東溟 金世濂의 『槎上錄』 考察

김효정(Kim, Hyo Joung) 동양한문학회(구 부산한문학회) 2018 동양한문학연구 Vol.51 No.-

이 글은 東溟 金世濂(1593∼1646)의 통신사행시집 『槎上錄』에 나타난 형상화 양상을 고찰하기 위하여 이루어진 글이다. 김세렴은 양란으로 인해 무너진 조선을 다시 세우기 위해 많은 노력을 했던 북인계 남인 관료이다. 그는 1636년 병자통신사행단의 副使로 일본을 직접 다녀온 후 사행일기 해사록과 사행시집 사상록을 남겼다. 병자통신사행은 임진왜란 이후 4번째 이루어진 사행으로 포로 송환의 성격이 짙었던 이전의 쇄환사와는 달리 誠信交隣을 바탕으로 이루어진 공식적인 첫 통신 사행이다. 8개월 이상이 걸렸던 사행길에 김세렴은 200 여수가 넘는 사행시를 지었다. 그의 사행시에는 사신으로서의 소명을 다하겠다는 강력한 소명의식과 대일인 식의 변화, 그리고 사행기간 동안 보고 느낀 여러 가지 감정들이 잘 나타나있다. 본고에서는 사상록 소재 사행시의 형상화 양상을 세밀한 관찰을 통한 풍속의 사실적 묘사, 색채어를 통한 회화적 이미지의 강조, 도가적 시어 활용을 통한 신비로운 공간의 묘사로 나누어 살펴보았다. 김세렴은 위기에 처한 국가를 안정화 시키고자 노력했던 관료였으며, 다양한 형상화 기법을 사용해 사행시를 창작하는 뛰어난 작가적 역량을 보여주었다. This paper is to consider the aspects of figuration in 「Sasangrok」, a collection of envoy poetry, written by Dongmyeong Kim Se-ryeom(1593 to 1646). Dongmyeong was a northerner-faction southern bureaucrat, who put much effort into re-building Joseon collapsed by both wars. After visiting Japan as an assistant of the Byeongja envoy group in 1636, he left Haesarok , an envoy diary, and Sasangrok , a collection of envoy poetry. The Byeongja envoy group was the fourth dispatch of envoys after Japanese invasion and unlike the previous dispatch of envoys for repatriating prisoners of war, this was the first official dispatch of envoys, based on the Holy Spirit. During the over 8 month journey of envoys, Kim Se-ryeom wrote more than 200 poems of envoy poetry. His envoy poetry nicely shows a strong vocation as an envoy and a change in consciousness towards Japan. This paper considered the realistic portrayal of customs through detailed observations of Sino-Korean poetry figuration aspects, the use of pictorial images through color terms, and the portrayal of mysterious spaces through Taoistic poetic language. Dongmyeong was a bureaucrat striving to stabilize the nation in danger and showed excellent writer’s capability by embodying the envoy poetry using a variety of poetic techniques.

특집 : 위구르의 역사와 문화 ; 현대 우이구르어의 명사형성접미사 연구

김효정 ( Hyo Joung Kim ) 중앙아시아학회 1998 中央아시아硏究 Vol.3 No.-

錦帶 李家煥 詩文學 一考察

김효정 ( Hyo Joung Kim ) 한국한시학회 2015 韓國漢詩硏究 Vol.23 No.-

錦帶 李家煥(1742~1801)은 18세기 후반의 시인이자 정치인으로 星湖家의 가학을 통하여 학문적·문학적 소양을 쌓았으며, 학문적으로 이익과 정약용을 이어주고 문학적으로 성호가의 문풍을 이학규에게 전수한 인물로 평가받고 있다. 이 글은 이가환이 ‘星湖家’를 넘어서 근기남인 계열 내에서 세대·문단·지역 등을 잇는 고리와 같은 역할을 했음을 그의 시문학 작품을 바탕으로 고찰하여 그의 시문학이 18세기 후반 근기남인 문단 내에서 갖는 의미를 재조명하고자 이루어진 것이다. 갑술환국 이후 실각했던 남인들은 18세기 후반 탕평책의 실시로 다시 정계에 등장하였으나 천주교 문제로 信西派와 攻西派로 나뉘어 점차 분열의 정도가 심화되어 가고 있었다. 또한 근기남인 계열 문단은 전통적인 남인의 문학관인 ‘상고적 재도주의’와 개성을 추구하는 ‘기궤·첨신’의 새로운 문풍으로 나뉘어 시대의 흐름을 반영하고 있었다. 이가환은 근기남인의 대표적인 출사관료로 채제공·이헌경·정범조와 같은 구세대 관료문인들이나 정약용을 중심으로 한 ‘죽란시사’의 젊은 남인 관료들과 함께 시회에 참여하여 세대 간의 소통과 결속을 다지는 연결고리 역할을 한 것으로 생각된다. 또한 이가환은 근기남인의 전통적인 ‘상고적 재도주의’ 문학관과 사실성을 바탕으로 개성의 참된 표현을 추구했던 ‘첨단’의 개성주의 문학관을 모두 지니고 있어 그의 시문학이 당시 근기남인 문단 내에 흐르던 ‘보수’와 ‘첨단’을 연결하고 있음을 보여주고 있다. 그리고 영남남인들과 시·서문·묘갈명 등의 작성을 통해 지속적으로 교유함으로써 근기와 영남 지역을 연결하는 고리역할을 한 것으로 생각된다. 이처럼 이가환은 근기남인 내의 세대와 문단, 지역을 연결하는 고리역할을 함으로써 남인 전체의 결속을 다지려고 노력하였다. Gumdai(錦帶) Lee Ga Hwan(李家煥, 1742~1801) was a poet and politician in late 18th century who built up the scholarly and literature knowledge by the family study of Sungho family(星湖家). He was recognized by the person who connected to Lee Yik(李瀷) and Jung Yak Yong(丁若鏞) academically and handed down the literature style of Sungho family to Lee Hak Kyu(李學逵). This article is to highlight the meaning of Lee Ga Hwan`s poetry in the literary circles of Nam-in in near-capital area(近畿南人) in late 18th century investigating his role as the link to connect the generations, literary circles, locations, etc in the group of Nam-in in near-capital area exceeding Sungho family, based on his poetry works. Lee Ga Hwan was a typical bureaucrat from the beginning in Nam-in in near-capital area, and he was considered to play a role of connection link to strengthen the communication and binding with different generations participating in the poetry club together with young Nam-in officers of ‘Jookranshisa(竹欄詩社)’ that included Jung Yak Yong or other officer writers in older generation such as Chae Je Kong(蔡濟恭), Lee Hun Kyung(李獻慶), and Jung Bum Jo(丁範祖). Also, Lee Ga Hwan had both traditional literature view of ‘Sango Jaedoism(尙古的 載道主義)’ in Nam-in in near-capital area and ‘bizarre·cutting edge of new(奇詭·尖新)’ individualism(個性主義) literature view that pursued the real expression of the individuality based on the realism, so he showed the connection of the ‘conservatism(保守)’ and ‘stage-of-the-art(尖端)’ that prevailed in the literary circles of Nam-in in near-capital area at that time. By continuous exchanges of poems, introductions, tombstone writings, etc with Nam-ins in Youngnam(嶺南南人), he was considered to play a connection link between near-capital area and Youngnam. As such, Lee Ga Hwan made an effort to strengthen the binding of whole Nam-ins by playing a role of link to connect the different generations, literary circles, and locations within Nam-in in near-capital area.

모바일 증강현실 게임의 공간 분석

김효정(Hyo-Joung Kim),성정환(Jung-Hwan Sung) 한국게임학회 2019 한국게임학회 논문지 Vol.19 No.4

본 논문은 증강현실 게임 공간에 대하여 분석하고 기존 게임 공간을 참고하여 모바일 증강현실 게임의 공간에 대한 공간 분석 기준을 제시하고자 한다. 본 연구에서는 기존 게임 공간 분석과 제이슨 제랄드의 개인적, 행동적, 전망적 가상 공간 층위 분류, 가상 공간과 현실 공간의 상호작용성, 그리고 라브로프가 제시한 가상 공간에서 현존감을 결정하는 요인인 몰두, 조작, 탐색을 바탕으로 분류 기준을 제시하고 그에 따른 사례를 분석하였다. 이러한 분석을 통하여 증강현실 게임 공간 분석 기준을 제시하였다는 점에서 의의가 있으며 증강현실 게임 공간에 대한 다층적 연구가 지속되어야 함을 제언한다. This essay analyzes space in augmented reality games, and attempts to offer space analytic standards of mobile augmented reality games in regards to space in existing games. This article proposes categorizing criteria based on the following factors: Analysis of space in existing games, Jason Jerald’s Three Virtual Space Horizon Categories, interaction between virtual world and real world, and Lavroff’s Three deciding factors of reality perception in virtual reality. It is meaningful that the analysis criteria of the Augmented Reality game space is presented through this analysis.

튀르크족의 민담에 나타난 영웅의 특징 - 바라바 튀르크족의「제스테이 묑쾨」민담

김효정(Kim Hyo-Joung) 한국중동학회 2004 韓國 中東 學會 論叢 Vol.25 No.1

  This article aims to investigate the characteristic features of the legendary hero Jestey M?ngk? who appears in a folktale of the Siberian Baraba Turkic people. This folktale contains the shamanistic world view of the Baraba Turkic people and various characteristics of their steppe life. Baraba Turkic, who belongs to the Tatar Turkic people group, was converted to Islam in the 16th century. All though this folktale was collected by Russian Turcologist Radloff in the 19th century, interestingly we can not find any Islamic trace in this. Furthemore this is full of pre-Islamic mythological motifs which are peculiar to Turkic peoples in Central Asia and Siberia, reflecting not only the system of beliefs and traditional worldview of the ancient Turkic. In this folktale, Jestey M?ngk? is described as very shamanistic and typical nomadic hero who is eager to be a warrior.

튀르크 설화 속에 나타난 사슴 모티브 연구

김효정(Kim Hyo-Joung) 한국중동학회 2006 韓國 中東 學會 論叢 Vol.26 No.2

In most traditional folklores and arts throughout the world, The character of the deer motif appears as one of the standard figures. The deer motif began to be expressed as a mythological figure from the Paleolithic (Old Stone Age) period and came into common use as a mythical figure in the Mesolithic Age. And during the Paleolithic the early farmers used the character of the deer motif in their religious consciousness and also in their worldview. In many of the Turkic folklores the deer appears frequently as a common subject. This paper seeks to introduce and study some of the most representative Turkic folklores that contain the deer motif as its subject. Some of the most common themes in the use of the deer motif in Turkic folklores are: ① As an ancestral goddess in Turkic culture ② As an admired animal by Buddha, Allah, and other gods and deities ③ Transformation of man (Buddha) into a deer and vice versa ④ As a deity or as an animal that serves a deity acting as a guide that helps others who are lost on the road. ⑤ As one who possesses magical powers ⑥ Holy human or a shaman riding on a deer ⑦ That ascends to the heavens and turns into a star ⑧ In Turkic folklore figures named as ""deer"" often performing miracles If all the data about Turkic folklores throughout Eurasia can be further studied then even a more detailed peculiarities about it can be discovered. Although the presence of the deer motif is prevalent in Turkic folklore, there is very little mention of the deer in Chinese folklore. At the most, the deer represents wealth and longevity in the Chinese culture. However, throughout the nomadic oral traditions within the Eurasian ethnic groups their identification of the deer is more intimate and fully detailed. And also, within the Islamic culture in Anatolia peninsula (Turkic Oghuz people group) we can continue find the sacredness of the deer motif in Turkic folklore.

튀르크족의 기록에 나타난 ‘텡그리(Tengri)’의 의미

김효정(Kim Hyo-Joung) 한국중동학회 2007 韓國 中東 學會 論叢 Vol.28 No.1

  ‘Tengri’ is the great Sky God among the nomad peoples in Eurasia. The faith in Tengri of ancient Turks, Kok-Turks, was continued, and it was preserved by Altai Turkic peoples to the present time. In the Orkhon stone inscriptions were imprinted the belief of the role of Tengri. The words "Tengri" and "Sky" were synonyms for the ancient Turks. The purpose of this article is to present the meaning of Tengri in recording materials of Turkic Peoples. Tengri means the great Sky God, sky, god, the god of Turk, Budda, and saint in the ancient historical recording materials. Specially, in Irk Bitig written by Uygur alphabets Tengri means also the god of road. After Turkic peoples became Muslims, they were confused Allah with Tengri. In their literatures by written Arabic alphabets, Allah is often described as Allah Tengri. Furthermore, "Tengri" is presented among the Turkic folklores, the creation myth in shamanist Turkic peoples, Yakut or Altai Turkic peoples, and shaman"s prayers of Tuva. In the prayers of the Tuva shaman, shaman prays the great Tengri and (S)he describes himself(herself) as the servant of Tengri. Tengri in the creation myths was religious being in ancient Turks, until now has existed among the Turkic peoples in the shape of shamanism in Eurasia. Therefore, the faith in Tengri are deeply related with religions and cultures of Turkic peoples.

튀르크 설화에 나타난 이슬람의 영향

김효정(Kim, Hyo-Joung) 한국중동학회 2010 韓國 中東 學會 論叢 Vol.30 No.3

Mythology, as time goes, has derivations of the similar motif, being modified by both social changes and one who introduces it, this phenomenon appears too evidently in mythologies of nomadic peoples like Turkic tribes in Eurasia Mythological motifs, which were transmitted from mouth to mouth through history, produced modified versions, by adding new motifs or eliminating some original one Karakhanids among Turkic tribes for the first time accepted Islam religion in the 10th century and followed by the other Turkic tribes in Central Asia As their life and culture were drastically changed after Islamization since the 10th century, their mythologies and folktales also were much affected by the change Ancient Turkic mythologies contained ancient way of thinking, world view and indigenous and original cultural features of ancient Turkic tribes After Islamization, Islamic elements were added to their mythologies and folktales, while non-Islamic eliminated or sometimes replaced by Islamic motifs However, we can still find not a few original symbols and motifs in contemporary Turkic mytholgies.

병자호란 이후 ‘심양(瀋陽)’에 대한 기억의 변이 양상

김효정 ( Kim Hyo Joung ) 우리한문학회 2017 漢文學報 Vol.36 No.-

사람들은 대개 특별한 의미를 지닌 장소를 오랫동안 기억을 한다. 또한 의미를 지닌 장소에 가면 잊혀졌던 기억이 소환되고 다시 회상되기도 한다. 그러나 그 기억은 오랜 시간이 지나면서 망각과 재구의 과정을 거치면서 다른 모습으로 기억되기도 한다. 이 글은 병자호란을 직접 체험한 소현세자와 봉림대군을 비롯한 조선인들에게 심양은 어떤 의미를 지닌 장소로 기억되고 있었는지, 또한 소현세자와 효종 사후 점차 망각되었던 심양이 후대에 어떤 장소로 기억되고 소환되어 나타나는지 그 변이의 양상을 살펴봄으로써 하나의 장소가 세대와 시간을 지나 기억과 망각의 과정을 거쳐 새롭게 재구되는 과정을 고찰하기 위해 이루어진 것이다. 병자호란을 겪은 조선인들에게 ‘심양’은 매우 특별한 의미가 있는 장소이며 잊지 못할 기억을 떠오르게 하는 장소이다. 병자호란의 패배로 인해 심양에 볼모로 끌려가 고통의 세월을 겪었던 소현세자를 비롯한 당대의 조선인들에게 심양은 고통과 치욕의 장소로 기억되었다. 그리고 시간이 지나 청과의 본격적인 교류와 사행이 이루어진 17세기 후반에서 18세기 연행록 속의 심양은 과거의 오욕을 씻고 멸망시켜야 하는 복수의 장소가 아닌 ‘삼학사’와 ‘김상헌’의 절의가 깃든 충절의 장소로 소환되어 나타난다. 그리고 삼학사의 절의와 과거의 뼈아픈 기억을 소환했던 기억들은 과거보다는 현재의 기억에 충실하려는 변화를 보인다. 18세기 연행록의 저자 눈에 비친 심양은 삼학사의 절의가 빛나는 장소일 뿐만 아니라 막강한 대국의 심장부로 번화하고 활기 넘치는 장소로 새롭게 기억되기 시작한다. Mostly, people remember places with special meanings long. Also, forgotten memories are recalled and reminded in some cases when they are in places with their own meanings. However, those memories may be remembered differently through the process of forgetting and reconstructing after a long time. This paper was written to consider the process in which a place is reconstructed anew through the process of remembering and forgetting over generations and over time, by examining which meaning Shenyang(瀋陽) had for Joseon people including Crown Prince Sohyeon and Royal Prince Bonglim, who experienced the Byungja Manchu War in person, and which place Shenyang was in the next generation’s recollection and how it was recalled, although it was forgotten gradually after Crown Prince Sohyeon and King Hyojong died. For Joseon people going through the Byungja Manchu War, ‘Shenyang’ was the place that had a very special meaning and reminded them of a unforgettable memory. Shenyang was remembered as a place of pain and disgrace for Joseon people of the day including Crown Prince Sohyeon, who was taken to Shenyang as a hostage due to the defeat in the Byungja Manchu War and spent painful years there. As times went by, Shenyang was recalled as a place of loyalty to show the fidelity of ‘Samhaksa(三學士)’ and ‘Kim Sang-Heon(金尙憲)’, not a place of revenge to get rid of and collapse shame of the past, in Yeonhaengrok(燕行錄) from the late 17^th century to the 18^th century that full-scale interactions with the Qing Dynasty and speculative behaviors started. Also, the memories reminding them of Samhaksa’s fidelity and the former pain were changed to be faithful to the present rather than to the past. From the perspective of the author of Yeonhaengrok in the 18^th century, Shenyang began to be remembered anew as a place that highlighted the fidelity of Samhaksa, as a heart of a great power, and as a place full of vitality.

木齋 李森煥의 詠物詩 연구

김효정(Kim, Hyo Joung) 고려대학교 한국학연구소 2017 한국학연구 Vol.62 No.-

이 글은 木齋 李森煥(1729~1813)의 영물시를 통해 그의 시세계를 조망하기 위해서 이루어진 것이다. 목재는 星湖 李瀷(1681~1763)의 從孫으로 어려서부터 성호에게서 가학을 직접 사사 받고 이후 貞山 李秉休(1710~1776)의 양자로 입계하여 성호가의 학문을 전승하였다. 목재의 영물시 대부분은 객관적 관찰에 의한 사실적이고 핍진한 외형 묘사가 기본적으로 수행되고 있는 특징을 보인다. 목재의 영물시는 형상화 양상에 따라 3가지로 나누어 살펴볼 수 있다. 첫째는 직관을 통해 대상의 외형을 사실적으로 묘사하는데 중점을 두고 이에 의해 직접적으로 촉발된 감정을 담담하게 그려낸 경우이다. 둘째는 관조를 통해 일어난 사적인 감정을 대상에게 투영하여 토로한 경우이다. 셋째는 목재가 인식한 현실과 이에 대한 대응 의지를 영물을 통해 표출한 경우이다. 목재는 식물과 동물, 자연물과 자연현상, 인공물에 이르기까지 다양한 소재를 영물의 대상으로 삼아 다양한 기법을 사용하여 형상화함으로써 뛰어난 작가적 역량을 보여주었다. This article was written to look into Mokjae Lee Sam-Hwan(1729~1813)’s poetic world, based in his poems on thing. Mokjae is the grandnephew of Seongho Yi Yik(1681~1763). In his childhood, he directly learned the family doctrine from Seongho and after being an adopted son of Jeong-San Lee Byeong-Hyu(1710~1776), he inherited the study of the Seongho family. Most of Mokjae’s poems on thing are fundamentally characterized by realistic and vivid outward description, based on objective observation. Mokjae’s poems on thing are classified into three aspects depending on the imagery types of emotions triggered by objects. The first is the case of realistic description of the object"s through intuition and the emotions directly shaped by it. The second is the case of projective that lay bare the private feelings through contemplation to the object. The third is the case of express the Mokjae"s perception of reality and the will to respond to it through the pottery. Mokjae displayed his own great writing capabilities by using a variety of materials, including plants and animals, natural objects and natural phenomena, and artifacts as mystical creatures and applying different techniques to broad imagery of awareness of reality triggered by internal sentiments and external environments.