개혁개방시기 吳貽弓 감독의 「城南舊事」를 통해 본 문학의 정치적 왜곡

황선미 한국중국현대문학학회 2019 中國現代文學 Vol.0 No.89

“My Memories of Old Beijing” is a film produced by Wu Yi-gong, the fourth generation film director in 1982. The original work of “My Memories of Old Beijing” is a novel, “Memories of Peking: South Side Stories(城南舊事)” by a woman writer, Lin Hai‐yin(林海音). This work, when Lin Ying‐zi(林英子), a young heroine, moved to Beijing in 1923 when she was five years old with her parents from the southern island of Taiwan, and from the moment, it is an omnibus‐style full‐length novel written and composed in chronological order, divided into five episodes of six years' experience of graduating from elementary school. Lin Hai‐yin, through her persona Lin Ying‐zi, vividly restored the lives, the memories of childhood, and the nostalgia of Beijing people in the 1920s. This novel is a typical work of the nostalgic reminiscence literature, which depicts the nostalgic reminiscence literature of the fatherland (China), and is considered the representative work of the nostalgic reminiscence literature in the Taiwanese literature history. It is perhaps natural that Lin Hai‐yin's “Memories of Peking: South Side Stories”, which stimulated the nostalgia of the ruling National Party and other provincial people who moved to Taiwan, was filmed in China. Wu Yi-gong emphasized the image of old Beijing by catching the theme of ‘nostalgic reminiscence', highlighting a composition of the hometown of Lin Hai‐yin = Beijing, Fatherland = China. In the film, the longing for Beijing and the nostalgic reminiscence consciousness were emphasized more than the original work. In this article, we attempt to look at the special historical context in which China dragged a work of an author of Taiwan, which was then a hostile state, and made a film. In addition, we compare the original novel with the film, and examine the changing aspect of the literary sensibility and content of the original work. This will be another example of bilateral exchanges and antagonisms across the strait in literature and film.

지오태그(Geo Tag)를 활용한 도시경관 자원 발굴

황선미,김형보 한국도시설계학회 2020 도시설계 : 한국도시설계학회지 Vol.20 No.2

This study intended to investigate and consider the user’s preferred landscape by using location information of photos taken by ordinary people to supplement weaknesses in existing landscape plans and analyze the data of photos uploaded voluntarily by users. A database using Open API data was built for the excavation of landscape resources, and the extracted data was converted into point data. Then, this study determined the distribution of landscape resources through kernel density analysis. The derived data were compared with existing data such as the Busan Metropolitan City Landscape Design Guidelines and the Tourism Survey in terms of accuracy and validity. Existing urban landscape planning has been conducted through expert advice and survey methods. In this study, we proposed a methodology to utilize geotag data to obtain the opinions of multiple users in less time and at less cost and to reflect them in urban landscape planning. The importance and necessity of the process of collecting and reflecting citizens' opinions in the course of policy-making continue to be strengthened, and we expect that the methodology of this study can be used in various policy processes, including urban landscape planning. 본 연구는 일반인들이 촬영한 사진의 위치정보를 활용하여 기존 경관계획의 약점을 보완하고, 이용자가 자발적으로 올린 사진의 데이터를 분석함으로써 이용자 선호 경관을 조사 및 고찰하고자 하였다. 경관자원 발굴을 위하여 Open API 데이터를 활용한 데이터베이스를 구축하였고, 추출된 데이터를 점 데이터로 변환한 후 커널밀도분석을 통하여 최종적으로 경관자원의 분포를파악하였다. 도출된 데이터를 부산시의 경관디자인가이드라인, 관광실태조사 등 기존 자료들의데이터들과 비교분석하여 데이터의 정확성 및 실효성을 검증하고자 하였다. 본 연구는 전문가자문, 설문조사 등의 방식으로 수립되어오던 경관계획 과정에 지오태그 데이터를 연계하여 다수의 이용자 의견을 적은 시간과 비용으로 구득하여 반영할 수 있는 방법론을 제안하였다. 정책수립 과정에서 시민 의견 수렴 및 반영 과정의 중요성과 필요성은 계속해서 강화되고 있으며, 이에 대응하기 위하여 본 연구의 방법론이 경관계획을 비롯한 다양한 정책 과정에 활용될 수있기를 기대한다.

대만 한류의 한계 ― <미스터 션샤인> PTT를 중심으로

황선미 중국문화연구학회 2020 중국문화연구 Vol.0 No.49

While Korean dramas continue to be loved by Taiwanese viewers, in July 2018, “Mr. Sunshine” was aired. “Mr. Sunshine” was a Saturday‐Sunday drama aired on tvN from July 7, 2018 to September 30, 2018, with a story of a righteous army in the era of the Korea Empire between 1900 and 1907. It was translated in Chinese in Taiwan under the title, ‘陽光先生(Mr. Sunshine)’, and was the first Korean drama to be aired simultaneously on Netflix. “Mr. Sunshine” became very popular all over the world. Favorite dramas vary by country, in South Africa, India, and Malaysia, the preference for “Mr. Sunshine” was overwhelmingly high, and in other countries as well such as the United Kingdom, UAE, the United States, Australia, and Indonesia, the preference for it was found to be high. Meanwhile, in Brazil and Taiwan, “Lonely and Brilliant God‐Dokkaebi” had the highest preference. “Mr. Sunshine” did not even enter the top 10 in the list of “Preferred Korean Drama Top 10”. Therefore, for postings about a Korean drama “Mr. Sunshine” published on PTT, this study attempts to examine how “Mr. Sunshine” is evaluated and communicated in the PTT space. Based on this communication, this study intends to analyze factors that affect “Mr. Sunshine” to be unsuccessful in Taiwan. PTT is an Internet bulletin board that forms the largest online community in Taiwan. The official name in Chinese is the ‘PTT Bulletin Board System (批踢踢實業坊)’. In the case of a Korean drama, it is responsible for the function of the public sphere in ‘Korea Drama(韓劇)’ of PTT, a Taiwan bulletin board system. This study will contribute to understanding the Korean Wave in Taiwanese position, and in the future, there will be implications for the overall cultural exchange between Korea and Taiwan. 한국 드라마가 지속적으로 대만 시청자들의 사랑을 받는 가운데, 2018년 7월에 대만에서 〈미스터 션샤인〉이 방영되었다. 〈미스터 션샤인〉은 tvN에서 2018년 7월 7일부터 2018년 9월 30일까지 방영된 토일 드라마로, 1900년부터 1907년까지 대한제국 시대 의병(義兵)의 이야기를 다룬 작품이다. 대만에서는 ‘陽光先生’이라는 제목으로 번역되었으며, 한국 드라마 최초로 넷플릭스(Netflix)를 통해 동시 방영되었다. 〈미스터 션샤인〉은 전 세계적으로 큰 인기를 끌었다. 국가별로 선호하는 드라마는 다르게 나타나는데, 남아공, 인도, 말레이시아에서 〈미스터 션샤인〉에 대한 선호도가 압도적으로 높으며, 그 밖에 영국, UAE, 미국, 호주, 인도네시아 등의 국가에서도 선호도가 높은 편으로 나타났다. 한편 브라질, 대만에서는 〈쓸쓸하고 찬란한 神―도깨비〉의 선호도가 가장 높았다.〈미스터 션샤인〉은 ‘선호하는 한국 드라마 TOP 10’에서 10위 안에도 진입하지 못했다. 이에 본고는 PTT에 게시된 한국 드라마 〈미스터 션샤인〉에 대한 게시글을 분석 대상으로, 〈미스터 션샤인〉이 PTT 공간에서 어떻게 평가되고 소통되었는지 살펴보고, 이 소통을 근거로 〈미스터 션샤인〉이 대만에서 성공하지 못한 요인들을 분석하고자 한다. PTT는 대만에서 최대 규모의 온라인 커뮤니티를 형성하고 있는 인터넷 게시판이다. 중국어 정식 명칭은 ‘피티티스예팡(批踢踢實業坊)’이다. 한국드라마의 경우 대만 전자게시판(Bulletin Board System)인 PTT (Professional Technology Temple)의 ‘KoreaDrama(韓劇)’에서 공론장의 기능을 담당하고 있다. 이 글은 대만 입장에서 한류를 이해하는데 도움을 줄 것이며, 향후 한국과 대만의 문화적 교류 전반에도 시사하는 바가 있을 것이다.

루징뤄(陸鏡若)와 그의 첫 신극 공연 《인형의 집》

황선미 중국어문논역학회 2014 中國語文論譯叢刊 Vol.0 No.35

陆镜若(1885~1915)是中国早期话剧奠基人之一。名辅,艺名镜若。他早年留学日本,就读于东京帝国大学文科,曾经入日本新派剧俳优学校学习,并登台演出。在日本新剧运动的影响下,他还专门进日本新剧派代表滕泽浅二郎创办的俳优学校接受正规训练,参加坪内逍遥、岛村抱月创办的日本重要新剧团体文艺协会。他自1907年冬加入春柳社后,立即显现出了他在这方面的艺术才华,成了吴我尊所接撑的春柳社的核心人物。陆镜若因为能够讲一口流利纯真的东京话,还受日本新剧界邀请,和日本演员岛村抱月、松井须磨子、河竹紧俊等同台演出过《哈姆雷特》、《人形的家》、《金色夜叉》、《不如归》等新剧。1912年初陆镜若学成回国,4月他在上海邀集欧阳予倩、吴我尊、马绛士等原春柳社成员,并吸收上海的一些青年剧人,组织了新剧同志会,陆镜若被推选任会长。新剧同志会租借三马路大舞台,上演陆镜若自编自导的《人形的家》,同时写了<伊浦生之剧>一文,这是在中国最早的有关易卜生的文章。1915年,陆镜若从杭州演完新剧回到上海时,因劳累过度,突然猝死,新剧同志会也随之解体。去世时只有30岁。欧阳予倩认为陆镜若对初期话剧运动的贡献是不可磨灭的。本文将考证陆镜若在日本期间的新剧学习经历以及探讨在中国最早演出的《人形的家》。

대만 현대문학의 기원에 대한 연구— 셰춘무(謝春木)를 중심으로

황선미 중국문화연구학회 2017 중국문화연구 Vol.0 No.38

일제강점기에 대만에서도 근대 신문학운동이 전개되었다는 사실은 다소 생소하다. 대만 신문학운동은 누구로부터 태동되었을까. 바로 Xie, Chun-mu이다. 셰춘무는 1921년부터 Zhui-feng(追風)이라는 필명으로 창작 활동을 개시하면서 1922년에 본격적으로 소설을 쓰기 시작하였다. 그는 1922년 7월에 타이완 신문학사상 최초의 소설인 「그녀는 어디에―고뇌하는 젊은 자매에게」를 일본 도쿄에서 창간된 『대만』(4호~7호 연재) 잡지에 발표한다. 그는 소설 창작에만 머무르지 않고 1924년 4월에는 대만 신문학의 최초의 단시인 「시의 모방」을 『대만』(제5년 제1호)에 발표한다. 셰춘무의 문학 창작 시기와 대만의 신문학 형성은 밀접한 관계가 있다. 따라서 셰춘무를 통하여 대만 신문학운동의 원형(原型)을 살필 수 있을 것이며, 더 나아가 인접한 한국, 중국, 일본 등 동아시아 근대 신문학 운동의 전개와 파탄을 다각적인 시각으로 바라볼 수 있는 계기가 될 것이다. It is somewhat unfamiliar that the modern new literature movement was developed in Taiwan during the Imperial Japan occupation. From whom did the new literature movement of Taiwan originate? That's right Chun-Mu Hsieh(1902-1969). Chun-Mu Hsieh grew up in Taiwan New Literature infancy, and He is an important figure who opened modern Taiwan literature, a leader of the anti Japanese movement in the Imperialist Japanese period, and a philosopher. Since 1921, Chun-Mu Hsieh started his creative activities under the pseudonym Zhui feng (追風), and he in earnest began writing in 1922. In July 1922, he published serially the first novel of Taiwan new literature, “Where is she to the young sister who is struggling(彼女は何処へ—苦悩若い姉妹)” in the magazine 『Taiwan(臺灣)』 (No.4~No.7 issues), which was launched in Tokyo, Japan. He did not stay in the creation of novels, and in April 1924, he published Taiwan's first short poem, “Imitation of poems(詩の眞似する)” in 『Taiwan』 (Volume 1, the 5th year). Chun-Mu Hsieh continued replacement of his identity in writers, cultural activists, journalists, commentator and political figures. There is a close relationship between the time of Chun-Mu Hsieh's literary creation and the formation of Taiwan's new literature. Thus, through Chun-Mu Hsieh, it is possible to look at the prototype of the new literature movement of Taiwan, and furthermore, it will be an opportunity to view the development and destruction of the modern new literature movement in East Asia such as neighboring Korea, China, and Japan from a multifaceted perspective.

딩시린(丁西林)의 「말벌(一隻馬峰)」을 통해 본 중국 근대 자유연얘

황선미 동덕여자대학교 한중미래연구소 2013 동덕여자대학교 한중미래연구소 학술대회 Vol.2013 No.11

서울 코퍼스와 벅아이 코퍼스에서의 한국어와 영어 치경 마찰음 연구

황선미,윤규철 영남대학교 인문과학연구소 2017 人文硏究 Vol.- No.80

The purpose of this work is to examine the English and Korean alveolar fricatives from the Buckeye([21]) and Seoul([20]) corpus. Such parameters as the center of gravity and the fricative duration were investigated with respect to various factors including sex, age, the manner and place of articulation, the location in a word or an utterance and the type of following vowels. Most of the findings agreed with those from earlier studies on the two languages and new discoveries were also made. The center of gravity values for the women and younger speakers were higher, and the COG values for the word- or utterance-initial location were also higher. The COG values and fricative durations were higher for fricatives followed by high vowels. 본 논문은 한국어와 영어의 치경 마찰음을 자연발화 한국어 음성코퍼스인 서울 코퍼스와 영어 코퍼스인 벅아이 코퍼스에서 중력중심값과 마찰음 길이를 중심으로 살펴보았다. 또한 성별, 연령별, 조음 방법과 위치, 단어와 발화 내 위치 등 여러 가지 요인에 따라 변화하는 양상도 조사하였다. 분석 결과 영어 [s, ʃ]의 중력중심값은 각각 3900Hz와 3300Hz 정도의 값을 보였고, 한국어 [s, s*]는 각각 2400Hz와 5200Hz 정도의 값을 보였다. 어두나 발화 초의 중력중심값이 어중 어미나 발화 중 위치보다 큰 경향을 보였고, 성별과 연령에 따라서는 여성과 낮은 연령대의 중력중심값이 더 높은 양상을 보였다. 영어의 경우 후행 모음이 고모음일 때 중력중심값이 더 커지고 마찰 소음의 길이도 길어지는 것으로 나타났다.

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.-

딩시린의 희곡 「말벌」에 나타난 자유연애

황선미 한국중국언어문화연구회 2014 한중언어문화연구 Vol.- No.34

Ding Xilin, whose major works were written between 1923 and 1940, is the only Chinese playwright of the modern period to have concentrated solely on the writing of comedy. Ding Xilin is best remembered as the author of the most popular one-act plays of the 1920s and 30s, Ding studied physics and mathematics at the University of Birmingham from 1914 to 1918, at the same time reading Western drama and fiction. After returning to China in 1918, he began to write plays while working as professor of physics at Peking University. Ding is best known for his comedies, his first play, ‘Yi zhi mafeng’ (A hornet, 1923). ‘Yi zhi mafeng’ is a Wasp, a one-act play written in 1923, is a lighthearted comedy about contemporary courtship and marriage. The cast consists of an old lady, Mrs. Ji 吉, her son, Mr. Ji, a young lady, Miss Yu 余 and a servant. The action takes place in the elegant sitting room of a house in Beijing temporarily rented by Mrs. Ji. Mrs Ji has been visiting the capital because her son has been ill and in hospital. She hand hoped to find him a wife during her stay but was unsuccessful. ‘Yi zhi mafeng’ was translated from Korea and Japan. In Japan in 1928 was translated by Yanagita Izumi, Korea in 1932 by Jung Laedong. A Study Korea and Japan of Translation and Strategies.

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

황선미 중국문화연구학회 2022 중국문화연구 Vol.- No.58

‘Healthy Realism’ was a term used for the first time by Gong Hong. He has shown a profound influence on the development of Taiwanese films. In March 1963, the ‘Healthy Realism’ film movement presented by Gong Hong, who was appointed as the general director of Chinese cinema, led the Taiwanese film industry for over 20 years before the New‐Wave movement in the early 1980s. Gong Hong, as he grasped human inherent virtue as contributing to the pursuit of ideal spiritual values, recognized that virtue can lead people to be good, it can lead to a bright path, and that it can promote society. He thought that it was the basic route that ‘Healthy Realism’ should follow. The first film of ‘Healthy Realism’ was Oyster Girl. The film, which was screened in time for the Lunar New Year’s Day on February 11, 1964, set a box office record of 1.8 million yuan, and in 1964, it won the ‘Best Film Award’ at the 11th Asian Pacific Film Festival. This film is a melodrama based on a triangle relationship, depicting a Taiwanese fishing village, and is considered a film that led rural reform. This paper examines the ‘Healthy Realism’ claimed by Gong Hong, and through the Oyster Girl produced for the first time, this paper attempts to pay attention to what the ultimate message was that the Kuomintang government wanted to convey to the public, and to the discrepancy that appears at the boundary between the promotion of the ruling ideology and the publicity. Through this, it will be possible to fill the academic research gap in the Taiwanese film history in the 1960’s, which has been studied intermittently, and it will help you understand ‘Healthy Realism’ that has led the Taiwanese film industry from 1964, which has not yet been studied in Taiwan, until the birth of New Wave film in 1982.