직무 수행 강화를 위한 해외 세종학당 한국어 교원의 표준 직무 분석 연구

노정은 ( Noh Jung-eun ),김수은 ( Kim Su Eun ),공하림 ( Kong Harim ),이명주 ( Lee Myeongju ),최유진 ( Choi Yu-jin ) 한국언어문화교육학회 2021 언어와 문화 Vol.17 No.2

The purpose of this study is to set the standard job duties of King Sejong Institute teachers by analyzing the work status of teachers dispatched to King Sejong Institute and local teachers. The job analysis of King Sejong Institute teachers can contribute to not only pursuing work efficiency by clearly defining the work of teachers, but also to establish the identity of teachers and to establish the direction of retraining. To this end, in this research, the work of King Sejong Institute teachers was primarily analyzed through a preliminary survey, and in this study, the standard duties of King Sejong Institute teachers were derived based on the jobs derived through the preliminary survey results. As a result of the survey, job categories such as ‘Korean class preparation, class preparation and evaluation, online-based Korean class, educational material development and research, student management, administrative work, student counseling, teacher meetings and seminars, cultural classes, and King Sejong Institute events’ were derived, and detailed duties were able to be derived accordingly. In addition, this study examined the possibility of variation in standard job duties according to the type of King Sejong Institute. The standard job analysis of King Sejong Institute teachers derived in this study will contribute to the improvement of the equal quality of King Sejong Institute education and provide a reference point for the job setting of teachers at overseas Korean language education institutions. (Hansung University· Gwangju University· Gyeongsang National University· Korea University)

일본에서의 근대건축물의 재생과 활용을 위한 컨버전디자인 수법의 유형과 특성에 관한 연구

노정은(Lo, Jung-Eun),박찬일(Park, Chan-Il) 한국실내디자인학회 2007 한국실내디자인학회논문집 Vol.16 No.2

김인순 소설의 젠더서사와 디아스포라 정체성:『춘향』과 『녹차』를 중심으로

노정은(Roh, Jung-Eun)(魯貞銀) 대한중국학회 2021 중국학 Vol.74 No.-

이 글은 김인순 소설에 나타난 젠더서사의 특징을 통해, 젠더인식이 작가의 디아스포라 정체성을 어떻게 담고 있는가를 논의하였다. 『춘향』과 『녹차』에서는 가부장제의 폭력구조가 젠더관계를 중심으로 반복적으로 서사되는데, 이러한 서사 구조가 아버지에 대한 거부와 동시에 어머니에 대한 부인, 이를 바라보는 딸의 서술을 통해서 전개되고 있다는 점을 제시하였다. 이 글은 작가의 어머니에 대한 묘사가 ‘희생자’와 ‘전복자’ 사이에서 이중적으로 극단화되고 있는 것에 반해, 냉정한 위치에서 객관적인 서술자로 등장하는 딸에 대한 묘사는 극히 제한적이라는 점을 주목하면서, 어머니와 딸 사이에서 발생하는 서사적 간극을 분석하였다. 이 간극은 김인순의 민족정체성에 대한 내면의 시선이자 고백이라고 볼 수 있으며, 작가가 자신의 정체성에 대한 상처를 극복하고자 하는 과정이라고 하겠다. 김인순 작품에 반복적으로 제기되는 민족제재, 전기체 서사, 여성서사, 모녀서사 등은, 김인순 문학의 디아스포라 위치와 좌표를 구성하는 요소라고 할 수 있다. This study aims to intends to define the characteristics of the gender narrative in Kim In-soon’s novels, and discusses how the gender narrative of her novels contains the diasporic identity through the form of female characters. Specifically, in her novels such as Chunhyang and Green Tea, it described that the patriarchal violence structure is repeatedly narrated, which is described as representing gender relations, and furthermore examined that it is being developed through the narrative style of the daughter, which represents to rejection of the father and denial of the mother. The paper focuses on the narrative differences between description of mother and daughter. Kim portrays the mother as sacrificial and subversive images, but the description of the daughter was extremely cold and objective. It is clear that Kim In-soon’s novels can be seen as a kind of introspection and confession of national identity, and also be a process in which Kim tries to reveal and overcome the wounds of her identity through writing. At this point of view, the diasporic position and coordinates of Kim In-soon’s novels can be found in the national subjects, biographical descriptions, female narratives, mother-daughter narratives, which is repeated in her works.

김인순『춘향』, 춘향의 주체되기와 성장서사

노정은(Roh, Jung Eun) 한국중어중문학회 2016 中語中文學 Vol.0 No.66

In this thesis, Kim-Insun 〈Chunhyang〉 is understood as a rewriting narrative of classical 〈Chunhyangjeon〉 and analyzed upon the comprehension. The Kim-Insun 〈Chunhyang〉 is differnet from classic 〈Chunhyangjeon〉 in the aspect of narrative structure, narratives, personal characters and it focuses on the Chunghyang’s growing up. With regards of the difference, Kim-Insun points out that Chunhyang tries to make up her own life by herself instead of settling for her marital life, by contrast the classical 〈Chunhyangjeon〉 treats her as mythologized image of woman. Therefore the work of 〈Chunhyang〉 could be understood as Chunghyang’s independence narrative, counter narrative of 〈Chunhyangjeon〉. The thesis analyzes how to respond to the motive of father’s absence narrative in 〈Chunhyang〉. In general, father’s absence narrative leads main character to grow up as compromise with or dependency on outside world. However the motive of father’s absence narrative in 〈Chunhyang〉 is interpreted to the cause of new mother-daughter relationships and family solidarity. In 〈Chunhyang〉, she has developed her potentialities in order to make up the defect of father’s absence, not overcoming the defect by her marriage. The way of narrative and structure in 〈Chunhyang〉 dissolves mythologized narrative in 〈Chunhyangjeon〉 and starts to realize the Chunhyang’s independence. In other aspect, in 〈Chunhyang〉 mother love of Ms. Whang is main motive and returns to mother and daughter myth again. This shows a threshold of new woman growth in this work. Nevertheless, the threshold shows the irony of woman growth narrative in reality and thus represents another starting point of issues with consistence of woman’s independence in East Asia.

연구논문 : 열수추출 및 효소처리에 따른 감귤 과피 추출물의 기능성성분 수득에 대한 연구

노정은 ( Jung Eun Noh ),윤성란 ( Sung Ran Yoon ),임애경 ( Ae Kyoung Lim ),김혜정 ( Hye Jeong Kim ),허담 ( Dam Huh ),김대익 ( Dae Ik Kim ) 한국식품조리과학회(구.한국조리과학회) 2012 한국식품조리과학회지 Vol.28 No.1

This study was conducted to investigate the physicochemical properties of citrus peel extracts with different hot water extraction and enzymatic hydrolysis conditions. Enzymatic hydrolysis was also employed using Viscozyme L and results were compared with that of optimized hot water extract. Hot water extraction was performed under different parameters; the sample to solvent ratio(1:20, 1:15, 1:10), extraction time(2, 4 hrs), extraction temperature(85, 95℃) and enzymatic hydrolysis(0, 1%) and the subsequent extracts were used for determining their physicochemical properties, such as total yield, total phenolics, total flavonoids, and electron donating ability (EDA). With the increase in the sample to solvent ratio and extraction time, total yield, total phenolics, total flavonoids and EDA increased. But extraction temperature did not significantly affect the hot water extract. As hot water extract was hydrolyzed by the enzyme, total yield and active ingredients increased rapidly. In the result of total yield, total phenolics, total flavonoids and EDA, the activity of enzyme-treated extract was higher than those of enzyme-untreated extract. Based upon the overall hot water extraction efficiency, it was found that 20 times volume or 120 min at a time at 95℃ after enzyme treatment was optimal.

송가(送歌)의 양식, 「연연풍진(戀戀風塵)」 : 쓸쓸함'을 담는 법에 대해서

노정은(Roh, Jung Eun) 한국외국어대학교 외국문학연구소 2011 외국문학연구 Vol.- No.44

이 글은 허우샤오셴의 자전 4부작 「연연풍진(戀戀風塵)」을 중심으로 감독의 영화 양식의 구성 방식과 과정을 탐색하였다. 이 글의 의도는 텍스트 분석이 아니라 텍스트를 통해 그의 영화적 양식을 설명하는데 있다. 정서적 서사를 전달하는 장면 전개법, 기억 이미지를 통해서 시간의 흔적을 보여주는 법, 희극성을 전달하는 영화와 일상의 소통법을 개별 주제로, 허우샤오셴이 내러티브에 의거하지 않고 이미지를 통해 시간의 정서를 보여주는 양식을 탐색하였다. 장면구성방식에서 허우샤오셴은 개별화된 부분서사의 서사적 응집력을 전체 서사의 인과성으로 연결시키지 않고 그 절단면을 그대로 드러내는데, 장면과 장면 사이의 거리는 정서적 율동구간이 되면서 정서적 상상선을 발생시킨다. 그가 고백하는 '쓸쓸함'이라는 정서적 울림과 파장은 시간에 대한 질문을 통해 영화에서 구성적 장력으로 작동한다. 영화에서 시도하는 기억 이미지는 제의적 수행과정을 보여줌으로써 현재적 시간에 내재화된 서로 다른 시간을 계열화하는 방식을 마련하고, 이를 통해 존재론적 시간의 동일성을 반복하는 동시에 그 차이의 몫을 기다리는 방법을 찾아간다는 점에서, 이 영화를 통해 허우샤오셴이 찾아낸 자신의 영화적 인식론이라고 할 수 있다. 기다림의 미학 또한 서사와 일상이 반복적으로 교차되고 지속적으로 연기되면서 수평적으로 서로를 참조하고 반복하는 태도에서 발생한다고 할 수 있다. 허우샤오셴은 자전적 유년기 영화를 통해서 영화적 자의식과 양식을 찾아내었다고 볼 수 있다. 특히 4부작의 마지막 작품인 「연연풍진」은 영화와 삶에 대한 그 자신의 윤리적 태도를 영화적으로 양식화한 하나의 매듭으로 설명할 수 있다. This article was analyzed Hou Xiao-xian's "Dust in the Wind" in the final rotation of the four-part work. It is not intended to analyze the text but is to describe his cinematic form through the text. Choosing development form of sequence to convey emotional narrative, form showing time trace with memories of the image, movies delivering the comedy of routine and daily way of communication as less subjects, I explored that he would show the form of emotion of the time with images not depending on the narrative. In the process, long take, depth of field, distance, nostalgia, etc so that is saying his grammar have been reviewed in the epistemological horizon. In conclusion, we could know the following facts through his movies. Above all, individualized partial narrative cohesion was not connected with causality of whole narration in the way scene configuration, the distance between the scene and the scene was come from the emotional line. Second, Emotional resonance and the wavelength that called 'desolation' was worked with a constructive tension through the question for the time. Finally, this film was explained to problem of the time by memory-image, specially showing the process of performing ritual, it was that ordered time systemically and repeated the identity of ontological time. In addition, the aesthetics of waiting was occurred at the behavior that narration and daily life was referred to each other horizontally. As such, it could be seen as reflecting Hou Xiao-xian's style and cinematic self-consciousness through the autobiographical childhood film. In other words, "Dust in the Wind" was showed his ethical attitude about the movie and life.

학부모 역할을 고려한 수행 중심 한국어 교육 방안

노정은(Jung-eun, Noh),박진욱(Jin-wook, Park) 중앙대학교 문화콘텐츠기술연구원 2013 다문화콘텐츠연구 Vol.0 No.15

본 연구는 여성결혼이민자들이 학부모 역할을 원활히 수행하기 위한 교육 방안을 마련하는 데에 그 목적이 있다. 국내 거주 중인 여성결혼이민자들은 그들의 자녀가 성장함에 따라 학부모 역할 수행에 대한 필요성을 느끼고 있다. 하지만 이들을 위한 한국어 교육은 대부분 이주 초기 한국 사회 적응을 위한 의사사소통능력 배양에 집중되어 있으며, 학부모 역할 교육은 체계적으로 제공되고 있지 못하다. 이에 본고에서는 현재 실시되고 있는 여성결혼이민자의 학부모 역할 교육을 교재와 논문을 통해 살펴보았다. 그리고 이를 바탕으로 여성결혼이민자의 학부모 역할 수행을 위해 보다 체계적인 한국어 교육 방안을 제언하였다. 이 연구는 여성결혼이민자를 위한 학부모 교육과 교재 개발의 지침으로 활용될 수 있을 것이다. The study is aimed to design Korean teaching method for married female immigrants and it suggests the way to improve their parents role in school. As married female immigrants who live in Korea have their growing children, there is a need for performing appropriate parents role in children’s schools. However, previous study of Korean language education is focused only on the beginning stage of social adaptation for married female immigrants and improvement of their communicative competence. Therefore, the study looked through previous study and textbooks dealing with a role of married female immigrants in their children’s schools. As a result, the study suggested a methodical approaches of Korean language teaching method. The result of study will be useful with making guidelines of parents education for married female immigrants and the textbook development for parents education.

‘70허우 세대론’과 김인순 문학의 정체성

노정은(Roh, Jung Eun) 건국대학교 인문학연구원 2021 통일인문학 Vol.87 No.-

‘김인순’과 ‘진런순’, 그녀를 부르는 두 호명 방식처럼 작가의 작품세계도 한국과 중국에서 서로 다른 기준으로 평가되고 있다. 중국 문단에서 김인순의 작품을 70허우 세대론으로 일반화하는 반면에, 국내에서는 한인 디아스포라 정체성을 부각시킨다. 양자의 시각 모두 작품에 서사적 특징들이 작가의 정체성을 직접적으로 반영하고 있다고 설명함으로써, 그 내부에 교차하는 갈등과 균열의 지점을 해석하지 못하는 한계를 지닌다. ‘70허우’ 세대의 작품은 90년대 후반 자본의 조류 속에서 역사와 이념의 아젠다를 상실한 작가들이 자신의 존재 방식을 찾아가는 과정이라고 볼 수 있다. 김인순의 작품 속 주인공은 가족을 포함하여 외부와 소통하지 못하며, 그녀들의 내재화된 분노와 증오는 때때로 친족 살해나 자학적 선택을 감행하게 만든다. 여성 주인공의 고립감이 전경화되고 있다는 점에서 ‘70허우’ 세대의 창작 경향과 공유하는 요소가 있지만, 김인순의 서사는 동세대의 특징으로 수렴되지 않는 특징을 명확하게 드러내고 있다. 김인순 소설은 부권 이데올로기의 문제를 구조화하여 가부장제 속에 감추어진 허위적이고 폭력적인 관계를 부각시키고 있다. 이는 김인순 작품의 핵심적 문제이며 고전제재의 작품에서도 관통하고 있는 서사적 특징이라고 할 수 있다. 김인순은 가부장제 이데올로기를 민족 정체성의 핵심문제로 포착하면서, 민족 문화 내부에 고착화된 가부장제의 젠더 인식을 서사적으로 전개한다. 나아가 작가의 글쓰기에서 민족적 정체성과 젠더에 대한 자의식은, ‘70허우’의 단절감과 교차하면서 서사적 균열을 제시하고 있다. 특히 부모 세대의 기성 질서를 불신하고 개체화된 감각과 기억에 의거하여 현실을 인식하는 서술자인 ‘딸’의 위치는, 김인순 글쓰기의 서사적 균열을 드러내고 있다고 볼 수 있다. 변화하는 시대에 자신의 역할을 부여받지 못한 ‘70허우’ 세대의 불안은, 김인순의 차별과 폭력의 가족 서사로 전유되면서 여성 주체의 불안과 불신의 머뭇거림을 전달한다. Kim In-soon works have been evaluated based on different criteria. Evaluations of Kim In-soon"s work focus on the generation theory of "70Hou" (Generation of After 70"s) in China and the "diaspora identity" is emphasized in the Korean literary circle. However, these views of a single identity have limitations that prevent her from interpreting conflicts and cracks. The works of "70Hou" are a process in which writers who lost history and ideology in the late 90s explore the conditions of existence and find their own way of being. Female characters are usually at the center of "70Hou" writing, however most characters in Kim"s novels do not reflect the characteristics of this generation. For Kim In-soon, the female characters in her works are unable to communicate with the outside world and the family. In Kim In-soon"s novel, a majority of the events surrounding female characters" arise from structural problems in family relationships and highlight the false and violent problems hidden within patriarchy. This is the core of Kim In-soon"s novels. It is the kind of narrative that can be found both in her older and more recent works. It is difficult to explain the characteristics of family ideology and gender narrative if Kim"s narrative is interpreted only by the "70Hou" generation theory. Kim In-soon finds the core of ethnic identity in patriarchy and deals with mother-daughter figures as gender issues. Furthermore, the gendered gaze on ethnic identity leads to a lack of history of the "70Hou" generation. Kim In-soon"s consciousness about father-centered ethnic identity and gender issues extends to the historical disconnections of the "70Hou" generation, leading to a narrative about her daughter who distrusts the established order and recognizes reality with her senses. The "70Hou" generation was not given its role in the changing era, so their anxiety is deeply captured in Kim In-soon"s family narrative.

일반논문 : 왕안이 상하이 서사의 지점들 -『장한가』에서 『푸핑』으로-

노정은 ( Jung Eun Roh ) 연세대학교 인문학연구원 2015 人文科學 Vol.104 No.-

Shanghai can be said to the base and coordinate of creation for Wang Anyi. In this paper, I analyzed Shanghai narration system shown in Jishiyuxugou, Changhenge, Fuping which is referred to as Wang Anyi’s the Shanghai trilogy since the 1990s, discussed process constructed method to narrate Shanghai in each work. Through the three works, Wang Anyi has established a kind of methodology to narrate Shanghai based on the perception of Shanghai. In the changeover period cultural atmosphere of China of the 90s, Wang Anyi shows a change from the narrative position focusing on the intellectual of the 80s, propounded own ontological position, position of historical description and the multi-layered questions to relate to the urban subject through the spatial awareness of the Shanghai. Specifically, she shows to contemplate a change in the real recognition of the artist as a matter of Shanghai space, which was presented in position change of the narrative subject from the intellectual to citizens and a lower immigrant via three works.

신 · 구요소의 관계유형 분석에 의한 컨버전디자인의 전략과 그 특성

노정은(Lo, Jung-Eun),박찬일(Park, Chan-Il) 한국실내디자인학회 2007 한국실내디자인학회논문집 Vol.16 No.6