『청춘극장』, 시대의 비극과 조우

오혜진(Oh Hey-Jine) 우리문학회 2012 우리文學硏究 Vol.0 No.36

김내성의 『청춘극장』은 작가 의식, 해방과 전쟁이라는 시대적 혼란, 독자들의 독립국가에 대한 열망이라는 커다란 내, 외적 요인의 산물이다. 우선 주인공 백영민은 시대의 갈등을 고스란히 담고 있는 인물로, 일본 유학생과 학도병을 거쳐 변호사로 거듭나지만, 오유경과 허운옥과의 갈등을 해결하지 못한채 자살하는 인물이다. 유경과의 열정적 사랑이나 운옥과의 낭만적 사랑에 모두 실패한 영민은 해방 후 본격화된 독립국가 건설이라는 시대의 큰 흐름을 제대로 받아들이지 못했던 무기력한 지식인의 전형이기도 하다. 여주인공 유경 역시 일본 유학까지 마친 신여성이지만 일관되지 못한 성격과 자신의 삶을 주체적으로 갈무리하지 못하고 만다. 그녀에 비해 '야만'과 '전근대'의 상징처럼 보였지만, 자기 삶의 주체로 거듭난 운옥은 영민과 유경이 극복하지 못했던 문제들을 해결하며 새나라 건설의 주체가 된다. 운옥은 특히 작가의 해방 전 친일소설을 썼던 경력을 무마하고 전쟁으로 지쳐있던 독자들의 기대심리가 부응해 만들어낸 선택이었다는 점에서 더욱 부각되는 인물이다. 이 인물들을 중심으로 『청춘극장』의 연애 서사가 펼쳐지고, 그 외 세 가지 다른 유형의 연애도 매우 복잡하고 흥미진진하게 전개된다. 독립운동의 서사도 큰 축을 차지하는데, 김내성의 가장 큰 무기인 추리서사를 적극 도입하여, 탐색, 은폐, 추격, 서스펜스, 진실 폭로, 변장, 스파이의 암약 등이 화려하게 전개된다. 이처럼 이 작품은 작가의식과 그를 대변하는 주인공들의 파국으로 문제적임에도 대중소설로의 오락적 기능은 충실했다고 할 수 있다. Kim-nae-sung's novel <The theater of the youth> was made of author's spirit, Korea-liberation, Korea-war and the readers favor of new-state construction. First, heroine Back-young-min was struggle against the times, had been Japanese exchange student, student soldier, and became the lawyer, but he killed himself for failure love affection between passionate love and romantic love. Also, he showed a symbol of lethargic intellectuals that didn't accept post liberation flow. An heroins Oh-yoo-kyung failed to live strong life although she was new-woman completed study in Japan. Another Heroine Her-youn-oak looked like barbarous, outdated model, otherwise she turned over an agent of setting up a new state. Particularly she was a notable character that cover author's pro-Japanese and comfort war-weary readers. This novel unfolded the plot of love focused on three heroins, in addition the plot of different types love. The polt of independence movement was very important story, together detective -narrative used many times, for instance investigation, concealment, chase, suspense, disguise, espionage. And to conclude, this novel is a problem to collapsed characters and author's spirit, but is faithful to amusement.

미세전류전기자극이 흰쥐 창상의 조직학적 구조에 미치는 영향

오혜진,김정우,김문수,박장성,Oh, Hye-Jin,Kim, Jung-Woo,Kim, Moon-Su,Park, Jang-Sung 대한물리치료학회 2008 대한물리치료학회지 Vol.20 No.1

Purpose: The purpose of this study was to investigate the effect of the intensity of microcurrent stimulation (with currents of 50 ${\mu}A$, 100 ${\mu}A$ and 300 ${\mu}A$ using a pulse frequency of 5 pps) on wound healing in rats. Methods: Sixty male Korean rats were randomly divided into four groups of 15 rats that were subjected to four different treatment protocols (control group, no treatment; experimental groups, treated with currents of 50 ${\mu}A$, 100 ${\mu}A$ or 300 ${\mu}A$). An experimental 20 mm linear wound was made in each animal and all animals in the experimental groups received microcurrent stimulation once a day for 20 minutes until the day of sacrifice on day 1, day 3 and day 6. An optical microscope was used to determine any histological changes. Results: The experimental results were as follows. 1. In an examination with the naked eye, all groups showed similar changes until the first day. However, from the third day, a little intercellular fluid soaked through wound region in the control group rats. In the experimental group animals, little intercellular fluid soaked through wound region, and swelling and redness did not appear, from the third day. 2. In an examination with histological evaluation, more significant changes were observed in all of the experimental group rats than the control group animals. Especially, a stimulation intensity of 50 ${\mu}A$ caused a more significant effect than the use of the other intensities by day 6 of wound healing. In addition, rapid recovery was observed. Conclusion: It was determined that microcurrent stimulation had a positive effect on wound healing. A stimulation intensity of 50 ${\mu}A$ was more effective than the other intensities (100 ${\mu}A$ and 300 ${\mu}A$) utilized for wound healing. Furthermore, low-intensity microcurrent stimulation was more effective for the purpose of wound healing.

대중소설론의 변천과 의의 연구

오혜진(Oh Hye-jin) 우리문학회 2007 우리文學硏究 Vol.0 No.22

우리나라에 대중소설이 등장한 시점은 보는 시각에 따라 다르겠지만 필자는 대중소설이 활성화된 시기를 1930년대로 잡아 보았다. 1920년대 말부터 대중소설에 대한 논의들이 주로 카프 쪽에서부터 전개되었는데, 이 논의들은 이후의 대중소설에 관한 부정적인 입장과는 다른 측면을 보인다. 1930년대 들어오면서 주로 신문연재소설을 통해 대중소설이 확산되었고, 이에 따른 논의들이 임화, 이원조, 김남천, 안회남, 윤백남 등에 의해 구체화되었다. 1930년대 김기진에 의해 촉발된 대중소설에 관한 논의들은 임화와 김남천의 장편 및 대중소설과 관련된 평론들로 확대된다. 소설사적으로 보았을 때 최초로 소설론에 대한 관심을 집중시켰던 촉발점이 되기도 하였다. 비록 당대적인 현실 속에서 최선이 아닌 차선으로써 대중소설을 분석하고 비판하였지만 대중소설에 대한 관심과 아울러 대중을 '지향'하는 문학으로의 의식 변화는 매우 중요한 의미 지점이다. 비교적 활발하게 진행되던 대중소설 논의들이 해방 이후에 와서는 작가들에 의해 그 명맥을 유지한다. 김내성, 방인근, 정비석 등 대중소설작가들은 자신들의 작품에 대한 옹호와 아울러 대중소설에 대해 좀더 세부적이고 자세한 내용과 형식들을 짚어나간다. 이러한 논의들에 의해 대중소설에 대한 부정적 측면을 상당 부분 불식하는데 성공하였다고 볼 수 있고, 또 대중소설에 대한 용어도 우리 소설계에 정착시키는데 공헌하였다. 대중소설은 1970년대에 와서야 비평가들의 관심의 대상이 된다. 대중소설에 관해 비판적인 시각을 견지한 평자들로는 최일수, 김우종, 윤재근 등을 꼽을 수 있다. 이들은 통속성이나 상업성, 성적 묘사의 과도함등을 문제점으로 지적하면서 급속히 확산되는 대중소설에 대해 우려를 표명한다. 문제는 어째서 대중소설이 인기를 끌고 있고, 그 원인은 무엇인가 하는 상황적 접근보다는 부정적 측면만을 표면에 부각시킨다. 대중소설을 새로운 문학의 가능성으로 보는 시각은 김병익이나 김현, 오생근과 같은 평자들에 의해서이다. 김병익은 대중소설의 미학적 형상화와 도시적 감수성을 높이 사면서 그 가능성을 타진했고, 오생근과 김현은 대중문화에 대해 열린 시각을 요구했다. 리얼리즘 소설에 대한 시대적 경도에 어느 정도 거리를 두고 있었던 이들은 대중소설이 가지는 언어적 감수성과 미학적 근거들을 찾기 위해 노력을 기울였고, 문학의 엄숙함에 의문을 던졌다. Since the end of 1920s, discussions on popular novel has been led mostly by KAPF, which showed different aspects from those negative views on popular novel thereafter. Since after 1930s, popular novel has expanded mainly through serial publication on newspapers, and discussions on popular novel were concretized by Im, Hwa, Lee, Won-Jo, Kim, Nam-Cheon, Ahn, Hoe-Nam, and Yoon, Baek-Nam. The relatively active discussions on popular novel survived by writers after 1945 Liberation. Writers of popular novel, such as Kim, Nae-Seong, Bang, In-Keun, Jeong, Bi-Seok and others, held on to the value of their own work as well as examined more detailed and up-close content and form of popular novel. It is believed that, thanks to such discussions, a considerable amount of negative aspects on popular novel has been overcome, and that the very term of popular novel has settled in Korean novel circle. Only early in the 1970s did popular novel become the subject of interest by critics. Critics who upheld the critical view on popular novel at the time were Choi, Il-Su, Kim, Woo-Jong, and Yoon, Jae-Keun. Pointing to the problems of popularity, commercialism, excessive suggestiveness, they showed concern about widespread popular novel. Views on popular novel as a new possibility of literature have been taken by such as Kim,Byung-Ik, Kim, Hyun, or Oh, Saeng-Keun. While acclaiming the rural sentiment and aesthetic realization of popular novel, Kim, Byung-Ik sought its possibilities, and Oh, Saeng-Keun, and Kim, Hyun requested open views toward popular culture.

스릴러 소설의 가능성과 전망

오혜진(Oh, Hey-Jine) 우리문학회 2014 우리文學硏究 Vol.0 No.44

정유정의 「7년의 밤」낙오자인 최현수의 부정과 오영제의 가족에 대한 폭력들은 현재를 살아가는 아버지상에 대한 근원적인 성찰과 질문을 던지게 한다. 오영제가 보여주는 사이코패스에 가까운 캐릭터는 우리사회가 안고 있는 사회병리적 문제들을 일정부분 투영한다. 이 소설은 광기로 점철된 괴물 같은 두 남자의 대립과 사건들의 연속으로 끊임없는 긴장과 공포를 조성하고, 댐의 물을 방출하며 한 마을과 숲 전체가 수몰되는 엄청난 범죄로 스펙터클을 연출한다. 작가는 이러한 과정들을 치밀하게 묘사한다. 우리나라 소설들이 사회문화적 맥락에 집중하는 경향이 짙다보니 서사전개의 긴박감과 스펙터클이 부족했던 것도 사실인데 정유정은 이를 일정 정도 유지하면서도 스릴러 본연의 장르적 전개를 충실하게 재현하고 있다. 따라서 이 소설이 가진 몇 가지 한계에도 불구하고, 우리 소설에는 아직까지 드문 스릴러 장르의 특성과 작가나름의 개성을 녹여낸 점은 이 장르의 전망에 청신호일 가능성이 높다. Jeung, yoo-jeung’s ‘The night of the 7th years’ bring out the present Korea’s anxiety, horror, contempt through two families. The father’s attachment of a failure Choi Huyn-soo and the family violence by Oh Young-jae take some time for introspection what is a true father’s image. Oh Young-jae represent psychopath character that the author express korea’s social pathology problems. Then twomadness men as like monster are in confrontation with each other over revenge, the reader feel horror and suspense. And the novel create a spectacle scene that damrelease great water, as a result a village around the damis in danger of being submerged. The crime is done by Choi Huyn-soo. Jeung, yoo-jeung describe minutely those situation. In truth most Korea’s mystery novel treat urgent narratives and spectacle poorly because they are more concerned with Korea’s social context. Otherwise Jeung, yoo-jeung show a special thriller genre quality. This novel has some weakness, yet show development possibility over the author personality, genre feature.

東京, 욕망, 그리고 환멸

오혜진(Oh, Hye-jine) 중앙어문학회 2012 語文論集 Vol.52 No.-

This Article aims to analyze essays of Kim-nae-sung, Lee-kwang-su and Lee-sang to author"s sprit. Kim"s essay show author"s "imaginary" desire to enjoy the Tokyo streets. However he try to keep his distance from the Joseon street. Lee-kwang-su confirm the essay that he appreciate the Tokyo as envy and law. He conflict "symbolic" as spectator that submit his position. But he didn"t get out a grade of eyes "Japanise - himself - Joseon people". Lee-sang"s essay were widespread disillusionment with the Tokyo"s reality. The Tokyo left him with a sense of futility and than, he tried to deny the city"s shadows. Nevertheless he was a failure as in the true of the Tokyo "flaneur". The essayes that implicitly show the Lacan"s Desire Theory had been predicted since then three author"s life and novels.

1930년대 아동문학의 전개

오혜진(Oh Hye-jin) 중앙어문학회 2006 語文論集 Vol.34 No.-

To properly understand children’s literature, this study examines various cultural and historical changes that influenced the genre in the 1930s. The works of writers Lee Ju Hong, Lee Tae Jun, and Hyeon Deok are analyzed, as well as social and cultural variables that provide the background to the advent of such literary works. In terms of perspective and treatment, children's literature in the 1930s differed from those exemplified by Bang Jeong Hwan’s works in the early 1920s. Such difference is caused by the influence of the Korean Artists of Proletarian Federation (KAPF) and its criticism on 'Donshimcheonsajeui', as well as by social and cultural changes surrounding children's literature during that period. The external conditions include the presentation of realistic and active imagery in KAPF's children's literature, which are based on proletarian agenda, the relation with Japanese literature, and the flourishing publishing industry of children's books and magazines. By the late 1930s, such activities were under strong pressure from factors such as the Japanese colonial policy and the sudden changes in the educational environment. The rigid suppression and the political situation when the war broke out further overshadowed children's literature of that period. The works of Lee Ju Hong, Lee Tae June and Hyeon Deok show that they yielded to the pressure and accepted their situation. In the early 1930s, when KAFP was at its peak, Lee Ju Hong’s works were marked with their realistic and concrete depiction of the child’s truths. However, when the KAPF began to disintegrate, his works dulled and his stories focused merely on fun and humor. Lee Tae June, whose works were known for their depiction of children’s simple and innocent curiosity and interest in nature, was an outstanding writer in the genre in the 1930s. Lee Tae June’s writing was already fully matured by the titre Hyeon Deok emerged in the late 1930s. Hyeon Deok was a writer of high principles who described the changes in childhood life in the late 1930s amid Japanese suppression. Noma depicted archetypal childhood reality, which reflects the living situation of that period. Of course, it was difficult for him to describe the real situations of his time. However, it is meaningful and significant for him to vividly describe the child’s living conditions despite Japanese oppression. Although such problems were not exclusive to the authors mentioned, the fairy tales that served as metaphor of real life and the realistic children's novels that were popular throughout the 1930s had their own limits, considering that such stories lacked in fantasy and imagination, which are necessary elements in children's literature. It is also hard to find evidence that such children's works in the 1930s pursued the aesthetic form or experimental deviation. The imagined reality is not just in reference to escapism. Dream and imagination give children the power to overcome anxiety and panic and help them to gain maturity. Under the influence of Japanese literature, and in the face of sudden modernization and the arrival of national independence, it may not have been possible for children’s literature to establish itself in that era. That is the reason the exciting elements of sphere of fantasy and imagination, which are important aspects of children's literature, were absent in those works, resulting in lame children's stories. The development of children's literature toward realism was not unavoidable because of the Korean War and other political turmoil that ensued. As a result, children’s literature in the 1930s was marked with limited discourse and lack of imagination.

mmWave FMCW 레이더를 이용한 핸드 제스처 생체인증 딥러닝 모델 구현

김진영(Jinyoung Kim),박종희(Jonghee Park),김형민(Hyoungmin Kim),이상민(Sangmin Lee) 대한전자공학회 2021 대한전자공학회 학술대회 Vol.2021 No.6

대피 시 군중 유동 시뮬레이션을 위한 설치류 실험

오혜진(Hyejin Oh),박준영(Junyoung Park) 대한기계학회 2014 대한기계학회 춘추학술대회 Vol.2014 No.4

근대적 결혼, 이상과 파국 사이

오혜진(Oh, Hey-jine) 중앙어문학회 2013 語文論集 Vol.55 No.-

This article analyzed marriage in Na-do-whyang’s novel ‘The delight’ and ‘Mother’, that through figured out the gap ideal between reality of the 1920’s love, romance and marriage. ‘The delight’ showed hero and heroin’s romantic love, new marriage, sweet-home but they had many trouble accomplished their love by money, sexual desire and jealousy. Seoung-young and Young-chuyl are incompetent intellectual, they fall in erotic love each other, however fail their love to suicide of two women. Though their relation paradoxical prove how much difficult are completion love or free marriage. ‘Mother’ presented ideal of romance and sweet-home. But hero collapsed because heroin was married with one kid. Moreover she was a concubine. The author criticized men and a faulty system instead of women. Finally Na-do-whyang asserted sanctified and idealized motherhood.

여성 탐정 전성시대 - 서미애, 박하익, 송시우의 작품을 중심으로 -

오혜진(Oh, Hey-Jine) 우리문학회 2021 우리文學硏究 Vol.- No.72

서미애, 송시우, 박하익의 공통점은 탐정을 여성으로 내세운 것을 넘어 각자의 색채와 특징으로 우리 추리소설계의 영역을 마음껏 확장하고 있다는 것이다. 세 작가의 작품을 통해 살펴본 여성 탐정의 특징은 세가지 정도라 하겠다. 첫째 영웅적 면모보다는 일반인과 여성의 모습을 더한다. 범죄심리학자이지만 엄마이자 아내이기도 한 삶이나 입시에 찌든 여고생들의 일상, 평범한 직장인이나 대학생 등 여성 탐정들은 별다를 것 없지만 현실을 충실히 살아낸다. 그러면서 탐정으로써의 역할에 한계를 느낀다. 더불어 이들은 과감하게 다른 사람들과의 협동이나 도움을 받아들인다. 기존의 보조자가 탐정을 돋보이게 하는 역할을 하는 장치로 작용했다면 여성 탐정들은 보조자들과의 연대와 협동을 꺼리지 않는다. 탐정의 분신이나 아랫사람처럼 형성되었던 위계적 질서가 여기서는 작동하지 않는 것이다. 사실 여성탐정들은 남성들의 전유물인 것 같았던 탐정을 맡았다는 것만으로도 성별화된 정체성에 도전하고 있는 것이다. 탁월한 공감능력을 선보이는데 두 번째 특징이 있다. 여성탐정들은 피해자들의 심리와 감정에 더욱 예민하게 반응한다. 정황 증거와 필연적인 가능성에 더해 왜 그런 사건이 벌어질 수밖에 없었는지에 대한 피해자들의 심리와 범죄자들의 감정에도 과감히 뛰어든다. 이들 여성 탐정들은 단순하게 사건 해결에 초점을 맞추기보다 이런 사건이 벌어지게 된 속 깊은 사연과 감정들을 읽어내며 피해자의 아픔에 동조하고 가해자의 어쩔 수 없는 범행 동기와 심리에 흔들린다. 마지막으로 거창하고 요란한 사건들보다는 우리 주변에서 벌어지는, 그러면서도 놓치기 쉬운 최근 사회문제들이 범죄로 다루어진다. 집단따돌림이나 입시 비리, 교사들의 성추행, 학생들의 사소한 일탈, 연예인에 대한 폭주나 여성대상 범죄나 가스라이팅, 모성과 관련된 내용들이다. 이런 문제에 여성 탐정들은 보다 예민하게 반응하고 내면의 그늘진 부분을 포착한다. 여성 탐정의 등장은 독서시장의 변화와 젠더 의식의 상승도 함께한다. 또한 기존의 추리소설에 경계를 넘어서려는 노력으로 균열을 일으킨 점 역시 놓칠 수 없는 의의이다. Besides a female detective, what Seo Mi-ae, Song Si-woo, and Park Ha-ik have in common in their books, is the expansion of the scope of mystery novel design with freshness and characteristics. Three characteristics of female detectives are examined through the works of the three writers. First, they introduce an ordinary, rather than a heroic image of people and women. Although the women are criminal psychologists, their lives include elements similar to the lives of mothers and wives, the routines of high school girls tired of entrance exams, and ordinary office workers and college students faithfully living the reality. They simultaneously feel the limits of their roles as detectives. They are also willing to accept help others. Female detectives do not hesitate to collaborate with their assistants if the assist in making the detectives excel in their jobs. The hierarchical order formed by a detective"s alter ego is ineffective here. Female detectives are challenging their gendered stereotypes by taking on cases considered the exclusive domain of men. Their second characteristic is demonstrating excellent empathy. Female detectives are more sensitive to the victims’ psychology and emotions. Besides the circumstantial evidence and inevitable possibilities, they boldly explore the psychology of victims and the feelings of criminals for reasoning the occurrence of the incident. Rather than simply focusing on solving the case, these female detectives sympathize with the victim"s anguish by analyzing the complexities and emotions leading to the incident and are shaken by the perpetrator’s motive and psyche. Finally, apart from the grand and noisy events, the social problems happening around us are treated as crimes. These relate to bullying, cheating in exams or entrance exams, sexual harassment by teachers, minor deviations of students, runaways against celebrities, crimes against women, and gaslighting. Female detectives react more sensitively to these issues and catch the shadows inside. The advent of female detectives has also changed the reading market and raised gender awareness. Moreover, it has created a significant crack in the quest to break free from the confines of existing mystery novels.