정강이물집표피박리증을 동반한 바트 증후군 1예

고혜림,송은종,천민석,이영복,김진우,유동수 대한피부과학회 2012 대한피부과학회 학술발표대회집 Vol.64 No.1

Study of hydrocarbon conversion and side reaction pathway according to free fatty acid content in the hydrotreating of low-grade oil

고혜림,서영웅,오준석 한국공업화학회 2023 한국공업화학회 연구논문 초록집 Vol.2023 No.0

다양성을 넘어서는 실존적 가능성 ―화인디아스포라와 문학

고혜림 오늘의 문예비평 2020 오늘의 문예비평 Vol.- No.118

張系國의 소설 《棋王》과 《香蕉船》에 나타난 화인 디아스포라의 정체성

고혜림 한국중국소설학회 2013 中國小說論叢 Vol.40 No.-

华人华文文学作家張系國从1970年代末到1980年代末的十年当中所创作的作品比较注重华人离散者, 特别关注他们的内心状态、 自我认同问题和文化认同问题。 他本人从台湾移居到美国以後的时间里发表了几篇以华人离散者为主题的小说。 离开台湾以后他自己所经验过的离散者身份让他更接近华人离散者的现状, 进而去思考怎样看待他们。 若要观察当时的离散者, 我认为读一些张系国的小说是很有帮助的。 其中显著地表现华人离散者问题的是《棋王》和《香蕉船》。 通过这两篇小说我们不仅能从表面上看到华人离开故国和漂流外国的现实, 而且还可以内在地分析作家张系国所意识到的认同问题如何在小说语言上反映出来。 最终还能分析到对生活在後植民时代的现代读者和研究者读他的小说有哪方面的意义、 引发我们预测怎样看待离散者未来等问题的思考。 现代社会任何人都有可能离开他的故国而经验离散者的身份, 说不定什么时候我们也会变成一个离散的人。 在这个多样多彩的时代裡离散的问题不是特定的一些人群的问题, 所以持续研究这方面的问题和小说, 就能发展到研究後植民时代产生的自愿离散的现象和我们社会人类的问题。

[시인 추천 작품<시>]빗방울·2/먼 슬픔 1번-수종사/목련·3/길-노병-4/보길도-중림 해수욕장 입간판 보고-5/당선소감

고혜림 문예운동사 2004 문예운동 Vol.- No.82

타이완 세계시민주의의 시각과 정체성

고혜림 한국중국현대문학학회 2020 中國現代文學 Vol.0 No.94

It seems again to be the case that the age of empire is upon us, and it behooves us to consider this return of the age of empire in the contemporary historical context in order to ask the question whether a Taiwan cosmopolitanism is possible. The aim of this contextualization is to search for ways of understanding cosmopolitan expressions of Sinophone cultures such as Taiwan’s, even while metropolitan cosmopolitanism at large increasingly exhibits greater and greater imperial intentions, and the pressures of new forms of imperialism appear to be narrowing the space for cosmopolitan potentials from the margins. This chapter analyzes one ethically responsible form of cosmopolitanism from the margins that defies regulative logics and politics of transnational recognition. It also seeks to establish Sinophone culture as but one aspect of Taiwan culture, oral, written, and visual languages of Taiwan’s multiculture exhibit the Sinophone’s resistance to China-centrism on the one hand, while they also show how the Sinophone transitions to the Taiwanese (multiethnically and multiculturally defined) on the other. Their constitutive relationship is a relationship between part and whole (Sinophone culture is a part of Taiwan culture). I set up two frameworks below ― one is that of empire and imperialism, and the other that of cosmopolitanism.

문화기억과 트라우마의 문학적 재현 - 哈金의 소설 『전쟁쓰레기 War Trash』를 중심으로 -

고혜림 중국인문학회 2023 中國人文科學 Vol.- No.84

The "nation narrative" that literature evokes after the war is reproduced again in literature. The memory of war reproduced in literature functions as a kind of window to approach the truth of history by adding fictional imagination to the fragmented and blurred personal narrative. Memory and trauma can be considered through historical historical historical research of war, but it can be dealt with from a macroscopic and international perspective centered on grand discourses or national narratives, which can make it far from restoring the war experience and understanding of individual subjects. In addition, there may be limitations in drawing out private memories suppressed by the dominant ideology of the time. However, through the author's empirical consideration, the appearance of war reborn in the space of literary works allows us to imagine the narrative of microscopic and individual subjects that cannot be captured from a macroscopic and international perspective. Here, through the novel War Trash, we will examine the traces of memories and trauma that war engraves on individuals, and through this, we will move on to the problem of the memory of war and the reproduction of trauma in literature. Through the difference between the meaning of war in a realistic space and the meaning of it when it moves to the space of literature, it is expected to provide implications for the movement and change of narrative subjects, diversification of perspective on narrative objects, and hidden problems that can be discussed today.

갈등과 이동의 서사 - 영화《那山, 那人, 那狗》를 중심으로 -

고혜림 중국인문학회 2020 中國人文科學 Vol.0 No.75

It can be read as a work that leaves room for some kind of cultural interpretation in this movement, or mobility society. The film, which can be evaluated as a reproduction of the original novel as it is, basically begins with an epic about "Movement." No paper has yet been published in Korea that approaches the direction of this study, which seeks to approach the film itself from the perspective of mobility and movement, conflict and boundary crossing. No original novel or film has ever been directly dealt with in Korean modern literature and Chinese film-related academia. In the main school, the main focus of the narrative is on the movie, the narrative and conflict of the film centered on Jane, and the cultural criticism of overcoming the conflict through movement. We will then analyze the narrative and conflict characteristics of the film and follow the flow of conflict, empathy and reconciliation through another narrative axis of movement. In part, in the film, the flow of narratives described in a contextual manner is intended to be presented through quotations from the original novel and direct quotes from the movie lines and narration.

화인디아스포라의 문화적 시각과 정체성 논의: 林語堂과 哈金을 중심으로

고혜림 국민대학교 중국인문사회연구소 2020 중국지식네트워크 Vol.16 No.-

The time difference between the two is more than half a century, as it was in the 1930s when Lin Yu-tang left for the U.S. and in the 1990s when Ha Jin left for the U.S. completely. However, the two authors share common ground that they chose English as the main language of literary creative activities over their native Chinese language, and that they did not achieve the proper literary and historical status and significance of being a writer on the Chinese mainland. The main focus of the study is to examine how the two writers are similar and different in terms of the time difference of about half a century. Therefore, the research methods that are intended to be used to fulfill the research content and goals are based on several assumptions: First of all, when comparing the two people with time differences, I would like to compare the concept of “China” in addition to their respective literary forms and literary historical significance. Furthermore, I would like to explore the cultural significance of the identity of these writers. The theoretical idea is based on Benedict Anderson's “imaginary community,” Amin Malouf's “cultural identity,” and the theory of diaspora and transcultural existence. 林語堂이 미국으로 떠난 것은 1930년대, 哈金이 미국으로 완전히 떠난 것은 1990년대로 둘 사이에 반세기 이상의 시간차가 있다. 하지만 이 두 작가는 자신의 모국어인 중국어(華語)를 두고 주된 문학 창작 활동의 언어로 스스로 영어를 선택했다는 점과 이로 인해 중국대륙에서 작가로서 응당 받아야 하는 제대로 된 문학사적 지위와 의의를 획득하지 못했다는 공통점을 지니고 있다. 반 세기 남짓의 시차를 두고 두 작가가 그려내는 중국대륙은 어떻게 유사하면서 또 차이를 보이고 있는 것인지 고찰 하는 것이 연구의 중점이다. 그러므로 이와 같은 부분을 연구 내용과 목표를 이행하기 위해서 활용하고자 하는 연구방법은 다음의 몇 가지 가정에 근거하고 있다. 먼저 시간 차이를 두고 두 사람을 비교할 때 그들 각 각의 문학적 형식과 문학사적 의의 외에 ‘중국’의 개념이 일정한 변화를 하였을 것으로 보고 비교해보고자 한다. 나아가 이들 작가의 정체성에 대 한 문화적 의의를 함께 살펴보고자 한다. 이론적 바탕으로는 베네딕트 앤더슨의 ‘상상의 공동체’, 아미 말루프의 ‘정체성’, 디아스포라와 문화횡단적 존재에 대한 이론 등을 바탕으로 하고 있다.

『홍콩문학대계 1919-1949』 서문

고혜림 한국중국현대문학학회 2015 中國現代文學 Vol.0 No.72

Hongkong is regarded as one literary and cultural space and thought to have literary issues in itself. Hongkong literature explicitly is one concept of cultural structure. We will keep find profound meanings of 'representability' and 'non-representability between literature and the history of literature in Hongkong. It is assumed to show various aspects of Hongkong literature along with the publishing of The Compendium of Hong Kong Literature 1919-1949 consisted with 12 volumes of serial books. It will be proven to be works of great artistic value which means that 'Hongkong literature' is not a thing apart from us but something trying to keep communicate with people living in this world.