阿川文庫 『中華正音』 한국어 번역문에 나타난 漢音系 차용어 (original) (raw)
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Early Mandarin Loanwords in Hunmong Jahoe
Korean Historical Linguistics, 2021
This paper studies the Early Mandarin loanwords in Hunmong Jahoe (訓蒙字會, 1527). Hunmong Jahoe is a Chinese character Textbook written during the Joseon Dynasty. Each Chinese character is introduced together with its pronunciation (音) and meaning (訓) written in the Korean alphabet Hunmin Jeongeum (訓民正音). The meaning part was analysed one by one using four criteria that were mainly based on phonological clues. The result showed that there are 47 words that can be categorised as Early Mandarin loanwords. 8 loanwords that were not mentioned in previous studies have been newly added to the list and each of them was proven by an etymological explanation. However, there are 8 words that were mentioned as Early Mandarin loanwords in other research, but are excluded from our list of loanwords due to lack of phonological evidence. Keywords: loanwords, etymology, Early Mandarin, Sino-Korean, historical linguistics
Korea Journal of Chinese Language and Literature, 2020
The purpose of this study is to typologically analyze plosive coda ‘-p, -t, -k’ and areal typology of the Sinitic languages and minority languages distributed in central and southern China, centering on the Yangtze River basin and the southern part of the Yangtze River, and to consider the relationship and influence of ethnic minority languages distributed together in or around the same region from a view of areal typology. Mainland China is a complex distribution of languages belonging to various language families, such as the Sino-Tibetan languages, Kra-Dai languages, Austronesian languages, Austroasiatic languages, and Altaic languages. Since they have strong linguistic contacts over a long period of time, the study of language typology in mainland China has a very important meaning not only for the study of Chinese but also for the study of world language typology. First of all, this paper compares and analyzes the classification of Chinese dialect area in the preceding studies to reconsider the criteria and methods for classifying language typology in Chinese dialect area, and discusses the need for subdividing Mandarin dialects and adding other ethnic languages. In addition, by creating a language altas of typology about the plosive coda of the Sinitic dialect and ethnic minority languages, we observe the areal typology of the plosive coda of Sinitic dialects and ethnic minority languages distributed in mainland China from a macro perspective. In addition, in connection with ethnic minority languages distributed in the central and southern regions of China and its neighboring regions, it attempts to analyze the regional type of the plosive coda of the Chinese central and southern regions from a regional typological angle. By observing and analyzing the type of areal distribution of the plosive coda in the same region together based on the plosive coda ‘–p, -t, -k’ and the areal distribution of the plosive coda in the ethnic minority languages, the close language contact and language shift phenomena of the Sinitic languages and ethnic languages are discussed.
A Contrastive Study of ‘isang/yĭshàng’, ‘iha/yĭxià’ and ‘inae/yĭnèi’ in Korean and Chinese Language
Korea Journal of Chinese Linguistics, 2021
한국어의 한자어 ‘이상’, ‘이하’, ‘이내’와 중국어의 ‘yĭshàng’, ‘yĭxià’, ‘yĭnèi’는 모두 한자 ‘以上’, ‘以下’, ‘以內’로 표기할 수 있다는 점에서 같은 語形을 지닌다고 할 수 있다. 또한 이들은 문장 속에서 수량을 뜻하는 단어 바로 뒤에 위치한다는 점도 동일하다. 이런 공통점으로 인하여 한국어와 중국어의 화자들이 상대방의 언어를 학습하거나 번역할 때, 두 언어에서 쌍을 이루는 이 단어들의 의미와 용법을 동일하게 여기기 쉽다. 그러나 실제 언어 사용을 살펴보면 그렇지 않다는 사실을 금방 깨달을 수 있다. 이들 단어 앞에 수량이 기준으로 제시될 때, 그 수량이 범위에 포함되는지 여부는 두 언어 사이에 차이가 있으며, 같은 언어를 사용하는 사람들 사이에서도 인식에 따라 다르다. 본고에서 사전과 문법서를 중심으로 한국어의 ‘이상’, ‘이하’, ‘이내’와 중국어의 ‘以上’, ‘以下’, ‘以內’의 정의를 살펴본 결과, 다음과 같은 내용을 알 수 있었다. 첫째, 한국어의 ‘이상’, ‘이하’는 기준의 포함 여부에 대해 명확한 사전적 정의가 존재하는 반면, ‘이내’는 그렇지 않았다. 둘째, 중국어의 ‘以上’, ‘以下’는 습관적인 용법이 있는 것으로 보이지만 기준의 포함 여부가 명확하지 않을 때도 있으며, ‘以內’는 아예 ‘습관적 용법’이라고 할 만한 쓰임조차 없었다. 이 단어들의 용법을 보다 정확하게 파악하기 위해 필자들은 한 달 간 두 언어의 화자를 대상으로 설문 조사를 실시하였다. 총 122명의 한국어 화자와 108명의 중국어 화자가 조사에 응하였으며, 조사 결과는 다음과 같이 요약할 수 있다. 첫째, 99.2%의 한국어 화자가 ‘X 이상’을 ‘X와 같거나 X의 위’라고 생각한 반면, 61.1%의 중국어 화자만 ‘X以上’을 ‘X와 같거나 X의 위’라고 생각하였다. 둘째, 91%의 한국어 화자가 ‘X 이하’를 ‘X와 같거나 X의 아래’라고 판단하였는데, 86.1%의 중국어 화자는 ‘X以下’를 ‘X의 아래’라고 생각하여 ‘X’가 범위에 포함되지 않는다고 판단하였다. 셋째, 53.3%의 한국어 화자는 ‘X 이내’의 ‘X’가 범위에 포함된다고 생각하였으며, 중국어 화자의 64.8%는 ‘X以內’의 ‘X’가 범위에 포함된다고 판단하였다. 이 조사 결과를 통해 한국어 ‘이상’, ‘이하’, ‘이내’와 중국어 ‘以上’, ‘以下’, ‘以內’의 공통점과 차이점을 다음과 같이 정리할 수 있다. 우선 짝을 이루는 이 세 그룹의 단어 중, ‘이내’와 ‘以內’가 가장 유사하다. 앞에 있는 수량이 범위에 포함된다고 생각하는 화자가 과반수이고 그렇지 않다고 생각하는 화자는 40% 내외로, 그 비율이 비슷하게 나타났다. 그 다음 ‘이상’과 ‘以上’도 어느 정도 유사하다고 할 수 있다. 그렇지만 수량이 범위에 포함된다고 생각하는 응답자는 한국어 화자의 99.2%로, 중국어 화자의 61.1%보다 38.1%나 많다는 점을 주의해야 한다. 즉, ‘이상’에 대한 한국어 화자의 판단이 거의 일치하는 반면 중국어 화자들은 그렇지 못하다는 것이다. 가장 뚜렷한 차이는 ‘이하’와 ‘以下’에서 나타났다. 한국어의 ‘이하’에 수량이 포함된다는 응답자는 91%에 달했는데 중국어의 ‘以下’는 오히려 그 반대로 86.1%의 응답자가 포함되지 않는다는 답을 주었다. 이러한 두 언어의 차이를 한국어교육과 중국어교육에서 반드시 강조해 주어야 학습자들이 해당 언어에서 알맞은 표현을 사용할 수 있을 것이다.
한국판 중용(中庸) 척도의 개발 및 타당화(Development and validation of the Zhongyong Questionnaire)
Korean Journal of Psychology: General, 2017
This article describes the development and validation of the Zhongyong questionnaire(ZQ), a self-report instrument for measuring Zhongyong attitude. Theoretically, Zhongyong includes three aspects: (a) dialectic thinking and cognitive flexibility; (b) emotion regulation and balanced affect; (c)internal motive to consistently choose Zhongyong behavior. In study 1, thirty-seven out of 99 preliminary items were selected by six scholars studying Confucianism and Zhongyong for the face validity and the 37-item ZQ was administered to 352 college students. Data suggest that the ZQ consists of 19-item with three-factor structure. In study 2, 368 people participated to investigate the instrument’s reliability and validity and the relations between the ZQ and related scales. Results from two studies indicate that the 19-item Zhongyong Questionnaire has a three-factor structure(harmony/regulation, balance/stability, empathy/tolerance), good internal consistency and 2-week test-retest reliability. The ZQ was significantly correlated with other measures of cognitive flexibility, dichotomous thinking, emotion regulation and dysregulation, and basic psychological need satisfaction, confirming the scale’s convergent construct validity. The concurrent construct validity of the ZQ was demonstrated by its correlation with the Zhong-yong Thinking Style Scale. There was a significant correlation with age and Zyongyong attitude. When controlling for age, there was a significant difference in the level of Zhongyong attitudes based on marital status and religion. These results suggest that the Zhongyong attitude can be developed through diverse experience. In the discussion section, the implications and limitations of this study and suggestions for future research are discussed.
Hwajaeng-Seon(和諍禪), or Hwajaeng as Seon(禪)
Korean Journal of Rhetoric, 2018
Historically, the Hwajaeng(和諍) theory of Wonhyo(617-686) can not be rightly understood without the consideration of the two main axes: IlsimHwajaengMuae(一心-和諍-無碍) and Gwi-il-sim-weon Yo-ik-jung-saeng(歸一心源 饒益衆生). From the perspective of recent WonhyoSeon(禪) researches, where these two axes seem to play the same role, Hwajaeng need to be inevitably HwajaengSeon(禪). However, the WonhyoSeon(禪), as presented in these researches, is not only easy to understand ‘theoretically’, but also seems very difficult to practice, because it needs particlularly a very high level achivement in Ilsim(一心). In this situation, the ConscienceSeon(良心禪) of the Philosophy of Conscience lead us to understand and practice relatively easily Hwajaeng as HwajaengSeon(和諍禪), even before the Experience of Enlightment, no matter what is our level in Ilsim(一心). The ConscienceSeon, which can be said to be a modern version of the WonhyoSeon, is ‘Six ParamitasSeon’, for Six Paramitas are the very Virtues of the Conscience(良心). The WhajaengSeon can be defined as «Immersion and ImmersionThinking about Hwajaeng or Hwajaeng research, as Jungyong’s ‘Hakmunsabyeonhaeng’(學問思辯行), accompanied by Metacognitive Six Paramitas Analysis». The ImmersionThinking is possible only if the TrueSelf is awaked by Immersion in our Ego(generally more than 51%). The interpretation of Seonjeong(禪定) and Jihye(智慧), two basic axes of ‘Seon Practice’(禪修行), into ‘Immersion and ImmersionThinking’ means the «Humanistic Turn», that of Buddhist WonhyoSeon into Spiritual ConscienceSeon. To search continously the insightful «Way of Jungyong(中庸)», intending ‘the Perfecting of Self for perfecting Others’(自利利他), based on the TrueSelf, this ceaseless pursuit of harmony between Six Paramitas and Jungyong, in various cases of Hwajaeng or Hwajaeng research, is the core of the WhajaengSeon.
A Study of Premodern Korean and Classical Chinese Poetry in the Webtoon Kadamhangsŏl
한국학논집 (Keimyung Korean Studies Journal), 2019
This study examines the use of premodern Korean and classical Chinese Poetry in the Korean webtoon Kadamhangsŏl (Alleyway Rumors) and their significance. It first observes the role literature and language play in its world, and then dives into the significance of Kadamhangsŏl by examining specific examples of the poetry used in this piece. Premodern Korean and classical Chinese Poetry is an integral element of the series’ world, where language and literature, the oral and written word, carry significance weight. Brief and refined language has the power to change one’s state, while the ability to create and comprehend text is linked to carving seals and creating defenses. Thus, these abilities end up in deciding the power of the series’ characters. The use of premodern Korean and classical Chinese poetry can be divided into three categories: first, poetry is used as examples of refined language imbued with powerful magic. Poems and verses are quoted based on the ‘desires’ of the speakers in the texts, with their concise and metaphorical style carrying great power. Second, these texts are used as plot devices, with the quoted examples often representing the characters’ mindsets or character development by expanding the scope of their meaning. Third, the texts are used to show the power and role language and literature play in the setting and theme of the series. The use of classical literature by the series is significant due to the following: first, the quoted texts are deeply tied to the basic premise of the ‘power of language and literature’. Second, it uses them effectively by quoting texts widely taught in school curricula. It does not change the texts nor make wild interpretations of them, using them according to the context to strenghthen the series’ plot and themes. As a piece of popular art, Kadamhangsŏl is an interesting example of using classical content. This study’s analysis presents new possibilities for such content, while also demonstrating how classical content can raise the quality and distinctiveness of popular art.
불어불문학연구, 2007
La critique des traductions est une considération évaluative et critique sur les pratiques traductives, et elle est en rapport incon- tournable avec l'interprétation. Pour pouvoir surmonter les problèmes de ‘traductions fautives', point vulnérable de la 'culture de traduction' coréenne, et dépasser la fidélité et la lisibilité qui sont des critères et des tâ̂ches basiques de la critique des traductions, la nécessité de la réflexion sur le rapport en question s'impose. Pour cela, nous tentons de réfléchir d'abord sur la nature du langage humain et celle de la traduction, en recourant, entre autres, à la 'sémantique générale' de Korzybski. Nous parlons ensuite d'une grammaire de traduction qui peut servir à lire et à analyser minutieusement le texte original et le texte traduit, et à les comparer d'une façon évaluative et critique. C'est un travail très largement herméneutique et rhétorique, qui dépasse la distinction binaire et simpliciste de traduction correcte/ fautive et laisse des places au choix multiple pour diverses raisons, surtout lorsque le texte original comporte une densité herméneutique, qui demande des ’lectures épaisses'. comme dans la plupart des textes de sciences humaines, y compris les textes littéraires. A la suite, nous nous interrogeons sur le processus de la traduction et celui de la critique des traductions, qui peut ê̂tre envisagée de façon interne ou externe, à l'aide d'un certain nombre de herméneuticiens et de rhétoriciens, afin de trouver une alternative à notre pratique actuelle de la critique des traductions. C'est un chemin qui peut nous conduire, espéronsnous, à une nouvelle 'science humaine traductive', qui deviendra sans doute des facteurs de l'innovation et de la réfor mation des sciences humaines coréennes actuelles.
The Comments on the Korean Classical Texts, 2020
This paper analyzes Yang Ju-dong(1903~1977)’s research on the Korean classical poetry, focusing on its contexts of the ‘Korean Parnassus’ group in the late Japanese colonial period of Korea, from the late 1930s to the early 1940s. At the time of the second Sino-Japanese war, writers of “Munjang”, a popular coterie magazine founded in 1939, tried to ‘invent’ the language and literature of Joseon(Korea). Yang Ju-dong’s research on the Korean classical poetry, particularly interested in lexicology of ancient Korean language and literature, were related to such tendency of Munjang and its writers at that time. Concerning the discourse of ‘Korean classical literature’, Yang ju-dong conceived double boundaries of the Korean classical literature, the diachronic ‘past’ and the spatial ‘Korea=Orient.’ By fusing these concepts of time and space, he organized a singular ‘function’ of space-time of the Korean literature, that the Korean classical literature was valuable because it came from the past(classical antiquity), which meant it preserved Korean=Oriental aesthetics very well. These imagined boundaries and their function relied on two inventions. The first was the invention of the continuity of Korean language, from the language of Silla dynasty to the modern Korean. The second was the invention of the genealogical extension of Korean language toward Manchurian or Mongolian, based on the hypothesis of ‘Ural-Altaic language family.’ It seems that Yang ju-dong’s research internalized, to a certain degree, the logic of Japanese Imperialism, especially on its Orientalism or direction of ‘post/anti-westernization.’ To quote Homi Bhabha’s words, however, the invention of Yang ju-dong’s research can be analyzed as ‘resistance,’ because it interpellated Joseon(Korea), which was completely eliminated, into the Japanese imperialistic initiative of ‘Greater East Asia’, and therefore, implied “the signs of cultural difference and reimplicate them within the ‘deferential relations’ of colonial power.”