복숭아순나방(Grapholita molesta) 성페로몬 트랩에 포획된 미동정 나방의 발생패턴과 판별 분자지표

허혜정,손예림,김용균,Huh, Hye-Jung,Son, Ye-Rim,Kim, Yong-Gyun 한국응용곤충학회 2008 한국응용곤충학회지 Vol.47 No.3

복숭아순나방(Grapholita molesta) 성페로몬 트랩에 미동정 나방이 포획되었다. 이들은 주로 봄에 채집되었으며 형태적으로 복숭아순나방과 유사하나 비교적 몸 크기가 커서 육안으로 쉽게 구별할 수 있다. 이들의 발생 패턴도 4-5월의 복숭아순나방 월동세대 발생과 유사하였다. 이 기간 동안 이들은 사과원 내부 보다는 주로 과수원에서 떨어진 곳에 설치된 페로몬 트랩에 집중적으로 포획되었다. 5월 이후 이들 미동정 나방은 복숭아순나방 페로몬 트랩에 더 이상 포획되지 않았다. 이 미동정 나방과 기존의 복숭아순나방과의 계통 분류학적 판별을 위해 분자마커가 개발되었다. 미토콘드리아 cytochrome b 영역을 기반으로 선발된 4종의 PCR-RFLP 분자지표는 이 미동정 나방과 복숭아순나방을 구분할 수 있었다. An unidentified moth was captured in sex pheromone traps of the oriental fruit moth, Grapholita molesta, especially at spring season in apple orchards and their vicinity. Though the captured males were similar in appearance to G. molesta males, they were easily distinguished by a matted difference in body size. Their occurrence pattern was also similar to that of overwintering G. molesta population from April to May, at which more males were captured in the pheromone traps installed in the vicinity of apple orchards than within apple orchards. After May, they were no longer captured in the pheromone traps. To investigate any larval damage due to this unidentified moth, molecular markers needed to be developed. Four PCR-RFLP markers originated from cytochrome b region of mitochondrial DNA could distinguish this unidentified moth from G. molesta.

이형기 시론 연구

허혜정 ( Hye Jung Huh ) 한국문학언어학회( 구- 경북어문학회) 2005 어문론총 Vol.42 No.-

<처용가處容歌>를 통해 본 달의 에로티즘 연구

허혜정(Huh, Hye-jung) 한국동서비교문학학회 2004 동서 비교문학저널 Vol.0 No.10

논쟁적 대화 : H.G 웰즈의 근대유토피아론과 조선 사회주의 문예운동

허혜정(Huh, Hye-jung) 한국비평문학회 2017 批評文學 Vol.- No.63

큰 비중으로 드러나지는 않지만, 박영희의 ‘고민기’의 비평이나 김기진의 클라르테 운동에 대한 비평, 조선지식인들의 단편적 언급들은 웰즈와 연관된 조선 사회주의 문예운동의 초기적 토대를 살펴보기 위한 중요한 통로이다. 비록 웰즈의 사회주의 이념에 대한 심도 있는 접근을 한 글은 없다 해도, 사회주의적 이상향을 위해 세계개조를 주장했던 웰즈의 사상은, 그의 과학소설이나 클라르테 운동에 대한 조선문인들의 관심을 매개로 적지 않은 주목을 받았다. 조선문인들은 20년대 소개된 웰즈의 근대유토피아론과 과학소설을 통해 타락한 브르조아 세계의 말로를 성찰하는 계기를 맞았던 것으로 보이는데, 특히 박영희에게 있어 웰즈의 이론은 그의 사회주의 문예이론의 설계에 중요하게 작용한다. 이는 웰즈의 사상적 핵심어들이 박영희의 20년대 평론 뿐 아니라 그의 후기평론 속에서도 줄곧 큰 비중으로 드러나고 있다는 사실에서 뒷받침된다. 박영희는 사회주의로의 사상적 전환을 겪던 ‘고민기’의 비평에서 웰즈가 가담했던 클라르테 운동을 조망했던 흔적들을 적지 않게 내보이고 있다. 아울러 클라르테 진영이 브르조아문학을 공격했던 논리와 유사하게 이광수에 대한 전면적 비판까지 감행했다는 점등을 본고는 주목했다. 김기진 또한 웰즈와 사회주의 노선을 같이 해온 앙리 바르뷔스에 대한 비판적 논평을 통해 클라르테 운동진영의 편협한 계급이해, 폐쇄적이고 과두적인 조직논리, 제국주의에 대한 문제의식이 결여된 혁명론, 목적을 정당화하기 위한 폭력을 비판함으로써 식민지의 현실과는 동떨어진 사회주의 이론을 수정, 보완하고자 했다. 조선의 사회주의자들의 주장과 웰즈의 사회주의의적 주장들이 어긋나는 지점을 명료하게 밝히는 일은 조선 사회주의의 이념적 기반을 밝히기 위해서도 중요한 작업이라 판단된다. 조선 사회주의 문예이론 형성기에 소개된 웰즈의 저작들이 조선 사회주의 문예운동과 관련하여 갖는 의의 또한 여기에 있다. In the big frame, the socialist ideology of Joseon during the Japanese colonial period was borrowed from the West. However, Chosun literary criticized the dangerous ideas that even socialism made as an ideology of imperialism and fascism, such as Park Young-hee and Kim Ki-jin are representative writers. From the data point of view, the traces left by H. G. Wells in the Joseon socialist literary movement are very limited. Although there is no clear discourse on Wells political discourse and science fiction, we can conclude that Wells’s writings had an important meaning in Joseon. For his specialty Park Younghee, Wells" theory plays an important role in the design of his socialist literary theory, and Kim Kijin also deeply worried about the direction of Chosun socialism through critical comments on the Clarte movement which Wells was involved. Skeptic gaze on socialism, which allegedly advocated gradual social transformations, like the Fabian socialists on the surface, but tolerated the radicality of violence and war, is not a socialist debate, but Kim Ki-rim"s keen criticism and so on. The intellectuals of Joseon refer to Wells as a problematic writer because They took a critical attitude toward violent revolutionism that can be tied with fascism or Soviet socialism that could be imperialism, but in reality his political ideology and science fiction I do not think that I have left a deep review on this. However, a critical decipherment of Wells" socialist ideology can be reconstructed through interest in Wells scattered like fragmentation. It is also important to clarify the point of deviation of the socialist claims of Joseon and the socialist claims of Wells that result in the world reconstruction is also an important work for revealing the ideological basis of Korean socialism. Here is also the significance of Wells" works presented in the formation of the Joseon socialist literary theory in relation to the Joseon socialist literary movement.

『쿠쉬나메』와 『삼국유사』를 통해 본 처용설화의 생성공간

허혜정(Hyejung Huh) 한국동서비교문학학회 2015 동서 비교문학저널 Vol.0 No.32

In Kush-nameh ( ??? ???? ), the institutions, customs, figures and thoughts of Silla are minutely reproduced to the extent it is difficult to be regarded as imagination of Persians. When the fragmental descriptions are interrelated with the similar motifs of Samgukyusa, an important historical clue in grasping the cultural exchange between Silla and Sasanian ( ???????? ) Persia can be obtained. The cultural shock Persia brought from Silla with which it had made cultural exchange through the Silk Road can be found in, first, Persian Buddhism, second, in exorcism custom which can be said to be the core of the Cheoyong heritage, and mysterious animal symbols. The symbol of ‘Dragon’ which appears commonly in the diverse descriptions in Kush-nameh, the tale of Cheoyong, and Samgukyusa is originated from Persia. It can be seen that the ‘Dragon’ originated from Zoroastrianism changed, to the people of Silla, into a ‘foreigner’ from the sea, an object of mysterious marriage, or a person who brought political change or cultural wonder. The fact that ‘Dragon’ and ‘Lion’ which symbolized powerful royal authority and god-like power in Persia had permeated into the image of Cheoyong being acculturated into the folksy/Buddhistic elements of Korea is multi-laterally verified from the mythical/folksy/linguistical perspectives. From the fact that ‘Rahu’ originated from Persia was used to call Cheoyong, the effect of Persia permeated into Cheoyong heritage can be clearly confirmed. By connecting several episodes of Kush-nameh and Samgukyusa like this, effective information in exploring the model of the motif of the figure who crossed the sea to come to Korea and got married to someone with a different nationality can be obtained. Though the rhetorical/religious colors of the two texts are different, when the diverse evidences in cultural history are supplemented for interpretation, the original material used for generation of the tale of Cheoyong can be assumed.

나치스문학과 친일전쟁시(親日戰爭詩)의 논리

허혜정(Huh, Hye Jung) 동악어문학회 2015 동악어문학 Vol.65 No.-

이 논문은 일제 강점기의 국가총동원시기 조선문학의 전쟁협력이 독일의 나치즘과 일본의 군국주의와 연동되었던 양상을 검출해보기 위해 독일 파시즘과 나치스시 소개글 등 다양한 자료를 검토하였다. 1930년대에는 대체로 조선문인들이 히틀러라는 인물에 대해서는 매혹을 느꼈지만 파시즘의 득세를 경계감을 가지고 주시하고 있는데 반해 40년대 신체제논리 성립 이후는 일제의 파시즘을 찬양하고 독일의 나치스 전쟁문학을 애국문학으로 여과없이 받아들였다. 이는 전쟁수행을 위해 문화전반에 파괴적인 변혁을 시도했던 나치스의 문예정책이 신체제의 문학지침에 중요한 기반을 제공했다는 사실과 무관하지 않다. 문인마다 각기 다른 방식으로 나타나는 문학적 친일이 적어도 전쟁시에 있어서는 대단히 유사한 방식으로 나타난다. 친일전쟁시들은 파시즘의 동반자로서 황민이라는 실천적 정체성들을 구성했고 대동아공영권을 위한 사상전을 수행했다. 이광수를 비롯한 적지 않은 문인들이 일제의 침략전쟁을 정당화하고 조선인의 종군과 희생을 찬양했다는 점에서 지극히 반민족적인 파시즘을 애국주의로 전도시키고 있음도 확인할 수 있다. 신체제 논리에 본질적으로 나치즘이 내장되어 있고, 일제의 문화훈령을 충실히 따른 문인들이 직접 히틀러의 저작을 번역하거나 나치스시를 번역했다는 사실 등도 친일전쟁시를 둘러싼 이념적 맥락을 형성하고 있다. 나치스 문학과 친일전쟁시는 민족과 국가라는 이념을 내세워 전쟁을 미화하고 지도자에 대한 맹목적 충성과 피의 희생을 선동한 선전문학이라는 점에서 커다란 공통점이 존재한다. 특히 신체제기에 대거 쏟아져나온 나치스 전쟁시는 친일전쟁시에 막대한 문학적 주제와 수사를 제공해준 것으로 보인다. 나치즘 문학은 전쟁에 대한 주제와 감각을 개발하는 데 중요한 역할을 했던 요소이며 나아가, 일제파시즘과도 이념적 지반을 공유하기 때문에 세계관적 측면에서도 세밀한 검토가 수행되어야 할 담론으로 판단된다. This study examined a variety of data including introductory writings about the Fascism and German Nazi poems in order to discover the Nazi"s influence on the war poetry under the Japanese colonial rule. In the 1930"s during Choson Dynasty, writers in general were alert to an expansion of Fascism while they were attracted by Adolf Hitler. However, since the establishment of the New System in 1940 they praised the Japanese Fascism and adopted the war literature of German Nazis without filtering, as a patriotic literature. This is related to the fact that the Nazi"s literacy policy, which attempted a disruptive reform across the overall culture for the war execution, provided a critical base to the literature guideline under the new system. Nazi literature and pro-Japan war poetry have a big thing in common given that both is propaganda literature, which beautifies the war in the name of one nation and country and demands blind loyalty to a leader and bloody sacrifice. In particular, Nazi war poems published during the period of the New System seem to have provided a great volume of literature themes and rhetorics to the pro-Japan war poetry. The future subject for the study is identifying the relation between Nazi literature and pro-Japan literature and drawing up the structure, on the assumption that the relevant data continue to be discovered and added to this study.

유신여성과 민중시의 성담론 연구

허혜정(Huh Hye-jung) 한국근대문학회 2008 한국근대문학연구 Vol.9 No.2

본 논문은 1970년대 전통적인 부덕(婦德)을 계승하며 근대화의 주체로 여성을 호명했던 유신여성 이념과, 당대의 가장 대표적인 민중시인들의 시 속에 나타는 여성에 대한 재현의 문제점을 ‘매춘’이라는 문제를 중심으로 살펴보았다. 1970년대 다양한 남성 민중시에 나타나는 매춘의 문제는 유신담론이 강조한 여성의 주체성이나 교육, 자각, 새로운 삶의 실천보다는 가부장적인 인식구조 속에서 주변화된 민중의 현실을 반영하였다. 하지만 매춘의 문제를 현실에 대한 비판의식으로 다루기보다는, 화자의 독단과 추상적인 애국주의, 자기연민으로 환원되는 대단히 타성적인 재현수법을 보여주고 있다. 민중시가 종종 여성의 목소리를 빌려 토로하는 창녀의 욕망은 당대의 여성현실에 대한 피상적인 이해와 여성에 대한 비하, 심각한 사실왜곡에 기반하고 있다. 특히 논개 찬양이나, 윤락여성을 ‘유관순’에 비유하여 매춘부가 곧 숭고한 애국자인 양 오도하는 목소리는 남성욕망을 여인의 목소리와 몸에 각인시킴으로 궁극적으로 윤락여성을 남성의 성적/문학적 소비물로 왜곡시키는 사례들이다. 이렇게 민중시가 민중 이미지를 구축하기 위해 사회적인 주변자인 윤락여성을 자주 다루면서도, 매춘에 대한 관대한 낭만적인 환상과 독단을 드러내고 있음은, 민중시의 윤리적 태도와 대립하는 대표적인 모순점이다. 본고는 남성 민중시에 나타나는 매춘여성에 대한 상투적인 재현이나 폭력적인 묘사가 “자유와 해방”의 담론이라 여겨져 왔던 민중시의 은밀한 억압성을 드러낸다고 보았다. The era of 1960s-1970s was the time when the modernization project of Park Jung-hee regime was forced to spread as a social principle in mass desire. The enlightenment movement toward women as a mainly political, economic, and cultural body from the start of Park regime began in a large scale, which is seen through numerous public gatherings and featured articles on magazines and journals, etc. In the said paper, the ideal of Yusin woman(Woman in Revitalizing Reforms) emphasized in the image of patriotic women as the main subject of modernization, inheriting the traditional female virtues in the 1970s and the differences of reproduction among women appearing in the poems of the typical minjung poets of the day are reviewed, focusing on the issue of prostitution. The matter of prostitution showing in the various male minjung poems in the 1979s is absolutely a far cry from the female subjectivity, education, self-consciousness, and the practice of new life which were stressed on Yusin discourse. While the discourse in Yusin brought up female leaders and elites, referring to prostitutes as the object of enlightenment, the minjung poets visualized them literarily who reflected the reality of commoners who had been pushed out peripherally, the expressive violence such as "rape", etc., is, however, repeated, and whores are beautified as a setting of male heroic warriors as wall as a romantic code of self-pity. Which implies that the harlots are processed as a minjung image through rather the man-centered and paternalistic eyes. Besides, in a good many of minjung poems, the issue of prostitution is not criticized or analysed on the disruptive reality, but, is reduced to dogmatism voiced from the speaker of general minjung, abstractive patriotism, and self-pity, which displays the quite stereotyped techniques of reproduction. The violent descriptions against women that the minjung poems would often bring into the open, or the lustful expressions for male in the borrow of female speakers also reveals that they are based on the superfluous grasp on the female fact on the day, the degradation against toward women, the serious distortion of fact. The most typical case lies in that prostitution is connected to the patriotic discourses. The praise of Nongae, or what a whore says in the voice of "Yoo, Gwan-soon", the representation of female leadership, can mislead readers severely, as though she is a noble patriot. Not a few verses falsify the prostitutes as what is sexually and literarily consumed resultingly by inscribing the male lust in the body and voice of female, concealing them who are the down and out miserable, subjected multi-foldedly in the paternalistic norm and in the social, economic, cultural order. As described above, the minjung poems often deal with the street girls who come down in the society and express the lenient illusion and arbitrary view, which is phallic as much as the nation's ideal that capitalized the female sex by way of gisaeng sightseeing, etc., and is a typical contradiction against the ethical attitude of minjung poems. in this paper, it is concluded that the habitual reappearance or violent description that is shown against prostitutes in the male minjung poems reveals the clandestine repression of minjung poetry that was regarded as "freedom and liberation". All the materials reviewed in the said paper does not, of course, include the sexual discourses of the minjung poems in the 1970s. But, from seeing that raising the cutting-edge issue of female poets in the 70s on the social matters is focusing on the issue of "prostitution", we are able to draw a critical reflection against the absence of political awareness on sex and the rigid machismo expressed in the male minjung verses.

홍신선의 시에 나타난 생태주의적 인식 연구

허혜정(Huh Hye-jung) 문학과환경학회 2006 문학과 환경 Vol.5 No.1

With the poetic cognizance after 90s being centralized in ordinariness, the ecological recognition has largely spread out the realms of poetic imagination and of sensitive faculty, having been explored profoundly as an innermost question. In the recent times, the poetic current that has been concentrated on the problems of the urban and secular culture is, however, moving to the nature-orientedness, and as poets themselves are returning to the nature-friendly life, the tendency that they ‘practice’ the ecological cognizance in a positive way. not merely as a poetic theme. The poetry of Hong, Shin-sun may well be given attention as poems which come along with these poetic appreciation and practice. His poems, initiating from the early ones baptized with modernism in 90s showed a few steps of transfiguration, engaged with the historical and realistic convulsions, however, the Buddhistic concern and the ecological awareness that had been traversing deeply his poems were maintained ceaselessly from his early ones, such as “Recurrence”, “Loa tzu” until the serial work of “Mind Scripture”. The ‘Recurrence consciousness’ toward nature and the speculation of abulia and self-renunciation, both, emphasized by Buddhism and Taoism have been deepened through his poetic work of 70s and 80s focused on the quest of the times, and penetrating the pursuit of the introspection on the ‘civilized life’ and the humanistic prospective. The ecological recognition coming across his poems is manifestly caught in the ‘civilized life’ and the ‘the ruins consciousness of times’ revealed in his 6th poetry, For Self-Portrait published in 2002. Especially, the serial work of “Mind Scripture” alludes that the practice of ecological living that extricates civilized human from his self-centered avarice is the very future that we must return to. His poems that have accentuated the Buddhistic ‘being unavaricious’ and ‘nonpossesion’ for the sake of future of mankind should come into the spot light as a poetic work that shows a significant ecological awareness in the modern history of Korean poems.

‘처용희(處容戱)’와 유니버설 콘텐츠

허혜정(Huh, Hye-jung) 한국동서비교문학학회 2011 동서 비교문학저널 Vol.0 No.24

In this study, an outlet is discussed for Cheyong festival to find a way out of the present distressing circumstances it encounters, through the disputes arising centered on the character of ‘Cheyonghui’ and the Cheyonghui Festival in Ulsan. The culture of Cheyong that contains the more stronger feasibility of commercializing for sightseeing than any other inherited in Korea is presently confronted with the difficulty of “abandonment” even locally, far from the Korea’s leading global culture brand, having been run against the stubborn regionalism and religious dogma. The present situation of the local autonomy that interrupts even up to the culture administration, attempting to succeed to the cultural legacy of the nation, by agitating in the colors of wild regionalism biased with religious prejudice should be, therefore, watched for. Owing to the insufficiency of appreciating the origin of Cheyonghui and Cheyong culture, Cheyong festival has been swirled over the consumptive debates as mush as the separation of the world music festival and the abandonment of Cheyong festival reared up. Now is the time that more comprehensive discussions are more needed to make it possible to materialize the tradition of Cheyong culture, while livening it, than the identity of Cheyong is repeated in debate and the regional hegemony is argued. Only the prudential festival administration that is well-considered to prepare developing contents and introducing regional features, accomodations, transportation, and up to the guidance to tourist spots for various public can revive Cheyong festival surely as ‘universal contents.’

불교 여성주의적 관점에서 본 〈盲兒得眼歌〉 연구

허혜정(Huh Hye-jung) 불교학연구회 2004 불교학연구 Vol.8 No.-

  The most theoretical ground in which thinkings of both, Buddhism and feminism can touch each other lies in the fact that the life-ism, an ism that all mankind is of the nature of Buddha, which should acknowledge he existential sanctity up to the non-sentient things as well as the sentient things, comes to be accepted as a major concept of humanism. In this said paper, I try to reveal out the feminine meanings of 〈Hymn for blessed eye〉 found in {Samkukyusa : the history of three kingdoms} carrying Mahayanist Buddhism on its bottom through the symbol that implies "the eye". The song of a poor woman that brought itself in the tradition of 〈Hyangga〉, a literature of the gentility of buddist priests and Hwarang, etc. in origin, firmly came to establish itself as a scripture of the history of Korean literature by the "choosing" from the unbiased point of view of Ilyeon, the author of {Samkukyusa}. This equalitarian way of description has no less than an implication even from the viewpoint of feminism of today.<BR>  Especially, the Buddha as the motherly image called Gwaneum(the Buddhist Goddess of Mercy) provides an opportunity of precious speculation toward the sacred image of woman who settles agony. Besides, the contents of {Hymn for blessed eye} that the healing power of Gwaneum works a miracle through the dearest wish of motherhood indicates very cherishable belief seen from the theoretical context of modern feminism that lays emphasis on a wide-ranged recognition about maternity. The "blinded eyes" of the child in {Hymn for blessed eye} are not the token of merely physical handcap but symbolize the existential anguish due to Karma caused from wrong-doing, sublimating to the meanings of religious desire that cures the personal suffering and practicing the conduct of Mahayana. The dream of the grief-stricken mother who hopes all the while for a miracle of openning the eyes of her child could, at last, draw up the curing power of Gwaneum, givig a birth to the miracle. The minds of both, Gwaneum and the mother, therefore, belong to oneness, and the mother, at this point, come to be defined eventually as an individual who already carries the mind of Buddha in.<BR>  The aspiration and the belief that are set to overcome the personal agony and to heal and to save the anguish of others, by regaining one"s self innate Buddhahood is the very humanistic starting point of Buddhism that was originated from the insight of pang and pain of mankind. This is the most significant part that is able to communicate with the modern feminism that has given ear to the feminine wounds and sufferings constantly impaired through the wrongly-constituted eye of cognizance and that has re-specified the dignity and value of its existence in a wide range.