• 고전문학과교육
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• 제32호
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• pp.5-27
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• 2016

본고는 향가의 재미가 무엇인지에 대해 논하였다. 향가의 문학적 재미와 의미는 향가를 통해 사유하고, 느끼고, 자아를 찾는 데 있다고 보았다. 이는 어떤 문학 장르라도 가능하지만 그 속에서 향가만이 갖는 재미의 영역을 찾는다면, 변증법적 사유 구조 즐기기, 당대성을 지닌 서정주의에 젖어들기, 작품의 장소를 자아와 관련짓기 등을 들 수 있다. 향가는 형식과 내용 면에서 변증법적 사유 구조에 기초한 문학 장르이다. 10행 향가가 3구 구성의 형식일 뿐 아니라 4행, 8행 향가에서도 3단의 의미구성 방식을 확인할 수 있다. 그리하여 향가를 향유하는 데에는 장르 자체에 내재한 변증법적 사유 구조를 체화하는 경험이 중요하다. 변증법적 사유를 통해 향가 이해가 심화되는 한편 향가를 향유함으로써 변증법적 사유 자체를 즐길 수 있다. 현존 향가는 모두 개성 있고 풍부한 서정을 보여 준다. 향가에 담긴 정서는 인간 보편의 정서와 함께 역사적 특수성에서 나온 정서가 합쳐진 것이다. 향가의 문학적 흥미는 그 서정의 보편성과 특수성, 구체성과 핍진성에서 연유한다. 굳세고 의연한 기상이나 금기를 깰 정도의 풍류가 깃든 정서 등 신라 시대에 사람들의 마음을 휘어잡은 매력과 미감을 지닌 정서로서 오늘날 우리에게도 울림이 크게 다가온다. 향가의 장소성은 개별 작품에 담겨 있고, 우리가 작품을 감상할 때 그 장소성의 관여에 따라 재미와 의미를 얻는다. 향가와 관련된 장소는 오늘날에도 그 좌표축에 위치하고 있기에 향가가 향유되었던 과거와 오늘의 우리를 연결하는 고리가 된다. 향가는 우리 삶의 터전인 이 땅에서 일어난 사건의 장소에서 감흥을 얻어 표현한 것이다. 그러므로 향가의 장소성은 우리가 한민족의 일원으로서 역사의 흐름 속에 존재한다는 사실을 일깨워 준다. 이와 같이 향가의 재미와 의미는 변증법적 사유 구조, 서정주의, 장소성 등에서 찾을 수 있다. 이 영역들을 확장해 나간다면 향가 향유의 드넓은 지평을 확보할 수 있으리라 생각한다.

• Architectural research
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• 제12권1호
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• pp.33-38
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• 2010

Many theorists acknowledge that Modern architecture denied the architect's crafty gesture for the sake of pure formal and compositional status of a building. As well, modern technology in construction has been prevailing as the sole support for modern architecture. But there exists architects who proposed a dialectic development of traditional and modern techniques. This thought was prominent in Germanic circle where technological development was in advance. Throughout $20^{th}$ century, the works of Adolf Loos, Mies Van der Rohe, and Peter Zumthor are representatives in each period. A common point begins from their apprenticeships as craftsmen: Loos and Mies as stonemasons, Zumthor as a cabinetmaker. More than this fact, their craftsmanship is embedded in their works and express creativity of architects. While mass production system raises non-participatory practice that merely require assemblage of products, the adjusted techniques with craftsmanship brings forth a participatory practice that does not limit the creativity of architects.

• 한국실내디자인학회논문집
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• 제13권1호
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• pp.38-45
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• 2004

One of the prominent phenomena since 1960's is the diversity of concepts. It is to deny the standard of meta structure in judging value as a framework of truth understanding. M. Foucault says that we are living in a synchronous, parallel, and scattered epoch. In the architectural approach and interpretation of Ungers, such a phenomenon appears as multi-dimensional relations. The works of Ungers show the concrete manifestation of such thoughts since 1960's. He has exerted significant influence on German architecture through his book ‘Architecture as Theme’ and architectural works. His architecture has focuses on analogy and abstraction on the foundation of his well defined theory. As the features, it shows dialectic relations, mix of confrontation, interests in geometry and morphology. In this respects, the paper tries to find out the relationship between his architectural thoughts and the paintings of Rene Magritte in terms of the attributes of doubleness in the sense of a paradox. Ungers himself refers that he was directly influenced by Magritte.

• 한국수학사학회지
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• 제26권4호
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• pp.245-257
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• 2013

Hermann Grassmann classified mathematics and extended the dimension of vector spaces by using dialectics of contrasts. In this paper, we investigate his mathematical idea and its background, and the process of the classification of mathematics. He made a synthetic concept of mathematics based on his idea of 'equal' and 'inequal', 'discrete' and 'indiscrete' mathematics. Also, he showed a creation of new mathematics and a process of generalization using a dialectic of contrast of 'special' and 'general', 'real' and 'formal'. In addition, we examine his unique development in using 'real' and 'formal' in a process of generalization of basis and dimension of a vector space. This research on Grassmann will give meaningful suggestion to an effective teaching and learning of linear algebra.

• 한국수학교육학회지시리즈D:수학교육연구
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• 제12권3호
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• pp.167-177
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• 2008

The students' beliefs about mathematics teaching-learning come from the social activities in mathematics classrooms; and the mathematics classroom culture to a large extent decides the social activities in mathematics classrooms. So, the students' beliefs about mathematics teaching-learning are decided indirectly by the mathematics classroom culture mainly. The students' beliefs about mathematics teaching-learning react to the social activities in mathematics classrooms, and the social activities in mathematics classrooms react to the mathematics classroom culture. Therefore, the students' beliefs about mathematics teaching-learning react indirectly to the mathematics classroom culture. So, the relationships between the students' beliefs about mathematics teaching-learning and the mathematics classroom culture are dialectic, and the social activities in mathematics classrooms are the medium. In addition, the relationships have some inspirations to the current mathematics curriculum reform in the mainland China.

• 영어영문학
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• 제64권3호
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• pp.361-381
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• 2018

Shakespeare reflects/refracts the controversial spirit of his age in the epistemological and political skepticism of his Roman plays: Titus Andronicus, Julius Caesar, Coriolanus, and Antony and Cleopatra. Skepticism doubts all received truth and suspends judgment, and it often takes the form of mental jousting on both sides of a question. Renaissance skepticism was strengthened by rhetorical education. Arguing on both sides of the question (in utramquem partem) was a practice taught in Shakespeare's grammar school in order to enhance students' mental abilities in logic and dialectic. This rhetorical exercise seldom leads to a third-term resolution: it just reveals all the apparent and hidden aspects of a problem at issue. Shakespeare's Roman plays, especially his Julius Caesar, demonstrate this skeptical attitude, leaving the judgment to the audience.

• Asia Marketing Journal
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• 제21권1호
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• pp.89-112
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• 2019

To investigate the interplay between individual and collective self-regulations, the authors propose a dialectic process that describes the changes in the locus of self-regulations between individual self and collective self. The results from three studies display a strong support for the two sets of hypotheses drawn from the proposed process. Our findings demonstrate that consumers can move the locus of self-regulation from individual-self to collective-self when a social identity is activated (preliminary study and study1). Further examination of regulatory swing between individual and collective regulatory orientations revealed group identification as a key variable in determining the locus of self-regulation (study2). While a consumer with a high level of group identification changes her locus of self-regulation from an individual to a collective (a regulatory shift) and evaluated messages and products framed consistent with their group orientation, a consumer with low level of group identification maintains her locus of self-regulation in her personal level of self (a regulatory preservation) and evaluated messages and products framed consistent with their personal regulatory focus.

• 영어영문학
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• 제57권3호
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• pp.367-389
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• 2011

The aesthetic attitude, in general or in particular, represented in matters of taste through aesthetic ideas and value judgments postulates a certain literary logic. And this literary logic reveals itself a sense of morality, philosophy, or moral aesthetic consciousness through the moments of act and thought demonstrated in the characters invented in literary works. Henry James, among many others, offers a very special cultural paradigm for transnational argument because of his diverse ways of shaping transatlantic relations in terms of aesthetic consciousness. And this international paradigm produced varied expressions referring to Henry James as "an American expatriate," "an Anglicized American artist," "a Europeanized aesthete," "a cosmopolitan intelligence," "a bohemian cosmopolitan" to designate his literary career and its characteristics shaped in Europe. Such expressions resonate with Transatlantic Sketches, James's first collection on travel and cultures in 1875 which heralded his long "expatriation" in terms of self-distantiation. James's temperament of mind, far from being always identified with shared values within an ideological framework, never avoided friction with fixed ideas but rather absorbed it fully for another friction which intervenes in his house of fiction. My question arises here regarding his cultural belonging or dislocation: where is the place of his mind or what could be his ultimate destination? In this essay, I'd like to define a place or rather the place of James's literary mind by proving a certain "sympathetic justice" for his literary logic. For this purpose, I'll try to examine: how James used transatlantic perspective, a spatio-temporal assessment to formulate his moral aesthetic consciousness; and how the aesthetic framework functions in assessing his literary logic of aesthetic consciousness. To start with the first argument, I'll analyze some essential aspects of aesthetic attitude of his characters to postulate a persona capable of theorizing James's aestheticism conditioned by the transatlantic context. And for the second argument, I'll examine how the persona functions in formulating a proper cultural stance of James's aesthetic consciousness in transatlantic perspective to illuminate the way of how Jamesian individuality reflects the American mind. This process of theorizing a place of James's own will lead, I hope, to our discovering James's ultimate destination on the assumption that it'll prove or create a certain "sympathetic justice" for his humanist aestheticism, a Jamesian absolute morality.

• 한국실내디자인학회논문집
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• 제21권4호
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• pp.57-67
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• 2012

The goal of this research is to study the spatial and temporal disjunctive composition of the movie 'Kill Bill part 1/2' and to lay a foundation for the future exploration of the topological relationship between contemporary architecture and cinema based upon the spatial and temporal multiplicity. Since the birth of cinema in early 20 century, architecture and cinema have a dynamic interdisciplinary relationship as Soviet director and theorist Sergei Eisenstein has called the Acropolis of Athens as 'one of the most ancient films' based upon its cinematic spatial sequence, and contemporary architect and theorist Bernard Tschumi has adopted cinematic montage technique to create his own disjunctive event-structure. As french philosopher Gilles Deleuze has traced the cinematic version of his 'disjunctive synthesis' from Eisentein's 'dialectic montage', Deleuzian 'disjunctive synthesis' can be discovered not only from the work and theory of Bernard Tschumi and Rem Koolhaas, but also from the 'Kill Bill's disjunctive composition where the heterogeneous spatial images and temporal images are under continuous interaction to create rhizomatic relationship between the cinema and viewers.

• The Journal of Asian Finance, Economics and Business
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• 제3권1호
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• pp.33-41
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• 2016

Essences, needs and features of formation of national innovative development model of Kazakhstan are proved on the basis of analysis of various research approaches to realization of the modernization that exist in the world economic theory. For studying the problems of innovative development of the country, there was a need for the formulation of a number of definitions, disclosure of their contents, changing the approaches to reform, as well as adjusting their targets. In the article the general scientific research methods used dialectic, abstraction, systemic and situational approach, empirical and theoretical and analytical methods, and logic modeling. The proposed approach to the implementation of innovative development based on the use of evolutionary and institutional approaches to the study of the problems of implementing an effective innovation policy. This approach is intended to contribute to the development of a forward strategy of modernization, innovative development and higher competitiveness of the national economy. The study proved the causes and features of the implementation of innovative development model in Kazakhstan.