ANK₃ 유전자 다형성과 조현병의 연관성에 대한 연합연구

양소영,허익수,조은영,최미지,박태성,이유상,홍경수,Yang, So Yung,Huh, Ik-Soo,Cho, Eun Young,Choi, Mi Ji,Park, Taesung,Lee, Yu-Sang,Hong, Kyung Sue 대한생물정신의학회 2015 생물정신의학 Vol.22 No.4

Objectives Previous genome-wide association studies have indicated the association between ankyrin 3 (ANK3) and the vulnerability of schizophrenia. We investigated the association between single nucleotide polymorphisms (SNPs) covering the whole ANK3 locus and schizophrenia in the Korean population. Methods The study subjects were 582 patients with schizophrenia and 502 healthy controls. Thirty-eight tag SNPs on ANK3 and five additional SNPs showing significant association with schizophrenia in previous studies were genotyped. Results Three (rs10994181, rs16914791, rs1938526) of 43 SNPs showed a nominally significant association (p < 0.05) with at least one genotype model. But none of these associations remained significant after adjusting for multiple testing errors with Bonferroni's correction. Conclusions We could not identify a significant association between ANK3 and schizophrenia in the Korean population. However, three SNPs showing an association signal with nominal significance need to be investigated in future studies with higher statistical power and more specific phenotype crossing the current diagnostic categories.

『질마재 신화(神話)』에 나타난 샤머니즘 양상 연구

양소영 ( So Young Yang ) 겨레어문학회 2013 겨레어문학 Vol.51 No.-

『Jilmaje Myths』is a collection of poems with lots of imagination and fantasy based on Midang`s childhood memories and various myths. Researchers drew various meanings by interpreting such a point mythically. However, if you understand myths in a shamanistic way further, you can interpret the meaning of『Jilmaje Myths』diversely and abundantly. In particular, a figure, a colloquial style, and space in『Jilmaje Myths』have shamanistic elements and those elements sometimes are the key to understanding Midang literature. Figures of『Jilmaje Myths』have each one`s sad story but they do neither despair for their situationnor get sad. They are rather shamanistic in this collection and live as a ‘shaman’ in Jilmaje village’. In [Haeil], an old woman incants watching the encroaching tide in a front yard ‘blushingly’. Finally, she serves as a shaman and meets her dead husband. A child of ?A Boy in an Regular Shaman House?shows different situation unlike normal people as a boy of shaman house who is superficially worse than a dog. However, his smiling with his eyes gives superhuman power to village people and even the owner shaman so makes them happy. In the end, the boy becomes a shaman who is a sacred existence in the village and plays a role of protecting souls of the village. A colloquial style in『Jilmaje Myths』means boundless list of words, clausal connectives, and a shaman`s spell in a long sentence. In other words, Midang`s colloquial style makes readers immersed in the shamanism world easily and gives the power of aboriginality. ‘Rock’(?If I would be useless as I contact summer malaria?) that is seen as space in『Jilmaje Myths』and ‘Feces and Urine Pot’(?Sangasu`s sound?) is opened toward the center of the world and makes continuity of the universe and people possible. Finally, Jilmaje village shows characteristics of the shamanism world that is primitive paradise where people, nature, and world become one by breaking the boundary of life and death

오장환 시에 나타난 노마디즘 특성 연구 : 초기시를 중심으로

양소영(Yang, So-Young) 부산대학교 한국민족문화연구소 2019 한국민족문화 Vol.73 No.-

이 논문의 목적은 오장환 시에 나타난 방랑의 의미를 살펴보는 데 있다. 그의 시에 나타난 방랑은 보수적 공동체에서 탈주하고 싶은 욕망이며 목적없는 여행이다. 하지만 이것은 자기 폐쇄적인 상황이 아니라, 시인에게 소수자 되기를 이끌며 정체성을 발견하게 한다. 여기에는 현실 사회에 대한 저항 의지가 담겨 있다. 2장에서는 오장환이 전통과 낡은 유습인, 봉건적 질서에 사로잡힌 현실을 벗어나고 싶어 했다. 「정문」이란 시에서 ‘정문’은 조선 여성의 삶을 규범화시키는 상징이었다. 억압의 상징에서 정문은 국가 폭력으로 해석될 수 있다. 여성의 정체성은 정문을 소중히 여기는 조선에선 없었다. 시인은 주인공 소저의 삶과 죽음을 통해 유교 사회를 비판하고 풍자한다. 결국 그에게 현실 사회는 방랑의 원인으로 작용한다. 3장에서 방랑은 더욱 새로운 가능성을 만들어 나가고 있었다. 오장환 시에 자주 나타나는 ‘항구’의 이미지는 어둡고 음습한 가운데 등대의 불은 혼류의 불이고 돗폭은 박쥐의 나래로 묘사되었다.(「어포」) 이런 점은 항구가 방향과 목표가 상실된 공간으로 보일 수도 있다. 하지만 항구는 어두운 이미지와 함께 흰색과 청색의 신호, 바람에 날리는 흰 깃발(「해항도」)처럼 자유롭게 옆길로 새는 듯이 규칙을 허물어버리며 뜻밖의 사유를 만들어 내는 리좀적 공간이 된다. 이런 공간을 중심으로 그는 소수자 되기를 통해 소수자로서 정체성을 형성하는 꿈을 꾸게 된다. 4장에서 시적 주체는 방랑하는 길에 이브, 기생, 매음녀 등 현실에서 소외받으며 살아가는 슬픈 존재들을 마주하게 된다. 그녀들은 생계를 위해 기녀의 삶을 살 수밖에 없었고, 퇴폐적 향연 속에서 그녀들의 삶은 더욱 어둡고 슬펐다. 하지만 방랑은 주체로 하여금 끊임없이 외부의 존재들에 관심을 두게 하며 새로운 사유를 만들어 낸다. 그러므로 시인은 퇴폐적 향연 속에 어둡고 불안하게 존재하는 그녀들을 통해 단지 좌절된 삶을 보여주는 것이 아니라 현실을 비판하는 강력한 힘을 만들며 현실을 자유롭게 보려는 비판의 정신을 만들어 낸다. 다시 말하면, 시인은 기녀의 슬픔을 자신의 본질로 받아들이며 새로운 삶의 가능성을 열어 보인다. 방랑은 시인에게 새로운 환경을 이끌어나가게 한다. 시인은 방랑을 통해 삶에 집착하지 않는 자유로운 시간을 경험하며 새로운 정체성을 확보하게 된다. The purpose of this paper is to examine the meaning of the wandering in O Jang-hwan. The wanderings in his poems are a desire to escape with the conservatism of reality and an aimless journey. The wanderer leads to a poet’s minority, which in turn leads him to discover his identity as a true minority. It contains a will to resist the real world. In Chapter 2, O Jang-hwan wanted to get out of the reality surrounded by tradition and old custom, feudal order. In the poem “Jeongmun,” the “Jeongmun” (the gate to be erected in front of the door of the house or at the entrance of the village to honor the faithful, the faithful, and the young girls) was a symbolic mechanism that suppressed the lives of Joseon women. In the symbol of oppression, the main gate can be interpreted as national violence. The identity of women has not been found in Joseon society, which values the main gate. The poet criticizes and satirizes the Confucian society through the life and death of the main character, Sozer. In the end, he escapes from the real world. For him, the wanderer is to get out of the fixed world and to experience plurality and reach a state of freedom while connecting with batters. At the same time, he listens to the voice of the batter through the wanderings and forms his identity as a minority. In Chapter 3, the vagabond was creating even more new possibilities. The image of the “port” often seen in O Jang-hwan was dark and shady, while the lighthouse fire was a mixture of fire and the mats were described as bat rafters. This may appear to be a lost space. However, the harbor is a rhinoceros that creates an unexpected cause by tearing down the white and blue signals along the dark side, and the symbol of the white flag flying in the wind (“sea island”) freely. At the center of such a space, he becomes a minority, moving away from the majority and further forming his identity as a minority. In Chapter 4, the poetical subject faces sad beings who are left out of reality, such as Eve, parasites and hawk girls, on their way around. They were forced to live the life of a giraffe for a living, and in the decadent feast her life was darker and sadder. However, the wanderer is constantly interested in outside beings and the reason comes through external events. Through the wanderings, you learn real life by hanging out with people who are worse than me. Thus, through her dark, uneasily present in the decadent rebellion, the poet creates a strong power to criticize reality and create a spirit of criticism to see reality freely, not just to show her frustrated life. In other words, the poet takes the sorrow of the giraffe as his essence and opens up the possibility of a new life. The vagabonds, therefore, restore the poet to the great world and lead the new environment. Through wandering, the poet experiences a free time that is not obsessed with life and forms a new identity.

김명순 시에 나타난 공간 연구

양소영 ( Yang So-young ) 한양대학교 동아시아문화연구소(구 한양대학교 한국학연구소) 2018 동아시아 문화연구 Vol.74 No.-

이 논문의 목적은 김명순 시에 나타난 공간의 의미를 분석하며 그녀의 시 세계를 더 풍부히 이해하는 데 있다. 김명순의 시적 공간은 자아를 형성하고 그녀의 삶에 중요한 영향을 끼치며 단순한 건축물의 상징이 아니라 주체적인 삶의 방법으로 자리하게 되었다. 그녀의 시에서 공간은 시기별로 경성, 평양, 동경으로 구분할 수 있었다. 초기시에 나타난 경성은 남성중심주의와 가부장제 속의 “사나운곳”(「유언」)이며 “영영작별”(「유언」)하고 싶은 절망감을 주는 공간이다. 게다가 이런 절망감은 깊은 분노로까지 이어지게 된다. ‘피 뿜는 내 가슴’(「내가삼에」)은 가혹한 현실에 대한 분노의 극점을 보여준다. 또한 「유리관속에」서 유리관 속의 삶은 주체의 삶을 차단하는 유폐된 공간이다. 하지만 그녀는 이런 공간을 통해 삶의 처한 현실에서 벗어나자고 노력한다. 초, 중기시에 나타난 고향과 어머니에 대한 그리움은 모성의 기호로 원초적이며 풍요로웠던 평양과 연결된다. 그렇기에 그녀는 고향의 풍요로웠던 기억을 통해 현실의 아픔을 치유하고자 했다. 특히, 김명순 시에서 어머니에 대한 감정은 복합적이었으나 어머니는 원초적이며 내밀한 힘으로 그녀를 포용하며 절망적이고 불한 현실에서 그녀를 구원하였다. 후기 시에서 동경은 생명력이 넘치고 사랑이 넘치는 개방적인 공간으로 김명순은 이곳에서 주체적인 삶의 무대를 마련할 수 있다. 그러므로 동경은 그녀에게 모성의 공간보다 더욱 생명과 사랑이 충만한 곳으로 그녀에게 안식의 공간이 된다. 이런 점에서 시인은 동경을 통해 자신을 힘들게 했던 여러 상황을 이겨낼 수 있게 되며 보다 적극적인 삶을 살 수 있게 된다. 특히, “이역” 거리인 동경은 김명순에게 “堤防도 깨트리고/地獄같은 바위틈도 궁그를수”(「샘물과같이」)있는 강력한 의지를 얻게 하며 주체적이고 자유로운 정신을 실현시킨다. 이런 점에서 「석공의 노래」는 이런 김명순의 확고한 주체적인 의지가 담긴 시편이 된다. The purpose of this paper is to further understand her poetry world by analyzing the meaning of the space that appears in Kim Myung-soon. Kim Myung-soon's poetic space had an important impact on her self-organization and her life and became an independent way of life, not just a symbol of a building. In her poems, space was divided into Gyeongseong, Pyongyang and Tokyo by time. In its early days, the Gyeongseong is a "unusual place" within the male-centered and patriarchal system and a space that gives the despair of wanting to be a ‘long farewell’ In addition, this despair lead to deep anger. "My Bloody Chest" shows the extreme point of anger at the harsh reality. In addition, life in glass tubes "in glass tubes" is a wasteful space that blocks the life of the main body. But she tries to get out of life through these spaces. The yearning for her hometown and mother in early and mid-term is a symbol of motherhood, connected with Pyongyang, which was primitive and prosperous. So she tried to heal the pain of reality through her rich memories of her hometown. In particular, Kim Myung-soon's mother's feelings were mixed, but her mother embraced her with her original, inner strength, and saved her from a desperate and unfortunate reality. In later times, Tokyo is an open space full of life and love, where Kim Myung-soon can prepare for a life of his own. Therefore, Tokyo becomes a place of rest for her where life and love are more abundant than that of motherhood. In this regard, the poet is able to overcome many difficult situations and lead a more active life. In particular, Tokyo, the "transverse" street, provides Kim with a strong will to "break a break“ among rocks and realize a self-independent and free spirit. In this regard, "Song of Seokgong" is a preview of Kim's firm determination.

고든의 음악학습이론에 나타난 심리학적 접근 요소

양소영 ( So Young Yang ) 민족음악학회 2007 음악과 민족 Vol.34 No.-

「豫防法學」으로서의 「立法影響評價」에 관한 小考

양소영(Yang, So Young),김형성(Kim, Hyung Sung) 성균관대학교 법학연구소 2013 성균관법학 Vol.25 No.4

As the paradigm of today's modern medicine is changing from 'treatment' to 'prevention', also in the field of law, the emphasis should be shifted from the existing 'treatment law (interpreting law)', which treats disputes after they happened, to 'preventive law (prevention of legal risk in advance)' which prevents disputes before they happen. In the same way as 'preventive medicine' exists to prevent diseases before they occur, 'preventive law' can be understood as preventing the occurrence of disputes in advance before leading to lawsuit. The lack of awareness of preventive law in our country is represented by a larger number of lawsuits and the higher sum of money necessary for material jurisdiction of the cases settled out of court than those of other countries. Accordingly, the basic position of this thesis consists in the necessity and importance of researches on 'preventive law.' And unlike the preceding researches, this thesis discusses the necessity of preventive law in the legislative process by expanding the research on preventive law to the legislative process which is the domain of public law. Particularly, in developing this thesis, this researcher examines the significance of evaluation of legislative impact on preventive law based on the preliminary evaluation method of the evaluation of legislative impact which has been actively discussed in the field of public law in Korea as the research methodology of preventive law for the recent 10 years. In conclusion, this thesis argues that the evaluation of legislative impact can be used as an alternative methodology of preventive law that contributes to the enactment of better laws through the control of populism legislation, and the efficiency and transparency of the legislative process.

생체역학을 활용한 매체 연기훈련 효용성 연구

양소영 ( Yang So Young ),김현희 ( Kim Hyun Hee ) 한국연극교육학회 2023 연극교육연구 Vol.43 No.-

This study is to argue the necessity of biomechanical training in the domestic media acting education system and explore ways to use it practically. The researcher used the body to actively move in front of the camera and used Mayerholt's biomechanical acting method as an instantaneous existing acting training method. The advantages of biomechanical training on media acting are summarized as follows. First, it is effective in training media actors who have to immerse themselves in impromptu emotions in distracting and fast-changing media sites to draw “internal impulses.” Second, through “actor's dualism” media actors can not only know how to clarify their acting in front of the camera but also realize creative acting by enhancing their ability to conceive, objectify, and express their acting on their own. Third, through economic and efficient movement training and time and space distribution training, distance sense and spatial sense can be learned, and sincere acting can be realized even within the sculpted and controlled movement of the camera while training repeatedly. In addition, actors can learn how to maintain and amplify emotions while calculating movements according to camera blocking, given actions, and reactions. Fourth, by conducting “formal training” through movement before the language and emotion in which the actor's thoughts are contained, “creative implementation” can be promoted without being bound by text analysis. This study is a new attempt to apply biomechanics to domestic media acting training, and can be said to be meaningful as a basic study. Through this study, it is hoped that media actors can overcome the difficulties they face in the field and that biomechanical training can be actively trained in Korea.

정한모 시에 나타난 시간의 의미 연구

양소영(Yang so young) 한국언어문학회 2015 한국언어문학 Vol.94 No.-

This research aimed at examining the meaning of time in Jeong, hanmo's poem. The existing researches on Jeong, hanmo's poem have understood the overall world of his poem as 'humanism' or concentrated on the baby in his poem or the analysis of the image related to the baby. This is the case which merely investigating Jeong, hanmo's poem world by limiting it. In his poem, various aspects of life were expressed with various images besides the image of a baby. However, meanwhile the researchers have not proceeded systematic and thoughtful discussion on this. In Jeong, hanmo's poem, the expressions of time appear frequently. In his poem, there are lots of expressions of time, e.g. "in the depth of the night where the darkness is piling up, in the arm of the night where the darkness is piling up"(｢In the depth of the night where the darkness is piling up｣), "Inside of the night which we lived today, which used be the darkness of you and me”(｢Binghwa｣), “In the dark night far from the starlight”(｢With the wind｣), in his early poem, “In the dawn when your voice wet in each layer”(｢Waterway of the night｣), “The dawn is a white wall today also”(｢Gladiolus｣) “Subdued silence becomes a warm temperature on this awakened dawn”(｢Song of a stone｣) in his medium-dated poem, “The snow piled up during the night covers the river of time. That side over the bridge of 60 years”(｢four or five-year old child｣), “In the time spent over the 60 years of the river of history flown windingly”(｢Fields of hometown｣) “In the middle of the open sea covered with the darkness over the 50 years”(｢My solitude is｣) in his late-dated poem, etc. This way, Jeong, hanmo's poem treated the part related to time importantly, there's no research on time until now, since the meanwhile researches have focused on the baby or the image analysis related to the baby. Time in Jeong, hanmo's poem can be considered by being connected with the process of self-recognition of the main agent, related to the clarification of self. This is meeting the inside of true self, which is the introspection within the existence. The night in Jeong, hanmo's early poem shows the state of solitude, however the poet makes the reader look back on the self through the night. The night functions for the poet as the medium between the main agent and the self-awareness. For him, the night makes more inner sense. In this inner secrecy, the poet introspect the existence. Here, furthermore, the time, 'the dawn', opened deeper sense of the poet in his medium-dated poems, Baby's roomand The dawn. As the result, this sense made the pot grow insight into the world and made open thought. Through the expression of “The dawn is open eye tomorrow also”(｢Gladiolus｣), the dawn makes open thought to cope with the pain of life by dissolving the poet's own lethargy. This enables one to overcome the negative reality and recover the positive self. In the medium-dated poem, the poet gets the open thought thanks to 'the dawn', and in his late-dated poem, this open thought is sublimated to reach the transcendent territory which has no division between the self and the world. This point appears in his poem as the reminiscence of hometown. In his late-dated poem, Baby's room messenger and Standing at the starting point, the poet reminisces the past centered with the present through the expressions of “Now I return to the starting point. At the starting point to return after sixty years” (｢Seojang｣), “Hometown 50 years ago”(｢Jeomgyeong｣). This is to remember the pure time, the poet wants to maintain the identity of self by replaying the past in the present. This is to transcend the boundary of all territories, where the negative real world is overcome, and to establish a positive and volitional identity, rather

정한모 초기시 연구 : ‘되기’의 상상력과 연대 의식을 중심으로

양소영(Yang So Young) 한국언어문학회 2020 한국언어문학 Vol.114 No.-

The purpose of this paper is to examine the realization of existence and the aspect of life that appeared in Jeonghanmo s early days. First of all, darkness appears in his early days, when darkness allows the poet to experience the innermost experience, which means hope and vitality beyond the passage of time. This situation allowed the poet to confront a war of masculine and destructive power. Therefore, darkness served as an image that strengthened the poet s vitality. Many stones come out in the early days. In particular, his stone acts as a driving force that embodies the manifestation of existence. The poet is lonely and anxious due to the experience of war, but he spurs on the realization of existence to overcome this situation. Therefore, ordinary stones are themselves but such stones make them escape the boundaries of human beings. Gradually becoming a stone becomes transcendental beyond the realization of one s own existence. In the early days erosive imagination emerges when eros act as a solidarity rather than as a simple principle of pleasure. Human beings themselves are in a state of discontinuity, and beyond this sense of isolation or anxiety, the sense of continuity is figuratively present as sexual pleasure. In his poem, Eros goes beyond the question of sex and has continuity and emphasizes solidarity.

초등학교 4학년의 음악적성과 청각인지능력 상관관게 연구

양소영 ( So Young Yang ) 민족음악학회 2008 음악과 민족 Vol.36 No.-