팔도유람을 소재로 한 재담 레퍼토리의 전통과 변용

송미경 ( Song Mi-kyoung ) 한국어문학국제학술포럼 2011 Journal of Korean Culture Vol.16 No.-

This paper inquires closely into the developmental aspects of the Korean witticisms dealing with P'aldoyuram(sightseeing trip throughout Korea) and its problem of tradition and transformation. The Korean witticisms dealing with P'aldoyuram are very appropriate cases for explaining about the issue of tradition and transformation of the folk drama, because there are many transfiguration from the traditional Palt'al(foot puppet performance) to gags with folk songs in the 20th century. At first, the works as the traditional witticisms are P'aldoyuram part in the Palt'al by Lee Dongan and Park Haeil. The purpose of the Lee's wordplay is to set up the spirited entertainment ground for the representative folk songs of Korea's eight provinces and to attract attention to the features and actions of the mask. In Park's scripts, the quantity of wordplays are increased and the distinguishing technique of scolding. Next, the transformed works are the gags with folk songs by the comedy duo Kim Wonho & Son Wonpyeong, Chang Sopal & Ko Chunja, Kim Yeongun & Ko Chunja and Kim Ppeokguk Art Company. It is significant that the work by Kim & Son, P'aldop'unggyŏng, was the first attempt of composing just stories about P'aldoyuram and Chang & Ko's was the first mixed duo in this genre. And the duo Chang & Ko used stories about P'aldoyuram as simple course for wordplays not the main material and expressed women as a sexual object. In Kim & Ko's, previous change deepened and wordplays had no direct relevance to the theme and title of P'aldoyuram increased. Also, there were the political undertones were similar to that of the movie P'aldogangsan in it. Kim Ppeokguk Art Company succeeded Korean witticisms dealing with P'aldoyuram and showed wordplays strengthened local features based on the experiences of nationwide tour concerts. Meanwhile, the aspects of tradition and transformation in the Korean witticisms dealing with P'aldoyuram are summarized as follows. First, the witticisms about P'aldoyuram are given more weight in modern gags with folk songs than traditional Palt'al. The conversion into modern gags with folk songs raised the degree of intensive. Second, the male duo of mask performer playing the mask and singing and clown speaking to the mask and inducing that to sing in traditional Palt'al changed the male/female duo chatting each other in modern gags with folk songs. Third, witticisms in traditional Palt'al were supporting devices for highlighting mask's play. But in modern gags with folk songs, witticisms got importance and various techniques, such as scolding, inserting short play, following rhyme, speaking quickly like a rap song, etc., were tried. And, weakened local feature of witticisms reinforced again in the repertories by Kim Ppeokguk Art Company.

정응민 창 ‘이별가’로 본 보성소리 <춘향가>의 한 연원

송미경(Song Mi-kyoung) 한국구비문학회 2020 口碑文學硏究 Vol.0 No.56

본 논문에서는 정응민 창 ‘이별가’를 현전 보성소리 <춘향가>의 전승자인 정권진, 성우향, 조상현, 성창순이 부른 ‘이별가’, 서편제 계열 <춘향가>의 전승자인 정광수, 김화선, 정정렬, 박록주가 부른 ‘이별가’와 비교 분석한 결과를 토대로, 박유전-정재근-정응민으로 이어진 서편제 계열 <춘향가>가 보성소리 <춘향가>의 한 연원이 되었음을 밝혔다. 정응민이 1961년에 녹음한 ‘이별가’는 ‘창조-중모리-중중모리-중모리’로 구성되는 7-8분가량의 소리이다. 보성소리의 대부로 일컬어지는 명창임에도 그의 육성 녹음 자체가 드문 현실을 고려할 때, 이는 매우 귀중한 음원이라 할 수 있다. 그런데 정응민 창 ‘이별가’에 나타나는 사설상 특징은 현전 보성소리 <춘향가>의 ‘이별가’보다 현전 서편제 <춘향가>의 ‘이별가’와 유사한 면모를 보인다. 정응민에 앞서 보성소리의 기초를 마련한 인물이 정재근이므로 그 특징도 그에게서 비롯된 것일 가능성이 큰데, 여기서 주목할 점은 정재근의 출신지인 나주가 김창환 가(家), 정창업 가(家), 정재근 가(家)의 세 걸출한 명창 가문이 판소리 전통을 형성․확산한 지역이자, 서편제 <춘향가>가 주로 전승된 곳이었다는 사실이다. 그렇게 나주에 전승된 서편제 <춘향가>의 흔적이 정재근을 거쳐 정응민 창 ‘이별가’에 남게 된 것이라고 할 수 있다. 물론 서편제 계열 <춘향가>가 보성소리 <춘향가>의 한 기반이 되었음은 선행 연구를 통해 이미 논의된 부분이나, 이번에 정응민 창 ‘이별가’라는 실제적인 자료에 근거해 그 사실을 구체적으로 재확인할 수 있었다. 다만 정응민이 ‘이별가’에 남은 서편제 <춘향가>의 흔적을 계속 그대로 두기만 하지 않았음을 함께 기억할 필요가 있다. 생의 마지막 순간까지 보성소리 <춘향가>를 끊임없이 갈고 다듬었을 정응민의 노력을, 이 ‘이별가’를 통해 다시금 확인할 수 있다. This paper revealed that Seopyonje Chunhyangga, passed down following the lineage from Park Yu-jeon to Jeong Jae-geun to Jeong Eung-min has become a source of building Boseongsori Chunhyangga. To prove this, Farewell song sung by Jeong Eung-min was compared to Farewell song sung by Jeong Eung-min’s disciples, such as Jeong Gwon-jin, Sung Woo-hyang, Cho Sang-hyun, and Sung Chang-soon, and Farewell song sung by the Seopyonje Chunhyangga s pansori singers, such as Jeong Gwang-su, Kim Hwa-seon, Jeong Jeong-ryeol, and Park Rok-joo. Recorded by Jeong Eung-min in 1961, the Farewell song consists of the rhythm of Changjo, Jungmori, Jungjungmori, and Jungmori, which has a playback time of about seven to eight minutes. Although Jeong is considered the founder of Boseongsori, his vocal recording itself is very rare, making it a very valuable music source. However, some of the characteristics of Jung s 1961 recording of the Farewell song are more similar to the Farewell song of the current Seopyonje Chunhyangga than the one sung by Jeong s disciples. Jeong Jae-geun is the one who laid the foundation of Boseongsori before Jeong Eung-min. Hence, it is quite likely that the characteristics were derived from Jeong Jae-geun. What is noteworthy is that his hometown of Naju was where the family members of three prominent pansori master singers, Kim Chang-hwan, Jeong Chang-eup, and Jeong Jae-geun created and popularized the tradition of pansori, and the Seopyeonje Chunhyangga, which was largely passed down. The traces of Seopyonje Chunhyangga, performed in Naju was retained in Jeong Eung-min s Farewell song recorded in 1961, through Jeong Jae-geun. Of course, the fact that the Seopyonje Chunhyangga has become a foundation for Boseongsori Chunhyangga has already been discussed in prior studies, but this paper specifically reaffirmed the fact based on actual data of the Farewell song sung by Jeong Eung-min. However, it is important to remember that Jeong did not let go of the traces he received from Seopyeonje Chunhyangga until the end. The efforts of Jeong, who had constantly refined Boseongsori Chunhyangga until the end of his life, can be confirmed again through the Farewell song of the current Boseongsori Chunhyangga.

대학생의 분노, 소외감이 알코올중독, 인터넷중독에 미치는 영향

송미경(Mi Kyoung Song) 한국청소년문화연구소 2013 청소년 문화포럼 Vol.- No.36

This study was to test the effect of college students`s anger, alienation, on alcohol addiction, internet addiction through behavioral activation. For this study, 433 college students in Seoul, Gyeonggi and Gyoeongnam were recruited. The results of this study were as follows; First, A lot of college students had problem with alcohol or internet. Second, anger and alienation, on alcohol and internet addiction and behavioral activation were positively correlated. Finally, behavioral activation fully mediated the relation between anger and alcohol addiction, alienation and alcohol, addiction. But behavioral activation partially mediated the relation between anger and internet addiction, alienation and internet addiction. Therefore, theoretical implications for counseling or education in order to encourage an effective stress coping were discussed as well as suggestions of this study.

영화 〈도리화가〉(2015)에 나타난 영웅 스토리텔링의 전략과 한계

송미경(Song, Mi kyoung) 경성대학교 인문과학연구소 2017 인문학논총 Vol.45 No.-

본 논문에서는 크리스토퍼 보글러의 ‘영웅의 여정’ 구도에 의거하여 영화 〈도리화가〉에 나타난 영웅 스토리텔링의 전략과 한계를 고찰하였다. 첫 번째 전략은 ‘소명의 거부’ 단계의 변주를 통해 진채선이 지니는 자발적 영웅의 형상을 강조한 것인데, 오히려 이것이 동기 부여의 측면을 약화시켰다. 두 번째 전략은 ‘동굴 가장 깊은 곳으로의 접근’ 단계의 확장을 통해 ‘여류 소리꾼’의 성장기를 구현하고자 한 것이나, 진채선이 부르는 소리의 질적 변화가 재현되지 못하면서 영화의 단점을 부각하는 결과를 낳았다. 세 번째 전략은 3막 제 단계에 대한 압축을 통해 결말의 여운을 추구한 것인데, 열린 결말은 오히려 ‘영약’의 실종으로 이어졌고, ‘최초’에 대한 강조도 허무하게 되어버렸다. 영웅 스토리텔링은 진채선이라는 역사적 인물을 ‘조선 최초의 여류 소리꾼’으로 소환하는데 적절하고 효과적인 장치였으나, 그 전략 및 구현에는 한계가 있었다. This paper examined the strategies and limitations of hero storytelling in the film “The Sound Of A Flower” based on Christopher Vogler"s ‘Hero" s Journey’ composition. The first strategy was to emphasize the shape of the voluntary hero of Jin Chae-seon through the variation of the stage of ‘Refusal of the Call’, but this weakened the aspect of motivation. The second strategy was to expand the ‘Approach the Inmost Cave’ stage, thus realizing the growth phase of the female singer, which resulted in the disadvantage of the film. The third strategy was to pursue the ending through the compression of the third act, but the open ending has led to the disappearance of the ‘elixir’, and the emphasis on ‘the first’ has become unnecessary. Hero storytelling was a suitable and effective device to summon Jin as a historical figure of ‘Chosun"s first female singer’, but there were limits to its strategy and implementation.

유네스코 인류무형문화유산 ‘판소리’ 종목 지원 사업의 현황과 과제

송미경(Mi kyoung Song) 판소리학회 2023 판소리연구 Vol.56 No.-

본 연구에서는 국립무형유산원, 한국문화재재단, 전통공연예술진흥재단 등 주관 기관별로 2014년부터 현재까지 진행되어 온 유네스코 인류무형문화유산 지원 사업을 개관하고, 선정된 ‘판소리’ 종목 지원 사업의 특징을 고찰하는 한편, 기 선정된 ‘판소리’ 종목 지원 사업의 유형, 특징 등을 토대로 향후 ‘판소리’ 종목 지원 사업의 방향성과 과제를 논의하였다. 문화재청 산하의 ‘무형유산 복합기관’이라 할 수 있는 국립무형유산원은 2017년부터 2020년까지 ‘인류무형유산 국고보조사업 공모’ 사업을 주관했으며, 2021년 해당 사업을 한국문화재재단으로 이관했다. 판소리의 경우 단독으로 사업에 선정된 것은 2019년 경서도소리포럼의 ‘서도명창 박월정의 판소리 재현’뿐이며, 그 외에는 합동 공연의 한 프로그램 또는 구성 종목으로 포함되었다. ‘인류무형유산 국고보조사업 공모’ 사업은 2021년부터 그 운영 주체가 한국문화재재단으로 전환되면서, 명칭도 ‘인류무형문화유산 민간 지원 사업 공모’, ‘인류무형문화유산 지원 사업 공모’ 등으로 바뀌었다. 문화재청 산하 공공기관이자, 문화유산의 전승·보급·활용을 위한 전문기관이라는 정체성을 아울러 지니는 한국문화재재단은 2022년부터 지원 분야를 ‘1. 공연/전시/체험, 2. 축제/의례, 3. 평생교육, 4. 연구과제/도서출판/학술대회, 5. ICT 및 영상 등 홍보콘텐츠, 6. 상품 디자인 및 제작’으로 확장하고 심사 배점을 수정하는 등 기존 내용과 방향에 상당한 변화를 주었다. 이 공모에서는 판소리 종목 사업이 꾸준히 지원 대상으로 선정되어, 경서도소리포럼, (아트플랫폼) 동화, 한국판소리보존회, 동리문화사업회의 경우 지난 3년 간 2회 그 수혜 대상이 되었을 정도이다. 주제로는 김초향, 100년 전 판소리 <춘향가>, 판소리 갈라쇼, 판소리유파대제전, 대한민국 판소리 한마당, 동리 신재효 등이 활용되었다. 전통공연예술진흥재단은 문화체육관광부로부터 재단설립허가를 받아 전통공연예술 민간부문 활성화의 거점으로 기능하고 있으며, 공식적으로 확인 가능한 유네스코 인류무형문화유산 지원사업은 2014년부터 2018년까지 진행된 ‘세계무형유산활용 관광자원화 사업’, 그리고 2019년부터 지속되어오고 있는 ‘인류무형문화유산 활용 공연사업’ 등이다. 명칭에서 보듯, 공연 콘텐츠 활성화에 집중하는 사업, 등재 종목 기반 우수 공연콘텐츠를 확산하는 사업 등으로 방향 전환이 있었으며, 이들 사업에서 판소리 종목 활용 사업은 전 시기 상당한 비중으로 선정에 포함되었다. ‘판소리 유파대제전’, ‘구례동편제소리축제’, ‘서편제보성소리축제’, 창작국악극 ‘춘향난봉가’, ‘판소리동화시리즈_안데르센’, ‘완창판소리프로젝트2_강산제 수궁가’, ‘3색 소리극 ‘흥보가 비하인드 스토리’’, ‘바로크 판소리 심청’ 등이 그 예이다. 유네스코 인류무형문화유산 ‘판소리’ 종목을 활용한 최소 35개 이상 사업 또는 콘텐츠가 3개 기관이 주관한 지원 사업에 선정·발표되어 온 만큼, 이들 지원 사업의 기여도는 분명히 인정할 필요가 있다. 다만 그동안 선정된 판소리 관련 지원 사업을 살펴보면 그 유형이 공연과 축제에 대체로 한정되어 있으므로, 향후 이를 전승공동체 활성화 또는 교육 등과 관련짓는 것도 하나의 전략적이고 의미 있는 움직임이 될 수 있음을 제언하였다. This study provides an overview of UNESCO Intangible Cultural Heritage support projects that have been ongoing since 2014. These projects are undertaken by organizations such as the National Intangible Heritage Center, the Korea Cultural Heritage Foundation, and the Korean Traditional Performing Arts Foundation. The study examines the characteristics of these projects and discusses their directions and challenges based on the types and characteristics of the selected pansori support projects. The National Intangible Heritage Institute, identified as an “intangible heritage complex” under the Cultural Heritage Administration, organized the Human Intangible Heritage State Subsidy Project from 2017 to 2020. In 2021, the project was transferred to the Korea Cultural Heritage Foundation. In the case of Pansori, the only item selected for the project was the “Reproduction of Pansori of Seodo Myungchang Park Wol-jeong” by the Gyeongseodo Sori Forum. Other items were included as parts of joint performances or programs. Since 2021, the Competition for State Subsidized Projects for Human Intangible Cultural Heritage has been renamed the Competition for Private Support Projects for Human Intangible Cultural Heritage and Competition for Support Projects for Human Intangible Cultural Heritage. This change was prompted by the transition of the operating entity to the Korea Cultural Heritage Foundation. As a public institution under the Cultural Heritage Administration, and a specialized organization for the transmission, dissemination, and utilization of cultural heritage, the Korea Cultural Heritage Foundation has made significant changes in content and direction by expanding its support areas to include: 1. performances/exhibitions/experiences; 2. festivals/ceremonies; 3. continuing education; 4. research projects/book publishing/conferences; 5. promotional content such as ICT and videos, and 6. Product design and production, and by revising the scoring system. In this competition, Pansori projects have been consistently received support, with organizations like the Gyeongseodo Sori Forum, (Art Platform) Donghwa, Korean Pansori Preservation Society, and Dongri Culture Business Association being selected twice in the past three years. The topics included Kim Cho-hyang, the 100-year-old Pansori ‘Chunhyangga’, Pansori Gala Shows, the Pansori Yupa Grand Festival, Korea Pansori Hanmadang, and Dong-ri Shin Jae-hyo. The Korean Traditional Performing Arts Foundation is licensed by the Ministry of Culture, Sports and Tourism to function as a base for revitalizing the private sector of traditional performing arts, and its officially verifiable UNESCO ICH projects include the Tourism Resource Utilization Project for World Intangible Cultural Heritage, which ran from 2014 to 2018, and the Performance Project for Intangible Cultural Heritage, an ongoing initiative since 2019. The new project names signify a shift in focus towards revitalizing performance content and promoting exceptional performance content based on registered items. A significant portion of the projects in the selection have utilized pansori items or offered pansori events. Examples include “Pansori Yupa Daeje Festival,” “Gurye Dongpyeonje Sori Festival,” “Seopyeonje Bosung Sori Festival,” the creative Korean traditional music drama “Chunhyang Nanbongga,” “Pansori Fairy Tale Andersen,” “Wanchang Pansori Project 2 Gangsanje Sugungga,” “Heungboga Behind Story,” and “Baroque Pansori Simcheong.” As at least 35 projects or contents involving pansori as a UNESCO intangible cultural heritage have been selected and announced for support projects organized by these three organizations, the contribution of these support projects needs to be clearly recognized.

일본 동경대 오구라문고(小倉文庫) 소장 <옥중화>의 자료적 가치와 의미

송미경(Song, Mi Kyoung) 한국구비문학회 2021 口碑文學硏究 Vol.- No.62

본 연구에서는 신자료 오구라문고 소장 <옥중화>의 서지적 특징과 편찬 방식을 고찰하는 한편, 기존의 이해조 산정 <옥중화>의 󰡔매일신보󰡕 연재본을 오구라문고 소장 <옥중화>와 비교 검토하였다. 오구라문고 소장본의 오기가 󰡔매일신보󰡕 연재본에서 교정된 사실은 오구라문고 소장본이 󰡔매일신보󰡕 연재본에 선행하면서 그 저본의 역할을 했으리라는 추정을 가능하게 하지만, 한자-한글 표기의 차이, 조사의 차이, 방언, 구개음화, 어휘 표현 등 기타 표기상 특징 등을 종합적으로 고려할 때, 여규형 교열․박승옥 번역의 오구라문고 소장본이 이해조 산정 󰡔매일신보󰡕 연재본의 직접적인 저본이 되었을 가능성은 그리 크지 않다. 다만 오구라문고 소장본의 경우, 여기 참여한 박승옥의 몰년이 1908년인바, 이해조 산정 󰡔매일신보󰡕 연재본에 앞서 필사된 것일 가능성은 충분하다. 아직 발견된 것은 아니나 ‘박기홍조 춘향가’ 사설의 모본이 존재했고, 이를 토대로 1908년 이전에 오구라문고 소장본이 필사되었으며, 그 이후인 1912년 이해조가 판소리 산정 작업을 하였으리라는 것이 현재로서 도달 가능한 잠정적인 결론이다. 서강대 로욜라도서관 소장 <원고본B> 역시 오구라문고 소장본의 성립을 전후해 시도된 또 하나의 초고로 보인다. 이러한 관점에 따라 이해조의 판소리 산정 작업을 다시 살펴보면, <옥중화> 그리고 후속작인 <강상련>, <연의각>, <토의간> 간 차이가 더 선명하게 드러난다. 첫째, 문체상 차이이다. <옥중화>만 국한문 혼용체로 연재되었으며, 이후 후속작들은 국문체로 점차 전환되었다. 이해조는 여규형 교열․박승옥 역 <옥중화>의 모본(국한문 혼용체)을 토대로 이 산정 작업을 시도했기에, 첫 작업의 결과물은 여규형 교열․박승옥 역 <옥중화>와 유사한 표기 체계를 지니게 되었던 것이다. 둘째, 저본이 된 바디의 차이이다. 박기홍 바디를 저본으로 한 것은 <옥중화>뿐이며, 이후 판소리 산정 작업부터는 심정순이 참여하게 된다. 이해조 판소리 산정의 저본이 박기홍 바디에서 심정순 바디로 전환되는 데는 여러 맥락이 있었겠으나, 무엇보다 이해조에게는 산정의 저본으로 삼을 만한 박기홍 바디 심청가, 흥보가, 수궁가 창본이 없었을 것이라고 생각된다. 판소리 산정 연재와 신소설 연재를 병행해야 하는 이해조의 현실적인 상황에서, ‘박기홍조 춘향가’ 모본의 존재는 이해조의 첫 판소리 산정 연재에 안정감과 수월성을 더해주는 역할을 하였을 것이다. This paper examines the bibliographic features and compilation method of Ogura Bunko’s Okjunghwa, and also compares the existing Maeil Shinbo series of Okjunghwa with Ogura Bunko’s Okjunghwa. That typographical mistakes in Ogura Bunko’s Okjunghwa were corrected in the Maeil Shinbo series makes it possible to predict that the former was published before the serial copy of Maeil Shinbo, and, served as the original script of the latter. However, considering the differences in Chinese–Korean notation, postpositional particle, dialects, oral phonemes, and vocabulary expressions, it is unlikely that Ogura Bunko’s Okjunghwa by Yeo Kyu-hyung and Park Seung-ok became the original script of the Maeil Shinbo’s Okjunghwa. Of course, in the case of Ogura Bunko’s Okjunghwa, Park Seung-ok died in 1908; the book was likely transcribed earlier than the Maeil Shinbo series adapted by Lee Hae-jo. Although not yet discovered, a master copy of Park Ki-hong’s Chunhyangga did exist, based on which Ogura Bunko’s Okjunghwa was transcribed around 1908. Lee Hae-jo may have adapted the P’ansori novel in 1912. Manuscript B, which is in Sogang University’s Royola Library also seems to be another work created around the time of the establishment of Ogura Bunko’s Okjunghwa. From this point of view, a closer look at Lee Hae-jo’s P’ansori adaptation clearly reveals the difference between Okjunghwa and its sequel (Gangsangryeon, Yeonuigak, and Touigan). First, there is a difference in writing style. Only Okjunghwa was published in the Korean–Chinese character style, and subsequent works were gradually converted into proper Korean. Lee Hae-jo attempted this adaptation work based on the master copy of Okjunghwa by Yeo Kyu-hyung and Park Seung-ok, and so the result of the first work had a similar notation system to that of Okjunghwa by the latter two. Second, there is a difference in the P’ansori Badi, which is now a master copy. The only work that made Park Ki-hong’s Badi a master copy was Okjunghwa, and Shim Jeong-soon participated in the subsequent P’ansori adaptation. There may have been many contexts for Lee Hae-jo’s change of master copy for adapting the P’ansori from Park Ki-hong’s Badi to Shim Jeong-soon’s Badi; but most of all, Lee Hae-jo would not have had Park Ki-hong’s Badi Simcheongga, Heungboga, and Sugungga texts, which could be used as master copies. Given that Lee Hae-jo likely had to combine a series of P’ansori adaptations as well as a series of new novels, the presence of a master copy of Chunhyangga by Park Ki-hong would have been a stable source for Lee Hae-jo to work on the first serialization of the P’ansori adaptation with ease.

청소년 판소리/창극에 나타난 갈등 스토리텔링의 구조와 의의-<10대 애로가>(2004), <내 이름은 오동구>(2013), <女울★곡>(2014)을 중심으로-

송미경 ( Song Mi-kyoung ) 한국문학언어학회 2018 어문론총 Vol.78 No.-

Juvenile pansori/changgeuk deals with the subject of youth, and is either created by teenagers themselves or co-created with an expert or group of experts. On the basis of the educational perspective of these works, they are recommended by teachers and parents, as well as by teenagers to enjoy themselves. This paper selected three works, one for a Younger pansori/ changgeuk audience Ten Years’ Troubles(2004), as well as My Name is Oh Dong-gu(2013), and Yeoulbyeolgok(2014). Ten Years’ Troubles covers a number of issues throughout a child’s school years, and My Name is Oh Dong-gu examines sexual identity and career choices among young people, and Yeoulbyeolgok addresses problems related to bullying. These core problems are expressed through conflicts in the story, among characters. The conflict motif is a major part of juvenile pansori/changgeuk, which, as a genre, deals with the inner problems facing young people, Chapter 2 of this paper examined how several conflict motifs meet within the form and content of each piece of juvenile pansori/changgeuk. Chapter 3 analyzes how the conflict storytelling structure outlines the possibilities and limitations of each piece belonging to the youth pansori/changgeuk genre. Conflict and growth among teenagers is ike current and changing trends rather than a complete and final body of work. Even if traditional pansori/changgeuk endings do not lead to reconciliation and conflict resolution, young audience will be able to feel empathy as they follow the characters’ contemplation process and begin to understand the meaning of real growth. Juvenile pansori/changgeuk conflict storytelling needs to be done more delicately and carefully.

생물학적 하수처리공정 변경을 통한 수처리효율 개선

송미경 ( Mi-kyoung Song ),송한용 ( Han-yong Song ),이홍렬 ( Hong-lyoul Lee ),강동효 ( Dong-hyo Kang ) 한국환경기술학회 2009 한국환경기술학회지 Vol.10 No.2

This study a research on the efficiency of the process(PL-2) renovation in the advanced wastewater treatment plant containing high DO influent. The original PL-2 process was renovated that the process was supplied released phosphorus sludge to the anoxic tank instead of the oxic tank. The released phosphorus sludge contains remarkably high MLSS, low DO and DNPAOs(Denitrifying Phosphate Accumulated Organisms). The results of the renovated process evaluation show that the treatment efficiency of TN and TP rose nearly 15.0% and 10.5% to 58.5% and 64.3%, respectively. The maximal removal efficiency of TN and TP are increased to 86.5% and 96.2% in the period of stabilization.

『무쌍신구잡가(無雙新舊雜歌)』의 체재상 특징과 편찬 배경

송미경 ( Mi Kyoung Song ) 우리어문학회 2010 우리어문연구 Vol.36 No.-

사회네트워크분석을 활용한 대전 정보통신산업 네트워크의 구조적,공간적 특성과 시스템 사고를 통한 정책적 함의

송미경 ( Mi Kyoung Song ),이만형 ( Man Hyung Lee ) 한국시스템다이내믹스학회 2011 한국시스템다이내믹스 연구 Vol.12 No.2

Daejeon, encompassing Daedeok Science Town and Daedeok Innopolis, possesses the advantage of portraying relatively higher regional innovation capacity and facilitating network formation among regional professional research organizations. Applying the Social Network Analysis(SNA) techniques, this paper focuses on divulging structural and spatial characteristics of the Daejeon Information and Communication(ICT) industry network, analyzing co-research projects implemented by the Daejeon-based universities. For the analytical tool, it depends on NETMINER 3.0. Furthermore, based on the Systems Thinking approaches, this study suggests a couple of policy implications.. Judging from the Korea Standard Industrial Classification principles, the existing ICT industry is subdivided into 11 sub-industries. The highest degree centralization value comes from the Mobile Communication sub-industry(188.668%), indicating that Mobile Communication sub-industry exerts the most significant impact on the regional innovation networking in Daejeon. Among various stakeholders, Korea Advanced Institute of Science and Technology(KAIST) records the top ranking in most categories, conspicuously leading the institute-industry linkage. In terms of the ICT spatial distribution, the intra-regional cooperation examples present the strongest linkage values, followed by Daejeon-the Capital Region ones. Finally, as well shown in a series of causal loop analyses, this study recommends that Daejeon should put top policy priority in strengthening the internal ICT network within Daejeon proper. Here, Daejeon should keep in mind the fact that there exist reinforcing loops between Daejeon`s attractiveness and the entering of new ICT firms.