• Sim-seong Yeon-gu
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• v.34 no.1
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• pp.1-38
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• 2019

In 1964, Roman Catholic Church declared that 'Christ is the light of mankind' at the Second Vatican Council. Pope John Paul II also proclaimed the 'The Mysteries of the Light of Christ' in 2002. For past two centuries, the fact that Christ is the light was emphasized and people were urged to realize the mysteries by focusing on 'Christ of light' and 'Christ who shines like the sun'. This study examined the meaning of living up to 'the Mysteries of the Light of Christ' through analytic psychological perspective on the symbolism of 'the mysteries of light.'in the Rosary. In order to study symbolism of 'the Mysteries of Light' from analytic psychological perspective, this study dealt with the symbolic meaning of images appeared in 'the mysteries of light' of the Rosary. That is, the symbolism of images was revealed'the mysteries of light'has been testifying for Christ the light in the Bible. Those images represented the Baptism, Wedding at Gana, the Kingdom of God, Transfiguration of Christ, and the Last Supper. To live up to the 'The mystery of Christ the light' means to assimilate the unique Self with the image of 'Christ the light'. in other words, the study has meaningful findings that the personality which became conscious and individuation through experiencing the opposites existed as 'the light of the world' or 'the light of the ages'.

• The Science & Technology
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• v.32 no.10 s.365
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• pp.21-21
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• 1999

하늘나라를 이어주는 아름다운 다리라던 무지개의 신비도 알고보면 물방울에서 굴절 반사하는 태양빛의 파장에 따라서 붉은색부터 보라색으로 갈라지는 원리에서 비롯된 것이다. 또 우리는 가끔 쌍무지개를 보게 되는데 자세히 보면 좀더 희미한 둘째 무지개의 색깔은 첫째 무지개와는 반대로 되어 있다는 사실도 알게 된다.

• Journal of Korea Far Infrared Association
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• s.23
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• pp.68-68
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• 2004

• Proceedings of the International Union of Geodesy And Geophysics Korea Journal of Geophysical Research Conference
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• 2003.05a
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• pp.13-13
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• 2003

오로라는 태양풍과 지구자기장의 상호작용에 의해 지구의 상층대기에서 일어나는 대규모의 방전현상이다. 방전을 일으키는 전자들은 상층대기의 원자나 분자들과 충돌하여 이들을 들뜨게 하거나 이온화시킨다. 이렇게 들뜬 분자나 원자는 가시광선, 자외선 및 적외선영역의 빛을 방출한다. 오로라의 운동은 빛을 방출하는 상층대기의 운동에 의해서가 아니라 이를 야기하는 하강전자의 충격지점이 변하기 때문이다. 이것은 마치 극지방 상층대기가 TV의 브라운관과 같은 구실을 하고 오로라는 브라운관 안쪽의 형광막에 전자가 부딪쳐 빛을 내는 것과 유사한 현상이다. 따라서 오로라의 운동으로부터 지구주변의 전기장과 자기장의 변화를 알아낼 수 있다. 오로라는 화려한 빛을 발산할 뿐만 아니라 오로라타원체를 따라 강력한 전류가 발생되므로 상층대기 및 지상에 그 효과가 감지된다. 이로 인하여 지상 및 우주공간에 설치된 인류의 최첨단기기의 성능과 수명에 영향을 미쳐 사회.경제적으로 다양한 손실을 야기한다.

• 건강소식
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• v.31 no.11 s.348
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• pp.6-13
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• 2007

흔히 '피곤하니 쉬어야겠다.' 면서 TV를 시청하거나 신문.책을 보는 사람들이 많다. 이렇게 하면 몸은 쉬는 것이 될지 몰라도 눈은 계속해서 일하는 셈이 된다. 중요한 것은 쉴 때에는 주위 환경을 최대한 어둡게 해서 눈이 푹 쉴 수 있도록 해야 한다는 점이다. 눈에 빛이 들어오면 눈은 그 감각을 느끼고 그에 따른 일을 수행하기 때문에 결코 쉴 수가 없다. 용불용설이라는 말은 눈에는 해당되지 않는다. 성장이 끝난 눈은 안 쓰면 안 쓸수록 좋아진다. 이번 호에서는 건강한 눈을 위한 정보를 제공하고자 중앙대학교병원 안과 이정규 교수와 강남성모병원 안과 주천기 교수의 도움말로 알아본다.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.303-308
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• 2021

This paper deals with the meaning of seeing in John Ruskin's aesthetic theory. For Ruskin, seeing is the essential key to define moral insight. To consider the relationship between the education of sight and the delight from experience of seeing in nature within Ruskin's moral thought, I analyse Ruskin's various lectures and texts, including Modern Painters, The Story of Halcyon, Of the Science of Light, Proserpina, and Praeterita. The first section of the body investigates the relations among pleasure, thought, sight which compose Ruskin's moral ecology, and then the second section traces the theoretical logic formed the concept of seeing as moral perception of human being. The third section demonstrates correspondence between aesthetic experience of pleasure and the way of seeing as an education for the mystery of Nature and God. After these theoretical processes, this paper finally insists that seeing is the factor of formation of an ecological sensibility corresponding with development of moral perception generated within the hierarchical structure of human-nature-god.

• Proceedings of the IEEK Conference
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• 2000.09a
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• pp.201-204
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• 2000

사물놀이 소리는 천지인의 삼재사상에 근본하는 우리 문화의 정신적 근간들이 생생히 살아 숨쉬는 음악이다. 꽹과리 소리는 하늘의 소리이고, 북소리는 땅의 소리를 나타내고, 여기에 보태어지는 사람의 목소리는 하늘과 땅을 수직으로 이어주는 인성이다. 그리고, 사물놀이 소리는 긴장과 이완, 음양의 원리를 독특하게 지니고 있다. 느린 장단에서 빠른 장단으로 이행되는 점층적 전개 위에서 긴장과 이완의 원리가 날줄과 씨줄로 교직 되어 이끌어 간다. 또한 소리의 음양 조화 측면에서 살펴보면 금속성악기와 가죽악기, 날카로운 소리와 부드러운 소리, 잘게 쪼개어지는 소리와 크게 뭉치는 소리 등이 나타난다. 따라서 세계인들이 "사물놀이는 신을 부르는 소리"라고 극찬하고 있다[1]-[3]. 사물놀이 소리를 들었을 때 그 가락에 쉽게 도취도는 것은, 4가지 악기가 서로 다른 소리의 높낱이 색깔특성에 의해 소리의 음양 조화를 이루고 있을 뿐만 아니라, 우리가 귀로 느낄 수 있는 소리의 범위를 완전히 커버하고 있다는 사실을 우리는 처음으로 밝혀내었다. 즉, 소리를 빛깔로 나타낸다면, 북은 빨강, 징은 노랑, 장구는 초록, 꽹과리는 보라 빛을 의미하며, 이들 색깔은 각자의 아름다움을 특징적으로 나타내고 있다. 그리고, 징과 장구 소리를 들었을 때 다시 한번더 듣고 싶은 친근감을 느끼게 되는데, 그 원인으로는 징소리와 장구의 기본 진동수가 사람의 남녀 목소리 기본진동수와 각각 근접하기 때문에 우리의 가슴과 일치를 이루게 된다는 사실도 이번에 밝혀 내었다. 즉, 징소리와 장구소리를 들으면 사람의 목소리로 응답하는 듯한 친근함과 정다움을 느끼게 된다. 또한 인간은 소리를 귀로만 느끼지 않고 피부를 통해 진동으로도 느끼게 되는데, 사물놀이에서 북, 징, 장구는 그러한 특성이 두드러지게 나타난다. 결론적으로 우리 민족의 지혜와 숨결이 스며있는 사물놀이 소리의 특성과 그 신비를 객관적으로 규명함으로서 사물놀이 소리의 우수성을 입증하과, 문화민족의 자부심으로 새천년을 개척해 나아가는 원동력을 얻고자한다.

• Cartoon and Animation Studies
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• s.50
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• pp.215-237
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• 2018

I analyze orange that is consistently used, even though not consciously, in the films whose function and meaning are clear. In detail, there are examples of color in films, psychological phenomena of colors expressed in posters and opening titles, color characteristics of clothes and costumes, and semiotic analysis of color names in film titles. (1) Fact and Truth; civilization and criticism. The film tries to tell the truth than the fact. It represents facts as it is, but it presupposes truth. This is a unique characteristic of media films. The truth of the fact is not important. The film tells the truth believing and wanting to show off. The film, which has inherent characteristics of the gap between fact and truth, represents nature and civilization. It carries nature as it is and criticizes the harm of civilization. Orange is nature and civilization. Realistic films such as Hong Sang Soo and Kim Ki Duk, fall into this category. For example, there are A Taxi Driver(2017) and I Can Speak(2017). (2) Virtual History; fake images and memories. In Hollywood SF genres like The Matrix(1999), orange was dealt with virtual reality. However, in Korean films they are replaced by historical dramas. The representation of history becomes a virtual reality. Films such as The Fortress(2017), Masquerade(2012), and Roaring Currents(2014) deal with virtual history. In these films, orange is a fake image and memory. (3) Light=color; Aura. The color and light of orange is aura. At sunrise and sunset, the orange of the incandescent light is almost similar to that of the artificial light. Orange of tungsten makes the real characters surrealistic and mysterious. For example, there are The City of Madness(2016), The Man from Nowhere(2010), and Coinlocker Girl(2014). (4) Fantasy; communication with other worlds. Orange is a sweet fantasy. In our daily life, we go to a supermarket, share a chat with friends in a coffee shop, and spend time in front of a television. Orange makes our life free and dreams. It is the communication between the former being and the other world. This can be found in the sexual fantasy scenes of all genres. For example, there are Sunny(2011), Welcome To Dongmakgol(2005), and 200 Pounds Beauty(2006).

• (The) Research of the performance art and culture
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• no.41
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• pp.219-255
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• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.