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      • KCI등재

        辰國·辰王 기록과 ‘辰'의 명칭

        전진국(Jeon, Jin-kook) 한국고대사탐구학회 2017 한국고대사탐구 Vol.27 No.-

        이 글에서는 진국과 진왕이 등장하는 기록을 검토하여 기록의 사실성과 대상의 실상을 살펴보았다. 그리고 그 논의를 바탕으로 ‘辰'의 의미와 명칭 기원을 추정하였다. 진국이 처음 등장하는 기록은 『한서』 조선전인데 그 기사는 사실의 역사를 수록한 것이라 보기 어렵다. 潢이 위만조선을 침공하는 명분을 제공하고 자국의 위엄을 높이기 위한 찬자의 윤문이라 판단한다. 『위략』에서 진국은 위만조선 주민이 옮겨간 지역이고, 『삼국지』에서는 진한의 과거라 하였다. 진한은 위만조선 주민이 옮겨 오면서 형성하였다. 이상의 기록을 종합해 보면, 진국은 위만조선 유민의 남하에 의해 진한이 형성되기 이전으로, 오늘날의 한반도 중부 지역에 해당한다. 진왕은 『후한서』와 『삼국지』에만 등장한다. 『후한서』에서 진왕은 삼한 전체의 왕이라 하였는데, 이는 後潢 때의 사정을 반영한 것이라 보기 어렵다. 『삼국지』에서 마한 목지국의 진왕과 진한 12국의 진왕은 각각 다른 존재이다. 진한 12국의 진왕은 원문을 ‘진한왕'으로 바꾸어 볼 수 없다. 별개의 실체를 똑같이 진왕으로 표기한 이유는 ‘辰'이라는 명칭의 의미를 파악해 봄으로써 짐작해 볼 수 있다. 진국과 진왕은 실존의 명칭이라 보기 어렵다. 史家에 의해 작위적으로 쓰인 표현이며 그 기사 자체 또한 사실의 내용으로 신뢰하기 어려운 경우가 많다. 그러나 그 속에서 ‘辰'의 명칭에 담긴 의미를 파악할 수 있다. ‘辰'의 명칭은 삼한 지역 전체를 포괄하는 전통적인 대명사의 성격을 지닌다. 그러한 특성을 통해서 보면, 고대 중국인들이 동쪽의 먼 번방을 辰(震)으로 표기할 수 있다는 문자에 대한 관념에서 비롯되었다고 판단한다. This study examines the meaning of ‘Jin(辰)'and its origin through the review of historical records about the Jin state(辰國) and the king of Jin(辰王), verifying the facts and reality of the records. The first record of the Jin state was written in Hanshu(漢書) Joseon chapter(朝鮮傳). But this record is considered the manipulated sentence to provide the reason for Han(漢)"s invasion of the Wiman Joseon(衛滿朝鮮) and to increase the dignity of his country. In the Weilue(魏略), the Jin state refers to the area where Wiman Joseon residents moved. According to Sanguozhi(三國志), the Jinhan(辰韓) was called the Jin state in the past because the Wiman Joseon residents had formed Jinhan after Jin state. In this context, the Jin state refered to the central region of the Korean peninsula. The records of king of Jin appears only in the Sanguozhi and the Houhanshu(後漢書). In the Houhanshu, the king of jin is called the king of entire Samhan(三韓), which does not seem to have reflected the situation of the Eastern Han(後漢) period. In the Sanguozhi, the king of Jin in the state of the Mokchi(目支國) and the king of Jin in the Jinhan(辰韓) of twelve countries indicate different kings although they have same name. The king of Jin in the Jinhan of twelve countries does not mean the King of Jinhan(辰韓王). The reason that this two different kings were represented as same name can be understood by examining the meaning of the name "Jin(辰)". As a conclusion, the name ‘Jin state' and ‘the king of Jin' in the records did not indicate real state or king. These expressions were made by history writer for certain reason, and it is hard to think the records were historical fact. Nevertheless, through these records it is possible to understand the meaning contained in the name of "Jin". There was a common perception of "Jin", which refers to the Samhan(三韓) area. This perception originated from the notion that ancient Chinese used the word "Jin" when they referred to the eastern region.

      • KCI등재

        고려 태조대 鎭 설치에 대한 재검토 : 禮山鎭 · 神光鎭을 중심으로

        윤경진(Yoon Kyeong-jin) 고려사학회 2010 한국사학보 Vol.- No.40

        In this article, the Jin(鎭) units such as Yesan-jin(禮山鎭) and Shin'gwang-jin(神光鎭(Nil'eo-jin(?於鎭), which were established by King Taejo of the Goryeo dynasty, are examined from a new perspective. Previous studies considered these Yesan-jin and Shin'gwang-jin units to have been at the Yanggwang-do(楊廣道) province's Yesan-hyeon(禮山縣) area and the Gyeongsang-do(慶尙道) province's Shin'gwang-hyeon(神光縣) area. Yet certain facts, such as the situation in which those two units were installed, the exact time point when Goryeo first took control of the areas, characteristics of the regions where they were installed, and things that were done when the fortresses were built, all suggest that those units were never located in those previously suggested areas. Instead, these two units seem to have actually been at the Buk-gye(世界) region's Yong'gang-hyeon(龍岡縣) area and the Seo'hae-do(西海道) province's Shin'eun-hyeon(新恩縣), area. Yesan-jin was first built when the Seo'gyeong(西江) capital was being constructed, and the installation of this unit marked the beginning of the Goryeo dynasty's march toward the North. In the meantime, Shin'gwang-jin was built after a trunk line connecting the Gae'gyeong capital, the Su'an-hyeon(遂安縣) area and the Seo'gyeong capital was finally established. And there are more cases that should be reexamined in a similar way. Yeonsan-jin(燕山鎭) seems to have been not at the Yeonsan-gun (燕山郡) area but at the Tangjeong-gun(湯井郡) area, while the Gun'ak(軍岳) area which appears in the history of Yong'gang-hyeon seems to have originally been a Hyang(鄕) village located in the Gangseo-hyeon(江西縣) area.

      • KCI등재

        자크 랑시에르의 "문학의 정치"의 재맥락화: 진은영의 문제제기를 중심으로

        정의진 ( Eui Jin Jung ) 국제비교한국학회 2015 비교한국학 Comparative Korean Studies Vol.23 No.2

        진은영이 『창작과비평』 2008년 겨울호에 발표한 「감각적인 것의 분배: 2000년대의 시에 대하여」가 한국문단에 불러 일으킨 파장은 컸으며, 이로부터 다양한 논의들이 촉발되었다. 이 글에서 진은영은 프랑스의 정치 학자이자 미학자인 자크 랑시에르의 『감각적인 것의 재분배: 미학과 정치』를 주로 참조하였다. 참조의 핵심은 문학과 정치의 관계를 새롭게 사고하는 것이었다. 이후로도 진은영은 시인의 현실참여와 시의 예술성 사이의 이분 법적인 대립관계를 생산적인 상호작용 관계로 전화시킬 수 있는 새로운 사고들을 랑시에르에게서 길어왔다. 문학예술적인 창조성이 사회적인 관습에 입각한 감각과 사고, 나아가 사회의 정치적인 지형도를 새롭게 재편해 나가는 기획과 실천을 위하여, 진은영은 ‘예술의 미학적인 체제'의 지속적인 재구성이라는 랑시에르의 입론을 한국적인 상황에서 재맥락화하는 다양한 실천을 수행하였다. 문인들이 용산참사, 두리반 등의 상황에 적극적으로 개입하면서도, 사건의 현장에서 소위 사회성과 예술성의 이분법을 넘나드는 다양한 경향의 시와 텍스트들을 공유하는 작업이 그 한 예이다. 시와 문학이 유동적이고 복합적인 사회현실에 지속적인 개방성을 유지하고, 이를 통해 시인 스스로의 감수성에 새로운 예술적, 정치적 계기를 부여하는 것, 나아가 문학과 정치의 관계를 새로운 지평속에서 재설정하고자 하는 것이 진은영의 입장이고 실천이었다. 사회경제적 맥락속에서 진은영의 작업을 되짚어 볼 때, 진은영의 작업은 2008년 촛불시위, 미국의 서브프라임 모기지론의 붕괴와 리먼브러더스 파산을 통해 확산된 전세계적 금융위기, 2009년 초입의 용산사태 등 일련의 국내외적 상황이 한국사회와 현재의 자본주의 경제체제를 근본적으로 새롭게 사고해야 할 필요성과 맞물려 있었다. 이러한 상황은 한국문학사의 현대적 전개과정속에서 강력하게 부상하였다가 1990년대에 접어들어 급속하게 퇴조한 경향, 즉 변혁지향적 문학의 기억을 새롭게 환기하게 되는 계기이기도 하였다. 그러나 이 기억은 문학을 변혁운동의 도구로 간주하는 사고와 실천의 폐해와도 맞물려 있다. 추상적인 사회과학적 관점에서 규정된 구조적인 사회경제적 모순에 대응하고자 한 문학적 실천은, 보다 다양하고 복합적이며 이질적인 상황의 공존과 상호침투라는 실제 사회의 현실을 단순화하기 일쑤였다. 사회경제적 토대 내지 구조적인 모순에 집착하기 보다는, 이의 극복을 위해서라도 문학예술의 창조적이고 주체적인 대응을 강조하는 자크 랑시에르의 입론을 진은영이 적극 수용하였던 이유를 이러한 맥락에서 이해할 수 있을 것이다. 결국 랑시에르에게서도 진은영에게서도, 프랑스와 한국이라는 서로 다른 사회역사적 맥락에도 불구하고 핵심은 가능성에 대한 탐구와 실천이다. 미리 결정된 진리는 없다라는 랑시에르의근본 관점에 진은영은 충실하다. 따라서 진은영의 랑시에르에 대한 이해를 이론적 정확성의 관점에서 비판적으로 검토하는 작업은, 필요하고 유의미하기는 하지만 한계를 가진다. 문제의 핵심은 가능성의 탐구이고 실천이기 때문이다. Eunyoung Jin`s “The Re-distribution of the Sensible: On Poetry of the 2000s,” which was published in the journal “Creation and Criticism (Winter, 2008)” caused a great stir in Korean literature and triggered various follow-up discussions. In this piece, Eunyoung Jin made references mostly from “Politics of Aesthetics: The Distribution of the Sensible” by Jacques Ranciere, a French scholar of politics and aesthetics. Her referential focus was to newly consider the relationship between literature and politics. Even afterwards, Eunyoung Jin had drawn from Ranciere new thoughts that could turn a dichotomously contrasting relationship between a poet's participation in reality and poetry's artistic value into a (more) productive interactional relationship. In order to plan and practice a reformation of senses and thoughts whose literary and artistic creativity are based on social customs and on a larger scale, a new reformation of the society's political geography, Eunyong Jin underwent various activities to re-contextualize Ranciere's argument on constant reformation of “The Aesthetic Regime of Art” for situations in Korea. Writers who actively engaged in situations such as the Yongsan disaster and the Duriban struggle, while choosing to share various poetic tendencies and texts that hover between a so-called dichotomy of art and society are one good example. Ensuring that poetry and literature will maintain a continuous openness toward fluid and complex realities of the society, thereby giving the sensibility of a poet himor herself new artistic and political motives and reset the relationship between literature and politics above a new horizon was the position held by and practiced by Eunyoung Jin. Looking back at Eunyoung Jin's work from a socio-economic context, her work is interlocked with the need to fundamentally change the way of thinking in respect of Korean society and the current economic system based on capitalism and a series of domestic and foreign situations such as the 2008 Candlelight Protest (in South Korea), the Financial crisis of 2008 that originated in the U.S. subprime mortgage crisis and the bankruptcy of Lehman Brothers and later spread worldwide and the Yongsan disaster in the beginning of 2009. These situations provided an opportunity to newly refresh in mind the Korean literature's history of rapid advancement along with the modernization process of and also of rapid decline in the 1990s, i.e., the memory of literature`s revolutionary tendency. However, this memory is also connected with the evils of thought and practice that treat literature as a tool for revolutionary movement(s). Literary practice to confront the socio-economic contradiction that was structural and fixed from an abstract social-scientific perspective often simplified the reality of society where more diverse, complex and foreign situations coexisted and interpenetrated one another. In this regard, the reason Eunyoung Jin actively accepted Jacques Ranciere's argument that emphasized the independent and creative confrontation of literary works, at least to overcome the abovementioned issue, rather than obsessing over the socio-economic foundation and the structural contradiction can be understood. In the end, regardless of the different socio-economic contexts between France and Korea, (it is clear that) the main idea for both Jacques Ranciere and Eunyoung Jin is the study and practice of possibilities. Eunyoung Jin is faithful to Ranciere's fundamental principle that there is no pre-determined truth. Therefore, although the task of critically reviewing Eunyoung Jin`s understanding of Ranciere from a perspective of theoretical accuracy is necessary and has meaning, but is not without limitations as the focus of the problem is the study and practice of possibilities.

      • KCI등재

        진우촌 희곡 연구

        윤진현(Youn, Jin-Heon) 인천대학교 인천학연구원 2005 인천학연구 Vol.4 No.-

        Jin Jong-heok who is called Woo-chon(雨村), is a dramatist who took the rostrum in 1923 with announcing [Reformation] and [Withering the rose of Sharon] in Dong-a Daily Newspaper. Also he created [the Last day of Old family], [the time of Rising the Tide], [the Operation of Brains], and [Belief]. He is Jin Hak-mun's the grandson of a cousin. Jin Hak-mun who is called Sun-seong(瞬星), had strong influence in the press of the rule of Japanese imperialism and he also found [Dong-myeong], and [Si-dae Daily Newspaper] with Choi Nam-seon. So Jin Woo-chon took the rostrum magnificently under Jin Hak-mun's support. Also Jin Woo-chon organized ‘Inbai club', ‘Useong club', ‘Jemulpo young mens' association' and ‘Chilmyeon club' in In-cheon and published [the Essay Period] which is the first literary magazine in In-cheon. Jin Woo-chon, however, didn't activity of literary art after 1929. He reopened activity of writing in 1938 with organizing of ‘Romantic Theater(낭만좌)', but he mainly performed drama in translation and dramatization, or historical drama. After the restoration of independence, he gained interest of the republic of literary critics for the first time by [Nostalgia([the Operation of Brains])] which presented in Freedom Theater. Jin Woo-chon, however, activated different from Freedom Theater which had joined Korean Proletarian Drama Union. He participated in Korean Literary Man Society. Also he was related to Drama Art Society which reorganized after the restoration of independence and Hyundai Theater which is pro-Japanese theater. In short, he didn't think an ideology as an overriding value. Idea of His works continued on the critical mind of Korean literary history in 1920's. His principal characters who studied modern education, called the subject of new age. From that, it elicited ‘modern education' and ‘free love' as main keyword of 1920's. ‘Free Love' as pursuit of true love, was able to exist through modern education that was able to decide independently. It had rational external but even so it was very subjective and unrealistic. Jin Woo-chon's works are consistently analyzed in those quality of early modern literature. In [Reformation] and [Withering the rose of Sharon], main characters studied modern education and appeared as saviour. Also ‘Mrs. Kim' who decided independently against marital liaison in [the Last day of Old family], was changed to be ‘New Women' through studying modern education and it expressed a chignon and shoes. From those imagination of modern subject, it could be explained for yearning of true love and unrealistic romanticism in [the time of Rising the Tide] and [Belief].

      • KCI등재

        진성기의 ‘제주민속총서(濟州民俗叢書)' 고찰

        최낙진(Choi Nak-Jin) 한국출판학회 2008 한국출판학연구 Vol.34 No.1

        '스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.

        이 논문은 진성기의 제주도 관련 60 여 권의 책 중 ‘제주민속총서(濟州民俗叢書)'로 명명된 책 28권이 갖는 총서로서의 특징과 출판학적 의미에 대하여 고찰하였다. 진성기의 ‘제주민속총서'는 전형적인 ‘가총(家叢 )'에 해당한다. 이 총서는 1965년 『남국의 신화』를 시작으로 2008년 『제주도 옛말사전』까지 40년 넘게 진성기 개인에 의해서 저술되고 있다. 총서는 보통 거대 자본과 전문가집단을 동원할 수 있는 대규모 출판사에서나 가능한 출판형태임을 감안하여 볼 때 진성기의 ‘제주민속총서'는 한국 출판사에서 그 유례를 찾기 힘든 사례라고 하겠다. 이 총서에 나타난 연구방법론은 ‘캐어 모음'이라 할 수 있다. 진성기는 1백 50여 회 이상 제주도 곳곳의 답사조사와 800여 명 가까운 전승자(傳乘者)를 만나 발굴하고 채집해낸 민속자료들을 분류하고 해석해 내었다. 진성기는 무형인 민속자원은 캐내어 모으지 않으면 사라져버리거나 원형이 변형되어 버린다고 보았기 때문에 시급히 캐내어 모으는 일에 전념을 일생을 바쳐 왔다. 그의 이러한 자세는 ‘제주민속총서' 연구방법론으로 자리매김 되었다고 할 수 있다. 또한 이 총서에서 진성기는 제주민속컨텐츠를 제주문화의 자주성과 근원성을 밝혀주는 것으로 규정하면서도 보편적인 인류문화사 측면에서 범세계적인 가치로 인식하고 있다. 예를 들면 진성기는 제주 신화와 고대 희랍신화를 견주어 동가성을 부여하고 있는 것이다. 진성기의 ‘제주민속총서'에는 제주민속에 관한 모든 자료들이 망라되어 있다 할 수 있다. 이 총서는 석주명의 ‘제주도총서(濟州島叢書)'마찬가지로 ‘도너 리서치(donor research)'로서 제주도학의 기초 자료를 제공하고 있다고 할 수 있으며, 제주도학과 관련된 모든 학문 분야에서 활용될 가능성을 열어놓았다고 할 수 있다. 진성기의 ‘제주민속총서'는 제주문화의 원형을 고스란히 보존하고 있는 소중한 문화적 유산에 해당한다. This study examined the characteristics and meaning of the publication of the Series of Jeju"s Folk Customs (Series of Studies of Jeju Island) as a 28-book series, among the 60 Jeju Island-related books written by Jin Seonggi. The Series of Jeju"s Folk Customs by Jin Seonggi is a typical serial book. This series was written by Jin Seonggi for over 40 years, beginning from the 『Myth of a Southern Country』 published in 1965 and ending at 『Dictionary of Jeju"s old language』 in 2008. Considering that a series of books is generally published by large publication companies, which can mobilize large amounts of capital and group of experts, Jin Seonggi"s the Series of Jeju"s Folk Customs is truly a case that is unmatched in Korean publication history. The research methodology found in this series can be regarded as ‘exploration and collection'. Jin Seonggi classified and analyzed folk-related data he had gathered as he visited and surveyed every corner of Jeju Island for more than 150 times and met more than 800 or so folk people. As Jin Seongi thought intangible folk resources disappear or the origins are changed if they are explored and collected, he devoted his entire life to the exploration and collection of these resources. As such it can be said that his attitude has become the research methodology of the Series of Jeju"s Folk Customs. Also, Jin Seonggi said that the folk contents of Jeju are the source of examination of the independence and origin of Jeju"s culture in this series and recognize them as having pan-international value with respect to the common cultural history of the human race. For example, Jin Seongi endows the same value to the myths of Jeju to the ancient Greek myths. It can be said that Jin Seonggi"s the Series of Jeju"s Folk Customs includes all the data related to Jeju"s folk customs. This series is a ‘donor research' like the Series of Jeju Island by Seok Junyoung and provides basic data for the study of Jeju Island and it is open to be utilized in all fields of study related to the study of Jeju Island. Jin Seonggi"s the Series of Jeju"s Folk Customs is a precious cultural heritage that preserves the origin of Jeju"s cultural treasures as they are.

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        노백헌 정재규의 주리적 심학의 형성 과정 - 한주학단과의 교유를 중심으로 -

        김낙진 ( Kim Nak-jin ) 한국철학사연구회 2021 한국 철학논집 Vol.0 No.68

        기정진의 3대 고제 중 한 사람으로 평가되는 정재규는 이이의 이기론을 주기적으로 해석한 전통에 반대하고 주리론적 해석을 제창하였으나, 여전히 이이의 주기철학이 주력했던 극기의 정신에 충실하던 기정진의 가르침을 받았다. 또 이진상 및 그의 문인들과 교유하면서 주리 철학의 영향도 받았다. 이진상과 기정진의 학문은 이황과 이이에게로 연원이 소급되는 것이었기에, 두 전통 있는 학문정신을 결합한 것이 그의 학문이다. 그의 학문은 역동적인 과정의 산물임을 가정하고, 본고는 성립 과정을 해명하는 데 목표를 둔다. Ⅱ장에서는 명덕 논의에 있던 퇴계학과 이진상, 기정진의 견해 차이를 경험했던 정재규의 고뇌를 짐작해 본다. Ⅲ장에서는 서신 토론을 통해 이진상이 그에게 피력했던 지각론의 내용을 살핀다. Ⅳ장에서는 이진상의 학설을 수용하면서도 기정진의 학문정신을 결합하여 새롭게 사상의 체계를 가다듬었음을 밝힌다. Ⅴ장에서는 그런 결합이 지닌 철학적, 시대적 의미를 추정해 본다. One of Ki Jeong-jin's three great disciples was Jeong Jae-gyu. He received the teaching of Ki Jeong-jin, who was faithful to the spirit contained in Yi I's Juki philosophy. In addition, he also was influenced by the philosophy of Juri while interacting with Yi Jin-sang and his students. Because the scholarships of Yi Jin-sang and Ki Jeong-jin were traced back to Yi Hwang and Yi I, he establishes new mind philosophy, which combines these two contradictory traditions. This paper assumes that his scholarship was the product of a dynamic process, and aims to explain the formation process. In Chapter Ⅱ, I guess Jeong Jae-gyu's agony. It is presumed that he was troubled among several theories in illustrious virtue theory. In Chapter Ⅲ, I explain the theory of perception that Yi Jin-sang revealed toward him. In Chapter Ⅳ, I explain that while accepting the theory of Yi Jin-sang, he did not abandon the academic spirit of Ki Jeong-jin. In Chapter Ⅴ, I estimated the philosophical and periodic meaning of such a combination.

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        1630년대 심양 사행일기의 면모 -<심양사행일기>와 <심양왕환일기>를 중심으로

        신해진 ( Hae Jin Shin ) 택민국학연구원 2015 국학연구론총 Vol.0 No.16

        선약해(宣若海)의 <심양사행일기(瀋陽使行日記)>와 위정철(魏廷喆)의 <심양왕환일기(瀋陽往還日記)>의 연구를 통해 1630년대 심양 사행일기의 구체적 면모와 전반적특징을 살피고자 하였다. <심양사행일기>는 1630년 선약해가 위문사(慰問使)로서, <심양왕환일기>는 1631년 위정철이 회답사(回答使)로서 심양에 다녀온 일기이다. 둘다 사신으로서 공식 임무를 수행한 일지이자, 중원의 정세 정탐보고서이기도 하다. 먼저, 사신으로서 공식 임무 수행 과정에서는 공격적인 불손한 후금인들을 상대하며 목숨을 내놓고 임무를 수행하는 사신의 모습을 만날 수 있었다. 선약해는 ‘가도(가島)의 명군에게 쌀 제공 여부'를 놓고 집중적으로 추궁을 당하면서 또한 ‘변발한 사람을 쇄환하는 일, 후금의 잠상(潛商)들을 정벌한 일, 군사를 빌려주는 일' 등에 대해 갈등과 마찰을 빚는 가운데 조선의 국서 전달 및 후금의 분노를 달래는 임무를 수행하였다. 반면, 위정철은 ‘가도의 변란 뒤에 일어날 상황'에 대한 관심을 갖고 있으면서 ‘예물의 감소에 대해 불만'을 품고 있으며 ‘변발한 사람의 쇄환'을 요구하는 후금에게 당당하게 대응하기도 하고 옹색한 사정을 들어 달래기도 하고 어쩔 수 없이 요구를 들어주기도하면서 조선의 국서 및 예물을 전달하는 임무를 수행하였다. 게다가 위정철은 후금으로부터 대금을 받고 약재(藥材)을 거래하기도 하고, 후금에 귀순한 조선인의 쇄환을 요구하기도 하였다. 하지만 둘 다 후금의 회답국서를 받지 못한 채 귀국해야 했다. 다음으로, 다양한 방법으로 명나라와 후금의 정세 등을 정탐한 첩보의 구체적 양상을 알 수 있었다. 뇌물을 주고 호인을 매수하기도 하고, 길에서 만난 농부에게 은근슬쩍 돌려 묻기도 하고, 호인들끼리 하는 말을 엿듣기도 하여 얻은 정보를 빠짐없이 기록하고 있다. 뿐만 아니라, 포로로 잡혀간 조선인들, 조선에서 죄를 짓고 후금에 투항한 자들의 근황에도 촉각을 세우고 있다. 향후 조선의 정치적 외교적 행보를 결정하는데 중요한 단초를 마련하고자 명과 후금의 정세를 상세하게 기록하고자 한 것이다. 그리고 <심양사행일기>와 <심양왕환일기>는 모두 후금의 차사들과의 대화를 그대로 옮겨놓음으로써 사신들의 고충과 노력에 대한 형상화를 극대화할 수 있었고, 포로조선인 및 후금인들과의 대화나 제보를 그대로 옮겨놓음으로써 첩보의 신빙성을 높일수 있었으니, 이는 사실성을 확보에도 기여하는 것이어서 실기로서 그 가치가 인정된다 하겠다. This paper studies Seon Yak-hae(宣若海)``s <Simyang sahaeng ilgi> (Consolation Messenger``s Diary about Shenyang Travel), and Wi Jeong-cheol (魏廷喆)``s <Simyang wanghwan ilgi> (Reconciliation Messenger``s Diary of Shenyang Travel) to examine Simyang sahaeng ilgi in the 1630s. <Simyang sahaeng ilgi> was written in 1630 by Seon Yak-hae after he visited Simyang as a consolation messenger, and <Simyang wanghwan ilgi> was written in 1631 by Wi Jeong-cheol after he visited Simyang as a reconciliation messenger. Both are diaries on official missions and intelligence reports on China at the same time. Seon Yak-hae was intensively questioned about whether Joseon(朝鮮) provided rice to Ming(明) troops in Gado(가島), and faced conflicts and confrontations over the repatriation of pigtailed people, subjugation of Later Jin (後金) smugglers(潛商), and the lending of troops, and yet carried out his missions of delivering Joseon``s credentials and appeasing Later Jin``s wrath. On the other hand, Wi Jeong-cheol boldly responded to Later Jin which was deeply concerned about possible civil war in Gado, which was dissatisfied over the reduced tributes, and which requested the repatriation of pigtailed people. He listened to their mean excuses and appeased them, reluctantly accepted their demands, and yet carried out his missions of delivering Joseon``s credentials and tributes. They as emissaries carried out their official missions, even risking their lives, as they handled the aggressive, impolite Later Jin officials. Seon Yak-hae and Wi Jeong-cheol tried to get the intelligence about the political situations of Later Jin and Ming in diverse ways. To do that, they bribed people, asked farmers on the roads, eavesdropped on the Chinese. In this way, they gathered and recorded all these intelligence. They also were keen about the captured Joseon people and Joseon people who defected to Later Jin after they committed felonies in Joseon. To determine Joseon``s future political and diplomatic strategy, the two emissaries recorded the political situations of Ming and Later Jin in detail. <Simyang sahaeng ilgi> and <Simyang wanghwan ilgi> recorded the emissaries`` talks with Later Jin``s officials to fully show their difficulty and efforts. They also recorded the talks with and intelligence about the captured Joseon people and Later Jin people so as to boost the reliability of the intelligence, but also contributed to securing the factual truth, offering tremendous values as actual records(實記).

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        戱曲 「山돼지」 硏究

        김성진(Kim Sung-jin) 중앙어문학회 2000 語文論集 Vol.28 No.-

        This dissertation deals with Kim Woo-jin's 「Wild Boar」. Kim Woo-jin became indulged in his art during his University education. What's more, he tried to express the theatre art through a sharp insight of the times and created an optimistic atmosphere for Koreans under Japanese rule. His father, Kim Sung-kyu, was a president of the 'Mokpo Literary Association' and enjoyed writing poems. He also had such a special affection for literature that he contributed lots of money to support the 'Mokpo Literary Association'. And the world of death in Kim Woo-jin's works does not mean a real death. The world suggests the death of Korea traditional and conservative customs and reflects the difficult reality to break the traditional customs. His leaving home to lead a spiritual life carried on the very important meaning. 〈Noon〉 deals with the consciousness of class and nation, and 〈Lee Young-yeo〉 criticizes the defect of masculine centered society through Lee Yong-yeo. According to 「The Disgust of Poet Dooduckee」 and 「Shipwreck」 represent Kim Woo-jin's self conscious drama and the words of disgust and wreck symbolizes Kim Woo-jin's self desire for a new world. 「Wild Boar」 represents the free society for all people and the social awareness for reform. Kim Woo-jin includes the 'Dong Hak movement' in his drama and suggests a uncompromising willingness of social revolution established by young intellectuals and himself who showed only conscious conflict within the predestined yoke of the individual. In the play he changed his dramatic techniques which brought him closer to his readers and audiences but he emphasized intellectuals' awakening in much of his work. In other way, Kim Woo-jin developed a new contemporary drama movement in Korea for the nation which might have expressed real life under Japanese colonial rule. Kim Woo-jin was the representative of Korean drama in the 1920's who lived as a poet and critic as well as a experimental playwriter. Kim Woo-jin was one of the most excellent dramatists and the forerunner of Korean modern literature who led the new theatre movement, developed Korean drama from the early literature stages of the 1920's, and established himself as a leader in Korea literature.

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        Rivalry between low cost carriers and major carriers

        Jin-Kook,Lee,Tae,Seung,Kim 인하대학교 정석물류통상연구원 2009 JOURNAL OF INTERNATIONAL LOGISTICS AND TRADE Vol.7 No.2

        As the wave of liberalization and deregulation have accelerated to relieve rigid controls over airline routes, capacity, and fare setting regimes, Low Cost Carriers (LCCs) have emerged especially in local aviation markets since the 1970s. This paper has studied the effects of LCC"s entry into the domestic aviation market which was pre-occupied by two major carriers, Korean Air (KAL) and Asiana Airlines. Through a simple model describing two situations, prior and post to LCC"s entry, we analyzed changes and trends of each airline"s output and profit based on the Cournot and two-stage Stackelberg game equilibrium. In summary, our conclusion consists of five points: (1) Even though JIN Air"s entry reduced KAL"s respective output and profit, the more JIN Air produces, the higher the joint-profit of KAL and JIN Air is, (2) From the joint-profit aspect, increasing KAL"s output to a level than JIN Air"s is more profitable on the Gimpo-Jeju route, on the other hand, increasing JIN Air"s output higher than KAL"s is more profitable on the Jeju-Busan route, (3) Even though JIN Air"s entry increase Asiana Airline"s output, the more JIN Air produces, the less Asiana Airlines"s profit is, (4) Total output in markets as well as total profits of firms will increase under certain conditions, (5) KAL and JIN Air tend to get caught in an unresolved conflict on level of LCC cost.

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        진도 북춤과 밀양 오북춤의 비교연구

        박진희 韓國舞踊敎育學會 1998 韓國舞踊敎育學會誌 Vol.9 No.2

        This study analyses the comparison of the southern west Jin-Do drum dance and the southern east Mil-yang give drum dance which has its own locational distinction and developmental procedure. The origin of Jin-do drum dance comes from the last act of the theatrical dance Jin-Do Dasire during the three nations period. It had formed as a recreational role but had been influxed into field hymn to enhance the field labor by following the drumbeats. Mil-Yang five drum dance had formed during the three provincial period as a ritual ceremony for the supplication of the harvest. Also it had formed as a recovery of the healthy life by dissolving the repression from the ruler by beating the drum. Both of these drum dances have similarities but have different origin motivations. In the form of Jin-Do drum dance, there are variety of patterns, subtle rhythms and high technical skilled movements, in which artistic value is hidden. On the other hand, in the Mil-yang five drum dance there are simple movement patterns with one count of beating, but the movements possess natural simplicity and dynamics. Performing Jin-Do dance, a drum is carried in the same way like so called Jang-Go. Instead of two drum sticks are used in Jin-do dance, in Mil-Yang dance there is only one stick is being used. These instrumental differences indicate that the Jin-Do dance reflects the social environment. In Jin-do Drum dance, there is no limitation not only of the number of members and the number of drums but also no differentiation of the gender as well. Contrary in Mil-Yang five Drum dance only men can attend, and there is storing limitation of the playing participants. However, besides the differences, two dances share some similarities. praying the nature's harvest and reflects the simplicity of peasant's movements. Beating drum, farmers threw away their labor repression nad sublimating to the tool of play.

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