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박종수,Park, Jong-Su 한국유가공협회 1995 牛乳 Vol.61 No.-
이글은 한국유가공협회가 지난 5월 25일 개최한 '우유 및 유제품의 위생관리와 소비자 보호세미나'에서 박종수교수가 발표한 주제내용으로 전재한다.
박종수,Park, Jong-Su 한국유가공협회 1993 牛乳 Vol.53 No.-
이 글은 한국유가공협회가 지난 5월 25일 개최한 '우유 및 유제품의 위생관리와 소비자 보호'세미나에서 박종수 충남대교수가 발표한 주제내용이다.
李鉉和의 「키리에–위대한 위증」에 나타난 犧牲祭儀的 暴力의 意味와 限界
박종수 한국어문교육연구회 2020 어문연구(語文硏究) Vol.48 No.2
This study revealed that the sacrificial violence in Lee Hyun-hwa’s 「Keyrier - Great Persecution」 was different from its previous works and wanted to analyze its meaning and limitation. This work shows two conflicting evaluations of the sacrifice to two scapegoats that conform to violence for the sacrifice ritual. The past sacrifice ritual is sacred based on the belief that greater violence can be solved through violence. On the other hand, the present sacrifice ritual reveals that the scapegoat is the object of vain violence, which makes the sacrifice ritual reflect on it. This reflection is creating an opportunity to free the audience from violence by making them realize that they are perpetrators. These assessments are meaningful in that they show that in order to resist violence in the new era of the 1990s, a new way, not a sacrifice ritual, is needed. But the pursuit of reality freed from violence can only be considered a limitation in that it fails to recognize the violence that existed on the 1990s. 박종수, 2020, 이현화의 「키리에–위대한 위증」에 나타난 희생제의적 폭력의 의미와 한계, 어문연구, 186 : 275~293 이 글은 이현화의 「키리에 – 위대한 위증」에 나타난 희생제의적 폭력이 이전의 작품들과 차이를 지니고 있음을 밝히고, 그것이 지닌 의미와 한계를 분석하고자 하였다. 「키리에 – 위대한 위증」은 희생제의를 위하여 폭력에 순응하는 두 명의 희생양을 통해 희생제의에 대한 두 가지 상반된 평가를 보여주고 있다. 과거의 희생제의는 폭력을 통해 더 큰 폭력이 해결될 수 있을 것이라는 믿음을 바탕으로 신성시된다. 반면 현재의 희생제의는 희생양이 헛된 폭력의 대상임을 밝힘으로써 희생제의까지도 반성할 수 있도록 한다. 이러한 반성은 관객들이 가해자임을 깨닫게 함으로써 폭력으로부터 해방될 수 있는 계기를 만들어 주고 있다. 희생제의에 대한 상반된 평가는 1990년대라는 새로운 시대에 이르러 폭력에 저항하기 위해서는 희생제의가 아닌 새로운 방식이 필요하다는 점을 보여주고 있다는 점에서 그 의의를 지닌다. 그러나 폭력으로부터 해방된 현실에 대한 추구는 1990년대에 존재하고 있었던 폭력을 인식하는 것에 실패하고 있다는 점에서 한계로 여겨질 수밖에 없다.
朴鐘洙 龍仁大學校 1990 용인대학교 논문집 Vol.6 No.-
The common features of the kisaeng are considered that she, having talents and beauty, served as a plaything for men and in its return, in spite of a little labour, lived most luxuriouusly. Howeveer, it is a special feaure that she could be never liberalized out of the underprivileged wherever she stayed. The kisaeng in Japan and China put "lewdness" in the first place, then additionally "art" perhaps in the second place, while she in Korea or Chosun subjected "art" in the first place, then "lewdness" in the second place, which was rooted on the Korean peninsula and has established its special feature, not a wholly lewd one but a talent-showing one as well as a successor of traditional culture. Kim, Jong Su and Nam, Ji in the King Sejong's dynasty sargued that the "Yuak (Playing with Kisaengs) system" should be abolished because Chinese enboys regarded the system as non-civility, and in China, the official kisaeng was the objective of lewdness as an exclusive possession of the Emperor. And such an arguement is asumable to be resulted from that the Chinese envoyes did not see the kisaeng as a professional artist experimenting traditional things or newly creations. The king, Sejong, in such a situation whether the system should be abolished or not, commented "It should not be underestimated for some worry that if the court musician was placed for the kisaeng, tones and rhythms might be spoiled.", and ordered to establish a chargeable institution and some subjects to educate the kisaeng, and even gave rewards or punishments based on the records of artistic ability as well as supervising whether the teachers for the kisaeng performed their duty well or not. With regard to such a common viewpoint of total nonexistence of the ladies' deucetional institutions in that era by others, the writer of this study considers the "Kyobang" to be the firstly appeared ladies' educational institution in Korean history, a characteristic concerrning the kisaeng.