전문가 기고 - 2015 우리 축산물 학교급식 우수학교(한우부문) 부총리 겸 교육부장관상수상 - 천안 쌍용중학교의 건강한 밥상 이야기_…

황선미,Hwang, Seon-Mi 축산물품질평가원 2015 KAPE누리 Vol.232 No.-

편두통(偏頭痛)의 중의진단(中醫診斷) 및 치험예(治驗例)에 대한 고찰(考察)

황선미,정대규,Hwang Seon-Mi,Jeong Dae-Gyu 대한한방신경정신과학회 1999 동의신경정신과학회지 Vol.10 No.2

위장관 ; 한국인에서 위저선용종과 결장암의 상관관계: 16년간 후향적 고찰

황선미 ( Sun Mee Hwang ),김병욱 ( Byung Wook Kim ),채현석 ( Hiun Suk Chae ),이보인 ( Bo In Lee ),최황 ( Hwang Choi ),지정선 ( Jeong Seon Ji ),최규용 ( Kyu Yong Choi ),정인식 ( In Sik Chung ),맹이소 ( Lee So Maeng ) 대한소화기학회 2011 대한소화기학회지 Vol.58 No.1

Background/Aims: There is an ongoing debate on the relationship between gastric fundic gland polyps and increased incidence of colorectal neoplasia in Caucasians. However, there was no report on the relationship between gastric fundic gland polyp and colorectal neoplasia in Korea. The aim of this study was to identify the characteristics of gastric fundic gland polyps and whether a relationship exists between fundic gland polyps and colorectal neoplasia in Korean population. Methods: Persons who underwent an esophagogastroduodenoscopy and colonoscopy from 1992 to 2007 at the Health Promotion Center of Incheon St. Mary`s Hospital, The Catholic University of Korea were reviewed retrospectively. The relationship between gastric fundic gland polyps and colorectal neoplasia were analyzed. Results: Among 22,451 subjects, fundic gland polyps were found in 328 subjects (1.5%). Fundic gland polyps were more common in women than in men (odds ratio of 6.25; 95% CI of 4.68-8.34). The odds ratios for colorectal neoplasia in all subjects with gastric fundic gland polyps were 0.56 (95% CI of 0.33-0.95) and men who were 50 years of age or older had an odds ratio of 2.81 (95% CI of 1.03-7.66) as compared to the control group. However, age and sex-adjusted odds ratios for all gastric fundic gland polyps were 0.73 (95% CI of 0.42-1.26), for men 1.78 (95% CI of 0.80-3.98), and for women 0.37 (95% CI of 0.16-0.87). Conclusions: Surveillance colonoscopy in patients with fundic gland polyps can be performed in the same manner as general population in Korea. (Korean J Gastroenterol 2011;58:20-24)

1960년대 대만 ‘건강한 리얼리즘’ 영화 고찰 — 〈굴 따는 처녀(蚵女)〉를 중심으로

황선미(Hwang, Sun-Mi) 중국문화연구학회 2022 중국문화연구 Vol.- No.58

식장산 산림식생유형과 세천계곡부의 식생구조

황선미 ( Seon Mi Hwang ),윤충원 ( Chung Weon Yun ) 한국환경생물학회 2007 환경생물 : 환경생물학회지 Vol.25 No.3

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대만 국민화합의상징이된황룽찬의〈공포의검열〉

황선미(Hwang, Sun-mi) 한국중어중문학회 2023 中語中文學 Vol.- No.92

본고에서는 중국 쓰촨성 충칭(四川省重慶) 출신의 판화 작가 황룽찬(黃榮燦)과 그의 작품〈공포의 검열(恐怖的檢查)〉(1947)이 현재 대만 사회에서 시사하는 바가 무엇인지에 대해 다루고자 한다. 중국에서 판화가로서 왕성한 활동을 전개했던 황룽찬은 1945년 12월 겨울, 홍콩을 거쳐 대만으로 건너왔다. 양안(兩岸) 예술의 동질성 회복에 분주했던 황룽찬은 판화에 대한 열정과 능력을 제대로 펼칠 겨를도 없이 대만에 온 지 7년 만에 중국 공산당 간첩죄로 끌려가 처형당했다. 그의 나이 37세였다. 황룽찬의 죽음과 작품은 1945년 이후 대만 계엄령 시대 독재 치하에서 수십 년간 사장(死藏)되었다. 1987년, 계엄이 해제되면서, 과거 국민당 정권 시절 이념적 갈등으로 희생되었던 인물들에 대한 재평가가 진행되었다. 그중에서도 1950년대 백색테러 시기 희생양이 되었던 황룽찬이 주목받으면서, 그의 삶과 작품이 복원되기 시작했다. 특히, 그가 남긴 〈공포의 검열〉은 당시 2·28 사건을 사실적으로 표현한 드문 사례로 꼽히며, 영상기록이 부족한 2•28 사건에서 중요한 시각적 자료로 제공되고 있다. 본고는 선행연구 성과를 토대로 황룽찬의 〈공포의 검열〉을 고찰하면서, 동시에 2•28 사건을 상징하는 〈공포의 검열〉이 현재 대만 사회에서 어떠한 의미를 지니고 있는가라는 질문에 대한 해답의 실마리를 찾아보고자 한다. 이는 실질적이고 구체적인 사례 분석을 통해 대만 사회가 가진 복잡한 사회구조를 이해하는 데 유용한 정보를 제공할 것이며, 대만인의 역사 인식을 이해하는데도 도움을 줄 것이다. The purpose of this study is to examine the background of how Huang Rong-can, a print artist from Chongqing, Sichuan Province, China and his artwork “The Horrifying Inspection”(1947) became a symbol of strengthening of Taiwan consciousness and national unity in the process of implementing the Transitional Justice policy of the Taiwanese Cai Ying-wen regime. Huang Rong-can, who had developed activities in China, came to Taiwan via Hong Kong in the winter of December 1945. Seven years after he came to Taiwan, Huang Rong-can, who was busy restoring the homogeneity of Chinese and Taiwanese art, without time to open up his passion and ability for printmaking, was dragged away and executed for espionage for the China Communist Party. His age was 37. Huang Rong-cans death and artwork were hoarded after 1945 under the dictatorship of Taiwans martial law era. In 1987, when the martial law was lifted, a re‐evaluation of those figures who were victimized by ideological conflicts during the past Kuomintang party regime took place. Among them, when Huang Rong-can, who was a victim of the white terror era in the 1950s, drew attention, his life and artworks began to be restored. In particular, “The Horrifying Inspection” that he left behind is considered a rare case of realistically expressing the 2‐28 incident at the time, and is provided as an important visual data in the 2‐28 incident, which lacks video records. “The Horrifying Inspection”, chosen as a representative artwork depicting the miserable appearance of Islanders(本省人), was an artwork of an artist from Mainlanders(外省人). In the meantime when the truth about the 228 incident is being investigated as part of the Transitional Justice currently being implemented by the Democratic Progressive Party government, “The Horrifying Inspection” is emerging as a symbol of the 228 incident. This study may provide useful information for understanding the complex social structure that Taiwanese society has through practical and specific case analysis.

대만의 꿈(台灣夢), 애니메이션 〈싱푸루에서〉

황선미(Hwang, Sun-mi) 한국중어중문학회 2019 中語中文學 Vol.- No.75

“On Happiness Road” as Director Song, Xing-ying`s feature animation debut work, was first screened at the Pusan International Film Festival in 2017, and was released in Taiwan on January 5, 2018, and in France on August 1, 2018. “On Happiness Road” is a film untying the plot of the process of the heroine girl growing up on the happiness road in Taipei City. This film is based on the autobiographical story of the director Song, Xing-ying. She has brought Taiwan`s 70-year turbulent history such as the era of martial law, the release of martial law, the 921 Great Earthquake, the Nationalist Party, the Democratic Progressive Party, and regime changes, etc. to the autobiographical story with her own personal history and the curves of contemporary history of Taiwan. “On Happiness Road” is far from Disney`s `Prince and Princess` and `Dream Land`. The warm and refreshing point of the movie is in fact a reflection of the cold reality of the alienated by the theme of white terror, democratization movement, and sacrifice, etc. Not only the story but also the character of the movie is close to the animated version `Neorealism`. Therefore, this article attempts to search for “On Happiness Road” from the viewpoint of neo-realism. To elaborate the story of `Taiwan`s dream`, while examining what meaning “On Happiness Road”, which refused to get investment from the mainland China, might have for cross-strait film exchange, this article attempts to explore director Song, Xing-ying’s artist consciousness and the identity of Taiwan people appearing in “On Happiness Road”. It can give an opportunity to have not only an understanding of cross-strait cultural exchanges, but also Taiwan"s 70-year modern and contemporary history, and at the same time, it may contribute to the activation of cultural exchanges with Korea by improving the understanding of the national sentiment that Taiwan is facing now.

공진단(供辰丹)이 CT105로 유도된 Alzheimer`s disease 병태(病態)모델에 미치는 영향

황선미 ( Seon Mi Hwang ),정대규 ( Dae Kyoo Chung ) 대한한방신경정신과학회 2004 동의신경정신과학회지 Vol.15 No.2

실존적 수용과 언약적 수용에 대한 기독교 상담학적 조명

황선미 ( Sunmi Hwang ),박선홍 ( Sunhong Park ),김용태 ( Yong Tae Kim ) 한국복음주의상담학회 2016 복음과 상담 Vol.24 No.1

상담에서 수용은 내담자가 자신이 경험하는 고통과 괴로움에 적응적으로 대처할 수 있도록 돕는 주요한 요인 중 하나로 여겨져 왔다. 실존주의 관점에서 수용은 인간이 지니고 있는 한계를 인정하면서 그럼에도 불구하고 책임감을 느끼며 살아야 하는 인간 존재의 모순된 상황을 있는 그대로 맞닥뜨림을 말한다. 본고는 실존주의와 언약신학의 관점에서 바라 본 수용의 의미를 살펴보고, 이를 실존적 수용과 언약적 수용으로 규정하여 비교 고찰하였다. 본고에서는 실존적 수용을‘맞닥뜨림의 수용’으로 재정의 하였다. 맞닥뜨림의 수용이란 인간 존재의 모순적 상황과 본질을 있는 그대로 직면하고 마주봄을 뜻한다. 이에 비해 언약적 수용은 자신의 인생을 하나님의 신적 통제권에 의탁하는‘맡김의 수용’이라 할 수 있다. 맡김의 수용은 주체인 인간이 자발적으로 하나님께 나아가는 태도와 용기, 하나님의 은혜를 전제한다. 그러므로 저자들은 기독교인이 자신의 인생에서 경험하는 고통과 괴로움을 수용하고자 할 때 언약적 수용의 개념을 적용할 것을 제안한다. 본고는 또한 언약적 수용을‘참여적 수용’으로 확장하였다. 이러한 연구 결과는 상담의 현장에서 내담자들이 자기 존재를 수용하고 더 나아가 하나님의 신적 통제를 수용하는 과정을 돕는데 긍정적으로 기여할 것으로 확신한다. Acceptance has been associated with pain and suffering by promoting clients’ positive adjustment in counseling. Existential perspective on acceptance encourages a human being becomes a responsible being; therefore, human beings need to face the contradictory nature of condition with courage, in order to live an authentic life. Current study presents the comparative perspective on acceptance, mainly focusing on existentialism and covenant theology. The authors re-define the existential approach of acceptance is to face the restricted human conditions and nature as it is. In this context, existential approach of accpetence can be called ‘the acceptance of facing’. In addition, the covenantal acceptance is considered ‘the acceptance of surrendering’, which emphasizes the voluntary attitude to leave one’s life to God’s divine authority. In order for Christians to deal with life pain and suffering, it is the authors’ suggestion to apply covenantal acceptance that involves both God’s grace and human courage. The nature of Christian existence is who participates God’s redemptive history, a grand narrative human beings place in. In this study, the authors also expand the convenantal accptance to ‘the acceptance of participation’. This result will contribute to counselors in helping Christian clients to walk through the process of accepting God’s divine authority and self-affirmation.

중국 상흔문학을 변용한 대만 반공상흔영화

황선미(Hwang, Sun-Mi) 중국문화연구학회 2021 중국문화연구 Vol.- No.53

This study is a review of ‘anti-communist scar films’ produced in Taiwan in the early 1980s. ‘Anti-communist scar films’ refers to a film produced based on the scar literature of Mainland China, which was an enemy country of Taiwan in the early 1980s to spread and strengthen anti-communism, which served as the ruling ideology of the Taiwan Kuomintang government. Some of the ‘anti-communist scar films’ produced in Taiwan in the early 1980s include ‘If I Were for Real(假如我是真的)’ (1981), ‘On The Society File Of Shanghai―Girl’s rights to the bridal night(上海社會檔案――少女初夜權)’(1981), and ‘Portrait of a Fanatic(苦戀)’(1982). However, the film, which was produced under the name of strengthening anti-communism, fell into a dilemma by betraying anti-communism. ‘If I Were for Real’ was made to induce compassion for communists through human emotional stimulation, ‘On The Society File Of Shanghai―Girl’s rights to the bridal night.’ has been transformed into a violent and sensational erotic film, and In ‘Portrait of a Fanatic’, humanism was more prominent than the original. Thus, this study examines the motives and background of the ‘anti-communist scar films’, and attempts to identify how they exposed the limitations of anti-communist films as these three films fall into a dilemma that betrays anti-communism.