화분발효물을 함유한 Gelidium corneum - 젤라틴 혼합필름의 항균활성과 돈육의 포장재 적용

홍윤희,임금옥,송경빈,Hong, Yun-Hee,Lim, Geum-Ok,Song, Kyung-Bin 한국축산식품학회 2009 한국축산식품학회지 Vol.29 No.3

Gelidium corneum - gelatin (GCG) blend films containing fermented pollen extract (FPE) were prepared and used as a packaging material of pork loins. Water vapor permeability (WVP) of the film containing FPE was better than the control film, and the film's antimicrobial activity against Escherichia coli O157:H7 and Listeria monocytogenes increased with increasing FPE concentration. Addition of 0.15% FPE decreased the populations of Escherichia coli O157:H7 and Listeria monocytogenes by 2.98 and 3.68 Log CFU/g, respectively, compared to the control. Pork loin samples were inoculated with E. coli O157:H7 and L. monocytogenes and packed with the film. The samples packed with the GCG film containing 0.15% FPE had a decrease in the populations of E. coli O157:H7 and L. monocytogenes by 1.49 and 1.01 Log CFU/g after 4 d of storage, respectively, compared to the control. The results suggested that shelf life of the pork loins could be extended by packaging with the GCG film containing 0.15% FPE.

산철쭉(Rhododendron yedoense var. poukhanense) 꽃으로부터 Terpenoid의 분리.동정

홍윤희,송명종,한재택,장태오,이윤형,김성훈,김승애,박미현,백남인,Hong, Yoon-Hee,Song, Myoung-Chong,Han, Jae-Taek,Jang, Tae-O,Lee, Youn-Hyung,Kim, Sung-Hoon,Kim, Seung-Ae,Park, Mi-Hyun,Baek, Nam-Ln 한국응용생명화학회 2003 한국농화학회지 Vol.46 No.2

산철쭉 끝을 MeOH로 추출하고, 이를 EtOAc, n-BuOH과 $H_2O$로 분배 추출하였다. EtOAc추출물과 n-BuOH 추출물에 대하여 silica gel과 ODS column을 이용하여 chromatography하거나, 아세틸화 한 후 sillica gel column chromatography를 수행하여 2종의 triterfenoid와 3종의 diterpenoio를 분리하였다. 각 화합물은 $^1H-^lH\;COSY$, HMQC, HMBC와 같은 2D-NMR기법을 포함한 스펙트럼 데이터를 해석하여 $2{\alpha}\;3\{beta}-dihydroxylolean-12-ene (1), ursolic acid (2), grayanotoxin IV (3), grayanotoxin I (4) 및 grayanotoxin III (5) 등으로 동정하였다. Extracts were obtained from the flower of Rhododendro yedoense var. poukhanense. (7 kg) in 80% aqueous MeOH and successively fractionated with solvent of EtOAc, n-BuOH and $H_2O$, successively. Silica gel and ODS column chromatographies of the EtOAc and n-BuOH fractions were repeatedly carried out by using the various solvent systems to give five terpenoids. Chemical structures of the isolated terpenoids were determined as $2{\alpha},3{\beta}-dihydroxylolean-12-ene$ (1), ursolic acid (2), grayanotoxin IV (3), grayanotoxin I (4) and grayanotoxin III (5) based on the interpretation of several spectral data including 2D-NMR such as $^1H-^1H\;COSY$, HMQC and HMBC.

21세기 중국 신화의 현재성 담론에서 ‘神話資源’ 토론의 발단

洪允姬(Hong, Yoon-hee) 중국어문학연구회 2021 중국어문학논집 Vol.- No.128

중국 神話資源 토론의 현주소

홍윤희 ( Hong¸ Yoonhee ) 한국중국학회 2021 중국학보 Vol.97 No.-

‘신화자원’이라는 개념은 중국 신화학계에서 2006년에 등장했다가, 십여 년 만인 2019년에 재등장하여 최근까지 이를 둘러싼 논의가 활발하게 이루어지고 있다. 이 논의는 몇 가지 점에서 주목할만하다. 우선 이것이 사회적으로는 전 세계적인 문화산업의 중시와 발전, 미디어 환경의 획기적 변화의 콘텍스트에서 불거진 토론이라는 점이다. 둘째, 이 논의가 학술적으로는 신화의 현재성에 대한 고민에서 출발한다는 점이다. 셋째, 정치적·이념적으로 이 논의는 시진핑 시대 중국의 극렬한 애국주의의 자장에서 자유롭지 못할 뿐 아니라, 한편으로는 그러한 이념에서 논의의 가치와 정당성을 확보해 줄 버팀목을 찾고 있다는 점이다. 넷째는 그럼에도 불구하고 이 논의는 현재진행 중이기에 한편으로 탈주와 확장의 잠재성을 여전히 지니고 있다는 점이다. 이에 본고에서는 2019년부터 최근까지 『長江大學學報』, 『文化遺産』, 『西北民族硏究』 등의 저널에서 ‘신화자원’ 프로젝트의 일환으로 기획 발표된 논고들의 주요 주장과 특징들을 고찰하고, 이를 통해 중국 신화학계에서 일어난 신화자원 토론의 현 주소와 향후 전망을 타진해보았다. 현재까지 신화자원 토론의 중심적 주제는 ‘신화자원 변용의 유형을 어떻게 분류할 것인가’, ‘신화의 자원으로서의 가치와 변용의 의의는 무엇인가’라는 이론적인 부분과, 실제 변용 사례에 대한 분석들로 이루어져 있다고 할 수 있다. 흥미로운 것은 신화자원의 가치에 대한 입장이 다분히 중국의 민족적 이념으로 채워져 있는 데 반해, 실제 사례 분석이나 디지털 매체 환경에서의 신화 연구에 대한 방법을 탐색하는 논의들에서는 이념적 틀에서 벗어나 새로운 학문적 출로를 찾고자 하는 유의미한 시도들이 발견된다는 점이다. 이는 중국 신화학계에서 진행되고 있는 신화의 현재성 탐색이 세계 신화학계와 소통하고 공감대를 형성하며 학문적으로 확장해갈 가능성을 보여주는 부분이며, 우리는 이에 대한 지속적인 관찰과 대화가 필요할 것이다. In the field of Chinese mythology, the concept of “myth resources” appeared in 2006, reappeared again in 2019 after about a decade, and an active discussion surrounding that concept is being made in recent years. This discussion is worth taking note in a number of respects. First of all, on social level, the discussion arose from the context of appreciation and development of cultural industry across the globe, and the ground-breaking change in the media environment. Second, on academic level, this discussion started from the concerns about the nowness of mythology. Third, on political and ideological level, this discussion was not only closely tied to the extreme patriotism of China in Xi Jinping era, but also looking for a support that could secure the values and justification of the discussion from the perspective of that ideology. Fourth, however, this is an ongoing discussion, which can still have the potential to escape and expansion. Hence, in this paper, I examined the major arguments and defining characteristics of the papers that were featured as part of “myth resources” project published in The Journal of Yangtze University, Cultural Heritage, Northwestern Journal of Ethnology from 2019 to date, through which an overview of the current state and future prospect of the discussion on myth resources that arose in Chinese mythological circle was done. Thus far, central themes of the discussion on myth resources focused on the theoretical aspects of how to classify the types of transformation that occurred to the myth resources, and what the significance of transformation and values of myth as resource is, as well as the analysis of actual cases of transformation. What is interesting is that while the position on the value of myth resources is filled with China’s nationalist ideology, analysis of actual cases or the discussions to search for the methods of mythological research in the changing environment of digital media display some meaningful attempts to move away from the ideological framework and seek new academic avenues. Those are the aspects that show the possibility of Chinese mythological scholarship of exploring nowness of myth to academically expand by communicating and establishing common ground with the international mythological circle, which requires continued observation and conversation.

신화를 생산하는 신화학자

홍윤희(Hong Yoon-hee) 한국중어중문학회 2012 中語中文學 Vol.51 No.-

It would be nonsense to try and find original myths, mythologist Ivan Strenski once commented, given that the very word myth “names a reality that we ‘cut out’, not one that ‘stands out’.” Nevertheless, ever since the word ‘myth’ was first translated into Chinese as ‘shenhua (神話)’ in 1903, Chinese scholars have endeavored to trace ‘original’ Chinese mythology and group it into ever more beautiful, well-organized collections. This long-cherished ambition was finally fulfilled in the late 20th century by Yuan Ke (袁珂) the “little giant” of the discipline. Yuan Ke’s version of Shan-hai jing (山海經, The Classic of Mountains and Seas) represents a large part of his entire mythological output. His annotation and commentary is the most respected in Chinese literary history. He also wrote multiple academic articles on the special text. However, today’s Chinese scholars claim that modem studies of Shan-hai jing make a completely new leap forward; an interdisciplinary approach, rather than Yuan Ke’s mythological or literary approach. They regard Yuan Ke as someone who merely saw Shan-hai ling as a book of mythology or shamanism. This paper focuses on two questions. First, what did Yuan Ke cut out or manufacture in his work on Shan-hai jini? Second, do current studies of Shan-hai jing really break with Yuan Ke? To answer these questions, this paper reexamines Yuan Ke’s work on Shan-hai jing. In doing so, it reveals that Yuan Ke took a mythological approach to the text, part of his grand plan to “compile Chinese mythology,” and that he weaved its fragmentary contents with completely different texts to reconstruct ‘original’ mythology. It also reveals that Yuan Ke’s work on Shan-hai jing already adopts an interdisciplinary approach, something clear in his understanding of the concepts Wu (巫, shaman) and mythology itself. In addition, his approach surely built on the work of Lu Xun(魯迅) and Mao Dun (茅盾). In reality, Yuan Ke played the role of a bridge, spanning the gap between Shan-hai jing studies of the early 20th century and those of the early 21st.

韓·中 설화 분류법의 비교와 모색

홍윤희(Hong, Yoon-Hee) 한국중어중문학회 2013 中語中文學 Vol.54 No.-

Classification of folktales is a conundrum that has not yet been solved. The most commonly used three-way classification of “myths/legends/fairy tales” or the Aarne-Thompson classification system still raise questions and debates. The situation is the same in China and Korea. In both countries, a coherent method of classification has not been established and varied systems of classification coexist or contend with one another. Also, though the discussions of folktale classification in China and Korea are on quite a high level, a mutual understanding is lacking between them. In this paper, I will focus on and examine The Collections of Chinese Folktales (『中國民間故事集成』) and The Collection of Korean Oral Literature (『韓國口碑文學大系』), which are the biggest and most representative achievements in the history of Korean and Chinese folklore studies respectively. The Collections of Chinese Folktales respect the existing classification systems mentioned above, while choosing to resolve the numerous variables that occur in the process of collection through the manner of “comprehensive consideration.” This method presents the limitation of allowing the arbitrariness of the collector to intervene. However, Jo Dong-il who devised the classification method for folktales in The Collection of Korean Oral Literature thought that the “motif-index” or “tale type index” were either too complicated or unfit for Korean folktales and, created a highly unique system of classification of his own. He classified the folktales by, ones with unique subject and ones with unique situation, and by applying the strict binary system of subdividing them again through the standards of deduction/induction, beginning/ending, etc. This method of classification may seem quite revolutionary and logical in its structure, but displayed the problem that it was not easily applicable to actual situations of the folktales. When a particular system of classification has been used for a long period of time by enough number of people, even though it might contain some chronic problems, its familiarity overshadow those problems. The reason that the three-way classification of “myths/legends/fairy tales” or Aarne-Thompson system, with all its obvious problems and limitations, has not been discarded is that it is too “familiar.” However, such familiarity can, at times, be poisonous in studies and academics. If the classification system conceived in Europe is unsuitable for the reality of Korean and Chinese folktales, we should necessarily try to devise a classification system that is both fit to our reality and may maintain universality. What is required at this point is the communicative and cooperative effort between the scholars of folktales in Korea, China and even the world.

제이드로드에 소환된 西王母와 중화문명탐원에 바쳐진 신화연구

洪允姬(Hong, Yoon-hee) 중국어문학연구회 2015 중국어문학논집 Vol.0 No.91

‘Jade Road’ is a term that was presented as an alternative to ‘Silk Road’ to overcome its limits. However, this terminology which started to make frequent appearance in the world of Chinese mythology in the recent years is used in the context of Chinese mythology as part of project dedicated to the exploration into the origin of Chinese civilization, rather than in the context of Silk Road studies. In particular, Jade vessels and the tombs of goddesses which were excavated in massive amount in Liaohe area are utilized and interpreted as the materials that could push the origin of Chinese civilization up to eight thousand years ago. Based on this discovery, mythologists such as Ye Shuxian, argue that the Jade Worship and the civilization of goddess had been the two pillars of spiritual genes for Chinese civilization, by reinterpreting Chinese myths within the context of Jade Road. This paper examines how the myth of Xiwangmu, one of the major goddesses in Chinese mythology is dedicated to this project, and presents a critical perspective on its problematic aspects.

중국 신화자원의 ‘景觀化’에 대한 고찰 - 武漢 大禹神話公園을 一例로

洪允姬(Hong, Yoon-hee) 중국어문학연구회 2021 중국어문학논집 Vol.- No.130

In the last two decades or so, numerous movements that involved local governments in China taking initiatives to utilize grand monuments as local landmarks and tourist resources, which commemorate the heroes of Chinese mythology relevant to the region. Active discussions are going on within Chinese mythological circle about this phenomenon, which was conceptualized as “landscapization of myth resources.” Among them, “Dayu Myth Park” in Wuhan, Hubei Province calls for a particular attention, which is a theme park filled with sculptures that describe the myth of Yu the Great, a savior-hero famed for his ability to control the waters. This paper explores the mode in which this park utilized the myth, and further examines the meaning of “landscapization” of Chinese myth resources and the spectrum of political, economic, and cultural desires that surround the myth resourcization by analyzing the scholarly discussions and evaluations of that matter and the pattern of participation in the construction process. Recognizing the importance of cultural industry in the wake of globalization, summoning of Chinese nationalism in the face of ideological crisis of communism, and the “fever for cultural heritage” fueled by the influence of UNESCO World Heritage list system—all of these have served as the complex cause that led to the local governments scrambling for the construction of various structures and landmarks that utilized mythical or historical figures as their central theme. What is at work behind such “landscapization” is not only the desire to liven up the local economy through the promotion of tourism industry, but also the desire for monumentalization, that is, to create the monument that could be held up as the symbol of national identity. Particular case of Dayu Myth Park, however, reveals much more concrete circumstances. For instance, there are complexly entwined accidental elements involved in the case from the social aspiration of the city of Wuhan to rise from the nightmare of a natural disaster, i.e. flood, by summoning and celebrating the power of myth, to the cultural desire for Chinese mythology to possess the artistic and formal characteristics that could compete with the Greek mythology of the West, the academia seeking new avenues for the field of mythology by examining, criticizing, and actively participating in the matter, and the experiences and ideas shared by the people who actually participated in constructing the park. The multifarious aspects surrounding Dayu Myth Park makes us realize that it is necessary for us to examine the socio-cultural contexts surrounding the case in a more multifaceted and acute manner when we look at the utilization of myths in present day, in particular, the monumentalization and landscapization of mythical heroes that are happening abundantly in China.

秦始皇, 신화와 역사의 경계에서

洪允姬(Hong Yoon-hee) 중국어문학연구회 2008 중국어문학논집 Vol.0 No.53

Zhang Yimou is an internationally acclaimed film director, who was also the director for the opening ceremony of Beijing Olympics, 2008. Hero was the first film he made after he acquired his position as the most influential director of China, one being protected by the Chinese government, from the dissident of the old days. In this film, Hero, he displayed his spectacular aesthetic senses by making full use of dazzling colors and variation of narratives. However, this did not work toward producing diverse 'sens', but remained only as the presentation of style. After all, Hero addresses a singular message of "Tianxia(天下)," which means "One World, One Dream" and "One China."

중국 용 신화의 에콜로지

洪允姬(Hong, Yoon-hee) 중국어문학연구회 2014 중국어문학논집 Vol.0 No.86

Dragons in Chinese myths are depicted as the animal that lives in waters such as river, sea or lake. In agricultural society, dragons were recognized as the rain deity; and to seamen, they were perceived as the being that determined the smooth sailing. In other words, they possessed the attributes of the water deity. Also, water not only makes life possible on earth, but takes it away when in dearth such as the drought, or in excess such as the flood or hail. Deep water possesses the images of both the source of life and the place of darkness or death. Thus, water is an object for which we must feel grateful when it maintains the optimum level; but when the delicate balance is broken, it becomes a fearful object or the one that exerts merciless violence by drowning or withering everything. This very ambivalence of water is also reflected in its mythical embodiment, that is, the dragon. Then, what kind of relationship has human maintained with this incontrollable power? Based on this question and idea, this paper focuses on the mode of relationship that existed between the natural and cultural principles expressed in the myths or documents pertaining to dragon. In so doing, I examined the story of Goulong(句龍), one that is worshipped in the Dragon Tablet Festival (龍牌會) held in Fanzhuang Village in Heibei Province; the story of Yinglong (應龍) appearing in Shanhaijing(山海經); the process of dragon worship rituals or the sacrificial methods described in historical records; and the legends of heroes who prevented the river from flooding by killing the monstrous dragons. By examining a series of such narratives and rituals, this paper demonstrates that myths do not just present an ideal state that should be restored. They, in fact, unfold a diverse range of tension and paradox that exist within the fragile relationship between culture and nature, which can be broken at any time. The path of reconciliation and mutual respect is in fact the ecology that we must seek from these dragon myths. What we must bear in mind is that human culture is something that has been constructed upon them, using their monstrocity as its material.