• 한국의상디자인학회지
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• 제18권4호
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• pp.63-75
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• 2016

This study examines the organic geometry in Isabel Toledo's collections in terms of the practicality of American sportswear tradition. This study conducts literary survey combined with case analysis of Toledo's works from her debut collection in 1985 to the recent ones. The organic geometry in Toledo's designs refers to the conversion of two-dimensional garment patterns into three-dimensional garment forms with the body as a medium, which is classified into the following categories in this study. First, 'fluidity' describes Toledo's highly fluid jersey dresses which maintain consistent structures by patchwork draping and suspension technique. Second, 'reductionist structure' illustrates that simple geometric shapes such as circles and squares disappear as soon as worn on the body. Third, 'origami construction' explains folding two-dimensional fabrics into three-dimensional forms, which causes the outlines of the body to appear abstract. Toledo's designs deliver the tradition of American sportswear through the organic geometry of garment construction. Toledo's works are authentic American in the aspects that they are functional and modern; they satisfy the practical needs, prioritize the movements of wearers, pursue multi-functions, and their ornamental elements are accompanied by the construction of garments. Isabel Toledo presents designs drawing on her unwavering aesthetics while continuously developing and experimenting creative ways of garment construction.

• 비교문화연구
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• 제29권
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• pp.133-152
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• 2012

Franciso Ayala's narrative work was published in the collection "Nova novorum" (1926-1929) of Revista de Occidente, founded by $Jos{\acute{e}}$ Ortega y Gasset. The author of Cazador en el alba was well aware of the avant-garde aesthetics and hence he put into practice an artistic rupture of the traditional narrative forms of Realism. The work consists of two short stories: "Cazador en el alba" and "Erika ante el invierno". The use of metaphor, Francisco Ayala's preferred literary device (which Ortega y Gasset already emphasized in The Dehumanization of Art), reveals the influence of $Ram{\acute{o}}n$ $G{\acute{o}}mez$ de la Serna's Aphorisms. Through a metaphoric language, "Cazador en el alba" describes the life of Antonio, a soldier and peasant, who visits Madrid and confronts the urban reality of the metropolis. "Erika ante el invierno" portrays with a singular depth the solitude of a woman living in another metropolis, Berlin. The author confessed that he wrote both short stories influenced by the European avant-garde and its use of poetic imagery and metaphor, common practice at that time. However, the main purpose of this article is to reflect upon the society of the first decades of the $20^{th}$ Century: the city, the people and their lives, the societal changes, as well as the innovative perspective of the new art.

• 영어영문학
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• 제64권3호
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• pp.329-345
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• 2018

Sun Yung Shin's poetry collection Skirt Full of Black (2007) brings the author's personal history as a Korean female adoptee to bear upon poetic language in daring formal experiments, instantiating the liminal state of being shuttled across borders to land in an in-between state of marginalization. Other Korean American poets have also drawn on the experience of transnational adoption and racialization explore the literary potential of English to materialize haunting memories or the untranslatable yet persistent echoes of a lost home that gestures across linguistic boundaries, as seen in the case of Lee Herrick or Jennifer Kwon Dobbs. Shin however dismantles the referential foundation of English as a language she was transplanted into through formal transgressions such as frazzled syntax, atypical typography, decontextualized punctuation marks, and phonetic and visual play. The power to signify and thereby differentiate one entity or meaning from another dissipates in the cacophonic feast of signs in Skirt Full of Black; the word fragments of identificatory markers that turn racialized, gendered, and culturally contained subjects into exotic things lose the power to define them as such, and instead become alterities by departing from the conventional meaning-making dynamics of language. Expanding on the avant-garde legacy of Korean American poets Theresa Hak Kyung Cha and Myung Mi Kim to delve further into the liminal space between Korean and American, referential and representational, or spoken and written words, Shin carves out a space for discreteness that does not subscribe to the hierarchical ontology of differential value assignment.

• 영어영문학
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• 제64권2호
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• pp.299-305
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• 2018

Near / Miss, Charles Bernstein's poetry collection, is replete with poems of distinctive styles and pluralistic forms in his idiosyncratic and artistic cosmos. With poetic antics, queerness, sarcasm, irony, and humor, the book showcases the motif of loss, chaos and trauma in postmodern America and the world. The multiplicity and multi-dimensional $M{\ddot{o}}bius$ effect in Near / Miss echo earlier Bernstein's poems, as well as poems by ancient and contemporary poets, with visual artists and musicians, and rabbis and Jewish philosophers. I argue that Near / Miss offers an apotheosis of echopoetics, which has been launched in his previous book Pitch of Poetry. Poems in the book reveal the dark and thick "pitch," namely the queer, the uncanny, the invisible, the disabled, the dispossessed, and the silenced poetic Other and make it explicit. The estrangement and alienation of $clich{\acute{e}}$ through diverse malaprops, mondegreens, non-sequiturs and fragmentations in Near / Miss aim at deconstructing the fixation of language so as to display the poetic Other. The motif of "nothingness" in echopoetics significantly multiplies its meanings. Nothingness mainly refers to the loss of origin, the defiance of tyranny, and the sublimity of the universe and the poetic Other. Melding his personal loss and misfortune, the current political discontent and the postmodern chaos in America and the world, nothingness in echopoetics resonates with American literary tradition and Zen with a healing and transforming power.

• 대순사상논총
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• 제41집
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• pp.179-217
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• 2022

『진묵조사유적고(震默祖師遺蹟攷)』(이하 『유적고』)와 증산(甑山) 및 대순사상에 나타난 진묵(震默) 설화의 차이와 관련, 선행연구에서는 증산이 종교적 이유로 설화의 원 의도를 변형한 것으로, 또는 믿음과 가치관의 차이로 본다. 이는 한국불교와 증산·대순사상 간 가치관의 차이를 전제로 양자를 회통하려는 해석이다. 본 연구는 가치관에 따른 기술 차이라는 이상의 관점을 수용한다. 다만 이러한 기술 차이를 불교와 대순사상 간 세계관 차이가 아닌, 문헌 전승과 구전 전승의 차이라는 새로운 시각에서 접근한다. 이는 각각 19세기에 최초 문헌설화로 구성된 『유적고』와 18세기 이래 전래 된 민간전승을 의미한다. 이러한 해석 지평에서 진묵-봉곡(鳳谷) 관계를 조명하면, 『유적고』는 초의(草衣)·김기종(金箕鍾) 등 지식층의 가치관·의도를, 구전설화는 조선 후기 민중들의 희망을 투영한 것으로 해석된다. 증산 또한 천지공사에서 민간전승을 활용한 것으로 볼 수 있다. 한편 16C에서 19C에 이르는 유불 관계 맥락에서 『유적고』 찬술 경위와 의도를 분석했다. 특히 『완당집(阮堂集)』·승려 문집 등을 통해, 유학 측에서는 예도 정신의 진작이라는 시대 이념에 따른 자료의 순화·교정이 필요했고 초의 역시 불교에 불리한 구비전승을 윤색·삭제한 것으로 보았다. 반면 『유적고』에 수록되지 않은 진묵 설화가 18세기에도 존재했음을 보여주는 「영당중수기」 및 현존 구비전승을 볼 때 증산의 기술은 민중의 염원을 담은 시속의 민간전승을 수용한 것으로 평가했다. 즉 정치·사회적 이유로 유불 화합 내용만 채택한 『유적고』에 비해 『전경』은 조선 후기 회자 된 구비전승을 충실히 반영한 것으로 이해했다. 근거로는, 진묵-봉곡 관계를 조명한 구전설화에서 봉곡의 시기나 살해에 관한 서사가 많다는 점, 증산이 정치적 입장·신분이 아닌 마음과 뜻에 따라 모든 계층의 인물을 아울렀음을 들었다. 따라서 구전 전승의 특성상 면면히 이어 내려오는 서사 내용을 개작할 필요가 없었고 민중의 소리를 투영한 것으로 해석했다.

• 한국한의학연구원논문집
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• 제18권2호
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• pp.17-24
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• 2012

Research on Seokgok(石谷), Lee Gyu Jun(李圭晙, 1855~1923)'s thought and medicine was progressed from various angles. There is no research on Chinese poem(漢詩) accounting for the half of his collection of literary works, "Seokgoksango(石谷散稿)" yet. Hence, the article reviewed concerns on his life and what life he lived as a Confusion(儒家) writer through his Chinese poem. Should read "Seokgoksango", Seokgok's spiritual orientation and attitude to life were found to have its core in the Confusion(儒家的), especially ethical(道學的) aspect. Seokgok's Chinese poem materialized his spiritual composition more, able to access up to general emotional state, representing concerns and frustration of intellectuals in the latter era of the Choson Dynasty. Anxiety consciousness(憂患) of patriotism and love of the people which traditional intellectuals implicated enough at the turbulent era of early modern time appeared strongly in his works. Also works seeking for devotion(歸依) toward the clean world(淸明世界) staring at the corrupt world losing the national sovereignty at the same time and the expansion(擴散) was able to be found many. The latter half of the 19th century and the early 20th century when Seokgok lived was the period of changeover in the history of civilization called intersection between traditional era and modern times. His Chinese poem showed traditional intellectuals' anxiety, frustration, conflict, and hope based on such times. Along with the status of an Oriental, medical doctor and thinker, up to discussion on the quality of a writer, the intensified research on him is expected.

• 한국문헌정보학회지
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• 제46권4호
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• pp.77-98
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• 2012

연구는 영조 39(1763)년에 파견된 통신사의 "동사수창록"에 수록된 시편들에 관하여 고찰한 것이다. (1) 통신사는 조선에서 일본으로 파견한 공식적 외교사절로, 통신사절에 참여한 인사들은 일본 현지에다 서화 시문 등 많은 작품을 남겼을 뿐 아니라 귀국 후 일본에서 겪은 견문기록을 남겨 외교적인 역할 및 문화교류의 실상을 보여주고 있다. (2) "동사수창록"에는 4제에 걸쳐 조엄 이인배 김상익 남옥 성대중 원중거 김인겸 홍선보 등 8인의 도합 28수의 수창 시편들이 수록되어 있으며, 수록된 시편들은 임진왜란 이후의 조선과 일본의 사정과 회한 및 감회 등을 읊은 것으로 특히 작가들이 친필로 서사하고 낙관한 것을 후일에 장첩한 것이다. (3) "동사수창록"은 시편들의 내용과 작가 친필본임을 고려할 때, 지방문화재로 지정하여 연구하고 보존할만한 가치가 있는 것으로 평가된다.

• 한국문헌정보학회지
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• 제29권
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• pp.345-382
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• 1995

The type printing of first Ch'ing dynasty term in China is worthy to be studied because the type printing during that period included metal type, wood type, and clay type as well as the development phase was similar to Chosun dynasty culturally and technologically. This paper studied typography during the first Ch'ing dynasty term, including Shunzhi(1662-1722), Yongaheng(1723-1735), Qianlong(1736-1795), Jiaqing(1796­1820) period. The main results of the study is as follows. 1. The main body of type printing was bookstore, lecture-hall, and individual as well as the royal court that is the central government. 2. The content of type edition covers classics, history, philosophy, and literary works. Specifically, even though Wuyingdienjuzhenban series is excluded, the content includs study of the classics, class of the history, class of the philosophy, literature works that include collection works and novel and government official bulletin. 3. The printing technique of bronze type was very popular In Beijing. Jiangsu, and Taiwan. It's scale and production technique was more elaborate than in Ming dynasty. 4. Wood type was very popular in Beijing, Jiangsu, Zhejiang, Anhui, Sichuan, and Fujian. In addition to wood type, chinese ware type was applied to book printing in Shandong. However, most of them were wood type and they were used after Qianlong period. 5. The production technique of type was skilled enough to present the fine view of a style of type. The typesetting technique was improved as much as woodblock printing. With regard to the making technology of Chinese ink, the light and darkness of chinese ink was not even sometimes. But, the technology was improved significantly when comparing with the failure experience of printing that chinese ink was not developed in early type invention. 6. In case that the book was printed in bookstore with the intention of profit and the number of book was large, the proofreading attitude was rough. However, overally, it was made correction carefully applying the various methods of proofreading. 7. The support of government made a great contribution in the area of all printing technology, including production, typesetting, and brushing of type.

• 한국비블리아학회지
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• 제26권3호
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• pp.151-175
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• 2015

본 연구는 국제조약과 국내외 법령에 나타난 저작권의 제한과 예외에 관한 내용을 살피고, 디지털 장서의 공정이용에 관한 유럽사법재판소 판례를 분석하여, 디지털 장서의 공정이용을 위한 법제도적 전망을 논한다. 선행연구 분석과 이론 연구를 바탕으로 공정이용의 법리를 파악하고, 디지털 장서의 정의 및 유형을 알아본다. 공정이용을 둘러싼 실정법 체계의 이해를 위해 "베른협약", "세계지식재산권기구 저작권조약" 등 국제조약, 영국, 미국, 독일, 유럽연합 등의 국가별 법령, 그리고 국내법 상에 나타난 저작권의 제한 및 예외 규정을 살피고, 도서관 장서의 디지털 형태 전환과 부가서비스의 허용 여부 및 범주가 쟁점이 되었던 독일 다름슈타트 공과대학과 유겐 울머 출판사 간의 분쟁에 대한 유럽사법재판소의 판례를 분석하여, 이를 중심으로 우리나라 현행 저작권 체계의 개선을 위한 시사점을 제안한다.

• 대한한의학원전학회지
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• 제21권1호
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• pp.205-222
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• 2008

"Yumunsachin(儒門事親)" is a very important work that contains everything of Jangjahwa(張子和)'s medical thought. The book was made into present form after the process of change several times. These days the printed book is consist of 10 classes and 15 volumes that combine several books. Original "Yumunsachin(儒門事親)" was the name of volume 1, 2, 3, "Chibyeongbaekbang(治病百法)" volume4, 5, "Siphyeongsamnyo(十形三標)" volume 6, 7, 8, "Japgigumun(雜記九門)" volume 9, "Chwalyodo(撮要圖)" volume 10, "Chibyeongbaekbang(治病雜論)" volume 11, "Sambeop-yukmun(三法六門)" volume 12, "Samsoron(三消論)" volume 13, "Chibeoppillyo(治法心要)" volume 14, and "Sinhyomyeongbang(神效名方)" volume 15. "Yumunsachin(儒門事親)" is a collection of a few books so, the literary style isn't uniform. The unconformity show that "Yumunsachin(儒門事親)" was not written by one person. The problem who is the writer of each volume remains controversial. But most scholars recognize that volume 1, 2, 3, original "Yumunsachin(儒門事親)" and was written by Jangjahwa(張子和), embellished by Majigi(麻知幾). Also, it is recognized that "Samsoron(三消論)" was collected by Majigi(麻知幾) and inserted by posterity, and that Sangjungmyeong(常仲明) and Nangi(欒企) who were Jang[張子和]'s disciples participated in compilation of "Yumunsachin(儒門事親)". Therefore, it is sure that the contents of the book express Jangjahwa(張子和)'s medical thought.