• 한국지역지리학회지
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• 제15권6호
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• pp.803-819
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• 2009

본 연구에서는 오사카부 야오시를 대상으로 사회적 최하층계급의 거주지에서 나타나는 거주지분리현상을 살펴보았다. 근세이후 사회적 차별과 배제의 대상이었던 신분계급인 부락민은 그들만의 분리된 거주지역을 형성하였고, 제도적으로 인정되었던 차별에 대하여 조직적으로 투쟁하는 과정에서 구성원간의 공동제 의식이 강화되었다. 한편, 야오시에는 또 다른 피차별집단인 재일한국 조선인과 사회적 소수자인 베트남 난민 중국인이 증가하게 되었고, 부락민과 재일한국 조선인에 의하여 사회적 소수자의 인권과 권리를 옹호하기 위한 활동이 전개되기 시작하였다. 최근 제조업체의 제3세계로의 이전과 불황의 여파 등으로 인하여 동화지구를 존속하게 했던 영세공장들의 수가 줄어들고, 하나 둘 없어진 공장부지에 새로운 주택들이 들어서기 시작하고 있다. 격리된 동화지구로서의 야오시의 특성은 약해지고 있지만 사회적 소수자끼리의 공동체의식에 기초한 투쟁과 지속적인 인권활동은 야오시의 행정방침에도 지대한 영향을 끼치고 있다. 야오시의 경우, 가시적으로 나타나는 공간상의 분리의 의미는 약화되고 있으나 지역민 간의 공동체의식은 지속되고 있다는 점에서 격리공간의 변형된 형태, 혹은 소멸화 단계에 있는 거주지 분리지역의 사회적 형태를 보여준다고 할 수 있다.

• 한국실내디자인학회논문집
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• 제27권3호
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• pp.100-107
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• 2018

In order to overcome social exclusion and to integrate social housing, it is necessary to plan a communal space in urban collective housing so that residents can have belonging sense and community consciousness. In this study, it is necessary to consider the linkage between social integration and residential space, and to derive the characteristics of planning the collective housing for social integration. We analyzed the planning characteristics of MVRDV's communal spaces of collective housing and suggested a method of planning communal spaces of urban collective housing for social integration. Urban density is an important tool and background for MVRDV's design methodology. For this reason, MVRDV's collective housing is selected as a case study in this study. As a result of case analysis, openness and connection characteristics should be considered by using various devices such as glass exterior, balcony, and void in planning the communal space in urban collective housing for social integration. However, since it has appeared in many cases, it can be criticized that the application of this is merely a logic. In other words, it is possible to suggest that we should actively introduce less accessible access. This problem should be solved through more case studies.

• 대한가정학회지
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• 제17권2호
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• pp.57-79
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• 1979

As the first communal system of which our society consists is family , the study of its relationship has been the base of analysing the social changes in every society of different culture and age. In our country under various western influences on traditional consiousness, it is very significant to consider how our family consciousness changes up. The aim of this thesis is to understand family consciousness of the women students of 2 University and 1 woman college in Pusan Area with 675 qustioning papers by inquiring the views of family , marriage, birth control and inheritance.

• 영미문화
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• 제18권4호
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• pp.1-31
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• 2018

It is needless to say that America's indiscriminate artillery and chemical attacks have worsened the conditions of Vietnam's tropical rain forests, causing war-torn combat troops and civilians to suffer more from the participation and aftermath of the Vietnam war. Around two decades after the Vietnam War, American and Vietnamese writers dealing with the destruction of the human and nature of the Vietnam War and the following traumatic experience commonly report the horrors of inhumane warfare, but some differences among them appear in the reception of the ecocide consciousness. For American writers who had been involuntarily involved or who had stayed in the back area as interpreters and counter-intelligence force, the Vietnam War was often a kind of exotic "addicted adventure" which their American hometown could not provide. But apart from overcoming postwar post-traumatic stress by writing of healing which was shared with American war writers, Vietnamese writers have been able to overcome the scars of war as the communal memorial, which Jonathan Shay emphasized as the necessary comforting ritual by community members showing the sign of honor and care. On the other hand, American war writers were on the side of "separate peace," as Jeong stressed, and the Vietnam War to them was more racist like the case of "body count." Nevertheless, it is fortunate that the hideous experience of war could turn them all into the creativity pool, just as the 5,000 square mile of bomb creators have been used as the postwar fish ponds.

• 보건의료산업학회지
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• 제12권3호
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• pp.169-180
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• 2018

Objectives: The purpose of this study was to investigate the self-leadership, sense of community, and organizational socialization in nursing students. Methods: The subjects were 215 four-year nursing students in one province. Data were collected from May 4 to 25, 2018 through a self-report questionnaire. Data were analyzed using descriptive statistics, t-tests, analysis of variance, Scheffe's Test, Pearson's correlation coefficients, and multiple regression analysis. Results: Organizational socialization was positively connected to self-leadership and sense of community the higher the self-leadership and sense of community, the higher the organizational socialization. In the independent variables, communal consciousness produced greater ramifications on organizational associations. Conclusions: Nurse educators can use our findings to consider the individual needs of the nursing student in order to increase their self-leadership and sense of community by developing and implementing suitable and appropriate academic curriculum where proper research can be conducted in order to acquire successful, organizational socialization within the nursing community. Further research in this area is warranted.

• 기호학연구
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• 제56호
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• pp.137-158
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• 2018

프랑스 기호학자 쟈크 퐁타닐이 1999년 구조주의의 한계를 극복하려는 시도로 담화기호학을 발표하였다. 담화 기호학에서는 의식 구조를 연구하는 현상학으로의 접근을 시도하여 기호학의 지평을 넓혔다. 현상학적 접근은 의미가 지각에서 드러나는 방법과 의미를 생성하는 방식, 그리고 세계에 대한 감각적 파악을 의미 세계로 변형시키는 방법을 연구하는 것이다. "황소들"은 주인공 소년 바우의 내면세계에서 일어나고 있는 의식의 흐름을 기술한 작품이라는 점에서, 현상학적 접근으로 살펴보았다. 수사학적 접근은 발화의 차원에서 다루어지면서 발화행위 이론과 직접 관련되며, 수사학의 문채(figures)와 전의(tropes)가 발화행위의 지배를 받는다. 기존의 수사학적 분석은 평면적 의미 분석으로 역동적인 관점이 부족했지만, 담화 기호학에서는 발화체와 발화행위의 분석이 서로 보완적으로 기능하는 깊이 있는 입체적 해석을 시도하였다. "황소들"은 주인공 소년 바우의 시선을 통해 농민 운동을 형상화하고 있으며, 우리 신문학사상 진지한 업적으로 평가되고 있다. 본고는 집단적 움직임에 대한 형상화를 잘 이루었다고 평가되고 있는 이 작품을 담화 기호학의 현상학적 접근과 수사학적 접근을 중심으로 고찰하여 이론의 유효성과 가능성을 입증하였다.

• 한국콘텐츠학회논문지
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• 제13권3호
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• pp.131-140
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• 2013

이 연구는 트윗과 리트윗 행위가 기존 매스미디어의 기능을 제한적으로 대체한다고 가정하고, 트위터 사용자의 리트윗 행위에 내재한 동기를 파악하는 것을 목적으로 하였다. 래더링 방법을 이용하여 트윗된 메시지의 속성 (Attributes), 리트윗을 함으로써 얻는 결과(Consequences), 그리고 이를 통해서 궁극적으로 추구하는 가치(Values)에 대한 참가자들의 응답을 토대로 질적인 데이터를 구성하고, 여기에서 떠오르는 중요한 테마들(theme)을 기록, 분석했다. 그 결과 리트윗의 이유로 두드러지는 것은 공감과 공유를 통한 자기만족의 가치였고, 이를 위해서 화제성과 정보성이 포함된 트윗 메시지들을 리트윗하는 경향이 많다는 것을 밝혔다. 또 다른 테마로는 공감과 공유를 통해서 남들에게 필요한 도움을 직, 간접적으로 주고자 하는 이타적인 목적과 사회발전추구, 공동체적 의식 등의 공동체적 가치 또한 발견되었다. 연구결과 추출된 총 48항목은 요인분석을 이용하여 몇 개의 잠재변인으로 나눌 수 있는가를 살펴보는 후속연구에 사용되었다.

• 비교문화연구
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• 제51권
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• pp.45-71
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• 2018

이 논문은 루이스 어드릭이 널리 호평 받은 소설 "사랑의 묘약"(1993)에 등장하는 두 여성인물(룰루 나나푸시와 마리 라자르 캐시포)에 초점을 맞추어, 북미 원주민이 '사라지는 사람들'이라는 오래되고 위험한 관념을 심문하고 와해시키는 저자의 정치적으로 저항적인 목소리를 탐구한다. 우선, 이 논문은 정부정책의 실행, 법, 종교, 문화 면에서 드러나는 미국 백인의 식민주의적 지배에 대항한 치페와족의 다층적 저항을 살펴보면서, 어드릭이 '사라지는 사람들'('명백한 운명'의 또 다른 표현)에 대한 의식이 근거 없음을 이야기하는 방식을 탐구한다. 둘째, 이 논문은 프로이트와 마르쿠제가 '에로스'(억압적 문명이 야기하는 위기에 대한 대안으로서 삶을 통합하고 유지하려는 에너지)에 대해 제시한 성찰을 참조하여, 룰루와 마리의 사랑의 포용력을 중심으로 치페와족의 삶과 유산이 유지되고 부활하는 것에 대한 저자의 비전을 밝힌다. 치페와 인디언보호구역에 가해지는 파괴적이고 억압적인 식민주의적 상황에도 불구하고, 룰루와 마리가 이들 자신과 더불어 부족공동체의 사랑과 유대를 강화하고 상호간의 갈등을 봉합하는 통합력은 역사의식에 기초한 어드릭의 '에로스'의 정치성을 밝혀줄 것이다.

• 미술이론과 현장
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• 제13호
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• pp.7-33
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• 2012

The memory of the Korean War is about the time period when people lived toughly during evacuation, due to being exposed to the natural climate such as intense cold or heat without any protection, leaving their comfortable home and living in temporary built shelters which were barely enough to avoid the wind. 'Death is concealed and only the figures of evacuation for survival were expressed, just as how the government ordered. Since the experience of the battlefield is personal and fragmentary, that is broken into pieces, it does not have compatibility. As war is a distorted experience that cannot be placed in a big picture, it is not possible to take a view of the war's big picture. Having this individualized experience as a common collective memory is an issue and it is the will that people tries to pursue. The reason why the evacuees from north to south, and as well as from the south to further south were all able to be adopted as the theme of artworks due to the military action that emptied the occupied territories of the North Korean Army under the forced removal command. In such situations, the natural state of the 'snow' was like a symbol of the 1.4 Recession. The group of people who were thrown into the intense cold displaced the war damage of loosing their base livelihood, and symbolized the obedient citizens who faithfully follow their government's command. The figure of advocating anti-communism is projected as a figure of a refugee during cold winter-time and it contains ones past which he or she obeyed its own country's commands. Evacuation, especially the evacuation during the winter is a visual device that can confirm these kinds of country's command. The consequences were same for the artists as well. Therefore, the situation being communal could be found due to the individual experiences during war are ideological. The image of the refuge shown in the picture played the role of strengthening the consciousness of defecting to South Korea into the meaning of the 'Finding Freedom.' I would like to express that the reason of them leave their home during the harsh winter is in order to avoid the oppression of the Communist Party. The evacuation that people went through was not to 'Finding Freedom', but 'To Survive'. Later, this evacuation has been imprinted as a behavior of choosing free Republic of Korea, which was an ideological issue. Anti-communism was the rule of survival in South Korea society, and people have the tendency to remember what they want to remember. As it is not the people who possesses an incident, but the memory that possesses ones, people cover their memory with disguised plots in order to forget the violence and to live a different prologue. They share the incident of violence as a hurtful memory. The tragedy of the Korean War was the result of Ideology and being in between the powerful nations' rights, but the violence during the war has been depicted as a natural disaster, which was the evacuation in heavy snow.

• 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.