논문편 - 식생활 분야 : 탄수화물 및 단백질이 식이 제한을 받은 흰쥐의 회복에 미치는 영향

신동순,김미경 ( Dong Soon Shin,Mee Kyung Kim ) 대한가정학회 1981 Family and Environment Research Vol.19 No.2

《홍기(紅旗)》 잡지에 나타난 ‘문화대혁명’의 문화적 징후들

申東順 한국중국소설학회 2015 中國小說論叢 Vol.45 No.-

문화대혁명시기 《홍기》는 “두 가지 신문, 하나의 잡지(兩報一刊)”로 그 역할을 충실히 수행했다. 잡지는 문화대혁명을 선전하는 과정에서 “문화대혁명”을 위한 이론적 근거를 제공하는 진지가 되었고, 여론 형성에 중요한 장이 되었다. 그래서 《홍기》 또한 문화대혁명에 대한 책임을 피면할 수 없었을 것이다. 그것은 1988년 정간의 배경이 되었다. 문화대혁명 10년의 《홍기》를 살펴보다 보면 ‘문화대혁명’과 관련한 여러 가지 문화적 징후들을 볼 수 있다. 그 중에 하나는 1966년 전후 일었던 ‘우한’과 그의 작품 ‘해서파관’에 관한 비판이다. 논문은 《홍기》가 어떻게 비판을 투쟁화하고 있는지 살펴보면서 그 비판 양상을 살펴보고자 한다. 그리고 다른 하나는 1975년에 실렸던 ‘수호(水滸) 평론’과 그 비판운동에 참여하고 있는 문장들로, 그것이 산포하는 정치성에 주목하고자 한다. 1966년과 1975년 《홍기》가 주도적으로 진행했던 ‘우한 비판’과 ‘수호 평론 투쟁’은 어떤 ‘문화대혁명’ 의식들을 산포하고 있는지, 그리고 그밖에 또 다른 문화적 징후들로는 무엇이 있는지 소략하면서 후속연구의 가능성을 열어 놓고자 한다. During the Cultural Revolution period, “HongQi” fulfilled its role as a “two newspapers and one magazine (兩報一刊)”. It provided a rationale for the Cultural Revolution in the process of promoting the Cultural Revolution and used as a propaganda medium. Because it was used to form public opinions, it was also responsible for the Cultural Revolution as well. “HongQi” provides a number of cultural indications of the Cultural Revolution and this paper examined the two aspects: ‘WuHan (吳晗)’ and his work ‘HaiRui dismissal (海瑞罷官)’ and cultural indications of ‘ShuiHu (水滸)’ in 1975. We examined what types of Cultural Revolution consciousness they distributed and whether they contain any other cultural indications. The possibility for future research will be discussed.

일개도시 남성 노인의 삶의 만족도와 자가간호역량

신동순,김금숙 충남대학교 간호과학연구소 2006 충남대 간호학술지 Vol.9 No.1

This study was conducted to investigate the relationship between self-care agency and life satisfaction of man elderly. The subjects of this study were 77 elders, man, over 65, who were sampled in Daejeon city. The measurement tools were Self-As Carer Inventory developed by Geden and Taylor and translated by Park for self-care agency, and LSI-A(Life Satisfaction Index-A) developed by Havighurst and others for life satisfaction. The relationships between the self-care agency and life satisfaction were investigated by the use of t-test ANOVA and Pearson Correlation Coefficient. The result of this study were summarized as follows: 1. The mean of self-care agency was 103.71(SD=l8.36) and the mean of life satisfaction was 50.44(SD=10.52). 2. The degree of self-care agency according to demographic characteristics was significantly different in married and economic status. 3. The degree of lif satisfaction according to demographic characteristics was significantly different in married, family types, and having a job now. 4. There was a significant positive correlation between self-care agency and life satisfaction.

대만영화 <군중낙원(Paradise in Service)>: ‘특약차실(特約茶室)’ 공간과 여성 재현의 정치

신동순 중국문화연구학회 2018 중국문화연구 Vol.0 No.39

The film rebuilds the historical consciousness through the expression of the military paradise and women, and re-interweaves the history of “Special Tea House”. The film reproduces the space and women of “Special Tea House”. War and violence replaced by Paradise in Service. The film shows that women here are liberated from the ideology of state and masculinity. These emancipation is not real liberation, but fake liberation. People portray the history of women in ‘Special Tea House’, but differ from each other. Some think they came voluntarily, and some think that the system and ideology have forced them, suppressed them and cheated them. The film rationalizes and legitimates these spaces and women through the reproduction of space and women. Although women’s violence and military violence are shown, A central figure for the dissolution of this violence is the male and the State system. Ending subtitles are as follows. “In 1951, the army set up a ‘special tea house’ in the army to address the physiological needs of hundreds of thousands of soldiers. Also known as “Paradise in Service” or 831. With the improvement of bilateral relations in 1990, Taiwan reduced its military power and the legislature considered it a violation of the human rights of women. Ministry of Defense decided to withdraw ‘Special Tea House’.” The government officially identified these spaces as violating women’s human rights. But, The director defines the women there as ‘sex workers’. These views have hidden the history of women in ‘Special tea House’ and even politically removed the ‘comfort women’ history of Japanese colonialism.

1940년대 상하이(上海) 출판문화정책과 대중문학잡지의 생존 전략 ― 「만상(萬象)」, 「대중(大眾)」, 「바이올렛(紫羅蘭)」,「춘추(春秋)」를 중심으로

신동순 한국중국현대문학학회 2011 中國現代文學 Vol.0 No.56

There are not many studies on publication policies and magazines during the period of when Shanghai was occupied by enemies. This thesis looks over the publication policy and the survival strategy of literary magazines at that time. More specifically, by focusing on literary magazines such as 『Wanxiang萬象』, 『Dazhong大眾』, 『Ziluolan紫羅蘭』, 『Chunqiu春秋』, which were issued in the 1940s, the period when Shanghai was occupied by foreign powers, this thesis covers Japan's manipulating power on culture in Shanghai at that time and the publication policy and the cultural phenomenon of the publication circle emerged in the reshuffling process of the power, as well as the attitude and strategy of key players in the circle for their survival. At that time, the Reorganized National Government of China, a puppet regime controlled by Japan, executed unilateral publication policies in Shanghai and mass media that violated the policies were suspended or shut down. However, magazines such as 『Wanxiang』, 『Dazhong』, 『Ziluolan』, 『Chunqiu』 were continuously issued by delicately criticizing and refusing the direct and indirect interference of the national government in the name of popularity and commerciality. Those magazines were realizing their own politics while insisting that magazines were non-political.

당대 중국 사회의 ‘盲’과 ‘不盲’ 사이에서 리양(李楊) 영화 읽기

신동순 한국중국현대문학학회 2009 中國現代文學 Vol.0 No.51

This paper studies 『Blind Well』 & 『Blind hill』 of LiYang's ‘the blind’ trilogies and seeks for the meaning and the director's critical view of them. First, I am trying to find out the subject status of LiYang's movies with several concepts, such as migrant workers and “the lower narration” and LiYunLei's critical analysis of LiYang's. Gathered the LiYunLei's debate, which explained the situation of migrant workers and “the lower narration” proposed in 2004, I find that the clash of civilization and barbarism of LiYang's movies by LiYunLei is contrary to the consciousness of movies by LiYang. LiYang notes a phenomenon of the human destruction and dehumanization caused by ‘the new awareness’ in the modern China or the almighty dollar principle and the feudal consciousness still alive in the rural communities. His movies has a bird's-eye view of the typical socialism or capitalism of China between ‘pretending not to see(盲)’ and ‘do not pretend not to see’. LiYang is building hopes on China with his ‘the blind’ series, it is desperate though.

커링(柯靈)과 항전(抗戰)문화 진영으로서의 상하이(上海)잡지 일고

신동순 중국문화연구학회 2023 중국문화연구 Vol.- No.59

In particular, this paper aims to examine the editing and publishing of magazines and his cultural strategies in the harsh environment of the 1930s and 1940s Shanghai Japanese occupation zone. At that time, he published an independent commercial magazine against Japanese publication censorship and control, established a camp for the anti-war culture and anti-war literary movement, and conducted an indirect "intangible protest" against Japanese imperialism. As a result, he maintained the 5.4 New Literature tradition under the darkness and harsh control of the war, sparking new hope in Shanghai's literary circles. The paper aims to examine what his bypass strategy was for publishing magazines, how it brought together progressive cultural people in Shanghai at the time, and what rituals they vibrated and resisted against each other in this cultural practice. They sometimes stood up against Japanese imperialism in direct and sometimes indirect ways. In particular, Mansang avoided sympathy and praise for the war demanded by Japanese imperialism, emphasizing commerciality and popularity. In order to secure a literary camp against Japan, publishers also participated in the National Cultural Congress and the Daedong-A Literature Contest hosted by the Korea-Japan Cultural Association, while exposing the colonial nature of Japanese imperialism and implicitly publishing related works. 본 논문은 특히 커링선생의 1930·40년대 상하이 일제 점령 지역(沦陷区)의 엄혹한 환경 속에서 잡지의 편집 출판과 그의 문화 전략을 살펴보고 있다. 그는 당시 일제의 출판 검열과 통제에 대항해 ‘독립적인 상업성 잡지’를 출판하며 항전문화 및 항전 문예운동의 진영을 구축하였고, 일제에 우회적인“무형의 시위”를 진행하였다. 그들은 때로는 직접적으로 또 때로는 간접적인 방법으로 일본 제국주의와에 대항했다. 특히 만상잡지는 상업성과 대중성을 강조하면서 일본 제국주의가 요구하는 전쟁에 대한 동조와 찬양 선전을 회피했다. 출판사들은 항일 문학 진영을 확보하기 위해 중일문화협회가 주최하는 전국문화대표대회와 대동아문학대회에도 위장 참가하면서 한편으로는 일본 제국주의의 식민성을 폭로하고 식민 현실에 대해 날카롭게 비판하는 작품들을 암묵적으로 발굴해 적극적으로 게재했다. 이렇게 그는 전쟁의 암연과 가혹한 통제 속에서 5.4신문학 전통을 유지하면서 상하이 문단에 새로운 희망의 불씨가 되었다. 논문은 이런 그의 잡지 출판에 대한 우회적 전략의 의미를 살펴보고 있다. 또 그것이 당시 상하이 진보 문화인들을 어떻게 결집시켰으며, 이런 문화실천의 장(场)에서 그들은 어떤 의식들로 서로 진동하고 항전하였는지 살펴보았다.

일반논문 : 신경자극 전달물질의 전구체의 유용성과 두뇌 기능

신동순 경남대학교 교육문제연구소 1991 敎育理論과 實踐 Vol.1 No.-

영화 〈신여성〉과 1930년대 상해 문화헤게모니 小考

申東順 한국중국소설학회 2007 中國小說論叢 Vol.26 No.-

本文章主要通过电影〈新女性〉与"电影文化运动",考察1930年代上海社会中的文化领导权问题.首先叙述〈新女性〉的女主人公原形女演员艾霞的悲剧人生,探讨当时艾霞自杀事件和黄色新闻媒体委曲和卑劣报道,批判了新闻媒体和黄色记者庸俗的报道意识.然后再描述扮演电影女主人公的阮玲玉的自杀事件及其新闻媒体虚伪的反应,通过此两个事件观看当时上海国民政府文化政策和傀儡新闻媒体虚伪意识,他们如何压迫新女性的颠覆和反乱意识,如何镇压上海进步文化人和文化意识.通过这些分析看到这里面存在的国民政府文化权力和上海进步文化势力之间文化领导权争夺斗争.我们看到由哪些势力来掌握和争夺这文化领导权,这对社会文化发展有很大的影响.当今社会有许多文化生产物,大众要觉醒的意识来选择健全的文化,正确地掌握自己的意识,不要被虚伪的文化领导权来掌握.

‘衞慧’와 ‘上海寳貝’에 대한 “의미작용의 정치”

신동순 한국중국현대문학학회 2008 中國現代文學 Vol.0 No.46

My paper challenges the process of semioticization of Wei Hui and her Shanghai Baby by the Chinese government and mainstream intellectual circles, through such descriptions of her and her novel as “banning order,” “disgusting,” “beautiful writer” and “narrative on body,” and attempts to re-semioticize these descriptions by making ‘opposing rule of meaning.’ As Wei Hui herself once mentioned that her novel “talks about Chinese youth culture and urban landscape at the turn of the twentieth-first century,” she goes beyond producing a mere sketch of urbanity and successfully reconstructs the urban reality of Shanghai. In other words, she successfully raises questions about the fin-de-siècle urban Shanghai and the identity of its youth, who have been wandering and floating between Shanghai’s coloniality and post-coloniality. The reconstruction of the fin-de-siècle Shanghai, its neo-colonial identity, and the crisis and concerns about economic and cultural hegemony that it confronts can be an object of post-colonial criticism and work as an alternative ‘political functioning of meaning.’