• 한국보육지원학회지
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• 제11권3호
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• pp.103-127
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• 2015

본 연구는 전반적인 우리 사회 교육기관의 비생명적인 문제에 대한 비판에 터하여 부모와 교사의 가정-유아교육기관 간 파트너십 실태와 형성에 대한 인식과 바람을 살펴봄으로써 종국적으로 유아교육기관을 따뜻한 교육공동체로 만들어 나갈 수 있는 토대를 마련하는데 목적이 있다. 연구참여자는 현재 교육기관에 자녀를 보내고 있는 어머니 4명과 현직 교사 4명, 총 8명이다. 연구결과 첫째, 부모와 교사가 생각하는 파트너십 실태에 대한 인식은 4가지로 범주화 되었다: 1) '파트너십': 아이의 긍정적 성장과 발달에 필수불가결한 요소, 2) 모호함을 안은 채 수행하고 있는 서툰 파트너십, 3) 진정한 협력자 동반자로서의 자각 부족, 4) 부모-교사 간 협력을 방해하는 외적 문제가 그것이다. 둘째, 가정-유아교육기관 간 파트너십 형성을 위한 부모와 교사의 바람은 5가지로 범주화 되었다: 1) 더 나은 파트너십을 위한 공동체의식 형성, 2) 부모-교사 간 상호 이해를 돕는 공감 능력과 의사소통기술개발, 3) 다양한 부모 유형에 따른 파트너십 증진 방안 고려, 4) 지역사회의 대학과 온라인을 통한 부모교육과 교사교육의 활성화, 5) 가정-교육기관 간 새로운 관계문화 형성을 위한 국가 차원의 지원이 그것이다. 이를 토대한 다양한 방안 모색 및 현장 적용의 노력으로 구축되는 부모(가정)-교사(교육기관) 간 탄탄한 파트너십은 유아교육기관을 생명성이 보지(保持)되는 따뜻한 교육공동체로 구현해나가는데 도움을 줄 수 있을 것이다.

• 미술이론과 현장
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• 제14호
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• pp.87-124
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• 2012

This paper focuses on the social implication of new media art, which has evolved with the advance of technology. To understand the notion of human-computer interactivity in media art, it examines the meaning of "cybernetics" theory invented by Norbert Wiener just after WWII, who provided "control and communication" as central components of his theory of messages. It goes on to investigate the application of cybernetics theory onto art since the 1960s, to which Roy Ascott made a significant contribution by developing telematic art, utilizing the network of telecommunication. This paper underlines the significance of the relationship between human and machine, art and technology in transforming the work of art as a site of communication and experience. The interactivity in new media art transforms the viewer into the user of the work, who is now provided free will to make decisions on his or her action with the work. The artist is no longer a godlike figure who determines the meaning of the work, yet becomes another user of his or her own work, with which to interact. This paper believes that the interaction between man and machine, art and technology can lead to various ways of interaction between humans, thereby restoring a sense of community while liberating humans from conventional limitations on their creativity. This paper considers the development of new media art more than a mere invention of new aesthetic styles employing advanced technology. Rather, new media art provides a critical shift in subverting the modernist autonomy that advocates the medium specificity. New media art envisions a new art, which would embrace impurity into art, allowing the coexistence of autonomy and heteronomy, embracing a technological other, thereby expanding human relations. By enabling the birth of the user in experiencing the work, interactive new media art produces an open arena, in which the user can create the work while communicating with the work and other users. The user now has freedom to visit the work, to take a journey on his or her own, and to make decisions on what to choose and what to do with the work. This paper contends that there is a significant parallel between new media artists' interest in creating new experiences of the art and Jacques Ranci$\grave{e}$re's concept of the aesthetic regime of art. In his argument for eliminating hierarchy in art and for embracing impurity, Ranci$\grave{e}$re provides a vision for art, which is related to life and ultimately reshapes life. Ranci$\grave{e}$re's critique of both formalist modernism and Jean-Francois Lyotard's postmodern view underlines the social implication of new media art practices, which seek to form "the common of a community."

• Journal of Korean Neurosurgical Society
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• 제60권2호
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• pp.125-129
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• 2017

Lumbar degenerative kyphosis (LDK) is a subgroup of the flat-back syndrome and is most commonly caused by unique life styles, such as a prolonged crouched posture during agricultural work and performing activities of daily living on the floor. Unfortunately, LDK has been used as a byword for degenerative sagittal imbalance, and this sometimes causes confusion. The aim of this review was to evaluate the exact territory of LDK, and to introduce another appropriate term for degenerative sagittal deformity. Unlike what its name suggests, LDK does not only include sagittal balance disorder of the lumbar spine and kyphosis, but also sagittal balance disorder of the whole spine and little lordosis of the lumbar spine. Moreover, this disease is closely related to the occupation of female farmers and an outdated Asian life style. These reasons necessitate a change in the nomenclature of this disorder to prevent misunderstanding. We suggest the name "primary degenerative sagittal imbalance" (PDSI), which encompasses degenerative sagittal misalignments of unknown origin in the whole spine in older-age patients, and is associated with back muscle wasting. LDK may be regarded as a subgroup of PDSI related to an occupation in agriculture. Conservative treatments such as exercise and physiotherapy are recommended as first-line treatments for patients with PDSI, and surgical treatment is considered only if conservative treatments failed. The measurement of spinopelvic parameters for sagittal balance is important prior to deformity corrective surgery. LDK can be considered a subtype of PDSI that is more likely to occur in female farmers, and hence the use of LDK as a global term for all degenerative sagittal imbalance disorders is better avoided. To avoid confusion, we recommend PDSI as a newer, more accurate diagnostic term instead of LDK.

• 한국식생활문화학회지
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• 제9권1호
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• pp.11-21
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• 1994

This study was conducted to find out the successive habitual practice of dietary life and all the educational tasks for the purpose of activating with female college students in Korea and Japan. The reesults are as follows. Housewives in both countries prepare ${\ulcorner}the\;same\;menu{\lrcorner}$ for dinner about 65%. ${\ulcorner}The\;rate\;of\;domestic\;manufacturing\;of\;preservated\;food\;{\lrcorner}$ is superior in Korea. ${\ulcorner}Goch'ujang{\lrcorner}$ is made by the 92% of Koreans, ${\ulcorner}Doenjang{\lrcorner}\;89%,\;{\ulcorner}Ganjang{\lrcorner}\;48%,\;{\ulcorner}Oiji{\lrcorner}\;44%\;and\;{\ulcorner}Kimchi{\lrcorner}\;40%.\;{\ulcorner}Umeboshi{\lrcorner}$ is made by the 65% of Japanese, ${\ulcorner}Rakkyo-Zuke{\lrcorner}\;37%,\;{\ulcorner}Kajitsu-syu{\lrcorner}\;40%,\;and\;{\ulcorner}Miso{\lrcorner}$ 27%. Two countries' common seasonings are ${\ulcorner}Ganjang{\lrcorner},\;{\ulcorner}Salt{\lrcorner},\;{\ulcorner}Chemical\;condiment{\lrcorner},\;{\ulcorner}Sugar{\lrcorner},\;{\ulcorner}Pepper{\lrcorner},\;{\ulcorner}Doenjang${\lrcorner}\;and\;{\ulcorner}Vinegar{\lrcorner}$. Koreans use the traditional seasonings, and in addition flavoring vegetables and oil which is Korea's own characteristic. Japanese use western seasonings frequently besides traditional seasonings. ${\ulcorner}Mother's\;representative\;food{\lrcorner}$ as home dish are conscentrated on each count's native food. ${\ulcorner}Kimch'i\;lyu{\lrcorner}$ is made by the 42% of Koreans, ${\ulcorner}Doenjangchigae{\lrcorner}\;39%,\;{\ulcorner}Dakgangjong{\lrcorner}\;31%,\;and\;{\ulcorner}Saongsonmaeuntang{\lrcorner}\;19%.\;{\ulcorner}Misoshiru{\lrcorner}$ is made by the 83% of Japanese, ${\ulcorner}Nishime{\lrcorner}\;76%\;and\;{\ulcorner}Nikujaga{\lrcorner}$ 38%. Korea has more diverse kinds of food. People eat out ${\ulcorner}when\;they\;have\;special\;home \;events{\lrcorner},\;{\ulcorner}when\;they\;would\;like\;to\;do{\lrcorner},\;and\;{\ulcorner}when\;they\;are\;going\;out{\lrcorner}$, It means that to eat out is one of the daily dinning styles. Therefore, for those who are engaged in eating house business it is necessary to form their righteous view of evaluation. Koreans learn more various items of table manner than Japan, which are the symbols of dietary culture. ${\ulcorner}Carriage{\lrcorner}\;and\;{\ulcorner}Eating\;politely{\lrcorner}$ are common items. The extent to which ${\ulcorner}people\;practice\;table\;manner{\lrcorner}$ and to which ${\ulcorner}people\;think\;of\;it\;as\;being\;worth\;practicing{\lrcorner}$ are high in Japan than Korea.

• 한국가정과교육학회지
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• 제15권2호
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• pp.79-99
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• 2003

이 연구는, 가정과교육의 교과로서의 목표 규명을 위한 연구로, 가정과교육 분야의 학문적 이론 정립을 위한 기초연구의 필요성, 그리고 교육과정에서 가정과교육의 필수교과로서의 입지를 다지기 위한 기초적인 논리 개발의 필요성에 근거하여 출발하였다. 이를 위하여, 국가수준의 교육과정 문서와, 해당 교과의 연구경향을 반영한 교과교육의 학술 연구논문들을 고찰의 대상으로 하였고, 그 결과를 목표 도출의 자료로 활용하였다. 그 결과, 다음과 같은 세 가지의 목표를 지식기반산업사회에서 가정과교육이 추구해야 할 교과로서의 목표로 도출하였다. 첫째, 자립적 생활인을 양성하기 위한 생활교과로서의 목표이다. 둘째, 개인적 능력의 재발과 관련한 목표로서, 다양한 생활장면에서 발생하는 문제를 발견하고 해결하는 실천적(practical)문제해결 교과로서의 목표이다. 실천적 생활인은 가정생활과 일터에서의 생활, 경력재발을 위한 개인적 일에서 조화를 유지하고, 이러한 다양한 생활장면에서 발생하는 여러 가지 문제를 실천적으로 해결할 수 있는 능력을 발휘하는 문제해결자이다. 셋째, 현대 사회에 적절한 새로운 가족의 문화를 창달하는 창조적 생활인을 양성하는 데 있다. 이 연구의 이론적 결과에 대한 비판적 검증이 후속연구에서 지속되어야 하며, 특히 이론적인 목표에 대한 전문가들의 합의를 도출하기 위한 검증절차로서 양적 연구방법을 적용한 연구가 후속연구로 이어져야 할 것이다.

• 한국콘텐츠학회논문지
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• 제15권2호
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• pp.130-138
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• 2015

현재 한국 영화는 다양한 방면으로 표현되어 대중들의 앞에 선 보이고 있다. 수많은 화려한 영화의 장면, 음향, 배우들이 나와 관객들에게 즐거움을 더 해주는 영화들이 대중들에게 다가가며 주로 높은 흥행 순위를 거두고 있다. 그럼에도 불구하고 이 사이에서 화려함을 갖추지 않은 '홍상수 감독'의 영화들이 주목받고 있다. 홍상수 감독의 가장 큰 색깔 중 하나가 바로 '리얼리즘' 이다. 현실에서 일어날 법한 소소한 일상의 모습을 그려내며 많은 대중들의 시선들을 모았고, 이후 홍상수 감독의 색깔이 유행이 되어 이후 발표된 영화들에게서 소소한 일상의 모습을 자주 찾아볼 수 있었다. 그 전에 기존의 리얼리즘에 대한 분석과 관객들에게 어떠한 의미로 다가왔는지에 대해 분석하였다. 그 뿐만 아니라 홍상수 감독의 영화 속 공통점들을 나열하며 홍상수 감독의 리얼리즘에 대한 의미를 분석하였다. 그러나 리얼리즘으로서 단순히 우리의 일상을 유사하게 보여주는 것만으로는 홍상수 감독만의 리얼리즘에 따라갈 수 없다. 단지 우리의 일상과 얼마나 유사한가에 대해 의미를 지니는 것에 그쳐서는 안 된다. 그 때문에 홍상수 감독의 영화를 연구한 선행연구들을 많이 찾아볼 수 있다. 하지만 본 연구에서는 리얼리즘에 대한 의미를 분석해 보고 홍상수 감독의 영화를 통한 리얼리즘이 어떠한 미장센을 통해 표현되고 있는지, 그에 대해 지니는 내적의미 경향은 무엇인지에 대해 연구해보고자 한다.

• 건축역사연구
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• 제3권1호
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• pp.101-122
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• 1994

This paper is one of the sequels from 'A Survey of Villages and Dwellings of Korean Immigrants in the North-Eastern Part of China'. It is the result of the extensive survey of Ch'ang-ts'ai-tsun village and covers several architectural characteristics of the dwellings. This paper alma to identify the 'double file' dwelling type, which is believed as one of the main stream of Korean folk dwelling. In this type, 'Chung-ju-kan' forms the central open space, where main household functions are carried out. This type originates from climatic reasons and functional reasons as well. This paper also aims to clarify how the dwelling forms are changed according to the life styles of various periods. The Korean immigrants in this village have experienced rapid changes in modern times like other Chinese. Through various political movements, the original dwelling type of this village has changed to adapt various needs and functions, which shows the simple truth : dwelling form changes according to the changes of life style and social structure. In this paper the directions of chimney through various periods are analyzed to verify the differences of the house layout methods and concepts of the time. The village had grown through 3 main periods before liberation period(1946), communization period(1946 - 1966) and contemporary period (1967 - ). It is concluded as follows: 1. The village was originated in late 19th century along the east-west street, which was a major routes of Korean Immigrants to China. In this area there was no regularity in its site plan. The direction of chimney, which was usually westward, was not determined according to the location of gate. This type was kept until liberization of this area, 1946. The plans of dwellings followed Ham-kyong-do 'double file' dwelling type, '6-kan dwelling' or '8-kan dwelling'. 2. The 'New Village' area, which was formed in the communization period, has a strict regularity in its site plan. The direction of chimney was determined as opposite direction of the gate. This method was maintained until 1976, when Mao died and new 'open' policy was held by Chinese government. In this area the 'dwelling house' plan type was not changed, but its layout and size were restricted. The general form of the dwelling in this village was shaped in this period. 3. The contemporary dwellings were built in random site location. The dwelling type was changed because of the reduction of family size and the permissin of private ownership. The number of rooms was reduced but the storage rooms and domestic animal hutches were added. But the 'Chung-ju-kan', the major chacteristics of north-eastern Korea dwelling is still kept. It becomes one large 'Chtin-ju-kan' room like 'open plan' type.

• 한국실내디자인학회논문집
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• 제16권6호
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• pp.152-160
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• 2007

The purpose of this study is to compare conditions of Korean Restaurants in Hong Kong with those of Thai ones, which have already succeeded in globalization, by investigating and analyzing the characteristics of the two parties in Hong Kong, a world-wide international city. For these purposes, we selected 10 Korean restaurants & 10 Thai restaurants in Hong Kong, and visited the selected restaurants during the period from 2007.7.9 to 2007.7.14, to examine indoor spaces and food-related elements were recorded in detail, photographed and analyzed. The results of study is as follows ; we have first found that Korean restaurants did not show any humane properties linked to restaurant concepts and indoor space, did link Korean images through their trade names, and showed decorative culture based on traditional house and dietary-life cultural properties based on traditional Korean Bansang table setting at large. On the other hand, 4 (22.5%) out of the entire cases in Thai restaurants showed religious characteristics with strong Buddhist colors revealed, and all cases showed traditional Thai food cultures, from which we could find out dietary-life cultural properties. Second, whereas there were one case of Korean restaurants in which tradition was main and modernity was assistant, five cases in which tradition and modernity were paralleled in value, and two cases in which modernity was main and tradition was assistant, Thai restaurants had one case where tradition was main and modernity was associative, four cases in which tradition and modernity were paralleled in value, and four cases where modernity was main and tradition was assistant. This means that the Thai restaurants did not insist only on tradition, but showed efforts to transmit luxurious and refined Thai images to people from the world. Third, whereas Korean restaurants had to do with all kinds of menu, were equipped with brazierson their tables uniformly, and showed any differences because they did not use different tableware in accordance with foods, Thai restaurants divided the dinner into the hors d'oeuvre, the main, and the dessert or systemized menu structure by categories in accordance with cooking styles, and tableware selection in accordance with menus, table setting, food materials, and food styling using flowers were consistently expressed.

• 한국축산식품학회지
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• 제33권1호
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• pp.39-44
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• 2013

Origin authenticity of the animals used as food has always been a major concern to consumers around the world. In the past twenty years, a stable isotope ratio has been used for origin authentication. In this study, pork samples, both local and imported, were collected from the major markets from all around South Korea and analyzed for stable isotope ratios of nitrogen (${\delta}^{15}N$‰) and carbon (${\delta}^{13}C$‰), using Isotope Ratio Mass Spectrometry (IR-MS). A total of 599 samples with 335 Korean and 264 imported from 13 countries within America and Europe were investigated in accordance to the standard established methods for isotope ratio analysis. The results showed a significant variation related to the origin of the samples, explaining the difference in the feeding styles of the pork in each country. The stable isotope ratio values of carbon (${\delta}^{13}C$‰) were found in the decreasing order of: America ($-15.55{\pm}1.01$‰)>Korea ($-19.62{\pm}0.89$‰)>Europe ($-24.79{\pm}1.35$‰). Canada was having ${\delta}^{13}C$ ratio of $-22.87{\pm}0.92$‰, which is very low in the region of America and very close to Europe (-23.78 to -27.17‰). For nitrogen ${\delta}^{15}N$‰ the order was: America ($4.92{\pm}0.71$‰)>Europe ($4.54{\pm}0.66$‰)>Korea ($3.69{\pm}0.54$‰), with a slight variation among countries in each region studied. From the results it was concluded that the stable isotope ratio of the pork samples from different countries provide enough information about the origin and is therefore a potential tool which can be employed for origin authentication.

• 한국언론정보학보
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• 제17권
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• pp.145-178
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• 2001

사진과 사진행위에 대한 부르디외의 사회학적인 분석은 $\ll$중간예술$\gg$과 $\ll$구별짓기$\gg$를 통해 발표되었다. 여러 문화적 산물들 중 사진은 사회과학에서 소홀히 다루어져 왔기 때문에 사진에 대한 부르디외의 연구는 주목할 만한 가치가 있다. 특히 $\ll$중간예술$\gg$은 거의 모든 사진 장르들을 다루면서 사회적 계급들이 사진에 대해 적용하는 규범 체계들, 사진행위의 유형들, 여러 분야의 전문 사진사들이 자신들의 직업에 대해 가지고 있는 생각들과 그들이 참조하는 미학들을 분석하고 있고 최종적으로는 그러한 분석을 바탕으로 사진에 대한 정신분석학적 분석도 시도함으로써 사진과 사진행위에 대해 체계적이고 명료하게 인식할 수 있는 기회를 제공했다는 점에서 대단히 의미가 있는 작업이라 할 수 있다. 그러나 주요 분석 대상인 사진이 급속한 기술적 변화를 겪고 있는 매체이며 경제적이고 문화적인 요인들의 변화에 따른 위상의 변화를 보이고 있는 매체라는 점에서 부르디외의 분석은 오늘날 몇 가지 수정되어야 할 부분들을 가지게 되었다. 우선 부르디외가 강조한 사진의 사회적 기능이 무척 약화되었다. 반면에 사진의 예술적 지위는 대단히 상승했다. 이에 따라, 사진과 사진행위를 둘러싼 사회적 계급간의 관계들도 변했을 것이라 가정할 수 있다. 물론 이러한 계급간의 관계의 변화는 이후의 연구들을 통해 입증되어야 할 것이지만 적어도 오늘날, 부르디외가 연구를 진행했던 시기처럼 단호하게 사진을 중간예술이라고 규정하는 것은 무리가 있어 보인다. 따라서 부르디외의 작업을 현재의 상황에 무비판적으로 적용하기 전에 그 작업을 1960년대의 프랑스라는 사회적이고 역사적인 특수성 안에 위치시키고 사회학, 심리학, 미학, 기호학이 충돌하는 지식의 장 속에서 부르디외의 역할을 살펴봄으로써 그의 연구가 갖는 특성과 한계에 대해 명확히 인식할 필요가 있다.