Earticle

Different countries have their own language and they use them to describe the things of the world. The present paper compares the ways how words are formed in comparison of the basic terms for colors in Chinese and Korea. Especially, this paper tries to show some similarities and differences in word coinage between two languages. In addition, it discusses the main reasons why there exists such difference in two different cultures.

인간의 시각을 기반으로 하는 색채어는 어떠한 대상의 색채를 나타낼 뿐만 아니라 색채에 함축된 상징 의미를 통해 인간의 다양한 감정, 사고방 식, 가치관 등을 표현한다. 이러한 색채어의 상징 의미는 그 언어가 속한 사 회의 역사, 문화적 양식이나 관습이 반영된 관용표현에서 잘 드러난다. 이에 본 연구는 베트남어 관용표현의 대표적 유형인 성어(thành ngữ)에 나타난 색채어를 연구 대상으로 하여 그것의 상징 의미를 살펴보고자 한 다. 이를 통해 베트남어 색채어가 사회·문화적 맥락 속에서 어떻게 사용되 고 어떠한 의미 양상을 가지는지 파악할 수 있으며, 베트남인의 색채에 대한 의식도 알 수 있을 것이다. 연구 목적을 수행하기 위해 우선, 2장에서 색채어 개념을 규정하고 기본 색채어의 이론을 바탕으로 연구 대상이 되는 색채어 범위를 한정하고, 3장 에서는 색채어 ‘đỏ, vàng, xanh’을 포함하고 있는 성어를 대상으로 그것의 상징 의미를 분석하며, 결론에서는 ‘đỏ, vàng, xanh’의 상징 의미를 바탕으로 이들 색채어의 의미 확장 양상의 특징을 밝히고자 한다.

Color words based on human perspective not only express the color of a certain object, but also express various human emotions, ways of thinking, and values through the symbolic meaning implied in the color. The symbolic meaning of these colored words is well revealed in the idiomatic expressions reflecting the history and cultural styles and customs of the society to which the language belongs. Therefore, this study will examine the symbolic meaning of the color words appearing in Vietnamese idioms(thành ngữ), a representative type of idiomatic expressions in Vietnamese. Through this, it is possible to understand how Vietnamese color words is used in social and cultural contexts and what kind of meaning it has, and to know Vietnamese consciousness of color. To carry out the research purpose, first, in Chapter 2, the concept of color words is defined, and the range of color words to be studied is limited based on the theory of basic color words. In Chapter 3, the symbolic meaning of 'red(đỏ), yellow(vàng), green(xanh)' is examined through idioms. In conclusion, based on the symbolic meaning analyzed in Chapter 3, the characteristics of the extension of the meaning of these color words are identified.

본 논문에서는 에벤키어 기본색채어 흰색, 검은색, 붉은색, 노란색, 초록색(파란색)의 형용사형 ‘희다’, ‘검다’, ‘붉다’, ‘노랗다’, ‘푸르다(파랗 다)’의 어원과 체험적 근거, 지시 영역과 의미역, 파생어, 그리고 한국어 와의 관련성을 규명하였다. 에벤키어 기본색채형은 -ma형, -rin형, 기타 형으로 나눌 수 있는데 -ma형과 -rin형 색채어는 대립 쌍을 이루며 -rin 형은 대개 퉁구스북부분파의 분화가 완료되기 전에, -ma형은 그 이후에 생성된 것으로 추정된다. 하지만 대체로 -ma형 색채어가 -rin형 색채어 보다 지시범위도 넓고 사용빈도수도 많다. ‘희다’는 의미의 에벤키어 색채어에는 bagda(bagdama/bagdarin), cholko 가 있는데 이중 bagdama가 사용빈도수가 가장 많고 지시역도 가장 넓 다. 어원과 체험적 근거는 bagda는 ‘bēga(달)’, cholko는 ‘choīlī(불의 혀)’ 에서 찾을 수 있으며 bagda-계열의 색채어들은 ‘밝다’의 의미일 경우 한 국어 ‘밝다’와 음성적, 의미적 유사성으로 인해 연결이 가능하지만 cholko는 한국어와는 관련이 없는 단어이다. ‘검다’를 의미하는 에벤키어 색채어에는 koŋno(koŋnomo/koŋnorin), haktyra, dylbi(dylbimɛ/dylbirin), lupchu(lupchurīn/lupchumɛ)이 있는데 이중 koŋnomo가 사용빈도수가 가장 많고 지시역도 가장 넓다. Haktyra와 dylbi는 ‘밤’에 체험적 근거를 두며 dylbimɛ는 ‘검다’는 색채의미는 탈색 되었고 ‘어둡다, 칙칙하다, 울창하다’는 의미로 사용되고, dylbirin은 ‘검 다’는 의미는 있지만 동물의 털색에만 제한적으로 사용된다. Lupchu는 ‘석양의 색’에 체험적 근거를 두고 있으며 다른 색채어들과 달리 lupchurīn이 lupchumɛ보다 더 많이 사용된다. 이 단어들 중 koŋno-계와 haktyra는 한국어와 음성적, 의미적 유사성으로 인해 연결이 가능하지만 dylbi-계와 lupchu-계 단어들은 한국어와는 관련이 없다. ‘붉다’는 의미의 에벤키어 hula의 체험적 근거는 ‘불’(火)’에서 찾을 수 있으며 hula에서 파생되어 ‘붉다’를 의미하는 단어로 hulama/hularīn, hulakāchi가 있는데 hulama가 가장 사용빈도수가 많다. ‘노랗다’는 의미의 에벤키어 siŋ(siŋma/siŋarin), abdannama, ōlachā는 어원 규명이 쉽지 않 다. 이 단어들은 지시대상의 차이가 두드러지는데 siŋma는 지시역이 넓 고 사용빈도수도 많은 반면 abdannama와 ōlachā는 가을철 나뭇잎의 색 만 지시한다. 푸르다(파랗다)는 의미의 에벤키 색채어 chula는 체험적 근거를 ‘풀’ 과 ‘지평선’에서 찾을 수 있으며 chulama가 가장 사용빈도수가 많고 지 시대상도 넓다. Chulama 초록색, 파란색, 하늘색을 모두 지시하고, chularin은 초록색만, chūrīn은 초록색과 하늘색을, chūtūma은 파란색, 하 늘색만 지시한다. 에벤키어 기본색채어 28개 중 퉁구스조어에서 기원한 단어는 5개, 선 (先)에벤키어에서 기원한 단어는 5개, 에벤키 고유어는 18개로 에벤키 고유어가 가장 많았다. 또 순수 색채의미를 가진 단어는 14개, 그렇지 않은 단어는 14개로 그 비율이 50:50(%)로 동등했다. 자연에 대한 에벤키족의 색채인지를 통해 순록, 다람쥐, 멧닭, 나비 등의 용어가 많음을 알 수 있었다. 이는 에벤키족과 생활 밀착도가 높 을수록, 에벤키족과 심리적, 정서적 거리가 가까울수록 색에 따른 용어 분화가 발달했음을 말해준다.

This study examined the the etymology, experience motive, indicative meaning of basic color words such as ‘white’, ‘black’, ‘red’, ‘yellow’, and ‘green(blue)’ of evenki. The basic color words of evenki can be divided into -ma type, -rin type, and other types, the ma-type and the -rin type color words form a pair. The -rin type is usually thought to be formed before the differentiation of the northern faction of tungus and the -ma type was created later. However, in general, -ma type is more than -rin type, and the indication range is wide and the frequency of use is also large. There are bagba, bagdama, bagdarin, cholko in the evenki which means ‘white’. Among them bagdama is the most frequently used and the instruction range is the widest. Bagdarin is limited to the indication ‘coin’, and cholko is mainly used in gray. The etymology and experiential motivation of bagda cannot be find, however cholko’s the etymology and experiential motivation is the ‘choīlī (tongue of fire)’. There are koŋno(koŋnomo/koŋnorin), haktyra, dylbi(dylbimɛ/dylbirin), lupchu(lupchurīn/lupchumɛ) in the evenki which means ‘black’. Among them koŋnomo is the most frequently used and the instruction range is the widest. Haktyra and dylbi have experiential grounds in the night, the color meaning ‘black’ of dylbimɛ is discolored, it is used to mean ‘dark, dull, lush’. Although dylbirin means ‘black’, it is used only for animal hair color. The etymology and experiential motivation of lupchu can be find as ‘color of sunset’, unlike other color words, lupchurīn is used more than lupchumɛ, lupchurīn mainly functions to express the change of lightness or saturation of other coloring language. The etymology and experiential motivation of hula can be found as ‘light(火)’, there are hulama, hularīn, hulakāchihula derived from hula. Hula means ‘red,’ among them hulama is the most frequent used. In evenki siŋ(siŋma/siŋarin), abdannama, ōlachāin of evenki means ‘yellow’. These words are distinguished by difference of the referent, among them siŋma is the most frequently used and the instruction range is the widest, abdannama and ōlachā only indicate the color of the leaves in autumn. The etymology and experiential motivation of chula, which means green and blue, can be find in ‘grass’ and ‘horizon’ Chulama indicates all green, blue, and sky blue, chularin only indicates green, chūrīn indicates green and sky blue, and chūtūma indicates blue and sky blue. Among them chulama is the most frequently used and the instruction range is the widest. Among the 28 basic color words of ebenki language, there are 5 words originating from proto-tunguic language, 5 words originating from the preceding evenki, and 18 evenki languages. In addition, there were 14 words with pure color meaning and 14 words with no pure color meaning, the ratio was 50:50 (%). Through color recognition of the evenki against nature, we could see that there are many terms such as reindeer, squirrel, black grouse, and butterfly. It tells us that the higher the level of the closeness in life with the evenki, the closer the psychological and emotional distance to the evenki, the development of differentiation of terms according to color.

Intercultural communication refers to the process of communication between people of different cultural backgrounds. It is also an interaction between people of different cultural backgrounds. Language, as a social phenomenon, is a key component of culture, while vocabulary, as the most lively and dynamic part of culture because of its direct and rapid reflection of cultural development and changes, is an indispensable element in intercultural communication. As a system of cultural symbols, color words are often affected by different geographical locations, cultural traditions, values, customs and religious beliefs and are therefore given different psychological, cultural and religious meaning. As a result, the same color word may have different association, analogy and symbolic meaning in different countries. On this basis, this paper intends to study the yellow color, which is nureuda(누르다) in the Korean language and hwang(黄) in the Chinese language, compares them in terms of their original meaning, conceptual meaning and associative meaning, and elaborates on their correspondence in terms of associative overlap, associative correspondence,associative conflict and associative shock. It then goes on to put forward four translation methods, namely literal translation, substitution translation, literal translation plus annotation and subtractive translation plus free translation, in an effort to minimize cultural shock and avoid misunderstanding in intercultural communication.

This paper aims to show that the basic color words ‘white’, ‘black’, ‘red’ have been used either metaphorically or metonymically to vividly express various abstract notions and qualities, which makes communication more effective. ‘White’ has been used to vividly express ‘funeral process’, ‘inefficacy’, ‘humbleness’, ‘counterrevolution’ etc. in terms of metaphorical expressions of ‘白事’, ‘白費力’, ‘白屋’, ‘白色政權’. ‘Black’ has been used to animatedly express ‘wickedness’, ‘illegality’, ‘secrecy’, ‘fairness and impartiality’ in such a metaphorical expression as ‘黑心’, ‘黑地’, ‘黑信’, ‘黑臉包公’ respectively. ‘Red’ has been used to vividly describe ‘happiness’, ‘getting a reception’, ‘success’ in terms of such a metaphorical expression as ‘紅喜事’, ‘紅人’, ‘滿堂紅’ respectively. ‘White’ has been used to refer to ‘大夫’ in terms of ‘白大褂’ based on the conceptual metonymy [OBJECT POSSESSED FOR POSSESSOR]. ‘Black’ has been used to refer to a treacherous person in terms of ‘黑心 腸’ based on the conceptual metonymy [BODY PART FOR PERSON]. ‘Red’ has been used to refer to ‘嫉妬’ in terms of ‘眼紅’ based on the conceptual metonymy [PHYSIOLOGICAL RESPONSES OF EMOTION FOR THE EMOTION]. In conclusion, the basic color words ‘white’, ‘black’, ‘red’ have been used as either a metaphor or a metonym for the vivid expression of various abstract notions and qualities, which increases the effectiveness of communication. Thus, they have been used as an efficient communicative tool in Mandarin Chinese.

Language is a significant component of culture, and also a main method of generating and expressing culture. Therefore, the communication between languages is not only the understanding of phonetic or literal meaning, but also the process of intercultural communication. Under the circumstance of ‘intercultural communication’, it not simply requires the understanding of the target language, but further emphasizes that on the basis of making flexible use of the acquired language, both sides are more active and appropriate to select the suitable communication mode according to the understanding of the target culture. In the vocabulary formation system, color words vividly reflect the characteristics of social and cultural community. It expresses the sequential colors in natural world in the form of ‘non-continuity’ and express individual feelings at the same time, which reflects the characteristic of cultural community. As a result, from the specific perspective of ‘intercultural communication’, this paper will discuss the similarities and differences of associative meanings between the most representative color words in Korean and Chinese cultures, the associative meaning of the most representative color words, ‘붉다’ and ‘Hong’ in South Korea and China, thus seeking for several translation schemes that can promote the smooth progress of intercultural communication. This paper compares Korean ‘붉다’, Chinese ‘Hong’ and other color lexical groups related to red from three aspects of ‘etymology’, ‘basic meaning’ and ‘associative meaning’ and deeply analyzes the corresponding relation between associative meanings of red color in two countries. According to the analysis, there are 17 kinds of associative meanings in Korean related to ‘붉다’, including 7 kinds of affirmative meanings and 10 kinds of negative meanings. By contrast, there are 17 kinds of associative meanings related to ‘Hong’ in Chinese, including 9 kinds of affirmative meanings and 8 kinds of negative meanings. According to the results of various meanings through deep comparison, four corresponding forms of associative meaning ‘associative overlap’, ‘associative correspondence’, ‘associative conflict’ and ‘associative shock’ are sorted out and summarized in this study. At the same time, based on this, this paper proposes four translation methods to promote intercultural communication, that is, ‘literal translation based on associative overlap’, ‘substitution method based on associative correspondence’, ‘literal translation with annotation based on associative conflict’ and ‘free translation with subtraction color based on associative shock’, and lists the specific translation examples according to the characteristics of each translation method.

본 논문에서는 닙흐어의 특징 및 기본 색채어에 대해 알아보았다. 본 논문의 목적은 닙흐어의 특징과 기본 색채어의 의미 분석을 통해 닙흐족과 닙흐어에 대한 인식의 저변을 확대하는 것이다. 닙흐어는 고아시아계 닙흐족이 사용하는 언어로 교착어이며 한국어와 같은 SOV 구조이다. 그리고 명명구문(주격구문)의 발달이 특징적이며 주어는 대개 생략되고 한정어는 피한정어 앞에 위치한다. ‘희다’는 의미의 닙흐어 색채어 중 kana-(konu-)의 사용역이 가장 넓으며 퉁구스계 나나이어 차용어로 추정되고, ‘검다’는 의미의 색채어 중 vylvyl의 사용역이 가장 넓으며 닙흐어 고유어이고 모두 직물이나 물체의 색을 지시한다. ‘붉다’는 의미의 색채어 pagla는 몽골어 차용어로 추정되고, ‘노랗다’는 의미의 색채어 ɛvrkvala, ‘파랗다(푸르다)’는 의미의 색채어 tyi는 닙흐어 고유어이며 모두 동식물이나 물체의 색을 지시한다. 닙흐어에 대한 본 연구는 향후 닙흐어 및 문화 연구를 추동하는 계기가 될 것이다.

In this paper, we investigated the features and basic color words of nivh. The purpose of this paper is to expand the base of the perception of Nivh and Nivh’s culture through the analysis of the characteristics of the vivh language and the meaning of the basic color words. vivh is an agglutinating language spoken by the paleo-Asian nivh, the sentence has the same SOV structure as in Korean, and is characterized by the development of the naming syntax (nominative syntax), and the subject is usually omitted and the qualifier is placed before the sublimits. ‘Wite’ is the most widely used range of kana-(konu-) among the Nivh language basic color words in meaning, and is assumed to be a Tungus Nanai borrower, ‘black’ is the most widespread use of vylvyl among the basic color words of meaning, and is a native word for nivh, kana-(konu-) and vylvyl indicated the color of fabrics or objects, The basic color word for ‘red’ is pagla, which is assumed to be a Mongolian borrower, the basic color word meaning ‘yellow’ is ?vrkvala, and the color word meaning ‘blue’ includes tyi, which is a native language in Nivh, and all refer to the colors of plants and animals.

This paper describes the basic colour terms of Korean and Chinese on the basis of Berlin & Kay's basic colour terms theory first. And it analyzes the meaning of the basic colour words. The meaning of the basic colour words is divided into the basic meaning and the expansion meaning. The concrete comparative analyses of these basic colour words will be with used cases that appears in both languages. It also reveals the similarities and significant differences in the basic colour words of these two languages.