• Asian Journal for Public Opinion Research
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• 제7권4호
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• pp.251-260
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• 2019

Burqa or in Arabic An-Niqab is used to cover the entire face of a woman, except the two eyes. The burqa is not obligatory according to Syafi'i madzhab, which is followed by the majority of Indonesian Muslims. In this study, researchers used a survey to develop an understanding of veiled female students' attitudes about themselves, their experience wearing a burqa, interactions with peers, and their perception of how other members of their academic community perceive them. The survey used Likert-type items. The sample in this study was 100 students from three general universities in South Kalimantan: Antasari State Islamic University, Rasyidiyah Khalidiyah Islamic College, and College of Quranic Sciences. The key findings include that 58.2% indicated a willingness to form associations with any women; 17.7% said they were happy associating only with the veiled community. A total of 13.9% said that sometimes they were told to take off their burqa when they were in the classroom. While most said they were never bullied on campus (67.1%), 19% said they were often bullied. Most (78.5%) said that they were given freedom even though there was a suggestion to open their faces when education and learning were taking place.

• 한국기록관리학회지
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• 제15권3호
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• pp.7-28
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• 2015

본 연구는 정부3.0 정책 시행 이후 정보공개심의회의 운영방식을 살펴보고 심의회의 문제점과 개선방안을 제시하고자 하였다. 분석결과, 정보공개심의회의 운영은 정부3.0 정책 이전과 별다른 차이가 없거나 일부 더 악화된 것으로 나타났다. 이를 개선하기 위해 첫째, 정보공개심의회의 개최가 정례화 되어야 하며 이를 위해 심의회의 직권심의 기능이 추가되어야 한다. 둘째, 심의회위원 구성에 있어 외부위원과 내부위원 비율의 제고가 요구되며, 내부 임원이 위원장을 맡는 관행도 개선되어야 한다. 셋째, 심의회의 회의형태는 대면회의를 원칙으로 하여야 한다. 다만 유사한 사안과 반복적 사안에 대해서만 서면회의를 허용하되 이때에도 일정 절차를 마련하고 이를 준수하게 한다. 넷째, 정보공개심의회를 포함한 정보공개제도를 원활히 운영할 수 있는 전담 부서와 인력 배치가 필요하다.

• 한국콘텐츠학회논문지
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• 제17권8호
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• pp.53-65
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• 2017

요즈음 아동에게 가장 큰 영향을 미치는 미디어 콘텐츠 중 하나는 '캐리와 장난감 친구들'이다. 이 콘텐츠는 아동에게 모방 놀이를 유발했다. 이 놀이에는 몇 가지의 특징이 있었다. 첫째, '캐리 놀이'를 하는 아동들은 자발적이고 적극적으로 즐거움을 추구했다. 그런데 그 즐거움을 얻기 위해서는 철저한 준비가 필요했다. 둘째, 놀이에 대한 동기 근원이 모호했다. 놀이하는 사람을 따라하는 놀이이다 보니 놀이를 즐기는 장면에서는 내적 지향이 뚜렷하게 드러나지만 놀이자를 따라하는 놀이에서는 외적 요인인 타인의 시선을 기대하는 모습을 보였다. 셋째, 이 놀이는 규칙성은 높고 자유도는 낮았다. 아동들은 전형적인 순서와 대사를 따라 놀이를 진행했다. 자유롭게 진행할 수 있는 영역은 종종 축소되었고, 확장되어도 정형화 된 형태로 마무리 되었다. 넷째, '캐리 놀이'는 견고한 놀이 세계를 구축했다. 시공간적으로 분리된 놀이 세계가 확립되었고, 참여자들은 새로운 이름을 갖게 되었다. 그러나 이 세계는 확산성이 없었다.

• 법제연구
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• 제41호
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• pp.229-260
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• 2011

유럽연합에서 회사법 통일의 노력은 리스본조약 이전부터 회사법과 관련한 규칙과 지침을 설정했다는 점에서 중요한 의미를 지닌다. 유럽연합 회사법의 법규범은 자체의 규칙을 통해 유럽주식회사라는 개념을 설정하였으며, 공개유한책임회사인 유럽주식회사와 더불어, 2008년 이후에는 중소기업을 위한 폐쇄유한책임회사에 대한 입법도 추진하고 있다. 최근 유럽주식회사법을 근거로 설립된 회사의 수가 증가되면서 발전된 형태의 회사법에 대한 논의가 활발히 진행되고 있으며, 이는 우리나라 회사법 분야에서도 흥미로운 주제가 된다. 기존의 유럽회사법에 관한 국내연구는 전반적인 유럽회사규칙 및 지침에 대한 내용을 소개하고 있으나, 근래에 이루어지고 있는 회원국 법률간 하향경쟁과 이를 통한 회원국의 입법에서의 변화, 그리고 유럽에서의 회사법연구에 대한 최근 논의에 대해서 다시 다루어 볼 필요가 있다. 따라서 이글에서는 유럽연합조약을 통한 설립의 자유와 이를 통한 각 회원국의 법률 간 경쟁과 유럽주식회사규칙의 제정 배경에 대해서 살펴보고 현재 유럽주식회사규칙의 내용을 평가한다.

• 대순사상논총
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• 제32집
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• pp.175-199
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• 2019

본 논문은 헤겔이 말한 노동(勞動, Arbeit)의 개념이 인간 실존에 내재한 무한성 구현의 근본 기재라는 이론에 착안하여 삼계를 상생(相生)으로 소통시킨 증산(甑山)의 천지공사(天地公事)를 노동의 개념으로 해석하는 것을 목적으로 한다. 헤겔이 주체의 자유와 해방의 가능성을 노동에서 찾고 있다는 점에서 인간의 몸으로 강세한 절대자 증산이 지향한 음양합덕(陰陽合德)·신인조화(神人調化)·해원상생(解冤相生)·도통진경(道通眞境)의 사상을 근거로 하여 천지공사를 노동의 개념으로 해석하였다. 이 논문에서 주목할 점은 절대자(絶對者)에게 노동이 발생하는 사태의 의미를 파악하는 것이다. 노동은 실존계의 인간에게 발생하는 개념이다. 이념계와 자연계 사이 즉 천지 사이에 있는 인간이 무한(無限)과 유한(有限)을 이어 구체적인 산물(産物)을 만들어내는 일이 노동이다. 근대적 의미의 노동은 수동적 활동이 아닌 주체적 활동이며 주체가 자신을 무한성을 향해 확장하는 행위이다. 이러한 노동이 절대자에게 발생하는 시점으로부터 실존에 대한 무한성 구현을 향한 형이상학적 패러다임의 변혁이 시작된다. 절대자의 노동 발생의 시점이 곧 우주 변혁의 시점인 것이다. 이러한 절대자의 노동 발생은 분열에서 통합이라는 천지인(天地人) 삼계(三界)의 상생적 소통을 통한 삼계의 질적 균등성을 형성한다. 부동의 원동자로서 초월적 세계에서 현상 세계를 수직적으로 조화(造化)한 구천대원조화주신(九天大元造化主神)에게 노동이 발생하는 것은 그가 실존(實存)의 위치로 하강하여 삼계에 절대성을 전이(轉移)하여 통일(統一)하는 것으로 이어진다. 따라서 절대자로서의 상제에게 노동은 곧 실존의 자격으로 인세에 행한 직접적 소통이자 그들과의 합일(合一)이며 천지공사가 바로 절대자의 그러한 실존적 노동에 해당하는 것이다.

• 복식
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• 제40권
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• pp.151-170
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• 1998

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.

• 복식문화연구
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• 제9권4호
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• pp.574-591
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• 2001

This study reviews the concept and characteristics of the deconstruction philosophy in order to analyze the major aspects of the fashion world called the deconstruction fashion based on the deconstruction philosophy, and analyzes the works of Jean Paul Gaultier in terms of Derrida's deconstruction theory. The scope of this research is from 1980 to present, and this study fashion on the many kinds of literature on philosophy, aesthetics and literary criticism, and the domestic and international fashion journals and magazines. The deconstructionism is the philosophical theory which denies the traditionally recognized logocentric metaphysical theory and refuses the closed world and pursues the open world, opposing the dichotomic theory which is the deep-rooted tradition of the Western philosophy. The results of analyses centering on the internal deconstruction trend expressed in the works of Jean Paul Gaultier are as follows. 1 The past style combined with the present appears in the form of the entirely new trace, not the past emotion and meaning in Gaultier's works transcending the time and space. 2 Gaultier presents the unconventional intermeaning of meanings, producing various possibilities according to the wearing method of the wearer by layering several clothes. 3. Gaultier breaks from masculinity and femininity in the intertextuality of gender, and decomposes the fixed idea of men's or ladies'wear through the design sharing bisexual text. 4. In the intertextuality of T.P.O., Gaultier presents the problem of how to wear by mixing different items through obscuring the division of the nature of time, space, and purpose. Especially Gaultier can be called the first designer who, worthy of the father of the deconstructionism, has introduced in the fashion making inner wear like outer wear. 5. In the intertextuality of coordination, Gaultier presents a new perspective of coordination through free combination and contrast, raising a question about the man-made harmony criterion and deconstructing the clothes. On the other hand, Gaultier expresses the intertextuality of the material through the heterogeneous combination of the material. 6. The decomposition trend expressed in the many works of Gaultier reflects an open mind presenting a new perspective through the distortion of the form, exaggeration, and break from the existing construction method. 7. The decentering trend in the works of Gaultier is found to deconstruct the Western-dominated elements against the background of subcultural elements, the elements borrowed from the minority race, md the Oriental culture. 8. The discontinuity clothes of Gaultier present the disordered principle of design without the uniform rules, and express the unrestrained freedom without captivation by the preconceived idea through the disruption of the dress and its ornaments just like Gaultier.

• 대한가정학회지
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• 제17권4호
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• pp.117-127
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• 1979

This study attempts to shed additional light on the national diffusion process and interaction of welfare services for children and mothers. The central hypothesis examined is the following : In general, the implant of social welfare system is first considered on the characteristics of their own socio-economics , and diffusion prodess of welfare services tends to occur faster in countries with open sicieties than in countries where entry barriers are high and society ranking rigid. The scope of the study is limited in several ways. Attention is concentrated on the agency of woman in the belief that an in-depth case study of one field can yield more insight than a less detailed investigation embracing a number of social welfare systems. The angency of woman is selected for several reasons. a) It is important the agency of woman alone produce more effective than services affecting both the child welfare and women's libertion bradually. Moreover, these services will form the heart of mother's welfare. b) The services of women's agency is gradually wide spread, since a role of government is still negligible before a full realization of economic income. c) The services of women agency is a prime example of a social welfare. d) statistical data and other information are more readily available. One of major findings of our study is the existence of the barriers inhibiting child welfare form " motherhood cult". Despite all the distinct advantages for mother and child , social attitudes appear to be some resistant on child welfare system among men and women even the agenices of women. What is surprised is the extent of the awareness that strategies of women's agency to liberate woman and to increate activities of women involve the strategies to liberate child. The conviction that solving application problems for child welfare in line with the activities of agency by women offer greater freedom and more advantage to mother are not apparent on the data collected from 18 of multi-functional agencies in our country. there are little sign that such agencies cooperate toward attainment of common goals. The intensive early focus of the movement on consciousness raising is a necessary beginning and such efforts by women's organizations would help both in the continuous evolution of women and child. Some of the agencies offer a variety of services to women and children, others are specialized in that they offer fewer services or even only one. Social welfare agenices giving service to children and their families are identified by various names usually women service and child welfare from govern , mental agency and voluntary public agency to foreign aided. What is totally missing , however, is an integrated synthesis of child welfare program Through women's agency. Social changes to occur, but delineation of appropriate and comprehensive social policy is also necessary at this point at this point since efforts, social changes and polices must be well coordianted and focused, as well as mutually supprotive and reinforcing.

• 한국연극학
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• 제40호
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• pp.207-237
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• 2010

Concentrating on the birth, life, and death of the Living Theatre, almost half a century avant-garde group, the primary purpose of this study at large is to explore its counter-cultural philosophy. While taking a chronological form adapting the biological order, the paper focuses on the troupe's productions: , , , , and . Through out these productions the philosophy of the Living Theatre seemed to included communal, anti-intellectual, politically radical, generally Utopian, and proselytizers for sexual freedom. The history of the Living Theatre interestingly parallels the history of the Beck's theatre in occupation and shut down. The first New York theatre was closed by fire inspectors for instance. The second theatre was declared unsafe, and locked up by the Building Department. The third theatre was seized by the IRS, consequently shut down. In 1984, after more than 25years from the third building, the Living Theatre settled once again on East Third Street in Manhattan. The theatre was however evacuated by the New York City Fire Department in 1993 and once more took to the road. With these struggles, the Becks' profound aspiration of the counter-cultural insurgency came to harden as strong as 'iron' in some ways. With the outstanding components of counter-cultural philosophy and style, the Living Theatre, in the course of the transformation, absorbed and then reflected virtually every phase for the Living Theatre were vehicles for more than just aesthetics. The group seemed to propagandize its beliefs rather performing productions. Accordingly, both on and off-stage action of the Living Theatre caused great controversy either through political activism of individual members or through the unconventional collective life style. No avant-garde theatre company was more emblematic of the rebellious spirit of the sixties than the Living Theatre. Like the first great transformation, the Becks' encounter, their personal values and the form of theatre they created had blended 'so inextricably that the vitality of each was dependent on the other.' The Becks always urged unity and harmony at all levels of human life, but not at any price. The anticapitalist ideal inspired the Becks to promote a politically motivated campaign throughout their productions. They believed the revolution is desirable but in the state of non-violence and the expansion of human consciousness. Julian Beck's gravestone identifies his as pet, painter, actor, and anarchist. The Living Theatre was a 'small umbrella' under which the Becks and its members could breath and unfold their dream on stage or in the street.

• 기독교교육논총
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• 제69권
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• pp.45-75
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• 2022

본 연구는 메타버스 플랫폼을 통한 비블리오드라마의 구현에 대한 성서 교수학적인 접근을 목적으로 하였다. 즉, 현대의 학습자들에게 흥미롭고 효과적인 성서 교육을 위해 메타버스 가상세계를 통한 비블리오드라마의 구현을 교수학적으로 접근하였다. 교육에서 메타버스에 열광하는 대표적인 이유는 콘텐츠 소비자에 불과했던 이용자들이 체험과 가치 창출까지 가능한 참여자가 되었기 때문이다. 성서 교수학적 접근방법으로 비블리오드라마는 역할극 형태의 공감과 소통을 통한 학습방법으로 성서의 내용을 학습함에 있어서 즉흥적 연기를 통해 학습자의 세계와 성서의 세계와의 상호작용을 추구한다. 비블리오드라마와 메타버스의 만남은 현대의 학습자들에게 무엇보다도 학습 환경과 학습 흥미 측면에서 긍정적인 영향을 미칠 수 있다. 또한 메타버스를 활용하여 비블리오드라마를 구현하면 다음과 같은 장점이 있다 첫째 성서 본문의 의미를 과거가 아니라 오늘의 학습자에게 해당되는 것으로 볼 수 있도록 극적인 상황과 환경을 구성할 수 있다. 둘째, 메타버스에서는 성서의 역사적 공간과 인물을 가상현실에서 구현하여 상황극으로 연출할 수 있다. 학습자는 메타버스에서 자유도와 상상력, 창의성을 발휘하여 비블리오드라마를 구현할 수 있으며, 성서의 사건에서 감추어진 여백의 의미에 주목할 수 있다. 셋째, 메타버스 환경은 정적인 것이 아니라, 역동성과 상호작용이 활발하고, 비블리오드라마는 영과 몸이 함께 어우러지는 해석을 추구한다. 그렇기 때문에 성서의 의미와 가치를 발견하는 동적인 활동들을 통하여 영육이 통합된 전인적인 신앙 형성을 할 수 있다.