山上憶良의 音借表記字 연구― 고대 국어 借字表記法의 방법론 모색을 위하여 ―
A Study on the Transcription of Borrowed Characters Based on Reading in Yamanoueno Okura's Poems― for Searching the Methods for Studying the Transcription of Borrowed Characters in Old Korean ―
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This paper considers Yamanoueno Okura's recognition of representing the other vowel /ï/ in his poems that were written by Manyō Kanas or Old Japanese phonetic alphabet in volumn Ⅴ, Manyōshū. And also the result leads us to review the methodology that has been taken by a Korean scholar who uses the same method as the others do, and to propose a methodology of our own. He had stayed in Tang at least for two or at most for four and half years in the early 8th century when Ancient Chinese was undergoing its great shift in initials and finals. He, therefore, may have known very well the sound changes in Tang era. Such a historical background would force us to onsider how much the Northern regional sounds in the Tang Dynasty were reflected in his poems. The main conclusions are as follows: (1)he used only 紀 in Zhi(之) rime for /kï/, and only 疑 in the same rime for /gï/, which reflected his recognition of the Northern regional sounds in Tang era. (2)he used only 飛 in Wei(微) rime for /Fï/, which means his awareness of the labiodentalization in Northern regional sounds, and his influence on the other writers in the same volumn. (3)he applied only 備 in Zhi(脂) rime to /bï/, which was caused by his understanding of the labiodentalization and devoicing of Wei(微) rime that was the most appropriate for the /bï/, and resulted in his respect for the traditional transcription. (4)he put 尾 and 未 in Wei(微) rime to use for /mï/, which relate with his recognition of the denasalization of Zhi(支) and Zhi(脂) rime. A fuller statement of these conclusions must await the following further studies on all the other Manyō Kanas in his poems, but they need to be applied to the studies on the Old Korean transcription.
Abstract
This paper considers Yamanoueno Okura's recognition of representing the other vowel /ï/ in his poems that were written by Manyō Kanas or Old Japanese phonetic alphabet in volumn Ⅴ, Manyōshū. And also the result leads us to review the methodology that has been taken by a Korean scholar who uses the same method as the others do, and to propose a methodology of our own. He had stayed in Tang at least for two or at most for four and half years in the early 8th century when Ancient Chinese was undergoing its great shift in initials and finals. He, therefore, may have known very well the sound changes in Tang era. Such a historical background would force us to onsider how much the Northern regional sounds in the Tang Dynasty were reflected in his poems. The main conclusions are as follows: (1)he used only 紀 in Zhi(之) rime for /kï/, and only 疑 in the same rime for /gï/, which reflected his recognition of the Northern regional sounds in Tang era. (2)he used only 飛 in Wei(微) rime for /Fï/, which means his awareness of the labiodentalization in Northern regional sounds, and his influence on the other writers in the same volumn. (3)he applied only 備 in Zhi(脂) rime to /bï/, which was caused by his understanding of the labiodentalization and devoicing of Wei(微) rime that was the most appropriate for the /bï/, and resulted in his respect for the traditional transcription. (4)he put 尾 and 未 in Wei(微) rime to use for /mï/, which relate with his recognition of the denasalization of Zhi(支) and Zhi(脂) rime. A fuller statement of these conclusions must await the following further studies on all the other Manyō Kanas in his poems, but they need to be applied to the studies on the Old Korean transcription.
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