• 미술이론과 현장
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• 제3호
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• pp.35-50
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• 2005

For us, any regional art exist? Almost all art events today take place mostly in Seoul. Concentrating on the reinforcement of its power, the regional art world remains isolated without any connection with the Seoul art community. It is completely closed off from the central art scene. The regional art world seems to consider that more helpful in consolidating its status. It is in real sense suffering the absence of art criticism and art media, lack of an understanding of art and backwardness of art education. Many regional artists are dreaming of moving out from their domain, aspiring to be a member of the central art world. They make an effort to assimilate into a refined, modern style of the central art circle, rather than striving to create works imbued with regionality and locality. As the artists living in the provinces, the characteristics of their district should be above all else reflected in their art. Although they are less informed about the latest trend of culture and art, their art has to be something passionately and obstinately embodying the intrinsic quality of their regions. They have to find a practical solution more positively, instead of merely complaining about the poor condition of the regional art community. There is the need to bring about a turnabout in our awareness that regional art is confined to any limit and cannot be in the center of the entire art world. What' s most significant is to dissolve factionalism and not to depend on school ties or regional networks. As a reaction against authoritarianism, regional art has to put emphasis on attaining its originality. For this, regional art should respect regional tradition, history and background and break away from an old convention of wielding power.

• 패션비즈니스
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• 제23권3호
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• pp.101-114
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• 2019

This study aims to analyze the color characteristics of Japanese cultural product shops and differences in business categories by analyzing the colors of the Gion Shopping Street in Kyoto, Japan. Through the study, the traditional colors are reflected not only in the domestic cultural products but also the interior colors of shops. That way, visitors can be influenced naturally and gain indirect cultural experience to form a good image of Korea, which can help to improve sales of cultural products. The analysis was conducted through the colors of Munsell to determine the overall, dominant, assort, and accent colors based on categories of goods to identify the characteristics of the traditional Japanese cultural product shop. Among the 85 shops that were surveyed, YR and W frequently appeared as chromatic and neutral colors. Dominant was W, and assort was YR. B, P and Y also showed up. In color combination analysis, 35.3% was contrasted. For the hue, 32.9% was dark. Based on goods categories, confectionary shops used YR mainly, while souvenir and fashion accessory shops used W the most. Restaurants mostly had W as thedominant and YR for assorting. Cafes and art shops used Bk the most. The interior colors of cultural products shops should maintain the atmosphere of tradition and convey images of the products well. Based on this research, Korea also needs to actively reflect the interior designs of cultural product shops using traditional colors.

• 영미문화
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• 제10권2호
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• pp.1-27
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• 2010

By taking the form of a fictional autobiography, a Japanese American woman writer Lydia Minatoya tries to solve the inexpressible confliction which Japanese Americans experience in their living in America. In her first published fiction, Talking to High Monks in the Snow, the writer faithfully tries to follow the Japanese I-story tradition where meandering of personal petit histories and frequent self-pities are constructed without solid action, characters and plot. Here appear many accidental others whom function as significant yet fleeting subalterns. In contrast, in the second fiction, The Strangeness of Beauty published seven years later, the I-narratives undergoes some drastic transformations by authorial intrusion, dramatic and haiku styles, and appearances of actorial agents. Just working as an invisible yet important stagehand (kuroko in Japanese) behind the stage of life, the author now handles her own self-inquiry through more controllable distance and maturity as directors or photographers often do. However, despite achieving dramatic actions and artistic elegance mainly thanks to her adoption of western masterpieces's grand narratives, Minatoya seems to stop in the midway in her tallying work of fiction with fact by delaying the larger imaginable conflict through which the temporarily gained autonomy can be turned into a disaster anytime. Nonetheless, the reader feels relieved and encouraged after recognizing the fragile Asian female self's transformation as a new, flexible and autonomous self by her unwavering contact with two contrasting cultures and providing silent minority female characters with gradually stronger and uncannier voices.

• 한국가족관계학회지
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• 제23권3호
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• pp.3-29
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• 2018

Objectives: The purpose of this study was to investigate the acceptance of family diversity among college students and related variables. Method: Data were collected by a structured questionnaire with 280 students who attended in three universities located in J province. SPSS Statistics Program version 24.0 was used to analyze the collected data. To answer the research questions, descriptive statistics, t-test, F-test, Pearson's correlation analyses, and regression analyses were performed. Results: The major results of the survey were summarized as below. First, the acceptance of family diversity among college students was slightly higher than the middle level(M=12.11). Most students accepted nuclear family as a typical family. More than half of the students accepted single parent families, adaptive families, step families, unmarried mother families, childless couples, homosexual families, elderly women living alone, and families composed of siblings as a family. Second, there was a significant difference by religiosity. Students without religion were higher than their counterparts with religion in a level of family diversity acceptance. Among the individual factors, third, a level of traditional family value had a significant negative effect on a level of family diversity acceptance. And perspective taking had a positive effect on a level of family diversity acceptance. Fourth, among the family factors, parent-child open communication did not affect a level of family diversity acceptance. However, parents' gender egalitarian beliefs had a significant positive effect on a level of family diversity acceptance. Lastly, regarding the relative effects of the personal and family factors, the traditional family value had the largest effect on a level of family diversity acceptance among college students. Conclusions: Base on these results, the implications and limitations of the study were discussed.

• 한국철학논집
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• 제50호
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• pp.75-111
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• 2016

본 논문은 박세채의 "춘추보편"를 주요 텍스트로 삼아서, 조선조 춘추학에서 "춘추" 공부의 출발로 삼았던 표준 강령의 실체를 살펴보는 작업이다. 이 연구의 목적은 조선조 학자들이 "춘추"에 대해 가졌던 공통의 인식이나 보편적인 시각이 무엇인지 밝히는 것이다. "춘추보편"은 조선조의 성리학적 "춘추" 이해를 대변하는 책이기 때문에 이 책의 "강령(綱領)"은 조선조 학자들이 "춘추"를 공부하기 위해 반드시 알아야 할 일종의 지침이라고 할 수 있다. 본 논문에서는 "강령"의 다섯 가지 항목 중에서 <"춘추" 저술의 본질>과 <"춘추" 기록의 주제>라는 두 가지 항목을 집중적으로 살펴보았다. 첫 번째 항목은 "춘추"가 세상을 다스리는 대법이며, 그것은 현실을 추동하는 살아 있는 이치라는 것이 주요 내용이다. 두 번째 항목은 "춘추"의 구체적인 기록을 통해 "춘추" 대법의 실체를 밝히고 있다. 향후 이 논문과 함께 "강령"의 나머지 항목에 대한 추가 연구가 완료되면, 조선조 춘추학의 전반적인 성격이나 특징을 밝히는 중요한 실마리를 확보할 수 있을 것이다.

• 한국의상디자인학회지
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• 제23권4호
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• pp.105-116
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• 2021

Pillows are tools that humans have used for a long time to sleep or lie down and rest. It is bedding, and the oldest literature dealing with it is Volume 29 of 'GoryeoDogyeong', which describes embroidered pillows. The oldest relic is the queen's pillow (National Treasure No. 164) excavated from the tomb of King Muryeong, and is in the Gongju National Museum. This study attempts to investigate and reproduce the materials used in traditional pillows Yukgol pillows and pine nut pillows designs are based on literature and artifacts from the Joseon period to modern times. Regarding the research method, after reviewing literature and the relics of traditional pillows, the process of reproducing the traditional Yukgol pillow and the pine nut pillow production method were explained step by step. This study found the plain attitudes in the lives of people who used materials that could be easily gained from their daily lives in rural communities oriented to rice farming never recklessly threw out any piece of cloth or cotton and use it for pillow stuffing or pillow ends. Also, the sophisticated sense of aesthetics that you can see from the pine nut pillows, whose ends were made of remnants from making clothing are exquisitely similar to what was shown in patchwork previously. The biggest meaning of restoring traditional pillows was looking into traditional culture, particularly the ordinary people's living culture. It was very difficult because the researcher had to find materials that were difficult to obtain in this age, the making process was complex, and it took much time; however, it is significant in that the restoration of traditional pillows allows for the succession of tradition.

• 대순사상논총
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• 제35집
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• pp.509-539
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• 2020

大巡真理會以《典經》為主體, 闡述神與人的思維於教義之中, 含括神聖性, 宗教性與教義性等探討價值 ; 神與人的傳統意義, 經由《典經》的詮釋, 超越倫理性, 傳統性和社會性, 跨越世俗性的終極關懷。從《典經》的角度分析, 有助於了解大巡真理會的宗旨, 組織的推行方針與未來走向。召會以《聖經》為主體, 將神與人的關連, 作為經歷神聖生命與性情的植入, 而與人的生命與性情調和 ; 神聖的生命是一直不斷地與人的生命調和, 並使之成為神聖的人, 或可稱為屬人的神聖者。此即「神人」的原因, 使人的生命成為神人的生命, 生活是神性調著人性, 作為外顯的行事為人, 性格與生活 ; 因此, 「神人調和」的說法, 作為神與人的關係詮釋, 專注於神與人之間的神聖關連, 從而延伸至召會的範圍。大巡真理會與召會, 代表著歷史, 文化, 語言, 宗教等不同的分野, 卻在神與人的超然解釋上, 各自提出「神人調化」, 「神人調和」等見解 ; 二者可尋覓出論點上的類似點和相異觀, 作為探究的區分與貢獻。

• 영어영문학
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• 제56권5호
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• pp.823-850
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• 2010

In this paper, I will explore disparate voices embedded in the interactions of stories in which personal, cultural, historical, and mythical consciousness brings up diverse ideas about the experiences of Native Americans. The accommodation of differences and changes is clearly manifested through the healing ceremony of Tayo, which poses some practical questions: what could be the authentic tradition of Native Americans?; which direction should it be led to? As these questions suggest, Tayo needs to think over and work through the way that Native oral stories will enrich the signification of being Indian within multicultural U. S. society. In other words, Tayo should transfer the oppositional relationship between Anglo and Native American world into an interactive one to bring forth new meanings concerning their interactions. As a hybrid, Tayo begins to recognize that his fragmented consciousness could represent the pervasive but surmountable anxiety about the cultural clash between Native and White Americans. Going through the multiple layers of his stories, Tayo learns that Native Americans need to hold a balanced viewpoint firmly: this demonstrates that storytelling brings restoration and renewal to him. As a result of Betonie's healing ceremony and his intimate relationship with Ts'eh, Tayo comes to have a holistic comprehension about how all the living things are interconnected to one another. After acquiring this recognition, Tayo succeeds in his quest to get back Josiah's cattle and recovers his identity as a Laguna Pueblo Indian, still letting diverse voices, cultures, and stories flow into the process of storytelling. As the last scene in which the conversations among Tayo, Auntie, and Grandmother took place illustrates, Tayo has newly secured a position that will require him to create a new, alternative story, not just repeating previous stories.

• 심성연구
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• 제39권1호
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• pp.92-128
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• 2024

본 연구는 한국인의 오랜 조상숭배 전통인 기제사를 분석심리학적 측면에서 이해하기 위하여 시도되었다. 문헌 연구를 통하여 제사의 대상이 되는 조상신의 근거를 찾아보고, 기제사 의 형식과 절차가 갖는 상징적 의미를 살핀 후, 주자어류 권3에 언급된 귀신과 제사에 대한 문답을 고찰해 보았다. 한국의 조상숭배를 대표하는 기제사는 외견상 형식적 제의로 보이지만, 제례를 통한 자손과 조상의 대화, 의식과 무의식의 대화를 통해 전체정신을 실현하려는 개성화 과정을 상징적으로 보여준다는 것을 알 수 있었다. 조령숭배의 창조적인 면은 의식의 뿌리로 중요한 개념인 집단적 무의식과의 연계성을 키워간다는 점에서 '개성화 과정의 실현'에 있다. 한 인간이 통합된 인격으로 나갈 때 새로운 나의 탄생에는 조상의 뒷받침, 즉 무의식의 뒷받침에서 힘을 얻을 수 있는 것이다. 의식의 자아가 그 뿌리인 집단적 무의식과의 관계를 키워간다는 의미에서 선조들의 영과 맺는 관계는 중요한데, 합리주의와 물질만능주의로 인간존재의 근원적 의미를 상실한 혼돈의 시대에 특히 그러하다.

• 한국전통조경학회지
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• 제38권4호
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• pp.101-110
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• 2020

본 연구는 정원박람회에 출품한 작품 중에서 전통을 테마로 설정한 작가정원 14개소의 사례연구로서 문헌 분석과 현장 조사로 진행하였다. 전통재현을 결정하는 설계과정에 주목하고 작품마다 설계목표 수립, 전통재현의 대상 선정, 재현의 방법 결정, 경관구성요소 디자인 단계를 분석하여 다음과 같은 전통재현 특성과 시사점을 도출하였다. 첫째, 다수의 작가정원에서 전통구조물을 재현 대상으로 선정한 양상은 좁은 부지에 적합하고 주제 전달성이 좋다는 장점으로 이해할 수 있다. 이들은 작품명에 마당, 울, 부뚜막, 장독대, 취병과 석가산 등 전통구조물의 명칭을 넣어 설계의도를 직접 전달하였는데, Wall, 한국정원, 수원, 서울 장인처럼 간접적으로 표현한 작품들은 주제 전달성이 상대적으로 약하다. 선비, 여백, 풍류와 같이 재현 대상을 상징적으로 표현한 작품도 있었다. 둘째, 한옥마당을 재현하면서 잔디와 석재로 포장한 정원, 수원화성 성곽과 망루 서북공심돈(西北空心墩)을 분리하고 연계성 없는 용연(龍淵)을 미니어처 형태로 배치한 정원과 낙안읍성을 모티브로 하여 휴게공간에 낮은 장식담장으로 재현한 정원은 전통에 대한 깊이 있는 이해가 필요함을 보여준다. 반면 전통정원의 입지 선택, 주변 환경과 유기적 배치가 중요함을 보여준 한국정원, 한옥 중정이 가진 여백의 미와 선비가 누렸던 느림의 미학, 달밤 뱃놀이라는 풍류 문화를 재현한 작품들은 전통구조물 모사를 넘어 전통에 대한 이해가 정원문화와 정서로 확산된 양상이다. 셋째, 디자인과 관련하여 실제 크기의 전통구조물을 직설적 방법으로 재구성한 작품이 많았다. 취병으로 정원을 구획하고, 담장안에 부뚜막, 굴뚝, 텃밭 등으로 생활공간을 꾸미고, 경복궁, 소쇄원, 서석지를 대표하는 시설들을 유기적으로 배치하였다. 하지만 규모가 큰 수원화성과 낙안읍성을 추상적 방법으로 재현한 작품들로부터 핵심이 되는 디자인 요소의 취사선택, 구조물의 입면 구성, 공간의 스케일감에 대한 중요성을 인식하였다. 해체적 방법을 선택한 정원 중에는 원형 이미지와 멀어진 한옥 마당과 바자울의 사례가 있는 반면에 정육면체를 구성한 프레임만으로 표현한 여백의 정원과 많은 전통구조물로 달빛 스며든 선비의 사랑방을 재구성한 정원은 긍정적 사례이다. 현대적으로 디자인한 경관구성요소들을 전시한 서울 장인 정원, 직지심체정원, 풍류정원은 작가의 의도를 이해할 수 있는 설명이 필요하다.