• 한국제4기학회지
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• 제15권1호
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• pp.21-28
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• 2001

동아시아에서 주로 봄철에 관측되는 황사현상을 오랜 옛날에 우리나라, 중국, 일본에서 어떤 용어로 기록하였는지 조사하였다. 우리나라에서는 서기 174년 신라 아달라왕 때 ‘우토' 라 하여 하늘에서 흙이 떨어지는 현상을 관측, 기록하였다(화전, 1917). 삼국시대에 ‘우토’라는 기록이 총 8건(화전이 조사한 7건에 본 연구에서 1건을 추가함)이 있으며, 고려시대에는 ‘우토’와 흙먼지를 뜻하는 ‘매’, 조선시대에는‘토우’로 기록되었다. 한편, 중국에서 널리 사용된 황사현상 관련 표현은 기원전 1150년의 ‘우토’이며, 그 다음으로 많이 사용된 것은 ‘매’로 기원전 78년의 기록이다(Quan, 1994). ‘황사’는 중국에서 최초로 서기 550년에 등장하지만, ‘우토’ 만큼 흔하게 사용되지 않았다. 일본에서는 황사현상에 관한 기록이 중국이나 우리나라에 비해 매우 적은데, ‘황우’, ‘우니’ 라는 기록이 있으며, ‘매’라는 용어는 1596년에, ‘우토’는 1633년에 처음 기록(화전, 1917)되었다. 이와 같이 우리나라에서 중국에서 기원하는 ‘우토’ 또는 ‘토우’ 또는 ‘매’란 용어를 사용하였으며, 일제 강점기때부터 ‘황사’라는 표현을 사용해오고 있다.

• 감성과학
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• 제25권4호
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• pp.3-20
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• 2022

세계적으로 알려진 한국의 갓의 기원과 상징성을 찾아보면 고조선까지, 또 상투와 관자는 홍산문화까지 올라갈 수 있다. 본 연구의 목적은 영어 Hat의 어원, 갓과 옥 머리빗의 상징성, 갓 부속품의 발달 역사를 살펴보고자 함이며, 연구방법으로는 문헌고찰, 유물과 벽화, 주변의 발음 변화 사례수집 등을 행하였다. 홍산문화에서 발굴되는 유적 대부분이 한국에서 발견되는 유적과 상당 부분이 일치하고 있다. 변한 사람들은 고깔형태의 삼각형 모자 변(弁)을 착용하였는데, 이는 상투의 머리형태에 맞춘 것이다. 변의 테두리는 접어져 있는데 이를 아래쪽으로 내리게 되면 갓이 된다. 뾰족한 추 상투는 동북아시아 사람들의 독특한 머리양식이며 한국인의 '하늘 자손' 이라는 민족정체성을 나타내므로 수천년간 전통이 유지되었다. 새와 구름형의 홍산문화 옥 머리빗은 종교적 특성과 홍산인의 머리양식에 관한 예법 제례에서 사용되었다. 영어 'Hat'는 '갓' 발음이 변화한 것이다. 'ㄱ, ㅎ, ㅋ'의 발음은 상호 밀접한 관계를 갖고 있는데, 고대의 'ㄱ'음은 점차 'ㅎ, ㅋ'음으로 변천하게 되었다. Hat와 갓은 '관, 고깔'의 중고음인 '가사>고사>곳' 으로부터 변형한 것이다. 홍산문화에서 시작된 독특한 머리양식은 단군 고조선시대에 대중적으로 유행되었으며, 갓의 착용과 머리양식 요소는 전승되면서 지속적으로 발전하였다. 갓의 제작 방법 및 창의적인 망건, 동곳, 관자, 머리빗 등 갓 착용을 위한 필수 부속품들의 상호 발전사도 주목할 필요가 있다.

• 복식
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• 제57권6호
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• pp.112-121
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• 2007

Gamtu was a name recorded in Korean in respect of 'Mo(帽), Moja(帽子), Somoja(小帽子), Jeongmoja(頂帽子), Jeonmo(氈帽), Yangmomo(羊毛帽), Tangjeon(宕巾)' from the beginning to the end of Joseon dynasty which includes various shapes and uses according to wordbook. Also, Gamtu has various phonetic transcriptions, however Manchu pronunciation of 'Moja(帽子)' is indicated as 'Kamtoo' in $\ulcorner$Dongmunyuhae(同文類解)$\lrcorner$ so the origin of the word Gamtu should be discussed. Accordingly, I want to clearly define the concept of Gamtu in this research by studying the history and shape of Gamtu, and Chinese entries annotated in Korean as Gamtu. Even though we can assume that the etymology of Gamtu is Manchu language as Manchu pronunciation of 'Moja(帽子)' is indicated as 'Kamtu' in $\ulcorner$Dongmunyuhae(同文類解)$\lrcorner$, I think the Korean pronunciation of Gamtu already existed because there already was a Chinese transcription of 'Gamtu' in the Goryeosa(高麗史). So, we can conjecture that Gamtu could be originated from Yeojin language which is the same lineage of Manchu. As a conclusion, Somoja(小帽子), Jeongmoja(頂帽子), Moja(帽子), Jeonmo(氈帽), Yangmomo(羊毛帽), Tangjeon(宕巾) had a common feature that they were produced to fit head without visor, and were annotated as Gamtu per woolen cloth was used as Jeonmo(氈帽), Yangmomo(羊毛帽), and Gamtu was just a Korean transcription that includes these names.

• 대한한의학원전학회지
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• 제35권1호
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• pp.81-92
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• 2022

Objectives : This paper aims to analyze the origins of the pathogenic qi[邪氣] concept through analysis of related character shapes and examples within the Mawangdui Yishu, where we can grasp the state of medicine pre-Huangdineijing. Methods : Etymology was determined through ancient character analysis, while examples of its usage and original texts were compared to extract their implications. For usage analysis, medical texts of later periods that contained similar verses or contents with the Mawangdui text were compared, through which similarities and changes in meaning of the word or verse were examined. Conclusions : While the term 'xieqi(邪氣, pathogenic qi)' had not yet been mentioned in the Mawangdui text, 'eqi(惡氣)' was used similarly. Wind[風], cold[寒], dampness[濕] were not only understood as terms referring to weather or climate but possible causes for disease. Meanwhile, there was lingering belief from the Shang(商) period that saw disease as God's punishment, which could be seen as transition phenomenon from superstition to rational thought. Through diseases 'wind disease[風病]' and 'bi(痹)', we could determine that medicine at the time was limited to the Yin-yang theory, having not yet integrated the Five phases perspective. Moreover, the possibility of other pathogenic qi elements, 'heat[暑]', 'dryness[燥]', and 'fire[火]' could be assumed to have been embedded in 'wenbing(溫病)'.

• 인문언어
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• 제2권2호
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• pp.85-107
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• 2002

The word play on h(e)art-hunting has become a virtual commonplace in criticism of Chaucer′s Book of the Duchess. Less widely discussed is the third meaning of ME herte, "hurt." The "hart"/ "heart" pun is, however, only implicit in the poem, while the rhyme of "heart" and "hurt" in lines 883-84 makes clear the close association of the terms for Chaucer. Earlier commentators insisted that this was in fact an instance of rime riche or "identical rhyme," but if it is so it is striking that it is the unique instance of the rhyme in Chaucer, whose works are full of occasions for hurt hearts. The essay argues that this is, instead, an instance of near-rhyme and that the confusion in scribal spellings of ME hurten(with ′u,′ ′0,′ ′i,′ ′y,′ and ′e′ ) suggests uncertainties about its root vowel that modem linguistic study has not clarified completely. If the rhyme of herte ("hurt") with herte ("heart") is, however, established by these lines in BD, then it is probably reasonable to ask about all the occasions where characters in the poem are hurt by emotional or physical distress. In the cases of A1cyone and the Man in Blak, the hurt is revealed plainly as the death of a loved one, and Alcyone′s death and the Man in Blak′s return "homwarde" offer contrasting responses to the realization and acknowledgement of their loss. In the case of the Narrator, however, the exact nature of his "hurt" is nowhere made clear and the questions this Jack of clarity raises for the reader remain unanswered when the poem declares its "hert-huntyng" done. Further examination of the Narrator′s character and his role in the poem may reveal him to be a physician himself in need of healing, and this reading of his character may identify him as an ancestor as much of Chaucer′s Pardoner as of the Pilgrim Narrator of Canterbury Tales.

• 미술이론과 현장
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• 제1호
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• pp.7-22
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• 2003

What is 'Art Theory'? In the western sense, the term poses a vague ambiguity, and in the eastern, it is rather an abstract and metaphysical concept. As for etymology, theory is derived from theoria and theoria from theoros. It refers to an act of viewing or seeing, of course not in a metaphysical sense. Plato understood it as 'eide'. During the time of Plotinus, theoria encompassed gazing at every possible reality, and this gazing, that is theoria, is closely related to reality as aunit that theoriacan perceive. However, we tend to distinguish, as other scientists of dualism have done, studio art from theory since a pre-modern approach to art has been particularly tuned to studio practice, set apart from theory. Therefore, in studio classes, students are expected to learn the subject based on the foundational curriculum methods such as medium, genre, technique:, rather than bringing out their own interpretations and discussing theories. As a result, students have become artists, who are not able to understand their own art. Art professors who conduct class in studio are required to proceed with specific 'theories' as well as 'intellectual reflections'. In this respect, this thesis presents poiesis and an idea of 'acting out'. Although art history and aesthetic theory tend to view art as a finished product, actual art-making and related theories should not only be acknowledged as 'completion' (finition) but also be accompanied by theoretic interpretations of the act itself and process. Accordingly, it is to accept and appreciate art as finished result in view of current theory and aesthetics thus boils down to aisthesis. Likewise, poietics starts from a point where an artist is related to studio and examines the 'work process' that extends as far as to the exact end of work. Through the study of such relationship, it is possible that theory understands 'studio' and 'process', and an artist can grant an independent meaning to studio where s/he pours her/his heart out creating a work of art. Theory is a study on artistic discovery thus should be equipped with functions that can accommodate fortuity, imitation, thinking, culture, and surrounding.

• 한국안전학회지
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• 제22권2호
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• pp.28-35
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• 2007

The terminological definition of 'safety' is difficult because the word has an meaning and the usage is too wide and various in itself. There could be various meanings of 'safety' according to the specific area on which the term is used. Even though the variety is permitted, a definition on the term of 'safety' is necessary not only to raise the understanding of consistent terminological meaning but also to make assure the perfectness on all of the applications. The term of 'safety' can be understood clearly by the comparison with the antonym and the synonym, and the limitation of the usage can be established through the comparative studies. Comparing with the antonym such as 'risk', 'safety' implies the recognition and prevention of the danger before an accident or a disaster occurs. Comparing with another antonym of 'disaster', 'safety' comprehends all the saving activities for the disaster and the measures to prevent the spread of collateral damages. The comparison with the synonym, 'security' shows that 'safety' can include the prevention of intentional mishaps. The Korean word of 'safety' might be selected by a scholar who was well educated to understand Chinese language and certain canonical texts written in Chinese. The etymological study of 'safety' was concentrated on I-ching which has been believed that could foretell a future and show a measure to prevent bad luck by performing good virtue in the life. The Korean word of 'safety' might come from Xicizhuan(Great treatise) which is known as one of ten commentaries for I-ching. The texts from Xicizhuan describes that all of the explanations about safety which could be translated to the principles of safety nowadays.

• 사상체질의학회지
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• 제19권3호
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• pp.20-29
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• 2007

1. Objectives We know that the origine of the pe-tsai is from 백채(白菜; pronounced as bak-tsai, meaning white vegetable). But some literatures said that the japanese butterbur(Petasites japonicus (Sieb. et Zucc.) Maxim) is from 백채(白菜;: pronounced as bak-tsai), too. These two words have same origin. It makes us get into a mess. So We are about to study the origine of the pe-tsai more. Also, we investigated its historical origin, properties and Sasang constitutional medicine's efficacy. 2. Methods We reviewed farmings(e.g. 山林經濟, 林園經濟法), dictionarys(e.g. 訓蒙字會), encyclopedia(e.g. 物名攷), books on herbs and medicines to summarize literatures about the pe-tsai. 3. Results and Conclusions (1) The origin of term, pe-tsai is sung, named after a pine tree(松), chineses character pronounced as song) which we can see throughout a year. Also, pe-tsai was called white vegetables(白菜, pronounced as bak-tsai) because its appearance is green and white. Therefore, the pronounciation of sung derives from its character and we also say bak-tsai(白菜), which came from its looks. (2) Today we pronounce pe-tsai inro bae-tsu(배추) in korean. There are pronunciational developments of this word : bak-tsai(白菜) $\to$ bae-tsae $\to$ bae-tsa $\to$ bae-tsa $\to$ bae-tsae(배채) $\to$ bae-tsu(배추). (3) Our ancestor used bak-tsai(白菜) as the name of japenese butterbur, which was different from China. The latter times of Joseon(조선), however, sometimes bak-tsai(白菜) meant pe-tsai. After the year of 1800, bak-tsai(白菜) only meant pe-tsai. So when we try to translate our ancestor's books, we must examine carefully their published year. (4) Pe-tsai is used for baby's erysipelas, boil, fever in the chest, thirst after alcohol drinking and kind of diabetes. It helps digestive organs as well. Pe-tsai is used for stress, fever in the chest and cough with fever of Soyangin and Tayangin in Sasang Constitutional Medicine.

• 건축역사연구
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• 제26권6호
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• pp.19-28
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• 2017

In this paper, I have reviewed some of the Korean traditional architectural vocabularies that have to be reconsidered in terms of the problem of decode, the problem of meaning, the meaning of explain meaning, and the problem of form analysis. Especially, correct decode and interpretation of Uigwe's Korean ancient architecture borrowed character can correct old decode and interpretation. Furthermore, I confirmed that I could correct the Korean ancient architecture vocabulary that was expiscated wrongly. Especially borrowed characters corresponding to 머름[meoreum](paneling) have been known only far away 遠音[meoreum]. In addition, there were also 遠驗[meolheom] 亇乙軒[meolheon] 亇乙險[meolheom] 亇乙音[meoreom], and so on. Furthermore, in the process of decode these notations, it has become possible to assume that the original words of the modern language 머름[meoreum] also came from *멀험[meolheom]. On the other hand, there are many kinds of people like 付叱心[bussim] 夫叱心[bussim] 扶叱心[bussim] 富叱心[bussim] 富心[bussim]과 北叱心 [bussim] 北心[bussim]. You can also check the Korean ancient architecture vocabulary. However, corresponding words are difficult to find in modern Korean languages. However, in Jeju dialect, we can confirm the corresponding word. This word was used in the Joseon Dynasty, and confirmed that it is dead language today. As mentioned above, it is confirmed that there are many misconceptions about the decode and meaning of the architectural vocabulary made of borrowed character in existing architectural dictionaries, Korean dictionaries, and Korean ancient architecture related papers. Also, although the form is being confirmed, it has been confirmed that there are many things that need to be clarified, such as what the decode is, what the meaning is, and the origin I have also confirmed a number of things that need to be properly expomed in the original form, the original word. In the future, those who study Korean ancient architecture vocabulary and traditional architectural vocabulary should also be interested in these things and research it properly.

• 대한지리학회지
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• 제47권6호
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• pp.884-898
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• 2012

지명에는 해당 지역과 그 지역주민들의 삶에 관한 정보들이 녹아 있다. 특히, 오래전부터 이어져 온 고지명은 더 많은 공간적 속성들을 포함한다. 본 연구에서는 전통 지명의 하나인 고지명 '두모'를 연구대상으로 하여 그 분포와 특성을 고찰하였다. '두모'는 Nam(1996)에 의해 연구되기 시작한 지명군으로, 어원적 의미를 살펴본 결과 지명 자체에 산이나 물과 연관된 지형적 입지 조건의 의미를 내포하고 있었다. 그리고 전국에 걸쳐 비교적 균등하게 분포하는 가운데, 85%가 인문지명으로 사용되고 있었고 그중에 73%는 취락명이나 행정구역명 등 취락지명이 차지하고 있었다. 본 연구에서는 두모계 지명의 마을 220개만을 가지고 두모계 취락의 입지와 지명의 확산을 심층 분석하였다. 그 결과, 두모계 취락이 주로 남 동향을 취하고 배산임수의 지형적 조건을 갖추고 있었으며, 마을의 확장에 따라 두모계 지명이 분화되면서 여러 개의 두모계 지명이 함께 분포하고 있음을 확인하였다.