• 한국실내디자인학회논문집
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• 제23권3호
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• pp.92-99
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• 2014

Quantum theory of Niels Bohr received the Nobel Prize in Physics was rooted to the Oriental thought 'Yin-Yang and the Five Elements 陰陽五行', and architect Frank Lloyd Wright is also known as Lao Tzu's thoughts on the best architectural theory. Thus, the western architecture and oriental thought is very similar to the concept development. On the basis of this fact, the architectural philosophy of Mies van der Rohe is closely contact with Lao Tzu's Taoism, that is 'The greatest has no boundary 大象無形, Tao Te Ching chap.41' or 'The way to be is not to be 有道者 不處, Tao Te Ching chap.24'. Hence the aim of this thesis is to investigate the interrelation between the German architect Mies van der Rohe's 'almost nothing' and the Chinese philosopher Lao Tzu's 'Taoism'.

• Human Ecology Research
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• 제58권1호
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• pp.87-103
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• 2020

This study discusses the institutional change of Chinese early childhood education quality assurance institution (ECEQAI) from the three dimensions of the perspective of historical institutionalism of that refer to the external environment, dynamic mechanism containing with nation-market-society, and the invisible ideology of the institutional change. Chinese ECEQAI was divided into five historical periods, which were 17 years after the founding of China (1949-1966), the Great Cultural Revolution (GCR) period (1966-1976), the early stage of Reform and Opening-up (RO) (1976-1995), the social change period (1995-2010) and the new period (2010-now). This study also concludes five separate change models for Chinese ECEQAI that correspond to the five periods. The first was a compulsory and gradual institutional change model influenced by the Soviet model and dominated by national power. The second was compulsory and radical change model controlled by the counter-revolutionary group. The third was a compulsory and gradual institutional change model dominated by national power. The fourth was induced and gradual^① institutional change model driven by market power and forced by society power. The fifth was a compulsory and gradual institutional change model led by national power and forced by society power. Finally, the future change direction of China's ECEQAI was further pointed out, that was the government-leading and tend to balanced three-pole power model of "Nation-Market-Society", as well as the "three-pole power relationship" of indepth communication and positive interaction.

• 한국생활과학회지
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• 제18권3호
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• pp.799-807
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• 2009

When analyzing make-up trends of figures shown in portraits of different eras in Chinese painting history, you can see that red color was used much. This can be because the red color is the most outstanding among all the colors and was most preferred by ancient people, as the color of the sun, the blood, and the sacredness. The women in the Tang Dynasty was especially using the red color much. Though Seongrihak (Neo-Confucianism) in Song Dynasty was the governing ideology, it had an influence even upon its aesthetics. Thus, during Song Dynasty, the beauty of logos appeared too. This phenomenon showed a conservative tendency even in make-up as well as in costume, thereby the concept of clear and elegant beauty was emphasized. The real figure in the Ming and Ching Dynasty, was so young and weak as a sample of a delicate woman that a woman who had feminine beauty was regarded as an ideal type. The feminine image had been gradually generalized from the literary works in the latter half of Ming Dynasty. However, the painters in the era still preferred the beauty of a healthy woman. That tendency probably had an influence even upon make-up culture that was shown in portrait. As an analysis result of make-up culture in Chinese portrait paintings, it reveals that ancient make-up trends much reflected the social and cultural phenomena of the periods.

• 비교문화연구
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• 제33권
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• pp.241-262
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• 2013

Nietzsche in the early 20th century, many Western thought came to China pushed the time, who want to reform the Chinese young intellectuals was a great welcome. Around 5.4 times writers representing China Journalism Guo Mo ruo Mao Dun and social needs of the times according to the spirit, according to their ideology, no tubes and four optional understand Nietzsche. Was acceptable, in the process, Nietzsche was transformed hem into various forms. In this paper, two Guo Mo ruo Mao Dun accept Nietzsche as Nietzsche socreated their own awards and also looked at these similarities and difference. Nietzsche Guo Mo ruo the remnants of the old feudal ideas and traditions were to break down and accept only select perspective. Nietzsche's self-discovery and individual liberty, and against the reality and accept the terms of loan 5.4 seconds, an ideal Nietzsche award was created. However Guo Mo ruo particular aspect of the acceptance of Nietzsche, whereas Nietzsche regarded as an extreme pessimist history, and his extreme caution and idealistic form of individualism was often criticized. Mao Dun the core ideas of Nietzsche 'Superman' and 'will power' noted. 5.4 All time view of life, a new morality must re-evaluate the need for a practical, based on the old tradition of Nietzsche completely against the spirit of rebellion was to have especially appreciated. But this was different Mao Dun Nietzsche and moral beliefs. What is the old morality Nietzsche corrupt, bourgeois morality and ethics, and was negative for democracy and freedom, Mao Dun dark realities facing the old Chinese feudal and traditional idea ofrevolution as a democrat were negative for. Guo Mo ruo Mao Dun optional for Nietzsche's acceptance was 5.4 times that contemporary needs can be met.

• 융합보안논문지
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• 제20권5호
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• pp.81-88
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• 2020

과거부터 중국은 중화사상에 의해 주변국과 그 민족들을 자신의 세력권이라는 시각이었다. 이는 중국의 고유민족은 한족이고 그 외의 타민족들은 이민족이라는 것이다. 중국 덩샤오핑도 집권 이후, 개혁개방을 통해 급격한 경제성장을 이룩하면서 필요에 의한 패권주의 정책을 시행하고 있다. 대내적으로 타민족들을 억압·말살하기 위하여 타민족의 거주지역을 제한하거나 고유언어사용을 금지하고 있다. 대외적으로 영토확장을 위하여 역사와 문화를 왜곡·편입하는 '하상주단대공정', '중화문명탐원공정', '동북공정', '서북공정', '서남공정'을 전개하고 있다. 또한 개혁개방으로 자본주의가 발달하면서 원자재와 운송로 확보, 군사시설 확충, 수출시장 확대 등을 목적으로 일대일로를 개척하고 있다. 이러한 과정에서 중국은 관련국들의 정치, 경제, 영토 주권 등을 침해하기에 한국도 중국과 관련한 정치, 경제, 역사, 문화 등의 분야에 관한 대(對)중국정책을 재검토할 필요가 있다.

• 한국콘텐츠학회논문지
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• 제22권9호
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• pp.147-155
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• 2022

이 글은 홍콩 출신 감독 린차오셴(林超賢)이 중국의 주선율 영화에 어떤 변화를 가져왔는지, 그리고 이러한 변화에 영향을 미친 요소들을 분석하기 위한 것이다. 분석의 대상은 린차오셴(林超賢)의 영화 <오퍼레이션 메콩>(湄公河行動, 2016), <오퍼레이션 레드 씨>(紅海行動, 2018), <긴급구원>(緊急救援, 2020)이다. 린차오셴은 중국 대륙 감독들에 비해 정치적 부담이 크지 않아 상업영화의 모델을 이용해 주선율 영화를 만들고 홍콩영화의 요소를 주선율 영화에 최대한 활용하고 있다. 그 결과 주선율 영화의 이데올로기는 딱딱한 표현이 아니라 관객의 공감을 불러일으킬 수 있는 다원화된 가치를 보여준다. 사실적이고 복합적인 인물은 과거 고정 천편일률적이며 비현실적이었던 영웅의 이미지를 대체한다. 스펙터클한 액션 장면과 폭력적인 장면의 응용이 시각적 진풍경을 만들어낸다. 그 결과 주선율 영화는 더 높은 상업적 가치를 얻었다. 린차오센의 영화는 새롭게 변화하는 관객의 취향이 영화산업에서 중요한 요인임을 확인시켜주었으며 높아진 제작비와 더불어 민영영화사의 역할을 키우고 있다.

• 건축역사연구
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• 제1권2호
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• pp.52-67
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• 1992

In Cho-Sun Dynasty, since Czhu-Ja Ga Rae be introduced in late Korea dynasty, many kinds of $Y\^{a}e\;Se\^{o}$ by a personal or national edition had been published, based on supports of the political ideology. Especially, in the age of governing by $'Y^{a}e'$ in 16 17c, after completion of publishing $'Oh\;R^{a}e\;Yi(1474),'$ 'Geong Guk Dae Jeon (1469)' in late 15c, norm of $'Ga\;R^{a}e'$ has prevailing and the quantity of publishment of it is more growing. Generally, the contents of these kinds of $Y^{a}e\;Se^{o}$ is intended to interprete the czhu-Ja $'Ga\;R^{a}e'$. and furthermore, some kinds of it, descripted directly architectural institutions as a part of $Y^{a}e\;J^{a}e$ through architectural drawings, with quatating chinese scholar's theory. It can be said that architectural institution on $Y^{a}e\;S^{e}o$ may be a kind of political institution as a tool for execution of a ideal ideology in Confucianism. In this Context, it can be concluded that the governing-class in Cho-Sun Dynasty refered to the architectural institution on $Y^{a}e Se^{o}$ as a ideal norm and, in constructing or organizing buildings, it was taken in account as a 'frame of reference'. The Locus of this study is on architectural drawings on $Y^{a}e\;Se^{o}$, for certifying interrelationship the institution which is executed in the drawings and the architectural characteristics of construction and organization in Cho-Sun Dynasty.

• 한국의류학회지
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• 제19권2호
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• pp.297-316
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• 1995

The system and symbolizing ideologic meanings of the metallic Kwon in period of the Three-Kingdoms were comsidered by comparing to their cultural path and structal styles throughout the tree and the deer worship ideology. The results of this study are as followings; Firstly, the beginning of the Korean, mostly northern style was originated from metal tools of the Bronze age in BC 6c-7c. The maJ;lufature of the metallic adornment brought the pr-evailing use of metallic objects of craftwork after the supply of ironmongery. Secondly, the cultmal characteristics of the metallic Kwan in the kor-ean Peninsula were influenced f-rom the northern chinese tribes, Momg Go, Hung No, and Sien-pi who were transmitted from the scythian of the southern Russia having a prefenence for gold. Thir-dly, the metallic Kwon of the Kogmgo and the Baekje era was ideologically based on the ar-t of Buddism of the pattern of blazing flame, the carved pattern of flower- of herb, and the honey. sukle which were tramsmitted to china thr-ough the silk noad. Fourthly, the metallic K wam of the silla era consisted of the tree and the antler types in closely nelated to the tree and the deer ideology which were based on the background of shamanism. It should be raid that the metallic Kwan of the silla esa are connected to the type of nor-them ancient K wan. Lasthy, the metallic Kwan-Mo of the Kaja esa was mosthy original type of flower of herb even if kome of these ar-e similiar to the tree adornment type of silla. This type of flower of herb in based on the scythian type with a statue im silveer founded at Alexandnopol in the southern russia.

• 한국언론정보학보
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• 제18권
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• pp.165-198
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• 2002

9.11 테러참사 사건에 대한 미국, 중국, 한국의 주요일간지 보도 비교분석 결과 자국의 이데올로기와 외교적 이해관계가 국제 분쟁에 관한 뉴스 프레임에 영향을 미치고 있다는 사실이 확인되었다. 뉴스 프레임은 양적, 질적인 측면에서 모두 차이를 보였는데, 기사량에서 미국의 <뉴욕 타임즈>, 한국의 <조선일보>는 9.11 테러사건 발생직후 신문의 거의 전 지면을 할애한 반면(382건, 192건) 중국의 인민일보는 단 32건의 기사만을 보도함으로써 이번 사건을 상대적으로 축소 보도하였다. 뉴스 내용에서도 <뉴욕 타임즈>와 <조선일보>는 9.11 테러와 아프간 공습을 미국 정부의 공식적인 시각대로 '인류 평화를 위협하는 악의 전쟁행위' 그에 따른 '필연적인 미국의 군사보복과 응징'의 틀을 통해 미국의 아프간에 대한 무력 공격을 정당화시킨 반면, 중국의 <인민일보>의 경우에는 9.11 테러와 관련해서는 중립적 시각에서 사실보도만을 하고, 미국의 공습과 관련해서는 무고한 아프간 민간인들의 회생과 고통을 부각함으로써 현저하게 다른 뉴스 프레임을 견지한 것으로 나타났다. 이야기 구성방식에서는 세 나라의 일간지 모두 특정 사건 중심으로 에피소드를 전핸 일화 중심적 뉴스틀을 사용한 것으로 나타났다.

• 비교문화연구
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• 제51권
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• pp.193-212
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• 2018

논문은 리안(李安)영화가 진행하는 여성 재현(응시)의식을 살펴보고자 한다. 미국 사회에서 활동하고 있는 리안의 문화적 정체성에 주목하며, 때로는 주류가 아닌 주변인으로 위축되고 억눌려졌던 자신의 불안한 위치와 정체성을 여성과 동일시했다고 하는 감독의 영화의식 속에서 '여성'을 들여다보고자 한다. 논문은 서양사회에서 대만인 디아스포라 동양 남성 감독 리안이 영화에서 '여성'을 어떻게 재현하고 있는지, 동양 남성으로서 가부장제 남성 의식을 내면화하고 있는 그가 '여성'에 대해 어떤 응시를 진행하는지 주변인(이방인)으로서 중심을 어떻게 해체하고 있는지 그의 방식을 살펴보고자 한다. 리안 영화는 여성들이 국가권력에 의해 구국의식 안으로 포획되고 있는 지점을 연출하고 있다. 국가는 그녀들에게 구국이라는 대의의 책무와 책임을 강제하고, 이런 국가에 그녀들은 때로 균열을 진행한다. 식민 조국의 해방에 적극 동참하지만 그 속에서 국가가 보여주는 기만성을 폭로하고, 또 생명을 조작하며 안보 강화만을 주장하는 국가의식의 허위성을 폭로한다. 또 그의 영화는 동 서양의 부권(父權)과 부권(夫權)을 해체하기도 한다. 감독은 중국 여성의 신체가 식민자 앞에서 발가벗겨져 전시되고 구국이라는 이름으로 강제되는지 주목한다. 그녀들의 신체는 가부장제 이데올로기에 억눌려 이상 징후를 보이거나 아들을 낳는 생산의 도구로 강요되고, 중화 전통 문화 아래 감정의 표출을 억압당하며 절제된 감정의 신체로 표상되고 있다.