Safety of COVID-19 Vaccines among Patients with Type 2 Diabetes Mellitus: Real-World Data Analysis

김혜준,이상준,사순옥,배정호,송규선,이채원,Kim Ju Hee,심성률,홍명희,한현욱 대한당뇨병학회 2023 Diabetes and Metabolism Journal Vol.47 No.3

Background: Little is known about the adverse events (AEs) associated with coronavirus disease 2019 (COVID-19) vaccination in patients with type 2 diabetes mellitus (T2DM).Methods: This study used vaccine AE reporting system data to investigate severe AEs among vaccinated patients with T2DM. A natural language processing algorithm was applied to identify people with and without diabetes. After 1:3 matching, we collected data for 6,829 patients with T2DM and 20,487 healthy controls. Multiple logistic regression analysis was used to calculate the odds ratio for severe AEs.Results: After COVID-19 vaccination, patients with T2DM were more likely to experience eight severe AEs than controls: cerebral venous sinus thrombosis, encephalitis myelitis encephalomyelitis, Bell’s palsy, lymphadenopathy, ischemic stroke, deep vein thrombosis (DVT), thrombocytopenia (TP), and pulmonary embolism (PE). Moreover, patients with T2DM vaccinated with BNT162b2 and mRNA-1273 were more vulnerable to DVT and TP than those vaccinated with JNJ-78436735. Among patients with T2DM administered mRNA vaccines, mRNA-1273 was safer than BNT162b2 in terms of the risk of DVT and PE.Conclusion: Careful monitoring of severe AEs in patients with T2DM may be necessary, especially for those related to thrombotic events and neurological dysfunctions after COVID-19 vaccination.

홍콩문학의 독자성과 범주

김혜준 중국어문연구회 2003 中國語文論叢 Vol.25 No.-

Because Hong Kong is in the position of bringing together of Eastern and Western cultures, ideas from the left wing and the right wing, political control and freedom of the press, culture and commercialism, Hong Kong literature has come to have a distinct character from that of other regions. First, Hong Kong literature is distinguished from mainland Chinese literature and Taiwan literature, while it still maintains the nature of the original literature source. Second, Hong Kong literature is a good example the society faced with various interactions of different literatures. This study explores the characteristics and category of Hong Kong literature in this direction. Hong Kong literature has the characteristics of it’s own that distinguishes itself from mainland Chinese literature and Taiwan literature: variety of literary thoughts, commercialism of creative writing, fluidity of writers, exchange of literary activities with other regions, intermediation between mainland Chinese literature and Taiwan literature, urban features of literary works, prevalence of popular literature including ‘Kuangkuang Zawen’, and so on. I claim that ‘Hong Kong literature’ should include the works written in Chinese by ‘Hong Kong writers’ who have lived in Hong Kong at least for a certain time, whose works and activities practically have organized a part of the literary phenomenon of the literature in Hong Kong and influenced on that.Hong Kong was returned to China on July first, 1997. Hong Kong’s return is not just a new development in the political or economic fields. Literature is also important and should not be dismissed. We need to make further research into new changes and position of Hong Kong literature in Chinese literature, for Hong Kong literature has a significant position as a core of Chinese literature ‘network’.

[논문] '나의 도시' 속에서 사라져버린 사람들 : 홍콩문학 속의 외국인 여성 가사노동자 '페이용'(菲傭)

김혜준 부산대학교 인문학연구소 2011 코기토 Vol.- No.69

홍콩의 외국인 가사노동자의 수는 지난 30여 년간 꾸준히 증가하여,2009년 말 현재 홍콩 인구 7,020,400명의 3.64%에 달하는 266,778명(인도네시아 48.7%, 필리핀 48.5%)에 달한다. 일반적으로 ‘페이용’(菲傭)이라 불리는 이들 외인 가정부에 대해 홍콩소설에서는 어떻게 묘사하고 있을까? 홍콩소설은 중국계 가정부에 대해서는 한결같이 긍정적으로 표현하고 있는 반면에 외인 가정부에 대해서는 한결같이 부정적으로 표현하고 있다. 이는 아마도 외국인 여성 가사노동자라는 그녀들의 신분 때문일 것이다. 홍콩 사회가 제도적으로나 문화적으로 외인 가정부를 홍콩 시민 내지 홍콩 거주민으로 받아들이지 않는 것은, 단순히 홍콩 자체의 수용 능력의 한계, 저임금 노동력 이용이라는 요소에서만 초래된 것이 아니라, 점차 강화되는 민족주의적 정체성 이데올로기의 경향 등이 작용한 결과이다. 그런 가운데 홍콩작가가 의도한 것은 아니겠지만 결과적으로는 홍콩소설 역시 그러한 이미지의 재생산에 일조하고 있다. 그런 의미에서 어쩌면 ｢6동 20층 E6880**(2)｣(陳麗娟, 2000), ｢무애기｣(黃碧雲, 2001), ｢튠문의 에밀리｣(也斯, 2002) 등의 작가들은 외인 가정부를 폄훼할 의도가 전혀 없었을 것이다. 그러나 그들의 작품은 결과적으로 외인 가정부를 사물이나 다름없고, 불성실하고, 성적 대상이 될뿐인 존재로 이미지화하고 있다. ｢내가 아는 애욕의 정사｣(王貽興, 2002)의 작가 역시 화자의 성장 이야기를 하는 가운데 외인 가정부에 대한 동정심을 표현하고자 했는지도 모른다. 그렇지만 작품에서는 외인 가정부인 로사가 생각하고 느끼고 하는 인격체라는 점이 거의 드러나지 않는다. 홍콩소설에서 외인 가정부는 분명히 존재하면서도 존재하지 않는 그런 존재일 뿐인 것이다. ‘나의 도시’ 속에서 마치 투명인간처럼 간주되는 외인 가정부를 가시화하고, 그녀들의 잃어버린 목소리를 되찾아주어야 한다. 이로써 그녀들이 ‘나의 도시’ 속의 모든 사람들과 마찬가지로 더불어 살 수 있어야 한다. 이는 외인 가정부 역시 삶의 애환과 인격체로서의 존엄성을 갖춘 존재이기 때문이다. 그리고 이는 홍콩은 물론이고 한국을 포함하여 전 세계가 직면하고 있는 기필코 해결해야 할 문제 중의 일부이기 때문이다. Over the past 30 years, the number of foreign domestic workers in Hong Kong increased steadily. By the end of 2009, there were totally 266,778 foreign domestic workers (48.7% from Indonesia, 48.5% from Philippine), which is nearly 3.64% of Hong Kong population, 7,020,400. These foreign domestic workers are generally known as ‘Feiyong’(菲佣, Filipino maids). How are these kind of characters portrayed in Hong Kong’s fictions? Almost all Hong Kong fictions portrayed Chinese domestic workers positively, whereas ‘Feiyong’ were described negatively. It is probably due to their identities as foreign female domestic workers. There are lots of difficulties for Hong Kong society and cultural institutions to accept ‘Feiyong’ as real Hong Kong residents. On the one hand, there are limits in the absorption capacity of Hong Kong itself, and cheap labor force has to be used in Hong Kong. On the other hand, the tendency of nationalist ideology and identity also gradually put bounds to it. Hong Kong writers are undeliberately giving rise to the image-making of these characters. In fictions like “E6880**(2) of Building 6, 20th Floor”(Chan, Lai-kuen 2000), “A Record Without Love”(Wong, Bik Wan, 2001), “Emily in Tuen Mun”(Leung, Pingkwan, 2002), the writers would have never meant to belittle ‘Feiyong’. However, their fictions depicted ‘Feiyong’ as objects, dishonest people, or sexual objects. In “Passionate Love Affair I Know”(Ong, Yi Hing, 2002), a growth novel, perhaps the author was trying to express his sympathy towards the ‘Feiyong’. However, in the story, the fact that Rosa, the ‘Feiyong’, is a human being was seldom shown. Therefore, in Hong Kong fictions, ‘Feiyong’ are beings that do exist yet are not clearly present. ‘Feiyong’ who are considered invisible in ‘My City’ should become visible and should be given back voice they lost. Thus, like all the rest of the people, they should be able to live among in ‘My City’. This is because ‘Feiyong’, foreign domestic workers, too are beings that has joys and sorrows of life, as well as human dignity. Moreover, this is one of the problems that not only Hong Kong is facing, but also Korea and the rest of the world.

2000년 서울 영화관객의 관람행동 분석조사 결과

김혜준,김옥경 영화진흥위원회 2000 월별 결산보고서 Vol.- No.-

21세기 북미 화인화문소설의 추세와 특징-초국적 이주자문학으로서 화인화문문학의 문학적 가능성

김혜준 부산대학교 인문학연구소 2023 코기토 Vol.- No.99

This paper examined the trend, characteristics, and literary possibilities of North American Chinese-language fiction that showed rapid development in the 21st century. 21th Century North American Chinese-language fiction shows the following trends. (1) While personal experience-oriented writing continues, there is a new tendency to explore the whole overseas Chinese or to compare and contemplate on Chinese and Western cultures. (2) It expresses the in-depth knowledge of North America and the in-depth psychology of North American Chinese. (3) There is an increasing number of works that express deep understanding and emotions about the identity of North American Chinese and the socio-cultural differences between China and North America. (4) More and more works reflect on the past China or observe the changing China based on the perspective and experience of overseas Chinese as transnational migrants. (5) More and more works reflect on overseas Chinese and mankind itself based on the transnational consciousness. (6) It often expresses the dual identity of overseas Chinese, and it even tends to express a variable and multiple identity. 21th Century North American Chinese-language fiction shows following characteristics. (1) It expresses the attempt to find a new "home" to which the body and mind can be depened on constantly through various events, situations, and emotional waves experienced by overseas Chinese. (2) It shows the life as a minority, economic difficulties, racial discrimination, and changes in gender status experienced by North American Chinese, as well as conflicts, adaptation, and hybridization resulting from socio-cultural differences between China and North America. (3) It deals with various aspects of life that do not exist or are rarely addressed in China, as well as issues that are avoided in North American English literature. (4) It shows the transnational consciousness of 21th Century transnational migrants and their variable and multiple identity. Overseas Chinese-language literature, including North American Chinese-language fiction, is a part of transnational migrant literature by transnational migrants who are emerging as a new human group today. It has multiple characteristics that are not limited to the literature of any particular country or region. It has the potential to lead to the creation of a new “world literature” that is not composed of a mosaic of national literatures. 이 논문은 21세기 들어 비약적인 발전을 보인 북미 화인화문소설의 추세, 특징, 문학적 가능성 등에 대해 알아보았다. 21세기 북미 화인화문소설은 다음의 추세를 보이고 있다. (1)개인적 체험 위주의 글쓰기가 지속되고 있는 가운데, 화인 전체에 대한 탐구라든가 중서 문화의 비교와 성찰로 나아가는 새로운 경향이 나타나고 있다. (2)북미에 대한 심화된 지식과 북미 화인의 심층적인 심리를 표현하고 있다. (3)북미 화인의 신분 정체성, 중국과 북미 사이의 사회 문화적 차이 등에 대해 심도 있는 이해와 정서를 표현하는 작품이 늘어나고 있다. (4)초국적 이주자로서 화인의 시각과 경험에 입각해서 과거의 중국에 대해 성찰하는 작품이라든가 변화하는 중국에 대해 관찰하는 작품이 늘어나고 있다. (5)초국적 세계 인식에 입각하여 화인 자신 및 인류 자체를 숙고하는 작품이 점점 늘어나고 있다. (6)화인의 이중적인 정체성을 표현하는 경우가 갈수록 늘어나고 있고, 더 나아가서 가변적 다중적 정체성을 표현하는 경향까지 보이고 있다. 21세기 북미 화인화문소설은 다음의 특징을 보이고 있다. (1)초국적 이주자로서 화인이 체험하는 갖가지 사건과 상황 및 정서적 파동 등을 통해 끊임없이 몸과 마음을 의탁할 새로운 ‘홈 찾음’을 시도하는 모습을 표현한다. (2)북미 화인이 경험하는 소수자로서의 삶, 경제적 곤란, 종족 차별, 남녀 지위 변화라든가 중국과 북미의 사회 문화적 차이에서 오는 갈등ㆍ적응ㆍ혼종 등을 보여준다. (3)중국에서는 존재하지 않거나 또는 존재하더라도 거의 다루어지지 않는 삶의 다양한 면면들을 다룬다. 또 북미 주류사회의 영문문학에서 회피하는 사안을 다루기도 한다. (4)21세기형 초국적 이주자의 초국적 세계 인식과 그들의 유동적 혼종적 정체성을 보여준다. 북미 화인화문소설을 비롯해서 화인화문문학은 오늘날 새로운 인류 집단으로 등장하고 있는 초국적 이주자들에 의한 초국적 이주자 문학의 일부이다. 그것은 어떤 특정 국가나 지역의 문학에 국한되지 않는 다중적인 성격을 가지고 있으며, 국민국가 문학의 모자이크가 아닌 새로운 ‘세계문학’의 도출로 이어질 가능성을 가지고 있다.

한글판 중국현대문학 작품 목록

김혜준 고려대학교 중국학연구소 2010 中國學論叢 Vol.27 No.-

2002년도 영화시장 가 결산

김혜준 영화진흥위원회 2003 월별 결산보고서 Vol.- No.-

Ravenously Distracted Consumers: Zombified Human Attention in the Age of Late Capitalism in Shaun of the Dead

김혜준 문학과영상학회 2022 문학과영상 Vol.23 No.2

This paper examines the critique that Shaun of the Dead (2004) makes on the condition of mindless consumers under late capitalism by disrupting the zombie-human binary. Pivoting on Jonathan Crary’s Suspension of Perception which scrutinizes the manipulation of subjects’ attention as a site to exert power upon, I explore how the film satirically subverts the boundary of attentive human subjects and distracted zombies. In the first part of my paper, I explicate how attention has come to be formulated as a marker of one’s coherent selfhood and show how Shaun of the Dead both expresses this notion and twists it through hyper-focalizing on the commodities through Shaun’s perspective. The next part discusses the fundamental frailty of human attention in the age of late-capitalism which is often distracted by commodities and disintegrates with the passage of time. Lastly, by drawing upon the protagonists’ visual absorption into media, I explain the way in which Shaun of the Dead critiques the mindless viewers that have become diverted from the crucial social issues at hand. By depicting how media subjugates Shaun as a mindless consumer, the film shows that the visual attention of contemporary subjects rather distracts them from their conscious and rational engagement with the world, which renders us as the undead and distracted zombie other.

中國現當代文學的翻譯和研究在韓國 -- 以2000年代爲主

김혜준 한국중국언어문화연구회 2010 한중언어문화연구 Vol.- No.22

I have made and used three catalogues in order to understand the state of translations and studies of Chinese contemporary literature in Korea: “A Catalogue of Korean Translations and Studies of Chinese Contemporary Literature”, “A Catalogue of Ph. D. Dissertations and M. A. Theses in Modern Chinese Literature in Korea”, and “A Catalogue of Departments of Sinology (Chinese Language,Literature & etc.) in Korea”. There are 962 books of Chinese contemporary literature translated and published in Korea, which does not include 235 Chinese knight-errant novels that are under research at the moment. 11.4% of these books were translated and published between 1920s and 1970s, 17.9% in 1980s, 34.7% in 1990s, and 36.0%in 2000s. Most of them have been published in last 30 years, and the number increased after Korea and China established diplomatic relations. 657 of these are novels and short stories which take up 67% of the whole literature, while there are 192 essays(20%) which isn’t a great number compared to the former. Poems and dramas aren’t doing so well with 59 books(6.1%) and 24 books(4.2%)respectively. And there are 6 collected editions of Lin Yutang(林語堂) and 1 of Lu Xun(魯迅). If seen according to authors, there are 235 books(including 17collaborated works with other authors) by Lu Xun, 101 books(including 3collaborated works with other authors) by Lin Yutang, and 73 books by Qiong Yao (瓊瑤). The works of these three authors take up almost 30% of the all translated Chinese contemporary literature. In 2000s, works by Lu Xun have still been translated with priority, but those of Lin Yutang and Qiong Yao have not been doing so well. Instead, there has been relative diversity in authors compared to the past, and especially Mo Yan(莫言, 9 books), Su Tong(蘇童, 7 books), Yu Hua (余華, 6 books) and Yu Qiuyu(余秋雨, 6 books) have been gaining some attention. There were only 3 departments which studied and researched on China and its related fields in Korean universities between 1920s and 1970s. There has been the change of circumstances after 1970s, and there were 21 departments toward the end of 1970s. There were 63 departments in the late 1980s, which grew into 149 departments in late 1990s and now there are approximately 172 departments. It also indicates that actually some serious researchers of this field had not been appeared until 1980s, for people who have started studying China in 1970s got their master’s degree during that time period. There were no doctoral theses and only 9 master’s theses on Chinese contemporary literature until the end of 1970s. However in 1980s there were 3 doctoral theses and 78 master’s theses, and the number grew into 57 doctoral theses and 176 master’s theses in 1990s. In 2000s,there were 50 doctoral theses and 204 master’s theses, and now in total, there are 110 doctoral theses and 467 master’s theses available. The situation of translations and writings on theoretical work(including critical essays) are similar to that of master’s and doctoral theses. There were only 6 theoretical works in the end of 1970s, while 171 are published at the moment. Before Korea-China diplomatic agreement, most of the work dealt with basic matter such as the history of Chinese contemporary literature, but after the agreement, the number of more professional books on specific subjects has increased. The reason, assessment and significance of this situation will be discussed more closely in the paper.

애니메이션. 애니메이터 생태계와 워크넷(Worknet) 만들기

김혜준 한국만화애니메이션학회 2011 한국만화애니메이션학회 학술대회자료집 Vol.2011 No.12