강용흘(姜鏞訖) 영역(英譯) 시조(時調)의 특성(特性) -최초의 영역시조선집(英譯詩調選集) Translations of Oriental Poetry를 중심으로-

강혜정 ( Hye Jung Kang ) 고려대학교 민족문화연구원 2012 민족문화연구 Vol.57 No.-

This writing aims at introducing Yonghill Kang`s Translations of Oriental Poetry to the academia, and scrutinizing the characteristics of sijos translated into English included in it. First, I examined the errors on the existing records about Translations of Oriental Poetry and clarified the bibliography of it. This book is the English translation of anthology of Chinese, Japanese, and Korean poetry which was translated by Yonghill Kang who gained fame for the English novel, The Grass Roof. It contained 33 pieces of classical sijos. This book was the first poetry anthology which contained sijos translated in English, and it seemed that it was made for the lectures in Comparative Literature at New York University. The following year, Kang tried to republish it under the new title Anthology of Chinese, Japanese and Korean Poetry after the modification with Frances Keely but it seemed that it did not work out. Judging from its array and selection, it seemed that original anthology did not exist. Rather, the book seemed to lean on Kang`s memory, and this explains mistranslation. As a matter of fact, his translation can be said to be pretty faithful translation which tried to capture both content and form of sijo. It is clearer comparing to sijos translated in English at about the same time by Gale, a missionary, and Youngtae Pyun. Poems of Gale and Pyun had rhyme so that the legibility was high. On the contrary, Kang`s sijos translated in English did not show such characteristics. Kang rhymed lines in Chinese poetry, while he tried to show the structural characteristics of sijo, which is consisted of three verses highlighting the last verse. In a nut shell, Kang seemed to understand the characteristics of poems written in Chinese characters and sijo, and attempted to make the most of their features translating them into English. In Translations of Oriental Poetry, sijo was not introduced as lyric but poem. This shows Kang`s intention which tried to place sijo at the modern concept of literature. He enabled sijo to be discussed on the equal level with poetry written in Chinese characters, waka, and furthermore, Western poetry. This book contributed to contemporary comparative literary researchers to accept sijo as a kind of literature, and academic research subject. Also it, even though it did not commercially succeeded, introduced sijo globally as it became included and published again within the novel The Grass Roof, The Happy Grove, and the poetry anthology Grove of Azalea.

서구 사회에 소개된 〈황조가〉의 양상 고찰

강혜정(Kang, Hye-Jung) 우리문학회 2014 우리文學硏究 Vol.0 No.44

This paper focuses on introducing three different English translations of “Yellow Birds Song” which was published in the early 20th Century. It compares three different translations, explains the differences of the background stories fromthe original content, and discusses the translators’ ideologies in translation and the purpose of Korean poem translations. The three translators are James S. Gale, a Canadian missionary, Joan S. Grigsby, a Scot poet, and Younghill Kang, Korean-American novelist. They translated the poemof “Yellow Birds Song” which was written in 17 BC by King Yuri of Koguryo, and they cited the translated poeminto the book ofHistory of the Korean People(1928, a book of history),The Orchid Door(1935, a book of poetry), andThe Grass Roof(1931, novel) respectively. They each used the same poembut written in different languages. These different original poems influenced their translations. Gale used the poemwritten in Chinese, Grigsby used the English translation by Gale, and Kang used the Korean song. Gale’s translation is similar to Chinese poem. Grigsby’s translation is free style because she couldn’t understand the original content and tried to adjust to the western style. Kang’s translation is close to the original Korean song. These three translations are different because of their different ideologies in translation. First, Gale put an importance in Korean literature and understanding ofWestern readers. Thus, he tried to be faithful to the original and at the same time, compose his translation as an English poem. Second, Grigsby didn’t even try to translate close to original content, because she felt that characteristics of Korean literature was not important in translation. She thought literal translation of Korean poems couldn’t appeal to average western readers. Third, Kang did his best to be faithful to the original Korean song because he thought Korean songs had ardent sense. These translators translated the background story of the book of SamKookSaKi(三國史記) differently because they have different purpose of Korean poem translations. First, Gale tried to provide the story in detail, and added his opinions as a missionary and historian because he wanted to introduce Korea as a country with a long history and rich literature. Second, Grigsy summarized the story very succinctly because she focused on the ancient beauty of Korean poems rather than the long history, Third, Kang changed whole story in his novel because he tried to show the harsh reality of those days when it was under the Japanese control. His translation of Korean song expresses their pride and deep grief over the country lost.

완암(浣巖) 정내교(鄭來僑) 묘문(墓文)의 특성(特性) 고찰(考察) -<금택보묘지명(金澤甫墓誌銘)>과 <제처유인변씨묘지(弟妻孺人邊氏墓誌)>를 중심으로-

강혜정 ( Kang Hye-jung ) 한민족어문학회 2016 韓民族語文學 Vol.0 No.74

본고는 浣巖 鄭來僑의 <金澤甫墓誌銘>과 <弟妻孺人邊氏墓誌>를 대상으로 그의 글이 기존의 묘문과 비교했을 때, 개성이 발휘된 측면이 무엇인지, 또 그럼에도 불구하고 여전히 묘문으로서의 상투적 성격을 보여주는 부분은 무엇인지 밝히고, 그 원인에 대해 논의하는 것을 목적으로 한다. 본고에서 다루는 두 묘지는 중인 정내교가 그의 친구와 가족을 대상으로 쓴 것인데, 이 묘주들은 사회 경제적 처지가 정내교 자신과 비슷한 여항인들이었다. 사대부의 전유물이었던 묘문이 중인 작가의 손에서 중인 묘주들을 위해 기술되면서 기존의 묘문과는 변별되는 지점이 만들어질 수 있었던 것이다. 두 묘문은 모두 서문과 의론부를 갖추고 있는데, 서문에서 완암의 독특한 글쓰기 방법이 드러났다. <金澤甫墓誌銘>은 서두에서 망자를 함부로 무력을 행사하던 부정적인 인물로 묘사했는데 이는 `稱美而不稱惡`이라는 묘지의 서술원리에 위배되는 것이다. 하지만 후반부에 깨달음을 얻은 이후 크게 변화된 모습을 서술하여 결국에는 망자의 인품과 행적을 더욱 높이는 효과를 주었다. 이는 먼저 굽혔다가 후에 높이는 `俯仰折旋`의 기법을 사용한 것이라 할 수 있다. 이러한 기법으로 칭송 일변도이던 기존의 묘문과 차이를 보이면서, 진실성을 획득하고, 실감 있는 인물로 형상화되며 망자를 기리는 묘문으로서의 효과는 극대화시킬 수 있었다. <弟妻孺人邊氏墓誌>는 삶의 행적을 기록한다는 묘문의 본래적 성격과 달리 묘주의 삶의 행적은 외면하고 임종의 장면만을 생생하게 기록하였다. 긴장감이 감도는 임종의 장면에서 직접인용을 통해 진실성과 객관성을 확보하며 망자의 성품을 구체화시키고 있는데 이는 簡詳法을 극단적으로 적용한 것으로 볼 수 있다. 서문에서 완암의 개성적인 글쓰기로 형상화된 인물은 의론부에서 문인과 열녀로 평가받고 있다. 삶의 행적을 기록하는 서문에서는 개성 있는 글쓰기 기법으로 형상화되었지만, 의론부의 인물평은 유교적 가치관을 최우선으로 하는 사회에서 당대의 가치 규범을 따른 것이라 할 수 있다. 이는 사대부와는 다른 사회적, 경제적 배경을 가졌지만, 그 지향가치는 사대부와 다르지 않았던 중인이라는 작가의 신분적 특성에서 기인한 것이며, 당대 서울을 중심으로 유행하였던 소품체라는 새로운 글쓰기 방식의 영향과 묘문이라는 장르가 가진 보수성이 복합적으로 작용한 것으로 볼 수 있다. This paper analyzes both the unique and the conventional aspects of the epitaphs written by Jung Naegyo(鄭來僑), as compared to the typical epitaphs of the period. At the start of < The Epitaph of Kim Taebo >, Kim is described as an undesirable person and a bully, and this passage violates the unstated premise of epitaph writing that the author should always write positive things about the deceased. However, later in life, Kim became a great man after he changed his perspective, which Jung recounts. This epitaph is illustrative of his style, as he liked to use the technique of initially blackening his subject`s reputation and praising him or her later. This tactic allows readers to recognize Kim`s remarkable abilities and to gain an authentic sense of him. Jung`s epitaphs are distinguished from many other eputaphs through the use of this technique. < The Epitaph of Mrs. Byun, Sister-in-Law > subverts another convention, as it omits the story of Byun`s life and details only the events surrounding the eve of her death instead. While it runs counter to the convention of epitaph writing that the auther should relate the arc of the deceased`s life, it describes how Mrs. Byun was undaunted by the fear of death, and how her fortitude complemented her benevolence as a mother and wife. In the end, Kim and Byun are evaluated as a great writer and a virtuous woman, respectively. The first halves of both epitaphs are replete with unique techniques, but their subjects are ultimately praised as honorable people, as was the case with the subjects of other epitaphs. I believe the dual aspects of these epitaphs, the unique and the conventional, are related to the dynamic between Jung Naegyo`s iconoclastic temperament and his middle class status. Since he was relatively free from the strictures of custom, he could display his indivual writerly style. However, as he lived in Confucian society, he also looked forward to becoming a respected member of that society.

BIM과 GIS 연계를 위한 실내 세밀도 모형 개발에 관한 연구: 실내 시설물 관리 중심으로

강혜정,황정래,홍창희,Kang, Hye Young,Hwang, Jung Rae,Hong, Chang Hee 대한공간정보학회 2013 한국공간정보학회지 Vol.21 No.5

In recent years, according to the increase of interests in indoor space, various researches are being carried out for the construction and services of indoor spatial information. BIM data is very useful to build indoor spatial information. Accordingly, many studies for the use of BIM data on GIS part are in progress. In order to take advantage of BIM data on GIS part, the conversion technology for building indoor data and visualization techniques are required. However, most of the previous researches are focused on the conversion technology to construct indoor spatial information by importing BIM data into GIS applications while there is few research on visualization. In this study, an indoor LOD(Level of Detail) model is proposed to apply to on indoor facility management system when indoor data was constructed based on BIM data for the linkage between BIM and GIS.

신자료(新資料), 존경각(尊經閣) 소장(所藏) 30장본(張本) 『청구영언(靑丘詠言)』의 편찬년대(編纂年代)와 편찬자(編纂者) 고찰(考察)

강혜정 ( Kang Hye-jung ) 한민족문화학회 2017 한민족문화연구 Vol.57 No.-

This paper aims to introduce the newly discovered thirty-sheet Shijo anthology(歌集), Cheonggooyoungan(『靑丘詠言』), owned by and housed in the Jongyeonggak Library(尊經閣) in Sungkyunkwan University. It further investigates the publication date and compiler of this collection. This anthology has no preface or epilogue but has the imprint `1766(乾隆三十一年 丙戌 四月 初七)`, and all the Shijo(時調) in this anthology display characteristics of the 18th century. This evidence therefore suggests that the thirty-sheet Cheonggooyoungan was compiled in 1766. The most notable feature of this anthology is that the Shijo in Isakdaeyeop(二數大葉) tune are arranged irregularly. Most 18^th-century anthologies classified Shijo according to their musical tune first, and then arranged them chronologically based on the social class of the writers. As a result, the thirty-sheet Cheonggooyoungan may at first glance seems to differ from other anthologies. However, several exiting antho- logies do show evidence of irregularly arranged Shijo, including Haeasoo(『解我愁』), Gagok(『歌曲』 owned by and housed in Dankook University), Younganyucho(『永言類抄』). Therefore, it must be accepted that there was a different trend in the arrangement of Shijo in the 18th century. In addition, the end of the thirty-sheet Cheonggooyoungan contains several Shijo by Kim Taeseok(金兌錫). Due to the tendency for compilers to put their works at the end of their anthologies, it is reasonable to infer that Kim or someone close to him would have compiled the thirty-sheet Cheonggooyoungan.

영역(英譯) 한국고전시선집(韓國古典詩選集) 『The Orchid Door 난규(蘭閨)』 선취(選取) 양상(樣相)의 문제점 -수록작품의 국적과 갈래를 중심으로-

강혜정 ( Kang Hye-jung ) 한국시가학회 2016 韓國 詩歌硏究 Vol.41 No.-

This paper examines whether all the works included in The Orchid Door, an anthology compiled by Joan S. Grigsby, belong to the category of` Ancient Korean Poems`, which is the subtitle of the book. The Orchid Door, which was first published in Japan in 1935 and reprinted in New York in 1970, is comprised of English translations of seventy two Korean classical poems. Grigsby, a Scottish poet, was not very proficient in Korean, but in the 1930s there were already English versions of many Korean classical poems, which had been translated by James S. Gale. Grigsby`s work was aimed at adding a layer of eloquence to Gale`s translations. To fully understand the strengths and weaknesses of her versions, we need to investigate both the English and the Korean sources. To fulfill the remit of the book`s subtitle, all of the Korean texts should be examples of `Ancient Korean Poems`, and most of them do indeed fall within this rubric, but some do not. For example, < Lament for Prince Chagoo >(p.36) is a translation of a poem contained in the Book of Odes(詩經), which is one of the representative Chinese classical books, and the writer of < The Grave of So-Koon > (p. 73) was Sang Kun, a Chinese poet from the Tang Dynasty. In addition, < Tea > (p. 38) and < The Louse and The Dog > (p. 50) were originally prose works, not verse. Clearly, for different reasons, these four texts do not belong to the category of `Ancient Korean Poems`. The most significant reason for their mistaken inclusion was Grigsby`s lack of understanding of the Korean language, and Korea`s culture and literature. Her excessive enthusiasm to include the widest breadth of the art of the Korean people, in order to gain recognition for their achievement, might have been another factor. Finally, the fact that she did not intend to render the original texts faithfully might also have been responsible for these errors. Ultimately, the taste of her Western readership was much more important to her than an attempt to retain the original meaning and context of the texts.

영농승계자 보유 농가의 특징과 시사점

강혜정 ( Hye Jung Kang ) 한국축산경영학회 2008 농업경영.정책연구 Vol.35 No.4

영역(英譯) 한국고전시선집(韓國古典詩選集) 『The Orchid Door 난규(蘭閨)』의 특성 고찰

강혜정 ( Hye Jung Kang ) 한국시가학회 2016 韓國 詩歌硏究 Vol.40 No.-

This paper focuses on introducing the characteristics of the Orchid Door: Ancient Korean Poems which was collected and translated into English verse by Joan S. Grigsby, and was published in 1935, Japan. Although The Orchid Door has been recognized as one of the representatives of the Korean classical poetry in the Western Society, it has not even been introduced in the academic world in Korea. Therefore in this paper, I clarified the bibliography of it and the purpose of publication through the introduction of this anthology. This book contains 73 pieces of classical Korean poems from Ancient Joseon Dynasty (BC 3C) to the late Joseon Dynasty (19C). There were lots of writings about Korean history and literature written by Western missionaries such as James S. Gale, so Joan S. Grigsby could translate Korean classical poetry into English even though Joan S. Grigsby couldn’t understand Korean language nor Korean classical poetry. Especially she was inspired deeply when she read The History of the Korean People by Gale. In 1929, Grigsby visited Korea for the first time reluctantly. However after she realized that Korea has a long history of over 5000 years and glorious civilization, she decided to translate Korean classical verses. She intended to present this anthology to the west the beauty of the little known corner of the orient. It is significant that her anthology has stimulated the interest of the western reader about Korean classical poetry. However, we can``t find the original texts without her additional record because she transformed Korean poems into English verses which don``t have characteristics as the Korean poems any more.

상업용 β-glucanase를 이용한 홍삼유래 사포닌으로부터 Ginsnoside Rd 의 생물 전환

강혜정 ( Hye Jung Kang ),이종우 ( Jong Woo Lee ),박태우 ( Tae Woo Park ),박혜윤 ( Hye Yoon Park ),박준성 ( Junseong Park ) 대한화장품학회 2020 대한화장품학회지 Vol.46 No.4

Bio-conversion manufacturing technology has been developed to produce ginsenoside Rd which is increasingly in demand as a cosmetic material due to various possibilities related to improving skin function. In order to convert ginsenoside Rb1 which is contained in red ginseng saponin (RGS) into Rd, several commercial enzymes were tested. Viscoflow MG was found to be the most efficient. In order to optimize the conversion of RGS to ginsenoside Rd by enzymatic transition was carried out using response surface methodology (RSM) based on Box-Behnken design (BBD). The main independent variables were RGS concentration, enzyme concentration, and reaction time. Conversion of ginsenoside Rd was performed under 17 conditions selected according to BBD model and optimization conditions were analyzed. The concentration of the converted ginsenoside Rd ranged from 0.3113 g/L to 0.5277 g/L, and the highest production volume was obtained under condition of reacting 2% RGS and 1.25% enzyme for 13.5 hours. Consequently, RGS concentration, enzyme concentration which is 0.05 less than p-value and among the interactions between the independent variables, the interaction between enzyme concentration and reaction time was confirmed to be the most influential.

백이 숙제 고사의 수용 양상과 그 의미

강혜정 ( Hye Jung Kang ) 한민족문화학회 2010 한민족문화연구 Vol.34 No.-

Bagi and Sookje, who died from starvation in Sooyang Mountain to keep loyalty to their original dynasty, have been repeatedly evaluated for the past two thousand years. On the one hand they were praised as a symbol of fidelity and integrity, but on the other hand, they were criticized as imperfect integrity and inability to swim with the stream with times. The primary purpose of this paper is to summarize how Bagi and Sookje were appraised in China and Korea, and to examine the various aspects on how Bagi Sookje were treated especially in Sijo. Chapter 2 discusses articles on Bagi Sookje of China and Korea, written from both positive and negative standpoints. Chapter 3 investigates how Bagi Sookje were appraised in Sijo. The aspects of how Bagi story were adopted could be classified into three cases; (1) positive appraise on Bagi and praise as a symbol of integrity, (2) a negative appraisal, and (3) transfigure into a material of pleasure. The Sijo before 18th century mainly either praise or criticize Bagi Sookje. However Sijo after 19th century, transfigured Bagi Sookje story into a part of pleasure. This might have resulted from the characteristic of 19th century Gajip which was in accord with the current of the times. Here Bagi Sookje was no longer sacred or sincere symbol of integrity, and only became cliche.