1 |
James D. Williams, An Introduction to Classical Rhetoric: Essential Readings, Wiley-Blackwell, 2009, pp. 51-53.
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2 |
Cary Wolfe, What is Posthumanism? Minnesota Univ. Press, 2013, p. xv.
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3 |
Frank Zollner, Leonardo da Vinci: The Complete Paintings and Drawings, Taschen, 2007, pp. 104-106.
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4 |
"Compagnon," Tresor de la langue francaise informatise, http://stella.atilf.fr/Dendien/scripts/tlfiv5/advanced.exe?8;s=969317985;
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5 |
"Ouvrier," Tresor de la langue francaise informatise, http://stella.atilf.fr/Dendien/scripts/tlfiv5/visusel.exe?12;s=367697505;r=1;nat=;sol=1;
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6 |
https://en.wikipedia.org/wiki/Vitruvian_Man#/media/File:Da_Vinci_Vitruve_Luc_Viatour.jpg
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7 |
https://commons.wikimedia.org/wiki/File:Raphael_-_Pope_Leo_X_with_two_cardinals.jpg
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8 |
https://www.wikiart.org/en/fernando-botero/pope-leo-x-after-raphael
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9 |
https://www.pinterest.co.kr/pin/276549233342293097/
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10 |
http://www.animehouse.gr/t-shirt-simpsons-homer-vitruvian-man.html?sl=EN
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11 |
http://culturepopped.blogspot.kr/2010/12/vitruvian-pikachu.html
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12 |
https://www.pinterest.co.kr/pin/343329171564728171/?lp=true
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13 |
http://www.michelocelot.fr/#bio-longue
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14 |
http://www.michelocelot.fr/#gedeon
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15 |
http://www.michelocelot.fr/#les-3-inventeurs
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16 |
Veronique Martin, Michel Ocelot, Portrait, Nord Ouest, 2006.
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17 |
Nathalie Avella, "Introduction." Ed., Laura Heyenga, Paper Cutting: Contemporary Artists / Timeless Craft, Chronicle Books, 2011. p. 9
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18 |
로타어 뮐러, 박병화 역, 종이, 알마, 2016, p. 58
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19 |
니콜라스 A. 바스베인스, 정지현 역, 종이의 역사, 21세기북스, 2014, p. 377.
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20 |
문재철.김영옥, 미셀 오슬로의 <밤의 이야기>를 통해 본 디지털 실루엣 애니메이션의 미학적 특성 연구, 만화애니메이션 연구, 통권 제32호(2013), pp. 2-3.
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21 |
John R. Catan.Giovanni Reale, A History of Ancient Philosophy I: From the Origins to Socrates. SUNY Press, 1987, pp. 157-159.
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22 |
Adam Benjamin, Making an Entrance: Theory and Practice for Disabled and Non-Disabled Dancers, Routledge, 2002.
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23 |
Rosi Braidotti, The Posthuman, Polity, 2013, p. 2.
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24 |
Richard Cahn.Tyson E. Lewis, Education Out of Bounds: Reimagining Cultural Studies for a Posthuman Age, Palgrave, 2010. pp. 1-16.
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25 |
Christina Hughes.Carol A. Taylor, Posthuman Research Practices in Education, Palgrave MacMillan, 2016, pp. 1-34.
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26 |
Christine Mo Costabella, "Michel Ocelot: << Je n'aime pas les imbeciles ni les salauds >>," Echo Magazine, 2012. 02. 03., p. 26
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27 |
Walter Gropius, "Programme of the Staatliches Bauhaus in Weimar." Ed., Ulrich Conrads, Programs and Manifestoes on 20th-Century Architecture, MIT Press, 1964, p. 49.
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28 |
N. Katheryne Hayles, How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics, Chicago Univ. Press, 1999, pp. 2-3.
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29 |
Craig W. Kallendorf, Humanist Educational Treatises, Harvard Univ. Press, 2008, pp. vii-viii.
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30 |
Mohamed Kone, "Pere de Kirikou, Michel Ocelot devoile son prochain film au Maroc," Le Figaro, 2017. 03. 18.
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31 |
Karin Murris, The Posthuman Child: Transformation through Philosophy with Picturebooks, Routledge, 2016, pp. 1-18
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32 |
Kirsten Thompson, "Animation." Ed., Maurice Charney, Comedy: A Geographic and Historical Guide I, Praeger, 2005, pp. 139-145.
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33 |
M. Vitruvius Pollio, The Architecture of M. Vitruvius Pollio in Ten Books, Pristley and Weale, 1826, p. 79.
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34 |
John A. Weaver, Educating the Posthuman: Biosciences, Fiction, and Curriculum Studies, Sense Publishers, 2010, pp. 1-8.
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