• 한국실내디자인학회논문집
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• 제22권4호
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• pp.23-32
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• 2013

This study represents something in common and differences of organic characteristics between early modern architecture and contemporary architecture analysing F. L. Wright's Robie House and Toyo Ito's Sendai Mediatheque. A natural organic body cannot be separated from the natural environment, and each part of an architecture has each own property and forms a whole at the same time. That is a basic concept of organic architecture, and a framework for analysis is set up based on it. The followings are similarities and differences of organic concept and interpretation between Wright's Robie House and Ito's Sendai Mediatheque First, Wright' Robie house unites with the natural surrounding, using a physically close connection to the ground. In contract, Ito's Mediatheque shows characteristics of noncentural and fluidic space that are metaphorically reflecting tangible and intangible of factors in modern city, where there is an ambiguous physical boundary between architecture and urban environment. Next, floors, walls and ceilings of Wright's housing as for basic building blocks are physically separated and at the same time form formative unity from the point of view of a physical and structural organic body. And continuous flow of faces of separated walls form an organism united with the nature from a physical aspect. On the contrary to this, there is an no-boudary and floating organic architecture of integrated structure from ambiguous setting of relation between architecture and urban space in Ito's architecture. Especially, Mediatheque shows semantic integration of floating urban environmental factors through horizontal and vertical integration of horizontal slabs, vertical pipes, and skins. Last, horizontal and vertical factors of Wright' Housing is appreciated as an basic experienced structure in terms of spacial perception and fluidic inner spaces in Wright's housing is completed with a series of spatial experiences in a visual sense. On the other hand, no-boundary and floating space of Ito's architecture accept user's physical and virtual body. Especially, there is an integration transcending beyond time and space, accepting an imaginary body and events with the course of time at Ito's Mediatheque.

• 보건교육건강증진학회지
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• 제22권4호
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• pp.73-90
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• 2005

Objectives: Smokers who had failed to quit smoking were frequently reported that life stress mostly interrupted their abstention. Stress vulnerability model for smoking cessation has been considered, and most of contemporary smoking cessation programs help smokers develop coping strategies for stressful situations. This study aims to investigate the appropriate coping styles for stress of abstention from smoking. The result of investigating the relationship between abstention following smoking cessation program and coping styles would suggest useful information for those who want to stop smoking and health practitioners who help them. Methods: Participants were 69 smokers (62 males, 7 females) participated in a hospitalized smoking cessation program, whose mean age was 44.89 (SD=9.61). Participants took medical test and completed questionnaires and psychological tests including: Fagerstrom Test for Nicotine Dependence and Multidimensional Coping Scale. To identify participants' abstention, researchers followed them for 2 years. To identify whether abstained or not and encourage them to abstain, researchers called them on the telephone once a week for 3 months. After 3 months, they were contacted every other week till 6 months passed since they left smoking cessation program. And they were contacted once a month for other 18months. Researchers also contacted their family to identify their abstention. Data Mining Decision Tree was performed with 37 variables (13 variables for the coping styles and 24 smoking-related variables) by Answer Tree 3.0v Results: Forty four (63.8%) out of sixty nine for 2 weeks, 34 (49.3%) for 6 months, 25 (36.2%) abstained for 1 year, and 22 (31.9%) abstained for 2 years. Participants of this study abstained average of 286.77 days from smoking. Included variables of a Decision Tree model for this study were positive interpretation, emotional expression, self-criticism, restraint and emotional social support seeking. Decision Tree model showed that those (n=9) who did not interpret positively (<=7.5) and criticized themselves (>6.5) abstained 23 days only, while those (n=9) who interpreted positively (>7.5), expressed their emotion freely (>6.5), and sought social support actively (>11.5) abstained 730 days, till last day of the investigation. Conclusion: The results of this study showed that certain coping styles such as positive interpretation, emotional expression, self-criticism, restraint and emotional social support seeking were important factors for long-term abstention from smoking. These findings reiterate the role of stress for abstention from smoking and suggest a model of coping styles for successful abstention from smoking. Despite of limitation of this study, it might help smokers who want to stop smoking and health practitioners who help them.

• 한국철학논집
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• 제50호
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• pp.113-138
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• 2016

본 연구는 퇴계 이황(退溪 李滉, 1501~1570)의 만년 학설인 이도설(理到說)에 대한 우담 정시한(愚潭 丁時翰, 1625~1707)의 견해를 살펴봄으로써 퇴계 이도설에 대한 후대 학자들의 수용과 계승 및 발전의 양상을 이해하는 토대를 마련하는 데 그 목적이 있다. 퇴계 이후 이도설은 '물리도심(物理到心)'으로 이해되었고, 갈암 이현일(葛庵 李玄逸, 1627~1704)은 이를 무위의 본체인 '리(理)'에 '저기서부터 여기로 이른다'는 방향성과 운동성을 부여하였다고 비판하였다. 반면 우담은 '물리도심'을 긍정하였고, 이를 '리'의 온전한 체(體)를 부여받아 만물의 용(用)을 아울러 갖춘 '심(心)'이 만물을 통섭하는 것으로 이해하였다. 그는 기존에 구축한 '리의 용(用)'에 대한 정치한 해석에 기반하여 '이도(理到)'를 '물아위일(物我爲一)'로 확장하였다. 이때의 '물아위일'은 단순한 융회관통의 차원이 아닌 '물리'가 질서정연해져 '심' 속에 누가 되지 않는 경지가 된다. 우담의 견해는 '이도(理到)'의 서술어에 해당하는 '도(到)' 자체에 대한 문제점을 극복하고자 이를 '진(盡)'으로 대체하여 이도설이 가지고 있는 구조적 한계를 극복하려 한 갈암과는 그 양상이 사뭇 다르다. 우담은 보다 본체론적인 측면에서 해석을 시도한 것이다. 우담의 견해는 퇴계가 구축한 '리' 중심의 성리학 체계를 이해하는 데 있어 하나의 유용한 틀이 될 수 있다. 이는 우담의 리체용론이 퇴계학파의 사상 형성과 그 양상을 확인하는 데 중요한 이론으로 작용할 수 있다는 점을 시사한다.

• 동양고전연구
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• 제54호
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• pp.387-416
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• 2014

이 글은 우리 시대 선도(仙道)의 개조(開祖) 이자 유학자(儒學者)인 봉우(鳳宇) 권태훈(權泰勳) 선생이 개진(開陳)하고 있는 도가(道家)의 "용호비결(龍虎秘訣)"과 유가(儒家)의 "대학(大學)" "중용(中庸)" 양자(兩者)의 표리관계(表裏關係)에 대하여 살펴본 것이다. 선생은 공자문하(孔子門下)의 전수심법(傳受心法)이 담겨있는 유가의 경전을 "대학(大學)" "중용(中庸)"과 더불어 "주역계사전(周易繫辭傳)"으로 보았는데, 이 가운데 주자(朱子)가 주석(註釋)한 "대학장구(大學章句)" '삼강령(三綱領)'의 해석이 송대(宋代) 당시의 시대 논리에 원용되어 공문(孔門)심법 본래의 요지를 드러내지 않기 위한 주자의 의도적 해석이라고 보아, "대학" '삼강령(三綱領)'에 대한 새로운 주석을 가(加)하였고, 더불어 "중용(中庸)" '윤집궐중(允執厥中)'의 '중(中)' 자(字)의 함의를 '일중론(一中論)'으로 밝히는 등의 새로운 해석을 통하여 공문심법의 본지를 밝히고자 하였다. 또 이러한 새로운 해석의 기저(基底)에 더하여 공자(孔子)가 "주역계사전(周易繫辭傳)"에서 "역경(易經)"의 주요 요지를 뽑아내어서 지었다고 하는 '원상법(原象法)'을 유가의 형이상학(形而上學) 공부의 정수로 삼아 이를 도가(道家)의 용호비결(龍虎秘訣)과 함께 수련 공부의 최종 목표에 도달할 수 있는 방법론으로 제시하여 양자(兩者)의 밀접한 유기성에 주목 하였다. 이와 같은 "대학" '삼강령'의 새로운 해석을 통한 "대학(大學)"의 본지(本旨)규명과 "대학(大學)" "중용(中庸)" "계사전(繫辭傳)" 삼자일관(三者一貫)의 유기성에 대한 심고(審考), 그리고 도가와 유가 양가(兩家)의 원리를 합일시킨 '이교합일(異敎合一)'의 공부론 등은 조선조 청하자(靑霞子) 권극중(權克中)의 '선란호수론(禪丹互修論)' 이래의 일로서 선생이 우리의 사상계에 남겨놓은 새로운 화두라고 할 것이다.

• 디지털융복합연구
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• 제13권11호
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• pp.1-6
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• 2015

본 연구는 영화 '베테랑'에 대한 기호학적 분석이다. 영화 베터랑은 우리사회가 안고 있는 사회적문제점들을 기호인 영화로 재현하는 것이다. 본 연구의 목적은 기호이론으로 그 영화가 지시하고자하는 심층적 의미와 우리사회에 던지는 시사점을 분석하는 데 있다. 연구방법은 동시대 학자인 소쉬르의 기호론인 기표와 기의, 퍼스의 기호학인 도상, 지표, 상징, 그리고 바르트의 신화론과 이데올로기를 바탕으로 분석하였다. 영화 '베터랑'에서 감독이 생각하는 우리사회의 저 밖에 지시대상들을 기표인 배우들의 역할인 함축적 의미로 대체시켰다. 따라서 지금 우리사회가 바라는 그 이상 것인 신화로 승화 시켰다. 그래서 우리사회의 현실상 올바른 이념인 이데올로기의 과정으로 권선징악과 정의사회를 구현하는 것이다. 본 연구의 시사점은 이 영화 '베테랑의 기호'가 해석한 것처럼 재벌 같은 특정집단을 위한 사회보다 더불어 같이 사회를 만들어 가는 것이다.

• 건축역사연구
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• 제26권1호
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• pp.7-16
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• 2017

One of the essential characteristics of Lewis Mumford's architectural criticism is the coherent emphasis on symbolism. Such emphasis stems from his understanding of city and humanity in the context of civilization: first, that the architecture symbolizes institutions of urban civilization; second, that the technical aspect of human nature should be balanced with its artistic aspects. Mumford believed that each architectural type requires an appropriate symbolic expression corresponding to its purpose and that a new symbolic expression, in a new cultural context, should replace the conventional expression. He took symbolism for an intuitional expression, and read multi-layered meanings of architecture: 'practical function' by way of rational reason and 'symbolic function' by way of intuition. He pursued a balance between practicality and beauty to rectify the situation of modern civilization, in which symbolism, the expression of its intuitional aspect, is in crisis. Ultimately, for Mumford, the essential task of architectural critic is of the interpretation of symbolism, aiming at the correspondence and communication between the architect(artist)'s intuition and critic(interpreter)'s via the media of symbol. The critic can play some privileged role of interpreting even symbols unintended by the architect. The ideal architectural critic, after all, would be the one who is able to understand the city, technology and human beings in the perspective of civilization and to interpret the architect's artistic expression in its highest form through intuition. Mumford established himself as such a critic and evaluated the status of aesthetic accomplishment of his contemporary architecture and technological civilization, giving emphasis on the artistic practice in architecture as a solution.

• 한국실내디자인학회논문집
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• 제19권2호
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• pp.90-98
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• 2010

The concepts of laws like regularity or persistence or recurrence those are discovered in nature, became the essential elements in speculative philosophy, study and scientific technology. Western civilization was spread out by these natural laws. As this background, this study is aimed to research the theories of natural laws and the development of geometry as the descriptive tools and the development aspects of the concepts of space. According to Whitehead's four theories on the natural laws, the result of this study that aimed like that as follows. First, the theories on the immanence and imposition of the natural laws were the predominant ideas from ancient Greek to before the scientific revolution, the theory on the simple description like the positivism made the Newton-Cartesian mechanism and an absolutist world view. The theory on the conventional interpretation made the organicism and relativism world view according to non-Euclidean geometry. Second, the geometrical composition of ancient Greek architecture was an aesthetics that represented the immanence of natural laws. Third, in the basic symbol of medieval times, the numeral symbol was the frame of thought and was an important principal of architecture. Fourth, during the Renaissance, architecture was regarded as mathematics that made the order of universe to visible things and the geometry was regarded as an important architectural principal. Fifth, according to the non-Euclidean geometry, it was possible to present the natural phenomena and the universe. Sixth, topology made to lapse the division of traditional floor, wall and ceiling in contemporary architecture and made to build the continuous space. Seventy, the new nature was explained by fractal concepts not by Euclidean shapes, fractal presented that the essence of nature had not mechanical and linear characteristic but organic and non-linear characteristic.

• 천문학회지
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• 제35권4호
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• pp.197-208
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• 2002

Five contemporary pre-main sequence (PMS) evolution model grids are compared with the photo-metric data for a nearly complete sample of low-mass members in NGC 2264. From amongst the grids compared, the models of Baraffe et al. (1998) prove to be the most reliable in mass-age distribution. To overcome the limited mass range of the models of Baraffe et al. we derived a simple transformation relation between the mass of a PMS star from Swenson et al. (1994) and that from Baraffe et al., and applied it to the PMS stars in NGC 2264 and the Orion nebula cluster (ONC). The resulting initial mass function (IMF) of the ONC shows that the previous interpretation of the IMF is not a real feature, but an artifact caused by the evolution models adopted. The IMFs of both clusters are in a good agreement with the IMF of the field stars in the solar neighborhood. This result supports the idea proposed by Lada, Strom, & Myers (1993) that the field stars originate from the stars that are formed in clusters and spread out as a result of dynamical dissociation. Nevertheless, the IMFs of OB associations and young open clusters show diverse behavior. For the low-mass regime, the current observations suffer from difficulties in membership assignment and sample incompleteness. From this, we conclude that a more thorough study of young open clusters is necessary in order to make any definite conclusions on the existence of a universal IMF.

• 패션비즈니스
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• 제9권1호
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• pp.21-33
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• 2005

The main objective of this research was to understand the characteristics of identical color coordination through the analysis of modern female fashion color coordination as they appear in the 'Collections'. Data collection of 2026 was done through review of '$pr\hat{e}t-\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Lastly, statistical analysis of frequency and $X^2$-test and also qualitative interpretation of identical color coordination characteristics were completed. The main findings were; The color coordination of modern women's fashion produces a unified theme, or monochromatic harmony, through the use and coordination of identical colors. The clear contrast of tones portrays a strong image especially in achromatic color coordination, and through the use of texture variation, monochromatic color coordination becomes even more compelling. The tone variation, observed most often in monochromatic color coordination was the black and white contrast, which enhances the simplicity and clarity. Within chromatic color combinations, tone on tone color coordination was achieved by varying brightness. Furthermore, the observation of Faux Camaeu indicates that the coordination of different textures is used often in identical color coordination. While achromatic colors can lead to a hard and rough feeling, it also is compensated through the use of varying textures. In addition, adding variety of textures can add subtle interests to the simplicity of white. Lastly, in all four collections, the chromatic identical color coordination was found more frequently than the achromatic. In Paris, N.Y. & London, the chromatic identical coordination was used more often than chromatic. Milan showed most use of achromatic coordination. The use of the tones showed similar trends in all four collections, with contrasting tone being used most often, followed by similar and identical tones.

• 패션비즈니스
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• 제12권4호
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• pp.73-87
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• 2008

The main objective of this research was to investigate the characteristics of achromatic & chromatic color coordination of contemporary female fashion by reviewing 'pre-a-porter Collections' of four collections (i. e. cities) - Paris, Milan, New York, London - from the periods of 2002 S/S to 2006/7 A/W. The data was collected by reviewing 'pre-a-porter Collections' magazine and total 677 observations were made. Statistical analysis of frequency and also qualitative interpretation of achromatic & chromatic color coordination characteristics were completed. The main findings were; (1) The achromatic & chromatic color coordination was identified as one of most used color coordination in contmeporary women's fashion collections. (2) Black and white mainly used for achromatic color, and brown used the most often, then followed by blue, red, yellow, green and the others for chromatic color in achromatic & chromatic coordination of contmeporary women's fashion collections. (3) The characteristics of achromatic & chromatic color coordination of modern women's fashion collections from 2002 S/S to 2006/07 A/W showed various images according to chromatic colors and tone variation. The combination of achromaticand brown color variations produced an intelligent and sophisticated image. The soft or light chromatic color and chromatic color combination projected soft, feminine and subtle feeling, while the combination of vivid or strong chromatic color and achromatic color projected a clean and strong feeling through contrasting tones of clear and bright colors. The chromatic color of deep or dark tone and black combination demonstrated supernatural and gloomy image. (4)In all four collections, Paris showed most use of two color coordination and then followed by Milan, N.Y, and London. N.Y showed higher rate of using achromatic & chromatic color coordination, and then followed by Paris, London and Milan.