• 한국콘텐츠학회논문지
• /
• 제15권9호
• /
• pp.134-145
• /
• 2015

2014년 4월 16일 전남 진도 인근 관매도 해상에서 침몰한 세월호 참사가 발생한 지 1주기가 지났다. 총 304명의 희생자와 실종자를 낳은 세월호 참사는 2010년대 이후 대한민국에서 가장 큰 규모의 참사였다. 그러나 세월호 참사 1주기가 지나도록 유족의 트라우마에 대한 심리적, 커뮤니케이션학적 연구는 전혀 없었다. 본 연구는 국내에서 처음으로 자식을 잃은 부모로서 세월호 참사로 인한 극심한 외상 후 스트레스 장애를 겪고 있는 세월호 유가족의 실태를 조사했다. 연구결과 신체적으로, 심리적으로 세월호 유족의 경우 외상 후 스트레스 장애가 발생하고 있음을 확인할 수 있었고 치료에는 소홀한 것으로 나타났다. 외상 후 스트레스 장애는 일상생활에도 영향을 미쳤다. 세월호 유족은 대인관계, 직장관계, 거주지, 가치관 등 많은 부분에서 일상적인 생활에 문제가 많은 것을 확인할 수 있었다. 본 연구를 통해 참사로 인한 세월호 유족의 외상 후 스트레스 장애가 막대한 것으로 나타난 만큼 학계에서도 더욱 적극적으로 관련된 논의를 함께해 우리 사회에서 방치된 세월호 유가족의 고통을 치료하는데 나서야 할 것이다.

• 비교문화연구
• /
• 제37권
• /
• pp.31-49
• /
• 2014

Peking has peculiar features as capital city, and has gone through various transformations, with its name changed from Peking to Peiping to Peking. Even when it did not serve as a capital city, it still played an unrivaled role in cultural aspects. Laoshe, a great writer of 'Peking flavour' literature, is famous for works full of cultural charms of Peking. In his works, which show the manners, norms, art, culture and optimistic life style of Peking, Peking culture is described as an extension of cultural traditions of Qiren. In addition, his critical view of reality is also expressed in the works. Linhaiyin's literary works show ordinary hutongs she experienced in the 1920s in Chengnan, the southern part of Peking, and the quiet and simple life of warm-hearted people living there. Her vague memories of Peking, along with her nostalgia for the city, let her describe the city with recreated happy memories of it instead of the harsh critical view. Her works express the city in her recreated memory full of hope, with her dark memories of the city being glossed over. As seen above, Laoshe realistically described the tragic and difficult life of low class people in hutongs of Peking as well as lower middle class people of the city. Meanwhile, in ChengnanJiushi, Linhaiyin expresses the daily routine and ordinary life of people in Peking from the perspective of middle class people. In addition, she showed the sympathetic view of middle class citizens towards their low-class neighbors. In Peking Menghualu, Wangdewei mentioned that the 'castle of memory' which old Peking people in Taiwan tried to establish fills an important gap for the continuity of Peking cultural history and cultural imagination. This indicates that the 'Peking castle of memories,' which Linhaiyin, a Taiwanese writer well known for 'Peking flavour,' has established plays a big role in filling part of such gap. ChengnanJiushi, Wuyigong's film based on Linhaiyin's novel of the same title, also describes the daily sceneries and culture of the southern Peking in the 1920s, which both Taiwanese and Chinese people miss, through sophisticated images with 'profound yearning tinted with calm sadness', accomplishing an artistic achievement different from that of the novel.

• 동양고전연구
• /
• 제35호
• /
• pp.7-33
• /
• 2009

오수영(吳守盈, 1521~1606)은 자는 겸중(謙仲), 호는 춘당(春塘) 또는 도암(桃巖)이다. 이황(李滉)과 이해(李瀣)의 문인으로 알려져 있다. 글씨를 잘 써서 금보(琴輔) 이숙량(李叔樑) 등과 함께 선성삼필(宣城三筆)의 칭호를 얻었다. 저서로 "춘당문집" 2권이 있다. 그는 퇴계(退溪)의 문도(門徒)로 중요한 위치를 차지한 인물이다. 아직까지 그에 대한 연구는 전혀 이루어지지 않았다. 본고에서는 그의 생애와 교유 양상에 대해 살폈다. 이를 통해서 문학사에서 사라진 한 명의 인물을 복원할 수 있게 되기를 기대한다. 춘당(春塘) 오수영(吳守盈)의 가계와 도학적 생애에서는 그의 가계와 생애에 대해 간략히 정리했다. 그에 대한 연구는 아직까지 한 번도 이루어지 않았기에 이 부분에 대한 정리는 매우 의미가 있다 할 수 있다. 다음으로 퇴계 문도와의 교유를 살펴보았다. 그가 교유한 인물들은 거의 모두가 퇴계의 문도였으니 이러한 사실에서도 그의 지향하는 바가 드러난다 할 수 있다. 오수영과 예안 지역 퇴계 학파와의 교유를 통해서 퇴계 학맥의 실체적 모습을 확인할 수 있었다. 그의 시에는 우도(友道)에 관한 시가 많은데, 여기에는 진솔한 인간미가 표출(表出)된 것을 쉽게 찾아볼 수 있다. 대부분의 인물들이 퇴계문도였음도 확인할 수 있었다. 따스한 감성을 보이는 영물시(詠物詩)에서는 그의 번뜩이는 재치를 느낄 수 있다. 전란(戰亂)의 체험을 담은 시들을 통해 노년에 겪은 전란의 체험을 담담히 그려내고 있다. 거기에는 노년이라 직접 참전(參戰)할 수 없는 무력감이 짙게 깔려 있다. 본격적인 그의 시세계에 대한 탐색은 추후의 연구 과제로 남겨둔다.

• 한국실내디자인학회논문집
• /
• 제22권6호
• /
• pp.233-240
• /
• 2013

Today, museums are designed with specific purposes with themes to raise issues based on themes, history, culture or other special focuses. Among many of these thematic museums, Jewish museums are built around the world in order to let the future generations know the history and dark past memory of the Jewish people. Accordingly, the aim and significance of this study are to analyze the characteristics of design expressions of the museum architecture of Jewish museums done by various architects to help visitors empathize the dark period of the Jews during the holocaust. This particular study will be focused on analyzing 7 museums under the theme of holocaust and Jewish people's life affected because of the tragic event. Spatial organization, exhibition space composition, exhibition techniques such as the exhibition storytelling or scenario and natural light distribution will be analyzed to find expressional characters of Jewish museum's design and how the design form strengthen the museum's purpose. To achieve the aim of the study, targets for the theoretical discussion and case analysis regarding the design approach are discussed in chapter 2, characteristics of the cases are analyzed and synthesized in chapter 3, and finally the conclusion in chapter 4. The study found, that distinctive characters of spatial expression have direct impact on visitor's understanding of the museum purpose and it helps viewers to empathize and to be educated about the situation. Well designed architectural form, spatial organization, choice of materials and colors as well as story telling techniques of the museum will solidify the meaning of the exhibitions inside. Results found in the study will be the guidance for future study on thematic museum planning.

• 한국콘텐츠학회논문지
• /
• 제14권4호
• /
• pp.67-77
• /
• 2014

국내 TV자연 다큐멘터리의 에필로그 시스템은 기존의 TV 다큐멘터리에서 볼 수 없었던 제작진의 모습을 기록한다. 이는 관조적 시선으로 본편의 제작과정을 다루던 메이킹 필름(makingfilm)과는 달리 제작진의 오지 촬영 과정에 서사성을 부여한다. 이러한 에필로그 시스템은 다큐멘터리의 본편에 비해 서사성이 강조되어 있으며 특히 제작진 개인의 미시적 서사를 다루면서 등장인물을 일종의 캐릭터로 기능하게 만들었다. 이에 본 논문에서는 에필로그 시스템의 서사적 특성을 살펴보기 위해 노스럽 프라이의 원형비평이론을 중심으로 <남극의 눈물>의 서사구조와 등장인물의 특성을 분석했다. <남극의 눈물>은 희극적 로망스의 서사구조와 희극적 등장인물의 특성을 통해 '자연과 인간의 화해'라는 주제를 이끌어냈으며, 이는 비극성을 중심으로 전개되던 자연 다큐멘터리 본편의 내용을 아울러 희극성을 통해 비극성을 극복한다고 볼 수 있다.

• 영어어문교육
• /
• 제17권4호
• /
• pp.141-156
• /
• 2011

This study purposes to explore the narrative of fictional events complicated by a specific narrator, taking notice of his/her role as an internal focalizer as well as an external participant. In William Faulkner's "A Rose for Emily," the story of an eccentric spinster, Emily Grierson, is focalized and narrated by a townsperson, apparently an individual, but one who always speaks as 'we.' This tale-teller, as a first-hand witness of the events in the story, details the strange circumstances of Emily's life and her odd relationships with her father, her lover, the community, and even the horrible secret hidden to the climactic moment at the end. The narrative 'we' has surely watched Emily for many years with a considerable interest but also with a respectful distance. Being left unidentified on purpose, this narrative agent, in spite of his/her vagueness, definitely knows more than others do and acts undoubtedly as a pivotal role in this tale of grotesque love. Seamlessly juxtaposing the present and the past, the collective 'we' suggests an important subject that the distinction between the past and the present is blurred out for Emily, for whom the indiscernibleness of time flow proves to be her hamartia. The focalizer-narrator describes Miss Emily in the same manner as he/she describes the South whose old ways have passed on by time. Like the Old South, Emily is desperately trapped in the past, since she has not been able to adjust to the changes brought on by time. In the end, the tragic story of Emily Grierson which takes place in Jefferson plainly seems to serve as an introduction to mature Faulkner.

• 한국콘텐츠학회논문지
• /
• 제13권2호
• /
• pp.100-107
• /
• 2013

아네스 바르다는 자신만의 영화세계를 구축해 온 프랑스의 대표적인 여성 영화감독이다. 특히 주관성과 객관성을 혼합하는 실험적인 방식은 가장 돋보이는 특성이다. 이를 뒷받침하는 방식은 고전적 영화 방식과 상이한 영화적 형식에 대한 탐구에서 비롯한다. 이러한 접근은 현대영화의 형식을 치밀하게 분석하여 구조를 발견하는 노엘 버치의 방법론과 같다. 그래서 아네스 바르다의 대표작 중 하나이면서 1985년 베니스영화제에서 황금사자상을 수상한 바 있는 <방랑자>를 대상으로 주제와 형식의 유기적 결합을 통한 현대영화의 구조 산출이라는 형식미학적 분석하고자 한다. 인간 사이의 관계성과 접촉의 회복을 표류하는 삶의 비극적 죽음을 통해 전달하고자 한 영화의 주제는 영화의 형식적 실험을 통해 새로운 영화적 구조를 낳았다. 그 형식적 실험은 영화의 도입부의 보이스오버와 파편적이고 반복적인 구성으로서 인물과 상황 제시 방식, 서사적 양식과 비서사적 양식의 배합, 그리고 영화적 물리적 질료성을 폭로하는 방식으로서 카메라의 움직임과 편집, 그리고 플래쉬백과 사운드의 독특한 사용으로 이루어져있다.

• 한국정보시스템학회지:정보시스템연구
• /
• 제8권2호
• /
• pp.145-168
• /
• 1999

There are still occurring aviation accidents in spite of great preventing efforts all over the world. This paper contains some methods to prevent aircrafts deficiencies and accidents. First part of this paper refers to the background of those aviation deficiencies on mechanical, human and environment structures which influence directly to the air accidents and general survey on various theories of the aircraft's systems. On the way we discussed the general situations of the air tool's deficiencies which cause tragic accidents to the human lives and assets. After analysis on the situations we suggest the new systems which would forecast more detail accuracies concerned air elements for the safety flying. Then we introduce the following new systems resulting from the forecasting which can solve problems on aircraft deficiencies and complex interrelationships among air accidental factors. To simplify the complex systems, we needed to build the mechanical and organizational database for maintaining the procedures of the past troubleshooting on the major parts preventing deficiencies of those mechanical units. These suggested systems will contribute a great deal of aids, the maintenance credibility and air safety for the air operations and all customers in the world. Avoiding the past troubleshooting from just by using simple systems which can forecast main causes of the units and parts of the crafts, this system will be able to provide excellent management tools for the promoting aviational industries. The comfortable and convenient air operations are very valuable works, and the scientific method and detail maintenance will improve our daily air life by minimizing accidents. Adapting these developing systems, for the forecasting aircraft deficiencies and accidents can be integrated with the other aircraft management systems to promote more air safety in the world. This study is focused to eliminating aircraft accidents through forecasting deficiency symptom procedures by relational coordinations among all of the systems. Futhermore we need continuously detailed analysis and study for eliminating air accidents all together those who work in those fields.

• 비교문화연구
• /
• 제23권
• /
• pp.167-189
• /
• 2011

In modern Spanish culture, there is not other cineaste who has explored the controversial topic of sexuality deeper and more reiterative ways than Pedro $Almod{\acute{o}}var$. In our opinion, $Educaci{\acute{o}}n$> fundamentally, is a metaphoric work about the corruption of the Catholicism during Francisco Franco regime in Spain. This movie is a brilliant and solid critic to the abuses suffered by a child in a religious school during the Franco regime. This movie is about the forbidden desire in Catholicism and the tragic end of a priest. Father Manolo sexually abused one of his students at the school; as a result, this student loses his sexual identity and ends up ruining his own life due to using drugs. Eventually he is revenged by his younger brother. On this movie, $Educaci{\acute{o}}n$>, Pedro $Almod{\acute{o}}var$ portrays a sentiment of anticlericalism and blasphemy against God and Jesus Christ through a story which contains homosexual scenes and direct quotations of biblical cites, such as the expulsion of the merchants and sellers out of the temple in Jerusalem in the Mathew gospel to insinuate Jesus'lack of charity and love to others. We conclude that Almodovar's description of the fallout of this priest, caused by his forbidden desire, is not only beyond anti-Catholicism but it can also be seen as an actual reflection of the cultural and sexual change in the European and, in particular, Spanish society.

• 헤리티지:역사와 과학
• /
• 제33권
• /
• pp.182-208
• /
• 2000

Kwan-gyongdo is a pictorial presentation of a $s{\bar{u}}tra$ that teaches the Buddhist way for a person to be reincarnated in the paradise of $Amit{\bar{a}}bha$ Buddha. It consists of a preface (Kwan-gyong sobun pyonsangdo) and 16 scenes of $S{\bar{a}}kyamuni$ preaching. The preface, a painting illustrating the motivation behind the production of tile kwan-gyongdo, illustrates the "Legend of King $Aj{\bar{a}}tasatru$", a tragic story in which the prince of India's Magadha kingdom murders his father, the king, to usurp the throne. The 16 subsequent scenes show $S{\bar{a}}kyamuni$ teaching the distressed queen how a person can be reborn in paradise through meditation and praying. In the kwan-gyongdo in the Mogao Cave No. 17 in Dunhuang, China, painted during the Tang dynasty (618-907), the preface and the 16 scenes are presented in one painting, whereas they are presented in two paintings in those painted in Korea during the Koryo period (918-1392). The difference is attributed to the stylistic disparity of the two periods. Despite the temporal gap between the Koryo paintings and the Mogao Cave paintings, a comparison of the two can show the characteristic development of kwan-gyongdo. Kwan-gyongdo of the Koryo period do not have the "enmity created in the previous life" scene featuring a heavenly figure and a hare, a result that shows the influence of the Tang school that deleted the scene. The scene of $S{\bar{a}}kyamuni$ preaching on the Mountain of Spirit is included in kwan-gyongdo of both the Koryo period and the Mogao Cave, but the scene of $S{\bar{a}}kyamuni$ emerging from the earth to the Magadha palace is not included in Koryo kwan-gyongdo. Kwan-gyongdo of Koryo are generally a simpler but more faithful rendering of the $s{\bar{u}}tra$.