• 비교문화연구
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• 제22권
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• pp.151-175
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• 2011

In this article, I have analyzed the signification of the death of Don Quijote from the oriental religious and philosophical point of view, comparing with the novels of Kim, DongRi. We are able to read Cervantes' hope for his absolute ideal to be lasting forever via the death of Don Quijote, in the base of a strong will named of Gukyeong's life. In the same time, we can also discovery death as lasting of life in the basis of buddhist idea and death as the unification with nature via the meeting between the living and the dead in the Montesinos Cave. Montesinos Cave symbolizes a unclassified and chaotic space, which the Shamanist can meet the dead with a extatic ceremony and both supernatural life and daily life coexist. Therefore, the symbolic death of Don Quijote in Montesinos Cave is abe to be explained by approaching to absolute freedom named of Hatal, in other words, voluntary and conscious death to escape from the yugo of being. Considering the fact that Kim, Dongri emphasized on the unification of sky, earth and human being, keeping a racial identification in the face of the stream of occidental materialism in the time of Japanese conquest, we can look for the similarity with Cervantes' ideal. Contrary to the religious dogmatic ideal, Cervantes treated to recover the human nature and vitality, transcending the occidental rationalism and religious ideology in the time of Counter-reformation.

• 복식
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• 제18권
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• pp.225-245
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• 1992

The button is a part of costume. But it has the symbolism of costume in itself and reflects the sociocultural phenomena. The purpose of this study is to clarify symbolism of button of eighteenth and nineteenth century which had been most popular. This study is based on the library research. Through this paper, I reached conclusions as follows. The symbolism of button is found in various ways. First, Aesthetics is found in material, color, design and type etc. of button. Especially Indian silver button of abstract type shows well distinctive aesthetics of Indians. Second, The material and the number of button vary with one's status and show off one's privilege. I England, there was the rule, in which the symbol of the King was a silver button with a figure of lion. The livery button represents his family to the nble and shows the meaning of obedience to the servant. Third, The button on uniform varies with ranks. This is prominent in a uniform of a soldier or a policeman. Fourth Material and craft of button show one's economic position. The button gives a Very good picture of what one's life was then. Precious button with gold, silver, and other jewels is an index to one's property. Fifth, The button of political event is used for election, which shows the face and the name of runner. Besides that, there were buttons designed for the flag or the slogan for political event. Sixth, The button of social event reflects a social phase of life in war or revolution, for example, it satirizes the burning of the Bastille in the French Revolution, or the taxpayer bearing the burden. Seventh, the buttons that symbolize a historic event are made to commemorante an epochal and critical occurrence or an important person's birth, death, visit to some place, etc., Eighth, there were well-known persons, for example, a president, a king, a queen, a singer, or an artist in the buton of personality. Nineth, The button of one's company shows one's community in figures or pictures, that is, this button is used as a symbol one's community. Tenth, The button varies with the development of science and technology. It gives a very good picture of what it was and what the technological level was. Eleventh, The buttons that symmbolize on occupation most impressively are uniform buttons. Symbolic marks related with a particular occupation are carved on the buttons of compary employees' uniforms. Twelfth, Various natural phenomena are designed to appear on buttons, Some express themselves simply as they are, and others appear as a symbolic form such as environmental relationship between men and nature, four seasons, a constellation and all other natural things occurring during a year. Finally, The button of rebus is a motto expressed by a combination with objects figures, letters, words, or phrases.

• 기독교교육논총
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• 제65권
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• pp.81-102
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• 2021

남성 중심적인 전통적 신학은 교회 내의 성차별과 불공정한 위계제도를 바로잡기보다는 오히려 정당화하는데 일조한 바 있다. 가부장적인 문화의 영향을 받은 기독교교육 역시 억압적인 체제를 유지하는 데 종종 남용되었다. 여성신학자 레베카 춉(Rebecca Chop)은 현대의 서구 문화가 자기애적(narcissistic)이고 자기준거적(self-referentiality)인 이기주의를 강화하면서, 강자의 편에 서서 사회에서 소외된 주변인들을 더욱 침묵하도록 종용해왔다고 주장한다. 춉에 따르면, 기독교의 역할과 본질, 그리고 선교의 핵심은 진리와 자유의 말씀을 통해 억눌리고 갇힌자들에게 해방의 복음을 선포하고 세상을 변혁하는 데 있다. 춉의 후기구조주의적 여성신학은 언어, 문화, 정치 내에 스며들어 있는 차별, 편견, 배타성을 비판적으로 성찰하여 사회-상징적(socio-symbolic) 질서(order)를 개혁하며, 이를 통해 궁극적으로 정의와 평등을 실현하는 사회변혁을 도모한다. 본 연구는 먼저 아시아-아메리칸(Asian-American) 부부와의 인터뷰를 개략적으로 소개하고, 그들과의 인터뷰 내용을 분석하여 사회에 편만한 차별적이고 억압적인 남성중심적 헤게모니를 살펴본다. 한 부부의 인터뷰를 통해 일반화된 사회이론을 제시할 수는 없지만, 이는 여성에 대한 편견과 배타성을 영속화시키는 잠재적 메세지와 헤게모니를 드러내는 좋은 예가 될 것이며, 이 사례를 통해 왜곡된 관계를 회복하고와 모든 인간의 존엄성을 존중하는 기독교교육의 역할을 성찰해 볼 수 있을 것이다. 필자는 해방적 변혁을 위한 기독교교육은 건설적인 개입을 통해 소외되고 억압된 자들의 의식화와 주관성을 회복하도록 돕고, 해방의 말씀선포를 통해 지금까지 배제되어왔던 주변인들이 사회 변혁을 위한 실천에 적극적으로 참여하도록 격려해야 한다고 주장한다.

• 비교문화연구
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• 제49권
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• pp.229-248
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• 2017

본 논고는 한국 시문학사에서 형이상학적 스캔들로 불리는 이상의 시편들에 구사 되는 프랑스어 연구이다. 이상의 시에서 프랑스어가 차지하는 비중은 식민지 시대에 일본어를 제외하면 가장 중요한 시어로 활용되고 있음을 알 수 있다. 우리의 연구는 기호적인 프랑스어, 기하학적이고 회화적인 프랑스어 활용에 대해 분석하고, 아울러 반복적이고 나열적인 단어와 문장의 구성에 응용되는 프랑스어에 대해 분석했다. 이상의 시편들에서 프랑스어의 활용은 비시어적인 기호의 혼용으로 볼 수 있으며, 전통적인 모국어와 시창작의 문법을 거부한 반문체적인 특성으로 나타남을 확인 할 수 있다. 그의 시에서 프랑스어는 아방가르드적인 시적 재료와 실험적인 창작기법의 중요한 요소 중에 하나로 나타난다. 시인에게 프랑스어는 언어의 범주를 벗어난 건축학적이고 회화적인 재료들과 함께 한글의 틀을 거부한 전혀 낯선 표현기법의 중요한 요소로 적용되고, 시인의 예술정신을 구현하기 위한 전위적인 언어로 응용되고 있다. 이상에게 프랑스어는 분열적이고 열패적인 자신의 내면적 갈등을 표현하기 위한 도구로 활용되고 있으며, 시인은 프랑스어가 갖는 기표와 기의적인 특성을 이용하여 근대한국문학에 유래를 찾아 볼 수 없는 실험적인 문체를 보여주었다. 이상의 시에서 프랑스어는 식민지하의 억눌린 자의식을 해방시킨 자유의 언어이며, 한국문학뿐만 아니라 세계문학 속에서도 유례를 찾아볼 수 없는 반문체적이고, 형이상학적인 시편들을 구성하는 중요한 요소로 볼 수 있다.

• 복식
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• 제55권7호
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• pp.1-21
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• 2005

The purpose of this research was to re-illuminated the artistic value of costumes that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde an. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the style of art that Larionov and Goncharova introduced in the 20th century. The research method defined the formation and the progress of the development of the Rayonism centering the works of art by Larionov and Goncharova. Based on this method, larionov and Goncharova designed the set and the costumes for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing an. The result were as follows. First of all, Larionov's costumes of art were all manufactured based on the theme of nature and genesis. In other words, Larionov represented the sun as a humanistic god through the white night, the natural weather condition of northern Russia. His costumes also displayed the symbolic meaning of the personification of animals like birds and cats, which emphasized the importance of both nature and tradition. However, he used Rayonism expression when he designed costumes by applying the nature themes. On the other hand, Goncharova applied the Spanish passion, the Russian folk art lubok, and goldern cockerel or religious icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume design. her design displayed the Rayonism influence through the separation between the lines and the surfaces, whic defined the costumes as a decorative art experiment. Therefore, the study of Larionov and Goncharova had one realize that Rayonism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Larionov and Goncharova reflected the miracle of the transformation of the 20th century in their costume designs.

• 디자인학연구
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• 제16권4호
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• pp.59-68
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• 2003

사람이 가지고 있는 문화성, 오락성에 마케팅 기법을 도입하여 산업적인 측면으로 발전시킨 캐릭터 산업은 단순한 상품의 판매가 아니라 무형의 상징적 요소를 소비자에게 요구하는 지식집약형 산업이다. 다시 말하면 캐릭터 산업은 사람의 마음속에 내재하고 있는 즐거움과 오락성을 만족시킬 수 있는 아이디어, 상품, 서비스를 구체화, 극대화시킨 소프트 비즈니스(soft business) 분야이다. 우리나라의 캐릭터 산업은 캐릭터 고유의 형태나 표현이 개발되는 단계에서부터 성격이나 의미, 상품성이 약한 것은 물론 매체(media)에 대한 전략이나 통합적인 캐릭터 마케팅 전략과 전술이 부재하여 캐릭터의 파급효과나 상품화 전략이 미국, 일본, 영국 등 캐릭터 선진국에 비해 상대적으로 열세를 면치 못하고 있다. 캐릭터가 주체가 된 캐릭터 마케팅에 대한 연구가 부족한 현실에서 세계적인 유명 기업이나 브랜드가 적극적으로 활용하고 있는 전략적 마케팅 수단인 MPR전략을 마케팅 커뮤니케이션 목표에 따라 분류하고 통합적인 캐릭터 마케팅 전략과 전술 개발 방안을 제안함으로써 우리나라의 캐릭터 산업을 선진국 수준으로 발전시키는데 기여하고자 한다.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.

• 디자인학연구
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• 제14권4호
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• pp.99-108
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• 2001

부적에는 고대의 다양한 기호나 그림, 원형문자가 사용되어 왔으며 현재도 쓰여지고 있다. 이는 체계화된 문자와 조합되어 다양한 표현으로 메시지를 전달하고 있으며, 현재도 전통적인 방법이 고수되는 반면 지속적인 변화를 통해 인간의 감정과 욕망을 표현하고 있다. 부적은 일반적 견해로 생각하는 실험 타이포그래피 만큼이나 논리적이며 실험적인 성격이 강하다. 또한 문자가 가지고 있는 의미로 다른 기호나, 상형문자, 그림 및 유사단어로 표현하고 있다. 각각의 요소들은 상징적 심볼 및 연상성, 글의 해체성 등 다양성을 갖추고 있었다. 이러한 타이포그래피의 실험적 성격을 더욱 실험적으로 표현가능성을 보여 주고 있는 부적에서 배워야할 해체와 구성작업을 회화적 타이포그래피 관점으로도 눈여겨볼 점이 많았음이 관찰되었다. 본 연구는 부적이 가지고 있는 조형적 특징을 실험 타이포그래피와 비교, 분류, 분석하여 부적이 가지고 있는 조형적 특징이 시각적 언어와 타이포그래피 표현으로 응용될 수 있는 가능성을 살펴보고자 한다. 또한, 한국적 조형 문화로서 부적이 형태적 물성이 가지는 시각 이미지에 대한 재인식과 그 가능성에 대한 모색은 타이포그래피의 서구적인 고정된 틀을 벗어나 우리의 문화와 정서에 맞는 타이포그래피의 표현 영역을 화장하는 것이 앞으로의 과제라 할 수 있다.

• 대한한의학원전학회지
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• 제3권
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• pp.1-150
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• 1989

Oriental medicine thinks life and death as the following. 1. The universe seems to be a kind of organism which is divided into 3 branches, as Heaven, Earth and Man. Man is not created from nihil by the Creator. Heaven and Earth by their interaction operate to produce man. This is similiar that zygote is not created from nihil, and that sperm and ovum are transformed into zygote by their interaction. The symbolic meaning of sperm is Heaven, and that of ovum is Earth. Mind and body, as well as spirit and body, are not the real, but artificial words for the purpose of observing and expressing one man. So there is not spiritual substance as distinct from body. The expected life span of man is subjected to change, and is always becoming through life. Fate, the Creator and the world to come cannot be said to be. 2. After one's death, man is transformend into Heaven and Earth. Dying is this process of transformation. Although man comes into existence and closes one's life, the total life of the universe does not change. The criteria of determination of death is not in cell death, but in somatic death. Somatic death divided into 2 branches, one is heart-lung death, the other is brain death. For the standard of health changes ceaselessly as time goes by, aging and dying is not the process of losing health. Because of mind cannot be seperated from body, we'll feel at ease bodily and mentally in healthy dying. The completion of lifetimes is the value of healthy dying. 3. From the viewpoint of these, we must think to let a person die healthily is the right medical ethics. The way to let a person die healthily is divided into 3 branches, one is treatment, another is prevention and the other is promotion of health. We should treat and prevent death of sickness, but take care of healthy dying.

• 한국멀티미디어학회논문지
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• 제16권10호
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• pp.1214-1229
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• 2013

Maintaining our tradition makes us have pride for our nation and plays important role for recognition and establishment of identity for our unique culture in the world. Contrast to the western scientific technique, the scientific technique of Silla Bell absorbed in the life of our nation is the fruit of wisdom science found through rich life and experience by harmony between our nation and nature. Today, ideological backgrounds for many cultural heritages weren't be found and there are many overflowing hypothesis. Silla Bell is the plastic art including cumulative utopia of the racial spirit. So there would be the information of the racial spirit including symbolization, artistry, creativity, and historicity. However, unlikely with the words, it is the profoundly concentrated shape, so the meaning can be diluted or distorted in later generation. The efforts to figure out the symbolization in Korean bells, especially Silla bell according to its exclusive shape, but no hypothesis was accepted as an established theory of academia by gaining extensive agreements. Thus this paper traces the symbolic meaning accumulated in the shape and prepares for the theoretical background accessing to the artistic spirit of forebears who created super-humanity formativeness. Also regarding the Silla bell which is regarded as the best Buddhist metal craft that people believe they can be free from the anguish at the time of listening to its sound, we studied the symbolization of the bell as the religious ritual custom as well as the possibility to utilize the bell as a motif of living art in the aspect of formative expression.