• 기독교교육논총
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• 제66권
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• pp.147-178
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• 2021

본 연구의 목적은 탈북청소년이 한국 사회에 정착하는 과정에 있어 기독교 신앙이 기여하는 바를 밝히는 것에 있다. 연구 방법은 내러티브를 활용했다. 연구참여자들은 입국하여 1년 이상이 된 17세에서 24세로 교회에 소속되어 있는 9명의 후기청소년이다. 연구문제는 네 가지이다. 첫째, 탈북청소년들은 탈북동기와 여정을 통해 과거를 어떻게 회고하는가? 둘째, 탈북청소년들은 현재 남한 사회에 적응해가는 과정에서 어떠한 어려움을 경험하고 극복하면서 정체감을 확립하는가? 셋째, 탈북청소년들은 통일세대 주역으로 미래를 재구성해나갈 수 있는가? 넷째, 탈북청소년들은 기독교신앙의 의미를 어떻게 해석하고 있으며 신앙은 한국사회 적응에 어떤 영향을 미치고 있는가? 연구결과는 다음과 같다. 첫째, 탈북청소년들의 탈북 동기와 과정에서 이들의 불안과 우울, 외상 후 스트레스가 정체성 혼란을 가져오며 한국 사회 적응에 방해 요인이 된다는 사실을 발견하게 되었다. 둘째, 탈북청소년들의 불안정한 정착에는 가족 갈등, 세대 갈등, 죄책감과 딜레마라는 미해결 감정과 학업 경쟁, 진로 고민, 취직의 부담감, 높은 사회적 장벽에 대한 인식이 있었다. 셋째, 한국 사회에서 태어난 청소년에 비해 탈북청소년들은 통일에 대한 인식이 높아 이들의 남한 사회 유입은 통일에 미치는 영향이 매우 크다고 할 수 있다. 넷째, 탈북청소년들은 가치 혼란을 초래할 수 있는 한국 사회에서 예배의 경험과 신앙과 문화와의 만남은 한국 사회 정착에 큰 도움을 주었다. 이러한 결과는 탈북청소년중 기독교 신앙인을 대상으로 그들이 남한 사회에서 정체감 형성과 적응과정에 기독교 신앙이 어떻게 기여하였는지 규명하고 북한 선교와 통일을 앞두고 미래세대를 위해 일하는 모든 기독교 사역자들에게 시사하는 바가 크다.

• 대한토목학회논문집
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• 제42권4호
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• pp.581-590
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• 2022

사람의 이동권 보장과, 도시의 활동성 제고를 기본으로 하여, 궁극적으로 삶의 질을 높일 수 있는 공공공간을 만들기 위해서는 품격 있는 보행 공간 조성이 중요하다. 본 연구는 이런 품격 있는 보행 공간 조성을 위한 자료 구축의 밑거름을 마련하기 위해 보행길 평가체계를 개발하고자 한다. 먼저 요인과 공간을 견지하여 기본 체계를 설정하고 이 체계를 연구의 기본 틀로 하였다. 기존문헌을 통해 알아본 동향은 보행안전정책, 보행중심계획, 인식전환, 교통시스템, 활동연계보행, 시설활용보행, 자연역사연계보행, 콘텐츠융합보행 등 여덟 개의 범주로 나눌 수 있었다. 관련연구들에서 언급된 거시·미시 지표와 요소를 종합하여 분류하고 이를 통합하여 보편성과 차별화를 위한 바탕을 갖추었다. 다음으로 이를 보완하여 보행 체계의 기본 구성에 따라 안전항목에 보행잠재성과 경사안전성, 편리항목에 보행기초연결성과 대중교통연계성, 건강항목에 보행정돈성과 휴식편의성, 매력항목에 경관자원연계성과 활동풍부성 여덟 개의 거시 평가 체계를 설정하고 측정방법을 개발하였다.

• 한국엔터테인먼트산업학회논문지
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• 제14권1호
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• pp.125-135
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• 2020

달문(達文)은 걸인 출신의 엔터테이너이자 예인(藝人)으로 뛰어난 춤, 노래, 재담 실력을 선보여 유교사회인 18세기 조선시대에 양반과 평민들 모두에게서 최고의 인기를 누린 독보적인 대중 스타였음에도 불구하고 그간 문학이나 역사의 관점에서만 연구가 수행되었다. 본 연구는 배우연구나 아티스트 경영 관점에서 달문을 다룬 선례 연구가 없었다는 점에 착안해 옛 문헌 가운데 달문의 예술 역량을 가장 풍부하게 담은 홍신유의 <달문가(達文歌)>와 박지원의 <광문자전(廣文者傳)>의 전문(全文)을 연구대상으로 선정해 2015년 개발된 '배우 평가모델'을 적용하여 빈도 및 의미 분석을 병행하는 내용분석 방법을 통해 달문의 예술적 역량을 도출했다. 첫째 빈도분석 결과, 달문의 역량은 예술적인 성과(36%)보다 자질(64%)이 월등하게 강조되었다. 이는 인·덕성의 수양을 강조하던 당대 조선사회의 유교적 분위기가 반영된 것으로 분석된다. 이어 의미분석 결과, 예술 역량 묘사는 긍정 관점(53.1%)이 부정 관점(24.5%)을 압도했다. 이는 달문의 궁핍했던 하층민 예술가의 신분과 대조를 이뤄 그의 자기 극복과 초월적 삶이 당대 예술가의 기본 요건이자 타인의 귀감이 되었음을 보여준다. 예인 달문이 보유한 독보적인 예술 역량으로 도출된 '선한 영향력'을 불러일으키는 예술적 집념, 예술 기량의 완성도, 인성·덕성, 모범적 언행, 초연함 등은 학술적으로 배우경영의 요체인 동시에 오늘날 비행과 일탈 이슈로 몸살을 앓고 있는 대중예술 분야 아티스트들이 특히 유념해야 할 자기관리의 핵심 요소로 평가된다.

• 기록학연구
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• 제71호
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• pp.49-89
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• 2022

본 연구는 전거레코드 구축 및 공유를 위한 목적으로 진행된 'Social Networks and Archival Context' 프로젝트 사례를 통해 문화유산기관 간에 분산 소장된 역사적 정보원에 대한 통합적 접근과 기록에 대한 보다 풍부한 검색과 이해를 촉진하는 국가적 전거데이터베이스 구축의 필요성과 국내 적용 방안을 제시하였다. SNAC 프로젝트는 NARA 주도의 국제적 협력체 조직으로 전환되면서 지속가능한 운영체계를 확보하고 협력적 전거통제를 실현할 수 있었다. 또한 SNAC 전거레코드는 도서관에 비해 풍부한 생애와 역사에 관한 맥락 정보와 사회적·지적 네트워크 정보를 제공한다는 특징을 가진다. 사례분석을 통해 첫째, SNAC 처럼, 국가기록원이 주도하고 국립중앙도서관이 공동 오너쉽을 갖는 협력체가 개발을 주도하고 참여기관의 범위를 넓혀나가야 한다. 둘째, 협력의 방식에서 특장점을 가진 분야별로 분담하는 구조를 취하되, 두 기관이 참여하는 운영 주체가 주요한 의사결정을 하도록 한다. 셋째, 전거데이터 구축 시 다양한 포맷의 기술정보를 수집할 수 있는 확장가능한 오픈소스소프트웨어 개발, 기록관리 전거레코드의 구조와 요소로 설계, 전거레코드의 품질을 통제할 수 있는 기능 설계, 이용자 친화적 인터페이스 구축 및 콘텐츠적 요소가 반영된 플랫폼 설계가 필요함을 제시하였다.

• 인간식물환경학회지
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• 제23권5호
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• pp.577-587
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• 2020

Background and objective: Plants in temples are the results of cultural symbolization that embraces the experience and enlightenment of humans about life. As a way to improve the acceptance of the foreign religion, China gave cultural symbolization to plants in temple gardens through integration with traditional cultures and the understanding of the nature of plants themselves. This study aimed to identify cultural symbolism and signs of acculturation associated with Buddhist plants, targeting Bolisu, the most essential and symbolic plant in temple garden forests in China and Korea. Methods: The morphological and ecological characteristics of plants, functions, the texts that contained the history of Buddhism and literary works were examined through literature review, and the relation of Ficus religiosa with its planting conditions and nature, and Buddhist culture was explored. In addition, the cultural value of Buddhist plants themselves in establishing temples and the reason why Bolisu was planted in temples were reviewed through time series analysis. The obtained results were interpreted using an inductive method to identify substitutes for F. religiosa, cultural symbolism and signs of acculturation. Results: F. religiosa as one of the three holy trees and the five trees and six flowers in Buddhism is known as the original Bolisu. Since it grows well and is widely distributed in regions that accepted Indian Buddhism, it became the most representative holy tree in Buddhism. From the perspective of tree shape and nature, F. religiosa is in line with the Buddhist spirit of saving those in need with mercy and redeeming mankind, and figuratively shows that perfection can be attained like the fruit of Bolisu. Chines Buddhism had adopted highly symbolic plants for a long period of time as a means to spread the same belief and doctrines as Indian Buddhism. In China, however, there were only limited areas suitable for the growth of F. religiosa, and for this reason, borrowed Bolisu trees including Tilia. miqueliana, T. mandshurica and T. amurensis and other plants such as F. virens Ait. var. sublanceolata, G. biloba and M. alba were planted as a substitute in most regions, having been given with symbolism and belief as Bolisu. Conclusion: Chinese Buddhism planted the same plants as Indian Buddhism in order to enhance symbolism and also similar substitutes to express the same symbolism. This is a kind of acculturation and its influence and customs were not limited to China, but were introduced to Korea, The difference between China and Korea was that G. biloba was excluded from the substitute for Bolisu in Korea.

• 한국어류학회지
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• 제34권1호
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• pp.25-33
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• 2022

대륙종개의 난발생 및 초기생활사 연구를 위해 2020년 4월 26일 북한강 지류인 상천천에서 대륙종개를 채집하였다. 성숙한 암컷과 수컷의 복강에 HCG 10 IU/g를 주사하였고 15시간 후에 건식법으로 인공수정하였다. 대륙종개 암컷 전장 70.64~79.24 mm (n=3)의 포란수는 1,308±293개였고, 성숙란은 황회색의 침성점착란이었다. 수정란의 난경은 1.13±0.01 mm (n=10)였고 수정 후 104시간 만에 부화하였다. 난발생 시 수온 15℃ 그룹의 부화율은 평균 80.1±1.2%로 나타났고, 수온 20℃ 그룹은 61.5±6.8%로 나타나 발생 수온은 15℃에서 적합하였다 (p<0.05). 부화 직후의 자어는 전장 3.12±0.06 mm (n=10)였으며 몸은 투명하였다. 부화 후 4일에는 전장 4.89±0.09 mm (n=10)로 입과 항문이 열리면서 먹이활동을 시작하였고 난황이 모두 흡수되면서 전기자어기로 이행하였다. 부화 후 14일에는 전장 8.66±0.14 mm (n=10)로 척색말단이 위로 휘어지기 시작해 중기자어기로 이행하였고 부화 후 21일에는 전장 10.98±0.40 mm (n=10)로 척색말단이 45°로 완전히 휘어졌다. 부화 후 26일에는 전장 13.47±0.37 mm (n=10)로 모든 지느러미 기조가 정수가 되어 치어기로 이행하였다.

• International Journal of Computer Science & Network Security
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• 제22권11호
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• pp.248-254
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• 2022

Educational innovations are first created, improved or applied educational, didactic, educative, and managerial systems and their components that significantly improve the results of educational activities. The development of pedagogical technology in the global educational space is conventionally divided into three stages. The role of innovative technologies in Higher School practice is substantiated. Factors of effectiveness of the educational process are highlighted. Technology is defined as a phenomenon and its importance is emphasized, it is indicated that it is a component of human history, a form of expression of intelligence focused on solving important problems of being, a synthesis of the mind and human abilities. The most frequently used technologies in practice are classified. Among the priority educational innovations in higher education institutions, the following are highlighted. Introduction of modular training and a rating system for knowledge control (credit-modular system) into the educational process; distance learning system; computerization of libraries using electronic catalog programs and the creation of a fund of electronic educational and methodological materials; electronic system for managing the activities of an educational institution and the educational process. In the educational process, various innovative pedagogical methods are successfully used, the basis of which is interactivity and maximum proximity to the real professional activity of the future specialist. There are simulation technologies (game and discussion forms of organization); technology "case method" (maximum proximity to reality); video training methodology (maximum proximity to reality); computer modeling; interactive technologies; technologies of collective and group training; situational modeling technologies; technologies for working out discussion issues; project technology; Information Technologies; technologies of differentiated training; text-centric training technology and others.

• 헤리티지:역사와 과학
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• 제57권3호
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• pp.184-199
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• 2024

본 논문은 세계적인 변화 흐름 속에서 '일상 경관'의 중요성이 부각된 배경을 탐구하고, 귀농·귀촌인 관점에서 일상 경관을 분석한 결과를 제시했다. 전라남도 '곡성군' 사례를 중심으로, 귀농·귀촌인이 작성한 '일기' 460건을 수집하여 '텍스트 마이닝'의 주요 기법인 '빈도수 분석', '토픽 모델링', '감성 분석' 등으로 분석했다. 명사형 형태소의 분석 결과를 인지적 측면에서, 형용사형 형태소의 분석 결과를 감성적 측면에서 해석했다. 특히 기존 감성 분석 방법의 한계를 극복하기 위해 '시맨틱 네트워크 분석'을 활용해 단어 네트워크 목록을 추출했고, 목록에서 감정을 나타내는 '형용사'와 공기 관계로 연결된 '명사'를 검토하여 감성의 대상과 내용을 확인했다. 이러한 방법은 기존 연구에서 찾아보기 어려운 차별화된 접근법이다. 연구 결과에서 나타난 흥미로운 사실은 해당 귀농·귀촌인이 '동네 산책길 꽃', '텃밭 수확', '동네 행사', '카페 공간' 등을 중요하게 인식한다는 것이다. 이들 모두는 시각적 요소를 갖춘 일상 경관이다. 현재 많은 농촌 마을은 주거 경관을 개선하고 사람들의 관심을 끌어모으기 위해서 지붕 색상을 하나로 통일하거나 담벼락에 벽화를 그리고 있다. 그러나 시각적 임팩트는 그러한 인위적인 조치로 생겨나지 않는다. 현재의 정책 및 제도에 대한 비판적 검토와 개선이 필요하다. 본 논문은 일기와 텍스트 마이닝을 활용하여 귀농·귀촌인 관점에서 일상 경관을 연구한 첫 사례로서 의미가 있다. 본 논문을 통해 일상 경관 관련 연구가 활성화되기를 기대한다.

• 조형예술학연구
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• 제7권
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• 디자인학연구
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• 제20권
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• pp.279-291
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• 1997

The history of modern design begins with the arts and crafts movement(1860). The importance of the movement which decorated the outset gave birth to all the trends of thought which would occur under the circumstances within it, and is deemed that the ideas of the figures who played an active part in the movement might be ceaselessly continued through the works and ideas of their outstanding juniors or purpils as a doctrine of the philosophy of design. Therefore, it might be a prerequisite that the significance and spirit of the movement, and its developing process should be addressed in detail in the first place, but for the limited space of this paper, it was intended to desvribe only the part which can be interpreted in duplicate, linked with post-impressionism. The subject of this thesis is about a theory of art in which both ideas of the movement(1860) and the post-impressionism(1910) are comparatively reviewed. The genre, strictly speaking, is classified into the history of painting, and there is a gap fo about an half century between the issues which are comparatively discussed here. Both the movements began in a same environmental place of England, specially the movement at Milieu in England, and since there is a common point that the representative runners of each movement, William Morries(1834-1896) and Roger Fry(1866-1934), belong to a same race of Engol-Saxon, their ideas coincide with an aesthetic scholar, H. Tanie's aesthetic interpretation method and the more important is, as being elucidated in the comment and aesthetic theory for which Roger Fry gave effort and activity in his later life, that when he read intensively Ruskin's books, $\ulcorner$Modern Painters$\lrcorner$and$\ulcorner$Stones of Venice$\lrcorner$he had solidified his idea of post-impressionism while giving approval and criticism on them. After all, as in a co-painter, Windyham Lewis's reference of 'Roger Fry's Too Late Morris Movement', he, inspired by the actual activities of Morris, played activities similar to that of Morris in which exhibiting and selling some of his decorative art works signed by him and the works of post-impressionism through (1913-1920). Herein, that is wished to add a remark by this author is a point that the author of$\ulcorner$Vision and Design$\lrcorner$, Roger Fry, has not be made a subject of discussion specially in the Korean world of design. So, with this case of a thesis, it's wished that many latent awakened, design persons in korea give efforts to researching into Roger Fry so that their findings could be officially announced in the would. By the way, what is tried to describe in this paper from now on is to analyse and review the origin of post-impressionism which idea was first coined in the art world through the 1st and 2nd exhibitions of 'Manet and Post-impressionism' which were opened each at the Grafton Gallery in 1910 and 1913 by him. And also, it is intended to review it through the art journals and some references by critics of the day in which favorable criticism or severe criticism were ready to comment through the opinions and influences of the coworkers of Roger Fry, say, Clive Bell, Desmond Maccarthy, etc. and of himself as a main axis, on the art ideas of Gauguin, Gogh, Matisse, and Cezanne whose works were the typical ones participated and exhibited in those 1st and 2nd exhibitions.