• 복식문화연구
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• 제8권3호
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• pp.387-410
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• 2000

The purpose of this study was to approach to the internal meanings included in the Happening and the culture of hippies, by analysing the basic mental conditions in the process of the Happening. And this study was composed of the concept and the development of Happening, the characteristics of the hippies that related in the midst of the happening's background, and the formativeness between these factors and hippies'fashion. Since the happening a genre of fine arts expression attended the New School for social research in New York in 1954, Allan Kaprow direct-influenced by John Cage used the word 'Hapening'first, practicing '18 Happenings in 6 parts'at the Rueben gallery in 1959. Kaprow's 18 Happenings was one of the earliest opportunities for a wider public to attend the live events that several artists had performed more privately for various friends. Despite the very different sensibilities and structures of artist's works, artists were all thrown together by the press under the general heading of 'Happening', following Kaprow's 18 Happenings. Being considered as the root of the Happening 'Expression of Sound'of John Cage was the discovery of the exisiting thing- the Happening. Most artists were to be deeply influenced by Cage's theories and attitudes-that is, his sympathy for Zen Buddihism and oriental philosophy-and by reports of the Black Mountain events. These events would directly reflect contemporary painting and stemmed from the Futurists, Dadaists and Surrealists. And Happening's development background was based on the culture of hippies. Swinging London had been under the sway of psychedelic drugs and utopian visions of 'hippie'wave sweeping in from Califonia. This wave, which affected solid middle-class youth first and formost, began in Haight Ashbury in San Francisco. Without dwelling on the hippie movement here, it is worth nothing that it resulted from the convergence of several undercurrents : consciousness-expending drugs, the anti-Vietnam war developments, the impact of English pop groups on American music and the rise of protest songs, and finally the beatnik tradition of non-conformism. Hippie culture and its pursuit of love, peace and psychedelia was the antitheses of 1960s main street fashion. The media gave everyone with long hair the label of 'hippie', but it was always a very loose collage of attitudes and styles. The rejection of sexual taboos was conveyed by the hippie's refusal to wear. Although the bold exposure of body raised controversies because it went against the existing moral values, it has a significant implications. Psychedelics brought mind-expansion and the possibillity that modern technology (light show, synthesized electronic sounds), new fabrics or colors, and LSD could be utilized to provide an escape route from the dreariness of modern life. During the 1960s, traditional costumes, many of which had never been seen outside their native regions, became sought after and adopted in the West, initially by the young, who wanted to demonstrate their solidarity with cultures uncontaminated by mass industry. The most ardent proponents of such folk costumes were the hippies. Hippies dress was sometimes decribed as 'anti-fashion', produced by a patchwork of ragged cast-offs and flamboyant accessories, of outmoded Western dress and time-honored ethnic garments all combined, modified and permutated into variety of personal statements. 'Flower Power'became a reality. From the results of this study, we can see the expanding trend of the influence and the concept of the sew art genre 'Happening'in the formativeness as well as the fine arts field.

• 한국지역지리학회지
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• 제10권2호
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• pp.428-446
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• 2004

본 논문은 1990년대 우리나라 대도시의 변화(특히 도시의 경제, 정치, 사회문화 부문)에 관하여 서울, 대전, 대구, 광주 시민들의 의식을 조사하여 비교 분석한 것이다. 서구 대도시의 발달을 배경으로 제시된 각 부문별 이론들, 즉 포스트포드주의론, 도시거버넌스론, 포스트모더니즘론, 그리고 지속가능한 발전론 등에 기초하여 설문항목들을 도출하여 설문지를 작성하였다. 이 설문조사를 통해 밝혀진 내용들 가운데 주요한 점들은 다음과 같다. 첫째, 전반적으로 대도시 시민들은 1990년대 도시 변화에서 경제 및 정치 분야보다는 공간구조 및 사회문화 분야의 변화를 더 강조하였다. 둘째, 도시경제분야에서, 시민들은 첨단기술산업의 중요성을 인정하지만, 기존의 지역불균등발전에 따른 발전 저해요인들(대표적으로 지역자본 및 기업본사의 부재 등)이 매우 큰 영향을 미치고 있다고 인지한다. 셋째, 시민들은 도시정치와 관련하여 여전히 중앙집권화된 정치 정당구조를 문제시했으며, 도시발전의 수준이 낮을수록 단체장의 기업가적 마인드의 중요성을 인정했다. 넷째, 시민들은 사회문화 분야에 큰 영향을 미친 요인들로서 정보통신 수단의 발달 자동차의 보급 증대, 신용카드의 사용증대 등의 3대 요인을 지적했으며, 또한 일반적 추정과는 달리 도시축제의 효과에 대해 크게 동의하지 않는 반면 자신들이 살고 있는 도시에 대해 상당한 자긍심을 가지는 것으로 조사되었다.

• 미술이론과 현장
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• 제2호
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• 미술이론과 현장
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• 제6호
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• pp.101-121
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• 2008

An artist, Oh Yun(1946~86)'s theory of people's art during his final period is summed up in his essay 'Expansion of Artistic Imagination and World' (1985). Emphasizing the mystic and traditional characteristics of Oh Yun's artistic oeuvre during his final period, some critics focus on Oh Yun's experience of medical treatment and shamanistic custom at Jin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of the Universe. However, they forget the practical intention and implication of his theory of art during his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun's essay criticized the loss of artistic imagination and the ignorance of traditional culture that resulted from the elevation of science to a religion, and insisted that the stereotyped idealism, scientism and elitism in art should be overcome in order to recover the full reality in realism and to continue traditional cultures. The essay is comprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d'art, and neo-dadaist art, saying that they were simply mechanical forms of modern art derived from scientism and a fetishistic lens culture. In addition, he criticized naturalism in art, which had continued as a tendency in the development of western art, for the same reason. He pointed out that even the world of realism had been diminished by elite stereotypes and diagrams. He declared the need to overcome the imitation of shells or stereotyped propaganda, and recover full realism, which seems to have started with a reflective examination of current problems in 'Reality and Utterance', in which he participated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic is same as the theory of epic theatre that Bertolt Brecht(1898~1956) has developed under the ancient Greek masque and Pieter Bruegel the Elder(1525~69)'s story-like picture style. The universality of realism and the extension of acquisition to include incantation art, rather than move toward incantation art, is what Oh Yun intended to propose in 'Artistic Imagination'. This attitude is same as Bertoh Brecht's aesthetic viewpoint in the 1930s. But regrettably, Oh Yun's style wording, which seems covert and far-sighted, is often misunderstood as 'mysticism'. In the flow of people's art in the 1980s, Oh Yun was a traditionalist in a narrow sense, and an realist in a broad sense. However, his critical mind, which comprehends tradition and reality, was attempting to expand universality and extend full realism, and this attempt found many sympathizers and had an influence on the next generation of people's artists, such as "Levee" which is field-centered, to which we should pay attention. This means that while their works thought about 'tradition', we should be careful not to connect them with 'aesthetic conservatism' or 'classical art'. This is the why the meaning of Oh Yun's theory of art during his final period should be closely examined again.

• 한국인구학
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• 제27권1호
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• pp.171-201
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• 2004

오늘날 전 세계 학문에 절대적인 영향을 미치고 있는 서구 학문의 기초는 그리스와 로마 문명임은 잘 알려진 사실이다. 그 결과 이집트와 페르시아를 포함하는 아랍세계의 훌륭한 업적과, 인도대륙의 심오한 사상, 그리고 중국을 포함하는 동아시아의 탁월한 업적이 등한시되거나 도외시되어 왔다. 인구에 관한 사상과 이론도 예외는 아니다. 본 연구는 우리가 간과(看過)한 과거 인구사상 중 동아시아 부분을 중국학자들을 중심으로 고대, 중세, 근세 등 시기로 나누어 유럽학자들과의 비교를 통해 재조명해 보았다. 중국을 위시한 동아시아에서는 고대로부터 과잉 및 과소 인구에 대한 우려가 자주 거론되었다. 춘추시대 인구에 대한 주요 관심은 인구와 자원과의 균형관계였으며 인구가 국부의 원천임은 대체로 인정하고 있었으나 과소인구에 대한 대책뿐만 아니라 과잉인구에 대한 단점도 심각하게 거론되고 있어 적정인구와 근대 맬서스주의의 기초는 이미 고대 춘추전국시대에 마련됐다고 볼 수 있다. 서양고대 그리스와 로마시기의 인구 사상의 발전은 플라톤과 아리스토텔레스의 적정인구론과 로마시기 팽창주의적 인구증가 장려책으로 대표된다. 천년이란 장기간의 중세 시기 유럽의 발전은 정체되어있었으며, 동아시아의 발전 역시 부진했으나 아랍세계의 발전은 주목할만한 것으로 알려져 있다. 근세에 들어와 유럽 특히 서구에서는 눈부신 학문적 발전을 이룩한데 비해 동아시아의 발전은 매우 저조한 것이었다. 그러나 맬서스가 그의 인구이론을 발표하기 수년전 중국의 홍량길은 불완전하나마 인구의 기하급수적 증가율의 문제를 논하고 인구증가에 대한 규제로서 맬서스의 적극적 규제 및 궁극적 규제에 해당하는 천지조제법과, 소극적 규제 및 즉각적 규제에 해당되는 군상조제법을 들고 있다. 특히 그가 상대적 과잉인구에 대해 논의를 전개하고 있음이 주목된다. 마지막으로 고대 탁월한 동아시아의 학자들과 근세 맬서스 직전 홍량길과 같은 학자도 있었으나 동아시아에서의 학문발전은 근세 이후 서양에 비해 비교될 수 없을 정도로 부진하게 된 이유를 학문내적 요인과 학문외적 요인으로 나누어 검토했다.

• 동의생리병리학회지
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• 제23권3호
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• pp.540-547
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• 2009

There needs disease-predictable signs in order to enable preventive diagnosis and therapy. Then traditional Chinese medicine applies various medical diagnostic equipments used in western medicine to diagnosing sub-healthy state. But such data are not originated from inherent oriental medicine, and not obtained easily in ordinary clinical practice. This paper is to provide synopsis of the ante-disease diagno-therapeutics partly and to show predictable data based on the facial shapes and signs, especially of gall bladder's versus bladder's body and masculine versus feminine shape. Ante-disease means not only the complete healthy state, but also the state unseen any symptoms in macrographically in the course of outbreak of disease. It contains two stages, first one is the former state of disease and second one is untransmitted state of disease. The patterns of ante-disease consist of latent disease, pre-disease, transmission type like senescent syndrome, abnormal reactive syndrome(變證), syndrome of transmission and transmutation. The classification with gall bladder and bladder type manifests the differences of shape, color and size of each organ in comparison of the universal and standard figures of the human being. On the other hand, the classification with masculine and feminine shape contrasts the innate sexual difference and the shape, characteristics originated from in itself. These two classification theories have their own pathologic types and syndrome types with each disease so that disease-predictable data can be constructed based on such a relationship. In addition, this diagnostic method by facial shapes and signs is able to be applied to whole stages from prenatal to present state of disease even if the cause and inducement are not clear. Ante-disease diagno-theraputic system by Gall Bladder's versus Bladder's Body and Masculine versus Feminine Shape is getting more important in the chronic and internal disease in comparison of the acute and traumatic disease. So this study is able to make up for the limit of diagnosis on ante-disease in the field of oriental medicine clinic.

• 한국문헌정보학회지
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• 제21권
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• pp.61-101
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• 1991

This study reviews the development and change of main entry principle in German cataloging codes, with special emphasis on RAK. With rerard to the functions of catalog, comparison between the traditional title main entry in the Orient and author main entry in the West has been made. The analysis confirms in this study that various criteria in choice of the entries in RAK have been adopted. In case of works where the persons who have played different roles in the works are named on the title page, as well as related works and works of mixed responsibility, the criteria of entry determination are complex and time consuming process and have no absolute value. And there are also various kinds of problems in corporate entries including confirmation of originator(Urheber), choice of either the territorial authority corncerned or corporate bodies as an entry depending on the nature of the publications, and a unique bibliographical situation of treaties. This means the code is absence of absolute value in selecting entries, and this results in adoption of main entry principle which has lost its significance for the purpose of cataloging. With emergence of the ISBD and actualization of automated cataloging, morever, all entries are equal as points of access. It would eliminate the need for personal judgements required in choice of main entry by the present code. In doing so, it would bring uniformity and standardization to cataloging practice. In direct approach to works, title entry is more developed finding device than author entry in cataloging theories. Thus introduction of unit card system beginning with title which is adopted in KCR3 would be desirable, the complicated rules for the choice of entry could be abandoned from cataloging codes. Most of the user studies show that catalog users have placed higher value on the title entry as a finding device and each entry is equal as access points through unit entry. This means that choice of a given entry as a main entry is unnecessary in cataloging codes. Title entry would be a rather simple standard and direct approach for works. This study proves that the traditional title entry of Korea is superior to author main entry in the Western world in cataloging theory. Thus recommendation to be made is that abandonment of author main entry from cataloging codes should be considered in the future.

• 비교문화연구
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• 제52권
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• pp.1-29
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• 2018

'선물'은 서양 문화의 이해에서 핵심적인 코드 중 하나이다. 이 글에서는 선물에 대한 연구에서 혁혁한 업적을 남긴 모스, 데리다, 리쾨르의 선물론을 비교, 분석함으로써, 선물 자체에 대한 이해와 이 개념과 밀접하게 관련이 있는 '용서' 개념의 이해를 위한 초석을 놓고자 한다. 모스에 따르면 선물은 없다. 선물은 주는 것, 받는 것, 갚는 것이라는 세 가지 의무의 지배를 받는 경제적 교환으로 이해된다. 다만 모스는 주는 것이 의무라는 점에 주목하면서 도덕 정립의 가능성을 제시한다. 데리다는 이론적으로 선물 이해의 폭을 최대한 확장시키고 있다. '시간'이라는 요소에 주목하면서 선물은 찰나적으로만 존재하고, 시간이 지나면 결국 경제적 교환이 되고 만다는 점, 곧 선물의 아포리아를 지적한다. 리쾨르는 선물 개념에 적용되는 등가성의 논리와 이를 바탕으로 이루어지는 '정의'를 벗어나 넘침의 논리에 입각한 '사랑'과 '초윤리' 정립의 가능성을 제시한다. 리쾨르는 또한 이런 선물 개념을 토대로 '용서' 개념을 제시함으로써 다수의 인간들이 살아가고 있는 이 세상에서 윤리가 힘을 얻고, 도덕과 인간성이 회복되는 사회를 지향하는 기획에의 동참을 촉구하고 있다.

• 한국의사학회지
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• 제25권1호
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• pp.53-60
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• 2012

In recent times, a medical book called "WooJam JabJeo" has been published in complete Korean version. Not a few cases where the vivid appearance of the place for medical treatment are included intact in this medical book. This study is attempting to analyze one symptom of a disease by choosing it among the diseases our ancient sages treated in the light of the fact that there are only a few models which are applied to today's clinical treatment by our ancient sages appearance of medical service. This study believes that such an analysis of ancient medicine could be a part of the efforts to increase the applicable models to today's clinical treatment one by one. This paper is aimed at introducing and analyzing the three cases of Ganwul which are found in "WooJam JabJeo". It's because this study thinks that Ganwul is a symptom over which oriental medicine can not only establish dominance over western medicine it its diagnosis and prescription but Ganwul will also have high applicability to today's clinical treatment. Through this research, this study was able to perceive that the author. Jang, Tae-kyeong of "WooJam JabJeo" had vast knowledge of medical theories, especially in author's understanding diseases and composing prescription based on "Donguibogam". Up to the present time, domestic medical circles have understood the emergence of "Jejungshinpyeon(濟衆新編)"(1799) or "Bangyakhappyeon(方藥合編)"(1885) as an outlining work at most for overcoming such a limit of "DonguiBogam" superficially. However, by looking into Jang Tae-kyeong's understanding of "Dongui Bogam". this study was able to know the fact that the emergence of such medical books was possible because the medical knowledge included in "Dongui Bogam" was fully understood and digested in society of the Josen Dynasty. Conclusively, such a fact reminds us that it serves as a momentum to confirm once more that "Dongui Bogam" could be a good model for even today's clinical treatment.

• 한국과학교육학회지
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• 제28권8호
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• pp.955-963
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• 2008

본 연구는 과학의 본성에 대한 관점을 개선하기 위해 개발된 활동들인 암상자 활동과 정육면체 활동을 가지고 수업을 한 후, 학생들의 관점의 변화를 알아본 것이다. 이 활동들이 과학 이론의 정의, 과학 지식의 변화가능성, 과학 가설, 이론, 법칙의 차이, 모델 형성, 그리고 실험 및 조사에서 상상력과 창의성의 필요에 대한 이해를 향상하는지를 조사하였다. 이 내용들은 10학년 과학 탐구 단원에서 강조하는 요소들이다. 4명의 학생들을 대상으로 변화를 살펴 본 결과, 2명은 수업 후 전문가적인 관점을 가진 반면, 다른 두 명은 여전히 초보적인 관점에 머물렀다. 이 연구는 암상자 활동과 정육면체 활동이 학생들의 과학의 본성을 이해하는데 도움을 줄 수 있는 잠재성을 갖고 있음을 보여주었다. 학생에 따른 차이는 수업 방법, 학생들의 기존 지식 및 동기 부여와 관련하여 설명할 수 있다. 이 활동을 통한 과학의 본성에 대한 인식의 개선은 이 활동들이 직접 과학 지식의 본성을 가르치는 데 초점을 맞추고 있기 때문이라고 보여진다. 과학 지식의 변화가능성과 실험 및 조사에서 창의력과 상상력의 필요는 거의 모든 학생들에 의해 전문가적 관점을 보이지 않은 것으로서 그 요소를 포함한 수업 자료의 개발이 필요할 것으로 보인다.