1960년대 대만 ‘건강한 리얼리즘’ 영화 고찰 — 〈굴 따는 처녀(蚵女)〉를 중심으로

황선미(Hwang, Sun-Mi) 중국문화연구학회 2022 중국문화연구 Vol.- No.58

일제강점기 대만 지식인에게 비친 조선

황선미(Hwang, Sun-mi) 한국중어중문학회 2018 中語中文學 Vol.- No.73

This study examines Joseon travel notes written by Taiwanese intellectuals during the period of Imperial Japanese occupation. This study collects and analyzes data on Joseon travel notes of Taiwan intellectuals, Chen Housheng and Ye Rongzhong in the early 20th century, which have not been covered well so far by Taiwan and Korean academia. This study attempts to consider the exchange of Taiwan and Joseon and Taiwan intellectuals’ perception of Joseon in that era. Chen Housheng stayed in Joseon for about two months from early July 1926. After he returned to Taiwan, in November 1926, he published the “Joseon Travel Review” in No. 132 of “Taiwan People News,” where he introduced Joseon’s houses, clothing, education, and policies, etc. Ye Rongzhong visited Joseon for about two weeks from October 3, 1933, to study Joseon’s advanced local municipal system. After his visit to Joseon, he left 16 poems and wrote “Joseon Autonomous System Inspection Report” and published it in “Taiwan Xinmin Daily”. Chen Housheng and Ye Rongzhong belong to the modern Enlightenment philosophers who paved the way of so called progressive, critical intellectuals. By introducing Joseon’s society and culture to the people of Taiwan, they provided a ground of opportunity to understand and familiarly approach Joseon. Chen Housheng and Ye Rongzhong looked at Joseon as ‘Tasanjiseok (Learn from Others)’ in a stance of trying to learn. Through this study, it is possible to get a glimpse of the various views of Chen Housheng and Ye Rongzhong upon Joseon.

미세먼지 저감을 위한 광역온도 대응 질소산화물 저감 촉매 기술

황선미(Sun-Mi Hwang),김정탁(Jeongtak Kim),유광선(Kwangsun Yu),정순관(Soon Kwan Jeong) 한국에너지기후변화학회 2022 한국에너지기후변화학회 학술대회 Vol.2022 No.10

대만의 꿈(台灣夢), 애니메이션 〈싱푸루에서〉

황선미(Hwang, Sun-mi) 한국중어중문학회 2019 中語中文學 Vol.- No.75

“On Happiness Road” as Director Song, Xing-ying`s feature animation debut work, was first screened at the Pusan International Film Festival in 2017, and was released in Taiwan on January 5, 2018, and in France on August 1, 2018. “On Happiness Road” is a film untying the plot of the process of the heroine girl growing up on the happiness road in Taipei City. This film is based on the autobiographical story of the director Song, Xing-ying. She has brought Taiwan`s 70-year turbulent history such as the era of martial law, the release of martial law, the 921 Great Earthquake, the Nationalist Party, the Democratic Progressive Party, and regime changes, etc. to the autobiographical story with her own personal history and the curves of contemporary history of Taiwan. “On Happiness Road” is far from Disney`s `Prince and Princess` and `Dream Land`. The warm and refreshing point of the movie is in fact a reflection of the cold reality of the alienated by the theme of white terror, democratization movement, and sacrifice, etc. Not only the story but also the character of the movie is close to the animated version `Neorealism`. Therefore, this article attempts to search for “On Happiness Road” from the viewpoint of neo-realism. To elaborate the story of `Taiwan`s dream`, while examining what meaning “On Happiness Road”, which refused to get investment from the mainland China, might have for cross-strait film exchange, this article attempts to explore director Song, Xing-ying’s artist consciousness and the identity of Taiwan people appearing in “On Happiness Road”. It can give an opportunity to have not only an understanding of cross-strait cultural exchanges, but also Taiwan"s 70-year modern and contemporary history, and at the same time, it may contribute to the activation of cultural exchanges with Korea by improving the understanding of the national sentiment that Taiwan is facing now.

고지방 식이로 유도된 당뇨병성 죽상경화 마우스 모델에서 밀몽화의 효능 연구

황선미 ( Sun Mi Hwang ),이윤정 ( Yun Jung Lee ),김은주 ( Eun Ju Kim ),김혜윰 ( Hye Yoom Kim ),리향 ( Xiang Li ),최용준 ( Yong Jun Choi ),조남근 ( Nam Geun Cho ),이호섭 ( Ho Sub Lee ),강대길 ( Dae Gill Kang ) 대한본초학회 2009 大韓本草學會誌 Vol.24 No.4

Objectives: This study was designed to investigate the effects of an aqueous extract from Buddleja officinalis Maxim (ABO) on vascular dysfunction in low-density lipoprotein receptor deficient (LDLr KO) mice. Methods: Present study showed that LDLr KO mice were fed a high fat diet consisting of 60 kcal% fat, with or without 200 mg/day/kg ABO of diet, for 14 weeks. Results: High fat diet-LDLr KO mice were treated with ABO were completely normalized by lowering glucose. ABO reduced intima/media thickness in a high fat diet-LDLr KO mice without affecting plasma cholesterol and triglyceride levels. ABO caused endothelium-dependent relaxation in the acetylcholine-precontracted aorta of high fat diet-LDLr KO mice. ABO increased eNOS expression, while decreased cell adhesion molecules expression in high fat diet-LDLr KO mice. Conclusions: In conclusion, chronic treatment with ABO improved hyperglycemia and endothelium-dependent vascular relaxation as well as exhibited anti-inflammatory effect in diabetic atherosclerotic mouse model, independent of effects on plasma lipids.

혈관내피세포에서 TNF-α 자극에 의해 유도되는 혈관염증에 대한 WK-38의 억제 효과

황선미(Sun Mi Hwang),이윤정(Yun Jung Lee),김은주(Eun Ju Kim),윤정주(Jung Joo Yoon),이혁(Hyeok Lee),강대길(Dae Gill Kang),이호섭(Ho Sub Lee) 한의병리학회 2009 동의생리병리학회지 Vol.23 No.5

번역가로서의 천두슈(陳獨秀)와 여성해방 -『신청년(新靑年)』을 중심으로-

황선미 ( Sun Mi Hwang ) 한양대학교 동아시아문화연구소 2010 동아시아 문화연구 Vol.48 No.-

신문화 운동의 핵심 인물인 천두슈가 이룩한 업적이 한두 가지가 아니지만 그 가운데에서도 종합잡지 『신청년』을 창간하고 그 잡지를 통하여 서구 문학 작품을 번역하여 중국에 소개한 번역가로서의 업적도 뛰어나다. 천두슈는 일본 유학을 거쳐서 서구 문물을 접하게 되며, 근대개념 유입의 주요 경로인 ``번역``이라는 형식을 빌려 새롭고 다양한 사상을 중국에 전파하는 데 힘을 기울인다. 그에게 있어, 번역은 사상을 흡수하며 새로운 시대의 좌표를 설정하고, 더 나아가 전반적으로 문화의 가치와 전망을 열어 줄 문명 이식(移植)의 통로였던 것이다. 특히, 천두슈의 계몽적 열정은 번역을 통한 여성해방으로 이어지는데 본고에서는 천두슈가 1915년에 창간한 『신청년』에 번역, 소개한 작품을 검토대상으로 삼아, 사상가와 혁명가로서의 천두슈가 아닌 번역가와 여성 해방의 선각자로서의 천두슈를 재조명하고자 한다. Chen Du-xiu was the core person in the New Culture Movement of China. He is also called as the representative thinker, revolutionist and politician of China. Chen Du-xiu founded "Xin Cheng-nian" magazine, meaning the "New youth". He translated and published many Western literatures in "Xin Cheng-nian" magazine. His achievement as a translator who introduced Western literature to China is remarkable. Chen Du-xiu studied in Japan, where he first met Western products of civilization. At the time, China was eager to learn the rational and scientific products of Western civilization. Chen Du-xiu used the form of translation in introducing the new thoughts to China. For Chen Du-xiu, translation was a new opportunity to learn the new thoughts and find the coordinates and guideline in life. Translation was also a path which opened the overall value and prospect of culture for him. Chen Du-xiu was an extraordinary pioneer in the recent-age enlightenment-period, who led the modernization of China by founding the magazine, "Xin Cheng-nian". He wished to absorb the thoughts and culture of modern Europe through the foreign literature. After founding the "Xin Cheng-nian" in 1915, Chen Du-xiu proposed the New Culture Movement. He began the translation and introduction of European literature trend and literary works of European Realist writers and others. Especially, Chen Du-xiu actively expressed his own opinion on the enhancement of women`s right in China`s feudal society for the ladies. In this research paper, Chen Du-xiu is explored as a translator, focusing on the Western literature he published in "Xin Cheng-nian", rather than as a thinker and revolutionist.

대만 국민화합의상징이된황룽찬의〈공포의검열〉

황선미(Hwang, Sun-mi) 한국중어중문학회 2023 中語中文學 Vol.- No.92

본고에서는 중국 쓰촨성 충칭(四川省重慶) 출신의 판화 작가 황룽찬(黃榮燦)과 그의 작품〈공포의 검열(恐怖的檢查)〉(1947)이 현재 대만 사회에서 시사하는 바가 무엇인지에 대해 다루고자 한다. 중국에서 판화가로서 왕성한 활동을 전개했던 황룽찬은 1945년 12월 겨울, 홍콩을 거쳐 대만으로 건너왔다. 양안(兩岸) 예술의 동질성 회복에 분주했던 황룽찬은 판화에 대한 열정과 능력을 제대로 펼칠 겨를도 없이 대만에 온 지 7년 만에 중국 공산당 간첩죄로 끌려가 처형당했다. 그의 나이 37세였다. 황룽찬의 죽음과 작품은 1945년 이후 대만 계엄령 시대 독재 치하에서 수십 년간 사장(死藏)되었다. 1987년, 계엄이 해제되면서, 과거 국민당 정권 시절 이념적 갈등으로 희생되었던 인물들에 대한 재평가가 진행되었다. 그중에서도 1950년대 백색테러 시기 희생양이 되었던 황룽찬이 주목받으면서, 그의 삶과 작품이 복원되기 시작했다. 특히, 그가 남긴 〈공포의 검열〉은 당시 2·28 사건을 사실적으로 표현한 드문 사례로 꼽히며, 영상기록이 부족한 2•28 사건에서 중요한 시각적 자료로 제공되고 있다. 본고는 선행연구 성과를 토대로 황룽찬의 〈공포의 검열〉을 고찰하면서, 동시에 2•28 사건을 상징하는 〈공포의 검열〉이 현재 대만 사회에서 어떠한 의미를 지니고 있는가라는 질문에 대한 해답의 실마리를 찾아보고자 한다. 이는 실질적이고 구체적인 사례 분석을 통해 대만 사회가 가진 복잡한 사회구조를 이해하는 데 유용한 정보를 제공할 것이며, 대만인의 역사 인식을 이해하는데도 도움을 줄 것이다. The purpose of this study is to examine the background of how Huang Rong-can, a print artist from Chongqing, Sichuan Province, China and his artwork “The Horrifying Inspection”(1947) became a symbol of strengthening of Taiwan consciousness and national unity in the process of implementing the Transitional Justice policy of the Taiwanese Cai Ying-wen regime. Huang Rong-can, who had developed activities in China, came to Taiwan via Hong Kong in the winter of December 1945. Seven years after he came to Taiwan, Huang Rong-can, who was busy restoring the homogeneity of Chinese and Taiwanese art, without time to open up his passion and ability for printmaking, was dragged away and executed for espionage for the China Communist Party. His age was 37. Huang Rong-cans death and artwork were hoarded after 1945 under the dictatorship of Taiwans martial law era. In 1987, when the martial law was lifted, a re‐evaluation of those figures who were victimized by ideological conflicts during the past Kuomintang party regime took place. Among them, when Huang Rong-can, who was a victim of the white terror era in the 1950s, drew attention, his life and artworks began to be restored. In particular, “The Horrifying Inspection” that he left behind is considered a rare case of realistically expressing the 2‐28 incident at the time, and is provided as an important visual data in the 2‐28 incident, which lacks video records. “The Horrifying Inspection”, chosen as a representative artwork depicting the miserable appearance of Islanders(本省人), was an artwork of an artist from Mainlanders(外省人). In the meantime when the truth about the 228 incident is being investigated as part of the Transitional Justice currently being implemented by the Democratic Progressive Party government, “The Horrifying Inspection” is emerging as a symbol of the 228 incident. This study may provide useful information for understanding the complex social structure that Taiwanese society has through practical and specific case analysis.

대만에서 전개된 중국 백화운동의 문화적 재구성

황선미(Hwang, Sun-mi) 한국중어중문학회 2018 中語中文學 Vol.- No.71

If the Chinese New Cultural Movement occurred centered on the magazine, "New Youth", the Taiwan New Cultural Movement was developed by a series of magazines such as "Taiwan Youth", "Taiwan", and "Taiwan Folk Daily". The Chinese Baihuawen Movement, centering on Hu Shi(胡適), Chen Duxiu(陳獨秀), Lu Xun(魯迅) also affected Taiwan, and the Baihuawen movement occurred centered around Chen Xin(陳炘), Chen Duanming(陳端明), Huang Chaoqin(黃朝琴), Huang Chengcong(黃呈聰), Zhang Wojun(張我軍) etc. However, although the Taiwanese new literature/culture movement appears to be similar on the surface due to the influence of the Chinese 5‐4 movement, from the beginning, there were pitfalls with character systems and linguistic environments different from those of China. When the early days of failure became fertilizer, and it came to Zhang Wojun, the adoption of China Baihuawen was completed. This study focusing on the Taiwan New Cultural Movement, which is centered on Taiwan Youth, attempts to examine the influx and development process of China New Cultural Movement centering on "Taiwan Youth". The purpose of this study is to examine a series of processes such as how the Baihuawen Movement in China affected Taiwanese intellectuals and literary circles, and how they were developed. This study would have not a little significance in that it can enhance understanding of the Taiwanese new literature movement, and furthermore, it may broaden the scope of research on East Asian culture.

대만 민주화학생운동을 통해 본 민중가요

황선미(Hwang, Sun-mi) 한국중어중문학회 2020 中語中文學 Vol.- No.81

In Taiwan, the Democratization Student Movement can be specified in three major divisions after the martial law was lifted in 1987. They are the ‘Lilies of the Field Movement(野百合学运)’ in March 1990, the ‘Wildberry Movement(野草莓学运)’ in November 2008, and ‘Sunflower Student Movement(太阳花学运)’ in March 2014. Whenever the student movement took place, the students sang together. Songs became the driving force of the student movement. In the Lilies of the Field movement, “Formosa(美丽岛)” was dubbed ‘People’s Song’ and was sung, and in the Wildberry movement, “the Sound of Wildberry(野莓之声)” was dubbed ‘People Song’ and was sung. In the Sunflower Student Movement, “Island’s Sunrise(岛屿天光)” was dubbed ‘People’s Song’ and was sung. Regarding the songs sung in the Lilies of the Field movement and the Wildberry movement, the emphasis was on strengthening mental ties rather than functional utility as a protest song, such as singing an existing song. In contrast, at the Sunflower Student Movement, songs began to appear in front of the movement, and unlike before, as songs began to take an active role in creation, they were widely accepted and popularized by the public. In this regard, this study intends to examine how the consciousness of creators and audiences has been revealed, transmitted, and transformed with regard to folk songs. This is an attempt to interpret the phenomenon of social movement from a cultural perspective, and it will contribute to understanding Taiwan’s democratization movement and popular music history.