黄表紙と浮世絵からみる子供の遊びと授業風景少考

강지현 한국일본언어문화학회 2024 일본언어문화 Vol.66 No.-

In order to investigate the daily life of playful children, I mainly taken up Kibyosi and Ukiyoe. In the Kibyosi, I used as texts (1) “Syotozan-tenaraizyo” and (2) “Kodomosyu-chyusingura”, both of which have the theme of children’s games. In particular, focusing on Syotozan-tenaraizyo, whose theme is Tenjin-sama’s unexpected educational policy for awakening rebellious children who hate studying, it shows an educational view that candy, not whip, is effective for problem children. Among the ukiyoe, the main texts were “Syogei-keiko-zue” (1) “Utai,” (2) “Tenarai” (3) “Yomimono,” painted by Hiroshige Utagawa, which captures scenes of mischievous children in classroom. I confirmed that these were drawn along the flow of the preceding paintings. In particular, (3) “Yomimono” depicted the same world as the custom paintings by hand “Sodan” by Kim Hong-do of the Joseon period, and it was interesting to see the same perspective of artists who lived in the same period.

四方正木、及び『深契情話恋の若竹』の成立時期について

康志賢 한국일본언어문화학회 2021 일본언어문화 Vol.56 No.-

It was 1833 when Itoi-takesi activities to solidify its position as a successor to the name Jippensya-ikku II. First of all, in the epilogue of the three volumes of “Adakurabe-imayogusi”, I researched a person named “Kyogechusya-Yomono- masaki” who talks about Itoi’s name. As a result, it was possible to point out the fallacy of the preceding catalog that “Kyogechusya-Yomono-masaki” is “Yomono- umehiko”. I have demonstrated that Yomono-masaki was neither “Kyokabo- Yomono-takisui II” nor his son “Yomono-umehiko=Machusono-umehiko”. Then, a volume of Itoi’s ninzyobon “Koino-wakatake” was published in 1833. In fact, the time when this ninzyobon was established has not been determined even in previous studies. Therefore, it was necessary to investigate the bibliography. As a result, it was found that the publisher, Chyoziya, who obtained one volume published in 1830, used the board as it was for the text, and remade the daisen(題簽), prologue, kuchie(口絵), illustrations, dvertisements, and okuzuke(奥付). When announcing that the author had named Jippensha Ikku, it was concluded that the first edition of 1833 was reprinted in line with the trend of Ninjyobon.

<膝栗毛もの>を描いた浮世絵師たち -芳艶・芳員・国周・重政を中心に-

康志賢 한국일본언어문화학회 2021 일본언어문화 Vol.57 No.-

As the Ukiyo-e artist who drew “Hizakurige-Group” can understand at a glance, from the total of 76 types of 【Chart 1】 created in chronological order, in this paper, I investigated Yosichuya who drew ⑬ and whose publisher and production year are not clear. Then, I picked up the works of three painters, Yosikazu’s painting Ⓕ, Kunichika’s painting ⓛ, and Sigemasa’s painting Ⓛ and Ⓜ, which are Ukiyo-e “Hizakurige-Group” that I didn’t notice in my manuscript. As a result it was revealed that, regarding the “Tokaidochu-hizakurige” series by Yosichuya painting, the production period is from January 1848 to around September 1850, and the publisher is the publisher of the “ヲ:wo” trademark in the star shape and Ootaya-takichi. Next, as “Hizakurige-Group” Ukiyoe, (1) Yosikazu painting “Mariko /Fujieda”, (2) Kunichika painting “Yokkaichi”, (3) Sigemasa painting “Kanagawa daino-chyaya /Hodogaya”, “Tochukanosakamichi / Fuzisawa”, “Kuwわからなかったana / miya” and “Hizakurige-kokkei-chuziuranai” was newly introduced.

北尾美丸こと二代目北尾重政の 文政五年以降の署名からみる襲名考

강지현 한국일본언어문화학회 2022 일본언어문화 Vol.58 No.-

In this paper, using bibliographic research methods, I considered the creative activities of Kitao Shigemasa Ⅱ, also known as Ukiyoe artist Kitao Yosimaru, since 1822. As a result, first of all, I pointed out that in 1822, the names of Kitao Yosimaru and Kitao Sigemasa Ⅱ were used together. As a background, I infer that the work “Tamanae-monogatari”, which was drawn by Kitao Yosimaru, who had just become Kitao Masayosi’s disciple, had a strategy to flicker the image of the first Sigemasa who died two years ago. Second, unlike 1822, which had a complicated appearance with a mixture of signatures, from 1823 to 1826, he worked as “Kitao Yosimaru”. Kitao Yosimaru shows his work as a disciple of Kitao, but from 1827 he will finally be signed as“Kitao Sigemasa”. As the background, I guessed as follows. At first, he was not recognized by Kitao Sigemasa Group, and first became a disciple of Kitao Masayosi, the high-ranking disciple of Sigemasa Ⅰ. However, it is inferred that his teacher, Masayosi, also died in 1824, and in 1827, Yosimaru inherited the name of Masayosi’s teacher, Shigemasa, and was officially recognized as Sigemasa Ⅱ. Finally, I categorized, charted and presented the symbol of Kitao SigemasaⅡ, also known as Utagawa Yosimaru.

江戸を逃れた二代目十返舎一九の著作活動と 名跡剥奪再考

강지현 한국일본언어문화학회 2022 일본언어문화 Vol.59 No.-

This paper is an addendum to the previous manuscript, “A study on the manuscripts of Jippensya-ikkuⅡ who escaped Edo,” which looks over the writing activities of Itoi’s later years after leaving Edo in 1837, and discusses the situation up to the situation where his name is stripped. Itoi published a number of Gesaku works in Edo that signed “Jippensha Ikku” until January 1837, but even during his stay in the countryside after he went missing due to a writing incident, he wrote letters and annotations, Gokan and Ninzyobon manuscripts. He kept having a will to create, and in 1840 and 1841 he wrote a manuscript full of local colors while being a nomadic body. Especially in the Gokan, he wanted to publish with Kunisada and Kuniyoshi as the painters and Sengakudo and Kinrindo as the publishers, but it didn’t come true. The Gokan “Ikkyuzenzisenchyanokuchitori”, drawn by Utagawa- naochuna and published by Kinkoudo, containing the story of children’s wisdom, was published in 1842. However, it was no longer possible to return to official writing activities. In this way, Itoi was able to get a glimpse of his later years, which can be traced as “Ikku,” that he lived in his hometown and Owari with assistance. While staying in a rural area away from Edo in this way, from writings including Itoi’s drafts that he wrote down, to those that aimed to be published until 1842 and private ones, despite the bad situation, I was able to confirm that it was known as “Jippensha Ikku”.Then, while the situation of being unable to return to Edo continued, Santai-syunba took over the Ikku’s name in place of Itoi in November 1844 by the Jippensya disciples, who had been waiting for eight years.

糸井武作『仇競今様櫛』からみる天保四年の「二代目十返舎一九」公表を巡って

康志賢 한국일본언어문화학회 2020 일본언어문화 Vol.52 No.-

As a result on considering the bibliographic research method about the works that show the situation before and after the publication of Jippensya-ikkuⅡ of Itoi-takesi in 1833, it was found the following things. I pointed out that, in the case of Ninzyobon “Adakurabe-imayogusi”, it is presumed that the second volume was published in 1832, and he proposes that he has named himself “Ikku Ⅱ” in the two volumes. Then, as a result on considering in order to consolidate his position as Ikku Ⅱ, I examined the identity of “Yomono-masaki” who conveys his name in a three-volume epilogue, and it was found the following things. (1) “Yomono-masaki” would not be Gohensya-hankyu. (2) “Yomono-umehiko” was the successor of “Yomo”, who had been selling sake called Takisui, and would be a different person from Yomono-masaki.

해석수준과 원시안이 보상물 선호에 미치는 영향

강지현,황선진,여준상 한국소비자·광고심리학회 2012 한국심리학회지 소비자·광고 Vol.13 No.1

This study is trying to apply construal level theory and hyperopia theory that are widely addressed in recent social psychology and consumer behavior field to elaborated understanding for reward preferences. This research consists of Study 1, Study 2, and Study 3. The experimental design adopts 2×2×2 mixed design of reward types(utilitarian/hedonic rewards: within repeated factor), construal level(high/low: between factor), and hyperopia(high/low: between factor). Further, dependent variable takes reward preferences in order to prove above variables related effects. We found the interaction effect between construal level and types of reward(H 1) through three experiments. Concretely, in preference for utilitarian reward, low-level construal primed subjects showed higher preferences than high-level construal primed subjects while in preference for hedonic reward, high-level construal primed subjects showed higher preferences than low-level construal primed subjects. Also we verified three-way interaction effects between construal level, hyperopia, and types of reward(H 2) through all experiments. Specifically, low-hyperopia subjects showed the same pattern like H1, which menas a significant two-way interaction between construal level and reward type(H 2-1). However, high-hyperopia subjects showed different result which was no interaction effect between them-disappearance of H1 pattern(H 2-2). In summary, this study supports our prediction that the preference toward two types of reward(utilitarian vs. hedonic) could be differed according to the construal level and the hyperopia level. On the basis of these results, theoretical and managerial implications, limitations, and directions for further research were discussed. 본 연구는 해석수준과 소비자의 원시안 성향, 그리고 보상물 유형의 상호작용을 살펴보고자 하였다. 이를 위해 실용적/쾌락적 보상물, 상위/하위 해석수준, 높은/낮은 원시안으로 분류하여 보상물 선호도에 미치는 영향을 검증하였다. 세 번의 실험을 통해 해석수준과 보상물 유형간의 상호작용 효과를 살펴본 결과(가설 1), 연구 1에서는 한계적 수준에서 지지를 보였으나 연구 2와 3에서는 유의한 상호작용 효과를 보였다. 구체적으로, 하위 해석수준에서는 실용적 보상물에 대한 선호가 더 높았으나 상위 해석수준에서는 쾌락적 보상물에 대한 선호가 더 높게 나타나는 결과를 보여주었다. 또한 해석수준과 원시안, 그리고 보상물 유형의 삼원상호작용 효과에 대한 검증(가설 2)은 모든 실험에서 유의하게 나타나 세 변인 간의 관련성을 확인하였다. 즉 낮은 원시안 소비자들은 해석수준에 따라 보상물 선호에 변화를 보였으나(가설 2-1), 높은 원시안 소비자들은 자신만의 확고한 신념으로 인해 해석수준이 보상물 선호에 변화를 주지 못하는 것으로 나타났다(가설 2-2).

천궁의 GABAA-benzodiazepine 수용체 복합체와의 상호작용

강지현,이동웅,하정희 대한생물치료정신의학회 1997 생물치료정신의학 Vol.3 No.2

C. Officinale is a medicinal plant which has been known to have anxiolytic and sedative activity. A survey of the relevant literature has indicated that the putative anxiolytic activity of C. Officinale has not been scientifically investigated. Therefore, the present study was designed to assess anxiolytic property and interaction with benzodiazepine receptor of C. Officinale. The putative anxiolytic activity of methanol extract of C. Officinale was performed in mice using an elevated plus maze paradigm. Chronic oral administration of C. Officinale showed anxiolytic action in mice. The interaction of C. Officinale with benzodiazepine receptor was investigated using rat cortices. Methanol extract of C. Officinale inhibited the binding of [3H] Ro 15-1788, a selective benzodiazepine receptor antagonist to benzodiazepine receptor of rat cortices. Chlorform fraction of methanol extract showed higher binding activity to benzodiazepine receptor than crude extract by methanol. GABA significantly enhanced the potency of C. Officinale in inhibiting [3H] flunitrazepam, a selective benzodiazepine receptor agonist, binding to benzodiazepine receptor. From these findings, it can be concluded that substance or substances with neurochemical properties characteristic of a benzodiazepine receptor agonist may contribute to the anxiolytic property of C. Officinale. 천궁(Cnidium Officinale)는 미나리과 다년생초본식물로서 대뇌 억제 및 진정 작용이 있다는 여러 문헌 등을 참고하여 볼 때 천궁은 항불안작용을 나타낼 가능성이 시사되었다. 이에 본 연구는 천궁을 사용하여 실험 동물에서 천궁의 항불안 작용을 검색하고 그 작용기전의 일부를 밝히고자 천궁을 극성 및 비극성 용매로 추출하여 분획을 만들고 이들 분획의 GABA-benzodiazepine 수용체 복합체 결합반응에 미치는 영향을 관찰하고자 하였다. 실험 결과 천궁 표준추출물 경구투여는 생쥐의 elevated plus maze 검사에서 그 효과는 diazepam 1 mg/kg 투여 후 실시한 elevated plus maze 검사 결과보다 낮았으나, 개방통로에로의 진입회수 및 개방통로에서의 체류시간을 증가시킴으로써 불안해소작용을 나타내었다. 또 천궁의 표준추출물은 benzodiazepine 수용체 길항제인 [3H]Ro15-1788 결합을 억제함으로써 수용체 활성물질의 존재 가능성이 관찰되었다. 이러한 행동검사상의 불안해소작용 및 benzodiazepine 수용체 활성도를 나타내는 구성성분을 추적하고자 천궁의 표준추출물의 분획화를 실시하였는데, 이를 통하여 얻은 각 분획들을 사용하여 수용체 활성도를 검색한 결과, 모든 분획에서 활성도를 나타내었으나 그 중 chloroform분획의 활성도가 crude한 추출물인 methanol 추출물이나 다른분획에 비하여 가장 높은 활성도를 나타냄을 관찰하였다. 천궁의 chloroform분획은 [3H]flunitrazepam의 흰쥐대뇌피질조직에 있는 benzodiazepine 수용체에 대한 결합반응을 억제시켰으며, 이러한 억제도는 GABA 및 chloride 존재에 의해 더욱 항진되는 positive GABA shift 현상이 관찰되었다. 이상의 결과를 종합해볼 때, 천궁의 chloroform분획내에는 benzodiazepine 수용체에 대해 효현제 활성을 지니는 물질이 있음을 추측할 수 있으며, 이는 천궁의 항불안작용의 중요한 한 기전으로 생각된다.

<膝栗毛もの>を描いた浮世絵師たち -葛飾北斎を中心に-

康志賢 한국일본언어문화학회 2021 일본언어문화 Vol.54 No.-

I argued that Hokusai was the pioneer in drawing Ukiyoe in “Hizakurige-Group”. I argued that Hokusai was the pioneer in drawing Ukiyoe in “Hizakurige-Group”. Hokusai repeatedly used the following five episodes as painting motifs. ①“Hizakurige” 1th volume, boy anecdote in Kanagawa, ②“Hizakurige” 1th volume, woman anecdote in Hodogaya, ③“Hizakurige” 1th volume, dog illustration in Fujisawa, ④ “Hizakurige” 2th volume, the couple quarrel anecdote in Mariko, ⑤ “Hizakurige” 5th volume, Kuwana’s clam anecdote and illustration. However, among these, only ④ has become established as a painting motif in posterity. Compared to the 14 most popular painting motifs, the only thing that overlaps is “The couple quarrel anecdote in Mariko”. In other words, Hokusai’s pioneering about literary and painting history was recognized in “Hizakurige-Group” but it was not so popular that it was inherited by posterity.

후기 아동기 내재화 및 외현화 문제행동의 발달경로에 미치는 아동의 성별, 지각된 학업성적, 부모, 또래의 영향

강지현 한국초등상담교육학회 2014 초등상담연구 Vol.13 No.1

이 연구에서는 후기 아동기 내재화 및 외현화 문제행동의 발달경로의 형태를 확인하고, 이를 예측하는 아동의 성별과 지각된 학업성적, 부모(부모애착, 부부갈등, 아동학대)와 또래의 영향을 확인하고자 하였다. 이를 위해 한국청소년패널의 초4-중1까지의 4년간 종단자료에 잠재성장곡선모형(latent growth curve modeling)을 적용하였다. 그 결과 내재화 문제행동과 외현화 문제행동은 모두 초기치와 변화율에서 개인차가 유의미하였으며, 두 문제행동 모두 시간의 흐름에 따라 점차 증가하는 발달경로를 나타냈다. 또한 아동의 성별, 아동학대, 그리고 또래관계는 두 문제행동의 초기치와 변화율 모두에, 부부갈등은 두 문제행동의 초기치와 내재화 문제행동의 변화율에, 부모애착은 두 문제행동의 초기치에만, 학업성적은 내재화 문제행동의 초기치에만 영향력을 갖는 것으로 나타났다. 이 연구결과의 임상적 시사점 및 후속연구를 위한 제언이 논의되었다.