[한명숙 민주당 서울시장 후보 기조연설] 사람이 중심인 따뜻한 서울을 원한다

한명숙 관훈클럽 2010 관훈저널 Vol.- No.115

[권두사] 한명숙 여성부장관 인사말씀

한명숙 경북여성정책개발원 2001 소식지 희망창 Vol.- No.8

여성 방북보고 2 : 인터뷰 한명숙 - 북한 여성들의 출산 , 집밖일 , 집안일

한명숙 사회평론 1992 월간 사회평론 Vol.92 No.10

한명숙 - 당선소감 / 추천의 말

한명숙,가영심,김양식,성기조 문예운동사 2007 문예운동 Vol.- No.93

블랙 페티시 패션의 조형성에 관한 연구

李珉慶,韓明淑 服飾文化學會 1999 服飾文化硏究 Vol.7 No.2

The purpose of this study was to analyze the meaning and formative features of the black color reflected on the fetish fashion. This study was proceeded mainly by analyzing with references and plates of magazine. The results of the study were as follows ; First, the sexual liberation and revolution have certainly led to a reassessment of sexual deviations, which changed the meaning of fetushism that has been only regarded as sexual perversion, so that it symbolied a neq sexual perception and identification. As the result, black in fetish fashion was symbolized a new fetishism's definition which refused to distinguish male from female, and also reflected the meaning to express the second sex that wanted to express themselves. Second, the formative features of black color in fetish fashion have appeared tightness and bareness in form, and in material, glancing materials changed by the effect of light, and elasticity materials-leather, rubber, PVC, and laycra. By these features, black fetish fashion has drawn a higher attention on human body than the dress itself as a symbol about the psychology of erotic sensations and sexual images of the self appearing in black color.

이야기 구조의 구성 모형에 관한 연구

한명숙 국어교육학회 2003 國語敎育學硏究 Vol.16 No.-

이 논문에서는 이야기 구조 교육의 필요성을 바탕으로 초등의 학습독자가 이야기 구조를 구성할 수 있는 모형을 설계하고자 하였다. 이와 같은 연구 목적에는 반응중심 문학교육의 한계를 극복하면서, 구조주의적 패러다임과 구성주의적 패러다임을 넘어서는 제3의 관점을 시도해보고자 하는 의도가 포함되어 있다. 아울러 문학교육이 학습독자에게 적극적으로 이야기를 이해하고 감상할 수 있게 하는 도구를 제공해 줌으로써, 학습독자를 심미적인 감상의 주체로 기르는 충실한 서사문학교육을 지향하고자 하는 의도가 반영되어 있다. 논의의 기반으로서 먼저 개념태로서의 이야기와 이야기 구조의 의미를 살핀 후, 초등 문학교육에 적용 가능한 이야기의 개념과 이야기 구조의 개념을 정의하였다. 이야기의 개념은 '허구적인 자아와 세계의 관계 양상이 작품외적 자아에 의해 구성된 또 하나의 허구 세계'로 정의하였다. 아울러 이야기 구조는 '자아와 세계가 이야기 속에서 형성하는 관계구조'라는 개념으로 설정하였다. 이야기 구조의 구성 모형의 설계 과정에서는 우선적으로 이야기 구조를 이루는 구성 요소를 설정하였다. 그것은 허구적 자아의 정서, 인식된 허구 세계, 자아와 세계의 관계 해석이라는 세 가지 '구성소'이다. 텍스트 중심의 이들 구성소는 이야기 구조를 구성하는 과정에 각각의 '작용 기제'를 갖는데, 이 '작용 기제' 설정에서는 학습독자의 이원적인 정서 반응을 반영하였다. 이들 구성소 및 작용 기제를 중심으로 이야기 구조를 구성하는 데는 학습독자의 '감상위치'가 중요한 의미를 지닌다는 점을 거론하였다. '감상위치'는 이야기 속의 인물이나 사건 및 그 관계 양상 가운데 학습 독자가 특별히 마음을 기울이거나 특별한 반응을 생성하는 이야기 공간을 의미한다. 이 '감상위치'는 학습독자에게 '해석의 근거'를 제공하고, '해석의 신축성'을 부여한다는 점에서 의미가 있다. 이와 같은 독자 중심의 이야기 구조 구성 모형은 각 구성소와 작용기제의 작동에 따라 8가지 이야기 구조를 형성한다. 이는 구성소로서 허구적 자아가 '충족 자아 / 결핍 자아'로 분화되고, 인식된 세계가 '행복 세계 /불행 세계'로, 자아와 세계의 관계가 '기쁜 관계 /슬픈 관계'라는 작용기제를 거침으로써, 이야기 구조를 구성한 결과이다. 먼저 충족 자아를 중심으로 하는 이야기 구조는 자아가 행복 세계 혹은 불행 세계와 기쁜 관계 혹은 슬픈 관계를 형성하는 구조적 양상이다. 이들은 각각 '협력구조', '배반구조', '해결구조' '긴장구조'로 도식화된다. 다음으로 결핍 자아를 중심으로 하는 이야기 구조는 자아가 행복세계 혹은 불행 세계와 기쁜 관계 혹은 슬픈 관계를 형성하는 양상이다. 이들은 각각 '극복구조', '갈등구조', '화해구조', '불화구조'로 유형화된다 이야기 구조 구성 모형은 아동서사문학을 해석하고 감상하는 데 적용할 수 있다. 이것은 전래동화뿐만 아니라 근대 이후에 창작된 동화의 이야기 구조를 구성할 수 있는 모형이 될 것이다. 이 연구로서 이야기구조에 대한 체험이 이야기 감상 도구로서 기능을 하며, 독자가 이야기구조를 구성해 봄으로써 이야기 감상의 유연성과 역동성을 부여해 주어 자율적 감상을 통한 심미적 체험을 확보할 수 있다는 교육적 의의를 지향한다. The purposes of this study are to design the model for constructing of story structure within children's narrative literature. his study make reference to story about two aspects. One is treat of concept aspect, another is existence aspect. A story as concept aspect is except discourse of narrative. A story as concept aspect is defined that : Story is secondary fiction constructed by learned reader, in which the fictional character have relation with his environment. Story structure is relationship structure, in which the fictional character relates to his environment. Story structure as student's constructing style is relationship structure constructed by learned readers. Accordingly, this study is designed the model for constructing of story structure within children's narrative literature. The components of the model are three factors. One is emotion of characters. Other is environment of characters included other characters and all events and all backgrounds. Another is relationship that the character related t o his environment. These factors are called 'constructing factor' in this study. And that, these three factors have each operating mechanisms constructing story structure that : First, emotions of characters divide into satisfied aspect and unsatisfied aspect. Second, environments of character are divided into happy aspect and unhappy aspect. Third, relationships of character and environment are divided into pleasure emotion aspect and sad emotion aspect. These mechanisms are called 'operating mechanisms' in this study. Through this model for constructing of story structure, students have to construct story structures of eight types. These are collaboration structure, betrayal structure, solution structure, tension structure, overcome structure, confliction structure, compromise structure. discord structure in story. And these story structures are constructed by three constructing factors of story and each operating mechanisms and stance in appreciation of student. What is more, we have to teach story structure to students in Korean language arts for the future. And we should intend to realize more effective educational experience of children's narrative literature. This study is t o serve as a guide for the realization effective education of children's narrative literature for students,

초막골 공원

한명숙 문예운동사 2016 문예운동 Vol.- No.130

의적의 『무량수경술의기』와 경흥의 『무량수경연의술문찬』 찬술의 선후문제에 대한 연구(2) - 마츠바야시 히로유키 이후 선후설의 현황 및 새로운 근거의 제시 -

한명숙 한국불교선리연구원 2019 禪文化硏究 Vol.27 No.-

Little data has been inherited about what EuiJeok and GyeongHeung had accomplished even though they were the representative scholars of the Pure Land Society during Silla dynasty. Therefore, the lifetime of them and the issue on the writing order have to keep researching. To study a variety of arguments on the writing order, this thesis used only Muryangsugyeongsuruigi and Muryangsugyeongyeonuisulmunchan for the bibliographies, which are the commentaries of Muryangsugyeong. The prior thesis studied critically Matsubayashi Hiroyuki’s argument against the long established theory that Muryangsugyeongsuruigi is the first, revealing its justice and injustice. This thesis studied the changes happening to the scholars since the opposing theory of Matsubayashi Hiroyuki. Generally, it can be identified that studies are turning the attitude of believing firmly Muryangsugyeongsuruigi is first into the suggestion of its new grounds. The writer criticized its problems and hazards, studying all the details of the grounds the representative scholars - Watanabe Kensho and Kakehashi Nobuaki - suggested. Lastly, this thesis suggested the new grounds supporting Muryangsugyeongyeonuisulmunchan is first through the problem related to the controversy over the translator of Muryangsugyeong and the writing that EuiJeok was likely to criticize GyeongHeung. 의적(義寂)과 경흥(憬興)은 신라 정토종(淨土宗)을 대표하는 학자이지만 그 행적을 파악할 수 있는 자료는 거의 전해지지 않는다. 따라서 두 사람의 생몰연대및 그 선후문제는 아직 더 연구되어야 할 과제로 남아있다. 본논문은 대상문헌을두 사람의 『무량수경』에 대한 주석서인 『무량수경술의기』와 『무량수경연의술문찬』으로 한정하여 두 책의 선후관계와 관련된 다양한 논의를 고찰하는 것을 목적으로 한다. 선행논문에서는 오랫동안 정설처럼 여겨져 오던 『무량수경술의기』 우선설에 대한 마츠바야시 히로유키(松林弘之)의 반론을 비판적으로 검토하여그 정당성과 부당성을 밝혔다. 본논문에서는 마츠바야시의 반론(反論) 이후 학자들에게 나타난 변화를 고찰하였다. 전반적으로 『무량수경술의기』 우선설을 확정적으로 바라보던 태도에서 벗어나 그 새로운 근거를 제시하는 방향으로 연구가진행되고 있음을 확인할 수 있었다. 필자는 대표학자인 와타나베 켄쇼(渡邊顯正) 와 가케하시 노부아키(梯信曉)·미나미 히로노부(南宏信)에 의해 제시된 근거를낱낱이 검토하여 그것이 가진 문제점과 위험성을 지적하였다. 마지막으로 『무량수경』 한역자(漢譯者) 논란과 관련된 문제에 대한 의적과 경흥의 견해를 검토하는 것, 의적이 경흥을 비판한 것으로 볼 수 있는 글을 제시하는 것 등을 통해『무량수경연의술문찬』 우선설을 지지할 만한 새로운 근거를 제시하였다.

신어에서 나타나는 /ㄴㄹ/ 연쇄의 발음 양상 연구

한명숙 한말연구학회 2018 한말연구 Vol.- No.50

This study attempt to investigate the pronunciation aspects of the /ㄴ ㄹ/ sequence in the neologism. To do this, a neologism list of /ㄴ ㄹ/ sequence was made and the list was from 『new word』 resource book by the National Institute of Korean language from 2000 to 2017. Then, a questionnaire survey was conducted to college students by using a neologism list. In previous studies, regressive lateralization and the application mechanism of nasalization have been explained in several ways. There are various explanations such as phonological perspectives, the differences of speaker perception about morphological separation possibility, analogy, differences in language consciousness between generations, expansion of nasalization language consciousness. Among the various mechanisms, morphological separability and analogy are examined to find out whether the previous mechanism in morphological separability and analogy applies to new language as well or not. An analysis of the surveys reveals several important points. First, it was found that the preference of nasalization was generally high according to morphological separation possibility based on affix classification. It is true that perception of form boundaries has some influence on the preference of nasalization and lateralization pronunciation. However, it is impossible to check whether language speakers recognize and pronounce separation possibility or not. In addition, existing headwords and new words were compared to see if the mechanism of 'analogy' applies equally to new words. As a result, there were some new words which had same pronunciation with headwords, but there were other cases which were not consistent with standard pronunciation of existing headwords although they had the same morphological construction. In other words, it is true that the mechanism of 'analogy' are influential, but it does not apply to every new word. The pedagogical implication of the present research is that it is a specialized study which new word was an object of study for lateralization and nasalization compared with previous researches that existing words were only studied. Some limitation was that voice data was not dealt with in this study, thus further research will be needed.

1990년대의 패션과 메이크업 경향에 관한 연구

金秀珍,韓明淑 服飾文化學會 1998 服飾文化硏究 Vol.6 No.1

The main focus of this paper is to provide clear understanding about the concept of make-up as total fashion by defining the essential meaning of it. First, we would like to go over the concept of make-up and total fashion, then analyze the make-up image, the changes of colors and images of make-up overtime and fashion that have influenced over those changes. In this paper, we analyze the trend of fashion and make-up in 1990s and their relevancy. Through this paper we hope that make-up can be accepted as a part of total fashion in its relationship with other elements such as shoes, clothes and accessory and that it can be considered as a independent art that has direct influence on people. The trend of Spring/Summer between 1990 and 92 is the image of atural beauty and comfortable and modernistic image that can be experienced through nature, In 1992, there was a revival look of 1960s and 1970s, Make-up also followed this trend, The overall color tone was to give natural and stable images with pastel tone to soften the images, This tone brought back the ecology of 1960s. The theme of restoration in humaniy and nostalgia was reflected in clothing, and these trend changed the ecology of make-up to peace, love and romantic ecology which was expressed in coral, blue, and green tone to create intelligent image of woman. Year 1996 could be called as color revolution period that emphasized the unique and individual expression of each person, In 1997, black, pastel and brown colors were the result of reinterpreting the classic and sexy images of 1960s to natural and modernistic image of 1997, Purple color started to be introduced to us. The beginning of 1990s Fall/Winter season was based on ecology concept that emphasized the natural image. Until 1995 it appeared that spring/summer and fall/winter trend had no big difference. But from 1995 seasonal difference in trend are appeared and there were various make-up designs. In 1995, 1996, brown color lines make-up comes to mix with romantic image and developed into wine, orange, neon colors, These color were the symbol of property and sentiment and gold make-up emphasizing the eye area was the tendency of that period. In 1997, the fear of coming end of century was expressed as decadent image and at that time ethnic image, romantic image appeared with vivid color lines, gold, red and violet.