라틴 아메리카의 "누에바 칸시온(Nueva Cancion)" 운동 -칠레와 쿠바를 중심으로-

한은경 ( Eun Kyong Han ) 전북대학교 인문학연구소 2013 건지인문학 Vol.10 No.-

Los anos sesenta era la matriz de cambios ideologicos mundiales que marcaron nuevos ejes en la conciencia social y colectiva de los jovenes. En America Latina, Cuba acababa de estrenar su revolucion en 1959 y se erigia como un estandarte de esperanza, libertad y lu-cha antiimperialista anhelada y admirada por los grupos de izquier-da que proliferaban con rapidez en los paises latinoamericanos. En estos contextos, la identidad de America Latina era suscep-tible de convertirse en banda politica en arma de lucha contra la penetracion cultural, que segun los musicos revlucionatios, eclipsa la posibilidad de que el pueblo se conociera a si mismo y valores sus propias raices. De esta manera, el musico, a traves de sus inves-tigaciones y canciones, le devolvio al pueblo la traves de sus invest-tigaciones y canciones, le devolvio al pueblo la identidad perdida por el colonialismo cultural y le hizo consciete de su realidad. No obstante, aun cuando no se hallo bien definida la nocion de identidad cultural, todos parecieron estar de acuerdo en que el eje orientador de la busqueda de las raices debio ser a traves del estu-dios del folclore y de las nuevas formas de expresion que se de-sarrollan desde el pueblo y para el pueblo, como en el caso de “la nueva cancion” de Chile y “la nueva trova” be Cuba. El musico debio sumergirse en su propio context sociohistorico, debio conversar con espe pueblo que es fuente, inspiracion y aprendizaje. Asi que la Nueva Cancion Latinoamericana fue el expacio multiforme para el amor, la protesta, la nostalgia bucolica y la critica politica para de-volverle al pueblo la identidad cultural latinoamericana.

젠더 공간에 대한 두 개의 시선 -『달콤쌉싸름한 초콜릿』과 「요리강습」을 중심으로

한은경 ( Eun Kyong Han ) 현대문학이론학회 2011 現代文學理論硏究 Vol.0 No.46

멕시코의 여성 작가 라우라 에스키벨과 로사리오 카스테야노스는 각각 그들의 서사『달콤쌉싸름한 초콜릿』과 「요리강습」을 통하여 사회적으로 구성된 젠더에 의해 체화된 성역할의 임무를 수행하는 과정에서 라틴아메리카 여성들이 겪게 되는 억압과 갈등을 전면화함으로써 젠더공간에 대한 의문의 시선을 던진다. 카스테야노스의 「요리강습」은 갓 결혼한 익명의 주인공 여성 화자가 부엌에서 스테이크를 요리하는 과정에서 부딪히게 되는 어려움과, 결혼한 여성으로서의 삶에서 비롯되는 갈등이 내적독백 형식으로 진행되는 단편이다. 요리하는 과정을 통하여 화자는 내부세계와 외부세계, 여성과 남성의 차이는 본질적인 속성이 아니라 문화적 산물이라는 점을 드러낸다. 에스키벨은 티타의 삶을 통하여 멕시코 혁명 당시 억압받고 소외된 ``부엌``이라는 전형적인 여성공간과 그곳에서 행해지는 요리에 대한 새로운 인식을 요구한다. 부엌에서 출생하고, 원주민 요리사 나차에 의해 음식에 관한 모든 비밀을 전수받은 티타는 자신이 만든 음식을 통하여 금지된 페드로와의 사랑을 실현한다. 이처럼 여성공간에 내재된 주변성과 억압적 속성을 그들의 인물들을 통하여 제시했다는 데에서 우리는 두 작가의 공통점과 의미를 찾을 수 있을 것이다. 하지만 에스키벨과 카스테야노스는 이분화된 젠더공간에서 여성이 주변성으로부터 스스로를 해방시킬 수 있는 길을 제시하는 데 있어서는 차이를 보이고 있음을 확인할 수 있다. 에스키벨이 사회적으로 소외된 여성이라는 주체가 현존하는 상징적인 장소를 여성해방의 장소로 탈바꿈시켰다면 카스테야노스는 사회적으로 구성된 젠더공간에 대한 의문을 제기하지만 가정과 결혼생활을 부정한다거나 자율적이고 독자적인 여성고유의 문화를 논하지 않은 점은 한계로 지적할 수도 있을 것이다. In the public and private areas divided by patriarchical system and androcentric society, women are provided with the private space of the family cut off from the outer world. This division of the space makes women marginalized and oppressed. Laura Esquivel and Rosario Castellanos raised the questions about the gender space in Como agua para chocolate and Leccion de cocina by revealing oppression and conflict that women experience in the process of performing their gender roles of the society. Through Tita`s life during the Mexican Revolution in Como agua para chocolate, Esquivel requires new understanding about the typical woman space of ``the kitchen``, which is limited to women and isolated from the outer world, and about cooking in the kitchen. In the Mexican tradition that the youngest daughter should live with and support her widowed mother, Tita, the youngest daughter of the family, doesn`t marry Pedro, her lover, and is driven into the isolated kitchen. However, Tita, who was born in the kitchen and learns all the secret recipe from native cook Nacha, makes real her prohibited love with Pedro through her food. Leccion de cocina, a short story written by Rosario Castellanos, depicts difficulty that a newly married woman speaker suffers with making steak and conflict from her life as a married woman in the form of her inner monologue. In the process of cooking, the speaker realizes that the difference between inner world and outer world and between women and men is not an intrinsic nature but a cultural product. These two writers require that the space of the home should be viewed as the intersection of private space and public space, describing the relation of home and society that an individual experiences. However, Esquivel changes a symbolic place where the subject of the woman isolated from the outer world exists into a place for women`s liberation, while Castellanos doesn`t show the potential of the positive change. In other words, Castellanos doesn`t deny marriage life and home and doesn`t deal with the women`s own culture that is unique and independent.

인문학의 시각에서 본 스페인 음식 -『돈키호테』에 나타난 음식 담론의 다중적 의미-

한은경 ( Han Eun-kyong ) 부산외국어대학교 지중해연구소 2016 지중해지역연구 Vol.18 No.3

Food, as a cultural code into which emotions, values and life habits that people in a society have in common are condensed, is not only a sign that stands for the power, the wealth, and the social status in a community, but also a index of religious, national, and racial identities of a society. This article scrutinizes the discourses of food in relation to foodstuffs, culinary practice, alimentary habits, and attitudes to food in Don Quijote de la Mancha in order to explore multiple meanings that they reveal. Don Quijote by Cervantes includes significant discourses about food and diet; poor nobleman Alonso Quijano`s description of specific diets by day; meals that Don Quijote and Sancho Panza have with a variety of people that they met on the trip for their adventure; shepherds` invitation to their humble food on the grass; the kinght of the green gaban Don Diego de Miranda`s invitation to dinner; the food that makes Sancho bewitched in rich man Camacho`s wedding party; Sancho Panza`s terrifying experience of a strict diet that his doctor forced him to follow after he took a control of Barataria Island; Don Antonio Moreno`s invitation to his house in Barcelona. In the late 16^th century when Spain began to decay under the reign of Felipe Ⅲ(1598-1612), Cervantes started to write Don Quijote. At that time the gap between the rich and the poor was so great that hunger was a serious social problem in Spain. Don Quijote, which is a panorama that reflects the social realities of Spain in the 17^th century, criticizes the contemporary social inequality and materialism and reveals character`s personality, world view and religious identity through the discourses of food.

다중적 코드로서의 여성의 몸 -윤정모와 이사벨 아옌데를 중심으로-

한은경 ( Eun Kyong Han ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2008 世界文學比較硏究 Vol.22 No.-

What feminists bring into question in mind-body dualism is that women have been associated with the body as a depreciated item. In the western philosophical tradition that view males as transcendental conscious subjects and relate females to the inherent body, women have been in the lower status with the deprivation of their right to be equal. This mind-body dualism, which have been associated with male-female dualism, leads to the depreciation of women. Consequently, it is important to disconstruct mind-body dualism in order to recover women`s rights. This study aims to compare writing by Isabel Allende, who stands for the Latin American Feminism, with writing by Yun Jeongmo, who as a Korean writer is estimated to have incarnated social and ethnical questions in her novels. For a while women`s writing has been criticized for being focused only on exploration of women`s self-consciousness with subsidence in their families and private areas. However, these two writers free themselves from the criticism of women writers` writing. Since 1982 when the House of the Spirits was published, Allende have depicted Latin American society in the space of the novel. Through the Reins and Mom`s Name was Josenppi, Yun Jeongmo have devoted herself to revealing the lives of women treated as an existence of deprivation and castration in the contradictive structures of the history and society beyond private areas. Yun Jeongmo and Allende pay attention to the body of women. Especially, they show that the body is the first tool of the lower-class women for facing the reality, which leads to the impairment of the body. As it were, in the paternalistic system following the modern powers of imperialism, capitalistic power and paternal society, the body of women becomes the target of the male powers` oppressions on women; furthermore, women in the third world suffer from extreme body impairment. However, the virtue of the writers is not to reveal women`s impaired feminity, but to endow women with their positive identity by attempting to recover from impaired feminity. These two writers in common think of the recovery of the feminity as the recovery of the nature. When women`s womb and body is a metonym of the earth and nature, the impairment of women`s body is identical to the devastating process of exploiting the nature in an discriminate way by imperialism, scientism, and industrialization. The body is a field in which multiple codes including gender, race, class, generation, etc. are carved. When the body is the place where desire is manifested and emotion is housed by choosing the roles of feminity as well as the place where subjectivity is molded and the experience of oppression is carved, it represents the fundamental materiality of the subject. Women`s body as multiple codes is an important key word in Yun Jeongmo`s and Allende`s works.

『여명 전의 셀레스티노』: 하나의 메타픽션

한은경 ( Eun Kyong Han ) 한국스페인어문학회(구-한국서어서문학회) 2010 스페인어문학 Vol.0 No.56

Celestino antes del alba, la primera novela del escrtor cubano Reinaldo Arenas fue publicado en 1967 en Cuba y salio en Espana su edicion revisada Cantando en el pozoen 1982. Ambos titulos situan metaforicamente la creacion literaria mediante marcos temporales o espaciales que sugieren los contornos y mecanismos del acto creador. Tanto los titulos como la estructura narrativa enfocan la atencion del lector hacia un acto de creacion poetica que se constituye en accion paradigmatica del proceso textual. En este sentido podriamos decir que Celestino antes del alba es una metaficcion, ya que establece una imagen propia en el acto de verse como otro y definirse a partir de esa constatacion. Para llevar a cabo este trabajo de auto-contemplacion el escritor Reinaldo Arenas utiliza la tecnica del espejo. En la novela el nino se dirige al pozo donde ve su imagen reflejada y a partir de ese momento el nino tiene un interlocutor. Asi que Celestino es la invencion de narrador-protagonista para acompanarse en su soledad, sencillamente, es su "doble". Entonces el pozo representa el catalizador de la reflexiones e imaginaciones del narrador-protagonista. A traves de este acto contemplativo, que se concreta en la relacion entre el narradorprotagonista y Celestino se define la situacion del escritor y la del narrador en relacion con el texto del que forma parte, relacion que se construye primordialmente a partir de la reflexividad del pozo. Como depositario de la imaginacion artistica que examina su propio funcionamiento y delimita los perimetros de la funcion de contar, el pozo, cual espejo magico del que brotan las construcciones verbales que componen la narrativa, se constituye en foco donde se origina y se refleja el gesto reflexivo del narrador- protagonista. En este sentido Celestino antes del alba es una metaficcion en la que el texto y el narrador se forjan su propia identidad mediante una deliberada gestacion ludica en la que continuamente se des/hacen.

『광인들의 배』에 나타난 여행의 의미

한은경 ( Han Eun-kyong ) 한국스페인어문학회 2006 스페인어문학 Vol.0 No.39

La nave de los locos es una novela sobre el viaje de un heterogeneo conjunto de personajes a traves de 19 capitulos, los cuales llevan por titulo la repetida formula ‘el viaje’. En el capitulo “Equis: El viaje,Ⅱ” se narra una escena del viaje de Equis desde America a Europa en un barco cuya tripulacion y pasaje responden a la imagen convencional y tipica de la vida a bordo de una nave. Pero Equis dice “se siente que dentro del viaje hay otro viaje”. En este trabajo intentaremos indagar los multiples sentidos que estan involucrados en el ‘otro viaje’. El viaje inicial de Equis es por mar nos traslada al ‘viaje de los locos’, costumbre medieval y vieja metafora popularizada por Sebastian Brant en el siglo XV y usada, entre otros, por Michel Foucault en el XX en su conocida Histoire de la folie(1961). Equis es una persona expulsada de su pais y viaja de una ciudad a otra incesantemente. Las metaforas de su viaje son numerosas; la vieja metafora del gran teatro del mundo, o de la vida como sueno, modernizadas en la concepcion existencialista de la vida subrayan, y expresan la desubicacion del exiliado. Hay otra transformacion de ‘la nave de los locos’ en “El viaje, Ⅷ: La fabrica de cemento”. Se trata de las desapariciones, torturas y muertes llevadas a cabo durante las dictaduras en el cono sur. En el capitulo “El viaje, XIX: Londres” ‘la nave de los locos’ se transforma en un autobus que traslada a mujeres embarazadas que necesitan abortar. La autora alumbra las zonas del sometimiento femenino, el arbitrio del poder y la heterosexualidad a traves de este viaje. En este sentido el viaje de ‘la nave de los locos’ es visto como practica inhumana de la sociedad moderna la cual excluye y extermina a todos aquellos cuyo comportamiento se interpreta como desviacion de la norma imperante, reforzandola y proyentandola. El ‘otro viaje’ tambien es la metafora de la creacion poetica, de la lectura. En la novela hay varios enunciados diferentes que, junto con los descriptivos del tapiz de Gerona, van conformando el metatexto y obligan a los lectores a co-crear la obra.

『초콜릿 만드는 물처럼』에 나타난 공간과 요리법에 대한 고찰

한은경 ( Eun Kyong Han ) 한국스페인어문학회 2005 스페인어문학 Vol.0 No.35

기업의 사회적 책임의 지수화에 관한 연구

한은경(Han Eun-kyong) 한국방송학회 2003 한국방송학보 Vol.17 No.3

본 연구는 기업의 사회적 책임활동의 지수화에 대해 논의하였다. 이를 위해 본 연구는 사회적 책임활동의 기존연구와 우리나라의 상황을 고려하여 4개 분야 16개 항목 78개의 세부항목으로 나누어 측정하였다. 본 연구에서 규정한 4개 분야는 기업의 마케팅 커뮤니케이션 활동, 기업의 공익사업 활동, 기업의 기부협찬 활동, 기업의 자원봉사 활동, 기업의 자원봉사 활동이다. 이상의 4개 분야는 하위 16개 항목으로 나뉘는데 이 항목들은 경제적 발전 기여도, 소비자 보호, 종업원 만족도, 문화예술 지원, 체육 진흥, 교육학술 지원, 지역사회 개발활동, 환경 보존활동, 기부금, 성금, 프로그램 지원, 운영비 지원, 자선 구호 활동, 사회복지, 사회봉사, 전문서비스, 위원자문활동, 국가 민족 등으로 이루어져 있다. 사회책임지수를 산출하기 위해 각 항목별, 분야별 사회책임지수의 분포도를 감안하여 사회 책임지수의 분산 값을 도출하였다. 즉 가중치만을 고려한 사회 책임 지수 값과 분산 값이 산출되었다. 그 결과를 분야별로 살펴보면 가중치와 분산을 고려한 사회책임지수의 값은 ‘기업의 기부협찬활동’이 가장 높았던 반면 ‘기업의 마케팅 커뮤니케이션’활동은 가장 낮게 나타났다. 반면 사회책임 관련분야의 전문가나 담당자가 마케팅 커뮤니케이션 활동에 대해서는 기업의 일차적인 활동으로 간주하고 있다는 사실을 의미한다. The development of the concept of CSR has fast expanded since the days when it was considered that the social responsibility of business is increase profits. The importance of CSR is one of the most popular issues of corporate communication. At the same time. the index of CSR takes part in evaluating corporate's social and economic activities. The index of CSR can be a useful marketing strategy and a good criterion to evaluate the corporate. This paper seeks to present the indexation of CSR gained at interview. The interviews were conducted mainly with senior manager of CSR in major corporations and researchers of CSR in university. This paper is organized into several sections as follows. The first section describes the theoretical background, and the subsequent section the type of CSR employed. The type of CSR composed of categories 4 categories, 16 items and 78 sub-items to extract the index of CSR. The last section draw the formula for the indexation of CSR. According to the result of this study, the Index of CSR marks the highest level at the donation and sponsorship of corporate. And the lowest level at the marketing communication of corporate. This result means researchers and managers of CSR regard the marketing communication activity of corporate as the basic activity of business.

광고회사의 지속가능발전을 위한 탐색적 연구

한은경(Eun Kyong Han),김용남(Yong Nam Kim),이용진(Yong Jin Lee),박흥식(Heung Sik Park) 한국광고홍보학회 2006 한국광고홍보학보 Vol.8 No.4

영원한 회귀의 서사 -레이날도 아레나스이 『해가 지기 전에』를 중심으로

한은경 ( Eun Kyong Han ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2010 世界文學比較硏究 Vol.30 No.-