인공신경회로망을 응용한 고로조업지원 전문가 시스템 연구

최태화,윤인섭 한국화학공학회 1991 화학공업과 기술 Vol.9 No.4

일본근세소설에 보이는 점복(占卜)과 복선 -슌스이닌조본에 보이는 예지몽, 점, 쓰지우라(辻占)를 중심으로-

崔泰和 한국일본학회 2014 한국일본학회 학술대회 Vol.2014 No.02

일본근세 출판문화와 소설의 진화 -슌스이류(春水流)의 '단도리(段取)'와 '누키가키(抜書)'-

崔泰和 한국일본학회 2013 한국일본학회 학술대회 Vol.2013 No.08

고로 조업 모니터링시스템 개발 (초)

최태화,김정일 대한금속재료학회 ( 구 대한금속학회 ) 2008 대한금속재료학회 학술대회 개요집 Vol.2008 No.1

合評會 - 일본문학 -

최태화 한국일본문화학회 2023 日本文化學報 Vol.- No.97

『슌쇼쿠 우메고요미(春色梅曆)』와 고요미(曆) -연일(綠日)의 관계를 중심으로-

최태화 고려대학교 일본학연구센터 2012 일본연구 Vol.18 No.-

近世後期の人情本作者の代表として、まず名前が擧がるのは、爲永春水であろう。春水は 『春色梅曆』シリ□ズや 『春告鳥』などの作品で成功を收め、人情本の元祖を名乘るほどの 名聲を得た。このため、春水人情本の三角關係から應がる濃密な戀愛場面の描寫や、女性の衣裝に對する細かい描寫などの特徵が、そのまま人情本全般の特徵として認識されてきた。しかし、場面の描寫に集中し、時には場面と場面の時間順が逆轉したりする、いわゆる 春水流の構成のため、春水の構成力が疑問しされてきたのも事實である。ところで 『春色梅曆』の時間的背景を分析してみると、各場面ごとに綠日を與えており、讀者の內容展開を把 握しやすくしていることがわかる。また、神佛の力によって事件が解決されるのは、近世戰作の常であるが、春水は綠日を使うことによって、それなりの蓋然性を確保し讀者を納得させている。そして春水は、その各綠日の樣子や風物詩をつぶさに描寫しておくことによって 季節感をあらわし、情緖的な雰圖氣を漂わせることで讀者が主人公の戀愛に沒入しやすくもしている。したがって、春水の綠日を時間的背景に使う工夫も、春水人情本が大きな人氣を納めるに重要な要因の一つであると考えられる。

은유로서의 질병-상사병을 중심으로

최태화 한국일본어문학회 2021 日本語文學 Vol.89 No.-

Tuberculosis was a prevalent disease as a metaphor for love in modern Korean and Japanese literature because of its image and incurable disease. With the use of antibacterial treatments for tuberculosis, tuberculosis is no longer an incurable disease. Then, the role of tuberculosis as a metaphor of love in literature disappears, and the position of tuberculosis is handed over to leukemia. However, when a therapeutic agent for leukemia came out at the end of the 20th century, leukemia also expired as a metaphor for love. Needless to say, it was a lovesickness that was used as a metaphor for love before tuberculosis and leukemia. Opinions remained ambiguous in both Korea and Japan as to whether to consider lovesickness as a disease or as a illness. However, both the author and the reader had a tacit understanding that lovesickness is an incurable disease, and that the only way to cure lovesickness is to fulfill that love, so lovesickness is established as a metaphor for love. Ninjobon in the late Edo period affirms the love of women. It is confirmed from ninjobon that the lovesickness is fossilized because the remedy for the lovesickness was free love.

닌조본(人情本)의 「닌조(人情)」론

최태화 단국대학교 일본연구소 2017 일본학연구 Vol.51 No.-

다메나가 슌스이는 인정이란 타인의 감정을 이해하는 것이라고 정의하였다. 그런데 슌스이의 인정론은 외설적 내용에 대한 치장에 불과하다는 시각이 주류를 이뤄왔다. 슌스이의 인정을 규정하는 것은 닌조본의 성격을 이해하기 위해 매우 중요하다. 슌스이는 자신의 사상을 주장하기 위해 소설을 쓰지 않았다. 슌스이는 철저하게 독자 지향적이었던 프로페셔널 작가였다. 슌스이가 개척한 독자층은 독서에는 익숙하지 않으나 사랑이야기에 관심이 많은 젊은 여성층이었다. 이런 층위를 위한 소설에 있어서 독자에게 메시지를 주고자 할 때는 연애장면과 같은 ‘당의’의 코팅이 필요하다. 또한 그 메시지도 “소탈하고 소박한” 처세교훈이었다. 외려 교훈이 외설성을 코팅하기 위한 것이라는 반론은 실질적으로 소설 속에 사용되는 교훈의 양이 외설성을 감추기에는 부적절하게 많기 때문에 기각된다. 슌스이에게 있어서 연애장면의 자유로운 묘사가 중요했으나, 독자에게 전달하고자 하는 교훈도 중요했다. 슌스이는 모토오리 노리나가의 철학과 같은 정도의 레벨에서의 결론은 아니나, 타인의 감정을 이해하는 행위에 사랑도 포함된다고 생각했다. 결과적으로 슌스이의 인정론은 여성의 사랑을 긍정하였던 것이다. 이는 슌스이닌조본이 현대의 대중문학과 대중문화콘텐츠의 보편적 특징을 선제적으로 가질 수 있게 한 배경이기도 하였다. 그러나 당시는 신주(心中)의 묘사를 ‘음란’하다고 평가하던 시대였다. 슌스이닌조본은 간행 당시부터도 당시의 기준으로 ‘외설’적이라고 비판받는 게 당연하였다. 이러한 비판은 근대에 들어서도 마찬가지였으나, 쓰보우치 쇼요(坪内逍遥)는 근대의 소설론을 주장하면서 슌스이의 닌조본을 높이 평가한다. 이는 슌스이의 인정론의 보편성과 가치를 인정하였기 때문이다. Tamenaga Syunsui defined that humanity is to understand the feelings of others. However, for the spring water humanity theory, mainstream point of view, was that only a camouflage to obscene contents. Defining Tamenaga’s humanity theory is important for understanding the character of Ninjobon. Syunsui does not write a novel to insist on his ideology. Syunsui was a professional writer who was thoroughly readers oriented. Tanaka’s pioneering readers are young women who are unfamiliar with reading but are interested in love stories. In a novel intended for women, when trying to convey some message to readers, a kind of sugar coating like a romance scene was necessary. The message also “a simple and informal” life lesson. Conversely, the objection that the lesson coats the obscenity of the novel is rejected by the huge amount of lessons learned. For Shunsui, the free portrayal of romantic scenes was important, but the lessons to convey to readers were also important. Syunsui did not conclude based on a precise theory like Motoori Norinaga. but thought that love was included in the act of understanding the feelings of others. In short, Syunsui affirmed women’s love. This will cause Syunsui Ninjobon to have universal characteristics of contemporary popular literature preemptively. However, at that time it was an era when evaluating the double suicide story as being horny. in view of the standard at the time, It was natural that Syunsui ninjobon depicting love affair was criticized as being obscene. Although such evaluation continued even in modern times, Tsubouchi syouyo highly appreciated Syunsui ninjobon while insisting on the novel theory. This was also the result of acknowledging the universality and value of Syunsui’s theory of humanity.

쌀의 군산에서 대(大)군산으로 - 일제강점기 군산안내서를 통해 본 농업이민의 목적 -

최태화 한국일본어문학회 2024 日本語文學 Vol.100 No.-

In the modern era, Japanese policy elites, grounded in the tenets of modern rationalism, erroneously posited that proffering ideal conditions to agrarian communities would incentivize their migration to colonies, resulting in the abandonment of their cultivated lands. The Japanese government's ambition to establish a comprehensive colony through mass agricultural migration found articulation in theoretical frameworks such as "The immigration concentration policy between Manchuria and Korea Concentrated Emigration Theory," "Oriental Development Company Emigration," and "Group Agricultural Emigration," culminating in a series of experimental pursuits marked by trial and error. The envisaged mass emigration of Japanese nationals failed to materialize predominantly due to the vigorous resistance from Korean agrarian communities confronted with the prospect of dispossession through large-scale migration. Gunsan emerged as an experimental crucible for mass agricultural migration, owing to its prominence as a significant rice production region. Promotional publications like "Wealthy Gunsan" (1907), "Introduction to Gunsan" (1915), and "Introduction to Gunsan" (1926) endeavored to portray Gunsan as a prosperous enclave for rice cultivation, enticing numerous Japanese immigrants to relocate, establish familial ties, integrate with local Koreans, and ultimately materialize the envisioned "Great Gunsan," predominantly inhabited by Japanese residents. While the promotional emphasis centered on "Gunsan of Rice" this was not the ultimate objective. Nevertheless, the recorded immigrant figures in the three volumes notably fell short of a demographic scale befitting a "Great Gunsan." At the juncture of Japan's capitulation, the Japanese residential enclave in Gunsan did not exceed the dimensions of a conventional rural township. The realization of the conceptualized "Great Gunsan" remained elusive.

정보발신매체로써의 슌스이닌조본에 등장하는 유령과 하야리가미(流行神)

최태화 한국일본어문학회 2020 日本語文學 Vol.86 No.-

Tamenaga Shunsui knew more about Kuruwa (a red-light district). Yuzyo (prostitute) was the main reader of Shunsui Ninjobon. Shunsui made Yuzyo the main character, so he made Taboos for them to give them lessons. To make taboo, Shunsui featured ghosts and Higuruma in novels. However, the readers of that time did not believe in the fantastical tales. In order to convince readers of the fantastical tales, Shunsui introduced ghost dolls, not ghosts, and Hayarigami (popular deities and Buddhas) of Edo, which people of the time really believed. Shunsui tried to make Taboo that would actually exist. And it was successful. More than 10,000 copies of Shunsui Ninjobon were sold nationwide. Therefore, Shunsui Ninjobon has a mass media characteristic. The taboo created by Shunsui was the effect of an advertisement that made edo's ghost dolls maker Izumi Mekichi and only edo's own Hayarigami famous nationwide. Shunsui Ninjobon was also functioning as an information delivery system.