• 초등상담연구
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• 제9권1호
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• pp.59-74
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• 2010

본 연구의 목적은 조선시대 실학자 연암 박지원의 삶과 사상을 통해 전통적인 가치관, 태도, 표현방식 등을 상담학적 관점으로 이해하고, 한국적 상담법을 개발하고자 하는 것이다. 연구방법은 선행 연구 논문 및 관련도서를 통해 연암 박지원의 생애와 사상적 특징을 제시하며 상담학적 의미를 찾아보았고, 연암의 삶과 사상 속에 담긴 상담적 요소를 바람직한 삶의 원리, 관계 형성의 원리, 인간변화의 구체적 전략으로 나누어 추출하였다. 마지막으로 추출한 상담적 요소가 현대상담에 주는 시사점을 찾아 연암에게 배울 수 있는 상담자의 바람직한 모습, 관계형성 및 유지 능력, 바람직한 성장을 돕는 상담기법으로 나누어 체계화하였다. 연암에게 배울 수 있는 바람직한 성장을 돕는 상담 기법으로는 감동주기, 사고의 폭을 넓혀가는 대화하기, 삶을 즐기는 방법 전수하기, 성장에 초점 맞추어 꾸중하기, 이야기 자료 활용하기, 유머 활용하기, 창의적인 방법 활용하기, 특성과 역량에 맞추어 성장시키기 등이 있다. 본 연구는 연암의 삶과 사상을 통해 상담자의 바람직한 모습과 청담자의 성장을 돕기 위한 구체적 상담기법을 찾아내어 현대 상담에 활용할 수 있도록 체계화했다는 점에서 의의가 있다. 앞으로 좀 더 지속적인 연구와 검증을 통해 보다 가치 있는 상담 지식으로 발전시키고, 상담 현장에서 현실적으로 활용 가능한 새로운 연암 상담법이 완성되어야 할 것이다.

• 조형예술학연구
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• 제7권
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• pp.105-127
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• 2005

This research is on the characteristics and roles of important cities of Germany based on the history of the modern art museum and its possessions. Especially, it is focusing on the modern art museums in the western Germany including Dusseldorf, Koln, and Frankfrut that have shown economic recovery from the Miracle of Rhine; the capital city of Germany, Berlin, as well as Munich, the second capital city of Germany. Here, it harmonizes with the tradition of the past and simultaneously, it spreads the concept and role of the new museum as a forerunner. After the WWII, this is the most active of supporting investment for art museums and authors from the economic development. Also, it represents Germany with its national promotion of culture and arts. The modern art museums of Germany emphasize the mission that they exist for the people and the nation as well as creation of new art culture. These art museums working for national culture and art development do not simply collect and preserve arts. They induce active involvement from the public and keep in mind of national objectives. Here, art museums become and educational setting for the people and a room for new art culture. This research is on Germany modern art museum and it is composed of important 'public institutions' of Germany that critically influence the growth of world-renown authors. After the unification of Germany, Munchen and the western region became an important places centering around new Berlin modern art museum. They are the best places that show the national objectives and regional characteristics. Also, there are art museum educational curriculum and open space for the people by explaining exhibition plans and contents. Furthermore, there are two characteristics of German modern art museums that are noteworthy. Firstly, there are Berlin's Neue Nationalgalerie, Munchen's Pinakothek de Moderne, and Dusseldorf's 'K20' (Kunstsammlung N-Westfalen K20) that are the roots of modern art. These modern art museums exhibit popular author's collection repeatedly. This has a tendency to standardize audiences' view or to make audiences bored. It is becoming more like a trend for art work to appear and disappear. Despite these problems, German modern art museums play a critical role for a new cultural art creation and for the national identity by attempting to show the works of domestic authors as well as an intensive collection of world-renown authors' works. Secondly, there is a role as a new art museum to work together with people. It strives to continuously educate difficult modem arts, exhibits in an open space stimulating interest, participation, and conversations. From these roles, Hamburger Bahnhof Museum fur Gegenwart or Dusseldorf's 'K21, Frankfurt Museum $f\"{u}r$ Moderne Kunst, $Kf\"{o}ln$ Museum Ludwig are given new attention. Here, they emphasize the importance of communicating with the audiences and provides experiences that are different from the original spaces by showing the architecture tecture style of the art museum. In conclusion, German modern art museums attempt various changes by connecting to art education. With art museum activities, there forms a connection between arts and the lives of people, and from this, creative cultural art focused on the art museum borns. This is not only limited to Germany, the U.S., etc. We, too, should pay attention to new art culture creation from changes of role and function of modern art museums.

• 복식
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• 제58권2호
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• pp.78-92
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• 2008

The mutual relationship between fashion and architecture and the similarities in their form and structure have been continuously debated over the decades, considering that both spheres are objects used in human life. Both spheres bring about the creation of three-dimensional space structures that are completed by the human body and material, based on a design targeted for people. The similarities between fashion and architecture in terms of form and structure have been debated by western architecture scholars focusing on the support that holds the garment's shape, the tailoring of a men's suit and also the material. The debate originates from the discussion of F. Th. Vischer, Kritische Gnge, and Gottfried Semper during the nineteenth century on the similarities between crinoline and the form of architecture and also the similarities between sewing and architecture. However, architects always regarded fashion as the inferior creative process that follows architecture in viewing the relationship between fashion and architecture. During the mid to end of the twentieth century, contrary to previous decades, the sense of fashion in architecture stood out, as an issue and a different approach was taken in discussing architecture that incorporates fashion. Accordingly, in the mid 1990's, architecture scholars such as Deborah Fausch and Mark Wigley began to conduct close observation of the mutual relationship between fashion and architecture from a more equal point of view. Notwithstanding, their point of view was still biased towards architectural standards. Commencing the Millennium, fashion has become the primary work of creation which leads style in all spheres, and under these circumstances this point of view has transferred from architecture to fashion when thinking about relationships between these spheres. The discussion on fashion and architecture form fashion's point of view is currently concentrated on the post 1990's phenomenon and illustrates the environment that is related to architecture. In general, the discussion is limited to determining a work of an individual designer as 'being architectural' when explaining the sculptural form of fashion. Therefore, this research aims to renew the discussion on twentieth century fashion design, which was neglected in any studies on observing architecture and fashion. The aim of this research is to classify the architectural paradigm of twentieth century fashion design and to observe the architectural forms of the respective eras. It is necessary to have a close observation of the architectural paradigm in twentieth century fashion design where support tools such as the crinoline was avoided and the form and functionality of the garment itself was emphasized. I will conduct this research by considering the architectural form shown in fashion as a practical three-dimensional creation that exists in space.

• 디자인학연구
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• 제16권1호
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• pp.103-116
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• 2003

세계역사의 커다란 물줄기인 세계화 또는 개방화의 가속화는 문화부문에서도 예외일수가 없다. 한국사회도 급속한 변화의 한 가운데 있으며, 광고시장의 경우 1990년대 초부터 빗장을 풀기 시작하여 오늘날에는 완전 시장개방이 이루어졌다. 이러한 시기에 다국적 기업들의 국내광고활동에 주목하여 보았다. 광고는 단순한 마케팅의 도구가 아니라 인간을 둘러싸고 있는 문화장치, 자본주의 사회의 중요한 이념적 국가장치로 불리며, 인간의 이념이나 꿈, 동기, 가치관, 태도 등을 다루는 하나의 사회제도이기도 하다. 본 논문에서는 이러한 광고가 끼치는 문화적 영향에 대한 현상을 개괄하였고, 실제적으로 국내에 진출해 있는 다국적 기업들이 국내에서 행하는 광고활동을 추적해 본 결과, 다국적 기업의 광고는 그 가치 표현에서 서구적인 가치를 국내기업들보다 상대적으로 더 적게 구사하고 있는 것이 발견되었다. 이는 국내기업들이 오히려 더 서구적인 가치표현을 구사하고 있으며, 다국적 기업들은 문화적 충돌을 의식하여 광고에서 주의 깊게 대처하고 있는 것으로 파악되었다.

• 영재교육연구
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• 제19권3호
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• pp.669-695
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• 2009

21세기는 과히 로봇 혁명의 시대이다. 불과 몇 해 전만 하더라도 로봇 시장에서의 주류는 산업용 로봇이었다. 그러나 현재는 다양한 유형의 로봇이 여러 가지 목적으로 우리의 일상생활에서 활용되고 있으며, 가까운 미래에는 인간과 유사하게 사고하고 행동하는 로봇이 등장할 전망이다. 결과적으로 로봇 혁명은 인류의 생활양식을 통째로 변화시킬 것으로 예상된다. 따라서 미래 로봇사회에 적응할 창의적 인재 양성을 위해 로봇교육이 이루어져야 하며 특히 로봇의 움직임을 프로그래밍 할 수 있는 기회는 초등정보과학영재에게 논리적 사고력을 함양할 수 있는 효과적인 교육이 될 것이다. 본 논문에서는 로봇교육의 가장 큰 특징인 '다양한 알고리즘을 통한 프로그래밍 교육을 강화하여 일반학생이 아닌 초등정보과학영재를 대상으로 하는 로봇교육과정을 설계하였다. 로봇교육에 대한 연구가 아직은 부족한 실정으로 본 논문의 교육과정을 설계하기 위해 로봇에 대한 흥미를 갖고 있는 학생을 대상으로 한 특기적성 로봇교육과정을 분석하며 그 시사점을 초등정보과학영재를 위한 로봇교육과정 설계 시에 적용하였다. 또한 설계된 교육과정의 타당성을 검증하기 위하여 전문가 집단을 선정한 후에 델파이 조사를 실시하였다.

• 한국안전학회지
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• 제35권5호
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• pp.74-85
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• 2020

Smart phone zombie or Smombie means pedestrians who walk without attention to their surroundings because they are focused upon their smart phone. Because the traffic accidents and injuries caused by Smombie have been increased rapidly in recent years, the social attention and policies are needed to prevent it. This study was conducted to analyze Smombie's current status and some solutions used before and to propose new improved method through the latest ICT trend. In this study, we did the field survey to check Smombies at several places in Seoul through people counting, and found that a lot of pedestrians still use the smart phone while walking. And we analyzed many case studies about some solutions to prevent Smombies previously. The case studies include legal regulations, government policies, smart phone app services and facilities that are used before. We studied them through internet searches and reference studies and we also checked the current operating situation as visiting several places that the solutions actually has been operated. Therefore, we found there are some limitations in previous solutions in terms of effectiveness and management. To consider new solution that can be expected to overcome the limitations, we analyzed the latest ICT trends focused on features to utilize the Smombie prevention, especially video recognition and digital signage. In these days, video recognition has been developed rapidly with assistance of AI technology and it can recognize the specific pedestrian's characteristics such as holding smart phone as well as hair style, clothes, backpack and etc. On the other hands, the digital signage is the convergence device that includes big display, network connection and various IoT sensors. It can be used as public media in many places for public services as well as advertising. Through these analysis results, we show the requirements and the user scenario for the improved method to prevent Smombie. Finally, we propose to develop R&D technology to recognize Smombie exactly as pedestrian attributes and to spread creative contents to increase pedestrian's interest and engagement for Smombie prevention through digital signage.

• 미술이론과 현장
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• 제3호
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• pp.85-106
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• 2005

As biennale exhibitions has been expanded into all of the world since 1990s, these trends of blockbuster exhibitions have caused several problems. For instance, some major curators monopolized most global size exhibitions despite of a variety of cultural and historical backgrounds. Besides, due to a strong connection between these curators and their own artists, the young emerging artists' opportunities tend to be reduced as a result of the power game. In addition, major curators' power have influence on the exhibition style as well as on the theme itself. Some artists who did not involved that kind of huge scale exhibitions dispute that the direction of the exhibition is concentrating on the curator's interest instead of artists or viewers. Although these dissatisfactions could not portray correctly the process of organizing and managing system of a biennale exhibition, those biennale exhibitions held in recent have shown tautologic discourses without any passion and positive attitude direct to the exploitation of our society as a vanguard. In the process of comparing several kinds of biennale exhibitions, I could find that some artists who participated several biennale exhibitions at the same time did not present their creative vision, although the triumph of an exhibition was typically measured by the amount of visitors. Thus, the aim of this article is to prove that the biennale can show us new cultural discourse as well as progressive method of understanding our times. Is biennale producing the real 'global standard'? If biennale has done it, could this global standard present upto-date paradigm for the unique exhibition system? Is biennale providing an useful opportunity for the understanding and communicating of contemporary art through the recontextualization which is pronounced by the publicity of curator and organizing committee? How can we find the distinctive strategy from each biennale exhibition including Venice Biennale? Biennale, as a blockbuster exhibition, always requires a degree of hype, otherwise it would not be a special event and would not attract a big enough audience. It is the actual reason why major biennale exhibitions seem to be similar artistic events. Unfortunately, it seems that the excess of biennale exhibitions might bring about the lack of contents. In this case, the biennale syndrome would being a kind of the center of poverty, in spite of the visual splendor. After all, following the global standard may not be a matter of great importance now. What really matters is how each biennale exhibition which started under the different conditions can search their own identity.

• 한국학교보건학회지
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• 제18권1호
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• pp.1-14
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• 2005

Purpose: The purpose of this study was to identify the needs of health education in students, their parents and teachers in the elementary, middle and high schools and the current situation of health education class. Method: The subjects of this study were a total of 9450 persons including students, their parents and teachers from 279 schools throughout the country. They were selected through convenient sampling. Data were analyzed through $\chi^2$-test and ANOVA. Result: Students, their parents and teachers replied that 18 dimensions of health education class (DHEC) are necessary. The four DHEC - healthier life style, sex education, mental health and safety education - showed high educational needs in students, their parents, and teachers. High school students had higher educational need of 'symptom management for daily living' than elementary and middle school students. Students, their parents and teachers in elementary school had higher educational needs of 17 DHEC than those in middle and high school. The percentages of schools with health education class taught by health teachers were 99.2%, 75.5% and 66.0% respectively in elementary, middle and high schools. Health education was given mainly using physical education classes at elementary schools, and creative class hours at middle and high schools. In general, health education took 1-3 hours per week at elementary schools, and less than an hour at middle and high schools. Conclusion: Therefore, based on the results, systematic health education class should begin from elementary school to meet the need of health education in students, their parents and teachers, and further study should be made on the number of hours required and the amount of contents of 18 DHEC.

• 한국연극학
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• 제52호
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• pp.271-317
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• 2014

This essay studied the acting theories of Diderot, Delsarte, Meyerhold, and Artaud to know the historical formation of 'sign acting' and its theoretical and aesthetic appropriateness. The sign acting so far discussed shows the repetitive patterns of idea as follows. The sign acting (1) emphasizes the physical expression such as gesture and movement, (2) assumes that the physical expression functions as a sign evoking special emotion and thought, (3) thus recommends the imitation of the outer sign, (4) uses a tableau for the effective reception of outer sign, (5) aims for the spectator oriented aesthetics as it stresses the result of outer sign rather than the creative process of a role, (6) assumes that the emotional reaction or the intellectual understanding springs from the physical experience, (7) thus emphasizes the physical language rather than speech, (8) can attain the appropriateness of physical language by the recent theories of cognitive science. Besides having such commonness, the sign acting also reveals the individual differences. For instance, the intended sign for Diderot and Delsarte was the sign of emotion, for Meyerhold the stylized sign of circus and acrobatics, and for Artaud the spiritual sign. If Diderot and Meyerhold demands the cool consciousness for the correct sign acting, Artaud's sign acting tends to pursue the state of trance. And if Diderot, Delsarte, and Meyerhold think the sign acting on the level of sensory appeal, Artaud insists that the sign acting should dismantle the spectator's sense. As such the discussion of sign acting shows both recurrent ideas and new visions, forming an unity out of diversity. Perhaps the sign acting is a matter of practice before we consider it as a theory. It is not only supposed to have been existed practically since ancient theatre, but also used by actors consciously and unconsciously in expressing certain emotion and thought. We need to study the sign acting more academically, considering its long history and aesthetic potentials. In fact the sign acting has been an essential element of acting, in spite of bad reputation judging it as a banal and worn-out style. It is true that the sign acting, in the worst case, could produce a stereotypical expression. It was this aspect of sign acting that caused a fierce negative reaction of the realists who sought the natural expression based upon psychological truth. Of course the sign acting has a serious problem when it stays banal and artificial. But we need to see this issue from a different perspective. What is the natural expression of emotion? How is it free from the learned way of expression? In some respect, we use, in reality, a learned expression of emotion that could be accepted socially. For instance, when we attend a funeral, we use the outer sign of mourning gestures learned socially. If a semiotic expression pervades various aspects of our life, the acting, being the representation of life, seems not to be free from codified expression. The sign acting could be used consciously and unconsciously in all kinds of acting.

• 동양고전연구
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• 제55호
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• pp.59-84
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• 2014

본 연구는 서계 박세당의 "사변록"에 나타난 "중용"을 이해하고 그의 학문 평가에 대해 새로운 해석을 해보려는 시도이다. 기존의 학계에서는 서계의 학문 성격을 반주자학, 탈정주학, 탈성리학, 실학 등으로 구명하였다. 서계의 "중용" 이해는 분명히 주자의 "중용장구"에 대해 상당히 비판적이다. 하지만 그것은 반주자학, 탈정주학, 탈성리학, 실학이라기보다는 경(經)을 이해하고 독해하는 서계의 학문적 독특성 때문이다. 특히, 육경(六經)을 중심으로 실천적 학문을 펼치려는 철학적 방법의 창의적 돌출로 볼 수 있다. 서계는 중용이 지닌 뜻의 일관성 유지를 위해, 정자와 주자가 중용의 해석하면서 드러내는 사유의 불일치를 지적하며, 나름대로 유학의 본래 사유에 부합하는 근원적 의미를 찾으려고 노력하였다. 그것은 사물과 행위에서 그명칭과 본분, 역할과 기능을 일치하려는 노력으로 드러났다. 아울러 서계에게서 중용은 본성을 따르는데 힘쓰는 것으로 인식되고, 내 마음의 밝은 것을 따라 실천하는 사람의 길로 정돈된다. 이는 객관적으로 사람과 사물의 원리를 설명하는 주자의 사유와는 다른 측면으로, 인간 주체로서의 삶에 역동성을 부여하면서 실천의 기초로서 강력한 실제성과 현실성을 지닌다. 따라서 중용의 실천양식은 실제적인 효를 무게중심에 두고 전개되고, 사람이 그것을 어떻게 실천하느냐에 따라 천도(天道)에도 이룰 수 있다는 인간 주체의 발현으로 나타난다. 요약하면 서계는 중용을 관념적이고 이론적이며 형이상학적 차원으로 인식하기보다는 실제적이고 실천적이며 형이하학적 차원에서 규명하였다. 이는 인간을 중심으로 세계를 이해하고 사람의 길을 고심한 사유의 실천으로 유학의 본질을 탐구한 학문 정신의 전개이다.