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傳承 工藝 技術 用語에 관한 小考 : 慶南 咸陽郡의 징과 목기를 중심으로
정상박 東亞大學校 文科大學 附設 韓國民俗文化硏究所 1980 民俗文化 Vol.2 No.1
The sociolinguistic factors of the technical terms of traditional craft are as follows: Speaker: Professional thchnicians Listener: Co-workers, apprentices, and orderers of product Place: Workshop Purpose: Instruction of working, cooperation of working, transmission of technical skills and explanation on works produced The careful analysis of 69 technical terms in the manufacture of gong and 46 terms in wood-craft in Kyungsang-uamdo province revealed the follows: 1. Most of the trems were native to Korea. 2. Many new terms were formed to copewith the new tools and their production process. 3. Social implication was taken into consideration in word-formation.
오광대와 들놀음 연구 : With Focus on Dialogue Analysis 대사 분석을 중심으로
정상박 東亞大學校 1983 東亞論叢 Vol.20 No.1
In South Kyongsang province of Korea, the traditional mask-dance drama called Ogwangdae (Five Actors) and another kind of mask-dance drama called Dulnorun(Field Play) are performed. Ogwangdae and Dulnorum have been considered the same kind by scholars. I have tried to grasp the reality and nature of the two mask-dance drama from larger segments to smaller ones respectively and comparing both. And I also attempt to settle the question of the distintive features of the two mask-dance drama. The results obtained from the study are as follows; 1. Ogwangdae is performed only on the western side of the Naktong River, and Dulnorum on the eastern side. The western and eastern sides of the river have different cultural backgrounds as they were, during the late Yi-dynasty, different provinces. The fact that Ogwangdae and Dulnorum have different sociocultural backgrounds supports the idea that the two can be divided into two different categories. The "Dul" in Dulnorum means "cultivated field", and the name Dulnorum originates from the agricultural rite performed in the field. The name Ogwangdae takes its origin from the play performed by five actors which constitutes Scene I of the present play; that is, Obang Sinjang-mu (the dance of the divine generals of the five directions). As the name Ogwangdae and Dulnorum have different origins, the two can be divided into two different kinds. 2. Ogwangdae and Dulnorum were compared through research and analysis of the events and plays done before and after the part of mask-dance drama. In Dulnorum, before the mask-dance drama, the performers pray to the spirits of village shrine, perform Kilnori (March of the performers), in which a fancy procession parades from the fields into the village, and dance Dotbegi-chumnori (Group dance of Dotbegi), in which the village people and players dance together in the village; after the mask-dance drama, they pray for the safety and well-being of the village while burning the masks. The structure of Dulnorum is such that they bring the guardian deity of the village along from the village shrine, invite the deity of agriculture through Kilnori, ask the God in the heaven to come down through Dotbegi-chumnori, perform a mask-dance so as to delight all the deities, and finally send them back by burning masks. 3. The mask-dance part in Dulnorum and Ogwangdae is composed of several scenes which are independent dramas with different themes. Even though the scenes seem to be haphazardly and superficially constructed, an ordered construction has been detected. In the typical construction, the scenes of ritual events are placed in the initial or final parts, while scenes full of dramatic action are placed in the middle. When this structure was transformed, the order of the scenes was not changed, but the scenes of ritual events in the initial or final parts were dropped. Many of the unchanged, typical kinds of scenes are found in Ogwangdae, but Kulnorum was transformed and has a reduced number of scenes. 4. The internal structure of each scene which can be regarded as an independent drama was analyzed. The analysis of the scenes of Malttugi-Yangban(Servant and Nobleman) and Halmi-Yonggam (Old Woman and Her Husband) which have the greatest number of dialogues and are most dramatic, shows that between the utterances of each character there is a close connection and a series of utterances are cut off with everybody dancing. If we consider a series of utterance as a unit, the relationship between the units can be said to be repetitive. And the construction of a larger meaning unit which comprises several of the above mentioned units shows some kind of cause and effect among events. The scenes of mask-dance dramas in South Kyongsang province have a similar construction and formula to each other, and it can be found out that there are close resemblances among Ogwangdaes and also among Dulnorums. 5. I investigated the manner of transmission of the dialogues. If an utterance of a character is short, it is either directive or interrogative; while, if it is long, there appears first a long set phrase describing the scenes of events or producing a dramatic atmosphere, and, after that, a short phrase appears which is either directive or interrogative. The initial parts of the dialogues have been well preserved and transmitted without change, but the latter parts have undergone changes and expressed the zeitgeist, social consciousness and aesthetic feeling of the players of the time. The changes in the dialogues are mostly due to the ignorance of the meanings of the phrases on the part of the players. And the changes were not arbitrary but were phonetically or semantically similar to the original expressions.