현대 한국의 在家 불교운동

鄭柄朝 서울대학교 종교문제연구소 1997 종교와 문화 Vol.0 No.3

조선말기 불화와 민화의 관계

정병모 한국불교미술사학회 ( 구 한국미술사연구소 ) 2003 강좌미술사 Vol.20 No.-

I will attempt to solve this problem by studying Buddhist paintings began to incorporate elements of folk painting during the late nineteenth century. Folk Painting(Mlnhwa) was especially popular in Korea during the late Joseon period. Scholars presume that folk painting began to be produced during the eighteenth century, but there has been a lack of investigation as to exactly when the genre became popular. At the same time, folk painting often used elements of Buddhist painting during this period. for instance in the folk painting sub-genre of decoration Chinese characters with an auspicious meaning(munja-do), since the tancheong painting on both sides of a pillar or crossbeam(meori-cho) often included decoration with the character for " wealth(hwi)." That is to say, the content of such decorative paintings of Chinese characters came due to Confucian influences but it was represented using the techniques of Buddhist painting. We may thus assume that was an active exchange between folk painting and Buddhist painting. Since the dates of the production of Buddhist painting are often preserved in painting records(hwagi) they give us exact data and enable us to estimate the date of particular folk paintings by comparing them to Buddhist paintings. Even though the period when elements of folk painting was actually popular, a comparison between the two genres may give us some clues to the general situation. It is said that Korean folk paintings reached the height of their popularity in the eighteenth and nineteenth centuries. However, in the context of Buddhist painting, were most popular from the late nineteenth and early twentieth centuries. Since this new assumption is bascd on Buddhist paintings, which are datable, we must not automatically concluded that the entire folk painting chronologically accords with the representations of folk painting shown in a Buddhist context. When tracing the origins of Korean folk painting we may go as far back as the murals in Goguryeo tombs, or even further back rock painting. Moreover, folk elements can be found on Goryeo green-glazed stoneware and Joseon buncheong ware and woodblock prints in the sixteenth and seventeenth centuries, and then through folk paintings in the nineteenth century. However, with respect to nineteenth-century folk paintings our investigation of Buddhist painting has shown that representations of folk painting occured most often in the later part of the century and that this tendency continued into the early twentieth century. Why did this happen in the nineteenth century? The answer requires more comprehensives research, but most of all the self-awakening to reality by Buddhist temples seems to have facilitates the situation. Korean Buddhism adopted indigenous gods, such as the Mountain Spirit, into Buddhism and did not shy away from including subjects of a Neo-Confucian character in the wall paintings of temple in order to get closer to the public. The moitive of these worship causing the birth of male offspring, to invigorate the poverty-stricken econcmy of Buddhist temples.

Racine의 비극적 인물들의 존재론적 해석 : 시선과 언어를 통하여

鄭秉熙 이화여자대학교 한국문화연구원 1986 韓國文化硏究院 論叢 Vol.48 No.-

Cette these se compose de deux parties, l'une consacree au regard et l'autre au langage pour analyzer la structure et l'essence de la tragedie de Racine. Ⅰ. La tragedie racinienne et le regard. Si dans l'œuvre de Racine les gestes tendent a disparaitre, c'est au profit du regard. Pour les personages raciniens, voir est un acte pathetique. Etre vu n'implique pas la gloire comme chez Corneille, mais la honte. Les regards que les deux etres echangent remplacent tout ce que les gestes veulent exprimer et leur force va encore plus loin jusqu'a troubler les ames. Chez Racine, l'echange du premier regard constitue deja le commencement et la fin de la tragedie. De la passion provoquee par un seul coup d'oeil, par le premier coup d'oeil, nait le regard plein de desir et angoisse, anquel succede le regard menacant qui se developpera jusqu'a dans sa finalite destructrice. En somme, les personages raciniens se trouvent dans les deux situations fondamentales: voir et etre vu. Comme nous le constaterons chez des heros-tels Pyrrhus qui implore le regard d' Andromaque, Britannicus qui desire le regard de Junie et Oreste qui poursuit le regard d'Andromaque, Britannicus qui desire le regard de Junie et Oreste qui poursuit le regard d'Hermione-, les regards dans la tragedie de Racine determinent les relations des personages et leur dynamique. Ⅱ. La tragedie racinienne et le langage. Le sens tragique du langage de Racine doit etre percu, si on tient compte des resources etendues de son langage poetique. La structure de "Phedre" repose sur une serie d'aveux en trois etapes. Dans cette œuvre, on pourra dire que la parole meme est un etre qui se joue sur la scene, car l'enjeu tragique se trouve beaucoup moins dans le sens de la parole que dans son apparition, beaucoup moins dans l'amour de Phedre que son aveu. Les personages assument une fonction de sage femme mettant au monde les paroles d'autrui, c'est "la tragedie de l'accounchement" selon la metaphore composee de Roland Barthes. "Berenice" et "Mithridate", depouilles des gestes, peuvent etre consideres comme la tragedie du langage gui tentent de mettre en scene la catharsis purement poetique. Par la, Racine a pu evoquer "la tristesse majestuense" qui fait tout le plaisir de la tragedie. Ainsi nous pouvons conclure que le langage poetique de Racine se rapproche du langage pour ententre, c'est-a-dire de la musique.

日·韓 兩國語 連結語尾「~て」와 「~아서」의 意味·統辭論的 對照硏究(Ⅰ)

鄭炳南 진주여자전문대학 1989 論文集 Vol.11 No.-

日本語 副詞에 關한 硏究 : 敍述語와의 共起關係를 中心으로 leading to co-occurrence with predicative

鄭炳南,朴宰亨 진주여자전문대학 1990 論文集 Vol.13 No.-

The purpose of this paper is to show the co-occurrence between adverb and non-modifier, predicative property subject to modern Japanese adverb in accordance with the point to view on communication. As described above, the adverb functionating as a modifier in a sentence will accomplish the co-occurrence relation by demanding a special property corresponding to the predicative having syntactic relation with it. Accordingly, the co-occurrence by the semantic property of utterance will be classified into the co-occurrence with [± movement]. The co-occurrence by the grammatical property will be classified into the co-occurrence with aspect property, modality property and negative property. In the result, As for the co-occurrence of adverb, If adverb is chosen first in sentence, a special property will be required for predicative, but because a predicative does not require the appearance of adverb in sentence with out fail, it will be grasped as a simple dependant relationship.

日本語의 前提文 分析

鄭炳南,權順禮 진주여자전문대학 1990 論文集 Vol.12 No.-

Presupposition in the Japanese linguistics can be classified into a process derived by the subordinate clause of syntactic structure and that by structure of lexical meaning. So, I can analyze this study as the developing process of the presupposition theory. Firstly, discussing the presupposition by syntactic structure, we can find that the same structures as relative clause, adverbal clause and cleft sentence belong to this kind. Also these presupposition sentences are in general derived from the subordinate clause of each syntactic structure. Secondly, discussing the presupposition by lexical meaning, the presupposition is derived by the semantic features of noun, adverb, auxiliary and verb. The most important factor is verb which is divided into factive and implicit verbs. Consequently, this study reveals that presupposition should be first analyzed by semantic level and then structure level, too. Tense and aspect also can be examined in the semantic level.

일본 근대작가의 자살에 관한 연구 : 北村透谷와 川上眉山을 중심으로 Of Kita Mura, To-koku and Kawa Kami, Bi-Zan

정병남,이기섭 진주여자전문대학 1991 論文集 Vol.14 No.-

The purpose of this study was to introduce the writers, such as Kita Mura, To-Koku(北村透谷)and Kawa Kami, Bi-Zan(川上眉山), who committed suicide in the modern age of Japan, and to investigate their suicide. The result of this study suggested that the suicide motives of Kita Mura were the frustration and the loss of life activity come from the gap between his ideal and reality. The factors which Kawa Kami committed suicide were considered as the maladjustment to rapidly changing socicety, the pain of creative writing, and that of living affairs. By the way, as the motive of suicide is very complex and its behavior is individual, a more scientific and objective investigation should be conducted in further reseatrch.

Diderot의 演劇論 序說

鄭秉熙 이화여자대학교 한국문화연구원 1969 韓國文化硏究院 論叢 Vol.13 No.-

"Drame serieux", advocated by Diderot in the 18th century has been discussed with less enthusiasm by the literary historians of France, for the 18th century drama has its place, judging from the view point of dramatic history, between the 17th century drama of classicism and the drama of romanticism in the early 19th century. Therefore, the writer has tried mainly to analyze in this article some basic elements of Diderot's dramatic theory, which could be said to have spun a bridge between the two different dramatic tendencies, in other words, which might be regarded to have made a great contribution in connection of the 17th and the 19th century dramas of two different forms. I should add though that Diderot's dramatic theory was neither deviated from that of the 17th century classicism, nor was bold enough to support the free dramatic style of the 19th century romanticism. First, the author has made an attempt to study Diderot's "La Vertu", a new ethical view of bourgeois, which began to emerge at the beginning of 18th century following the fall of the aristocratic society in the previous times. Secondly, the contributor has tried to find out the differences, by means of comparative study, between Moliere's dramatic form of the 17th century classicism and that of Diderot in the 18th century romanticism. Lastly, concerning the problems of terminology on Diderot's dramas, which have been called in various ways such as Drame bourgeois, Drame serieux, Tragedie domestique, Comedie larmoyante, and etc. A philological interpretation of these diverse dramatic terms as well as the origins of their conventional usage are studied.

新羅繪畵變遷考

鄭炳模 동국대학교 불교미술문화제연구소 1997 佛敎美術硏究 Vol.3-4 No.-

韓國語大邱方言とソウル方言のイントネ-ションの比較硏究

鄭炳南 진주여자전문대학 1992 論文集 Vol.15 No.-

本 硏究는 大邱方言 서울方言의 인토네이션(intonation)을 比較하여 論議하였는데, 內容을 要約하면 大邱方言의 경우, 文末의 音調는 下向調와 제로인토네이션(Zero intonation) 2種類가 있으며 서울方言의 경우 上昇調·下向調·제로인토네이션(Zero intonation) 3種類가 있다. 또한, 인토네이션이 인간의 心理狀態와 關係가 있다면 文末의 인토네이션이 多樣한 서울 사람의 心理狀態가 大邱사람의 心理狀態보다 可變的이라고 할 수 있을 것이다.