최양일의 <돼지의 보은>에 나타난 마이너리티 표상

주혜정 한국일본어문학회 2016 日本語文學 Vol.68 No.-

This study focused on Choi Yang-Il who pursued for the prototype of life in Okinawa to revive Okinawa people as minorities who were antipodes against national violence through < Gratitude to the Pig > and his perspectives in making a movie.

NICOLAS SLONIMSKY의 51 Minitudes for Piano 에 관한 硏究

朱惠貞 淑明女子大學校 1993 論文集 Vol.33 No.-

I have now studied the various kind of humors in music and Slonimsky's famous suite '51 Minitudes for Piano". And I have also learned many humorous devices in all musicale forms, mediums and categories. In conclusion of these studies, 1 now summarize as follows : 1. Many titles of pieces were used coined words or technical scientific terms and tried to describing the moods of titles. 2. The pieces were composed with simple forms and various kind of compositional techniques through the Medival Counterpoint to Twelve -Tone Row System. 3. Its comic usage in music showed very live and direct descriptions more than the musics before. 4. The suite has valuable works in music literature but lacks of the effects in etude and performance piece. Finally, 1 studied composer's extensive knowledges and humorous senses through the 51 pieces that contained all comedical devices in music.

1950∼60년대 재일 영상미디어의 기록과 담론―이마이 다다시의 <저것이 항구의 등대이다>를 중심으로 ―

주혜정 한국일본문화학회 2023 日本文化學報 Vol.- No.97

This article centers around Tadashi Imai, a director known for his portrayal of post-war Japanese society and the Korean Joseon community—a Japanese colonial-era colony. After Japan’s defeat, he transitioned into films exploring social issues. Tadashi Imai has produced many films through Japanese film companies and won many film awards; he is a recognized director in Japanese popular culture. In 1961, his film, “That is the Port Light” analyzed the portrayal of the post-colonialist “Joseon people.” In contrast to other social directors who focused on poverty, discrimination, and social oppression in the 1950s and 1960s, Imai depicted conflicts between Koreans living in Japan and Japanese society, using the backdrop of fishing rights disputes between Korea and Japan. This article examines the representation of Koreans in the “colonial area” in the context of national films. The article explores the depiction of Koreans in Japan through post-war Japanese cinema. Despite his transformation, it is evident that the “Korean” identity he portrayed excluded the Japanese perspective. The perpetuation of such images has contributed to the ongoing strain in Korea-Japan relations, emphasizing the importance of understanding the historical context of Koreans in Japan and fostering genuine understanding among the Japanese population. 本稿は日本帝国主義時代に植民地朝鮮おける国策映画製作の下で「朝鮮人」を描いたが、敗戦以後には社会派監督に転向し「在日」朝鮮人を描いた今井正監督に注目したものである。彼は日本映画史で多くの映画作品を製作し、また多くの映画賞も受賞して日本大衆社会で認められた監督である。本稿は1961年に<あれが港の灯台だ>を通じて、当時の在日朝鮮人のイメージを分析したものである。今井正監督は1950-60年代に貧困と差別、そして社会的抑圧を描いた社会派監督たちとは違って、彼は韓日間の漁業権問題を背景に在日朝鮮人を登場させ、日本人との葛藤を描いたものである。本稿は敗戦以後の日本社会を描き出した映画メディアの流れの中で彼が描き出した「在日」朝鮮人イメージを探求しながら、国策映画で描いた「植民地」朝鮮人のイメージと比較考察したものである。そして彼が描き出している「朝鮮人」は当事者性が排除された視線にあることが確認できたものである。現在も日本人の視線はこのような連続像があり、韓日関係を悪化させる要因でもある。そのために「在日」朝鮮人に対する歴史性理解と日本人の真の共感が必要だと考えられる。

아론 코플랜드(Aaron Copland)의 피아노 변주곡(Piano Variation)에 대한 연구

주혜정 한국음악학회 1996 한국음악학회논문집 음악연구 Vol.13 No.1

Aaron Copland, was a composer and a good pianist also, was called "Pandiatonicism" because many of his orchestral works were used many American folk elements, especially melody and rhythm of Jazz, simple diatonic melodies rather than complex-chromatic. But, this <Piano Variations>, consist of theme and 20 variations and coda, followed Liszt and Debussy in pianistic fingering but used many 20th Century's techniques encloud 12 Tone Technique, Pointillistic, Primitive Rhythm, Percussion effects in piano music, Poly-Harmony, Dissonance counterpoint, Jazz. The followings are conclusion of this study. 1. Use of free and varied serial techniques with 10-tone row, especially first four notes are very important elements for develop the whole piece. 2. The whole mood is atonal but has clear Tonal Center. 3. Meter and dynamic contrast changed very quickly and irregularly. 4. Use of dissonance interval relationships and Poly-Harmony. 5. Use many variation techniques from Classic to 20th Century. He made many new sounds of piano by using varies techniques, contrasts of irregular rhythms and dynamics, vertical harmonies in minor second interval, many Jazz idioms and humorous ideas.

4)한약증류액의 안정성에 관한 연구(한약연구)

주혜정,이한구 한국한의학연구원 1995 한국한의학연구원논문집 Vol.1 No.1

한국역사 기록으로서 재일코리안 희곡

주혜정 동북아시아문화학회 2017 동북아시아문화학회 국제학술대회 발표자료집 Vol.2017 No.10

한약증류액의 안정성에 관한 연구

주혜정,이한구,Joo, Hye-Jeong,Lee, Han-Goo 한국한의학연구원 1995 한국 한의학연구소 논문집 Vol.1 No.1

To study stability of distilled herbal medicine, we chose changes in UV spectrum, pH, conductivity, and HPLC chromatogram. Aconiti Lateralis preparata Radix and Scutellariae Radix were selected and studied. There ws no consistancy in UV spectrums of preparatons and in duration. The changes in pH and conductivity were not correlated to those in UV spectrums. HPLC chromatograms were also compared each other depending on the preparations. One interesting peak of distilled Aconiti solution was appeared at 40 min retention time which was not identified yet. Ingeneral, UV spectrum, pH, conductivity measurements are pretty poor tool to study stability of herbal medicine although HPLC analysis should be studied further.

한․일 영화 속의 미군 기지촌 문화 비교 - 베트남 전쟁 시기의 ‘록밴드’를 중심으로 -

주혜정 일본어문학회 2022 일본어문학 Vol.97 No.-

In this study, I compare two Korean and Japanese films in order to analyse the process whereby the popular music formed in US military villages, especially the music of “rock band”, was accepted and transformed in the two countries. For this purpose, I explore the differences in the space in which the US military villages in Korea and Japan were located and the process whereby the rock band music was formed in these military villages, paying special attention to films describing the rise and fall of rock bands that acted in US military villages from the late 1960s to the 1970s during the Vietnam War. More specifically, I analyse the Korean film Go Go 70s, directed by Ho Choi in 2008 and the Japanese film A Sign Days, directed by Yoichi Sai in 1989. My analysis reveals the following points. On the one hand, in Korea, the musicians of the time considered the stage of the US Eighth Army to be the gateway to success, and the music that emerged in the US military villages may be regarded as a source of modern Korean music. On the other hand, in Japan, the music of the US military village in Okinawa was consumed as Okinawan’s music, and it spurred the emergence of Okinawan rock in contemporary Japan.

한국사회 옴니보어와 상징적 배제

주혜정,최샛별 한국사회학회 2014 한국사회학회 사회학대회 논문집 Vol.2014 No.6

다큐멘터리 속 재일코리안 1세 여성의 제작 주체별 이미지 수용: <재일-인물편>과 <하루코>를 중심으로

주혜정 동아시아일본학회 2022 일본문화연구 Vol.- No.82

The purpose of this paper is to compare and examine how the life of a Zainichi womanⅠin a documentary develops according to the producer. Among the documentaries dealing with a Zainichi womanⅠ, the subjects of the study are Japanese-Korean director Oh Deok-soo's <The Story of Koreans in Postwar Japan> (1997) and Japanese director Nozawa Kazuyuki's <HARUKO>(2004). This study examined how each documentary differs between the narrative structure and narrative style according to the director's intention and production method, noting that the characters of the two works are the same and the video records of the main character's son in black and white were borrowed from the two works. Oh Deok-soo, a Zainichi director, tried to raise the question of 'what is post-war democracy' in Japan while drawing the correct historical perception of Zainichi and their lives. On the other hand, Nozawa Kazuyuki tried to draw that it is also a difficult life for Zainichi, but it is also a universal life for mothers. However, consumers' acceptance was that they could understand Zainichi correctly in a positive view, and that the issue of forced labor was much more highlighted in a negative view, and in particular, there was an opinion that the perspective of Korean history in Japan was distorted.