학생 중심 문제 해결 프로젝트와 21c 역량 : 북미 최대 교육 혁신 컨퍼런스 SXSW EDU 2018 탐방 사례

김하늬 한밭대학교 적정기술연구소 2018 적정기술 Vol.10 No.2

매년 3월에 미국 텍사스에서는 북미 최대 교육 컨퍼런스 사우스바이사우스웨스트 에듀(SXSW EDU)가 열린다. 8,000여 명의 교육 관계자들이 모여 새로운 교육 트렌드와 방법론들을 나누는 자리인 만큼, 매년 교육계에 부는 새로운 혁신이나 시도를 파악할 수 있다. 올해 새롭게 추가된 주제는 바로 “고용 가능성(employability)”, “학생 리더십”, “공평(equity)” 이었다. 특히 “고용 가능성”이라는 주제에서는 변화하는 노동 시장의 모습과 사회가 필요로 하는 역량을 길러줄 수 있는 교육에 대한 논의가 시작됐고, “학생 리더십”에서는 배움의 적극적 주체로서의 학습자가 강조되었다. 본고는 이 두 가지 큰 주제에 관련된 세션을 참관하고 작성한 “Z 세대를 위한 새로운 교육 패러다임 - SXSW EDU 2018 탐방 보고서” (김하늬, 임규연, 2018)의 주요 내용을 요약, 정리한 것임을 밝힌다.

≪浙西六家詞≫ 수록 詠物詞의 과도기적 특징 고찰 -淸初 지식인들의 ‘物’에 대한 인식과 표현 변화를 중심으로-

김하늬 영남중국어문학회 2023 중국어문학 Vol.- No.92

This study investigated Zhexi Liujia Ci(≪浙西六家詞≫), which is a collection of Ci poems by six writers from Zhexi in early Qing Dynasty, focusing its analysis on their responsorial yongwu ci poems(詠物詞). Zhexi Liujia played important roles in the creation of Zhexi Cipai(浙西詞派) that was the center of Citan(詞壇) until middle Qing. “Yongwu,” which sings about external “objects,” is a topic that clearly shows the creative tendency of Zhexi Cipai. They experienced a change of dynasties at a relatively early age. In those days, the “sentiment of drifting people” was deteriorated by the Qing Dynasty's overbearing and conciliatory policies for the Hanzu(漢族) intellectuals and the stabilization of politics. This trend was reflected on the works of Zhexi Liujia, showing a transitional pattern. They followed works by Nansong(南宋) intellectuals that had similar experiences during a change to a dynasty of other people and expressed some sentiments of drifting people by choosing the same topics as them to respond to them. Unlike Yunjian Cipai(雲間詞派) that had first-hand experiences with the fall of a dynasty and dealt with “woman” and “object” topics under the goal of conveying unexpressed meanings by entrusting them to objects, Zhexi Liujia separated “me” from “objects” and sang about “objects” as others. They thus described objected likened to “women” sensually as an object of desire instead of a being to whom “my” sorrow was entrusted. They recorded new information about novel objects and sang about things, animals, and foods as an object of physiognomy and love. This trend reflected changes to the perceptions of objects among intellectuals since the second half of Ming Dynasty and opened up the possibilities of moving forward in a direction of recording information about objects as an objective being completely separated from “me” rather than subjective objects on which “I” as “yongwu” was projected.

명청(明淸) 교체기 한족 지식인의 명사(明史) 서술로서의 시화(詩話) 연구 —주이준(朱彝尊)의 《정지거시화(靜志居詩話)》를 중심으로

김하늬 한국중국어문학회 2020 中國文學 Vol.105 No.-

This study set out to focus on Jingzhiju Shihua(靜志居詩話) by Zhu Yizun in early Qing Dynasty. The purpose of the study is to analyze shihua(詩話, poetry talks) during Ming published by a Hanzu intellectual at the Ming-Qing transition in the aspect of "description of the history of Ming Dynasty" by a Hanzu intellectual. Jingzhiju Shihua is a collection of poetry talks from Mingshizong(明詩綜), an anthology of poems written during Ming and published by Zhu Yizun. In this book, Zhu Yizun not only tried to preserve the cultural heritage of Ming by including various poems, but also wanted to promote figures of Ming broadly by recording as many authors as possible. Furthermore, he corrected false historical statements based on diverse ground materials and attempted to keep the order of Zhonghua(中華) right by recording and criticizing even works from neighboring Chinese character-based cultural zones under the influence of China. It is estimated that Zhu Yizun as a Hanzu intellectual that decided to give up his resistance against Qing Dynasty chose and discussed "poetry," the symbol of traditional Hanzu culture, to keep his cultural pride and fulfill his last duty as a subject of the ruined dynasty. Instead of creating "poetry" himself and expressing his tragic emotions as a subject of a ruined state, he decided to collect and preserve "poems" due to the supervision of the Qing Dynasty and self-censorship as a way of fulfilling his duty as a subject of a ruined nation. Jingzhiju Shihua completed in this way is an outcome of him looking back on history as a subject of a ruined nation, reflecting his will to reflect on and reminisce about the times through literature. 본 연구는 명청(明淸) 교체기 명대 시에 대한 시화(詩話), 그 가운데서도 주이준(朱彝尊)의 《정지거시화(靜志居詩話)》를 한족 지식인의 ‘명대 역사 서술’이라는 측면에서 분석하고자 한다. 전통 중국 사회에서 시는 ‘한족 문화의 상징’이었고 역사를 기록하는 수단이었다. 주이준이 과도기적 시기에 하필 전대인 명대의 시를 모은 대규모 선집과 시화를 집필한 것은 ‘시’라는 문학적 방식으로 스스로 뼈아픈 망국의 역사인 명사(明史)를 서술한 것으로, 망국의 역사를 보존해야 한다는 사관(史官)으로서의 의지가 작용한 것이라 볼 수 있다. 청 왕조에 대한 저항을 포기하게 된 한족 지식인으로서, 주이준은 한족 전통 문화의 상징인 ‘시’를 택하여 그것에 대해 논함으로써 문화적 자존심만은 지키고, 유민으로서의 마지막 의무를 다하고자 한 것으로 추측된다. 다만 왕조의 감시와 자기 검열로 인하여, ‘시’를 직접 창작하여 유민으로서의 비극적 감정을 표현하기보다는 ‘시’를 수집하고 보존함으로써 우회적으로 유민의 의무를 다 한 것이다.

淸初 朱彝尊 題畵詞 고찰 - ‘다시쓰기’로서의 ‘題畵’의 표현 양상을 중심으로

김하늬 한국중어중문학회 2024 中語中文學 Vol.0 No.95

Regardless of the Orient and the West, literature and art have continued to form profound relationship and developed together in the art history. One example is the development of the creative theory to pursue "poems like paintings, paintings like poems." "Tihua" refers to creating a literary work based on a painting in the history of Chinese literature. It is an act of converting a visual image on the screen into a literary text. After an artist creates a painting through his or her primary interpretation of a certain object, a literary figure will add his or her secondary interpretation to the creation. It is a kind of "rewriting" with the author's "reinterpretation" working in the process of medium conversion. This study focused on the peak period of tihuaci during Qing Dynasty due to the interlocking changes among art, literature, and socioeconomic history including the development of figure painting techniques and the appreciation culture to appraise and discuss works of art and the revival of ci in late Ming and early Qing, examining tihuaci by Zhu Yizun, who led the citan(詞壇) in early Qing, in the aspect of "rewriting." The study would explain that the creation of tihuaci was an act of communication between the author and the owner of the painting or between the author and the artist of the painting and that the author reinterpreted what the painting could not tell as a capture of the moment through "filling" in his tihuaci.

雲間詞人 李雯 詞 연구* -명청 교체기 지식인으로서의 비애 기탁을 중심으로-

김하늬 영남중국어문학회 2022 중국어문학 Vol.- No.89

This study focused on the Ci-poetry of Li Wen, one of “Yunjian Sanzi” that were active to create Ci-poetry those days, examined the meanings of his Ci-poetry as a deposit of sorrow, and tried to demonstrate that it already showed the developmental possibilities of Qing Ci-poetry. In other words, Li Wen personally witnessed the Ming-Qing transition and underwent complicated emotional changes, which were reflected on his Ci-poetry. Li Wen could not resist the Qing Dynasty like Chen Zilong and held a government post in the new dynasty. Unlike Song Zhengyu who led a stable life as a government official, however, he kept having shame and conflict, which changed the thematic consciousness of his Ci-poetry. It shows the possibilities that Ci-poetry could serve as a means of literature to deposit the sorrow of intellectuals undergoing a huge historical event that was a change of dynasty beyond the literature for simple amusement.

정신건강의학과 입원환자에서 자살행동 관련 요인

김하늬,김주완,강희주,김선영,이주연,김재민,신일선,윤진상,김성완 대한신경정신의학회 2019 신경정신의학 Vol.58 No.3

Objectives This study examined the factors associated with suicidal behavior in psychiatric inpatients. Methods The medical records of 208 psychiatric inpatients were reviewed retrospectively. The factors related to suicide attempts and ideation at the time of admission, and during outpatient follow-up, were investigated. Results In total, 120 patients (57.7%) with a history of at least one suicide attempt, and 163 patients (78.4%) who reported active suicide ideation (e.g., a suicide plan or intention to commit suicide) at the time of admission were reviewed. Being unmarried or divorced, substance abuse, impulsivity, and a poor social support system were associated with a history of suicide attempts. The suicidal ideation group had significantly higher rates of coexisting depression, severe depressive symptoms, hopelessness, and impulsivity, as well as a lower incidence of moral objection to suicide and high religiosity. In total, 15 out of 193 patients (7.8%) who were followed-up at outpatient clinics attempted suicide after discharge. Patients who attempted suicide or reported suicidal ideation at the outpatient clinic after discharge were significantly more likely to have a history of previous suicide attempts, or have had active suicide ideation at the time of admission. Good social support and high responsibility to family were inversely associated with suicidal ideation as an outpatient. Conclusion A history of suicide attempts and ideation at the time of hospital admission were the risk factors for future outpatient suicidal behavior. Further study is warranted to develop a checklist and assessment measures of the various risk and protective factors associated with suicidal behavior.

α-Tocopheryl Succinate Inhibits Osteoclast Formation by Suppressing Receptor Activator of Nuclear Factor-kappaB Ligand (RANKL) Expression and Bone Resorption

김하늬,이종호,진원종,이장희 대한골대사학회 2012 대한골대사학회지 Vol.19 No.2

Objective: Osteoclasts are bone-resorbing multinucleated cells derived from the monocyte/macrophage lineage during normal and pathological bone turnover. Recently, several studies revealed that alpha-tocopheryl succinate (αTP-suc)have demonstrated potent anti-cancer activities in vitro and in vivo. However, the effects of αTP-suc on osteoclast formation and bone resorption remain unknown. Thus, in this study, we examined the effects of αTP-suc on osteoclast differentiation and bone resorbing activity in inflammatory bone loss model. Methods: Osteoclast differentiation assay was performed by cocultures of mouse bone marrow cells and calvarial osteoblasts in culture media including interleukin-1 (IL-1). Osteoclasts were stained for tartrate-resistant acid phosphatase (TRAP). The level of receptor activator of nuclear factor-kappaB ligand (RANKL) mRNA was determined by reverse transcriptase-polymerase chain reaction (RT-PCR). ICR mice were administered an intraperitoneal injections of αTP-suc or dimethyl sulfoxide (DMSO) 1 day before the implantation of a freeze-dried collagen sponge loaded with phosphate-buffered saline (PBS) or IL-1 over the calvariae and every other day for 7 days. The whole calvariae were obtained and analyzed by micro-computed tomography (CT) scanning, and stained for TRAP. Results: αTP-suc inhibits osteoclast formation in cocultures stimulated by IL-1 and decreased the level of expression of RANKL mRNA in osteoblasts. In addition, administered intraperitoneal injections of αTP-suc prevented IL-1-mediated osteoclast formation and bone loss in vivo. Conclusion: Our findings suggest that αTP-suc may have therapeutic value for treating and preventing bone-resorptive diseases, such as osteoporosis.

淸初 강남 지식인 詞의 현실 인식과 비애 표현 ― 陳維崧 「滿江紅」 詞를 중심으로

김하늬 한국중국학회 2022 중국학보 Vol.101 No.-

This study set out to investigate the conscious world of Jiangnan intellectuals in China in the early Qing Dynasty by analyzing Manjianghong(滿江紅) by Chen Weisong(陳維菘), one of the representative figures of Yangxian Cipai in early Qing. Unlike the Ci of Yunjian Cipai during the Ming-Qing transition in which they expressed their sorrow indirectly by putting "women" and "objects" in front, the Ci of Chen Weisong's period allowed authors to put "speakers" that matched themselves forward and express their sorrow as "intellectuals" clearly. Unlike the old Yunjian Cipai which covered a limited scope of materials and focused on describing momentary scenes, Chen Weisong expanded his content to topics reflecting the viewpoints of nobility by making use of abundant authentic precedents and discussing historical events. Chen Weisong revealed his consciousness of a real world in his Manjianghong, in which a city destroyed in the flow of history reflects the sentiment of a homeless race and a riverside village that keeps its peace regardless of the flow of history is a Utopia for Yimin(遺民) far from their realistically perfect hideout. He also expressed a sense of shame by depicting himself as a useless old man only with a literary talent that was of no help in a confusing world. This sorrowful consciousness of his is somewhat different from the previous Yimin generation and reflects the new worries of the following generation. 본 연구에서는 청나라 초 陽羨詞派의 영수인 陳維崧의 「滿江紅」의 분석을 통해 청초 강남 지식인의 현실 의식과 그 비애를 고찰하고자 한다. 이전 명청 교체기 雲間詞派의 사가 ‘여성’과 ‘사물’을 앞세워 자신의 비애를 우회적으로 토로하였던 것과 달리, 진유숭 시기의 사는 작자 자신과 일치하는 ‘화자’를 내세워 ‘지식인’으로서의 자신의 비애를 분명하게 표현하였다. 그에 따라 이전에 운간사파가 한정된 제재를 다루며 찰나의 장면을 묘사하는 것에 집중했던 것과 달리, 진유숭은 다량의 전고를 활용하고 역사적 사건을 논하는 등 사대부적 시선을 담은 주제로 내용을 확대시켰다. 진유숭은 「만강홍」을 통해 자아와 현실 세계에 대한 인식을 드러내었는데, 작자 자신을 글재주밖에 없고 늙어, 쓸모없는 존재로 그려 혼란스러운 세상에 도움이 되지 못하는 자괴감을 토로하였다. 또한 그의 작품 속, 인간 역사의 흐름에 따라 흥망성쇠를 거듭하여 쇠락한 도시는 망국민의 정서가 반영된 공간이며, 인간 역사의 흐름과 관계없이 태평함을 유지하고 있는 강촌은 遺民의 이상향이지만 현실적으로는 완벽한 도피처가 되지 못했다. 이와 같은 비애 의식은 이전의 유민세대와는 다소 차이가 있는 것으로 유민 후세대의 새로운 고민을 반영한 것이라고 볼 수 있을 것이다.

명말청초 운간(雲間) 지역 송씨(宋氏) 일가 사(詞) 고찰 ― 송징벽(宋徵璧)·송징여(宋徵輿)의 비애 의식 표현을 중심으로

김하늬 한국중문학회 2021 中國文學硏究 Vol.- No.84

본 연구는 청대 詞 발전의 흐름을 통해 청대 江南 지식인의 의식 세계 변화를 고찰하기 위한 것으로, 청대 사 부흥의 출발점이라고 할 수 있는 명청 교체기 雲間詞派, 그 중에서도 松江 지역 宋氏 일가 주요 사인의 사를 왕조 말 지식인의 비애의 암시와 표현이라는 측면에서 살펴보는 것을 목적으로 한다. 이들은 동일한 주제의 사 작품을 창작하여 서로 작품을 주고받았는데, 경계적 시간과 힘없이 부유하는 사물의 이미지를 활용하여 애정을 노래하면서 그것을 통해 혼란스러운 시대를 살아가는 사대부의 자기 연민의 감정을 암시적으로 드러내었다. 이들의 사는 주로 ‘규방의 정’을 다루어 주제가 협소하다는 등의 한계가 있었다. 그러나 이후 청대 강남의 詞壇이 시대적 비애를 사로써 격렬하게 토로하는 방향으로 나아가며 이전의 협소한 주제에서 벗어날 수 있었던 것은 이미 이전에 송씨 등의 운간 사인들이 왕조 교체기 지식인으로서의 비애를 사로 표현함으로써 그 가능성을 열어주었기 때문이다. This research is set out to examine the changes of the conscious world of intellectuals in the Jiangnan area during the Qing Dynasty by analyzing the developmental flow of Ci poetry. It focuses on Yunjian cipai which is considered the starting point of the revival of Ci poetry during the Qing. Among Ci poetry of Yunjian cipai, I examine the Song family’s works in terms of implying and expressing woes of the intellectuals during the Ming-Qing transition. They created Ci works on the same topics and exchanged them with one another in the way of “play.” In their Ci works, they depicted women’s love with the seasonal images of spring and autumn and the images of feeble floating objects to reveal the nobility’s “self-pity” in suggestive ways during the confusing times. In fact, the Song family including Song Zhengbi and Song Zhengyu had huge impacts through their singing in chorus on the development of Yunjian Cipai, but they have not received generous evaluations for their works. It is because they led a stable life without resisting the Qing Dynasty and holding public office, did not express their sorrowful indignation for the change of dynasties passionately in their Ci works, and showed their limitations with narrow topics by mainly dealing with women’s life. Later, the Citan of Jiangnan moved in a direction of expressing the sorrow of the times intensely in their Ci works during Qing, thus being able to grow out of the old narrow topics. It is all thanks to Yunjian Ciren including the Song family that opened possibilities for it by expressing their sorrow around "self-pity" in their Ci works.

물화(物化)된 여성의 몸 — 주이준(朱彝尊) 영물사(詠物詞) <심원춘(沁園春)> 12수

김하늬 한국중문학회 2019 中國文學硏究 Vol.0 No.75

This study aims to examine the 12 works from “Qinyuanchun”, poetry collection of Zhu Yizun who was an author and poet during the early Qing dynasty. The 12 works from “Qinyuanchun” by Zhu Yizun are serial poetry on women body parts as written in “yongwuci” (Ci poetry on things) style. Since the first two poems in “Qinyuanchun” style by Liu Guo on women’s foot and nails during the southern Song dynasty, there has been such trends of lyric songs and poetry on women body parts in “Qinyuanchun” tunes before becoming one of main styles when Zhu Yizun wrote 12 works in “Qinyuanchun” during the early Qing dynasty. Zhu Yizun extended the scope of “yongwuci” (Ci poetry on things) by writing about gall bladder and internal organs, where it was meaningful for him to have not only visibly seen things but also abstract areas to be included in “object” category for song lyrics and poetry. In addition, it was the first attempt made by Zhu Yizun to use serial poetry form in order to complete 12 works on individual body parts into one story. During the early Qing dynasty, many authors and poets were highly interested in “yongwuci”, which was related to the reason they created poetry on women body parts, and this was the complete reification of women from the perspective of male intellectuals. Male intellectuals herein recognize “women” as complete “others” being interested in, observing and inspecting female body in voyeuristic eyes as the one to not to be emotionally understood and sympathized but to be “inspected” and “desired”. The trends of “yongwuci” during the early Qing dynasty are completely different to poetry of despair as drifting people of a ruined country reflected into objects by male intellectuals in the southern Song dynasty. For male intellectuals during the early Qing dynasty, ‘Yongwu’ was for the demonstration of their knowledge and entertainment. And they were more interested in singing about an object itself rather than revealing their inner side, which was male intellectuals’ changed thinking at that time that “object” and “myself” are separated in recognition. In this cultural context, “yongwuci” on women body parts became trends and took its place during that time. 주이준의 영물사 <沁園春> 12수는 南宋代 劉過로부터 시작된 <심원춘> 사패로 여성의 몸에 대해 노래하는 전통을 이어가면서도, 보다 다양한 소재를 사용하였고 聯章體의 형식을 사용하여 하나의 서사를 완성하였으며, 작자의 결핍과 욕망을 재현한 특정 여성의 이미지를 생산하였다는 점에서 이전의 여성의 신체를 다룬 작품과 차이가 있다. 이는 작자 주이준의 개인적인 생애의 영향을 받은 것인 동시에 ‘사물[物]’을 바라보는 명청 교체기 지식인의 시각의 변화를 반영한 것이기도 하다. 본고에서는 이 작품들을 구체적으로 분석하여 청초 여성의 신체를 다룬 영물사가 어떠한 환경에서 발전하였으며, 그것이 묘사하고 있는 여성 형상이 어떠한 특징과 의미를 가지는지 밝히고자 한다.