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.

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.-

터키어 ‘-abil’의 한국어 일대다 대응 문형의 학습자 습득 양상 고찰 -‘-을 수 있다’를 중심으로-

양소영 ( Yang So Young ) 한국언어문화학회(구 한양어문학회) 2020 한국언어문화 Vol.0 No.73

터키 내에서 이루어지는 한국어 교육의 한 단면을 고찰하기 위하여 터키어에서 가장 넓은 의미 범주를 보이고 있는 ‘-abil’에 상응하는 한국어의 일대다 대응 문형들의 학습자 습득 양상을 조사하였다. 이를 위해 이스탄불 대학교 한국어문학과 첫 입학생들의 1학년과 2학년 총 이 년간에 걸친 작문 과제, 시험 작문 자료를 통하여 ‘-을 수 있다’, ‘-을 수도 있다’, ‘-어도 되다’, ‘-으면 되다’, ‘-을 줄 알다’의 활용과 오류 양상을 양적, 질적으로 분석하였다. 그 결과 ‘-을 수 있다’를 중심으로 ‘-을 수도 있다’와의 대치 오류와 더불어 ‘-을 수 있다’의 탈락 현상이 가장 두드러지게 나타났는데 이를 통해 학습자들은 개인의 의견을 표현함에 있어서 모어 화자들보다 더 단정적인 양태로 표현하고 있음을 알 수 있었다. 대표 문형인 ‘-을 수 있다’를 중심으로 학습자 개인별, 학기별 오류 양상을 정리하고 유사 문형들의 효과적인 학습 제시시기에 대하여 논하였다. In order to examine one aspect of Korean language education in Turkey, learners’ acquisition patterns of Korean one-to-many correspondence sentence patterns corresponding to ‘-abil’, which shows the broadest meaning category in Turkish, were investigated. To this end, with the first-grade students of the Department of Korean Language and Literature at Istanbul University’s writing assignments and test writing materials over a total of two years in their first and second grades, the usage and error patterns of similar expressions of ‘can’ in Korean were analyzed quantitatively and qualitatively. As a result, the fallout phenomenon of ‘su itda’ appeared most prominently along with the error of substitution with ‘sudo itda’. Through this, it was found that the learners used a much more assertive mode than the native speakers in expressing their subjective views. Focusing on the representative patterns, ‘su itda’, error patterns for each learner and semester were investigated, and the timing of effective learning of similar patterns was discussed.

정한모 시에 나타난 자기애 양상 연구

양소영(Yang So-young) 한국비평문학회 2009 批評文學 Vol.- No.32

Sinking to inner world and alienation and sense of loneliness, which are prominent in Jeong Hanmo’s early poems, remind us of ‘narcissism’ in the psychology. Freud defines narcissism as libidinal. That the subject in symbolic world withdraws interest and love from object to itself is not different from an attempt to recur to the complete union of subject and object which was enjoyed in one’s infancy. At this point, the subject forms a connection with the object in the fantasy that is reorganized to meet one’s ego impulse , instead of the external object in the real world. Therefore, the object that the narcissistic subject experiences is, after all, the other as reflection of the ego, i.e. an altered ego, and a narcissistic transition is accompanied. And it appears as emotional manifestation like the process of represented by image, recognition of self-existence situation through alienation and sense of loneliness, and longing for primitive maternal world. In his middle and latter years poems, it can be said that serous attempts were made to meet Jeong Hanmo’s narcissistic desire. Image of baby and image of sea are structures that can make feel enough narcissistic satisfaction. And Jeong Hanmo identify tree, who has the same situational identity as him, with him and discovers his from them. That is, he experiences narcissism that feels his own ideal self-image through such self ideals. However, the subject cannot help but inevitably encounter evidences of lack of self in such a narcissistic transition. Therefore, the poems of playing with words that exhibit evidence of lack and nihility residing in the other side of narcissism. We can see that, like this, the process to rather tame nihility in semiotic world is also to exhibit the narcissistic desire of the subject that pursues the world of primitive satisfaction.

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.-

서정주의 『질마재 신화(神話)』에 나타난 여성의 원시주의 연구

양소영 ( So Young Yang ) 한양대학교 동아시아문화연구소(구 한양대학교 한국학연구소) 2015 동아시아 문화연구 Vol.60 No.-

본고의 연구 목적은 『질마재 신화』에 나타난 여성들을 중심으로 원시주의를 살펴보고는 데 있다. 『질마재 신화』에 나타난 ‘질마재’는 금기가 존재하지 않는 자유로운 공간이다. 이유는 질마재가 원시 자연의 모습을 하고 있기 때문이다. 특히, 이런 공간에서 살아가는 여인들은 가장 원초적인 모습으로 존재하는 데, 이런 점은『질마재 신화』의 원시주의 특성을 보여주는 점이된다. ‘질마재’에서 간통은 더이상 금기가 아니다. 오히려 이는 마을을 늘어린이처럼 천진난만하게 생각하고 행동하며 살아가는 그런 곳으로 만든다. 이것은 질마재가 원시 자연의 상태를 지녔기에 가능하다. 이런 점은 질마재가 원시에 대한 회복을 하고 있다는 의미이고, 미당 자신의 세계관이 어떠한 갈등도 하지 않음을 의미한다. 여기서 더 나아가 질마재 사람들이 어떠한 갈등도 하지 않고 순수하고 평화롭게 살아가는 원시와 같은 삶이 성과 속의 경계를 허물며 자유롭게 살아가는 사는 질마재 여인의 모습과 상통한다. 특히, 「소자 이 생원네 마누라님의 오줌기운」에서 ‘이생원네 마누라님’은 자신의 오줌 기운을 통해 천진난만하게 살아가는 아이와 같은 삶을 보여준다. 이는 원시 자연의 모습을 보여준다. 그러므로 ‘질마재’에서 자연적 원시 상태는 여성으로 표상된다. 그리고 『질마재 신화』에 나타난 여인들의 지닌 기이한 힘은 원시주의 모습을 확고히 보여주는 증거가 된다. 특히, 알묏댁이나 한물댁의 지닌 기이한 힘은 원시인의 느낌이나 생각의 한방식으로, 이성과 도덕, 윤리를 넘어서 내적인 충족감을 나타낸다. 이런 점은 그녀들의 슬픈 운명뿐만 아니라 마을 사람들에게 모든 갈등과 어려움을 해소시킨다. 그 결과 마을 사람들은 ‘질마재’에서 더욱 무사태평한 삶을 살 수 있게 만든다. 이런 여성들의 의해 나타난 원시성의 구현이야말로 『질마재 신화』의 원시주의를 확고히 나타내준다. 『The Myth of Jilmajae』 was written with all these primitive and mysterious expressions, and such feature has been regarded as some eternity that Midang was pursuing. However, the eternity being talked about here feels abstract and vague, and that eternity can be understood even more concretely through the characterization of female characters. These women appearing in 『The Myth of Jilmajae』 are described both extremely primitive and mystical. The magical imaginations of those ladies make situations unrealistic, and that is what they basically do in this village, Jilmajae. The significance of the eternity will be easily understood when the women in 『The Myth of Jilmaejae』 are discussed in relation to primitivism. Adultery is no longer a taboo in Jilmajae. The act rather makes the village a place of people who always think and behave as these naive, innocent children do. That was something that could have never been possible unless Village Jilmajae was described to be primitive. In addition, what such feature of the village signifies there is that Jilmajae is returning to the primitive times and plus, it also means that Midang himself does not want his ideas toward the world to be exposed to any conflicts. This desire for the primitive timesis connected not only to the appetite of people in the village but also to the eternity that Midang was seeking for. And, such eternity of Midang was satisfied even more successfully by these strange powers and substances possessed by the women of Jilmajae. In particular, the supernatural powers of Almetdaek or Hanmuldaek, one of these feelings or thoughts that primitive men would possess, have been internalized as these powers of the highest quality which would exceed rationality, morality and ethics. That is how the internal satisfaction is described, and that is what resolves not only the women’s dreadful fates but also all these troubles and difficulties among the people in the village. As a result, the people in the village can allow themselves to have even more tranquil lives in ‘Jilmajae’. Meanwhile, in ‘Jilmajae’, the white salt that the old lady sprinkles which is considered a rule of the primitive times gathers the village people to Room Madang, and that signifies the cohesion of the beings. After all, as far as the people in the village believe, the white salt is the factor that helps the recovery of the beings. Through such ritual the beings are led to focus on this ‘Room Madang’. ‘Room Madang’ makes the cohesion of the beings possible, and to the people in the village, the white salt is what realizes the recovery of the beings. That is also how those people who have been exhausted inside get healed. In the light of what has been discussed so far, the old lady should be considered not only a true savior of the ‘eternity’ but also this figure who encourages others tolook for better values in their lives. To sum up, as far as Midang understands, realizing the primitive times indicates something that is fundamental, original and essential to human beings. Such realization of the primitive times leads Midang to reach the realm of psychological transcendence and to successfully expand his own time as this infinite time, the eternity.