• 한국시조학회지:시조학논총
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• 제44권
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• pp.75-103
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• 2016

본 연구는 노산시조집에 실린 작품에서 발견되는 병치에 주목하여, 이은상 시조의 주된 창작 태도가 병치 기법에 있으며 이러한 창작 태도는 독자들에게 이해의 수월성을 제공한다는 것을 논증하는 데 그 목적이 있다. 병치기법은 독자들에게 전달하고자 하는 텍스트의 의미를 명료화하고 확장시키는 역할을 한다. 따라서 병치 기법을 주로 사용하고 있는 이은상의 창작태도는 독자와의 소통을 원활하게 한다. 또한 병치기법으로 인한 의미의 확장은 시조의 정체성이라 할 수 있는 간결미와 정제미의 생성을 가능하게 한다. 나아가 이러한 창작태도는 '시조 정체성의 혼란과 난해성으로 독자들에게 외면을 받고 있는, 오늘날 현대시조가 나아갈 방향을 찾는 데도 도움이 될 것이다. 이은상이 "노산시조집"을 발간한 시기는 한국 시조가 노래 장르에서 문학 장르로 그 발판을 굳건히 다지는 때였다. 문학 장르의 발판을 굳히기 위한 도구로 영미의 이미지즘을 수입하여 전통시가의 근대화를 꾀했다. 1920년대 창작된 시조 작품에는 이미지즘 시 이론이 공통적으로 내재되어 있었지만 "노산시조집"에는 개성적인 면도 있었다. 이은상의 시조에는 병치 기법이 많이 발견된다는 것이다. 이는 이은상 시인이 추구한 시작태도라고 할 수 있다. 로스, 피네간, 유협, 속요에 서술된 병치 이론을 참조하여 "노산시조집"에 나타난 병치 기법의 유형을 의미의 조응과 의미의 대립 차원에서 살펴보았다. 의미의 조응에서는 동의적 병치, 종합적 병치, 구체적 병치, 통사적 병치로 나누었으며 의미의 대립은 대립적 병치에서 살펴보았다. 이은상 작품 대부분이 이러한 병치 기법을 적용하고 있다. 또한 병치에 의해 나타나는 이미지의 역동성은 영미 이미지즘에서 영향 받은 것이다. 오늘날까지 독자들이 이은상 시조 작품을 널리 애송하고 있는 까닭은 병치 기법과 이미지의 역동성으로 그의 작품이 쉬우면서 감동적으로 다가오기 때문이다. 이은상이 추구했던 병치 기법은 독자의 이해를 돕는 수월성을 제공하고 리듬 창출을 용이하게 한다는 점에서 매우 긍정적이다. 따라서 오늘날, 현대시조의 정체성 혼란으로 어려움을 겪고 있는 시인들이 시조의 색깔을 드러낼 수 있는 병치 기법이나 역동적 이미지를 잘 살려낸다면 현대 시조가 지닌 문제점들을 어느 정도 해소할 수 있을 것이며 시조의 정체성을 획득하는 데도 도움이 될 것이다.

• 복식
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• 제40권
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• pp.137-147
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• 1998

Fahion as the form construction of decon-structivistic architecture was analyzed by dividing it into the intrinsic aspect and the formal aspect through an introduction of three characteristic architectural principles into fashion. Intrinsic deconstructivistic fashion as the construction of architectural form has the mixurte of genders both in a form of transvestic and in a form of genderless look as dualism, and can be characterized by pluralistic nationlism with the emergence of the Third World alienated from the international society, and so forth. Difference and the prefixes of dis-and de- are schizophrenic mystic illusionism, chance effect and the differance of space and time and is supporting Jacques Derrida's chiasmus that is the perspective of collage in painting and the multiple observation of collage in painting and the multiple observation point as the play of borrowing the surrealistic technique. The formal construction of deconstructivistic fashion the construction of architectural form has intertextuality material, hybridization of items and the blending of modes and another sphere. Trace as icon deconstrucion attains historical analysis. Dis and de in fashion are showing the retrogre-ssion of gravity through decomposition, decon-tinuity and disjunction emerge nonstructural silho-uette, juxtaposition, inversion and replace- ment of underwear and outer garments. Their decentring expression emerged as construction through mixture and repetition as well as overlapping of planes or spaces. And their disjuctive representation appeared in the form of mutual juxtaposition and substitution with the double-side of formal construction in functional terms.

• 한국의상디자인학회지
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• 제15권1호
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• pp.59-74
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• 2013

Post-modern society leads us to accept diversity and variability instead of pursuit of the absolute truth, beauty or classical value systems, thus leading to hybrid phenomena. The purpose of this study is to analyze characteristics and expressive effects of hybrid expressions through which to provide conceptual bases for interpreting expanded meanings of fashion illustrations that express aesthetic concepts of hybrid culture. Hybrid refers to a condition on which diverse elements are mixed with each other, so any one element can not dominate others. It is often used to create something unique and new by a combination of unprecedented things. Hybrid can be classified into four categories: temporal hybrid, spatial hybrid, morphological hybrid and hybrid of different genres. Temporal hybrid from a combination of past and present in fashion illustration includes temporal blending by repetition and juxtaposition. Spatial hybrid shows itself in the form of inter-penetration and interrelationship by means of projection, overlapping, juxtaposition and multiple space. Morphological hybrid expresses itself through combination of heterogenous forms and restructuring of deformed forms. Hybrid of different genres in fashion illustration applies various graphic elements or photos within the space, and represents blending of arts and daily living. Such hybrid expressions in fashion illustrations reflect the phenomena of diversity and variability of post-modern society. Hybrid expressions in fashion illustrations predict endless possibility of expressing new images through combining various forms or casual elements and can develop toward a new creative technique.

• 한국전통조경학회지
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• 제30권2호
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• pp.130-141
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• 2012

본 연구는 부산 상해거리의 상점 전면부 경관 요소의 유형과 중국 전통 경관이미지의 재현 수법을 고찰한 것이다. 연구범위는 상해거리의 화교소유 건물을 대상으로 한 건물전면부의 경관적 특징과 상호명, 그리고 가로환경 조형물을 대상으로 하였다. 그 결과는 다음과 같다. 첫째, 건물 전면부의 경관적 특징을 유형적으로 고찰한 결과를 보면, 건물의 파사드 디자인 형태는 한자간판 강조형, 걸게간판 부가형, 전통문양 부착형, 전통건축이미지 차용형, 현대건축 양식형 등의 5가지 유형으로 분류되었다. 간판 디자인에 있어서는 색의 경우 글자색은 황색계열, 백색계열배경색은 적색계열이 가장 많이 나타났다. 그리고 글자체는 모두 번체로 나타났다. 둘째, 상호명은 크게 작명 방법과 상호명의 의미로 살펴보았다. 작명 방법은 의미와 장소의 결합, 계절과 분위기의 결합, 명소 명물 세 가지로 구분되었다. 의미와 장소의 결합 명명법은 차이나타운 형성 초기부터 사용한 수법이고, 계절과 분위기의 결합 명명법은 1970년대부터 사용하였으며, 명소 명물 명명법은 상해거리 조성 이후부터 사용한 수법으로 나타났다. 상호명 의미로 살펴 볼 때 가게 번영 염원형, 풍류형, 현지 지명 지물 차용형으로 구분되었다. 셋째, 상해거리에 도입된 가로환경조형물의 이미지는 중국의 남방문화 양식에 한정하지 않고 중국의 북방문화양식과 한국적 양식이 혼재되어 나타나는 것으로 파악되었다. 넷째, 상해 거리에 나타난 중국 전통 경관 이미지 재현 수법은 부가, 치환, 병치로 분류하였다. 부가라는 경관이미지 재현 수법은 기존의 형태에 다른 형태가 평면적으로 확장되어서 더해지거나 포함되어 전과는 다른 형태를 만드는 것을 가리키며, 면 대 면의 확장과 면 대 면의 중첩이 관찰되었다. 어떤 유형의 형상을 다른 형상으로 바꾸는 것을 치환이라고 하였고, 치환에는 국부적인 것과 일차적인 것, 일련의 순차에 따라 행하는 순차적 치환이 있다. 병치는 공간적으로나 형태적으로 이전과는 다른 형식으로 배치되는 것을 가리킨다. 병치에는 동종병치, 이종병치, 이위병치가 관찰되었다. 본 연구는 차이나타운의 경관디자인 수법을 분석하기 위한 기초 연구이다. 그러나 본 연구는 부산의 상해거리에 한정하여 분석한 한계를 지닌다. 향후 다른 인천, 전주 등 다른 도시에 형성되어 있는 차이나타운을 대상으로 한 추가 연구가 필요할 것으로 사료된다. 이러한 연구는 최근 지자체에서 활발히 진행되고 있는 차이나타운 특구 개발 사업에 있어서 경관계획 부문의 기초자료로써 활용 가능할 것으로 기대한다.

• Animal cells and systems
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• 제13권1호
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• pp.1-8
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• 2009

Toll-like receptor (TLR) family proteins, type I transmembrane proteins, play a central role in human innate immune response by recognizing common structural patterns in diverse molecules from bacteria, viruses and fungi. Recently four structures of the TLR and ligand complexes have been determined by high resolution x-ray crystallographic technique. In this review we summarize reported structures of TLRs and their proposed activation mechanisms. The structures demonstrate that binding of agonistic ligands to the extracellular domains of TLRs induces homo- or heterodimerization of the receptors. Dimerization of the TLR extracellular domains brings their two C-termini into close proximity. This suggests a plausible mechanism of TLR activation: ligand induces dimerization of the extracellular domains, which enforces juxtaposition of intracellular signaling domains for recruitment of intracellular adaptor proteins for signal initiation.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2001년도 춘계학술발표대회 논문집
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• pp.73-77
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• 2001

Deconstruction Architecture takes various approaching ways in the plural situation of modem times while it has a common thinking way in the whole area of society, art field, etc. This plural phenomenon is expressed by collage used as a painting technique. We examine the relations of collage and Deconstruction Architecture to see what kind of space formation factor collage is applied in the Deconstruction Architecture, which can be applied to the architecture composing vocabulary, and classify the aspects that collage technique is expressed with space formation factor of Deconstruction Architecture by category. We can see that superimpositon, interpenetration, juxtaposition, scaling, open structure, undecidability, assemblage, etc. are expressed as various factors in the space of Deconstruction.

• 한국실내디자인학회논문집
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• 제18권6호
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• pp.52-59
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• 2009

In the study will look into how Baroque concepts are expressed in architectural space by analyzing the concepts of Baroque formative vocabularies applied in his architecture through a Spanish architect Paolo Portoghesi. Baroque is regarded as the philosophical thought that means enlargement toward diversity of a firm and fixed trend beyond the concept of a certain epochal form of 16th and 17th century architecture. In addition, it is from the free attitude and the intelligent and formal stereotype, and signifies common conditions more than one style in architecture history. Paolo Portoghesi proposes to express gestalt approach by Baroque precedent in his architecture through plasticity and geometric collision technique. Here, the expression of plasticity means the effect that gives formative rhythm to Baroque curved structures. That is the method to expand the formative possibility by changing various materials such as bricks, concrete, and timbers. Second, the geometric collision technique is the technique to constitute the flat form of overall space through the juxtaposition technique, Baroque symmetrical and homogeneous geometric manipulation technique. Accordingly, this study will overcome Inlimitation of formative monotony and expression of abstraction that modernism architecture has, and examine formative waste and conflicts which may be derived from impractical architectural languages of the concept of excessive disorder or the minimum form. This discussion is considered as the first step to tune balance between productivity and formativeness in modern architecture.

• 복식문화연구
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• 제11권6호
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• pp.925-940
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• 2003

The purpose of this study is to analyze the major influence of postmodernism on 20th century fashion. Due to its characteristic traits like pluralism, indeterminacy, and immanence, it can be said that postmodernism in fashion manifests itself in an overlapped and duplicated style. The conceptual side has to do with such various 20th century thoughts as decanonization, deconstruction, populism, and in fashion it is presented as subcultural style, syncretic style, and post-feminist style. The stylistic side of postmodernism in fashion also has to do with fragmentation, hybridity, stress on performance and participation, carnivalization, deconstructive turn, and it is presented as hybrid expression, deconstructive technique, performance, and so on. In the latter part of the 20th century in which postmodernism blossoms in various fields, fashion also participates in the current of the times, together with the rapid stylistic turn, the co-existence of various trends, and the experimental or avant-garde new trials. However, it should be said that all of these tendencies mean not so much blurring of the boundaries between styles as developmental mixture of styles coming from juxtaposition after fully realizing the boundaries of contrast and combination.

• 한국실내디자인학회논문집
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• 제12호
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• pp.10-17
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• 1997

The lastest art is being characterised by an ever active exchange between different genre. This is a study on the installation aspect in deconstruction architectured and interior design. The progressive and aggressive nature of installatation art embodies uncatagorized genre, the freedom of material application, introduction of the notion of time in space, the reversion of subject and object, the union of art and every experience, understanding of object through deconstruction, enlargement of concept of space, collage-style composition and layer technique. I can conclude that the installation aspect in Tshumi's Parc de la Villette is its call upon the audience to actively participate, the introduction of a coincidental conjunction, its challenge on the conventional idea of park and its flexibility caused by human activity and time. In Hadid's Hong Kong Peak Club the installation aspect is the application of layer technique using four enormous beams horizontally laid out on a man-made moutain. Furthermore, Libeskind's pursuit of the mental in Berlin Museum Extension through the penetration of an invisible line into a void creates a new interpretation of the role of a museum and thus relates itself to installation art. The installation aspect in Himmelblau's Vienna Roof Renovation is the literal deconstruction of the roof of an old building in the old section of Wien and the expression of time and space through the interrelationship between interior and exterior environment by the use of juxtaposition technique. Finally, I note that the installation aspect in Gehry's Santa Monica Residence is the reorganization of cheap material as a form of 'object', that creates spon-taneity, movement as well as flow of time in space and ex-hibit the double-sidedness of the visible world.

• Journal of Korean Neurosurgical Society
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• 제59권6호
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• pp.643-646
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• 2016

Chordoid glioma of the third ventricle is a rare and challenging tumor to surgery because of its unique anatomical location and its close juxtaposition to the neurovascular structures and hypothalamus. The authors report a case of chordoid glioma of the third ventricle in a 43-year-old woman, who presented with headache and somnolence. The tumor was approached by endoscopic transnasal technique with a favorable result. Histopathologic examination disclosed a neoplastic tissue composed of eosinophilic epithelioid cells, mucinous, periodic acid Schiff-diastase positive, extracellular matrix, and scattered lymphoplasmacytic infiltrates. The best treatment option remains controversial. Customarily, the surgical route to remove chordoid glioma is transcranial; however, the undersurface of the optic chiasm and optic nerves preclude an adequate surgical visualization. In contrast, an expanded endoscopic transnasal approach provides a direct midline corridor to this region without any brain retraction.