투르크 영웅서사시와 무가의 상관성 연구

오은경 ( Eunkyung Oh ) 한국외국어대학교 중동연구소 2015 중동연구 Vol.34 No.2

In this article the relationship between Turkic heroic epic poems and shaman songs is being examined in three aspects. Firstly, there are vestiges that epic singers in Turkic countries were originally from shamans in ancient times. Secondly, the narratives of heroic epic poems or myths had been based on the initiation of shamans. Thirdly, the images of hero in Turkic heroic epic poems are correlated with the archtype of ancient shaman-kings. This hypothesis supports that heroic epic poems might have been separated and derived from the shaman songs, inasmuch as the shamans and their songs had appeared chronologically earlier than the epic singers. Moreover, there are so many similarities in the text structure between Turkic heroic epic poems and shaman songs. These characteristics show not only the correlation between them, but also the influence of shaman songs on the heroic epic poems.

북한이탈여성에 관한 질적연구 동향분석: 국내 학술지 중심으로

오은경(Eunkyung OH),류진아(Jin-A Ryu) 한국여성정책연구원(구 한국여성개발원) 2021 여성연구 Vol.109 No.2

본 연구는 북한이탈주민 여성에 관한 질적연구의 동향을 분석하는데 목적이 있다. 이를 위하여 한국교육학술정보원이 제공하는 데이터베이스(RISS4U, KISS, DBpia)에서 지금까지 국내 학술지에 게재된 질적연구 34편을 분석하였다. 총 34편에 대해 논문 발행연도, 학문분야 및 학술지명, 연구대상, 연구방법, 연구주제들을 분석하여 질적연구 동향을 파악하였고, Hoyt&Bhati(2007)가 주장한 네 가지 차원에 따라 질적연구 수행과정을 분석하였다. 북한이탈여성에 관한 질적연구 동향 분석 결과는 다음과 같다. 첫째, 2005년을 시작으로 꾸준히 연구되어지고 있으며 가장 많이 연구된 분야는 사회복지분야로 나타났다. 둘째, 가장 많이 사용된 질적 연구방법은 현상학이었으며 2011년 이후 다양한 질적 연구방법론의 연구가 게재되었다. 셋째, 사회적응을 주제로 한 연구가 가장 많이 진행되었으며 가족･관계, 정신건강과 심리 순으로 나타났다. 넷째, 질적연구 수행과정을 검토 한 결과, 연구자의 초점과 연구결과 제시 및 보고는 빈번히 이루어지고 있으나, 감수자를 통한 확인은 대다수의 연구에서 제외되어 전반적인 신뢰도 및 타당도 확보는 상대적으로 낮은 것으로 분석되었다. 본 연구결과를 바탕으로 북한이탈여성 관련한 질적연구 주제의 확대와 각 학문 분야에 대한 시사점과 후속연구에 대해 제언하였다. To this end, 34 qualitative studies published in domestic journals were analyzed so far in databases (RISS4U, KISS, DBpia) provided by the Korea Education and Research Information Service. For a total of 34 papers, qualitative research trends were identified by analyzing thesis publication year, academic field and journal name, research subject, research method, and research topics, and the process of qualitative research according to the four dimensions of Hoyt&Bhati (2007). The results of qualitative research trend analysis on Female North Korean Defectors are as follows. First, it has been steadily researched since 2005, and the most research has been conducted in the field of social welfare. Second, the most widely used research method was phenomenology, and various qualitative research methodologies have been published since 2011. Third, the most research on social adaptation was conducted, followed by family/ relationships, mental health and psychology. Fourth, as a result of reviewing the qualitative research process, the researcher s focus and the reporting and quotations of research results are frequently performed, but it is analyzed that the reliability and validity of confirmation through checked by independent auditors and minimization of the researcher s preconceptions are relatively low. Based on the results of this study, the expansion of qualitative research topics related to North Korean refugee women, implications for each academic field, and follow-up research were suggested.

투르크민족 명창의 미학적 전통과 알타이 설화 “최르최크” 연구

오은경 ( Oh Eunkyung ) 한국외국어대학교 중동연구소 2020 중동연구 Vol.38 No.3

In this article, we have examined the characteristics of the most popular narrative tradition of the Altai Turks and their relationship with other genres. One of the most important characteristics is that it has musicality, and it is expressed with various performance models according to musical melody. Comparing to the structure of the song in "Choirchoik(Чöрчöк)", it is similar to the various peoples living in the Altai region, similar to the musical scales of the Touba, Altai-Kizus, Celkan and Kumanjin provinces. The chord functions have absolutely different characteristics and have the specificities of the dialectic traditions of each Altai narrative. In the introduction, however, there is a pair of four-period rhyme formulas, which remain constant regardless of dialect or regional differences, which can be seen as the most structured music form. The song was used in the same sense as magic and purification to bring wishes and hopes into practice of peoples, and it was given magical meaning not only during dangerous winter season, but also mainly at sacrifices and funeral rituals. It is Surazakov who has focused on the interrelationship between "Choirchoik(чöрчöк)" and the origin of heroic epic. His view differs from Potanine and Zurmunsky. They saw that Altai's epic occurred in the genre of "Choirchoik(чöрчöк)", but Surazakov said that the interplay between these two genres was due to the mixing of the elements of the epic in the heroic epic. He saw the song appearing in the story as a result of the development of story, when a protagonist or another person encouraged to act, or conveyed something. The "Choirchoik" tradition, which can be seen as a tradition of the Altai Turks, is a very important data in identifying the relationship with the heroic epic, even though many researchers have not paid attention to it.

오우즈 투르크와 우즈베크 영웅서사시의 상호텍스트성 연구: 「밤스 베이렉(BAMSI BEYREK)」과 『알퍼므쉬(Alpomish)』를 중심으로

오은경 ( Eunkyung Oh ) 한국외국어대학교 중동연구소 2017 중동연구 Vol.35 No.3

The aim of this study is to argue the possibilities of discovering a Central Eurasian Cultural Complex and writing the history of Turkic oral literature in the entire territory of Eurasia. Despite the vastness of the territory of the Turkic peoples and their specific languages, Turkic oral literature has many common factors and shows intertextuality. With this idea, two heroic epics were compared to each other in terms of plot and motifs. The texts which were compared were "Bamsı Beyrek" from the Oguz Turks and "Alpomish" from the Uzbek people. It was shown that the contents of both epic poems and the origin of the stories could be the same. The stories begin and continue with this storyline and chains of motifs: lack of child →to pray to God→ birth of hero→ engagement in the cradle→ to prove his ability to community→ to gain his holy name as a hero→ to save the fiancee/to pass a trial of his fiancee→crisis→to be confined in a dungeon→to receive help from a daughter of enemy→to be extricated out of dungeon by his own horse→return to home→transformation dress→ to be confirmed his identity by archery→ marriage and creation of new order. Finally, the study points out the striking similarities between two epics as evidence properly supporting the intertextuality of a literary legacy of all Turkic peoples.

전통과 근대의 억압적 여성성 형성

오은경(Oh Eunkyung) 한국학중앙연구원 2002 한국학 Vol.25 No.2

터키와 한국전쟁문학

오은경(Eunkyung OH) 한국학중앙연구원 2003 한국학 Vol.26 No.1

효과적인 배선밀집도 드리븐 배치

오은경(Eunkyung Oh),허성우(Sungwoo Hur) 한국정보과학회 2007 한국정보과학회 학술발표논문집 Vol.34 No.1B

본 논문에서는 기존의 CDP(Congestion Driven Placement) 기법[5]을 개선하여 좀 더 빠른 시간에 배선 밀집도를 효과적으로 해결할 수 있는 기법, 즉 ECDP(Effective Congestion Driven Placement) 기법을 제안한다. ECDP는 force-directed 기법을 이용한 배선밀집도 해결 기법으로써 기존의 국부적인 셀 이동방식을 개선한다. 제시된 기법은 배치 영역의 빈(bin) 상에 셀 밀집도를 해결하는 방향으로 분산력을 구한 후 밀집된 셀을 분산시킴으로써 배선밀집도를 개선시킨다. 실험을 통한 결과에서 CDP와 비교 해 볼 때 배선밀집도와 수행속도 모두 제안기법이 우수한 결과를 보인다.

아제르바이잔 무형문화유산 아싁예술과 지역유파 형성 배경 고찰

오은경 ( Eunkyung Oh ) 한국외국어대학교 중동연구소 2020 중동연구 Vol.39 No.2

The purpose of this study is to investigate the background and cause of the Ozan-Baksı tradition, a prestigious Turkic art tradition, replaced by Aşıq art in the Middle Ages of the Oğuz Turks. Also, it investigates what kind of differences exist between Anatolia and Azerbaijan, and what causes the differences. In addition, in Azerbaijan, a school was formed centering on the region, and the background and characteristics of its formation will be noted. Aşıq art was born as an alternative art that replaced the Ozan tradition when Islam was accepted and Sufism began to blossom. However, it was divided into two categories according to the origin. Sufi-Aşıq was born in Sufi Monasteries, and Azerbaijani Aşıq is mostly from Sufi origin. In Anatolia, former Ozans are often influenced by the Sufi-Aşıq tradition. Of course, the two groups show differences in their singing method and performance style. Aşıq art, once performed by religious and spiritual leaders and practitioners began to be performed by music-performing artists. In the early days, it started out as urban art. Because of Asiq missionary activities, Asiq culture spread from urban areas to rural villages. However, the frustrations and political backgrounds surrounding Azerbaijani history have created many cultural differences between regions. As a result, local groups were formed accordingly. Still, in academia, the error of defining a "local/regional group" as simply a "school" has been made. However, several schools coexist in the same region, and the formation of regional sects is due to cultural differences caused by geopolitical isolation. Therefore, it would be appropriate to define it as a "local/regional school". As the "local/regional school" formed by the Azerbaijani Aşıq art is the main stream of the Turkic ethnic cultural system, it is very important to focus on their characteristics and conduct detailed analysis. A more systematic academic interest and research is needed on the art environment of the school whose function is suspended or discontinued.

터키 명창 아싁(Aşık)과 아싁문학 형성 고찰

오은경(Oh, Eunkyung) 국제언어문학회 2020 國際言語文學 Vol.- No.46

본 연구는 고대 투르크 명창과 시작(詩作) 전통의 맥을 잇고 있는 아싁의 기원과 오스만 제국 시기 태동하여 16세기에서 19세기까지 문학사의 중심이 되었던 아싁문학의 발전과정과 특성을 고찰하는 것을 연구의 목적으로 삼았다. 유라시아 대륙에 퍼져 민족 고유의 문화정체성을 형성하고 있는 명창 전통은 투르크 제 민족의 무형문화유산으로서 중요한 가치를 점유하고 있을 뿐만 아니라 한민족과의 문화적 친연성을 밝힐 수 있다는 점에서도 매우 연구가치가 높다. 더불어 호메로스와 같은 서구 명창 연구에 있어서도 투르크 명창은 큰 기여를 하고 있다. 현재 아나톨리아 반도에 정착한 오우즈 투르크인들의 경우, 오잔(Ozan)이라는 샤먼 기능을 겸비한 시인-소리꾼들이 이슬람이 중심이 된 오스만제국에서 ‘아싁‘이라는 새로운 스타일의 명창으로 재탄생 했으며, 투르크인 구비문학 전통을 토대로 하여 ‘아싁문학’이라는 민중 문학 장르를 창조해냈다. 아싁문학은 오잔-박스 전통이 오스만 문화와 이슬람 안에서 재편성되고 융합된 새로운 형태의 예술이다. 즉, 아나톨리아에 정착한 투르크인들이 자신들의 전통 시형식인 4행시와 ‘마니(mani)’라는 기본 시형식, 당시 시대상으로 “순수 투르크어”라고 할 수 있는 “오스만어” 그리고 이슬람과 수피즘을 아나톨리아라는 용광로에서 융합하여 새롭게 탄생시킨 장르가 바로 아싁문학이다. The purpose of this study is to examine the origin and development of the meistersinger Aşık traditional culture and the characteristics of Aşık literature, which became a very important cultural heritage of literary history from the 16th to 19th centuries. The Meistersinger tradition, which spread across the Eurasian continent and formed its own unique cultural identity, is highly research-worthy in that it not only occupies an important value as an intangible cultural heritage of the Turkic peoples, but also reveals its cultural affinity with the Korean people. In addition, in the study of Western meistersinger such as Homer, the meistersinger tradition of the Turkic people can make a great contribution. For the Oghuz group among Turkic peoples settled in the Anatolian Peninsula, the artist-poets who have the shaman function of Ozan, were reborn in the Ottoman Empire and centered in Islam as a of meistersinger of Aşık, equipped with Aşık literature. The genre of folk literature based on the Aşık tradition was created. Aşık Literature is a new fused form of art in which the Ozan-Baksi literary tradition was reorganized and developed within Ottoman culture and style. In other words, the Turks who settled in Anatolia have a traditional poetic form of four lines and a basic poetic form called "Mani", written in the “Ottoman language” that could have been called “pure Turkic” in that era, and smelted in a furnace called Islam and Sufism for Anatolia. The new genre, Aşık Literature, was born by melting all cultural and historical factors in the era of Ottoman Empire.

중앙아시아 이슬람과 종교적 신크레티즘(Syncretism)

오은경(OH, Eunkyung) 한국이슬람학회 2017 한국이슬람학회논총 Vol.27 No.1

The peoples of Central Asia began to accept Islam from the middle of the 7th century; however, in those regions Islam took on different aspects. The purpose of this study is to analyze Islam in Central Asia from the perspective of religious syncretism. First I focus on how Islam spread throughout Central Asia in order to identify the origins of religious syncretism. Secondly I deal with the main factors of syncretism in Central Asia that can be explained both by Sufism and the Hanafi school of law belonging to the Sunni sect. When Islam appeared in Central Asia in middle of the 7th century, the people did not want to accept a new religion and in the process abandon their own indigenous religion. Therefore, the ruling class had to take a carrot and stick approach to convert people to Islam. In addition, Sufism and the Hanafi school of law played a significant role in accepting Islam in Central Asia. Sufis introduced a variety of religious practices to the Central Asians including new music, dance and dhikr. Above all, they respected the Saints in the mausoleum. Through this behavior, Sufis were able to gain recognition from the local people. Hanafi law was very flexible interpreting the Koran(Quran) and the Hadiths.Hanafis reinterpreted the concepts of indigenous Tengrism and religion so that local folk might be able to accept Islam. Consequently, Central Asian practices and customs such as Animism, Totemism, Tengrism and Shamanism, which had existed since ancient times could be assimilated into Islam, thus recreating Islam into a form called “Folk Islam”. Islam in Central Asia and Syncretism of Religion.