심포지엄 : 예술용어와 예술현장 - 한국 근,현대 예술의 기원과 성격 ; 근대 연극 용어의 기원과 변화: 원근법과 주체 구성, 박명진의 「근대 연극 용어의 기원과 변화」 질의

박명진 ( Myeong Jin Park ),박영정 한국미학예술학회 2004 美學·藝術學硏究 Vol.20 No.-

신재생에너지 하이브리드시스템 동향

박명진,Park, Myeong-Jin 한국전기전자재료학회 2015 전기전자재료 Vol.28 No.8

김우진과 식민지 모더니티

박명진(Park, Myeong-jin),조현준(Cho, Hyeon-joon) 중앙어문학회 2013 語文論集 Vol.53 No.-

The aim of this essay to examine the feature of the spirit of the age and to examine Kim Woo-Jin and the Japanese Colonial Modernity with his dramas and critical works. Kim Woo-Jin was poet and dramatist and critic in one. And he was a marxist as well as Hamlet. Also he was an intellectual who criticized a problem of class as well as an intellectual who wandered in his fate. Phantoms of his ancestor and his family harassed him constantly.<br/> He was, so to speak, an one writer who explored the modernity of 1920’s and tried to break down the contradiction of the time. This shows the fact that his inner world was not simple and says that the discoursive struggle in the process of his developing activity of drama was very diverse. The utopia, that he suggests, is a world of poem or mother, in other words, the peaceful period of childhood and space of the “imaginary”.<br/> In 〈Shipwreck〉, the destination where the protagonist sought struggling with phantom of his ancestors. 〈Shipwreck〉 belong to the fantasy that is very regressive and childish in that sense. 〈Shipwreck〉 was a expressionism drama, and this drama was a very unaccustomed genre in 1920’s of Chosun. 〈Lee Young Nyeo〉 is a realism drama. We can see t1lat Kim Woo-Jin covers a wide range of genres from realism drama to expressionism drama. The diversity of his dramas shows that Kim Woo-Jin’s coping with modernity of 1920’s was a metonymy. We can say that it was a syndrome that Kim Woo-Jin would like to respond to modernity of the Japanese colonial period.<br/> We must take a note about the fact that Kim Woo-Jin used expressionism drama as a media to understand the modernity and the inner world of himself in 1920’s. Kim Woo-Jin is a writer who have been investigating opportunities for modernity of Korean modern drama of 1920’s. The diversity of his dramas or the syndrome of borderlines guide us to interrogate on modernity of Korean modern dramas.

한국 영화의 공간성과 인종 재현 양상 : 이주노동자 소재 영화 〈바리케이트〉와 〈반두비〉의 경우를 중심으로

박명진(Park Myeong-Jin) 중앙어문학회 2011 語文論集 Vol.46 No.-

This paper aims to analyze the aspect of representation of space and other in Korean films about migrant workers. This paper will focus on two films, 〈Barricade〉 and 〈Bandhobi〉. 〈Barricade〉 is about the conflict between Korean workers and workers from Southeast Asia. In laundry, migrant workers had to endure inhumane treatment from Korean workers. "Han-sik", hero of this movie, is cynical about others and assumes the attitude of an onlooker on them. The father of "Han-sik" was a immigrant worker in the United States. However, he was contemptuous of both his father and of immigrant workers. But, he gradually began to understand their position. In the ending of the film, he showed "Jaki", worker from Bangladesh, a tolerant attitude. 〈Bandhobi〉 is a film about a friendship between Korean high school girl and male worker from Bangladesh. The story about love between Korean woman and man from Southeast Asia is a very sensitive issue. "Min-seo", is heroine of this film, ignored and looked down on him only because he was from poor country. She is part-time worker of gas station and massage shops. Her workplace is surrounded by danger like as men's sexual threats. 〈Bandhobi〉 criticizes the vulgarity of capitalism in Korean society by showing spaces filled with insatiable desire. "Min-seo" is slowly changed by his unconditional kindness and tolerance on her. This film emphasizes us the value of the spirit of hospitality.

TV 드라마 <하얀 거탑>에 나타난 영상 미학과 각색의 의미 연구

박명진 ( Myeong Jin Park ) 한민족문화학회 2009 한민족문화연구 Vol.31 No.-

정의신의 희곡에 나타난 기억과 애도

박명진(Park Myeong-Jin) 중앙대학교 문화콘텐츠기술연구원 2018 다문화콘텐츠연구 Vol.0 No.28

이 논문의 목적은 정의신의 드라마에 나타난 기억과 애도의 양상을 분석하기 위한 것이다. 그는 자이니치로서 한국과 일본 어디에도 소속되지 않은 작가이다. 따라서 그의 희곡을 한국 문학이나 일본 문학 어느 한쪽에 종속시키는 것은 바람직하지 않다. 이 논문은 정의신의 드라마들의 혼종성에 대해 다루고 있는데, 이것은 그의 연극이 특정 국가의 문학에 귀속시키는 것을 피하려고 했다. 그는 소위 3세대 재일동포로서 일본의 조선인 부락에서 태어나고 성장했다. 그의 희곡에는 그가 어린 시절 살았던 조선인 부락의 수치스럽고 슬픈 이야기가 묘사되어 있다. 그의 연극은 자이니치에 대한 슬픔과 연민으로 가득 차 있다. 일본에서 한국인에 대한 그의 감정은, 들뢰즈적인 의미에서, ‘정동(Affect)’이라고 불릴 수 있다. 그의 희곡은 따뜻한 눈빛으로 일본에 사는 한국인들을 포옹하고 희망, 사랑 그리고 용서의 감정으로 나아간다. 그는 일본에 있는 조선인 거주 부락에서 자신의 경험을 기록하기 위해 연극을 만들었다고 밝힌 바 있다. 그가 어렸을 때 살았던 한국 마을은 지옥처럼 고통스러운 공간이었다. 그럼에도 불구하고, 그는 연극을 통해 과거의 고통스러운 기억들을 용서하고 받아들이고 애도하려고 시도했다. 그는 ‘과거’의 밖에 있지도, 내부에 있지도 않았다. 그는 시간과 기억의 경계선에서 있는 유목민에 가깝다. 자이니치와 조선인 부락 생활에 대한 그의 기억은 양가적이다. 그것은 용서와 화해의 감정에 속할 뿐만 아니라 슬픔과 수치심에 속하기도 한다. 그는 어린 시절의 슬픈 기억을 애도하고자 한다. 그의 희곡은 한국 문학에 있어 ‘부재하는 원인’으로 존재한다. 그의 희곡이 한국 문학의 정체성에 갇혀 있지 않기 때문이다. 그런 점에서 정의신과 그의 희곡은 기억과 애도를 담은 희곡이며, 동시에 국경을 가로지르는 유목민의 연극이기도 하다. 그의 연극은 계속해서 우리에게 ‘국가가 무엇인가?’ 또는 ‘국가 정체성은 무엇인가?’를 심문한다. 어떤 의미에서, 자이니치 한국인은 유령, 서발턴, 불온한 존재이다. 그의 희곡은 일본 문학의 일부이지만, 동시에 일본 문학에서 벗어나 제3의 정동 공간을 만들어 낸다. 그의 연극은 우리에게 국가와 국가, 기억과 애도, 슬픔과 애도에 대해 재사유하고 전유할 수 있도록 유도하고 재촉한다. This paper aims to analyze the aspects of memory and mourning in Jung Eu‐Sinʹs Dramas. He is Zinichi Korean, a writer who has not belonged anywhere in Korea and Japan. Therefore, it is not desirable to include his play in the category of either Korean literature or Japanese literature. This paper deals with the hybridity of Jung Eu‐Sinʹs dramas, which will avoid subordinating his plays to the literature of any particular nation. He was born and grew up in a Zinichi Korean village in Japan. In his plays, the sad stories of the Korean town where he lived in childhood are depicted. His plays are full of sorrow and sentiment of pity for the Zinichi Koreans. His feelings for the Zinichi Korean people in Japan, according to Deleuze, can be called Affect. In his plays, he embraces the Zinichi Korean people in Japan with a warm glance, and moves on to the emotions of hope, love and forgiveness. He said that he created a play to record his experience in the village of his Zinichi Korean residence in Japan. The Zinichi Korean village where he lived when he was a child was a painful space like hell. Nonetheless, he wanted to forgive, embrace and mourn the painful memories of the past through the plays. He was neither outside nor inside the past. He is close to the nomadic people standing on the borderline. His memories of the village of Zinichi Korean residents in Japan are ambivalent. It is sorrow and shame as well as belonging to feelings of forgiveness and reconciliation. He tries to mourn the sad memories of his childhood. His plays exist as a cause absente to Korean literature. The reason is that his plays are not trapped in the identity of Korean literature. In that sense, Jung Eu‐Sin and his plays are a play of memory and mourning, and at the same time a nomadic play across the border. His plays consistently interrogate us, ‘What is a nation?’ or ‘What is the identity of a state?’ In a sense, Zainichi Korean is kind of a ghost, a subaltern, a rebellious being. His plays are part of Japanese literature, but at the same time they deviate from Japanese literature and generate a third emotion, in other words, a new affect. His play tells us about nation and race, memory and mourning, sorrow and mourning through Jung Eu‐Sinʹs effect of Affect.

조령출 희곡 연구 : 창작 희곡 4편을 중심으로

박명진(Park Myeong-Jin) 우리문학회 2011 우리文學硏究 Vol.0 No.33

조령출의 창작 희곡은 대부분 창작 당시의 정치적 권력 구도에 민감하게 반응한 특징을 지니고 있다. 〈현해탄〉은 국민극 운동의 일환이었던 ‘연극경연대회’에 출품된 작품이고, 〈위대한 사랑〉은 해방 직후 ‘조선 연극동맹’이 주최한 ‘3.1 기념연극대회’에 출품된 작품이다. 월북 후에 발표된 〈열두벌삼천리길〉과 〈리순신 장군〉은 모두 북한 정권의 통제 하에서 공연되었다. 이는 곧 그의 희곡들이 특정 집단이나 권력 주체의 이데올로기적 도구로 창작되었음을 시사하는 것이라고 볼 수 있다. 그의 희곡을 관통하고 있는 세계관은 계몽주의라 할 수 있다. 이때의 계몽주의는 창작 당시의 주체 구성 프로젝트와 밀접한 관계를 맺고 있었다. 〈현해탄〉은 일제의 전시체제에 복무하기 위한 프로파간다 희곡이었고, 〈위대한 사랑〉은 해방 직후의 새 국가 건설 프로젝트를 위한 대중 계몽의 선전극이었다. 〈열두삼천릿벌〉과 〈리순신 장군〉은 북한 정권의 국가관을 계몽하기 위해 창작된 희곡들이다. 네 작품은 각기 타파되어야 할 주적(主敵)을 시대 상황에 따라 교체하고 있다. 이 작품들은 좌절할 줄 모르는 투사(鬪士)로서의 남자 주인공과, 그 주인공을 절대적으로 신뢰하고 그를 위해 희생하는 여주인공을 형상화한다. 이에 따라 남녀 주인공들의 연애 및 결혼은 계속 지연되거나 봉쇄당하게 된다. 이들에게 있어 ‘육체’의 욕망은 ‘혼’, ‘정신적 가치’, ‘대의명분’, ‘민족애’ 등과 같은 거대서사에 의해 억압된다. 작품의 서사 전개를 이끌고 있는 멜로드라마적 취향도 이러한 거대서사의 틀 안에서 제한적으로만 활용되고 있다. 조령출의 희곡들은 식민지 후기, 해방 직후, 월북 이후로 이어지는 시기에 대한 작가의 이데올로기적 선택의 결과물들이다. 각기 다른 시대적 배경과 사회 체제 속에서도 이 작품들이 공통적으로 지향하는 대상은 국가 및 계급과 같은 거대담론의 세계였다. The aim of this paper is to examine four dramas of Cho, Yeong-Chool; 〈Korea Str.〉, 〈The Great Love〉, 〈the An-Joo Plain〉, and 〈Admiral Yi Sun-shin〉. 〈Korea Str.〉 was performed just before the Independence from the Japan Occupation, on February, 1945. The theme of this play is to incite the Korean students of the Japanese colonial period to enter the war as student soldiers. ‘Seokwon’, protagonist of the play, is a scientist. Unfortunately, he developed leprosy, so he fell into deep despair. ‘Gwangsuk’, his lover, decided to nurse him forever. She was a dedicated and loyal woman. She showed an attitude of self-sacrifice, and thanks to her support he was able to developed a cutting edge radar weapon. They felt happy, but the sense of loyalty for the Japanese Empire disturbed their sexual love. For this reason, in this play they never could not achieve a real love. This is the limit of demagogic plays. 〈The Great Love〉 is a play staged in “The 2nd Theater Festival of celebration for 3.1 Movement” hosted by “Chosun Plays Alliance”. This paly is the adaptation of the novel of “Chunhyangjeon” to “Donghak Revolution”. And this play shows the melodramatic plot full of passion, anger, frustration, and sentimentalism. Leftism is wide-spreading mainly among people right after liberation from Japanese colonial rule. We can consider that this play was performed in order to stir up a revolution. “Haksun”, heroin in this play, sacrificed herself for the hero, “Chungtoryeong”. 〈The An-Joo Plain〉 is a play written after his defecting to North Korea, and this play describes the sense of loyalty of workers during the postwar rehabilitation period. Outwardly, it seems like this play emphasizes the value of labor, but a deep-rooted hatred and fear of American army was inherent in this play. But the shapes of the North Korean workers tended to be stereotyped because the consciousness of characters in this paly was oppressed by the party organizations. 〈Admiral Yi Sun-shin〉 is a remake of the 1948 original, Kim, Taejin’s play of the same name. Kim, Taejin’s 〈Admiral Yi Sun-shin〉 was performed at Pyongyang National Theater in 1954. Kim Ii-sung watched the play, and, then, criticized some problems on that play. He pointed out the defects of this play: for example, heroizing Yi Sun-shin, describing the people as depersonalized characters, and weakening the conflict between the protagonist and antagonist. Cho, Yeong-chool’s four plays can be regarded as propaganda plays mixed with the melodramatic tastes. His plays praise the noble spirit of the characters who sacrifice for their organizations.

〈색│계〉에 나타난 젠더와 내셔널리즘 연구

박명진(Park Myeong-jin),심우일(Shim Woo-il) 중앙어문학회 2008 語文論集 Vol.39 No.-

The aim of this paper is to analyze the gender and nationalism in 〈Lust│Caution〉 which was directed by Lee An in the year of 2007. 〈Lust│Caution〉 is the adapted film from an original fiction 〈Lust│Caution〉(色, 戒) written by Chang Eileen(張愛玲) Chang Eileen was a female writer who played an active part mainly in Shanghai in the 1930's. In an original fiction 〈Lust│Caution〉, she described the fatal love above and beyond the nation and state. The movie's tragic heroine, Wong Chia Chi (played by Tang Wei 湯唯), pull a badger game in order to assassinate Mr. Yee (played by Tony Leung 梁朝偉), who was a high-ranking official of the pro-Japanese group. Wong Chia Chi, college woman disguised herself as Mrs. Mak and approached Mr. Yee. However, she was swayed by sexual sentiment to Mr. Yee, neglecting her special mission of assassinating him, one of the pro-Japanese group. At last, she delivered Mr. Yee out of danger, on this account, she herself and her hit team were arrested and then killed. Chinese audiences leveled criticism at 〈Lust│Caution〉 on the ground that this film damaged the history of the struggle against Japan's imperialism and hurt the Chinese's national pride. The Chinese audiences called all of them, the hero Lee An, heroine Wong Chia Chi, and writer Chang Eileen, down as traitors. The Chinese became angry because 〈Lust│Caution〉 valued the gender and sexuality of women above nation or state. On the other hand, Korean audiences regarded this film as an art film. They lavished praise on the dramatic interpretation of the movie director, and on the acting ability of Tang Wei and Tony Leung Chiu-Wai, and on the fatal love story. Unlike Chinese audiences, Korean audiences appreciated this film freely, breaking from the closed and exclusive nationalism. China is now pursuing great-power chauvinism. Chinese audiences understanded 〈Lust│Caution〉 as making a fool of the great-power chauvinism. In China this film was appreciated only as nationalism. On the contrary, Korean audiences took the affirmative standpoint about the gender and sexuality of female in 〈Lust│Caution〉 amicably. 〈Lust│Caution〉 is the film that operates as a very important media in constructing the identity of nation, state, race, gender.

혀에 발생한 증식성 근육염

박명진 ( Myeong Jin Park ),성기현 ( Gi Hyun Seong ),박민기 ( Minkee Park ),최미수 ( Mi Soo Choi ),홍승필 ( Seung Phil Hong ),박병철 ( Byung Cheol Park ),김명화 ( Myunghwa Kim ) 대한피부과학회 2019 대한피부과학회지 Vol.57 No.1

Proliferative myositis is a rare, benign, probably pseudosarcomatous fibroblastic proliferation that typically presents as a rapidly growing soft tissue mass. Its relative rarity, fast growth rate, and unique histopathologic findings may lead to misdiagnosis as a malignant lesion and unnecessary radical surgical excision. A 57-year-old female presented with a non-tender, well-defined, indurated, solitary, hard papule on the median sulcus of the tongue for 2 weeks. Histologic examination revealed numerous fibroblastic or myofibroblastic spindle cells and large ganglion-like cells infiltrating between and around the muscle fascicles. Immunohistochemical staining showed positivity for vimentin, smooth muscle actin, and CD68 and negativity for S-100. Based on these characteristic clinical findings and histopathologic features, the patient was diagnosed with proliferative myositis. Here, we report a rare case of proliferative myositis on the tongue and recommend considering proliferative myositis in the differential diagnosis when a physician encounters a rapidly grown soft tissue mass. (Korean J Dermatol 2019;57(1):28∼31)

해방기 독립 투쟁 소재의 극예술에 나타난 주제의식 연구 : 박노아의 희곡 <선구자>와 전창근의 시나리오 <자유만세>를 중심으로

박명진(Park Myeong-Jin) 우리문학회 2012 우리文學硏究 Vol.0 No.36

본고는 독립 투쟁을 소재로 하는 해방 직후의 희곡과 시나리오의 주제의식을 분석하고자 하였다. 박노아와 전창근은 각각 희곡 <선구자>와 시나리오<자유만세>를 통해 식민지 말기 항일 투쟁가들의 영웅담을 들려준다. 이 두 작품은 소재적 유사성을 가지고 있는데 두 작가가 모두 식민지 말기에 친일적인 작품 활동을 했다는 공통점도 가지고 있다. 희곡 <개화촌>과 영화 <복지만리>가 그것인데, 이 두 작가는 독립 투쟁 소재의 작품을 통해 식민지 시기의 친일적 작품과 갈라서려 한다. 그러나 박노아의 <선구자>는 보이지 않는 절대적 주체로 설정하는 것이나, 여성을 불신의 대상으로 타자화하는 방식에 있어 <개화촌>을 반복하고 있다. <복지만리>의 친일성 여부에 대해서는 아직도 논쟁 중에 있지만, 다른 영화인에 비해 전창근의 친일 행각은 두드러지지 않는다. 시나리오 <자유만세>는 해방 직전까지 항일 투쟁을 벌이는 영웅적 주인공을 통해 민족의식을 고양하려 한다. 그러나 <복지만리>에서 주인공이 자살하는 것으로 설정한 것과 같이 <자유만세>에서도 주인공은 무모할 정도의 투쟁 방식을 선택하여 죽음을 맞이한다. <선구자>가 남성 영웅을 구축하기 위해 여성을 타자화했다면, <자유만세>에서는 여성을 성녀와 탕녀라는 분열증적 대상으로 상상한다. This study aims to analyze the theme of a play and scenario about the struggle for independence right after Korea's liberation from Japanese colonial rule. Park, no-ah and Chun, chang-geun tell epic tales on pro-independence fighter against colonialist Japan through a play and scenario, <A pioneer> and <Viva Freedom>. They have several things in common in their writing material, and there is one thing they have pro-Japanese activities during the colonial period. <A pioneer> and <A civilized village> have one thing in common in distrusting women. And there is common ground on an attitude that the playwriter regards the independence fighter as an absolute being. Meanwhile, <Viva Freedom> enhances nationalism through foregrounding an anti-Japan fighter. But Viva Freedom and <A remote foreign welfare land> have one thing in common in an attitude to praise a blind sacrifice such as a dying because of a reckless combat. While <A pioneer> accepts otherizing of women for building heroes, <Viva Freedom> allows a imagination of regarding women as schizophrenic object.