• 한국연극학
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• 제52호
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• pp.319-357
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• 2014

Formation of 'body schema' is the start for actor to create role and becomes the root and the foundation of existing as a role on the stage. For this, an actor needs to form 'scheme of role' with escaping from own 'body schema.' 'Schema of role' is formed by acquiring through synthesizing daily basic actions, namely, walking, standing, sitting, hand stretching, bending, and touching. The body schema, which was made with simple and usual actions, has fundamental significance in a sense of becoming the body in which the past traces in a role are habituated while energy as a role flows. As for the process of forming body schema, an actor first needs to obtain the visualized materials like photo, magazine, picture and image available for seeing a role specifically and clearly based on what analyzed a character. An actor needs to have three-dimensional image available for always recalling it in the head during acting. To do this, image data available for fundamentally capturing routine actions along with body structure are still more useful. Next, the body schema is formed by interaction with environment. Thus, there is a need of passing through the two-time process of forming body schema. Firstly, the body schema is made on routine actions in a role as physical condition of a role in actor's own everyday life. Secondly, the body schema is made on routine actions available for moving efficiently and economically in line with the environment of performance. A theatrical stage is the temporal space of rhythm and rule different from routine space. What forms body schema immediately in the second phase without body schema in the first phase ultimately becomes what exists as actor's own body, not the body of a role. The body schema, which was formed as the second process, is what truly has identity as a role in the ontological aspect, comes to experience the oppositional force in muscle, a qualitative change in energy, and emotional agitation in the physical aspect, and experiences perception, thinking, volition, and even consciousness with the entire body in the cognitive dimension. Thus, the formation of body schema can be known to be just a method of changing even spiritual and emotional layer. Body schema cannot be made if there is no process of embodiment and habit. Embodiment and habit are not simply the repeated, empty and mechanical action in the body. But, habit itself has very important meanings for forming body schema for role creating. First, habit allows the body itself to learn and understand a meaning. Second, habit relies upon environment, thereby allowing an actor of making the habituated body schema to recognize environment. Third, habit makes the mind. The habituated body schema is just the mind and the ego of a person who possesses the body schema. Fourth, habit comes to experience the expansion in energy and the expansion in existence. It may be experienced through interrelation among actor's body, tool, and environment. Fifth, habit makes identity of the body. Hence, this just becomes what secures identity of a role. These implications of habit are the formation of body schema, which is maintained with the body of being remembered firmly through being closely connected with the process of neural adaptation. Finally, it sought for possibility of practice as one method of forming body schema for role creating through Deleuze's '-becoming' theory. As 'actual animal-becoming' is real '-becoming' of forming structural transformation in the physical dimension, it meets with what the formation of body schema pursues actuality and reality. This was explained with a concept as saying of 'all '-becoming' molecular' by Deleuze/Guattari. 'Animal of having imitated animal's characteristic- becoming' is formed by which the body schema relies upon environment. In this way, relationship among the body, tool and environment has influence even upon a change in consciousness, thinking, and emotion, thereby being able to be useful for forming body schema in a sense of possibly experiencing ultimately expansion in role, namely, expansion in existence.

• 대한기계학회논문집B
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• 제23권9호
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• pp.1151-1162
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• 1999

The effects of radial heat and $H_2O$ diffusion on the evolution of silica particles in coflow diffusion flames have been studied experimentally. The evolution of silica aggregate particles in coflow diffusion flames has been measured experimentally using light scattering and thermophoretic sampling techniques. The measurements of scattering cross section from $90^{\circ}$ light scattering have been utilized to calculate the aggregate number density and volume fraction using with combination of measuring the particle size and morphology through the localized sampling and a TEM image analysis. Aggregate or particle number densities and volume fractions were calculated using Rayleigh-Debye-Gans and Mie theory for fractal aggregates and spherical particles, respectively. Flame temperatures and volumetric differential scattering cross sections have been measured for different flame conditions such as inert gas species, $H_2$ flow rates, and burner injection configurations to examine the relation between the formation of particles and radial $H_2O$ diffusion. The comparisons of oxidation and flame hydrolysis have also been made for various $H_2$ flow rates using $N_2$ or $O_2$ as a carrier gas. Results indicate that the role of oxidation becomes dominant as both carrier gas($O_2$) and $H_2$ flow rates increases since the radial heat diffusion precedes $H_2O$ diffusion in coflow flames used in this study. The effect of carrier gas flow rates on the evolution of silica particles have also been studied. When using $N_2$ as a carrier gas, the particle volume fraction has a maximum at a certain carrier gas flow rate and as the flow rate is further increased, the hydrolysis reaction Is delayed and the spherical particles finally evolves into fractal aggregates due to decreased flame temperature and residence time.

• 산업진흥연구
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• 제7권4호
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• pp.45-52
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• 2022

본 연구는 코헛의 이론을 중심으로 병리적 나르시시즘에 대한 상담자의 자기대상 역할 연구를 하였다. 이론적 이해에서는 나르시시즘과 병리, 자기대상을 논하였다. 나르시시즘과 병리는 응집된 자기의 형성에 실패라 할 수 있다. 초기 유아의 자아는 양육자로부터 적절한 공감과 사랑을 받을 때 통합된 응집적 자기를 형성할 수 있다. 환언하면 자기애적 성격은 취약한 환경에서 공감과 수용을 받지 못하여 무력하고 취약한 자기 또는 분노로 가득 차 있다. 그리고 자기애적 사람들은 세상을 두려워하고 자신의 무력하고 공허한 자기감으로부터 자신을 보호하기 위해 거대자기 환상을 유지한다. 한편으로 자기대상이 제공하는 수용과 경탄의 반응을 경험할 때 과대적 자기는 강화되고 창조성을 발휘할 수 있다. 유아는 자기대상과의 관계 경험이 손상이 될 경우에 자기는 파편화된 자기(fragmented self)로 남게 된다. 따라서 결과에 따른 결론은 다음과 같다. 병리적인 나르시시즘에 대한 상담자의 자기대상 역할은 공감적 자기대상이 되어 내담자로 하여금 건강한 응집적 자기를 형성하도록 하여야 한다. 또한 자기대상이 유아의 욕구에 자상하게 안내하며 이상적 모델로 역할을 할 때 유아는 건강한 이상을 추구하며 초기의 자기애적 평형상태를 유지할 수 있다.

• 미술이론과 현장
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• 제7호
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• 미술이론과 현장
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• 제9호
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• Asia Marketing Journal
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• 제14권2호
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• pp.157-176
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• 2012

시장구조 분석에서 흔히 사용되는 상표전환 자료는 비내구재 분석에 적절한 방법이 될 수 있으나 자동차 같이 사용연한이 장시간인 내구재의 경우에는 소비자의 상표에 대한 선호도가 변할 수 있어 상표전환 자료의 사용에 문제가 있다. 따라서 경쟁을 잘 포착할 수 있는 다른 접근이 필요하다. 본 연구는 이에 대한 대안으로 상표간 경쟁 자료로써 고려상표군을 이용하여 자동차 시장의 구조를 Latent Class 군집분석을 활용한 탐색적 검증방법으로 분석하였다. 또한 소비자 행동분석에 근거하여 상표간 경쟁의 근간을 이루는 고려상표군 형성에 영향을 미치는 인자들을 밝히는데 중점을 두었다. 미국 자동차 시장을 대상으로 분석한 결과, 시장은 상표 원산지 효과에 의해 구분되었다. 즉, 미국 상표, 유럽 상표, 그리고 아시아 상표 등으로 시장이 구분되었다. 또한 각 시장구조 내 소비자들의 고려상표군 형성에 신뢰성/안전, 이미지/즐거움, 경제성 등의 편익과 성별, 소득 등 개인적 요인이 영향을 미치는 것으로 나타났다.

• 철학연구
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• 제115권
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• pp.249-279
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• 2010

헤겔의 『정신현상학』 '이성' 장에 등장하는 '마음의 법칙'은 이성의 자기 확신이 '광기'의 또 다른 모습이 될 수 있는가를 보여준다. 이성의 의심할 수 없는 확신(Gewissheit)은 데카르트에게는 진리의 징표이고, 칸트에게는 양심(Gewisse)의 도덕률이다. 하지만 이러한 주관적 확신은 의식과 현실의 차이를 무시하고 현실을 의식과 일치시키려는 자만의 광기에 빠질 수 있다. 동키호테식의 이상론자나 낭만주의적 개혁논자들에게서 전형적으로 보이는 이러한 태도는 근대적 이성과 '정신병'이 동전의 양면이 될 수 있음을 나타낸다. 라캉의 '거울단계'의 이론, 상상 계 이론, 욕망의 공식 등은 자아의 완전성과 통일성의 이미지가 오해의 산물임을 보여준다. 이 단계는 주체의 형성 과정에서 필수적이기는 하지만 동시에 타자성의 영역인 언어와 법의 영역, 곧 상징계로 이행해야 한다. 자아는 아버지의 이름에 의해 행해지는 상징적 거세를 거치지 못할 경우 상상 계의 감옥에 갇혀 정신병에 빠질 수 있다. 헤겔의 '마음의 법칙'이 겪는 광기나 착란 등도 비슷한 경험의 과정을 보여준다. 헤겔의 경우 '아버지의 이름'은 불가피하게 욕망을 유예시키는 노동의 기율이나 혹은 절대 타자로서의 죽음이 그 역할을 대신한다. 이것은 자연적 존재의 개별자가 보편화되는 과정에서 겪는 분리와 지양의 경험, 곧 라캉식의 상징적 거세의 경험이라 할 수도 있을 것이다. 다만 헤겔의 경우 분리의 경험이 정신의 자발성에 기초한다면, 라캉의 경우는 절대 타자에 의해 강요되고 구조화되는 차이가 있을 것이다.