산양삼 재배ㆍ경영 활성화 방안 - 경상남도 함양군을 중심으로 -

최수임 ( Soo-im Choi ),정동열 ( Dong-yeol Jeong ),강학모 ( Hag-mo Kang ),오혜진 ( Hye-jin Oh ),조성종 ( Sung-jong Cho ),김현 ( Hyun Kim ),김원오 ( Won-oh Kim ),이경민 ( Kyoung-min Lee ) 한국산림경제학회 2016 산림경제연구 Vol.23 No.2

정부는 안전성이 확보된 청정 산양삼을 생산하여 임업인의 소득증대 및 국민건강 증진에 기여코자 2014년 5개년 계획으로 산양삼 산업육성대책을 수립하였다. 그러나, 중국산 장뇌삼의 수입이 증가할 수 있어, 산양삼 가격하락으로 인한 재배상의 어려움도 예상하고 있다. 따라서, 본 연구에서는 산양삼 재배ㆍ경영상의 문제점을 파악하고 생산 확대 방안을 모색하고자 경상 남도 함양군 소재 산양삼 재배 40농가를 대상으로 현지조사를 실시하였다. 그 결과, 농가 평균 산양삼 조수입은 2,171만원이었으며, 향후 산양삼 재배규모에 대해서는 37농가가 가계소득증대를 위해 확대와 현상유지를 계획하고 있었다. 산양삼 재배가 농가소득증대로 연계되기 위해서는 산양삼을 적정 가격에 상시 판매할 수 있는 공동판매장 설치 확대, 종ㆍ묘 공급체계 확립, 동물과 도난피해를 최소화할 수 있는 방안 마련 등이 필요하다는 결과를 얻을 수 있었다. In 2004, the Korean government established the policy of a 5-year plan to foster the mountain ginseng industry. It is expected to contribute substantial income increase for people engaged in forestry and promote national health by cultivating eco-friendly mountain ginseng. However, we anticipate some difficulties along the way of cultivation due to price decline of mountain ginseng which has derived from the increase in the import of ginseng from China. With seeking the way to expand production, this study has conducted investigations of 40 mountain ginseng farming families in Hamyang, Gyeongsangnam-do. The purpose of this study is to examine the problem in cultivation and management of mountain ginseng. As a result, an average gross income of the mountain ginseng farming family was about 22 million won, and 37 farming families have had a plan to sustain the current scale in cultivation or to enlarge increasing household incomes. We [md that some plans are needed in order to make cultivation of mountain ginseng for the increase of farm household incomes. The research has concluded that it requires expanding the installation of joint sales to sell mountain ginseng at an appropriate price at all times. Also the species and seedling supply system should be designed. Moreover, drawing up the measure to minimize animal damage and theft should be monitored.

생약재 추출물의 hyaluronidase 저해 및 라디칼 소거 활성 검색

최수임(Soo-Im Choi),이윤미(Yun-Mi Lee),허태련(Tae-Ryeon Heo) 한국생물공학회 2003 KSBB Journal Vol.18 No.4

인간 현존을 사유하는 하이퍼리얼 시네마로서 울리히 자이들의 영화미학 -알랭 바디우 영화론의 관점에서, <파라다이스: 소망>을 중심으로-

최수임 ( Soo Im Choi ) 한양대학교 현대영화연구소 2014 현대영화연구 Vol.10 No.1

This article examines the filmic aesthetics of Ulrich Seidl from the perspective of Alain Badiou`s thought of cinema. The Austrian director Ulrich Seidl produces the unique hyperreal cinema by hybridizing and overcoming both of the documentary and the fictional. Through this method, Seidl achieves providing the existential human-presence and the reflective thought about that. Alan Badiou thinks that cinema is the subject of the contemporary thought which makes the viewer understand the human presence. Cinema is a manifesto of the human presence for Alain Badiou. In that point, “cinema is an education, an art of living, and a thinking.” (Alain Badiou, Cinema, Polity Press, Cambridge, 2013, p.ix.) Paradies: Hoffnung (2013) is analyzed from this perspective in this article. Seidl presents in this film diverse people like teenagers, teachers, medical doctor, who all join and work in a summer weight-loss camp for the teenagers. A girl falls in love with her doctor, while the strict rules against the physical lust suppress the participants. She, Melanie, the daughter of Theresa, the heroin in Paradies: Liebe and niece of Anna Maria, the heroin in Paradies: Glaube, makes an adventure to realize her hope. Ulrich Seidl`s Images are highly real, but at the same time artificial. Those are seen as ‘the imitation of life’, rather than life itself. Seidl makes his own vision into the filmic images, into the hyperreal images. The photographic images in his film can be regarded also as a sort of antirealism, even if they are highly real. The Hyperreal Cinema created by Ulrich Seidl, a filmmaker of New Austrian Cinema, is relevantly to understand in the light of Alain Badiou`s thought of cinema, since it produces the contemporary thought through the cinematic images which project the human presence.

이미지-퍼포먼스로서의 영화: 랑시에르의 이미지론의 관점에서 본 장-뤽 고다르의 <언어와의 작별>

최수임 ( Soo Im Choi ) 연세대학교 유럽사회문화연구소 2015 유럽사회문화 Vol.0 No.14

This essay aims to explore the functions of the cinematic images which are discussed in Jean-Luc Godard``s film Adieu au langage and Jacques Ranciere``s thought of imageness. Ranciere argues, in Le destin des images, the collection of his essays on art and cinema, that the cinematic image itself functions like the language and this ``play`` of the cinematic images is liberated from the simple relationship of resemblance between the object and the image. The two image-functions, presence and inscription are here displaced, so that the cinematic image becomes to ``the phrase-image``, which is at the same time the sensible display and the communication of the meaning. Ranciere proposes that we call this new relationship between the image and the object ``hyper-resemblance``. Hyper-resemblance defers the original resemblance, the resemblance that is not reality-defined but directly and non-mediatingly presents the elsewhere the reality derives. The cinematic image, which functions like this, is the image as performance and art-becoming-life. Godard``s Adieu au langage is a cinematic essay on the relationship between the image and the language. This film is composed of two chapters, ``La nature`` and ``La metaphore``. In ``La nature``, Godard asserts that we can reach the truth of the object-reality only through ``seeing`` without the linguistic consciousness. The non-thought is the direct way to the true thought and the cinematic image itself functions without the mediating of the language. The way how the cinematic image functions is ``La metaphore``. The image itself presents the nature but at the same time, through that, something else as itself. Godard``s concept of metaphor can be understand in the association with Ranciere``s concept of hyper-resemblance and the phrase-image. What the cinematic image presents is both ``the visible`` and ``the invisible``. Beyond/before the identification and linguistic consciousness, the images themselves functions as the ``other`` language, so that they needs no more language. Now, the cinematic image can say goodbye to language, because it, itself, functions like language, because it has its own system of communication. Adieu au langage explores the potential of the cinematic image that the cinema has incubated from its very first time. Ranciere``s thought of imageness gives us the relevant ground for understanding Godard``s experimental attempt to rediscover the function of the cinematic image.

우리나라의 수확된 목제품 탄소축적 변화량 및 배출량 평가

최수임 ( Soo Im Choi ),강학모 ( Hag Mo Kang ) 한국산림과학회 2007 한국산림과학회지 Vol.96 No.6

삼림공익기능 증진 관련 정책 및 조치에 관한 연구

최수임 ( Soo Im Choi ),주린원 ( Rin Won Joo ),김기동 ( Ki Dong Kim ),김재성 ( Jae Sung Kim ),전현선 ( Hyon Sun Jeon ),김재준 ( Jae Jun Kim ),박동균 ( Dong Kyun Park ) 한국산림과학회 2010 한국산림과학회지 Vol.99 No.1

우리나라 주택분야 내 목제품의 탄소저장량 추정

최수임 ( Soo Im Choi ),주린원 ( Rin Won Joo ) 한국산림과학회 2011 한국산림과학회지 Vol.100 No.4

Wood store carbon that the forest absorbed until burned or decomposed over a long period. Such materials are most used in houses except in paper and pulp, and the use of wood in houses play an important role in reducing green-house gases. Therefore, we estimated the amount of carbon stocks in Korean houses, and analyzed how much contribution such stocks offers to green-house gas reduction. As the result, the carbon stocks amount of the wood products in Korean houses was 28.4 million tCO2, which is 4.6% of the total annual green-house gas emission in Korea (620 million tCO2 e), and 77.4% of forest sinks (LULUCF). Even though few wooden houses which use most wood in housing exist in Korea, the carbon stocks of wood products in houses in 2010 increased to 4.1 times that in 1975 (21.4 million tCO2) because the carbon stocks increased due to apartment construction, which hit its stride from the last 1980`s.

논문 : 삼림경영지원을 위한 삼림교부금제도에 관한 연구 - 일본의 사례 -

최수임 ( Soo Im Choi ) 한국산림경제학회 2003 산림경제연구 Vol.11 No.2

공동체의 장소 상상의 공동체; 마리오 가르시아 토레스 <당신은 눈을 본 적이 있나요?> 박솔뫼 『을』, 배수아 『북쪽 거실』

최수임 ( Soo Im Choi ) 연세대학교 인문학연구원 2013 人文科學 Vol.99 No.-

This paper aims to describe and discuss the aspects of the community-topos in the contemporary literary and visual texts. The Inquiry begins from the question about the (im)possibility of the community in the present world. ‘Community’ has the utopian image in the recent society, since many individuals have difficulties to make communities in solidarity. Answering this question, the contemporary literature and arts are depicting the quite impressive landscapes of <sites of community> and <communities of imagination>, which let us think about the possibilities of the new community: Mario Garcia Torres` audiovisual essay Have You Ever Seen the Snow? (2010) searches for the documents of an old hotel in Kabul, Afghanistan, where foreign artists stayed in 1970s; Bak Solmay`s novel Eul (2010) presents a small hotel in the (unknown) foreign country, where young long-term travelers stay, and Bae Suah`s novel Northern Livingroom (2009) tells the story of a camp, where the people lead lives of voluntary isolation, and dreams also of the (possible) communicative community through the second-hand picture postcards. These ‘pictures’ of the communities in the ‘textual spaces’ are making ‘the sensible fabric`` for the <communities of imagination>; the community which is not the community, the community for the outsiders or the minorities, who make the new communities in ‘other spaces’ and protest through that. This community-topos is, like ‘mirror’, heterotopia and utopia at the same time. Literature and Arts themselves can be considered as <sites of community>, where <communities of imagination> can exist. Jean-Luc Nancy`s La Communaute desoeuvree and Michel Foucault`s Of Other Spaces amongst others give good references for the study on community-topos in the contemporary literature and arts. Somewhere between place and placelessness, the <sites of communities> are placed, and there live <communities of imagination>.

‘재현할 수 없는 것’의 (비)재현

최수임(Choi, Soo Im) 동국대학교 영상미디어센터 2014 씨네포럼 Vol.0 No.19

이미지 예술은 역사의 참혹한 사건에 대해 ‘재현 불가능성’이라는 물음을 마주한다. 홀로코스트와 같은 비인간적 사태는 ‘재현할 수 없는 것’으로 인지되며, 그에 따라 ‘비재현의 윤리학’을 요청한다. 그러나 그것은 다른 한편으로는 기억과 망각의 대결에서 망각의 편을 드는 위험을 안고 있다. 자크 랑시에르가 『이미지의 운명』에서 ‘재현 불가능한 것은 있는가’라고 묻고, <쇼아>의 예를 통해 재현할 수 없는 것의 재현을 논하는 것에 우리는 주목하게 된다. 조슈아 오펜하이머의 최근작 다큐멘터리 <침묵의 시선>은 인도네시아 대학살을 재현 없는 재현, 말할 수 없음의 드러냄, 재현할 수 없음을 직시하는 시선을 통해 역설적으로 재현해 낸다. 잔혹한 행위가 행해졌던 흔적이 제거된 빈터와 여러 증언자들의 말들을 통해 <쇼아>가 홀로코스트를 비재현에 가까운 방식으로 재현했던 것을 우리는 <침묵의 시선>에서 새로운 모습으로 발견할 수 있다. 조슈아 오펜하이머는 인도네시아의 대학살 사건의 가해자와 피해자들을 만나 그 사건의 핵심을 재현하기 위한 다큐멘터리들을 만들어냈다. 첫 번째 작품 <액트 오브 킬링>이 가해자들의 관점에서 수십 년 전의 학살 행위를 재현해 보인다면, 두 번째 작품 <침묵의 시선>은 피해자의 관점에서 피해자의 가족이 가해자들을 만나 사건의 진상을 묻는 과정을 담고 있다. <침묵의 시선>은 재현할 수 없음을 이루는 침묵과 재현할 수 없음을 응시하는 시선이 어떻게 역설적으로 재현에 이르는지 보여준다. “사건의 특성으로서 재현 불가능한 것은 존재하지 않으며, 그저 선택이 있을 뿐이다.”라는 랑시에르의 논지는, 이미지 예술이 그 자신의 미학적 방식 속에서, 재현할 수 없게 여겨지는 것을 윤리적으로 올바르고 적절하게 재현할 수 있음을 주장한다. 오펜하이머의 <침묵의 시선>은 이를 또렷이 실현하는 동시대의 중요한 다큐멘터리 영화이다. This article examines the possibility of representation of "the unrepresentable" in Joshua Oppenheimer"s documentary The Look of Silence in light of Jacques Ranciere"s thought of image. Ranciere discusses, in his book Le destin des images, whether there is the unrepresentable. Claude Lanzmann"s documentary Shoah is taken as the example for the representation of the unrepresentable. Ranciere suggests that there is nothing unrepresentable, but the ways how to represent. Joshua Oppenheimer"s Documentary The Look of Silence (2014) finds the way of representing the unrepresentable in presenting the silence and the look into the vacant; the vacant consciousness of the historical massacre in indonesia. The confrontation with being unrepresentable itself enables the representation paradoxically. Here, the distinction between the representation and the nonrepresentation or anti-representation loses meaning; the look into the non-representation makes the representation.