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.

2019년 ‘조선학교’ 다큐멘터리의 제작 주체별 이미지 재현

주혜정(Joo, Hye-Jeong)(朱蕙貞) 한일민족문제학회 2020 한일민족문제연구 Vol.38 No.-

This study aimed to speculate on representation of images according to producers of documentaries depicting ‘Joseon School,’ a national school established in Japan by Korea residents in Japan. The society of Korea residents in Japan is very sensitive to North Korea and Japan relations and South and North Korea relations including Korea and Japan relations and is greatly influenced by Korea’s politics, economy and culture. <Children’s School> by Go Chan-Yoo, a Korean film director living in Japan, depicts history of grief due to exclusion from free education system for high school students while highlighting the history of discrimination in Japanese society and the value in existence of national education. A documentary produced by the Korean public media also showed Japanese government’s discrimination policies against Korea residents in Japan and a policy suggested by Korean government giving a focus on an issue of exclusion from free education of Korean high school students. It is natural that different documentary producers have different styles of publicizing the same purposes. The <Children’s School>, an independent documentary produced by a Korean director living in Japan, informed Korean society of the issues of discrimination against Korea residents in Japan. Then, Korea shared the critical mind through publicizing them in Korea. The documentary was enlarged and reproduced beyond the limit of an independent documentary of being produced by a Korean director living in Japan and is rapidly approaching toward political publicizing. It is a good example showing what influence expressing styles of cultural contents had on politics and mass society. The documentaries produced by a Korean director living in Japan and the Korea public media suggested strategies for development of cultural contents that are helpful to rights and interests of Korea residents in Japan by publicizing negotiation with and pressure from Japanese government, and the global society’s awakening of Korea residents in Japan この論文では、日本で在日朝鮮人が設立した民族学校である“朝鮮学校”を 扱ったドキュメンタリーを制作主体別にイメージ再現を考察するのに目的がある。 在日朝鮮人の社会は韓日関係をはじめ、北日関係と南北関係によって敏感な 反応を示すだけでなく、韓国の政治·経済·文化にも大きな影響を受けてい る。 在日コリアン出身の高贊侑監督の<アイたちの学校>は、在日コリアンの日 本の歴史の中での差別と民族教育の存立に対する価値を浮き彫りにさせ、‘高 校無償化’排除に対する悔しい歴史について語ったのに対し、韓国の公共放送 で制作されたドキュメンタリーは‘高校無償化’排除という争点を通じて、日本政府 の在日コリアンの差別政策と韓国政府の政策に向けた動きを見せた。 ドキュメンタリーが同一の目的を遂行するうえで公論化方式は、制作の主体 によって異なるしかない。日本社会で在日コリアンが独立ドキュメンタリーとして制 作した<アイたちの学校>は、日本国内での公論化を経て韓国社会に知らせ た。そして韓国は韓国で公論化させてから日本の問題意識を共有した。 在日コリアンが制作した独立ドキュメンタリーとしての限界を、韓国では公共 放送のドキュメンタリーが拡大して再生産することで、政治的公論化に向けて、 より速いスピードでアプローチしていることがわかる。これは、文化コンテンツの表現方法が政治と大衆社会にどのように影響を及ぼすかを如実に表している例で あろう。 在日朝鮮人と韓国公営放送で制作された朝鮮学校関連のドキュメンタリー は、今後、韓国政府だけの問題提起ではなく、日本政府との交渉と圧迫、そ して国際社会での在日朝鮮人に対する喚起などに向けて、在日朝鮮人の権益 向上に役立つ文化コンテンツの発展方向を示唆すると見られる。

다큐멘터리 영화와 트라우마 치유 - 오충공 감독의 관동대지진 조선인학살 다큐멘터리를 중심으로 -

주혜정 ( Joo Hye-jeong ) 한일민족문제학회 2018 한일민족문제연구 Vol.35 No.-

この論文は, 吳充功監督の關東大震災,朝鮮人虐殺に關する二つのドキュメンタリ一が“トラウマ治癒”という社會的機能の可能性を考察するのに目的がある。 吳充功監督は1983年, “隱れた爪の跡”で, 關東大震災の朝鮮人虐殺に被害者だった朝鮮人の證言を中心にドキュメンタリ一を制作した。そして彼は3年後, 1986年‘拂い下げられた朝鮮人’という作品を通じて關東大震災當時, 朝鮮人虐殺の加害者だった日本人の證言を中心に作品を制作した。吳充功監督のこのような作業が可能だったのは, すでに日本の市民團體で關東大震災, 朝鮮人虐殺に關する歷史的究明のための社會的な動きがあったからだ。この論文で, 吳充功監督の2つのドキュメンタリ一に注目する理由は,歷史的事實だけでなく,加害者であれ被害者であれ, トラウマがあり,各自のトラウマを克服しようとする行爲をスト一リ一テ一リングとしてしているためだ。 日本で關東大地震による朝鮮人虐殺事件は, まだ政治的公論化できないが, 吳充功監督はドキュメンタリ一が日本の帝國主義の傷を負う被害者や加害者の證言,歷史的究明,そして加害者の謝罪と慰靈祭など通じ, トラウマ治癒としての可能性を見せたいと思うだろう。 The article aimed at examining a possible social function of director Oh Choong-kong’s two documentaries on Great Kanto Earthquake, a Korean massacre. In 1983, director Oh Choong-kong produced <Hidden Scars>, a documentary focusing on the testimony of a Korean who was a victim of the massacre at Kanto Province. Three years later, he produced <Abandoned Korean in Japan> based on the testimony of the Japanese who were perpetrators of the Korean massacre during Great Kanto Earthquake in 1986. Director Oh Choong-gong could produce it because there was already a social movement in the Japanese civic group to shed light on the historical investigation of the Korean massacre. The two documentaries are not only historical facts but also the trauma of perpetrators or victims, and the storytelling is about acts to overcome their trauma. Although the massacre of Koreans living in Japan has still not been politically publicized, it is believed that director Oh Choong-kong will see the documentaries as a possible witness of Japan’s imperialist wounds, historical investigation and a memorial of the perpetrators.

최양일 영화에 나타난 재일코리안 표상-<달은 어디에 떠 있는가>와 <피와 뼈>를 중심으로-

주혜정 ( Hye Jeong Joo ) 한국일어일문학회 2014 日語日文學硏究 Vol.91 No.2

本稿は、崔洋-の作品の中でも在日コリアンに關する映畵を通して、時代の流れに合わせた在日コリアンの表象がいかなるものであるのかについて論じることを目的としている。このため、<月はどっちに出ている>(1993)と、<血と骨>(2004)を比較·考察することにより各-の作品が作られた時代的背景による在日コリアンの認識の變化について論じていく。<月はどっちに出ている>が作られた時期は、日本に入る外國人が增えてきて多文化社會が形成されてきた。抑壓と差別を主題とする旣存の在日コリアン映畵とは異なり、崔洋-は、多樣な外國人の中の-つとして在日コリアンを表現した。崔洋-は在日コリアンの2世を中心に彼らの本質を``月``という隱喩的な表現法によりコミカルに日本社會を風刺した。それから、10余年後の2004年に崔洋-は再び在日コリアンの映畵を製作したが、在日コリアン1世を中心に朝鮮部落の姿を``血と骨``という强いイメ-ジで表現した。崔洋-は在日コリアンの本質を暴力的で、非情な人物を通じて積極的に表現した。2000年代に日本で``韓流``という文化は、韓國に對する認識の變化と伴に在日コリアンに對する認識も變化させた。崔洋-は潛在化している在日コリアンの話をもっと克明に傳えようとしたのであろう。崔洋-は在日コリアンの映畵の多樣性と潛在化している在日コリアンの問題について-般人の目で見えるかたちにしたと言えよう。 This study aims to understand how Zainich Korean was represented in somemovies on Zainich directed by Choi Yang-Il according to the trends of society. Forthe purpose, this study compared <All Under the Moon> with <Blood&Bones> toexplain changes in awareness of Zainich Korean according to the historicalbackgrounds where each movie was made. In 1993 when <All Under the Moon> was produced, the number of foreignersin Japan increased and Japan became a multi-cultural society. Unlike existing Zainichmovies with oppression and differentiation as themes, movies by Choi Yang-Ilfocused on one aspect of diverse aspects of foreigners focusing on juniors of ZainichKorean. Choi Yang-Il humorously parodied Japanese society using metaphor of themoon while not showing the nature of Zainich Korean definitely. In 2004 when 10 years passed after it, Choi Yang-Il resumed the productionof Zainich movies and in particular, he expressed the Zainich Korean as violentmonsters with powerful images of blood and bones. Choi Yang-Il selected ahardboiled genre as a way to actively express the nature of Zainich. With changesin awareness on Korea through Korean Wave in 2000s, awareness on Zainich haschanged. Director Choi intended to clearly define stories on Zainich Korean throughsuch expression. Therefore, it is suggested that he prepared for the base where stories on ZainichKorean were told in diversity and without distortion.

마케팅믹스 7Ps를 적용한 일반 미용실과 프랜차이즈 미용실과의 선택요인 연구 -부산지역을 중심으로-

주혜정 ( Hye Jeong Joo ),심은경 ( Eun Kyung Sim ) 한국미용학회 2013 한국미용학회지 Vol.19 No.6

This research intends to analyze effects of service marketing mix 7P`s (Product. Price, Promotion, Place, People, Physical Evidence, Process) factors in customer`s selection of beauty parlor for franchise beauty parlor and general beauty parlor and compare and analyze differences of the selection between franchise beauty parlor and general beauty parlor. If examining the results of research, an important of product was higher as franchise beauty parlor was. In price, an importance of users of beauty parlor on main street was significant high. In people, an importance of people was significant high in group who have an opinion to use continuously and an importance of franchise beauty parlor. In process, an importance of group who used more than 12 times per a year. In physical evidence, an importance of users of general beauty parlor, group whose average payment per a time is 150-200 thousand won and users of beauty parlor on main street was significantly high. In promotion, an importance of group whose average payment per a time was 150-200 thousand won was high. In place, an importance of users of general beauty parlor, group who use 6-12 times per a year was high. If examining the differences between franchise beauty parlor and general beauty parlor, they selected franchise beauty parlor as putting an emphasis on product factor and general beauty parlor as putting an emphasis on physical evidence. The result implies that the technology of franchise beauty parlor is recognized and physical environment of general beauty parlor and qualitative improvement for facility are necessary to draw big customers. Results of this research on customer`s beauty parlor selection by marketing mix factor should be used usefully for the marketing of beauty parlor customer in the future.

1970~80년대 공영방송 NHK의 ‘재일코리안’ 관련보도

주혜정(Hye-Jeong Joo) 일본어문학회 2024 일본어문학 Vol.104 No.-

In this article, I aim to explore the representations of Zainishi Koreans (Koreans living in Japan) in visual media produced in the society of Japan and their acceptance to the society by analyzing the TV programs broadcasted in the 1970s and 1980s. In so doing, I examine the memory of Zainichi Koreans who lived in the mass society of Japan during the period in order to enhance our understanding of the present-day discourse relating to them. The object of the present research is the TV programs featuring Zainichi Koreans who migrated to Japan during the time, especially focusing on the following two programs: ‘NHK Special. The Ship of the Border: People of the Kampu Ferry’(17/ Dec/1982) and “Reportage. Hiding in Japan: The Daily Life of Illegal Immigrants” (8/Mar/1984). I present a comparative-chronological analysis of Zainichi-related programs of each broadcaster, starting with the establishment of NHK and private TV companies. In the public society of Japan, where the relation between Japan and Korea has been severed and continued unceasingly, Zainichi Koreans were perceived in terms of the images created through visual media, rather than their historical paths. In the post-war times, therefore, the relevance of ‘Zainichi Koreans’ shown in the TV programs in the 1970s and 1980s not only reflects the social context of the era but also contributes to the establishment of the present-day image of Zainichi Koreans as newcomers. The present study leads us to accurately understand their historical paths and also their acceptance to the public society of Japan. 本論文は、日本社会で生産された映像メディアにおける在日コリアンの表象とその社会的受容を1970~80年代の公共放送のテレビ番組を中心に検討することを目的とする。これを通じて、当時の日本の大衆社会における在日コリアンの記憶を研究しながら、現在の日本社会の在日コリアンに対する言説を理解しようとする。 研究対象は、当時の韓国人·在日コリアンの日本への移動を取材した番組である。1982年12月17日に放送された<NHK特輯国境の船-關釜フェリーの人々>と1984年3月8日に放送された<ルポルタージュ日本潛伏~密入国者の日々>である。まず、1950年代の公共放送NHKテレビ放送の開局と民放テレビ放送の開局を皮切りに、各局の在日コリアン関連番組を時代的流れに沿って比較·考察する。 日本の大衆社会では在日コリアンの歴史性よりも映像メディアを通じた在日コリアンのイメージとして認識されてきたため、戦後、日韓両国関係の断絶と継続の中で、1970~80年代のテレビ放送が持つ「在日コリアン」の時宜性は、当時の時代性を見るだけでなく、現在のニューカマーとして定着した在日コリアンの姿の源流として意味があると言える。

최양일 영화의 마이너리티 양상

주혜정(Joo, Hye-Jeong) 한국일본문화학회 2015 日本文化學報 Vol.0 No.66

This study aims to speculate on how human isolation and violence mass-produced through the structural contradiction in Japanese society was reproduced in the minority lives as shown in movies directed by Choi Yang Il. This study gave focus to minority who were considered weak in Japanese society in movies produced in the early period of director Choi"s career in the 1980s. The subjects of this study were <Mosquito on the 10th Floor> and <ASUKA gang of flower>. These films depicted different aspects of the minority due to the structural contradiction in Japanese society. In <Mosquito on the 10th Floor>, a policeman who is in a higher place in society is reduced to a robber who is in the minority of society. This indicates a change in status moving from a higher level to a lower one. In <ASUKA gang of flower>, a girl who was minority moved up and became part of a majority class. Choi Yang-Il explored human isolation based on the nature of the drop or rise in class through movement. Choi Yang Il considered a violent minority used as a means to overcome human isolation as an attack on the structural contradiction in society. He configured minorities inherent in the Japanese as violence derived from the structural contradictions in capitalism.

최양일의 〈A사인 데이즈〉에 나타난 마이너리티의 표상

주혜정(Joo, Hye-Jeong) 한국일본문화학회 2015 日本文化學報 Vol.0 No.64

전탕(煎湯)에 의한 황금(黃芩)의 성분(成分) 이행율(移行率)에 관한 연구(硏究) I

고병섭,주혜정,마진열,박갑주,안상우,Ko, Byoung-Seob,Joo, Hye-Jeong,Ma, Jin-Yeul,Park, Kap-Joo,Ahn, Sang-Woo 한국한의학연구원 1996 한국 한의학연구소 논문집 Vol.2 No.1

In order to improve the qualities of boiling extract the availability of standard compounds was investigated in extract of Scutellariae Radix. The standard compounds used baicalin(1), baicalein(2), and wogonin(3). The availabilities were analyzed by thin layer chromatography (TLC) and high performance liquid chromatography(HPLC) on $C_18$ column. The extract of RS-4(W/V=10g/100m1) showed the highest availabilities as 7.95% of baicalin(1), 1.04% of baicatein(2), and 0.31% of wogonin(3).

煎湯에 의한 黃芩 成分 移行率에 관한 硏究I

고병섭,주혜정,마진열,박갑주,안상우 한국한의학연구원 1996 한국한의학연구원논문집 Vol.2 No.1

In order to improve the qualities of boiling extract the availability of standard compounds was investigated in extract of Scutellariae Radix. The standard compounds used baicalin(1), baicalein(2), and wogonin(3). The availabilities were analyzed by thin layer chromatography(TLC) and high performance liquid chromatography(HPLC) on C18 column. The extract of RS-4(W/V=10g/100ml) showed the highest availabilities as 7.95% of baicalin(1), 1.04% of baicalein(2), and 0.31% of wogonin(3).