《西蜀方言(Western Mandarin, Or the Spoken Language of Western China)》(1900)의 편찬 배경과 기초 방언에 대한 재고찰

노혜정 한국중국어문학회 2021 중국문학 Vol.109 No.-

This paper discusses Western Mandarin; Or, the Spoken Language of Western China: With Syllabic and English Indexes (西蜀方言), published in 1900 and written by Adam Grainger (?–1921), an English missionary belonging to the China Inland Mission. After Grainger wrote about Southwest Mandarin in the late 19th century, scholars reconsidered the basic dialect based on the background of his compilation and the life. This study examined the current status of Westerners’ research on Southwest Mandarin and the background of Grainger’s Western Mandarin (西蜀方言), comparing several continuing controversies on the basic dialect and revealing new findings on the author’s life in China and the compilation’s background. Although previous studies have suggested that Grainger lived in Chengdu for 30 years while compiling his book, this study’s researched showed this to be incorrect. In fact, he had lived in Guanxian (灌县) for at least 6 years before moving to Chengdu, and lived in Chengdu 20 years after publishing his book, which might explain some of his explanations of the phonological characteristics of the dialects of the western Sichuan region. 본 연구는 영국 출신 중국 내지 선교회(China Inland Mission) 소속 선교사 Adam Grainger(?-1921)가 19세기 말 西南官話를 기록한 《西蜀方言(Western Mandarin, or the Spoken Language of Western China)》(1900)(이하 《西蜀方言》)에 대해 편찬 배경과 저자의 생평 등에 대해 재고찰하였다. 본 연구는 淸末民初 서양인의 西南官話 연구 현황과 《西蜀方言》의 편찬 배경에 대해 살펴본 후, 《西蜀方言》의 저자, 책의 구성과 음운 체계를 소개하고, 기초 방언에 대한 기존 여러 논쟁에 대해 비교한다. 여러 논쟁의 주요 쟁점은 Grainger가 30년간 成都 거주하며 《西蜀方言》를 편찬하였다는 전제 아래, 《西蜀方言》에 나타나는 음운특징 중 입성과 권설음의 존재, 첨단음의 구분 등 주요 음운특징에서 成都話가 아닌 四川 서부 지역 방언의 특징 나타나는지에 대한 해석 차이이다. 본고는 기초 방언에 대한 여러 논쟁의 전제인 저자의 생평에 오류가 있음을 지적하고, 본 연구에서 새롭게 발견한 저자의 생평과 편찬 배경을 제시하여《西蜀方言》의 기초 방언 연구에 대한 새로운 근거를 제공하였다. 우리는 지금까지 거의 알려지지 않은 Grainger의 중국에서의 생애에 대해 더욱 많을 사실을 알 수 있게 되었는데, 기존 연구에서 전제로 한 Grainger가 30년간 成都 거주하며 《西蜀方言》를 편찬한 것은 사실에 부합하지 않는다. 본고가 새롭게 발견한 관련 기록에 근거하면, 저자인 Grainger는 1900년 상해에서《西蜀方言》을 출판하기 수년 전인 1895년 이전부터 출판 후인 1901년까지 灌县에 거주하며 현지 언어를 수집, 정리하였고, 1900년 《西蜀方言》을 출판한 이후에야 비로소 成都로 이주하여 거주하였음을 알 수 있었다. 이를 통해 《西蜀方言》에 왜 成都話와는 다른 四川 서부 지역 방언의 음운특징이 나타나게 되었는가에 대한 의문을 풀 수 있는 실마리를 찾을 수 있게 되었다.

Kimchi and Spaghetti

Thomas Russell(토마스 러셀) 동국대학교 영상미디어센터 2012 씨네포럼 Vol.0 No.14

웨스턴영화의 종말은 지금까지 여러 번 반복되어 언급되었지만, 계속해서 이 장르의 회기를 도모하기도 한다. 토마스 샤츠는 그의 저서 『할리우드 장르: 형식, 제작, 스튜디오』에서 “웨스턴영화는 문화적 자료와 내러티브와 주제적 모티프의 근원으로 존재한다”라고 지적하고 있다. 김지운 감독의 〈좋은 놈, 나쁜 놈, 이상한 놈〉(2008)의 경우를 예로 들면, 이 영화는 미국 재건시대의 탄광, 마을, 사막이라는 배경을 1930년대 만주로 부활시켰다. 이 영화는 최근 한국영화에서 첫 웨스턴이라는 의미를 갖고 있는데 “K-오터(한국형 웨스턴)”라는 타이틀도 얻게 되었다. 그리고 이 영화는 웨스턴과 하위 장르로서 “스파게티 웨스턴”의 장르적 요소를 잘 그리고 있다. 특히 세르지오 레오네의 〈석양의 무법자〉(1966)와 스타일적으로 많은 유사점이 존재한다. 장르로서 웨스턴은 즉각적으로 알아볼 수 있는 아이콘과 주제적 요소를 가지고 있다. 예를 들면, 총 싸움, 막판대결, 술집, 총, 개척자, 마을, 기차, 사냥꾼, 악당, 신비한 독불장군 등이 반복적으로 등장한다. 샤츠에 따르면 웨스턴은 미국 정체성을 보여주는 가장 기본적인 요소로서 중요한 마스터 키로 여겨질 수 있다. 특히, 웨스턴의 장르적 개념으로 기억된 개척자 정신의 신화는 미국의 국가 정체성과 특성의 핵심적인 부분으로 생각할 수 있다. 그리고 웨스턴은 미국의 국내외 정치를 비판하는데 종종 사용되기도 한다. 이 장르는 스파게티 웨스턴의 형식과 관련해서 질문을 받기도 한다. 스파게티 웨스턴은 웨스턴의 논쟁적인 부분을 점하고 있는데, 스파게티 웨스턴은 시각적이고 음악적인 스타일과 리얼리즘적이라는 부분에서 할리우드 웨스턴의 열등적 모방이라고 표현되기도 한다. 프레일링에 따르면, 스파게티 웨스턴은 미국과 유럽 문화의 특이하고 잠재적인 교차수정으로 여겨진다. 이러한 교차수정 시각을 스파게티 웨스턴과 김치 웨스턴에서 찾을 수 있다. 본 연구는 비교문화적 리메이크와 장르적 작용을 알아보기 위해서 김지운의 〈좋은 놈, 나쁜 놈, 이상한 놈〉과 세르지오 레오네의 〈석양의 무법자〉에 대한 비교연구라고 할 수 있다. 레오네 영화의 내러티브와 주제적 모티프를 조사함으로써 김지운의 영화가 어떻게 한국의 역사적, 문화적, 국가적 정체성을 리메이크를 통해서 제시했는지를 살펴볼 것이다. The western’s obituary has been written time and time again yet somehow it always manages to rise from the dead in one form or another. In his influential book Hollywood Genres : Formulas, Filmmaking, and the Studio System, Thomas Schatz points out “…the Western lives on both as point of cultural reference and as a source of narrative and thematic motifs…” (Schatz 74). In the case of Kim Jee Woon’s The Good, the Bad and the Weird (Kim 2008), the Western has been resurrected and transported from the mining camps, boomtowns and deserts of Reconstruction era America to 1930s Manchuria. The film is South Korea’s first entry in the Western genre and is credited with launching a new genre, the “K-oater” (Elley 35). The film draws heavily on generic elements of the Western and the sub-genre the “Spaghetti Western”, especially the works of Sergio Leone, particularly Leone’s The Good, The Bad, and The Ugly. As a genre, the Western has been especially noted for its immediately recognizable iconic and thematic elements: gunfights and showdowns, saloons and sixguns, the frontier and the town, trains, bounty hunters, bandits and mysterious loners who drift into town and ride off into the sunset. The Western has been considered a “master key to unlocking and understanding the most basic elements of American identity” (Schatz 54). In particular, the myth of the frontier, encoded within the generic tropes of the Western has been “assigned a central, even defining, place in the foundation of American national identity and national character” (Schatz 55). The Western has also been used to comment on or criticize American domestic and foreign policy, and to interrogate concepts of social and gender identity. The genre has itself been interrogated in the form of the Spaghetti Western. The Spaghetti Western occupies a controversial place within the genre. It has been described as “an inferior imitation of the American Western, a revitalization of the same in terms of visuals and music, or in terms of added realism” (Fridlund 3). For Frayling, it “represented an extraordinary and potent cross-fertilization of American and European cultures” (Frayling vi). It is this idea of cross-fertilization that I wish to examine in regards to the latest incarnation of the “Spaghetti Western”, the so-called “Kimchi Western”. My essay will undertake a close examination of Kim’s The Good, The Bad, and The Weird and Leone’s The Good, The Bad and The Ugly in order to expose the operations of genre and culture in cross-cultural remakes. By examining the “narrative and thematic motifs” that dovetail with and differentiate the film from Leone’s film, I will show how Kim uses the remake to investigate Korean historical, cultural and national identity.

‘만주웨스턴’에서의 장르 수용양상 및 번안 연구

조혜정 ( Cho Hye-jung ) 한민족문화학회 2017 한민족문화연구 Vol.60 No.-

The ‘Manchurian Western’ indicates the movies adopting the action element, particularly that of the Western films, set in the location of Manchuria during the Japanese occupation period, whose films lasted around 10 years from the film The Horizon (Jung Chang-hwa, 1961) to the film Cut off the Chains(Lee Man-hee, 1971). The forgotten Manchurian Western was recalled at the film The Good, The Bad and The Weird(Kim Ji-woon) in 2008. The Manchurian Western Film Festival, held by Korean Film Archive in the same year, aroused a booming impact enough to fix that genre’s name officially and a noticeable attention in that genre as well. This study aims to understand genre acceptance pattern in the Manchurian Western and recognize how the Western genre has been adapted in the Manchurian Western. Six films were selected as the study objects, which are as follows : Good bye, Dooman River(Im Gwon-taek, 1962), Somangukgyeong, The Border between Russia and Manchuria (Kang Bum-gu, 1964), The Continent On Fire(Yi Yong-ho, 1965), The Vagabond(Shin Sang-ok, 1968), The Eagles on the Wilderness(Im Gwon-taek, 1969) and Cut off the Chains. The Manchurian Western is divided into the former half period and the latter half period by the film A Fistful of Dollars directed by Sergio Leone in 1966. The films in the former-half period used the same grammar of the classic western films just by replacing the West with Manchuria. The films in the latter half, on the other hand, was under the influences of Spaghetti Western as a revisionist Western films. Especially, the latter-half films were quite different from the former-half films in character’s personality, motive or justification. In the former-half films, a great cause based on the nationalism like independence movement or support activity for independence army was a main motif guiding character’s behavior and the epic as well. However, the motif of independence movement, in the latter-half films, flows apparently on the surface, while personal revenge or greed for money is a deep realistic momentum to move character’s behavior and the epic also. Especially, space and character are the examples of Koreanstyle adaptation in the Manchurian Western. Although Manchuria is a typical space and a genre icon in the Manchurian Western, it is quite different from the wilderness in the Western films. The steep relief and desolate feeling of mountainous area were strikingly emphasized rather than a wide plain with open view of sight. This comes from an unavoidable reason that the Manchurian Western films should have been shot at Ttukseom, Gwangnaru, Daegwanryong or Yongin ski resort, instead of Manchuria. It is very ironical that only the region of Manchuria enables to visualize most clearly and realistically the Manchurian Western, but it was an empty signifier and imaginary space in the Manchurian Western. Although the Manchurian Western was set in Manchuria during the Japanese occupation period, the Korean society during the 1960s was reflected in the films. In the Manchurian Western, we can find many strong, heroic men who give their lives to win the struggle against the Japanese imperialism, a lonely vagabond who leaves his lover for her happiness, and daring-minded guys who disappear in the sunset seeking for freedom rather than specious values. It is the mirror reflects legendary look, suppressed reality and escape challenge of Korean men in the 1960s who were forced to work for national modernization as a pillar of country. The Manchurian Western adapts the Western genre in Korean style by combining different spaces of Manchuria and Korea with historical times of the Japanese occupation period and the 1960s.

조선후기 西學 수용과 배척의 논리 - 星湖學派의 西學觀을 중심으로 -

구만옥 동국역사문화연구소 2018 동국사학 Vol.64 No.-

The acceptance of western studies(西學) of the Seongho School(星湖學派), represented by Yi, Ik(李瀷), has several characteristics as follows. Firstly, western science and technology is regarded separately from Catholicism. While he has asserted that Catholicism was a heresy, Yi, Ik has showed a positive attitude toward western science and technology. Secondly, they have affirmed the academic excellence and practicality of Western science and technology, based on historical awareness and perception of reality. They have had historical awareness that Science and technology becomes more and more precise as it goes down later, and even the wisdom of the saints can not grasp the whole truth, At the same time, they have had perception of reality that China’s academic ability was lagging behind the West at that time. Thirdly, based on the open-minded attitude of study, they have raised the selective acceptance of the doctrine of heresy. Yi Ik has the view that even if it is a book of heresy, they can remove the nuisance part and can adopt only outstanding discussion. Finally, they have explored the doctrines of Catholic and other heretic theories thoroughly. Scholars of the Seongho School have read a wide range of books related to Western learning and extracted pros and cons. This differentiates them from those scholars who have never read books of Western learning and raised criticism. Unlike the acceptance of Western learning of the Seongho School, it is difficult to find a discussion on the excellence of Western science in the Heterogeneism and the traditional logic of heretical rejection, held by those scholars belong to Southerners group and those who have strong opinion of defending orthodoxy and rejecting heterodoxy. Based on the tradition of heretical rejection, they have categorized Catholicism into the heresy which acknowledges neither king nor father. They have also expressed a negative view on the excellence of Western science. Their criticisms of Western science are as follows. Firstly, they have not recognized the academic ability of Westerners. They scorned, exaggerated, and abused Western knowledge as ‘one-sided wisdom’ at best. Secondly, they have looked down on the excellence of Western science as a mere handicraft. They considered the excellence of Western astronomy no different than the special abilities of animal and poultry. The sophistication of Western studies was compared to the “delicate handicraft of Japan and Vietnam”. Thirdly, the difference between the Chinese academic and Western skills were compared with that between the fundamental comprehension of the aristocracy and a handicraft of the lower class. Finally, in their view, the difference between the orthodoxy and the heresy is in ‘academic goal’. They pointed out that heresy focuses on the material force as the principal[主氣] and qi(氣) with physical form[形氣], while the orthodoxy focuses on the nature and external necessity[性命] and the moral principle[道理]. 李瀷으로 대표되는 星湖學派의 서학 수용론은 다음과 같은 몇 가지 특징을 지니고 있다. 첫째, 서양의 과학기술과 천주교를 분리하였다. 이익은 천주교는 이단이라고 단언한 반면 서양의 과학기술에 대해서는 적극적인 수용의 태도를 보였다. 둘째, 서양 과학기술의 학문적 우수성과 실용성을 긍정하였다. 이익은 과학기술은 후대로 내려갈수록 더욱 정밀해지고, 비록 聖人의 지혜라고 할지라도 그 이치를 모두 알 수는 없다는 역사적 인식, 그리고 당시 중국의 학문적 능력이 서양보다 뒤떨어져 있다는 현실 인식을 바탕으로 서학 수용론을 전개하였다. 셋째, 개방적 학문 태도를 기초로 異端의 학설에 대한 선별적 수용론을 제기했다. 이익은 이단의 책이라고 해도 그 가운데 잡스러운 부분을 제거하고 뛰어난 논의[明論]만 채택하면 된다고 보았다. 넷째, 천주교를 비롯한 이단의 학설에 대해서도 깊이 있게 탐구하였다. 성호학파의 학자들은 다양한 서학 관련 서적을 폭넓게 읽고 장단점을 적출하였다. 이는 서학과 관련된 책을 전혀 읽지 않고 비판론을 제기했던 학자들과 비교할 때 분명한 차별성을 보인다. 성호학파의 서학 수용론과 달리 南人 계열과 衛正斥邪 계열의 闢異端論·斥邪論에서는 서양과학의 우수성에 대한 논의를 찾아보기 어렵다. 이들은 전통적인 이단 배척의 논리에 기초해서 천주교를 ‘無父無君’의 邪學으로 단정했으며, 서양과학의 우수성에 대해서도 부정적 견해를 피력하였다. 서양과학에 대한 비판의 논점은 다음과 같다. 첫째, 서양인의 학문적 능력을 인정하지 않았다. 서양의 지식은 ‘한쪽으로 치우친 지혜’라고 폄하되거나 과장되고 황당한 말로 치부되었다. 둘째, 서양과학의 우수성을 소기(小技: 조그마한 재주)의 차원으로 낮추어 보았다. 서양 천문학의 우수성은 禽獸가 지니고 있는 특별한 능력과 다를 바 없다고 여겼고, 서양 학문의 정교함은 ‘日本이나 安南의 정교한 工技’에 비유되었다. 셋째, 중국의 학문과 서양의 기예를 君子의 上達과 小人의 下達로 대비하였다. 넷째, 正學과 異端의 차이를 ‘학술의 차이’에서 찾고 있었다. 그것은 바로 主氣·形氣를 위주로 하는 학문과 性命·道理를 위주로 하는 학문의 차이였다.

양,한방 상호보완 방안에 관한 인식도 연구 -의사, 한의사 및 보건의료전문가간 비교를 중심으로-

박종구 ( Jong Ku Park ),김춘배 ( Chun Bae Kim ),조경숙 ( Kyung Sook Cho ),최서영 ( Seo Young Choi ),이종찬 ( Jong Chan Lee ),이선동 ( Sun Dong Lee ),전세일 ( Sae Il Chun ),김중호 ( Joong Ho Kim ) 한국보건행정학회 2000 보건행정학회지 Vol.10 No.4

This study is conducted to compare how the Western.Oriental medical practitioners and health professionals perceive reciprocal development strategies respectively of Western.Oriental Medicine in Korea. A total of 3,273 persons were questioned by direct distribution, e-mail, and mail with a self-developed questionnaire. Of those questioned, 362 responded (the response rate of 11.1%), and of them n persons (Western medical practitioners 206, Oriental medical practitioners 90, and health professionals 64) were analyzed with SPSS for Windows. The results were as follows: The need for legislation on the mutual development system for Western.Oriental Medicine was recognized by 66.9% (218 persons) of respondents. Among them, largest group who agreed with this need was the health professionals. Western medical practitioners chose the the difference of approach methods on the diseases between Western.Oriental Medicine as their response, and Oriental medical practitioners & health professionals selected the indifference or bias of Western medical practitionersas the reasons for the inactivity in developing a mutual system of Western.Oriental Medicine. Therefore, Western medical practitioners and health professionals selected the category of the reformation of educational system, while Oriental medical practitioners selected the category of the activation of joint research on Western.Oriental medical care as the most important condition for setting a precedent. Also, Western medical practitioners preferred cooperative health care system for Western medical care supported by Oriental medical care, but Oriental medical practitioners and health professionals preferred “cooperative health care system of Western.Oriental medicine on equal terms In conclusion, Western ``||``&``||`` Oriental medical practitioners have to make every effort to close the gap between differing views through mutual understanding and respect if joint research of Western.Oriental medical care is to become a reality. The government should continuously enforce the health policy on development of a legal and systematic infrastructure for mutual development strategy of Western.Oriental Medicine in Korea.strategy of Western.Oriental Medicine in Korea.

개항기 서양인들의 주요 한국체험기에 나타난 제국주의 담론의 자체 모순과 혼란

강정구 한국사상문화학회 2016 한국사상과 문화 Vol.82 No.-

The purpose of this study was to critique self-contradiction and ambivalence of the discourse of western imperialism. I criticized the common sense that Westerners were superior and Korean people were inferior. I re-thought that the discourse of Western imperialism concealed self-contradiction and ambivalence. Firstly, the image ‘Korean’ in the writings by western visitors is showed the Westerners mind of dissolution and ambivalence. The Westerners told Koreans were similar to themselves, but Koreans were not similar to themselves. Secondly, the image ‘woman’ in the writings by western visitors is a sort of scene. The scene hided Korean women’s life and history and Westerners’s position of the discourse of western imperialism. This scene had the characteristics of self-contradiction and ambivalence. Thirdly, the image ‘child’ in the writings by western visitors is a representation made in Westerners’s modern eyes. The Westerners’s modern eyes showed the characteristics of self-contradiction and ambivalence. Because the Westerners have got the imperial and modern eyes already, before they saw the korean child. So, now I examined that self-contradiction and ambivalence in the discourse of western imperialism had. I thought the common sense that Westerners were superior and Korean people were inferior is worng. I re-thought that the discourse of Western imperialism concealed self-contradiction and ambivalence. 개항기 서양인들이 기록한 제국주의 담론의 주객 표상은 표층적으로 볼 때 우등한 서양인과 열등한 한국인이라는 우열의 정합성·일관성을 보였지만, 심층적으로 보면 우열의 이분법적인 구조가 해체·붕괴되는 자체 모순과 혼란을 지녔다. 이러한 사실은 오페르트의 저서를 비롯한 주요 한국체험기를 분석하면 잘 드러났다. 기존의 연구사에서는 제국주의 담론에서 드러난 타자의 열등성 논의를 부인·비판하는 데에 초점이 맞춰져 있었지만, 이 글에서는 서양인들에 의해서 담론화된 주체와 객체 표상 모두가 자체 모순과 혼란의 산물이었음을 ‘한국인’, ‘여성’, ‘아동’ 표상을 중심으로 분석했다. 먼저, ‘한국인’ 표상은 각국의 서양인들이 자신들과 한국인들을 유사하면서도 상이한 인종으로 여겼고, 자신들의 근대와 문명을 내세우면서 제국화·식민화하려는 양가적·모순적인 심리를 잘 보여줬다. 그리고, ‘여성’ 표상은 서양인들에 의해서 자기 사회의 문화적 기억과 상상의 혼합으로 만들어진 풍경이었고, 그 풍경 속에는 제국주의적인 모습을 회피·망각한 서양인들의 자기 모순적인 담론적 위치가 숨겨져 있었다. 마지막으로 ‘아동’ 표상은 서양인들이 한국의 아동들을 열등한 존재들로 보면서 이미지화한 것이었는데, 이런 표상 속에는 서양인들의 근대적인 ‘아동’ 관념이 무의식적인 차원에서 절대이고 진리라는 자기 기만적인 근대적 시선이 먼저 전제돼 있었다. 정합적·일관적으로 보였던 한국체험기와 같은 제국주의 담론은 담론 내부에서 충돌을 일으키고 분열된 양상을 상당히 많이 띠고 있었다. 타자의 열등성과 주체의 우등성을 드러낸 제국주의 담론 속의 서양인들은, 담론의 심층에서 자체 모순과 혼란을 내재했던 것이었다. 이러한 논문의 논지는 앞으로 제국주의 담론을 그 자체적으로 내파하려는 시도를 하는 과정에서 중요한 의미를 지닐 것으로 기대된다.

東學의 西學ㆍ西洋에 대한 인식의 변화 양상

조지형(Cho Ji-Hyoung) 한국교회사연구소 2010 敎會史硏究 Vol.0 No.34

Through the Donggyungdaejeon (東經大全) & the Yongdamyusa (龍潭遺詞), the basic scriptures of Donghak, this paper explored changes in its awareness on the Catholic & the Western civilization in its establishment and development process. Besides the paper investigated Choi Si-Hyung's awareness on Western World. The result investigated is as follows. It is highly likely that Choi Je-Woo was awareness on the Catholic & the Western civilization during the process making a trip around the world and attaining Nirvana. However, we can't know whether he had any negative awareness on the Catholic & the Western civilization. While having some attention on the western missionary's evangelism logic in the book, 〈Podeokmun〉 (布德文) in the spring of 1861, he recognized the Western as strong being. However there was no rival thinking or negative attitude against the Catholic & the Western civilization in the book. As Donghak entered its public propagation process earnestly, Choi Je-Woo faced the situation that following people didn't understand the Western-Learning rightly and were confused the learning in the song of 〈Anshimga〉(安心歌) written in July of 1861. Although his some remarks belittling the Catholic were seen in the book, there appeared no aggressive criticism or exclusive attitude against Western power & its civilization. In January of 1862, he wrote the book of 〈Nonhakmun〉 (論學文) for the Yangban (noblemen) scholars, and the song of 〈Gwonhakga〉 (勸學歌) to commoners. In the 〈Nonhakmun〉, he emphasized that his religion was different from the Catholic with some specifical reasoning. Emphasizing his religion's differentiation from the Catholic, the region was named as 'Dong-hak' (Eastern Learning) in this process. In the 〈Gwonhakga〉, he criticized the Catholic for its ignorance of traditional manners & orders including the ancestral rites or the ancestor worship in order to emphasize Donghak's differentiation from it. Judging from the above discussion, it is thought that the opinion seeing Donghak as a kind of resist ideology established to resist against the Catholic will have to be corrected. Though Choi Je-Woo recognized the Catholic from early time of his attainment of Nirvana, he didn't appear any exclusive attitude to the learning and Western World. It can be considered that his criticism against the Catholic was carried for the purpose emphasizing his religion's differentiation from the learning. After then, it is judged that Choi Si-Hyung directly succeeded Choi Je-Woo's criticism logics against the Catholic & the Western civilization who activated in the previous period. Especially, in the book of 〈Gangseo〉 (降書), he severely criticized Western Power's armed aggression and insisted that people equipped with the moralism should fight against the Western Power. Therefore, it was the Choi Si-Hyung who formed some Donghak followers' aggressive will againt the Western.

20세기 말 중국 신좌파 중화성(中華性) 담론의 전개, 의의 및 비평

박병석(Park, Byoung Seok) 한국동양정치사상사학회 2017 한국동양정치사상사연구 Vol.16 No.1

20세기 말인 1990년대 초 일부 중국 신좌파 학자들은 중화성(中華性)은 고전성과 현대성에 대한 이중적인 계승이자 이중적 초월이라고 주장하면서 중화성 담론을 제기했다. 이들 중화성론자는 서구의 포스트모더니즘과 탈식민주의 및 오리엔탈리즘을 동원하여 서구사회의 우월성, 중심성, 보편성과 비서구사회의 열등성, 주변성, 특수성을 대비시키는 서구중심주의(western-centrism, euro-centrism)를 해체하려했다. 그들은 동방 담론 및 중화성과 서구 담론 및 서구 현대성(또는 오리엔탈리즘)을 대립시키는 ‘이론여행’을 통해 자국문화의 우월성, 중심성 및 보편성을 확인하고 자국문화에 대한 비판을 배제하는 또 다른 중심주의인 중국중심주의(sino-centrism) 건립을 지향하여 결국 서구를 배제하는 옥시덴탈리즘(occidentalism)으로 빠졌다. 중화성론자는 서구 탈식민주의자들이 인정하는 문화의 혼종성(混種性, hybridity) 또는 혼종화(混種化, hybridization)를 외면하였고, 따라서 서구문화의 전유(專有, appropriation)나 재전유(再專有, re-appropriation)의 가치와 가능성을 배제하였다. 중화성론자의 옥시덴탈리즘화나 문화의 혼종성 외면은 결국 중국 신좌파로 하여금 포스트모더니즘과 탈식민주의를 통해 서구사회와 중국사회의 소통 가능성을 배제하도록 만들었고, 서구중심주의를 빌려 중국중심주의를 강화시키고 중국을 고립시키는 방향으로 가도록 만들었다. Some Chinese New Leftist scholars proposed the Chineseness(中華性) discourse in the early 1990s, arguing that Chineseness is not only a dual succession of Chinese classicality and western modernity, but also a dual transcendence of Chinese classicality and western modernity. The proponents of the Chineseness discourse intended to deconstruct western-centrism(eurocentrism), which contrasts the inferiority, peripherality, and specificity of the non-western world with the superiority, centrality, and universality of the western world by exploiting western post-modernism, post-colonialism, and Orientalism. They navigated through theories to contrast eastern discourse and Sinocentralism with western discourse and western modernity(or Orientalism) and aimed to establish Sino-centrism, another worldview that centers on ethnicity, to prove the superiority, centrality, and universality of Chinese culture and to deflect criticism of their national culture. This, in the end, led them to Occidentalism, where the western world is denied. The pro-Chineseness scholars ignored the cultural hybridity or hybridization recognized by western post-colonialists. Thus, they denied the value and possibility of the appropriation and re-appropriation of western culture.Their support for Occidentalism, or denial of cultural hybridization, made the New Leftists in China deny the possibility of communicating with the western world through post-modernism and post-colonialism. This caused them to reinforce Sino-centralism by utilizing western-centrism and isolating China.

대한제국기 신구학논쟁의 전개와 그 의의

백동현 ( Baik Dong Hyeon ) 한국사상사학회 2002 한국사상사학 Vol.19 No.-

1920년대 전통음악공연의 형태와 특징 - 서양식 장르와의 혼성공연형태를 중심으로

금용웅 ( Keum Yong-woong ) 한국공연문화학회(구 한국고전희곡학회) 2017 공연문화연구 Vol.0 No.35

일제강점기 전통음악공연은 식민지라는 특수한 상황에 놓이면서 점차 축소, 약체화 되어 갔고 개화기 이후부터 사회전반에 꾸준히 확산되기 시작한 서양문물의 영향으로 서양식 장르의 공연이 활성화되었다. 이러한 상황 속에서 전통음악공연은 단독공연형태보다는 서양식 장르와 함께 연행되는 혼성공연(混成公演) 형태를 보이는데, 특히 서양음악과의 혼성공연형태가 주를 이루었고 이 밖에 연극, 강연, 영화, 댄스, 마술과 같은 장르와도 함께 공연되었다. 이와 같은 서양식 장르와의 혼성공연형태는 1920년대에 들어 더욱 활발하게 전개되면서, 전통음악공연의 한 형태로 자리 잡게 되었다 따라서 서양식장르와 전통음악의 혼성공연형태에 대한 연구는 한국근대음악사에서 아직 조명되지 않은 전통음악의 공연형태를 밝혀, 일제강점기 전반적인 전통음악공연의 동향을 파악하는데 그 의의가 있다고 하겠으나, 지금껏 이에 대한 연구는 거의 이루어진 바가 없는 실정이다. 이에 본 연구는 1920년대 서양식 장르와 전통음악의 혼성공연형태에 대해 당시의 신문기사들을 중심으로, 서양식 장르와 전통음악의 혼성공연형태 활성화 배경과 형태별 특징에 대해 고찰하였다. 서양식 장르와 전통음악의 혼성공연형태 활성화 배경에서는 1920년대에 들어 서양식 장르와 전통음악의 혼성공연형태가 이전에 비해 활성화 되었음을 알 수 있었다. 이와 같은 원인은 1920년대에 들어 공연의 주최나 후원 단체들이 늘어남에 따라, 전반적인 공연의 개최 수가 이전보다 급격히 증가하였고, 증가한 공연의 양상이 서양문물의 확산으로 더욱 다양해진 대중들의 기호 충족을 위해 대부분 혼성공연형태로 이루어진 데에 기인하고 있었다. 서양식 장르와 전통음악의 혼성공연형태별 특징에서는 전통음악과 함께 공연된 서양식 장르들을 분류하여, 전통음악이 개개의 서양식 장르와 함께 공연되었을 때 어떠한 특징이 나타나는지 살펴보았다. 첫째, 서양음악과 전통음악의 혼성공연형태에서는 전반적으로 서양음악의 프로그램 수가 많은 비중을 차지하였으며 당시에 흔치 않았던 서양악기와 전통악기의 합주가 이루어지기도 하였고, 부제나 날짜별로 두 장르를 구분하여 공연되기도 하는 특징을 보였다. 둘째, 연극과 전통음악의 혼성공연 형태에서는 전통음악이 창극과 유사한 형식으로 연극에 직접 참여하거나, 연극의 무대전환을 위한 막간공연의 역할로 연극과 독립되어 공연되기도 했고, 관객모집이나 여흥을 위해서도 공연되는 특징이 있었다. 셋째, 강연과 전통음악의 혼성공연형태에서는 전통음악이 강연의 전이나 후에 연주 되어서 강연의 분위기 조성과 여흥의 역할을 하는가 하면, 관객모집을 위해서도 공연되는 특징을 보였다. 넷째, 영화와 전통음악의 혼성공연형태에서는 전통음악이 영화에 직접 참여하거나, 독립적인 공연의 성격을 띠기도 했고, 영화 상영 후 여흥을 위해서도 공연되는 특징이 있었다. During the Japanese colonial era, traditional music performances were gradually diminishing and weakening in the particular condition of colonization. Meanwhile, from the time of enlightenment, Western genre performances were becoming vitalized with the influence of Western civilization that began to be spread steadily throughout the society. In that situation, traditional music performances tended to be mixed performances accompanied by Western ones, not independent performances. Mostly, they were accompanied by Western music, and also, they were performed along with other genres like plays, lectures, movies, dances, or magic, too. Such form of mixed performances accompanied by Western genres became even more vitalized in the 1920`s and came to be positioned as a form of traditional music performances. Therefore, research on the forms of mixed performances between Western genres and traditional music is meaningful in examining the forms of traditional music performances that have not been studied in the history of Korean modern music and understanding the trends of traditional music performances which were generally found in the Japanese colonial era. However, such research has hardly been conducted concretely yet. Accordingly, concerning the forms of mixed performances between Western genres and traditional music in the 1920`s, this author considered the background of vitalizing mixed performances between Western genres and traditional music mainly with newspaper articles of the time and their formal characteristics. Regarding the background of vitalizing the forms of mixed performances between Western genres and traditional music, from the 1920`s, the forms of mixed performances between Western genres and traditional music became more vitalized than before. The causes of that may include the increase of groups hosting or sponsoring such performances from the 1920`s and also the dramatic increase of such performances in general. Moreover, the increased performances were conducted in the forms of mixed performances mainly in order to satisfy the people`s needs becoming diversified with the distribution of Western civilization. Concerning the formal characteristics of mixed performances between Western genres and traditional music, this researcher classified western genres performed with traditional music and examined what characteristics were found in such mixed performances of tradition music by the types of Western genres respectively. First, in the mixed performances type of western-type genre and traditional music, the number of programs for the western music had significant portion in general, and there were certain ensemble of the western music and traditional musical instrument that was rare at this period of time, and it also had the characteristics of classifying two genres to perform for each title or date. Second, in the mixed performances type of the drama and traditional music, the traditional music is directly participated in the drama with the similar type to the theater, or performed independently from the drama with the role of interlude performance for the stage conversion of the drama to have the characteristics of performing in audience publicity or entertainment. Third, in the mixed performances type of the lecture and traditional music, the traditional music is played before or after the lecture to play the role to set the atmosphere and entertainment for the lecture as displaying the feature to perform for the audience attraction. And, fourth, in the mixed performances type of the movie and traditional music, the traditional music sometimes directly participated in the movie or had the features of independent performance, and there was a characteristic to perform for the entertainment after showing a movie.