• 대순사상논총
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• 제32집
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• pp.109-136
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• 2019

본 연구는 강증산의 개벽사상을 문명론적 관점으로 살펴보는 것을 목적으로 한다. 한말 개화기 동아시아 문명권의 위축과 물질문명을 앞세운 서구 열강의 동점은 문명적 충격 속에서 새로운 문명전환을 촉발하는 동인으로 작용했다. 척사파와 개화파와 다르게 근대한국 개벽종교 역시 서구 근대에 대한 구체적인 대응과 새로운 문명론을 제시하는 등 개벽파의 일정한 흐름으로 이어졌다. 특히 강증산은 차별과 억압에 저항하여 조화문명과 상생문명을 제시했으며, 이성 중심의 서구적 근대를 비판하면서 신인공공(神人公共) 문명을 제시했다. 증산은 서구 근대문명이 확산하는 과정에서 당시의 상하 귀천, 남녀차별, 정치부패, 지배층의 착취와 외세의 침략 등 사회 내외의 사회모순 속에서 신음하던 민중들에게 새 문명의 건설을 선언했다. 증산은 물질 중심주의와 인간소외 등을 비판하고 그러한 병폐들로부터 민중들을 구제하는 제생의세 실천으로 이어졌고 개벽을 주장했다. 이것은 묵은 하늘에 대한 청산을 통한 새 하늘 선언이며, 조화와 통합, 살림을 지향하는 새 문명을 건설하려는 노력의 표출이었다. 증산이 지향한 새로운 문명은 상생의 도에 의해 운행되는 사회이고, 인간이 신과 같은 존귀한 존재로 대접받는 인존의 시대로 집약된다. 증산이 구상한 새로운 문명은 동서양의 사상과 문명을 통합하는 조화문명((調和文明)이며, 신인공공(神人公共)의 문명이었다. 또한, 증산의 삶은 민중들의 삶을 구제해 주기 위한 제생의세(濟生醫世)의 삶이었다. 이후 무극도·태극도의 상생 운동 역시 증산이 지향한 문명 건설을 위한 노력이었다.

• 미술이론과 현장
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• 제4호
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• pp.57-76
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• 2006

From the late 1920s to the 1930s, Korea's fine art community focused on traditional viewpoints as their main topic. The traditional viewpoints were discussed mainly by Korean students studying in Japan, especially oil painters. Such discussions on tradition can be divided into two separate halves, namely the pre- and post-Sino-Japanese War (1937) periods. Before the war, the modernists among Korea's fine art community tried to gain a fuller understanding of contemporary Western modern art, namely, expressionism, futurism, surrealism, and so forth, on the basis of Orientalism, and borrow from these schools' in order to create their own works. Furthermore, proponents of Joseon's avant-garde fine arts and artists of the pro-fine art school triggered debate on the traditional viewpoints. After the Sino-Japanese War, these artists continued to embrace Western modern art on the basis of Orientalism. However, since Western modern fine art was regressing into Oriental fine art during this period, Korean artists did not need to research Western modern fine art, but sought to study Joseon's classics and create Joseon's own avant- garde fine art in a movement led by the Munjang group. This research reviews the traditional view espoused by the Munjang group, which represented the avant-garde fine art movement of the post-war period. Advocating Joseon's own current of avant-garde fine art through the Munjang literary magazine, Gil Jin - seop, Kim Yong-jun and others accepted the Japanese fine art community's methodology for the restoration of classicism, but refused Orientalism as an ideology, and attempted to renew their perception of Joseon tradition. The advocation of the restoration of classicism by Gil Jin-seop and Kim Yong-jun appears to be similar to that of the Yasuda Yojuro-style restoration of classicism. However, Gil Jin-seop and Kim Yong-jun did not seek their sources of classicism from the Three-Kingdoms and Unified Silla periods, which Japan had promoted as a symbol of unity among the Joseon people; instead they sought classicism from the Joseon fine art which the Japanese had criticized as a hotbed of decadence. It was the Joseon period that the Munjang group chose as classicism when Japan was upholding Fascism as a contemporary extremism, and when Hangeul (Korean writing system) was banned from schools. The group highly evaluated literature written in the style of women, especially women's writings on the royal court, as represented by Hanjungnok (A Story of Sorrowful Days). In the area of fine art, the group renewed the evaluation of not only literary paintings, but also of the authentic landscape paintings refused by, and the values of the Chusa school criticized as decadent by, the colonial bureaucratic artists, there by making great progress in promoting the traditional viewpoint. Kim Yong-jun embraced a painting philosophy based on the painting techniques of Sasaeng (sketching), because he paid keen attention to the tradition of literary paintings, authentic landscape paintings and genre paintings. The literary painting theory of the 20th century, which was highly developed, could naturally shed both the colonial historical viewpoint which regarded Joseon fine art as heteronomical, and the traditional viewpoint which regarded Joseon fine art as decadent. As such, the Munjang group was able to embrace the Joseon period as the source of classicism amid the prevalent colonial historical viewpoint, presumably as it had accumulated first-hand experience in appreciating curios of paintings and calligraphic works, instead of taking a logical approach. Kim Yong-jun, in his fine art theory, defined artistic forms as the expression of mind, and noted that such an artistic mind could be attained by the appreciation of nature and life. This is because, for the Munjang group, the experience of appreciating nature and life begins with the appreciation of curios of paintings and calligraphic works. Furthermore, for the members of the Munjang group, who were purists who valued artistic style, the concept of individuality presumably was an engine that protected them from falling into the then totalitarian world view represented by the Nishita philosophy. Such a 20th century literary painting theory espoused by the Munjang group concurred with the contemporary traditional viewpoint spearheaded by Oh Se-chang in the 1910s. This theory had a great influence on South and North Korea's fine art theories and circles through the Fine Art College of Seoul National University and Pyongyang Fine Art School in the wake of Korea's liberation. In this sense, the significance of the theory should be re-evaluated.

• 한국엔터테인먼트산업학회논문지
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• 제15권3호
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• pp.203-210
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• 2021

유리 바실리예프(Юрий Васильев)는 배우이자, 감독 및 연극 교수이다. 블라디미르 푸틴 러시아 대통령이 수여하는 우정 훈장을 수상한 러시아의 공로 예술가이자, 러시아 페트로프스키 과학 예술 아카데미의 학자, 러시아 국립 공연 예술 아카데미교수, 독일 뮌헨 바이에른 연극 아카데미 교수이다. 그는 연극배우의 음성, 언어 및 운동 기능 완성을 위해, 생리적 감각을 자극하는 방법을 만들어낸 창시자이다. 유리 바실리예프는 공연 예술에 대한 체계적 이해를 기반으로, 연기교육에서 독특한 언어 표현 및 기술 훈련 방법을 고안했다. 복잡한 연극 무대예술 훈련에서 가장 근본적이며 가장 중요한 기술 부분을 찾아 집중적으로 훈련을 하는데, 이것을 우리는 기본기 훈련이라고 부른다. 전체 훈련과정을 총괄적으로 보면, 유리 교수의 연기교육에서 연극배우의 대사에 대한 요구는 매우 뚜렷하다:"행동! 이것은 배우의 창작에 있어 기본 중의 기본이다. 그렇기에 행동은 배우가 지배한다. 행동과 소리는 밀접하게 연결된다. 배우의 목소리-인간의 소리, 생명, 감각, 경험이자 재난이다. 배우가 개성적인 목소리-를 얻는 것 역시 창작의 기초이다. 우리는 소리-발음을 똑바르게 하는 것, 발성의 호흡, 말투와 어조, 속도와 리듬, 표현력, 진정성, 무대 발성과 동작, 손동작-이 모든 것을 통해 배우의 목소리를 훈련하고, 연극의 표준인-목소리의 동작성을 훈련한다. "요컨대, 유리 교수의 연기교육에서 훈련과정은 무대 표현력과 기교에 대한 훈련일 뿐 아니라 그 속에는 풍부한 연극관과 공연관이 담겨 있다. 본 논문에서는 연기교육에서 훈련의 수단과 방법을 차용하는 것과 유리 바실리예프 교수가 사용한 훈련 방법의 출발점과 목표의 중요성을 이해하고자 한다. 또한 연기교육에 있어서 무대언어 훈련방법을 적용하여 무대언어의 표현력을 향상시키고자 한다.

• 대순사상논총
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• 제24_2집
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• pp.197-229
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• 2015

The aim of this study is to determine the property of Daesoon thought in theory of God. The difference with precedent research is that this study catch the point in which theism as theology conflicts ontology as philosophy. It is elusive without philosophical analysis to detect this point for reasons of religious expression on scriptures. To find this point is beginning of academic communication at religious position. So I tried to draw boundary between theology and philosophy in Daesoon thought so as to apprehend Daesoon thought treats the contradiction of that. The contradiction is found that hierarchy between Sangje and taegeuk reverses on Daesoon thought. Fundamentally two substance can't be arranged to ontology but only one can be. It seems that Daesoon thought has got antinomy. However superiority of Daesoon thought is appeared at this point. The antinomy is just the process to absolute truth of Tao. That is a progressive system of thought in both religious and philosophical aspect. Finally, the result of this study can be organized with five items. First is to get new direction to study of Daesoon thought to catch the clash between theology and ontology. Second is that Daesoon thought can communicate the mainstream philosophy like Hegel's while the argumentation makes progress with Hegel's thought. Third is that Daesoon thought has originality in ontology of tao, mugeuk, tageuk as compared with neo-Confucianism. Forth is that theology of Daesoon thought has the possibility to peace among religions. Fifth is that Daesoon thought transcends religion and philosophy to absolute truth. Particularly, the noteworthy item is about peace among religions as theme of religious practice as the needs of times. The conflict of religion is very serious impact to historic future. So Daesoon thought suggests that all the religions harmonize with each other in universality and respect each other in distinctiveness. It makes it possible to aims for world peace beyond theory to practical orientation on religious creed. In history of philosophy the dialetic of Hegel is the very adequate to explain that principle. Hegel argued that human mind can reach to the absolute knowledge at 『Phänomenologie des Geistes』. He elucidates the process that mind attain the absolute knowledge through movement of negation at 『Phänomenologie des Geistes』. The dialetics leads all the process of mind to finality of the absolute spirit.

• 공연문화연구
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• 제18호
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• pp.137-169
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• 2009

본 연구에서 필자는 전통인형연행에 등장하는 무언인형에 주목했다. 무언인형을 실마리로 해서 마임의 '몸을 통한 표현'에 연결될 수 있는 인형의 움직임은 물론이고, 무언의 영역을 넘어서려는 여러 방식을 함께 주목했다. 무언인형의 연행방식 고찰과 역사적 전개양상 고찰을 통해서, 필자는 두 가지 사항을 확인했다. 첫 번째 사항은 그 연행양상의 다양성을 통해 무언이라는 한계 혹은 영역을 넘어서고 있다는 점이다. 두 번째 사항은 역사의 초기 단계에서부터 지금까지 무언인형은 줄곧 존재해왔으며, 나름의 유형별 전개 양상도 보이고 있다는 점이다. 이 두 가지 사항을 종합해 보면, 무언인형은 그 탄생 이래 지속적으로 나름의 전개과정을 거치면서 그 존재이유를 확보하고 있었다고 말할 수 있다. 적어도 삼국시대부터 지금까지 무언인형이 여전히 존재하고 있다는 것은 그것이 나름의 의도를 가지고 있었기 때문이다. 그것은 무언인형은 일상에서 벗어나려는 일탈적 욕망과, 상상 혹은 관념을 통한 초월적 자유로움을 추구하는 욕망을 표출하고자 한 것으로 정리할 수 있다. 이것이 곧 무언인형의 존재이유인 것이다. 그런데 이러한 무언인형의 존재이유는 마임의 완성에 꼭 필요한 존재로 중시되는 관객의 역할, 구체적으로 관객의 욕망과 상상력을 발흥시킬 필요성 강조와 긴밀하게 연관된다는 점에서 흥미롭다. 결국 무언인형은 그 연행양상이나 역사적 전개양상을 통해서 무언을 넘어서려는 다양한 시도를 하고, 이를 통하여 '일상의 의사소통과는 다른 비일상적 의사소통 방식'을 부단히 모색하고 있었음을 말하고 있다. 또한 그 연행방식과 의미화양상을 통하여 '관객의 상상력을 극대화하기 위한 모색', '관객의 능동화를 위한 상상력 자극과 마음 속의 연행을 위한 여러 모색'을 수행해 왔음을 말하고 있다. 필자는 이것이 한국에서의 마임 활동의 활성화를 위해 무언인형이 건네는 말이라 생각한다.

• 미술이론과 현장
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• 제9호
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• pp.33-57
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• 2010

Focused on the performance of interactivity in the appreciation of media art, this study is associated with the continually changed art texts and a participator's physical reactions to savor the art. Digital works of art emphasizing interactivity usually decentralize and disperse the responsibility and the central role for creating and producing the art works. Proper procedure of the work is generated by actions such as clicking the mouse, controlling the joy stick or actual movement of anticipators' bodies. The art works are influenced by participators' interactivity, which makes the leading roles and the responsibility for creating art scattered and divided. These features are similar with those of the 'Rhizome' which Gilles Deleuze(1925~1995) and Felix Guattari(1930~1992) have discussed. In their argument, 'Rhizome' is an interval or being 'between', which keeps changing. 'Rhizome' is a state in which the individual and the work of art never reach the conclusion, only a phenomenon of eternally altering. Like 'Rhizome', this sort of art work has the decentralized system, opens for several directions, and activates the system which is changeable as linked items increased or decreased. These works stimulate the individual to perform and act while appreciating the art piece. In terms of processing and preceeding, interactivity is the important equipment and catalyzer. Through these procedures, the pieces can be the 'floating work of art' combined and condensed with the whole participators' reactions. The 'floating work of art' is neither the expression of an individual nor that of one particular group. Multidimensional influence of the web is the web which is constantly reorganizing and producing in its connective state. This connective state is activated by interactivity. The Rhizomatic system embodies the floating work of art process. Due to each individual perceiving art in individualistic terms, there is no dominating powers or central points. I regard this art works possessing above traits as the work of art with Rhizomatic system. The work of art with the Rhizomatic system is embodied through interactivity and because physical action activates the process of appreciation, a participator can actually experience and practice the philosophy. Ultimately the Rhizomatic speculation occurs during the interactivity of appreciating the Rhizomatic art pieces. The Rhizomatic system penetrates into the intuitive area beyond our recognition and thoughts, as we are engaged in the connective process. With the methods and manners of interactive art, we can possibly reconsider the system as a tool in which the participator is directly able to link experience and theory to the philosophies of Deleuze and Guattari.

• 여성건강간호학회지
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• 제5권2호
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• pp.262-277
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• 1999

The purpose of this study is to define the effects of the roles played by the Doulas : one group educated on the conventional Lamaze method known to have effects on birth pang during delivery process and the other group educated both on Lamaze and therapeutic touch. On the various factors of delivery, and thereby, provide for some basic data to develop an effective nursing intervention to relieve women of their birth pang. 136 mothers who were hospitalized in a general hospital from June 13, 1998 to May 13, 1998 to May 13, 1999 to deliver their first babies were sampled to be divided into control group, test group I and test group II and thus be subject to interviews and observations. As for the tool of study, melzack's(1975) 'pain scale', McCaffery's(1972) and Mcrachlan's(1974) 'pain expression scales' and Spielberger's (1975) 'anxiety scale' were used. The preparatory educational programs consisted of 5week Lamaze method and therapeutic touch. The research, design was quasi-experimental, non equivalent, posttest only control group design. The collected data were processed using the SPSS/PC statistics software for frequencies, means and one-way Anova as well as Tukey HSD and Scheffe test as post hoc for individual comparison. Moreover, chi-square test was used to test the differences between groups, while Pearson's correlation coefficients were analyzed to determine the correlations between anxiety and variables. The findings are as follows ; 1. The birth pain of the mothers delivering first babies scored in a subjective and objective pain scale; 1) There was a significant difference of subjective birth pain at 8~10cm opening of cervix between control group and two test groups. 2) There was no significant difference of objective birth pain as per opening of cervex among three groups in terms of sweating, facial movement, bodily posture and vocal changes. 2. There was no significant difference of trait anxiety among three groups. however, there was a significant difference of state anxiety during labor process between control group and two test groups. On the other hand, all the three groups showed a significantly lower level of anxiety during labor process than when they were carried to the hospital. 3. There was a significant difference of the time of total and first-stage labor among three groups, while there was a significant but small difference of the time elapsed from 8~10cm cervix open to the full among three groups. 4. Two test groups showed a higher frequency of natural deliveries than the control group. 5. Two test groups were subject to these drugs than the control group. In conclusion, it was found that the test group I and II showed a shorter delivery time than the control group, a higher frequency of natural delivery and a lesser use of anodyne or epidural. In particular, this study is significant to develop a nursing intervention service or a therapeutic touch which the nursing administrators can apply to their hospitals in marketing programs.

• 동의신경정신과학회지
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• 제19권2호
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• pp.41-64
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• 2008

Objective: Hominis Placenta is used in many cure, mainly treats a weak, chronic disease, especially senile. This research investigates the effect of the Hominis Placenta Herbal-Acupuncture Solution on Alzheimer's disease. Method: The effects of the Hominis Placenta Herbal-Acupuncture Solution on (1) $IL-1{\beta}$ protein, $TNF-{\alpha}$ protein, MDA, and CD68/CD11b (2) the behavior (3) the infarction area of the hippocampus, and brain tissue injury in Alzheimer's diseased mice induced with 13A were investigated. Results: 1. For the Hominis Placenta Herbal-Acupuncture Solution group a significant inhibitory effect on the memory deficit was shown for the mice with Alzheimer's disease induced by ${\beta}$ A in the Morris water maze experiment, which measured stop-through latency, and distance movement-through latency. 2. The Hominis Placenta Herbal-Acupuncture Solution group suppressed the over-expression of $IL-1{\beta}$ protein, $TNF-{\alpha}$ protein, MDA, and CD68/CD11b, in the mice with Alzheimer's disease induced by ${\beta}A$. 3. The Hominis Placenta Herbal Acupuncture Solution group reduced the infarction area of hippocampus, and controlled the injury of brain tissue in the mice with Alzheimer's disease induced by ${\beta}A$. 4. The Hominis Placenta Herbal-Acupuncture Solution group reduced the Tau protein, GFAP protein, and presenilin1/2 protein, beta-secretase protein, (immunohistochemistry) of hippocampus in the mice with Alzheimer's disease induced by ${\beta}A$. Conclusion: These results suggest that the Hominis Placenta Herbal-Acupuncture Solution group may be effective for the prevention and treatment of Alzheimer's disease. Investigation into the clinical use of the Hominis Placenta Herbal-Acupuncture Solution for Alzheimer's disease is suggested for future research.

• 대한한의학방제학회지
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• 제25권2호
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• pp.223-251
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• 2017

Objectives : A lot of experiment results of Yugmijihwangtang(YM) are reported in various kinds of journals. Many of them report on the new effects that are not recorded in the traditional medical texts. So it is necessary to take it into consideration that newly reported effects could be of help to clinical practice, because this process of comparison of Donguibogam and scientific experiment results will have basis to lead into the evidence based medicine. Methods : We compared the effects of in Donguibogam and the experiment results of YM. Results : The effects of YM in Donguibogam are to replenish essence and marrow, and to treat red wen, fatigue, treat hypouresis, urinary sediment, urinary urgency, hematuria, hydrocephalus, speech and movement retardation, yin-deficiency, diabetes mellitus, nonalcoholic fatty liver, melanoma, disability to see near and far sight, tinnitus, hearing loss, alopecia, angiogenesis, cough, cough at night, trachyphonia, and, infantile convulsion. The experiment results of YM since 2000 in both Korea and China are to inhibit atopic dermatitis, renal interstitial fibrosis, anti-oxidant, emphysema, stress, glomerulosclerosis, diabetic nephropathy, chronic glomerulonephritis, hemorrhage, plantar sweating, dermal aging, kidney aging, bone loss, breast cancer, pathological myocardial cell, primary liver cancer, thrombosis, osteoporosis, intrauterine growth retardation, chronic renal failure, IgA nepropathy, slow cerebral development, and hippocampal tissue lesions on the one hand, and to help bone formation, renin-angiotensin- aldosterone system, cerebral recovery, cognitive function and expression, osteoblast proliferation and differentiation, learning and memory, cold-tolerance and oxygen deficit-tolerance and anti-fatigue, endometrial formation, humoral and cell-mediated immunity, immune regulation effect, Hypothalamus-Pituitary-Ovary Axis, and spermatogenesis, on the other hand. Conclusion : When we compared the effects of YM with the experiment results of YM, there existed a considerable gap between them. So, from now on, it is expected that a great effort and consideration are needed to solve these gaps from an academic and clinical point of view.

• 한국게임학회 논문지
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• 제10권6호
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• pp.125-135
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• 2010

게임에서 흔히 사용하는 전신형 가상 캐릭터를 이용한 감정 표현은 주로 몸동작을 이용한다. 이때 가상 캐릭터가 표현하는 모든 감정에 대하여 각기 다른 애니메이션을 만들어 주어야 한다. 이런 이유로 인간과 같이 감정의 강도에 따라 다른 크기의 동작을 표현하려면, 만들어야 할 애니메이션의 수가 기하급수적으로 늘어나게 된다. 이러한 문제를 해결하기 위해 본 연구에서는 가상 캐릭터가 감정 강도에 따라 다른 크기의 동작을 행할 수 있게 하는 방법을 제안한다. 본 연구에서는 감정 강도별로 캐릭터가 동작을 형성하기 위해 회전시키는 뼈대에 가중치를 주어 소극적인 표현 또는 과장된 표현이 가능하도록 하였다. 제안하는 방법을 검증하기 위해 실제 가상 캐릭터에 신체 가중치를 적용할 수 있는 EATool(Emotional Animation Tool)을 구현하였다. 구현된 환경을 통해 걷기 동작에 서로 다른 감정을 부여한 후, 각 감정의 강도에 따라 신체 가중치를 적용하였다. 실험 비교 결과 감정 강도에 따라 동일한 걷기 동작의 형태가 달라지는 것을 확인할 수 있었다.