전자음악(elektronische Musik)에 對한 硏究 - Synthesizer를 中心으로 -

金榮植 한국음악평론가협회 1989 음악평론 Vol.3 No.-

성게 껍질을 이용한 특수란 개발

금영수 慶北大學校 農業開發大學院 2001 最高農業經營者課程 論文集 Vol.7 No.-

일본 고전 속의 역병과 미신, 그리고 가짜뉴스 -질병과 공동체로 본 일본 사회 서벌턴-

금영진 한국일어일문학회 2020 日語日文學硏究 Vol.115 No.-

In the context of a year of overwhelming turbulence—in the midst of the Coronavirus pandemic, this paper aims to analyze the issues of faith and superstition associated with the pandemic. Moreover, it sets to pursue the increasingly prevalent problem of spreading rumors and fake news. Specifically, I the study investigated the situation for the occurrences and spreading of rumored words associated with past epidemics in Japanese classical literature. As a result, the discovery was that they attempted to devote it to the gods and Buddha. Therefore, to control the epidemic was a struggle between their respective powers, switching back and forth from faith to superstition. Regardless of the prevailing opinions on superstitions— whether they are good or bad, it can be said that the various attempts made to eliminate the plague helped the people at that time. However, the problem is that various superstitions and rumors caused by ignorance and misunderstanding of the plague and vague fears caused more harm to other human beings. In particular, the harmful effects of fake news, which is a modern rumored word that has further accelerated both its spreading power and speed on social medial platforms, are serious. In As a matter of fact, in Japan, various hoaxes were swept away by the coronavirus wreck, which led to the exclusion and discriminatory behavior against a specific minority group including foreigners, often considered as the subalterns. Fake news is particularly problematic in directing vague fears and anger at the plague of the weakest groups in the society. In this paper, the researcher would like to provide a forum for discussions where the lessons of teachers can be learned from the fake news phenomenon that occurred with the recent coronavirus disaster. 本稿では2020年コロナ禍を機に、疫病の流行に伴う信仰や迷信の問題ならびに、流言飛語やフェイクニュースの拡散問題を追及してみた。具体的には日本古典文学資料に見る過去の疫病流行に伴う流言飛語の発生や拡散の状況について調べてみた。その結果、神仏に帰依し、その力で疫病の流行を押さえようとする試みがかつて信仰と迷信の間を行き来する形で行われてきたことが分かった。 迷信の良し悪しはともかく、疫病退散のために行われた様々な試みは当時の人々にとって心の支えになったことが言える。ただ問題は、疫病への無知や誤解、漠然とした恐怖によって生じた様々な迷信や流言飛語が他の人間に危害を及ぼすことである。とくにSNSでその伝播力や拡散スピードをさらにアップした現代の流言飛語、すなわちフェイクニュースの弊害は深刻である。 実際、日本ではコロナ禍を機に様々なフェイクニュースが流されたが、それが外国人を含む特定の少数集団、すなわちサバルタンに対する排斥や差別に繋がってしまった。そして、それは韓国における嫌悪を助長するフェイクニュースの流布やコロナ差別の発生とも軌を一にする。フェイクニュースは疫病への漠然たる恐怖や怒りの矛先がその社会のもっとも弱い集団に向けられる点でとくに問題になる。本稿では日本における過去の疫病関連の流言飛語の発生やその拡散の様子を探ることで、この度のコロナ禍に伴って拡散したフェイクニュースの実態から反面教師の教訓が得られることを望むところである。

9·18사변 전후의 정국과 남경정부(南京政府)의 대응

金泳信 중국학연구회 2012 중국학연구 Vol.- No.61

1931年初, 蔣介石將現任立法院長胡漢民拘禁於南京近郊之湯山, 這就是所謂‘湯山事件’. 當時是剛過中原大戰的敏感時刻. 黨國元勳胡漢民之失去自由, 可引起另一個全面內戰. 胡漢民被拘禁後, 反蔣陣營到了四月底才開始採取進一步反中央行動. 而廣州國民政府動員兩廣軍隊開始‘北伐’是八月的事. 反蔣運動的進行這樣緩慢, 是以前反中央運動的歷史上從沒出現過的現象. 其原因是基本上南京與廣東雙方都不願以武力解決事件的關係. 其關鍵在蔣介石的政局運用方略上. 蔣介石將湯山事件後一連串的狀況, 看做是政治問題. 想用政治的方法解決問題. 所以他儘量用政治的手腕拉籠陳濟棠爲首的廣東軍事實力家. 在當時中國的狀況下, 政治運動的成功與否, 在是否有充分的軍事力量作後盾. 所以蔣介石用政治手段爭取廣東軍事實力家, 以主導湯山事件後的政局. 這點可以說, 蔣介石的現實認識與因應措置是正確的. 過了一段時間的政治對峙後, 廣州國民政府終於動員軍事力量來壓迫蔣介石. 中國面臨再一次內戰的當時, 是內憂外患交叉的關鍵時期. 在外萬寶山事件後朝鮮的排華情緖一路高漲, 在內因長江大水災發生空前的豪災. 洽巧這時候發生9ㆍ18事變, 南京與廣東雙方不得不停止內戰探索和平之路. 湯山事件後蔣介石的政局運用方式, 以9.18事變爲界線, 前後有明顯的變化. 在事變發生以前, 蔣介石用收買和離間等慣用的謀略, 向有利的方向充分主導政局. 但事變發生後他不能不注意朝野之和平要求. 所以蔣介石爲圓滿解決反中央運動, 不得不採取讓步. 從這點了解到看情況强溫兼施, 是蔣介石運用政略的基本方針.

우소지(허字)를 통해 본 일본근세 한자문자유희 -시키테이 산바(式亭三馬)의 『우소지즈쿠시(허字盡くし)』를 중심으로-

금영진 ( Young-jin Keum ) 한국일어일문학회 2016 日語日文學硏究 Vol.96 No.2

In this paper, I tried to discuss the feature of the methods of Usoji, which in onoga bakamura usojizukushi written by shikitei sanba in 1806. And as a result, I can find that there are five features, suggestibility, associativity, scalability, rotatability, and directionality. Needless to say, this pattern can be find from Chinese character play, but usoji`s suggestibility and associativity have a close relationship with argot orateji. And its number of characters more than three or four (scalability). We can also find the fact that there are directionality of flip horizontal which is used in character play. And I can say that these features are different to Chinese things. We can find Japanese usoji`s these feature from Edo period`s riddle or hanjie(drawing of riddle). Sakasa-moji (up and down rotation) and kagami-moji(left and right rotation) can be find from these days Japan, and we know that the reason by Japanese usoji.

渤海人 諾思計 墓誌銘에 대한 소개

金榮官 한국목간학회 2011 한국목간학회 정기발표회 Vol.- No.10

동파체(東坡體)ㆍ파자(破字)와의 비교를 통해 본 일본근세 한자문자유희 - 난지(難字)ㆍ이루이 이묘(異類異名)를 중심으로 -

금영진 ( Keum Young-jin ) 경희대학교 비교문화연구소 2017 비교문화연구 Vol.48 No.-

동파체 및 파자와의 비교를 통해 본 일본근세의 문자유희방식, 특히 난지 및 이루이 이묘의 한자변형방식을 소개하자면 다음과 같다. 첫 번째로, 난지 및 이루이 이묘에 보이는 한자변형방식 중에서 글자의 장단이나 대소를 이용한 방식은 동파체의 그것과 유사함을 알 수 있었다. 하지만 글자의 농담이나 글자의 속을 하얗게 비우는 블록체(가고지)가 동파체에서는 흔히 보이는 반면, 난지 및 이루이 이묘에서는 거의 보이지 않는 점은 양국 문자유희의 상이점이라 하겠다. 두 번째로, 글자를 180도 뒤집거나, 90도 옆으로 뉘는 방식이 보인다는 점에서는 동파체와 유사하다는 사실을 확인할 수 있었다. 또, 난지 및 이루이 이묘에서는 45도 기울기가 좀처럼 보이지 않는다는 점과 더불어, 글자를 뉘거나 기울이는 방향이 동파체에서는 작자마다 제각각인 반면, 난지 및 이루이 이묘에서는 대개 누인 방향이 오른쪽이라는 점도 흥미로운 차이점이라 할 수 있겠다. 동파체와 난지 및 이루이 이묘의 모든 용례에서 문자의 방향성을 의식한 작자의 고려가 있었을 것이라고 단정 지을 수는 없지만, 동쪽과 서쪽, 혹은 오른쪽과 왼쪽이라는 방향성을 작자들이 나름 의식했을 가능성도 충분히 생각할 수 있지 않을까 생각된다. 왜냐하면, 소동파의 `장정`시에 보이는 목 `수(首)`자의 반전과 산바의 `남녀(男女)` 글자의 180도 좌우 반전은 그러한 방향성과 회전성을 작자가 충분히 의식했음을 보여주기 때문이다. 세 번째로, 파자 방식 중의 하나인 부분결여 방식이 난지 및 이루이 이묘, 그리고 동파체에서 공통적으로 나타남을 알 수 있었다. 또한 한자를 둘로 쪼개어 그 사이에 다른 한자를 집어넣는, 파자의 분리법과 증보법을 복합시킨 방식이 동파체에서 발달하였음을 확인할 수 있었다. 이 방식은 일본에서 주로 에도시대의 3단 수수께끼나 그림 수수께끼방식인 한지에(判じ繪)에서 이용되었는데, 이는 동파체와 파자의 한자변형방식이 일본근세의 문자유희뿐만 아니라 수수께끼에도 영향을 주었을 가능성을 의미한다 하겠다. In this study, I examined the relationship between the pattern of Tungp`o(東坡體)`s characters play, Paza(破字) and Nanji(難字), Iruiimyo(異類異名) the Chinese characters play, developed in the Edo period in Japan. I found out the following. First, Nanji and Iruiimyo`s method of Chinese character transformation is like Tungp`o(東坡體)`s characters play and Paza(破字), that is to make an analysis of Chinese character. For example, to extend or shorten to character`s length, and to increase or reduce the character`s size. And, I also found out there is no block type characters play in Nanji and Iruiimyo. Second, I also found that the similarity of the method of Chinese character transformation between the pattern of Tungp`o(東坡體)`s characters play, Paza(破字) and Nanji(難字), Iruiimyo(異類異名). The method of to flip character (180 degrees) and to letting character lie down (90 degrees) is very similar each other. But there is no method to make incline of character (45 degrees) in Nanji and Iruiimyo. Third, I found that the method to extract part of character also exists in Chinese and Japanese characters play. And, I also found that the method to decompose characters in half from the pattern of Tungp`o(東坡體)`s characters play, but I can`t find this method from Nanji and Iruiimyo. To decompose characters in half is very like the method of paja. So, we can understand that Nanji and Iruiimyo is located in the middle stage of the pattern of between Tungp`o(東坡體)`s characters play and Paza(破字).

동아시아에서의 이솝풍 이야기의 전파와 변용

금영진 단국대학교 일본연구소 2012 일본학연구 Vol.37 No.-

This article inquired into the modality of diffusion and transition of Aesop's fables in East Asia by studying on two similar stories of Japanese classical literature ― Milkmaiden and Milk jar, Greedy Dog. As a result, the present writer found out not only that two fables introduced in this article had already been propagated from India into the China in the era of Dang Dynasty and Song Dynasty, but also that these two fables were different from those of having been flowed into the East Asia by western missionaries in terms of lineage. And this article confirmed that the fables having been propagated into the Cho-sun and Japan were different from the Aesop's fables of India and the West in the aspect of aggressive laughing at the women. In contrast to the case of the former, it appears that there is a certain agressive laughing at the women in the case of the latter. The present writer presumes that the reason for this lies in the influence of misogynic climate and culture of the northwestern India, Arab regions and the Greece. イソップ寓話が欧米の宣教師によって東アジアに移入したのは大体17世紀を前後する時期であるが、それ以前に印度から中国を経て東アジアに移入したもう一つのパターンが存在することは周知の通りである。いわばイソップ風物語がそれである。そして今回、朝鮮漢文笑話集『古今笑叢』別本および近世初期に刊行された浅井了意の『堪忍記』から「乳搾り女と牛乳瓶」の新たな類話を、また、宋の怪談集『夷堅志』や、その和訳本である『夷堅志和解』から「欲張り犬」とモチーフが類似する話を新たに確認できた。「乳搾り女と牛乳瓶」の場合は、朝鮮の類話に唐の小説から得たという記事が見えることからいち早く印度から中国に伝播し、その後バージョンアップし、今度は朝鮮と日本にそれぞれもたらされたことが分かる。また、「欲張り犬」の場合も、宋の『夷堅志』および印度の『パンチャタントラ』にその類話が存することから、やはりいち早く当該の話が印度から東アジアに伝播したことを知り得る。そして、笑いの対象の場合、東アジアの古典に見える類話では男性が、印度や欧米のものでは女性が出てくるという相違の背景としては、これらの話が女性嫌悪の文化的風土が強い印度の北部地域やパキスタンを経て、やはりそうした傾向が強いペルシアやアラブ、そしてギリシャに伝播していく過程でその影響を受けた可能性が考えられるわけである。

한자(漢字)와의 비교를 통해 본 동파체(東坡體)·우소지(噓字)·국자(國字)의 읽기 및 문자조합 방식

금영진 ( Keum Young-jin ) 한국외국어대학교 일본연구소 2017 日本硏究 Vol.0 No.74

本稿では漢字との比較を通して見た中國の東坡體や江戶時代の噓字、そして今日の日本の國字における讀み方幷びに文字の組み合わせ方式について檢討してみた。 まず、東坡體の場合、組み合わさった二つ以上の文字を上から下へ、あるいは左から右へと順序に從って讀む方式をとっているが、これは漢字のそれとは異なる方式である。また、漢字では異體字を除けば、自然の位置關係を意識した象形文字式の文字の配列が意識されがちであるが、東坡體ではそれが無視される傾向が强い。そしてその理由は東坡體では讀む順序に從って文字が配置されるからである。 次に、噓字の場合、共通の部首にいろいろな文字を組み合わせる方式をとるという点では漢字とあまり變わらないが、訓讀みと音讀みの基準が統一されていない漢字と比べ、訓と訓を連想連結して讀むという、會意方式とはまた違う、統一性のととのった方式を採用していることがわかった。また、字を早く暗記するとか、字を早く探し出すという索引機能の要素が强い共通部首の組み合わせ方式が、噓字では逆に暗號性の高い文字にする側面もあるのがわかった。忍者文字はその好例である。 最後に, 日本の國字の場合、旣存の漢字の一部を他の文字に取り換えて別の國字を作るという派生方式をとる場合が多いことがわかった。そして、ここでは旣存の漢字をパロディしたかのような文字遊戱としての遊び心が動くことが多かった。また、二つの文字が組み合わさる際に、本來の形を保つという合字の形式は漢字とは相異なる側面であった。なぜならば、漢字では合字の時、組み合わされる兩文字のある一部が省略されることがよくあるからである。 東坡體や噓字、それに日本の國字は、漢字とある程度似ていながらもまた場合によっては異なる方式によって作られてきた。中國の現代創作漢字や日本の國字に見るように、漢字の發展は今もなおかつ進行中であり、その進步の土台に東坡體および噓字という文字遊びによる蓄積の時間があったことを忘れてはなるまい。 In this paper, I tried to examine the character combination method of the pattern of Tungp‘o(東坡體)’s characters play and Usoji(噓字), which is Japanese character play, and Kokuji(國字), which is new Kanji made in Japan. First, the pattern of Tungp‘o(東坡體)’s characters play has taken a method to read in accordance with the order from up to down or left to right, and it is not the same of that the characters that make up the kanji. Also, the pattern of Tungp‘o(東坡體)’s characters play is aware of the array of characters that were aware of the nature of the positional relationship. And it is different from the method of Kanji. Second, Usoji and Kanji are the same in method of combining various characters on a common radical, but they are not match in the method of reading Kanji. Kanji has no standards of meaning reading and pronunciation reading, and there is no unification. But, Usoji has adopted the system well-equipped uniformity. Usoji is also highly encryptable. The ninja character(忍者文字) is a good example. Third, Kokuji takes a method to derive or combine two letters together. The method of character derivation is so simple and it has an aspect as character play. And, certain part of the two characters are omitted to be combined in Kanji, but two characters are maintained original shape in Usoji. Although the pattern of Tungp‘o‘s characters play, Usoji, and Kokuji are somewhat similar to Kanji, they are also different in some cases. The development and change of kanji is still in progress and there was time for accumulation by letter play on the foundation of that progress.

國語 超分節音의 通時態와 共時態 (I)

金永萬 한민족어문학회 2003 韓民族語文學 Vol.42 No.-

The diachrony and synchrony of Korean suprasegmentals