한국사회 옴니보어와 상징적 배제

주혜정,최샛별 한국사회학회 2014 한국사회학회 사회학대회 논문집 Vol.2014 No.6

한국역사 기록으로서 재일코리안 희곡

주혜정 동북아시아문화학회 2017 동북아시아문화학회 국제학술대회 발표자료집 Vol.2017 No.10

아론 코플랜드(Aaron Copland)의 피아노 변주곡(Piano Variation)에 대한 연구

주혜정 한국음악학회 1996 한국음악학회논문집 음악연구 Vol.13 No.1

Aaron Copland, was a composer and a good pianist also, was called "Pandiatonicism" because many of his orchestral works were used many American folk elements, especially melody and rhythm of Jazz, simple diatonic melodies rather than complex-chromatic. But, this <Piano Variations>, consist of theme and 20 variations and coda, followed Liszt and Debussy in pianistic fingering but used many 20th Century's techniques encloud 12 Tone Technique, Pointillistic, Primitive Rhythm, Percussion effects in piano music, Poly-Harmony, Dissonance counterpoint, Jazz. The followings are conclusion of this study. 1. Use of free and varied serial techniques with 10-tone row, especially first four notes are very important elements for develop the whole piece. 2. The whole mood is atonal but has clear Tonal Center. 3. Meter and dynamic contrast changed very quickly and irregularly. 4. Use of dissonance interval relationships and Poly-Harmony. 5. Use many variation techniques from Classic to 20th Century. He made many new sounds of piano by using varies techniques, contrasts of irregular rhythms and dynamics, vertical harmonies in minor second interval, many Jazz idioms and humorous ideas.

4)한약증류액의 안정성에 관한 연구(한약연구)

주혜정,이한구 한국한의학연구원 1995 한국한의학연구원논문집 Vol.1 No.1

NICOLAS SLONIMSKY의 51 Minitudes for Piano 에 관한 硏究

朱惠貞 淑明女子大學校 1993 論文集 Vol.33 No.-

I have now studied the various kind of humors in music and Slonimsky's famous suite '51 Minitudes for Piano". And I have also learned many humorous devices in all musicale forms, mediums and categories. In conclusion of these studies, 1 now summarize as follows : 1. Many titles of pieces were used coined words or technical scientific terms and tried to describing the moods of titles. 2. The pieces were composed with simple forms and various kind of compositional techniques through the Medival Counterpoint to Twelve -Tone Row System. 3. Its comic usage in music showed very live and direct descriptions more than the musics before. 4. The suite has valuable works in music literature but lacks of the effects in etude and performance piece. Finally, 1 studied composer's extensive knowledges and humorous senses through the 51 pieces that contained all comedical devices in music.

최양일의 <돼지의 보은>에 나타난 마이너리티 표상

주혜정 한국일본어문학회 2016 日本語文學 Vol.68 No.-

崔洋一は日本社會のマイノリティに對する絶えず關心を持って映畵を製作した在日コリアン2世の映畵監督である。 彼は在日コリアンと沖繩人のようなエスニックマイノリティの話だけでなく、日本社會での多樣なマイノリティの生に對しても關心を持ちながら作品活動をすることである。そういう彼の多樣なマイノリティの再現は自己の經驗に基づいた疎外された生の本質が何かに對する探究だと考えられる。彼の沖繩映畵の四作品は崔洋一が斯タ映畵を製作する時、當時の社會的背景と觀客の理解に合わせて映畵的再現をしたと言える。特に、最後の作品である<豚の報い>ではマイノリティの原型を現れせながら、マイノリティの生がマジョリティとどういうふに釣り合うように生きていくかの付いて探索していることを分かるだろう。それを通じて崔洋一は日本社會の近代化または資本主義の發達のため失われた精神世界が、むしろマイノリティという規定された沖繩人から發見されたと言えよ。また、彼は日本社會でマイノリティという規定された共同體が原型のそのままで止まっていることではなく、社會や歷史とともにマイノリティも進むべき道を模索していると考えられる。 This study focused on Choi Yang-Il who pursued for the prototype of life in Okinawa to revive Okinawa people as minorities who were antipodes against national violence through < Gratitude to the Pig > and his perspectives in making a movie.

1950∼60년대 재일 영상미디어의 기록과 담론―이마이 다다시의 <저것이 항구의 등대이다>를 중심으로 ―

주혜정 한국일본문화학회 2023 日本文化學報 Vol.- No.97

This article centers around Tadashi Imai, a director known for his portrayal of post-war Japanese society and the Korean Joseon community—a Japanese colonial-era colony. After Japan’s defeat, he transitioned into films exploring social issues. Tadashi Imai has produced many films through Japanese film companies and won many film awards; he is a recognized director in Japanese popular culture. In 1961, his film, “That is the Port Light” analyzed the portrayal of the post-colonialist “Joseon people.” In contrast to other social directors who focused on poverty, discrimination, and social oppression in the 1950s and 1960s, Imai depicted conflicts between Koreans living in Japan and Japanese society, using the backdrop of fishing rights disputes between Korea and Japan. This article examines the representation of Koreans in the “colonial area” in the context of national films. The article explores the depiction of Koreans in Japan through post-war Japanese cinema. Despite his transformation, it is evident that the “Korean” identity he portrayed excluded the Japanese perspective. The perpetuation of such images has contributed to the ongoing strain in Korea-Japan relations, emphasizing the importance of understanding the historical context of Koreans in Japan and fostering genuine understanding among the Japanese population. 本稿は日本帝国主義時代に植民地朝鮮おける国策映画製作の下で「朝鮮人」を描いたが、敗戦以後には社会派監督に転向し「在日」朝鮮人を描いた今井正監督に注目したものである。彼は日本映画史で多くの映画作品を製作し、また多くの映画賞も受賞して日本大衆社会で認められた監督である。本稿は1961年に<あれが港の灯台だ>を通じて、当時の在日朝鮮人のイメージを分析したものである。今井正監督は1950-60年代に貧困と差別、そして社会的抑圧を描いた社会派監督たちとは違って、彼は韓日間の漁業権問題を背景に在日朝鮮人を登場させ、日本人との葛藤を描いたものである。本稿は敗戦以後の日本社会を描き出した映画メディアの流れの中で彼が描き出した「在日」朝鮮人イメージを探求しながら、国策映画で描いた「植民地」朝鮮人のイメージと比較考察したものである。そして彼が描き出している「朝鮮人」は当事者性が排除された視線にあることが確認できたものである。現在も日本人の視線はこのような連続像があり、韓日関係を悪化させる要因でもある。そのために「在日」朝鮮人に対する歴史性理解と日本人の真の共感が必要だと考えられる。

한약증류액의 안정성에 관한 연구

주혜정,이한구,Joo, Hye-Jeong,Lee, Han-Goo 한국한의학연구원 1995 한국 한의학연구소 논문집 Vol.1 No.1

To study stability of distilled herbal medicine, we chose changes in UV spectrum, pH, conductivity, and HPLC chromatogram. Aconiti Lateralis preparata Radix and Scutellariae Radix were selected and studied. There ws no consistancy in UV spectrums of preparatons and in duration. The changes in pH and conductivity were not correlated to those in UV spectrums. HPLC chromatograms were also compared each other depending on the preparations. One interesting peak of distilled Aconiti solution was appeared at 40 min retention time which was not identified yet. Ingeneral, UV spectrum, pH, conductivity measurements are pretty poor tool to study stability of herbal medicine although HPLC analysis should be studied further.

한․일 영화 속의 미군 기지촌 문화 비교 - 베트남 전쟁 시기의 ‘록밴드’를 중심으로 -

주혜정 일본어문학회 2022 일본어문학 Vol.97 No.-

In this study, I compare two Korean and Japanese films in order to analyse the process whereby the popular music formed in US military villages, especially the music of “rock band”, was accepted and transformed in the two countries. For this purpose, I explore the differences in the space in which the US military villages in Korea and Japan were located and the process whereby the rock band music was formed in these military villages, paying special attention to films describing the rise and fall of rock bands that acted in US military villages from the late 1960s to the 1970s during the Vietnam War. More specifically, I analyse the Korean film Go Go 70s, directed by Ho Choi in 2008 and the Japanese film A Sign Days, directed by Yoichi Sai in 1989. My analysis reveals the following points. On the one hand, in Korea, the musicians of the time considered the stage of the US Eighth Army to be the gateway to success, and the music that emerged in the US military villages may be regarded as a source of modern Korean music. On the other hand, in Japan, the music of the US military village in Okinawa was consumed as Okinawan’s music, and it spurred the emergence of Okinawan rock in contemporary Japan.

일본 영화에서 재현된 재일코리안 이미지 변용 - 재일코리안 감독의 작품을 중심으로-

주혜정 동국대학교 일본학연구소 2021 일본학 Vol.54 No.-

This study speculated on how ‘zainichi’ images reproduced were changed in Japanese movies after wars according to times. As Japanese society began to refurbish national systems, asserting ‘homogenous nationalism, zainichi were inspired to promote identity and historical awareness. The zainichi images were produced as discriminative beings by Japanese directors in movies of that time. As multiculturalism has spread over due to globaliszation since 1980s, zainichi began to insist the equal rights with Japanese people. In the movies, zainichi intended to independently live while criticizing Japanese society as discriminative beings. Between the late 1990s and the early 2000s, the right-wing party began to criticize zainichi, they were provoked to search for the universal value of human in the movies. The movies reproduced gave a focus on universal life including stories on living together between the non-mainstream and the mainstream, and care of destroyed families, not those on zainichi, As right-wing groups’ chorus of concern is growing, it seems that politics is returning to the past trend. It seems that the zainichi movies are also returning to the past. However, if Japanese society’e return is towards imperialism, zainichi’s return is oriented as as alarm against oblivion of Japanese society, that is, oblivion of reality based on historical suffering. 이 논문은 전후 일본 영화에서 재현된 재일코리안의 이미지가 어떻게 시대별로 변용되었는가를 살펴보았다. 전후 일본사회가 ‘단일민족주의’를 주장하며 국가 정비에 들어가자 재일코리안도 스스로 정체성과 역사의식을 고취시켰다. 당시 영화에서는 재일코리안의 이미지는 ‘차별’적인 존재로 부각 되면서 일본인 감독들에 의해서 제작되었다. 1980년대 이후에는 세계화로 인한 다문화주의가 확산되자 재일코리안은 일본인과 동등한 권리를 주장하기 시작하였다. 영화에서는 재일코리안은 일본인과 ‘구별’되는 존재로서 일본 사회를 비판하면서 자기 주체적으로 살아가고자 한다. 그리고 1990년대 후반을 넘어서 2000년대에 들어서자 우파 여론들이 힘을 이끌며 재일코리안을 비판하기 시작하자 재일코리안은 인간의 ‘보편’적 가치에 의미를 찾는다. 영화적 재현은 마이너리티의 삶을 주류와 공생하면서 살아가는 이야기, 파괴된 가정을 이해하며 보살피는 이야기로 재일코리안이 아닌 보편적 삶에 초점을 맞추고 있다. 최근 일본사회에서 우익 단체의 소리가 높아지면서 정치적 성향도 과거로의 회귀가 이루어지고 있는 듯하다. 또한 재일코리안의 영화도 과거로의 회귀적 모습을 보여준다. 하지만 일본 사회의 회귀는 제국주의에 대한 그리움에 대한 회귀라면, 역사적 고통을 겪었던 재일코리안의 경우는 일본사회가 행했던 기억의 망각 즉, 역사를 기반으로 한 현실 인식에 대한 반동의 경고로서의 회귀라고 할 수 있겠다.