• 한국융합학회논문지
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• 제12권5호
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• pp.327-335
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• 2021

본 연구의 목적은 집단미술치료가 일 지방 공무원의 우울과 직무만족에 미치는 효과를 알아보는 것이며 충청북도 지방 공무원 20명을 대상으로 연구를 진행하였다. 연구 기간은 2017년 3월부터 2018년 3월까지이며 실험군 대조군을 무선배정하고 집단미술치료 프로그램 실시 1주일 전·후에 K-BDI와 직무만족도 검사를 통해 우울 점수와 직무만족 점수의 변화를 분석하였다. 자료 분석은 SPSS Statistics 23.0을 사용해 대응표본 t-검정을 실시했다. 분석 결과 첫째, 집단미술치료는 대조군 대비 실험군 공무원의 우울 감소에 통계적으로 유의미한 효과가 있었다. 둘째, 집단미술치료는 대조군 대비 실험군 공무원의 직무만족 상승에 통계적으로 유의미한 효과가 있었다. 본 연구의 결과를 통해 집단미술치료가 충청북도 지방 공무원의 우울을 감소시키고 직무만족감을 상승시키는 것을 확인하였다. 또한 본 연구의 결과를 통해 집단미술치료가 일 지방 공무원 개인의 정신건강은 물론 공무원 조직의 생산성 및 주민 서비스의 질 향상에도 긍정적 영향을 미칠 수 있는 가능성을 확인하였다. 나아가 집단미술치료가 지방 공무원 개인의 정신건강과 조직 생산성 향상을 위한 효과적인 프로그램이 될 수 있으며, 이에 대한 기초자료를 제공했다는 데 본 연구의 의의가 있다.

• 수완나부미
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• 제1권2호
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• pp.21-41
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• 2009

The Art of the Buddha's Life which depicts the life and before-life of Buddha flourished in Sanci and Bharhut in the ancient India and in Gandhara during the Kushan period. More than one hundred scenes from Buddha's life were represented in the form of relief sculpture or wall painting. They are found in Gandhara and Mathura during the Kushan period, Amaravati and Nagarjunakonda during the Satavahana period, in Mathura and Sarnath during the Gupta period, and during the Pala Period. They unfolded in various forms and styles according to the text(Buddhist scripture), layout, and expressive technique. In Mathura, where the Evolution of the Buddha image was made about the same time as in Gandhara during the Kushan period, the Buddha's life was presented in a number of scenes related to the sacred sites; in four or eight scenes. In the case of the Eight Great Events of the Buddha's Life, the four scenes out of eight were different from those that were represented in Sarnath during the Gupta period, manifesting a transitional period. The Gupta period is widely known as the time when the classic artistic style was established. The art of Buddha's Life was produced only in Sarnath during this period, and it was the time when the Eight Great Events of the Buddha's Life was established as iconography, providing a model for those of the Pala period. Also, it was the time when the single image of Buddha was produced such as the 'Buddha delivering his first sermon,' 'Buddha's Enlightenment,' and 'Buddha's Death,' thus showing the emergence of the single Buddha image from the narrative Buddha's life image. In this paper, a general introduction of the relief sculpture of the Buddha's life from Sarnath during the Gupta period was given. The art of Buddha's life gave great influences on that of China, Korea, Japan and Southeast Asia, and can be emphasized as an important subject in understanding the development of the Buddhist art in East Asia. A further study will be made on the art of Buddha's Life of Southeast Asia in the future, which will enhance the understanding of the art of Buddha's Life in East Asia as a whole.

• 미술이론과 현장
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• 제2호
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

• 지능정보연구
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• 제11권1호
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• pp.65-93
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• 2005

미술진단을 위한 전문가 시스템에는 (1)그림의 특징 (2) 환자의 심리증상 (3)그림 특징과 환자 심리증상 간의 관계 (4) 전문가의 진단과정 (5)지식의 표출 및 표현 방법 둥 다양한 분야에서 광범위한 지식이 필요하다. 이 지식들은 현장의 그림진단 치료사와 함께, 심리학자, 심리치료사, 그리고 미술진단을 컴퓨터에 구현할 지식공학자들로부터 얻어진다. 전문가는 다양한 요인들을 복합적으로 고려하는 매우 복잡한 진단과정을 거치며, 관련되는 방대한 지식들은 성격상 모호하고, 일관성이 부족하며, 때에 따라서는 상충적이기도 하다. 이 논문에서는 전문가의 진단과정을 모델링하여, 전문가 시스템의 구조를 설립하고, 지식들을 분석하여 분류한다. 분류에 따라 지식 획득과 표현에 적합한 방법을 선정하며, 온톨로지(ontoloty) 개념에 의한 프로티지(Protege) 2000을 도구로 사용하여 이 지식들을 체계적으로 정리한다. 실제 예제를 통하여 이 시스템의 사용가능성과 적합성을 보인다.

• 한국노년학
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• 제34권2호
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• pp.259-275
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• 2014

본 연구는 집단미술치료가 농촌여성노인의 자아존중감과 자아통합감에 미치는 효과를 알아보는데 그 목적이 있다. 연구대상은 A시의 '농촌어르신 행복 만들기' 프로그램의 일환으로 농촌여성노인들의 자아존중감 향상과 자아통합감 증진을 위하여 농촌 특화 상품 생산에 참여하는 어르신 47명 중 프로그램을 원하시는 분 25명 실험집단으로, 나머지 22명은 통제집단으로 구성하였다. 사전·사후 검사 시 한 번이라도 빠지거나 고령으로 인하여 중도에 사망하신 분을 제외한 44명이 최종 분석 대상이었다. 프로그램 실시는 A지역의 대학생 2명의 보조자와 주최 측의 직원 1명의 도움으로 2010년 3월 16일부터 5월 18일까지 주 1회 화요일 오후 1시부터 3시까지 120분 동안 총 12회기를 실시하였다. 프로그램의 효과를 검증하기 위하여 SPSSWIN version 12.0 Program을 활용하여 분석하였다. 사전검사의 동질성검사를 위하여 독립 t-test를 실시하고, 각 집단의 일반적 특성을 파악하기 위하여 빈도분석을 실시하여 빈도와 백분율을 산출하였다. 연구 결과는 실험집단과 통제집단의 사전과 사후검사에서의 변화를 파악하기 위하여 평균과 표준편차를 산출하였다. 또한 프로그램을 실시한 후 프로그램의 효과를 검증하기 위하여 사전 검사를 공변인으로 하여 공분산분석(ANCOVA)을 실시하였다. 연구결과는 다음과 같다. 첫째, 본 집단미술치료 프로그램 실시 후 실험집단이 통제집단에 비하여 자아존중감이 향상되었다. 둘째, 본 집단미술치료 프로그램 실시 후 실험집단이 통제집단에 비하여 자아통합감이 향상되었다. 그러므로 집단미술치료가 농촌여성노인의 자아존중감 향상과 자아통합감 증진의 효과성을 검증하는데 의의가 있다.

• 대한가정학회지
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• 제28권1호
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• pp.9-20
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• 1990

The purpose of this study was to identify the original quality of design by Issey Miyake and the relationship between the modern expression of art and his design regarding the form, internal symbolism, and Japanese tradition. The bottom current of the modern expression of art has two current: intention to autonomy or purism and intention to contingency. According to analysis of Miyake's design, it was found that Miyake has directed his attention to coexistance of fabric and the body with a pure fluid sculptured form based on two dimensional rectangular fabric. And his plasticity of dress was also made against the fitted structure form and idea of Haute Couture, emphasizaing on his own creativity and insisting on a creative collaboration between the designer and wearer. Finally, the fact that his design was inflnenced by traditionalison of Japanese costume and current modern expression of art was proved.

• 말소리와 음성과학
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• 제1권2호
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• pp.3-8
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• 2009

In an effort to improve speech recognition, we investigated the effect of the number of clusters. In usual LBG clustering, the number of codebook clusters is doubled on each bifurcation and hence cannot be chosen arbitrarily in a natural way. To have the number of clusters at our control, we combined adaptive resonance theory (ART2) with LBG and perform the clustering in two stages. The codebook thus formed was used in subsequent processing of fuzzy vector quantization (FVQ) and HMM for speech recognition tests. Compared to conventional LBG, our method was shown to reduce the best recognition error rate by 0${\sim$}0.9% depending on the vocabulary size. The result also showed that between 400 and 800 would be the optimal number of clusters in the limit of small and large vocabulary speech recognitions of isolated words, respectively.

• 패션비즈니스
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• 제10권1호
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• pp.20-30
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• 2006

Aprons are popularly used among women for domestic work. They also protect clothes from filth and at the same time become an ornamentation for fashion. Despite their important use at homes and restaurants, beauty parlors, and hotels, little study has been done on aprons. Commercialized aprons do not come in various forms, rather they use the same simple shape with different patterns. There has been no independent study done on aprons, however aprons have been studied as a part of uniform studies in the dining industry by Park and Na(2003) and uniform studies in the airline industry by Lee(2001) and Chung(2001). In this study, the author looked into aprons in accordance to the change of housing space and life style. Not only to be worn in the kitchen, but also to greet guests or for a walk in the neighborhood, the apron needs to have various functions and a trendy fashion. Designs to persue personality and high quality along with functionality and esthetical beauty were developed to present various functions of the apron.

• 한국의상디자인학회지
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• 제3권1호
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• pp.77-91
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• 2001

Remembering a meaning of fashion started in the early 20C, Paul Poiret is one of the most important designer. If so, what does his achievements and assessment his costume design have to be？ That is the spirit of his design. Through the creation of the new style which is totally different from a period before, introduction of the vivid color, the new line and the enthusiasm of the fashion business, he showed the roll and the possibility of the modern designer. In Poiret's women's costume, harmonious beauty of women could be discovered in beautiful color which was not used in the 19th and elegance line. Furthermore, in the creation of the color and style, he got a strong influence by the art of early 20C's Europe. This was an opportunity that todays fashion has treated as a part of the or her art, and many modern designers are contacting with the art. The excellent ability in the fashion business has the composite as total fashion. Fashion business including perfumes, cosmetics furnitures, accessories is a model for most designers who follows him.

• BMB Reports
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• 제44권9호
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• pp.590-594
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• 2011

The production of antileukemic enzyme methionine ${\gamma}$-lyase (MGL) in distinctly related bacteria, Citrobacter freundii and in their recombinants expressing the Vitresocilla hemoglobin (VHb) has been studied. This study concerns the potential of Citrobacter freundii expressing the Vitreoscilla hemoglobin gene (vgb) for the methionine ${\gamma}$- liyase production. Methionine ${\gamma}$- liyase production by Citrobacter freundii and its $vgb^-$ and $vgb^+$ bearing recombinant strain was studied in shake-flasks under 200 rpm agitation, culture medium and $30^{\circ}C$ in a time-course manner. The $vgb^+$ and especially the carbon type had a dramatic effect on methionine ${\gamma}$- liyase production. The $vgb^+$ strain of C. freundii had about 2-fold and 3.1-fold higher levels of MGL than the host and $vgb^-$ strain, respectively.