• 비교문화연구
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• 제39권
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• pp.219-240
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• 2015

The following summarized argument is the comparative research of the characteristics of automatic techniques demonstrated in the mixed expression of foreign language and Korean language in Lee Sang's poetry. Our research examines the use of foreign languages such as French and English shown in Lee Sang's poems, and then, recognized the characteristics of the automatic techniques demonstrated by the parallel marks and signs of Korean language. The automatical technique's element that Lee Sang made use of is a language of loanblend, consisting of free use of French, English, Japanese and Korean. The mathematical and geometric figures such as numbers and shapes can be seen as an important poetic language. In Lee Sang's poetry, the French words "AMOUREUSES" and "ESQUISSE" and English words "I WED A TOY BRIDE" are considered as parts of Korean language. The use of foreign language is seen by the readers as encodes of a unacquainted language and it provides rhetorical characteritstics that gives off profanatory feeling about the poetry. The poet is seen to have created a new poetic language that excess the standards of the limitations that Korean and Chinese marks have through the application of polysems and poliphonyic effects that foreign languages have. The mathematical and geometric signs are Lee Sang's special experimental elements that can't be seen in other literary poetries. They are conversational and the requirements for the expression of abstract artistry and esthetics. The language used in his poetry are external to those traditional poetic languages and they mix freely with other poetic elements to become an automatic technique used in the writing. Lee Sang's techniques can be considered as the pursuit of defiance and departure, freedom about literature and artistry. Moreover, the avant-garde expressionism is the literary form that demonstrated the sense of inferiority, nervousness and loneliness risen from physical pain and the abnormal relationship with women in the poet's personal life. The technique shows the longingness of the the Western culture and literature that lay dormant in the poet's consciousness and it is also the expression of ingenious that created the new guide in the Korean poetic literature, exceeding the European surrealism. Lastly, the automatic technique images that are demonstrated by the mixture of the foreign languages and Korean language are the creations of an innate poetic language and poetic literature that can't be imitated by anyone in Korean literature.

• 복식
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• 제66권8호
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• pp.157-172
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• 2016

This study aims to present findings of historical design trends of men's fashion, and the characteristics of changes in the types of overcoats and mid jackets shown in French pattern books of the 19th century. The primary data sources for this study comprised one pattern book, each of the17th and 18th century, and 15 pattern books of the 19th century, all of which are conserved by the French National Library. The study methods are as follows: First, analysis of men's fashion trends and the characteristics of changes by type as shown in French pattern books of the 17th to 19th centuries. Second, analysis of the evolution of type of men's overcoats and top-exterior- and-interior (outside) styles shown in French pattern books of the 19th century. As a result, a total of 69 type references were collected from French pattern books of the 17th to 19th centuries. Historically, men's fashion was largely classified into top-exterior, top-exterior-and-interior, top-interior, bottoms and accessories. The two major classifications were as follows: top-exteriors overcoats and robes, And top-exterior-and-interior as top-exterior-and-interior(outside) and top-exterior-and-interior (inside). The study also identified the forms and changes by type. Additionally, this study selected overcoats and top-exterior-and-interior(outside) which fall under typical categories to show the change in the forms of men's fashion of the 19th century. These changes in the types were designated as: continued, faded away, newly appeared and transformed. This study analyzed the time of appearance of the forms by the year of publishing in conjunction with cultural references from previous domestic and international studies. The results showed that the time of changes in the types shown in pattern books did not deviate from the mainstream, which verified their typicality.

• 미술이론과 현장
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• 제8호
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• pp.33-58
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• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

• 대한지리학회지
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• 제41권1호
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• pp.22-38
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• 2006

본 논문은 스위스 독일 프랑스 접경지역에서의 월경적(越境的) 상호작용과 초경계적 지역정체성 형성여부를 고찰하고자 한다. 먼저 이 논문은 '경계와 접경지역' 에 관한 최근의 연구들을 검토하여, 이 주제에 대한 이론적 토대와 월경협력의 유형을 구축한다. 이를 기반으로 유러리젼 '라인강 상류' 의 월경적 협력과정을 분석하고 본 연구의 사례지역인 '레기오 트리레나' 에서의 일상적인 월경적 이동(통근, 쇼핑, 주택)을 연구한다. 유러리젼 '라인강 상류' 에서의 월경적 협력은 다양한 활동영역을 지닌 여러 위원회에 의해 추진되며 러시아 인형 바부슈카처럼 중층적으로 구성되어 있다. 스위스 독일 프랑스 간의 경제적인 차이는 3국간의 대량 월경이동을 유발한다. 이 논문은 이러한 월경이동을 울만이 제시한 공간적 상호작용의 3대 기반(상호보완성, 이동가능성, 개입기회)에 입각하여 해석해 보았다. 마지막으로 본 논문은 경제적 장벽의 제거가 초경계적 지역정체성 또는 초국경적 공동체 정신을 창출하기에는 충분치 않다는 것을 보여준다.

• 비교문화연구
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• 제45권
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• pp.349-380
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• 2016

이 논문에서 우리는 귀족적인 18세기 문화를 과도하게 애호했던 공쿠르 형제의 입장을 살펴보고자 했다. 그들은 작품에서 로코코, 로카이유, 왕의 애첩, 골동품 등의 주제를 주로 다뤘는데 이는 두 형제가 루이 15세와 루이 16세 시절의 귀족적 세계를 되살리려는 의도에서였다는 것은 널리 알려진 사실이다. 그런데 그들이 귀족 가문 출신이라는 사실만으로 18세기 귀족 문화에 깊이 매료되었다고 여기는 것은 정당할까? 그들이 18세기 문화를 탐미하는 또 다른 이유는 없는 것일까? 이 연구는 이런 의문에서 시작되었다. 왜냐하면 그런 문화에 대한 두 형제의 집착에는 미학적인 편애를 넘어서는 또 다른 이유가 있다고 생각하기 때문이다. 이에 대한 해결을 위해 우리는 먼저 이념적인 원인을 살펴보았다. 우리의 관심은 무엇보다 귀족적 문화에 대한 그들의 집착과 자신들이 살았던 시대의 부르주아 문화에 대한 거부 사이에 어떤 관련이 있는지에 집중되었다. 그런 다음 1848년 혁명 직후 그들이 프랑스 대혁명을 연구한 이유와 의미를 밝히고자 했다. 이 탐구를 통해 우리는 그들이 유쾌하고 활력 있는 18세기 문화를 특화했고 동시대 사람들에게 1848년의 끔찍했던 기억을 잊게 하는 방법을 제시하고자 했음을 확인했다. 이에 따라 우리는 공쿠르 형제가 자신의 시대가 안고 있었던 심리적 고통을 치유하려는 의도를 가지고 작품을 썼다고 말할 수 있다.

• 비교문화연구
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• 제46권
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• pp.297-325
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• 2017

이 논문은 언어에서 포착되는 '증거성(${\acute{e}}videntialit{\acute{e}}$)' 범주의 의미적 속성과 그 체계를 연구하기 위한 언어학적 토대연구로 진행되었다. 본 연구에서, 우리는 프랑스어와 한국어의 증거성 범주를 $Descl{\acute{e}}s$ & $Guentch{\acute{e}}va$(2000)의 '발화작용이론(la $th{\acute{e}}orie$ de $l^{\prime}op{\acute{e}}ration$ ${\acute{e}}nonciative$)'을 중심으로 비교, 분석하였다. 선행 연구를 바탕으로, 우리는 프랑스어의 문법표지인 '조건법 현재시제'와 한국어의 문법표지인 '-더-'에 드러난 증거성 범주의 의미적 가치를 기술하고, 이 범주가 언어마다 다르게 발현되는 양상을 살펴보았다. 본 연구에서 우리는 발화작용 이론을 객관적 분석 기제로 이용해, 양 언어 간에 드러나는 증거성 범주를 매개작용으로 다시 정의하고, 시상 및 양태 범주와 구별되는 범주의 구별된 위상을 규명하였다. 또한, 해당 범주의 범언어적 체계와 보편적 의미 가치를 탐색하는 일반 언어학적 연구도 병행하였다. 이를 통해, 본 연구는 '증거성' 이라는 범언어적 현상을 발화작용의 체계 내에서 통합적으로 설명해내었고, 본 연구의 결과는 응용언어학 등의 다양한 분야로 까지 확장되어 활용될 수 있는 가능성도 마련하였다.

• 헤리티지:역사와 과학
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• 제56권3호
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• pp.254-273
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• 2023

2023년 문화재청은 60년간 이어져 온 '문화재' 체제를 '국가유산' 체제로 탈바꿈하고 있다. 이 과정에서 문화유산 개념발전의 역사맥락에 대한 연구의 필요성을 느꼈다. 국내에서 현재 사용하고 있는 문화유산과 관련한 개념들은 국외에서 수입한 것들이 많다. 그렇기 때문에 우선적으로 원산지에서의 개념발전 역사를 알아야 한다. 이에 본고에서는 문화유산 개념의 원산지로 주류를 이루는 유럽을 대상으로 삼았다. 특히 유럽 내에서도 프랑스를 선택하였다. 프랑스는 18세기 말 공화국을 설립한 이래로 일찍이 유럽의 기념물 개념에서 국민의 유산으로 새로운 지평을 열었기 때문이다. 본고에서는 프랑스의 역사 중 프랑스 대혁명기를 대상으로 삼았다. 프랑스 대혁명기 구체제가 붕괴되고 보호체계를 잃어버린 기념물들이 어떻게 다시 새로운 국민국가의 보호 테두리 안으로 들어갔는지가 본 연구의 탐구대상이다. 프랑스 정부는 기념물들의 보존을 위한 행정조직으로 기념물위원회 및 예술임시위원회를 탄생시켰다. 두 조직은 혁명과 전시상황 속에서 이념과 정치선전에 구속되었기 때문에 기념물 보존활동에 한계를 보였다. 하지만 그런 시대 분위기 속에서도 지침서를 통하여 보존원칙을 수립하였고 기념물을 바라보는 새로운 가치관을 만들었다는 점에서 의미가 있다. 특히 전국에 배포한 지침서 중 기념물들을 바라보는 시각에서 국민의 유산이라는 시각을 보였다는 것은 선구적이다. 이것은 이후 프랑스의 문화유산 개념발전의 새로운 방향성을 제시해주었다. 이 흐름 속에서 기념물, 역사기념물, 문화재, 문화유산으로 프랑스의 문화유산 개념은 발전해나간다. 프랑스 혁명기의 역사는 구체제의 붕괴로 인한 가치관의 혼란 속에서 이전 체제의 기념물들을 새로운 보호체계 속에 집어넣었다는 점에서 보편적인 시사점을 도출할 수 있다. 이는 분단국가로서 가치관의 혼란위험이 잠재되어 있는 대한민국의 문화유산 분야에도 시사하는 바가 있다.

• 한국음향학회:학술대회논문집
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• 한국음향학회 1994년도 FIFTH WESTERN PACIFIC REGIONAL ACOUSTICS CONFERENCE SEOUL KOREA
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• pp.722-727
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• 1994

In two previous papers [1], [2], we presented the validity of a method that calculated the Leq values along High Speed Train (TGV in french) lines from the level/time evolution of moving trains. Tanks to this method, it is now possible to compute specific time-related effects such as interactions between train bodies and close obstacles. This paper lists important parameters to be considered within TGV studies and presents the various levels of study, starting from the research of the best traject (extensive studies), passing through noise impact studies (intensive studies) of the chosen traject to the dimensionning of antinoise devices (final design), and all this to guarantee precise respect of noise criteria. A theoretical comparison study conducted on about 80 different types of antinoise devices including earthberms and noise barriers of different forms, dimensions and materials is also presented. At last a "final design" study using all benefits of the method (full 3D and time representation) is presented.presented.

• 대한예방한의학회지
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• 제14권1호
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• pp.125-135
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• 2010

The aim of this study is to observe the spread and implementation of acupuncture as an official medical treatment in France. This research is based on the study of the scientific magazine produced by the Association of Acupuncturist Doctors of France from 1945 to 2008 as well as medical and sociological studies. Western medicine was introduced and spread in Korea about one hundred years ago and is the foundation of modern Korean medicine. Nowadays it is more commonly employed than traditional Oriental medicine. Oriental medicine was introduced in France in the 17th century but only acupuncture gained notoriety. The French Faculty of Medicine officially chose to legalize acupuncture after WWII but only allowed doctors to study acupuncture. It takes three years to obtain an Inter-University Degree(DIU) in acupuncture therapy. Why would the Faculty of Medicine make a holistic treatment system official that is in opposition to the systematic treatment method of the Western medicine? The second question posed is, does Western Academia still recognize acupuncture as a viable treatment method? The final question addressed is, has acupuncture any real impact on medical treatment of the French Society?

• Journal of Applied Biological Chemistry
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• 제66권
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• pp.338-344
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• 2023

Curcuma longa is a plant belonging to the genus Curcuma and is distributed across various Asian regions. This plant is widely known for its rhizomes, which possess a variety of pharmacological properties. However, although the leaves and stems of this plant also contain several health-promoting secondary metabolites, very few studies have characterized these compounds. Therefore, our study sought to quantify the secondary metabolites from the leaves and stems of Curcuma longa L. (LSCL) using liquid chromatography-electrospray ionization-mass spectrometry (LC-ESI-MS) and high-performance liquid chromatography (HPLC). Our LC-ESI-MS analyses detected twenty-one phenolic compounds in the LSCL, among which fifteen compounds were detected via HPLC analysis. Four compounds, namely vanillic acid (0.129 mg/g), p-coumaric acid (0.431 mg/g), 4-methylcatechol (0.199 mg/g), and afzelin (0.074 mg/g) were then quantified. These findings suggest that LSCL is rich in secondary metabolites and holds potential as a valuable resource for the development of functional and nutritional supplements in the future.