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정응수(Chung, Eung-Soo) 한국일본문화학회 2016 日本文化學報 Vol.0 No.71
The present paper, with a focus on Yeonpyeongchoryeonguimodo, discusses the connection between Jeongdoryeong and Zhèng Chénggōng, who campaigned against the Cheong Dynasty and for the Myeong Dynasty. Yeonpyeongchoryeonguimodo depicts the early childhood of Zhèng Chénggōng living with his mother in Hirado, and its author is unknown. It is assumed that it was painted by a Korean in the late 18th century, as Choi Book"s trip to Japan was recognized in the work. At that time, J eonggamrok was very popular in the Chosun Dynasty. Zhèng Chénggōng, whose last name happened to be the same as J eongdoryeong, had a base on the island in the south(Taiwan), and also very strong military power. That is, he possessed all the qualifications to be considered as the naval True Man, who was expected to raise troops in the south, destroy the Chosun Dynasty and construct a new Kingdom. Thus, it can be interpreted in such a way that Yeonpyeongchoryeonguimodo depicted the early childhood, not adulthood, of Zhèng Chénggōng in order to imply the messiah Jeongdoryeong.
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정응수 동북아시아문화학회 2020 동북아 문화연구 Vol.1 No.65
This paper intends to identify the stylistic characteristics of translation in Kim Dongin’s translated novel Last Afternoon. First of all, one feature of his translation is his use of various punctuation marks. The translator made much use of such marks as commas, parentheses, ellipses, equal signs, lines and emphatic dots, which were not found in Mori Ogai’s Japanese version. Second, he expressed foreign words with a variety of ways: Chinese characters as in ‘英國’, English alphabets as in ‘Adonis’, Korean alphabets as in ‘키쓰’ or emphatic dots as in ‘타 • 트 • 라 • ’ . It is somewhat true that some of these ways can be traced back to Japanese influence. Still, it is also true that his use of these methods was very subjective. In his translation, he did not simply put Japanese version into a corresponding Korean version. For example, he combined two sentences into one sentence one some occasions. He also utilized other ways such as inverting a sentence, using an ellipsis, or making a simple sentence a longer one. Also, it can be easily seen that he tried to search for proper words and expressions for his translation. The contrast between ‘uncommon handsome man’ and ‘uncommon ugly man’, and a set of 6 different Korean words for ‘goteishu(御亭主)’ would exemplify his efforts to come up with adequate words in his translation. The novel titled Last Afternoon was adapted to the novel titled Picture and Letter in 1934. It is interesting that the title of the adapted novel was Picture and Letter. In fact, a picture and a letter were used in the novel Last Afternoon as the cricial tools that changed the relationship between the man and the woman. This also had an impact on the novel Woman published in 1930. That is, a letter in the novel Woman played an important role for the hero to break up with Ms. Kim Okyep.
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정응수(鄭?洙) 한국일본문화학회 2018 日本文化學報 Vol.0 No.76
The current article intends to identify the relationship between Jeongdoryeong, who was considered as a messiah in the Chosun Dynasty, and the family of Zhèng Chénggōng (1624-1662), who campaigned against the Cheong Dynasty in the Myong-Cheong transition period. Of the three generations of the family, Zhèng Chénggōng, Zhèng Jīng-Zhèng and Kè Shuǎng, Zhèng Jīng received the most attention from Chosun. He was already considered as “Jeong True Man,” one who would destroy Chosun and build a new country, partly because the popular prophecy of Dosun foretold that a man named Jeong would rule over Chosun. Zhèng Kè Shuǎng, in turn, was called “Naval True Man,” one who would raise troops in an island in the south, and destroy Chosun and build a new kingdom, while Zhèng Chénggōng was recognized as Jeongdoryeong, a representative messiah in the 18<SUP>th</SUP> and 19<SUP>th</SUP> centuries. These three individuals were all perceived as messiahs, although they were called by slightly different names, such as “Jeong True Man,” “Naval True Man” or “Jeongdoryeong,” respectively. In other words, the family of Zhèng Chénggōng played the role of messiah from the 17<SUP>th</SUP> through the 19<SUP>th</SUP> centuries.
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정응수 남서울대학교 1999 남서울대학교 논문집 Vol.5 No.-
The current paper deals with how Uchimura Kancho's view of war had changed. Before the China-Japan war(1894∼1895) broke out, Uchimura used to support the necessity of good-will wars. However, the peace negotiations between the countries caused his view of war to change. It can be said that at first he was an absolute pacifist. His philosophy can be characterized by the slogan that under any circumstances will I use a sword. Consequently, evasion of military service became a social problem. He reinterpreted his antiwar philosophy: it does not necessarily mean that he is against liability for military service. And he even claimed during the Russia-Japan war(1904∼1905) that wars can only stopped by pacifists's dying in war. That claim became the focus of much criticism. Still, it is certain that he seemed to believe that we can do away with wars due to much effort of the mankind. The crucial turning point for his view of war came along with World War 1, when many Christian countries fought each other, killing and being killed by other Christians. He came to believe that the advent of Jesus Christ is the only way to stop wars. He has changed from a religious (or conscientious) Christian to a real Christian.
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일본 문인들이 바라본 최승희 : 기쿠오카 구리(菊岡久利)와 사이토 모키치(斎藤茂吉)를 중심으로
정응수 남서울대학교 2005 남서울대학교 논문집 Vol.11 No.2
本論文は菊岡久利の 「舞臺の崔承喜」 と재藤茂吉の 「舞踊」 を中心にして、 植民地時代の日本の文人たちが崔承喜をざのようにみていたを調べたものでぁゐ。 まず、 茂吉は彼女の舞踊から 「朝鮮の光」 を발見した。 もちろん、 彼女の踊りから 「朝鮮的なもの」 を발見したのは、 彼が最初ではない。 はやくも川端康成が彼女のダソスから朝鮮民族の 「におい」 を嗅いだが、 以後、 日本文人の大多數が彼女の舞踊から 「朝鮮的なもの」 を感じていた。 確かに彼女の踊りには 「朝鮮の匂ぃ」 が强かった。 菊岡も彼女の舞踊を見ながら朝鮮と朝鮮の歷史、 そして朝鮮人の仲間を思ぃ出した。 しかしながら、 菊岡はそれだけで滿足するとができなかった。 彼は彼女に朝鮮の火を燃やす心を要求してぃた。 すなわち、 彼は彼女の朝鮮舞踊が喚起させる朝鮮的な匂ぃに滿足できず、 より强烈な朝鮮人としての 「염の胸」 を願っていたのである。 このように、 崔承喜の踊りに대する茂吉と菊岡の評가は微妙に違う。 だが、 どちらにしても、 金違壽が 「彼女が存在するということ自体が、 ぼくらには一つの希望でした」 といつたように、 崔承喜が당時日本の植民統治の下で呻いていた朝鮮人たちに民族的な自負心を持たせた存在であったことに변りはない。
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