Thanatrophoric Dysplasia 1례

서희정,박원아,이혜경,유영희,이현숙 최신의학사 1991 最新醫學 Vol.34 No.5

탈영토적 시각에서 볼 수 있는 한국여성미술의 비평적 가능성 : 재일동포3세 여성화가의 '디아스포라'의 경험과 작품해석을 중심으로

서희정 한국미술이론학회 2012 미술이론과 현장 Vol.14 No.-

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People’s Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of ‘Korean’we usually consider ambiguous, and prompts careful attention to the silence of ‘some Koreans’forced to live against their will in the blurred boundaries between nation and people. This dissertation regards ‘Koreans’who came to live in the border of nations, especially ‘Korean-Japanese third generation women artists’ who are marginalized both Japan and Korea. It questions the category of ‘Korean women’s art’that has so far been considered, based on the concept of territory, and presents a new perspective for viewing ‘Korean women’s art’. Almost no study on Korean-Japanese women’s art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of ‘Korean women’and ‘Korean women’s art’ considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority’s diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist’s cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual’s historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with post-colonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women’s art.

굴패각을 여재로 이용한 침적형 생물막 반응기의 동력학적 특성

서희정,이택순,문병현 환경문제연구소 1996 環境硏究論文集 Vol.5 No.-

시설 수용 아동들의 대인관계 조사

서희정 이화여자대학교 사회사업학과 1989 사회사업 Vol.- No.13

한국어교육에서 ‘무엇’의 기술 방안

서희정 한국국어교육학회 2009 새국어교육 Vol.0 No.83

This paper aims to set up the semantic functions and the morphosyntactic features of 'Mueos' in Korean language education. 'Mueos' is presented as the Korean basic word because it is used to ask any question. The usage of 'Mueos' as a interrogative is well explained in beginners book. However, the other usage of 'Mueos' as a indefinitive or discourse marker is presented in intermediate or advanced book without any explanation. It makes learners get a heavy burden with increasing idiomatic phrases, and 'Mueos' become a word just for understanding not for producing sentences. Therefore, it is suggested that the semantic functions and the morphosyntactic features of 'Mueos' as a interrogative, a indefinitive and a discourse marker should be mentioned in Korean textbooks. In addition, I also emphasized that the usage of 'Mueos' as a discourse marker should decrease, while the usage of 'Mueos' as a interrogative or a indefinitive should increase in order to explicitly show the semantic functions and the morphosyntactic features of 'Mueos'. 1,561 sentences including 'Mueos' are extracted from drama scripts which show Korean colloquial style. 'Mueos' comes out in 730 sentences as a interrogative, 322 sentences as a indefinitive, and 509 sentences as a discourse marker. The semantic functions and morphosyntactic features of 'Mueos' are set up based on 1,561 sentences. ‘무엇’은 화자가 모르는 사물이나 정보를 청자에게 물을 때 사용된다는 의문사의 기능으로 인해 한국어교육용 기초 어휘로 제시되고 있다. 그러나 ‘무엇’에 대한 설명은 초급 단계에 한정되어 있어 중‧고급 단계에서 제시되는 ‘무엇’의 다양한 용법을 제대로 보여주지 못하고 있다. 이는 [정보 요구]라는 의문사의 기본적인 의미기능으로는 설명하기 곤란한 ‘무엇’을 관용표현으로 제시함으로써 학습에 대한 부담을 가중시킬 뿐만 아니라, ‘무엇’을 표현 어휘에서 이해 어휘로 축소시킨다는 우려를 낳게 한다. 이에 본고에서는 ‘무엇’을 의문사, 부정사, 담화표지로 구분하여 각각의 의미기능과 형태‧통사적 특징을 학습 내용에 포함시킬 것을 제안한다. 아울러 한국어교육에서는 ‘무엇’의 의미기능과 형태‧통사적 특징을 비교적 명확하게 기술할 수 있는 의문사 및 부정사로서의 용법은 확대하는 반면, 맥락 의존적이며 주관적인 해석이 다양한 담화표지로서의 용법은 축소하는 것이 학습자들이 ‘무엇’을 자율적으로 사용하는 데 유용함을 주장한다. 한편, ‘무엇’이 주로 구어에서 다양한 용법으로 쓰임에 주목하여 드라마 대본에서 추출한 용례를 바탕으로 의문사, 부정사, 담화표지로서 ‘무엇’의 의미기능과 형태‧통사적 특징을 기술한다.

한국여성작가의 독립영상작품에 표현된 여성노동자의 이미지분석 : 여성주의 문화운동 관련 1990년대-2000년대 작품을 중심으로

서희정 한국미술이론학회 2018 미술이론과 현장 Vol.0 No.25

본 연구는 ‘제조업 생산직 여성들의 생존권 투쟁’을 주제로 1980년대 한국의 민중미술운동의 영향을 받으며 ‘노동자로서의 여성’이라는 측면을 여성의 시각에서 스스로 표현하고자 한 한국의 여성주의미술운동의 시발점에 주목하였다. 같은 맥락에서 1990년대 이후 노동자로서의 여성의 노동활동을 다룬 영상작품들이 계속하여 한국여성영상작가에 의해 발표되고 있는데, 이는 1980년대 산업체의 여성노동운동을 뿌리를 두고 전개되기 시작한 한국의 여성주의 문화운동의 한 특징이다. 이것은 제2차 세계대전 이후 독립 국가들이 겪었던 경제성장과 민주화의 정착이라는 근대화의 역사를 배경으로 한국사회의 경제성장구조에서 자신의 ‘노동’의 가치를 인정받고자 한 여성들의 주체의식에서 비롯되며 서구권의 여성주의 문화운동과는 그 역사적 차이점을 갖는다. The rapid industrialization in the 1960s and 1970s prompted Korean women to join the labor force en masse, supporting the export-driven economy of Korea. Their sufferings and struggles in the trammel of the unrelentingly patriarchal society became the subject of a series of films produced by female filmmakers in the 1990s and 2000s. These undertakings had a significant impact on the feminist culture movement in Korea. As a corollary of the women’s labor movement that strived to assert the right to unionize women labor and seek fair and equitable treatment in the workplace, the feminist culture movement in Korea exhibited different characteristics from Western bourgeois feminist movement. This study shows that the feminist culture movement in Korea – as manifested in the female filmmakers’ work on women labor –was rooted in the self-consciousness of the women workers who had to confront and overcome gender inequality as well as adversarial labor conditions.

한국어능력시험 쓰기 영역 문항 개발에 관한 연구 : 주관식 문항 유형을 중심으로

서희정 慶熙大學校 大學院 院友會 2005 高凰論集 Vol.37 No.-

표현항목의 선정 기준과 정도성 : 간접의문형어미 결합형 표현항목을 중심으로

서희정 경희대학교 대학원 원우회 2008 高凰論集 Vol.42 No.-

근대일본의 '바우하우스 사진' 수용과 국가 선전: 야마와키 아와오의 '포토몽타주'에 대한 재조명을 통하여

서희정 한국미술이론학회 2010 미술이론과 현장 Vol.9 No.-

The Bauhaus educational method gave the strong influences on Modern Japanese art and design education. In the 1920s and 1930s, Japan allied with Germany and Italy politically and tried to receive German system to be modernized. The reception of the Bauhaus and Moholy-Nagy's photographic theory was one of those activities at that time. Japanese intellectual class went to the Bauhaus and studied there; Ishimoto Kikuchi, Nakata Sadanosuke, Mijutani Takehiko, Yamawaki Iwao and Yamawaki Michiko(Yamawaki Iwao's wife). Especially, Yamawaki Iwao studied about the architecture at the Bauhaus, but his interest moved toward the photography and the photomontage based on Moholy-Nagy's theory. He studied at the photography workshop of the Bauhaus presented by Peterhans irregularly. Even though Yamawaki Iwao was an architect, he wanted to be admitted as an expert for the photomontage that he particularly studied at the Bauahus as a Bauhaus member. He had presented many articles about the photomontage at the photography magazines in Japan in order to introduce it to Japan since he returned in 1933. Thus, Yamawaki Iwao is the important person when we look back the Modern Japanese design and art history. In Japan, the art and design systems are managed by the Bauhaus educational system until now, and it has become a kind of cultural legacy in Modern Japan; The university of Tama and The university of Tsukuba are the representative educational systems which are based on the Bauhaus legacy. However, Yamawaki Iwao had been concealed as a photographer in Japanese design and photography history until the retrospective discuss named by ‘Bauhaus syashin(Bauhaus Photographies)’ at the photography magazine, Deja-vu in 1995 and the retrospective exhibition titled as ‘Bauhaus syashin(bauahustofografie)’ in 1997. This study rethinks of Yamawaki Iwao's historical position while looking at the term as ‘Bauhaus Syashin(Bauhaus Photographies)’ used in Japan. It is very important to bear in mind Moholy-Nagy's wide variety of approaches to photography at the Bauhaus, but it is impossible to name it ‘Bauhaus style’. ‘Bauhaus style’ is the international style in architecture, but that was never a Bauhaus style in photography. Eugene J. Prakapas indicated that the vague term of ‘Bauhaus Photographies’ in his article in 1985 as well. This study considers the historical background for the mistake of the term of ‘Bauhaus Syashin(Bauhaus Photographies)’ in Modern Japanese history, while looking at Yamawaki Iwao's photomontage faintly entering on the historical stage again to discuss the reception of the photomontage from him. In particular, Some of Yamawaki Iwao's photomontage presented as the wall photography in Japan during the Second World War, that was related to the propaganda of Japanese government. It had not been known well in the modern Japanese art and design history because it was related to a declaration of the Second World War by Japan. However, the historical position of his photomontage is very important for Japanese history when we rethink of the reception of the Bauhaus and Moholy-Nagys' photographic theory to build up the Japanese modern history. In the result, this study wants to discuss that the mistake of the term of ‘Bauhaus syashin(Bauhaus Photographies)’ in Japan is related to the interpretation for the the historical position for Yamawaki Iwao's photomontage in the reception of Bauhaus and Moholy-Nagy's photography in Japan.

한국어 학습자를 위한명사절과 종속절 형성의 ‘-는지’ 교육 연구

서희정 국제한국어교육학회 2016 한국어 교육 Vol.27 No.2

Huijeong Seo. 2016. A Study on Teaching ‘-Neunji’ Forming Noun Clauses or Subordinate Clauses in Korean Language Education. Journal of Korean Language Education 27-2: 105-142. The purpose of this study is to make clear two kinds of functions of ‘-neunji’, such as forming noun clauses or subordinate clauses while making complex sentences, and then to suggest the teaching methods of ‘-neunji’ for international students. Through an analysis of essays written by 117 Korean undergraduate students and 117 Chinese undergraduate students, this study reveals that Chinese students do not correctly understand the functions of ‘-neunji’ when making complex sentences, and mostly use ‘-neunji’ in a fixed form. Based on the methods of presenting ‘-neunji’ in four kinds of Korean textbooks as well as the differences in using ‘-neunji’ between Korean students and Chinese students, a number of teaching methods are suggested for teaching ‘-neunji’ as follows: presenting predicates of the main clause, elaborating features of constructing ‘-neunji’ for expressing assumption or possibility, allowing students to understand the absolute tense and the relative tense in complex sentences, and initially teaching ‘-neunji’ forming noun clauses, and ‘-neunji’ forming subordinate clauses later on. (Yeungnam University)