• 의료법학
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• 제10권2호
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• pp.203-249
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• 2009

It is the so-called Shinchon Severance Hospital Case brought to an end by the decision of the Supreme Court that opened the real discourse of withholding or withdrawing of LST (Life-Sustaining Treatment) in the legal profession as well as medical profession in Korea. Everyone has sympathy with the validity and necessity of legal regulation on withdrawing-including withholding-of LST save the requirements & procedure of withdrawing of LST. In this situation, the legislative bill of amendment to the Korean Civil Law introducing of adult guardianship was pre-announced by the Ministry of Justice on September 18th 2009. The adult guardianship is a guardianship system that supports an mentally handicapped adult to deal with his affairs by support of a guardian. The object of adult guardianship includes affairs of body or well-being as well as property of adult wards. In particular, affairs of medical matters are of importance in the duty and authority of adult guardians. So, the introduction of adult guardianship is of much importance de lege lata as well as de lege ferena in the discussion of withdrawing of LST as a medical treatment. Since the legislation on withdrawing of LST intents to protect the right of death with dignity on the basis of patients' autonomy, the ratio legis of withdrawing of LST is variant from that of adult guardianship. In this context, it seems reasonable to legislate the withdrawing of LST separately from the adultguardianship. In the meantime, the adult guardianship of the legislative bill of amendment to the Korean Civil Law is related to the withdrawing of LST, since the main purpose of adult guardianship is to protect patients' quality of lives and to regulate guardianship contracts based on patients' autonomy. In that context, it seems reasonable to incorporate the legislation of withdrawing of LST into the adult guardianship system. In the latter case, it is not easy to adopt the withdrawing of LST into the legislative bill of the Korean Civil Law for the bill is pre-announced already as previously stated. However, the legislation of withdrawing of LST is not inferior to the legislation of adult guardianship as a matter of urgency. Moreover, it is likely that the legislative bill of Amendment to the Korean Civil Law generates discrepancies in interpretation of the requirements & procedure of withdrawing of LST as the amended German Civil Law did. In short, it is desirable for the legislator to revise the legislative bill despite delay.

• 대한한의학원전학회지
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• 제4권
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• pp.75-100
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• 1990

As a result, the investigation into Gyung-Ak (景岳)'s theory of Myungmun (命門) was led to the next conclusions. First, Gyung-Ak (景岳) defmed Myungmun as the gate of Suncheon (先天) and Whoocheon (後天), by which the life of Suncheon is obtained and the life of Whoocheon is maintained. He maintained that Myungmun is located between two kindneys, not sided to the right as in the Nankyeong (難經), and considered the substance of Myungmun as Jagung (子宮 ${\fallingdotseq}$ uterus) or the other names as such Jaho (子戶), Jajang (子腸) Danjeon (丹田), Hyeolsil (血室), etc. On the essence or function of Myungmun it was considered as Taegeuk (太極) of the body which shapes the North Pole in the center of the body, and as the hinge of rise and fall, as controller of Soowha-action (水火作用) and Eumyang-changing (陰陽變化), and as storage of Suncheon Jinil-ki (先天 眞一之氣), the source of life and vitality and as the spring of Twelve-Jang (十二藏). Thus, the function of Five-Jang (五臟 ${\fallingdotseq}$ Five-Viscera) and Six-Boo (六腑 ${\fallingdotseq}$ Six-Bowels) and actions of life is obtainded by Myungmun, and the life and death of man and the change of life is related to that. Bi-Wi (脾胃 ${\fallingdotseq}$ Spleen & Stomach) as well as Myungmun is the root of Five-Jang and Six-Boo, but since Bi-Wi is the base of postnatal nutrition to belong to the son of Wonyang (元陽), Myungmun is treated more important as the mother of Bi-Wi. Sin (賢 ${fallingdotseq}$ Kidney) was perceived as inseparably related with Myungmun, but in the course of theoretical development the function of Sin was considered to be ultimately operated by the action of Myungmun. In the Theory of Jineum (眞陰論), Gyung-Ak full accounted the diverse nature of disease and patholog from Soowha-shortage of Myungmun, and presented the laws and methods of medical treatment to those. Finally, in his theory related to Myungmun, some logical contradiction and confusion in conceptions was discovered and the anatomy of Present age proved that the location of Jagung and DanJeon, which he recognized as the substance of Myungmun is not coincided. Summerizingly, the Gyung-Ak's theory of Myungmun closely related the theory of Myungmun to the theory of Eumyang-Jungki (陰陽精氣論), by whole discourse of the characteristics of physiology possessing Soowha of Myungmun on the foundation of Eumyang-hogeun (陰陽互根) and Jungki-hosaeng (精氣互生). Gyung-Ak regarded the function of Myungmun as more important than any other Jang, discoursed more systematically and more specifically about the Myungmun than any others, and presented the theory of Sin-Myung (賢命理論) and prescription which is important to Care of Health and Medical Treatment (養生治病), thus influenced very greatly on the development of Oriental Medicine.

• 한국콘텐츠학회논문지
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• 제18권1호
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• pp.289-304
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• 2018

보수와 진보, 이념적 갈등이 빚어내는 정치 정서의 팬덤현상은 문화매체인 영화를 해석하고 수용하는 데에 있어 우리사회의 갈등을 증폭시키는 요인이 되고 있다. 이 글은 우리나라 정치의식구조가 왜 팬덤화되고 있나, 무엇이 영화 수용을 정치 이념의 논란의 중심에 서게 하였는가, 그렇다면 바람직한 영화 수용의 태도는 무엇인가를 점검해 보고자 수행되었다. 당시 영화를 두고 보수와 진보의 논란이 되었던 <변호인>,(2013)과 <국제시장>,(2014) 관련 논문과 기사 그리고 인터넷상의 논쟁들을 면밀히 살펴보는 담론분석을 실시하였다. 연구 결과, 첫째, 보수 진보 양진영은 두 영화를 해석하고 수용함에 있어서 다른 시선으로 같은 세계를 보고 있으며, 두 영화의 공식기억을 정치정서의 양극화와 기억투쟁의 이데올로기, 진영화를 구축하는 기재로 이용하고 있다는 것을 알 수 있었다. 둘째, 근현대사에 대한 합의된 기억의 구성이 되지 못함으로써 양세력 간에 서로의 공과를 인정치 않으며 자기 진영의 의미와 가치성만을 외치는 이기성이 갈등을 증폭시키고 있었다. 셋째, 영화 해석과 의미생산은 결국 관객들의 몫이며 거기에는 다양성이 중요한 가치성을 지닌다. 영화 수용은 관객 개인들이 현재의 현실에서 어떻게 해석하고 이상을 이성적으로 성찰하는 계기로 삼는 것이 바람직한 태도일 것이다.

• 한국수학교육학회지시리즈A:수학교육
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• 제59권1호
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• pp.63-80
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• 2020

본 연구는 2000년부터 2019년까지 7종의 KCI 등재지에 게재된 3,114편의 수학교육 논문와 5종의 SSCI 등재지에 게재된 1,636편의 수학교육 논문의 연구 동향을 텍스트 마이닝 기술의 하나인 토픽모델링을 사용하여 비교·분석하였다. 연구 결과, 국내외 수학교육 연구는 16개의 유사한 주제와 7개의 상이한 주제로 분류할 수 있었다. 연구 결과, 예비교사와 관련된 주제는 국내와 해외 수학교육 연구에서 모두 높은 비중을 차지하고 있는 연구주제였다. 현직교사 재교육에 관한 연구주제는 국내 연구에서는 하나의 독립된 주제로 나타나지 않았지만, 해외 연구에서 많은 관심을 받는 주제로 나타났다. 해외 수학교육 연구에 비해 국내에서는 수학적 역량에 관한 연구의 관심이 높았지만, 이는 문제해결역량과 창의·융합역량에 치중되는 경향이 있었다. 반면, 해외 수학교육에서는 정체성과 공정성에 관한 연구가 강조되었다.

• 미술이론과 현장
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• 제3호
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• pp.85-106
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• 2005

As biennale exhibitions has been expanded into all of the world since 1990s, these trends of blockbuster exhibitions have caused several problems. For instance, some major curators monopolized most global size exhibitions despite of a variety of cultural and historical backgrounds. Besides, due to a strong connection between these curators and their own artists, the young emerging artists' opportunities tend to be reduced as a result of the power game. In addition, major curators' power have influence on the exhibition style as well as on the theme itself. Some artists who did not involved that kind of huge scale exhibitions dispute that the direction of the exhibition is concentrating on the curator's interest instead of artists or viewers. Although these dissatisfactions could not portray correctly the process of organizing and managing system of a biennale exhibition, those biennale exhibitions held in recent have shown tautologic discourses without any passion and positive attitude direct to the exploitation of our society as a vanguard. In the process of comparing several kinds of biennale exhibitions, I could find that some artists who participated several biennale exhibitions at the same time did not present their creative vision, although the triumph of an exhibition was typically measured by the amount of visitors. Thus, the aim of this article is to prove that the biennale can show us new cultural discourse as well as progressive method of understanding our times. Is biennale producing the real 'global standard'? If biennale has done it, could this global standard present upto-date paradigm for the unique exhibition system? Is biennale providing an useful opportunity for the understanding and communicating of contemporary art through the recontextualization which is pronounced by the publicity of curator and organizing committee? How can we find the distinctive strategy from each biennale exhibition including Venice Biennale? Biennale, as a blockbuster exhibition, always requires a degree of hype, otherwise it would not be a special event and would not attract a big enough audience. It is the actual reason why major biennale exhibitions seem to be similar artistic events. Unfortunately, it seems that the excess of biennale exhibitions might bring about the lack of contents. In this case, the biennale syndrome would being a kind of the center of poverty, in spite of the visual splendor. After all, following the global standard may not be a matter of great importance now. What really matters is how each biennale exhibition which started under the different conditions can search their own identity.

• 비교문화연구
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• 제23권
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• pp.33-55
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• 2011

In the late Japanese colonial period, from the Sino-Japanese War until the Pacific War, critical discourses on the modern were prevalent in Japan and the Joseon. Despite the absence of a consensus about the specific definition of the modern, most thinkers agreed that the modern was something to be overcome. While some regarded naturalism and capitalism of the West as the essence of the modern, some others named scientism and humanism as the nature of the western modernity. Additionally, some criticized the temporal concept of historicism and brought new meanings of 'tradition' into relief, and some others advocated overcoming 'the West inherent in us'. This study is to consider the temporality of the theory of overcoming the modern focusing on the following three notions-world history, tradition, and emergency-, and examines the antinomy of them. The first notion to consider is 'world history'. The theorists of overcoming the modern, including the Kyoto school, discarded the progressive ideology that had led the Western modern history, and instead introduced 'world history' as a new notion. Although this resulted from the imperialistic embracement of the theories of Ranke, a major positivist historian from Germany, it contained antinomy of remaining in 'history' which was the modern temporal view. The second notion is 'tradition'. While the critical mind of 'world history' brought 'time of world' into question in the context of temporal realization, the notion of 'tradition' was to understand 'time of history' itself as the modern and overcome it. The critical mind of the notion involves the attempts to criticize regarding history as a 'progressive' process and to discover tradition as 'the present past' or 'the eternal present'. However, it also contained antinomy; the 'tradition' here was a notion that was created in the modern times, not passed down from ancient times. The third notion to consider is 'emergency', which was a method to define the present time as a transition period toward a new era, relating to states of war. However, the theorists of overcoming the modern did not regard 'emergency' as a particular time that strayed from normal states, instead they thought is as 'a regularized exceptional state', namely 'a state in which exceptions have become regulations'. However, the notion also contained antinomy since the word 'emergency' connotes abnormality.

• 비교문화연구
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• 제20권
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• pp.241-274
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• 2010

Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples' everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned-a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people's consciousness through the medium of popular culture.

• 비교문화연구
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• 제42권
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• pp.419-449
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• 2016

이 글에서는 러시아정교회의 이코노스타시스와 한국 감로탱화의 특수성과 서사구조를 비교 고찰하였다. 1장에서는 일반 종교회화와 다른 이콘과 탱화의 도상-지표적 특성을 바탕으로 두 종교예술의 공통점을 살펴보았다. 2장에서는 러시아 종교문화의 이원론적 구조에서의 일원론적 성격, 한국 불교의 밀교적 성격을 토대로 러시아 이콘과 한국 탱화의 현세 이익, 신비적 속성을 보았다. 3장에서는 1-5단의 이코노스타시스와 상,중,하 3단의 감로탱화의 서사구조의 유사성을 바탕으로 이코노스타시스와 감로탱화에 담긴 시공간성과 내세에 대한 세계관을 탐구하였다. 과거, 현재, 미래와 천상, 현세, 지옥이 공존하는 감로탱화의 하단의 특징과 러시아정교회 성당 안에서 이코노스타시스와 마주보고 있는 최후의 심판 벽화를 비교하였다.