김희선_여인의 향기 1 외

김희선 고요아침 2017 열린시학 Vol.22 No.4

Bacillus stearothermophilus Acetyl Xylan Esterase 유전자( estⅡ)의 클로닝과 Escherichia coli에서의 발현

김희선,엄수정,조쌍구,최용진 한국산업미생물학회 1994 한국미생물·생명공학회지 Vol.22 No.6

강력한 xylan 분해균인 Bacillus stearothermophilus 토양 분리균에서 esterase multiplicity를 확인하고 상기 균주의 EcoRI 절단 genomic DNA로부터 이미 보고한 acetylxylan esterase 생산 estI 유전자와 다른 새로운 esterase 생산 유전자의 분리 클로닝을 시도하였다. 클로닝 vector로 pBR322, 숙주세포로 E. coli HB101, 그리고 1% tributyrin 함유 LB agar 배지를 선별 배지로 사용하여 약 7,000개의 형질전환체를 검색하여 3개의 tributytin 분해 형질전환체를 분리하였다. 선별한 상기 3개의 형질전환체는 다 같이 tributyrin 분해활성과 관련된 3.2 kb의 B. stearothermophilus chromosomal DNA 단편을 가지고 있었으며, southern blotting과 zymogram 실험을 통하여 tributyrin 분해 활성은 estII로 명명한 제 2의 acetylxylan esterase 생산 유전자에 기인됨을 확인하였다. Bacillus stearothermophilus, a strong xylan degrader, was confirmed to express multiple esterase activities in addition to the major xylanolytic enzymes. One of the genes encoding the esterases was isolated from the genomic library of B. stearothermophilus constructed with EcoRI restriction endonuclease and pBR322 plasmid. Three recombinant plasmids showing the tributyrin degrading activity were selected from approximately 7,000 E. coli HB101 transformants, and were found to have the same insert of a 3.2 kb DNA fragment. Restriction mapping and hybridization studies revealed that the gene(estII) on the hybrid plasmid (pKMG7) had originated from the B. stearothermophilus chromosome, and was distinct from the estI, another esterase gene of B. stearothermophilus isolated in the previous work. The E. coli cells harboring pKMG7 produced an acetylxylan esterase that exibited similar substrate specificity to the esterase encoded by the estI gene.

태양광발전시스템의 직류 누설전류 센서 개발

김희선,한송엽,한후석 대한전기학회 2013 대한전기학회 학술대회 논문집 Vol.2013 No.10

Molecular Cloning and Expression of the Acetyl Xylan Esterase Gene(estII) of Bacillus Stearothermophilus in Escherichia coli

김희선,엄수정,조쌍구,최용진,Kim, Hee-Sun,Eom, Soo-Jung,Cho, Ssang-Goo,Choi, Yong-Jin 한국미생물 · 생명공학회 1994 한국미생물·생명공학회지 Vol.22 No.6

Bacillus stearothermomophilus, a strong xylan degrader, was confirmed to express multiple esterase activities in addition to the major xylanolytic enzymes. One of the genes encoding the esterases was isolated from the genomic library of B. stearothermophilus constructed with EcoRl restriction endonuclease and pBR322 plasmid. Three recombinant plasmids showing the tributyrin degrading activity were selected from approximately 7, 000 E. coli HB101 transformants, and were found to have the same insert of a 3.2 kb DNA fragment. Restriction mapping and hybridization studies revealed that the gene(estII) on the hybrid plasmid (pKMG7) had originated from the B. stearothermophilus chromosome, and was distinct from the estl, another esterase gene of B. stearothermophilus isolated in the previous work. The E. coli cells harboring pKMG7 produced an acetylxylan esterase that exibited similar substrate specificity to the esterase encoded by the estI gene.

음악인류학적 조망의 월드뮤직 교육 연구-영어권 개설서 『월즈 오브 뮤직』을 중심으로-

김희선,김묘신 한국국악교육연구학회 2017 국악교육연구 Vol.11 No.2

1990년대 이후 세계화의 영향, 2000년대 중반이후 등장한 다문화교육의 담론과 월드뮤직의 성장으로 세계음악/다문화음악교육/월드뮤직 교육은 한국의 교육현실 안에 구체화되고 있다. 이 연구는 월드뮤직 교육의 체계적 연구 필요성을 인식하고 음악인류학의 조망을 담은 온 영어권 월드뮤직 교재 『월즈 오브 뮤직』을 분석하여 한국 월드뮤직 교육구성에 필요한 시사점을 도출하는 것을 목적으로 한다. 교재로서 『월즈 오브 뮤직』의 주요 특징은 다음과 같다. 우선 교재는 전 세계의 음악문화를 다루고 있어 내용과 분량이 방대하다. 이는 미국 학부생의 학습의 깊이에 따라 설정된 것으로 보이는데 축약판이 있어 학교의 학기 특성에 따라 선택도 가능하다. 두 번째 특징은 음원을 함께 수록하여 학습자가 학습하는 음악의 감상이 가능하며 교수자에게는 다양한 교수전략자료도 제공되어 충실한 교재로서의 역할을 하고 있다. 세 번째는 다양한 사진, 악보, 음원, 감상표 등이 고루 배치되고 매 장 학습목표와 지도가 제공되어 학습자들로 하여금 다양한 흥미를 유발할 수 있다는 점이다. 네 번째는 학생들이 직접 현지조사 프로젝트를 수행하고 민족지를 작성할 수 있도록 하여 음악인류학적 현지조사를 체험하게 함으로서 평면적인 강의실에서의 강의-감상을 넘는 수행학습의 효과를 기대할 수 있다는 점이다. 다음으로 『월즈 오브 뮤직』의 내용의 특징을 살펴보면 우선 음악인류학적 조망을 기반으로 민족지 기반으로 내용을 구성하고 인간의 삶, 문화, 역사의 맥락안에서 음악하기를 소개함으로서 인류의 음악문화 다양성을 체화시키기에 적절하다. 두 번째는 음악 개념의 탈식민성이다. 음악의 요소를 서양예술음악 중심의 개념으로 설명하던 제국주의적 방식에서 벗어나 각각의 음악은 각기 자신만의 음악적 언어와 세계관 안에서 구성되어짐을 학습자들이 체화할 수 있도록 한다. 세 번째는 각 지역음악을 전문연구자들이 집필하여 전문성과 현장성이 매우 뛰어나다는 점이다. 네 번째는 미국교재로서 미국 학생 중심의 내용구성을 갖고 있는데 북미의 선주민 음악문화, 흑인음악, 대중음악, 아랍음악 등은 미국 중심의 관심사를 반영한다. 다섯 번째는 전통음악, 대중음악, 월드뮤직의 적절한 안배이다. 『월즈 오브 뮤직』 교재의 특징을 바탕으로 한국적 월드뮤직 교재 구성을 위한 제언은 다음과 같다. 우선 한국적 정서와 상황에 맞는 월드뮤직의 구성을 연구할 필요가 있다. 미국 교재로서 선주민 음악, 흑인음악, 미국 대중음악을 배치한 것과 같이 한국의 월드뮤직 교재에서는 한국인 학습자들의 흥미와 문화적 요소를 반영한 내용으로 구성할 필요가 있을 것이다. 두 번째로는 음악을 소리의 조직으로 이해하고 서양예술음악을 중심에 놓은 제국주의적 음악 사고에서 벗어나 역사와 문화로서 접근하며 타 문화를 존중하고 다원주의적 관점을 가질 수 있도록 음악인류학적 문화다양성의 시각을 확보하고 탈식민적 음악요소의 재개념화가 필요하다. 마지막으로 현지조사 수행을 학습에 적용하여 한국의 다양한 음악문화를 체감하고 문화다양성의 근거를 확보할 수 있도록 해야 할 것이다. Interest in world music began to emerge in the early 2000s, understood as a result of the globalization of Korean society in its process of change into a multicultural society. Interest in world music has grown as part of multicultural education. Based on the need for systematic education and for basic instructional materials on world music, this study examines Worlds of Music, a world music textbook which has been widely used in institutions of higher education in the U.S. for over half a century. The distinct features of Worlds of Music as a textbook are as follow. First, in covering the music cultures of the world, the contents and quantity of information in the textbook are enormous. It seems that the textbook was composed in accordance with the depth of learning ability of undergraduate students in the U.S.A.; a short version of the textbook is also available to allow instructors choice in accommodating their particular school system. Second, its substantiality as a textbook is complemented with sound materials for student listening, and various teaching materials are provided for instructors. Third, a diverse range of pictures, music scores, sound sources, and listening-guide diagrams are arranged, and a map of assigned geographical locations and learning objectives are included in each chapter, motivating learners toward increasing their interest in the topic. Fourth, the book will provide a performance-learning effect to students, which goes beyond the lecture-appreciation structure of classroom teaching by encouraging students to participate in first-hand field research projects, and to write their own ethnography. As regards the characteristics of the textbook, first, the contents suitably embody the diverse music cultures of humanity as contents are organized based on ethnographies from the perspective of ethnomusicology, and since people’s music-makings are illustrated in their historical context. Second, it exhibits the concept of the decolonization of music. Deviating from the imperial manner of explaining musical elements only against the concept of Western classical music, the book helps learners understand that each music culture is structured according to its own musical language and world view. Third, each chapter was written by a specialist in its given musical area, fully providing their expertise and field experience. Fourth, as the textbook is primarily used in the U.S., the contents are prepared for American students by including the music cultures of Native American, Black American, the popular music of North America, and the Arab world, which are closed related to the people or which have received widespread interest. Fifth, each chapter of the textbook properly includes the traditional, popular, and world music of the particular musical culture. The following are suggestions for designing a Korean-version of a world music textbook based on the review of Worlds of Music. First, the textbook should include music cultures that correspond to Koreans’ sensitivity and social circumstances. Just as Worlds of Music includes the music of Native and Black Americans, and the popular music of the U.S., it is necessary to include contents that reflect the interests and unique cultural factors of Korean society. Second, the cultivation of various cultural perspectives derived from ethnomusicology and the reconceptualization of musical elements affected by de-colonization are required in order to maintain a pluralistic attitude and to understand music through historical and cultural contexts, circumventing the imperialistic musical viewpoint that perceives music as “sound” with a focus on Western art music alone. Lastly, incorporating a field research project into the curriculum using the textbook would provide students with an opportunity to experience the various music cultures of Korean society and to build the foundations for cultural diversity.

Reflections on Fishean Reader-Response Theory

김희선 한국영미문화학회 2012 영미문화 Vol.12 No.1

Fish’s early position of Reader-Response theory is that the meaning of the text is the reader's experience of the text. But the meaning in the text is not the ultimate, final meaning for him. Fishean reader's response to the meaning of the text is rather close to the process of going back and forth among possible interpretations. Therefore, the final and ultimate meaning of the text is created by the reader’s participating in deciding the meaning of the text. Because Fish places high value on the reader's response to the text and his or her cognitive process, Fish strongly insists that the reader writes the text and that by doing so he makes the text disappear. Because the “intended” readers who accurately interpret the text will discover what the author intended, Fish radically argues that all the author's intention is the reader's response to the text. Thus, he contends that there is no meaning in the text and all the meaning is coming from the reader. However, Fish does not give the reader freedom unlimitedly in creating the meaning of the text. The reader's response can be controlled by interpretive communities. All the meaning is not from the text itself but from the interpretive grid that reader projects upon the text. In sum, Fish adjusts his early theory by introducing the notion of interpretive communities into the theory of the late Fish. Namely, what Fish says is that all meaning is coming from the reader does not mean that each individual reader makes up his or her own unique, absolutely original meanings for the texts. What the reader does, instead, is participate in various interpretive communities already out there. He or she shares paradigms for interpretation with others. Even if Fish gives the priority to the readers in writing the meaning of the text, he is ready to control the readers by regulator, that is, "the interpretive community" simultaneously. Here lies some unsolvable indeterminacy in Fishean Reader-Response theory.

어떤 소망

김희선 고요아침 2012 시조시학 Vol.45 No.-

Synthesis and Characterization of Poly(o-hydroxyamide)s having heterocyclic compound

김희선,최재곤,조병욱 한국고분자학회 2008 한국고분자학회 학술대회 연구논문 초록집 Vol.33 No.1

국악의 세계화 -2000년대 해외공연사례를 중심으로-

김희선 한국공연문화학회 2013 공연문화연구 Vol.0 No.27

The international exposure of Korean music has been made since the 1960s, mostly intended for one-time cultural exchange programs, events for overseas Koreans, and educational university concerts. Since the 2000s one witnesses more varied and systematic international exposure in conjunction with the slogans like “Globalization of Gugak” and “Gugak Hallyu.” This paper examines trajectories of international exposure of Gugak, discuss the various socio-cultural and political background and tendencies and examples of overseas performances of Korean traditional music since 2000 with three cases. This paper will conclude the meanings of the current phase and future directions. These cases include three types, namely base strategy, market-driven, artists and genre promotion. For the base strategy, New York Sanjo Festival and Festival de l’imaginaire and La Maison des Cultures du Monde, for market-driven, world music market and finally for artists and genre promotion, Yi Jaram and pansori are examined. These cases reflect the ways in which Korean performing arts are getting more strategically supported, planned with specific goal oriented compared to the earlier stage. However, as a slogan “Globalization of Gugak” is the transformation of nationalism under the rubric of globalization. The slogan was created as a direct responses to the demands of globalization during the 1990s and the public’s desire for global advancement and a national rhetoric. 1960년대부터 본격 시작된 한국음악공연의 해외진출은 주로 해외 거주 한인위문, 민간외교, 수교 등 국가교류 차원의 공연을 중심으로 이루어져 왔다. 2000년대 들어서는 다양한 주체들의 요청과 열망이 맞물리면서 “국악의 세계화” “국악한류”등을 슬로건으로 기존과는 다른 다변화된 해외진출이 진행되고 있다. 이논문은 우선 국악 해외공연의 그간의 궤적을 성찰적으로 돌아보고 국악세계화의다양한 배경을 논의한 후 2000년대 이후 진행된 국악의 세계화 과정과 경험을살피고 과제와 방향을 모색하는 것을 목적으로 한다. 특히 이 논문은 2000년대 이후 국악의 해외공연사례를 성격에 따라 유통 중심 지역공략, 견본시 통한 월드뮤직계 진출모색, 공략 대상 중심전략으로 분류하여 뉴욕 산조페스티벌, 파리의 세계문화의 집 상상축제, 월드뮤직 견본시 통한해외마켓 진출모색, 이자람과 판소리의 해외진출의 사례들을 살펴보았는데 이러한 사례들은 이전에 비해 체계화되고 구체적인 목적을 가지고 세련된 방식과 기획으로 진행되고 있음을 보여주고 일련의 성과를 거둔 것으로 평가할 수 있다. 그러나 한편 구호로서의 “국악의 세계화”는 국가주의의 새로운 변형물로 여전히 경계하고 극복하여야 할 대상으로, 국악을 국가주의적 세계화의 도구나 민족주의의 견고한 과시, 글로벌 시대 각축하는 문화생산물이 아닌 인류전체를 위한 보편적, 성찰적, 동시대적 예술물의 생산과 글로벌 시대에 예술과 문화의 다양성을 확장하는데 기여하는 것으로 국악의 세계화의 목표를 전환하고 이를 위해 노력할 시점이라 보여진다.

“진실의 창안”: 포드 매독스 포드의 삶과 문학적 인상주의

김희선 한국영미문화학회 2014 영미문화 Vol.14 No.2

Among many literary isms, impressionism is often regarded as the most frank expression of personality. As a masterpiece of modernism, Ford Madox Ford’s The Good Soldier is a celebration of the subjectivity which reflects the writer’s experiential reality. For Madox Ford, art is not to achieve the true objectivity of human society, but to seize the momentary perception in personal life. As the beginning of modernism, Madox Ford’s impressionaism was mostly devoted to give fictive life to subjective impressions. And his heroes are usually the egoless person who can absorb the intense rapidity of consciousness without any prejudice. However, the innocent mind’s receptions of myriad impressions, like those of the protagonist John Dowell or his idealized version of Major Ashburnham in The Good Solidier, were described as the enjoyable yet deceptive ones in Madox Ford’s works. To engrave more sold perceptive impressions into life, Madox Ford often contrasts or mixes truth with deception, life with death as he did in his real life. Speicially as the result of thick application of real-life subject matters to his writings, Madox Ford’s literary works get more vivid colors and penetrating forms. Thus, his literary impressionism based upon his harsh and passionate realities overcomes the limitations of shifting moments of senses, demolishing the boundaries between what is objective and what is subjective, like post-impressionism or expressionism. Namely, as Walter Lowenfels said, Madox Ford did not follow the impossible objectivity passively, yet instead “knew how to invent the truth.”