로서, 시인으로서 활동한다. 시 창작에 앞서 시론활동을 먼저 시작한 니시와키는 당시의 일본시를 부정하고 ‘새로움’을 추구하였는데, 시 안에서의 자기소멸을 기반에 두고 ‘초자연’과 ‘아이러니’를 시를 구성하는 기본으로 삼으려했다. 첫 시집 󰡔Ambarvalia󰡕는 서구적 지성을 바탕으로 건조한 정서와 선명한 이미지를 창출하는 것으로 그 특징이 드러났다. 이때 이미지의 결합의 방법은 멀리 있는 두 개를 관계 짓는 것이었다. 패전 직후 발표한 󰡔나그네는 돌아오지 않고󰡕에서는 일본적 정서가 주조가 되어 서구적 모더니즘 시인이었던 니시와키에게 일본회기라는 타이틀을 붙여주기도 했다. 그 후, 󰡔근대의 우화󰡕에서는 처음 시집인 󰡔Ambarvalia󰡕의 서구적 지성과 󰡔나그네는 돌아오지 않고󰡕의 일본적 정서가 융합된 시의 세계를 의식의 흐름의 수법을 통해 표현하였다. 이후, 󰡔잃어버린 시간󰡕에서는 일본의 전통시가인 하이쿠, 렝가 등의 수법과 일본 고전의 수용이 눈에 띤다. 니시와키 문학은 서구의 모더니즘을 도입해 일본에 소개하고 스스로 그것을 작품으로 체현하였으며, 그 이후 일본의 정서와 동양 고전을 수용하여 변용함으로써 그 국제성을 확보하였다고 하겠다. Nishiwaski, who began his career as a literary critic before a poet, pursued ‘newness’ denying the then Japanese poetry. It was derived from his desire to have 'supernaturalism' and 'irony' as fundamentals of poetry, based on self-disappearance in poetry. His first collection Ambarvalia created the vivid and clear images of dry sentiments based on western intellectuality and his longings for Greece. In his collection No traveler returns published right after the defeat of the World War II after a 14-year-long interval, the Japanese mood ‘loneliness’ was mainly expressed, resulting in giving a title of ‘Return to Japan’ to Nishiwaki. Later, his next collection Modern Fables expressed his poetic world in which the western intellectuality in his first collection Ambarvalia was fused with the Japanese mood in No Traveler Returns by using the method of stream of consciousness. Then in his next collection Lost Times, the acceptance of the traditional Japanese poetic styles such as Haiku and Renga and the Japanese classics was noticed. Nishiwaki's writing style was mainly to use quotations and parodies. To give an example, in his early works he mentioned Baudelaire, Keats, and Eliot and after the World War II, referring to the Japanese classics and Chinese literature. But this reference was not for maintaining the traditional forms but merely for taking them as a chance for a new development and advancement. That is, we can find a great value and significance in that Nishiwaki's writing style created Nishiwaki-like ‘newness’ through the method of reference based on ‘supernaturalism’ and ‘irony’.

외국인 이주여성 자녀들의 발달 지연에 관한 예비 조사 : Denver Developmental Screening Test 결과를 중심으로

정향인(Hyang-In Chung) 전남대학교 간호과학연구소 2009 Nursing and Health Issues(NHI) Vol.14 No.1

I. 서론 II. 연구방법 III. 연구결과 IV. 논의

패전기 손바닥 소설과 전후 가와바타 문학

정향재(Chung Hyang Jae,鄭香在) 한국외국어대학교 일본연구소 2016 日本硏究 Vol.0 No.68

Tenohirano-shosetu works by Kawabata Yasunari in the war-lost age are nearly 12 which can categorized and examined into 4 groups: the stories that apparently revealed the states of the war-lost age, the ones that had the subject matters related to family or relatives, the ones in which death, non-ordinaries, or monstrous states showed, and the ones with the matter of dream, and the ones that sorrow of aging old were focused on. In this article, the works except the group with the matter of the war-lost states are examined. The group with the matter of family or relatives showed the properties of Kawabata in which the general subjects through the early to the last period of Kawabata literature were revealed. The group with the matter of death and non-ordinary contained the art as the theme of his later works, and the group of monstrous states had the admitting and embracing attitude. The group with the matter of dream were related much to his representative later novels, as they kept the flow from his early to later. The novels with the matter of ugliness of aging old were often in his later period and so remarkable that made a flow in the tenohirano-shosetu in the war-lost age. Particularly, as in the works of aging ugliness and dream, the tenohirano-shosetu in the war-lost age were strongly related to A sound of Mountain in terms of their matter subjects and the creating methods, and also the kind of precursor works of it. 敗戦期の川端康成の掌の小説は十二作品あるが、それはいくつかの群に分けて考察することができる。まずは、敗戦期の状況がそのまま現れた小説、そして、家庭 · 肉親との関連が現れた小説、死 · 非日常 · 怪奇的な状況が現れた小説、夢が素材になった小説、老醜の悲しみが中心になっている小説などで分けられる。 家庭 · 肉親との関連事項が素材になった作品は川端文学全体の基底を成すもので、伝記的ことと関連性が高いことがわかった。 死 · 非日常が素材になった作品は、川端の後期文学のテーマの一つの美術が取り扱われている。怪奇的な状況が現れている作品は、川端の前期の作品とは違って、受容的 · 統合的な姿勢を見せていることが分かった。夢が素材になっている作品は、川端文学の後期作品とのテーマの類似性が高いことが指摘できた。特に、「山の音」とは素材として取り入れる外、方法的な面まで関連性が高いことが考えられる。老醜の悲しみは、後期文学の主なテーマの一つで、それは 「山の音」の主人公の信吾を始めとする初老の登場人物から見られるそれと、ほとんど差がないことと考えられる。こういう所から、老醜の悲しみが読み取れる作品は、「山の音」の前提的な作品だといっていいだろう。 結論的に、川端の敗戦期〈掌の小説〉は川端文学の全般的な特徴を持っていながら、以前の作品と区別される後期文学の特徴もともに見られる場合が多かった。特に、この時期の掌の小説の多くは素材、創作の方法的な面で、「山の音」との関連性が高かったことがいえよう。

1930년대 가와바타 야스나리(川端康成)의 단상 : 영화와의 관련성을 중심으로

정향재(Chung Hyang-jae) 한국외국어대학교 일본연구소 2007 日本硏究 Vol.31 No.-

가와바타 야스나리(천단강성(川端康成))의 「아사쿠사홍단(淺草紅團))」론 : 영화와의 관련성을 중심으로

정향재 ( Hyang Jae Chung ) 한국일어일문학회 2006 日語日文學硏究 Vol.59 No.2

가와바타 야스나리(川端康成)의「어긋난 한 페이지(狂った一頁)」론 : 표현 혁신의 계기로서의 영화

정향재(Chung Hyang-jae) 한국외국어대학교 일본연구소 2006 日本硏究 Vol.28 No.-

가와바타 야스니리의 [잠자는 미녀]론 - 문학 공간 조형장치로서의 ‘익명성’ -

정향재 ( Chung Hyang-jae ) 한국일어일문학회 2022 日語日文學硏究 Vol.121 No.-

川端康成の「眠れる美女」の文学空間の造形の特性と作品全体を貫く<匿名性>について考察した。本作品は現実世界から隔離された空間を背景としている。現実的情報や視覚的要素などもすべて排除されている。外部から隔離される境界になる門をくぐると、通り道の一つ、一つが遮断の役割を果たしているといえる。美女の部屋は多重の遮断を経た閉鎖空間に造形されていて、遮断が重なることにつれて秘密空間の中では、心理的安堵とともに連想の広がりを齎している。 その空間の中で老人の欲望は分出され、逸楽を味わる一方、人生の悲しみ、悔恨をも感じることになる。眠られている娘との接触を通じ、自分の人生において女性との関係を振り返ってみることによって、切ない内面の深淵にたどり着くのである。 眠れる美女の家という空間は秘密性という特需性を持っているが、それの造形と維持のため匿名性を基にしている。その匿名性は「名称の除去」「身分の除去」「隠蔽と秘密維持の装置」と通し、存続され、美女と老人は関係を結び付けを拒否する無関係性がこの空間造形の基本要素として働いているといえる。 This thesis focused on Kawabata Yasunari's [House of the Sleeping Beauty] and studied the formative characteristics of its literary space and < anonymity > which summarized the whole work. The work of art is based on space which is completely isolated from reality. Realistic information, visual elements, etc. were completely removed. The room to meet a beauty next to it consists of closed space with multiple shields and the more shields there are, the more reminiscences are expanded with psychological relief in the secret place. An old man bursts out his desire in the secret place to spend time with a young lady and meets the world of pleasure, while he feels sorrow and remorse of life. He looks back on the beautiful and desperate moments of his life by touching the sleeping woman and gets to reach deep inside of the mind being caught in a fantasy. Space called [House of the Sleeping Beauty] has distinct characteristics of 'the secret,' where it is based on 'anonymity' for the form. Anonymity continues through < The removal of the name >, < The removal of identity >, and < The device for hiding and keeping the secret >. People refusing to have relations with each other could be found to work as a key word for literacy and forming space.

다문화 간호 교육 프로그램이 간호대학생의 문화적 역량에 미치는 효과

정향인(Cho Chung, Hyang-In),한석영(Han, Seok-Young),서성희(Seo, Seung-Hee) 한국간호행정학회 2017 간호행정학회지 Vol.23 No.4

Purpose: With the increase of foreigners using Korea health facilities, it is important for nurses to be culturally competent. Thus, the purpose of this study was to examine the effects of a cultural competence educational program on the cultural competence of nursing students. Methods: A quasi-experimental study with a non-equivalent control group pretest-posttest design was used. For the experimental group there were 42 participants from one school and for the control group, 40 from another school. The experimental group participated in the 14 week multicultural nursing education program while the control group participated later after the experiment was finished. Data were collected using self-report structured questionnaires prior to the intervention and right after the intervention, and were analyzed using descriptive statistics, x² test, and independent t-test with SPSS 18.0 program. Results: The experimental group reported significant positive changes for cultural knowledge (t=3.99, p<.001), cultural awareness (t=3.92, p<.001), cultural acceptance (t=2.25, p=.027), and cultural competence behaviors (t=4.30, p<.001) compared to the control group. Conclusion: The results of the study indicate that the cultural competence educational program developed by the researchers is effective in raising the level of cultural knowledge, cultural awareness, cultural acceptance, and cultural competence behaviors of nursing students.

가와바타 야스나리(川端康成)의 『무희(舞姬)』론 -무용과 무희에 투영된 <전쟁>-

정향재 ( Hyang Jae Chung ) 한국일어일문학회 2007 日語日文學硏究 Vol.61 No.2

川端康成の『舞姬』を通して作品のなかに現われた時代としての<戰爭>を舞踊·舞踊家に焦点を當てて考察してみた。まず、登場人物の舞姬達における戰爭について考えてみた。バレリイナや舞踊を素材にしていながら、彼女達の舞台や舞踊の具體的な姿は書かれていない。それは作品全般に無氣力感を漂わせるのに동いている。主人公の波子は中でももっとも無氣力な人物として描かれている。戰爭が激しくなってからは舞台に立たなくなり、戰爭が終わった今も舞台への復歸にためらっている。彼女における舞踊は過去の幻想として殘っているものであり、舞踊の未來は娘の品子に託している。品子は將來が囑望されるバレリイナであったが、戰爭で留學の夢がやぶられ、現在は大泉バレエ團のバレリイナであるが、彼女の舞踊への熱情や希望は書かれておらず、ひそかに戀している香山と關連して連想されるだけである。香山への心を自覺した品子は最後で隱遁している香山に向かってバスに乘る。波子の弟子の友子は愛する人のために舞踊をやめ、みずから淺草のストリッパ一になる。友子の舞踊は芸術の墮落であり、人のための獻身になるものであった。登場舞姬の舞踊は程度の差はあったといっても戰爭により屈折された樣相をみせている。これらに反して登場人物達が連想したり、觀覽する舞踊は同じく戰爭を經驗するが、その戰爭を超越したり、克服したものとして現われている。ニジンスキ一、崔承喜の舞踊は戰爭·革命にも負けず精神として踊った舞踊として描かれている。また、戰後の舞台で踊った吾妻夫妻と江口夫妻の舞踊は戰爭を堪え、より深くなった舞踊をみせることにより登場人物の舞姬の舞踊と對照になる。『舞姬』では波子の夫の矢木を通して、舞踊が<女は精神で踊らない>と批判される。そして、川端の戰後の文學の素材·主題の日本傳統美、魔界の世界へと移っていく方向が提示されているのである。