동무의 사상의학은 단순히 임상적 차원에서만이 아니라 철학적 차원에서 자연관에 대한 중요한 인식론을 담고 있다. 그 내용으로서 사상의학의 사상체질을 마치 결정론적으로 해석하는 것에 대한 반론을 제기한다. 사상의학은 실체론에 근거한 서구 전통철학으로 볼 때 결정론적으로 보이지만 실제로는 인간의 의지를 더 중시하는 유기적 치심(治心)의 철학임을 보이고자 한다. 사상의학에서 본 인간의 창국단장(廠局短長)의 체질은 각기 태어나면서 정해진 것이지만, 그로 인해 모든 성정이 고정됨을 의미하는 것이 아니라 피심(治心)을 통하여 후천적인 변화와 자기 가변성에 초점을 두는 것이 바로 사상의학의 핵심이라고 본다. 철학적으로는 서구철학처럼 인식이 행위를 결정하는 것이 아니라 행위가 인식을 지배할 수 있다는 것을 주장하고자 했으며, 그 근거로서 사상의학에서 본 자연관을 도입하였다.
In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.
This study confirmed that a doctor named Lee, Seok-gan whose name has been widely known but whose real identity has remained unclear, was an active Confucian doctor in the 16th century. In addition, through the newly discovered "Daeyakbu" among his family line, writings, and relics that have been handed down in a family, this study looked into his medical philosophy and medicine culture. The author of "Ieseokgangyeongheombang"(Medical Book by Lee, Seok-gan(李石澗), Seok-gan is the same person as an active famous doctor Lee, Seok-gan(李碩幹, 1509-1574) in the 16th century. Such a fact can be confirmed through "Samuiilheombang", "Sauigyeongheombang" and the newly opened "Ieseokgangyeongheombang". Lee, Seok-gan was born in the 4th ruling year of king Jungjong (1509) and was active as a doctor until the 7th ruling year of king Seonjo(1547); his first name is Jungim with the pen name-Chodang, and he used a doctor name of 'Seokgan.' He was known as a divine doctor, and there have been left lots of anecdotes in relation with Lee, Seok-gan. Legend has it that Seokgan went to China to give treatment to the empress, and a heavenly peach pattern drinking cup and a house, which the emperor bestowed on Seokgan in return for his great services, still have remained up to the present. Usually, Seokgan interacted with Toegye Lee Hwang and his literary persons, and with his excellent medical skills, Seokgan once gave treatment to Toegye at the time of his death free of charge. His medical skills have been handed down in his family, and his descendant Lee, Ui-tae(around 1700) compiled a medical book titled "Gyeongheombangwhipyeon(經驗方彙編)". Out of Lee, Seok-gan's keepsakes which were donated to Sosu museums by his descendant family, 4 sorts of 'Gwabu'(writings of fruit trees) including "Daeyakbu" were discovered. It's rare to find a literary work left by a medical figure like this, so these discoveries have a deep meaning even from a medicine culture level. Particularly, "Daeyakbu" includes the typical "Uigukron". The "Uigukron", which develops its story by contrasting politics with medicine, has a unique writing style as one of the representative explanatory methods of scholars' position during the Joseon Dynasty; in addition, the distinctive feature of "Uigukron" is that it was created in the form of 'Gabu' other than a prose.
이 연구는 여러 가지 혼인 택일법 중에 기문둔갑으로 보는 혼인 택일법에 관한 연구이다. 특히 운곡 기문둔갑 이론을 바탕으로 혼인 택일법의 효용 가치와 타당성을 확인하고자 하였다. 즉 조선 시대에서 행사했던 관혼상제, 일반적인 공용(共用)의 날로 택일(擇日) 선시(選時)를 하는 것과는 확실히 다르게, 운곡기문 택일법은 본인의 사주에 맞게 개인만의 택일을 하는 차이가 있다. 운곡 기문학은 홍국수(洪局數)로 동양철학의 기본원리를 이용하여, 논리상 필연적(必然的)인 결론(結論)을 내게 한다는 연역법(演繹法)을 활용한다. 건명 또는 곤명의 결혼 날가림을 홍국수로 합생(合生)의 기본원리인 삼합, 반합, 육합, 생극, 그리고 형살(刑殺)과 삼살(三殺)을 이용하여, 시운(時運)은 일운(日運)에 귀속(歸屬)된다. 또한 일운(日運)은 월운(月運)에 귀속(歸屬)되고, 월운(月運)은 소운(小運)에 귀속(歸屬)되고, 소운(小運)은 대운(大運)에 귀속(歸屬)되고, 대운(大運)은 세(世)에 귀속(歸屬)된다. 이러한 논점의 운곡기문 혼인 택일법에 관한 이론 고찰 및 사례 분석을 통하여 타당성을 검증하였다. 연구의 결과는 운곡 기문둔갑의 혼인 택일법은 타 혼인 택일법에 비하여 다소 적중률이 높게 나타났음이 확인되었다.
In the book of , it is recorded that the names of ingressive stone stairs to the main shrine were Cheongwoongyo(blue cloud bridge) and Baekwoongyo(white cloud bridge) and the names of stairs to the paradise hall were Yeonwhagyo(lotus bridge) and Chilbogyo(seven treasure bridge). But, the ingressive stone stairs to the main shrine and the paradise hall are single consecutive stairs with 2 levels respectively. Because of this, it is rather hard to clearly designate the names to the upper level and the lower level stairs. But, of the stairs to the Paradise hall, the lower stairs have a carving of lotus, and the upper stairs have seven stairs. In this aspect of artifacts, we can safely assume that the upper stairs are Chilbogyo and the lower are Yeonwhagyo. But, for the ingressive stairs to the main shrine, there is no such artificial hint. So, it is difficult to designate the upper and the lower stairs for the two bridges. Especially, it is not clear whether the descriptive order of "lower stairs upper stairs" in the names of Yeonwhagyo and Chilbogyo can be applied to the names of stairs to the main shrine. It is because the general descriptive order is "upper lower" rather than "lower upper." Even though there have been many studies on the Bulguksa temple, the study on the ingressive stone stairs to the main shrine has not made till now. Therefore, the study on the position of Cheongwoongyo and Baekwoongyo stairs can have its validity. In this paper, the positional approach to Cheongwoongyo and Baekwoongyo has been made in following aspects: First, the temple structure of Bulguksa; Second, the five element theory of oriental philosophy and the Book of Changes; Third, the directional consciousness of Buddhism. Through the aspects, the validity of up-down position of Cheongwoongyo and Baekwoongyo has been sought. In this research, it can be concluded that the upper level of ingressive stone stairs to the main shrine of Bulguksa is Cheongwoongyo and the lower level is Baekwoongyo. When considered in the Buddhist directional consciousness, it forms the total structure of "East-Cheongwoongyo South- Baekwoongyo West-Yeonwhagyo North-Chilbogyo."
이 글의 목표는 양웅(揚雄)과 갈홍(葛洪)의 '현(玄)' 개념을 우주구조에 관한 이론을 중심으로 살펴보는 것이다. 고대 중국의 우주구조론은 '천(天)'에 대한 이해로부터 출발하여, 천체의 구조, 천지의 구조 및 위치관계 등의 문제를 통해 한대(漢代)에 그 이론이 체계적으로 정립되었다. 다만 중국 전통시기의 우주구조에 관한 논의는 대부분 천문(天文)과 역법(曆法)을 통해 발전했듯이, 인간의 관점에서 인간사를 해명하기 위해 전개되었다. 양웅과 갈홍 또한 이러한 맥락에서 각자의 우주구조론 체계를 정립하는데, 그 특징은 다음과 같다. 첫째, 양웅은 우주구조론가운데 개천설(蓋天說)을 비판하며 혼천설(渾天說)을 수용하여 발전시켰고, 갈홍은 혼천설을 지지하는 가운데 선야설(宣夜說)의 일부 논의를 수용하였다. 둘째, 양웅과 갈홍의 우주구조론은 그들의 우주생성론의 이론적 출발점이다. 천체의 구조와 천지의 위치관계를 다루는 우주구조론을 중심으로, 그들은 각자 우주만물 생성의 근원과 생성과정에 대한 논의를 전개한다. 이 과정에서 두 학자 모두 '현(玄)' 개념을 중심축으로 하여 우주론 체계를 건립하였다. 셋째, 양웅과 갈홍의 우주구조론은 그들 철학체계를 지탱하는 이론적 전제가 된다. 양웅은 우주구조에 관한 논의를 통해 천도(天道)와 인사(人事)의 관계를 모색하고, 갈홍은 우주구조론을 활용하여 신선도교 이론체계를 정립한다. 이처럼 양웅과 갈홍의 우주구조론은 우주생성론과 함께 우주론체계의 중요 구성 요소가 되며, 두 학자 모두 '현' 개념 중심의 우주구조론과 우주생성론을 바탕으로 각자의 철학체계를 정립하였다.
Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.
Inferential structure and reality problem is a serious issue to O.M.(oriental medicine). The study will analyze this issue through a philosophical and historical comparative study of W.M.M(Western modern medicine) and O.M. First, I presuppose some basic ideas. The first is the division of the 'the philosophy of medicine' and 'the medicine itself'. Second, there is a 'visibility' that discriminate between 'the abstractive concept' and 'the concrete object' in diagnostic terminology. The third is the separation of disease, the entity and disease, the phenomenon. Finally, the distinction between the cause of disease and the nature of disease. Through these basic concepts, this study will analyze O.M's diagnostic methodology, 'Pattern identification of the S.A.S(sign and symptom)'. The results are follows: 1. O.M's views disease as a phenomenon. So, the S.A.S, which is visible, is the disease itself. Tough the analysis and inference of the S.A.S, 證(zheng) the essence is derived. 2. 證(zheng) can be considered as 'the abstractive concept' reflecting the essence of a disease. 3. 證(zheng) is not arrived through causal sequence reasoning but rather by analogical reasoning. 4. 證(zheng) is 'the non-random correlative combination of S.A.S', pattern. These patterns secure the abstractive deduction in reality. that is, The causality, the positivism, the view of disease as entity, and anatomical knowledge are the traits peculiar to W.M.M. But, these properties can not be applied universally to every medical systems. Also, these properties do not indicate the superiority or inferiority of any medical system. 5. 證(zheng) summarizes the patients condition simultaneously with the S.A.S. However, 證(zheng) doesn't necessarily indicate the knowledge about the actual internal organ. That is, Early in O.M.'s history, the diagnostic terminologies including 證(zheng) were analogical reflections of a naive knowledge of internal organs and external environmental factors. Later, the naive knowledge in 證(zheng) changed int new nature, an abstractive concept. The confusion of the concept of disease, the indiscriminate acceptance of Western anatomical knowledge, and the O.M.'s theoretical evolution et are the challenge facing modern O.M. To find solutions, this study looks at the sequence of the birth of W.M.M. and then compares it's system with the O.M. system. The confusion of the concept of disease, the indiscriminate acceptance of Western anatomical knowledge, and the O.M.'s theoretical evolution et are the challenge facing modern O.M. To find solutions, this study looks at the sequence of the birth of W.M.M. and then compares it's system with the O.M. system. It is recommended that O.M. diagnostics should pay close attention to the ambiguity of the diagnostic methodology in order to further development. At present time, the concept and the system peculiar to O.M. can not be explained by common language. but O.M.'s practitioner can not persist in this manner an: longer. Along with the internal development of O.M., the adjustment of O.M.'s diagnostic terminology needs to be adopted.
Louisiana Museum of Modern Art near Copenhagen is the most visited art museum in Denmark. It was originally founded by the director of the time, Knud W. Jensen and designed by two Danish architects, Vilhelm Wohlert and J${\o}$rgen Bo. The first part of the museum was built and opened to the public in 1958. The first part consisted of just a few exhibition spaces and glass corridors. But museum has been expanded step by step into a large park-like museum throughout 40 years of time. Louisiana museum has a unique environment in which art, architecture and nature are inter-related together. There was a very clear background for this museum atmosphere that was created by Knud W. Jensen from the very beginning. He wanted to make 'a sculptural park' or 'a low pavilion in the park'. The concept of 'park' was the key element. The architects, especially Vilhelm Wohlert who studied at the western area of the United States and influenced by the bay area architecture as well as the oriental wooden structure, interacted with the director's idea fully and made an invisible architecture in which 'Experience of Space' is the most important aspect. This thesis aims to analyze several crucial spaces of the museum and to find a hidden design characteristics. Chapter 2&3 explains general backgrounds and main design philosophy. Chapter 4 studies each parts' spatial experience and design methods with 3-dimensional diagrams. Chapter 5 tries to make an overall design characteristics that underlines the whole museum environment. The significance of Louisiana museum is not only in the fact that it is the most visited, but also in the fact that the role of architecture is to make a better environment where human and art are harmonized together within nature. The utopian idea of the founder started in doubt almost 50 years ago has been already successful in this small but vibrant park.
Ecosystem and environment have been a serious challenge facing the modern society. It's been the new paradigm from ecological view of the world and the alternative based on Orientalism. From the Oriental standpoint, ecological aesthetics and sustainable architecture are no longer new, which then servers the background of this study. The nature and the space, the life where the human is harmonized and integrated and the wish to make the balance through that life are the basic philosophy which the Orientalism has pursued. Based on such a basic concept, the study is intended to review the connectivity, expression approach and the features in Korean traditional residential space based on previous studies on ecological aesthetics and sustainable architecture. Such attempt is meaningful in seeking the possibility of presenting the new frame as well as forming the various views to the traditional space and spatial recognition. The nature was categorized into tangible element and intangible element and also direct approach and indirect approach before evaluating the characteristics. Sustainable architecture is not the concept to simply maintain or sustain the environment, but plays more important role in economical aspect. Traditional space accommodates the nature and circulation principle and the circulation in the nature controls the energy and enhances the efficiency, playing significant role. The nature itself serves the alternative energy and has the aesthetic element in such a way of concealing itself. This study is intended to analyze the Byulseo Jeongwon which formed many relations with the nature and the residential space, thereby identifying the expression characteristics of eco-aesthetic sustainable architect. This study offers the answers with regard to the coexistence of the expression characteristics of sustainable architecture with the nature, space and the human from eco aesthetic viewpoint as well as the solution in dealing with the ecological and environmental challenges. Furthermore, it suggested the possibility that the traditional space would possibly be succeedable in new and creative way and sought the way for coexistence among the nature, space and human and eco aesthetics, and finally paved the pivotal foundation as the sustainable design alternative in future.
본 웹사이트에 게시된 이메일 주소가 전자우편 수집 프로그램이나
그 밖의 기술적 장치를 이용하여 무단으로 수집되는 것을 거부하며,
이를 위반시 정보통신망법에 의해 형사 처벌됨을 유념하시기 바랍니다.
[게시일 2004년 10월 1일]
이용약관
제 1 장 총칙
제 1 조 (목적)
이 이용약관은 KoreaScience 홈페이지(이하 “당 사이트”)에서 제공하는 인터넷 서비스(이하 '서비스')의 가입조건 및 이용에 관한 제반 사항과 기타 필요한 사항을 구체적으로 규정함을 목적으로 합니다.
제 2 조 (용어의 정의)
① "이용자"라 함은 당 사이트에 접속하여 이 약관에 따라 당 사이트가 제공하는 서비스를 받는 회원 및 비회원을
말합니다.
② "회원"이라 함은 서비스를 이용하기 위하여 당 사이트에 개인정보를 제공하여 아이디(ID)와 비밀번호를 부여
받은 자를 말합니다.
③ "회원 아이디(ID)"라 함은 회원의 식별 및 서비스 이용을 위하여 자신이 선정한 문자 및 숫자의 조합을
말합니다.
④ "비밀번호(패스워드)"라 함은 회원이 자신의 비밀보호를 위하여 선정한 문자 및 숫자의 조합을 말합니다.
제 3 조 (이용약관의 효력 및 변경)
① 이 약관은 당 사이트에 게시하거나 기타의 방법으로 회원에게 공지함으로써 효력이 발생합니다.
② 당 사이트는 이 약관을 개정할 경우에 적용일자 및 개정사유를 명시하여 현행 약관과 함께 당 사이트의
초기화면에 그 적용일자 7일 이전부터 적용일자 전일까지 공지합니다. 다만, 회원에게 불리하게 약관내용을
변경하는 경우에는 최소한 30일 이상의 사전 유예기간을 두고 공지합니다. 이 경우 당 사이트는 개정 전
내용과 개정 후 내용을 명확하게 비교하여 이용자가 알기 쉽도록 표시합니다.
제 4 조(약관 외 준칙)
① 이 약관은 당 사이트가 제공하는 서비스에 관한 이용안내와 함께 적용됩니다.
② 이 약관에 명시되지 아니한 사항은 관계법령의 규정이 적용됩니다.
제 2 장 이용계약의 체결
제 5 조 (이용계약의 성립 등)
① 이용계약은 이용고객이 당 사이트가 정한 약관에 「동의합니다」를 선택하고, 당 사이트가 정한
온라인신청양식을 작성하여 서비스 이용을 신청한 후, 당 사이트가 이를 승낙함으로써 성립합니다.
② 제1항의 승낙은 당 사이트가 제공하는 과학기술정보검색, 맞춤정보, 서지정보 등 다른 서비스의 이용승낙을
포함합니다.
제 6 조 (회원가입)
서비스를 이용하고자 하는 고객은 당 사이트에서 정한 회원가입양식에 개인정보를 기재하여 가입을 하여야 합니다.
제 7 조 (개인정보의 보호 및 사용)
당 사이트는 관계법령이 정하는 바에 따라 회원 등록정보를 포함한 회원의 개인정보를 보호하기 위해 노력합니다. 회원 개인정보의 보호 및 사용에 대해서는 관련법령 및 당 사이트의 개인정보 보호정책이 적용됩니다.
제 8 조 (이용 신청의 승낙과 제한)
① 당 사이트는 제6조의 규정에 의한 이용신청고객에 대하여 서비스 이용을 승낙합니다.
② 당 사이트는 아래사항에 해당하는 경우에 대해서 승낙하지 아니 합니다.
- 이용계약 신청서의 내용을 허위로 기재한 경우
- 기타 규정한 제반사항을 위반하며 신청하는 경우
제 9 조 (회원 ID 부여 및 변경 등)
① 당 사이트는 이용고객에 대하여 약관에 정하는 바에 따라 자신이 선정한 회원 ID를 부여합니다.
② 회원 ID는 원칙적으로 변경이 불가하며 부득이한 사유로 인하여 변경 하고자 하는 경우에는 해당 ID를
해지하고 재가입해야 합니다.
③ 기타 회원 개인정보 관리 및 변경 등에 관한 사항은 서비스별 안내에 정하는 바에 의합니다.
제 3 장 계약 당사자의 의무
제 10 조 (KISTI의 의무)
① 당 사이트는 이용고객이 희망한 서비스 제공 개시일에 특별한 사정이 없는 한 서비스를 이용할 수 있도록
하여야 합니다.
② 당 사이트는 개인정보 보호를 위해 보안시스템을 구축하며 개인정보 보호정책을 공시하고 준수합니다.
③ 당 사이트는 회원으로부터 제기되는 의견이나 불만이 정당하다고 객관적으로 인정될 경우에는 적절한 절차를
거쳐 즉시 처리하여야 합니다. 다만, 즉시 처리가 곤란한 경우는 회원에게 그 사유와 처리일정을 통보하여야
합니다.
제 11 조 (회원의 의무)
① 이용자는 회원가입 신청 또는 회원정보 변경 시 실명으로 모든 사항을 사실에 근거하여 작성하여야 하며,
허위 또는 타인의 정보를 등록할 경우 일체의 권리를 주장할 수 없습니다.
② 당 사이트가 관계법령 및 개인정보 보호정책에 의거하여 그 책임을 지는 경우를 제외하고 회원에게 부여된
ID의 비밀번호 관리소홀, 부정사용에 의하여 발생하는 모든 결과에 대한 책임은 회원에게 있습니다.
③ 회원은 당 사이트 및 제 3자의 지적 재산권을 침해해서는 안 됩니다.
제 4 장 서비스의 이용
제 12 조 (서비스 이용 시간)
① 서비스 이용은 당 사이트의 업무상 또는 기술상 특별한 지장이 없는 한 연중무휴, 1일 24시간 운영을
원칙으로 합니다. 단, 당 사이트는 시스템 정기점검, 증설 및 교체를 위해 당 사이트가 정한 날이나 시간에
서비스를 일시 중단할 수 있으며, 예정되어 있는 작업으로 인한 서비스 일시중단은 당 사이트 홈페이지를
통해 사전에 공지합니다.
② 당 사이트는 서비스를 특정범위로 분할하여 각 범위별로 이용가능시간을 별도로 지정할 수 있습니다. 다만
이 경우 그 내용을 공지합니다.
제 13 조 (홈페이지 저작권)
① NDSL에서 제공하는 모든 저작물의 저작권은 원저작자에게 있으며, KISTI는 복제/배포/전송권을 확보하고
있습니다.
② NDSL에서 제공하는 콘텐츠를 상업적 및 기타 영리목적으로 복제/배포/전송할 경우 사전에 KISTI의 허락을
받아야 합니다.
③ NDSL에서 제공하는 콘텐츠를 보도, 비평, 교육, 연구 등을 위하여 정당한 범위 안에서 공정한 관행에
합치되게 인용할 수 있습니다.
④ NDSL에서 제공하는 콘텐츠를 무단 복제, 전송, 배포 기타 저작권법에 위반되는 방법으로 이용할 경우
저작권법 제136조에 따라 5년 이하의 징역 또는 5천만 원 이하의 벌금에 처해질 수 있습니다.
제 14 조 (유료서비스)
① 당 사이트 및 협력기관이 정한 유료서비스(원문복사 등)는 별도로 정해진 바에 따르며, 변경사항은 시행 전에
당 사이트 홈페이지를 통하여 회원에게 공지합니다.
② 유료서비스를 이용하려는 회원은 정해진 요금체계에 따라 요금을 납부해야 합니다.
제 5 장 계약 해지 및 이용 제한
제 15 조 (계약 해지)
회원이 이용계약을 해지하고자 하는 때에는 [가입해지] 메뉴를 이용해 직접 해지해야 합니다.
제 16 조 (서비스 이용제한)
① 당 사이트는 회원이 서비스 이용내용에 있어서 본 약관 제 11조 내용을 위반하거나, 다음 각 호에 해당하는
경우 서비스 이용을 제한할 수 있습니다.
- 2년 이상 서비스를 이용한 적이 없는 경우
- 기타 정상적인 서비스 운영에 방해가 될 경우
② 상기 이용제한 규정에 따라 서비스를 이용하는 회원에게 서비스 이용에 대하여 별도 공지 없이 서비스 이용의
일시정지, 이용계약 해지 할 수 있습니다.
제 17 조 (전자우편주소 수집 금지)
회원은 전자우편주소 추출기 등을 이용하여 전자우편주소를 수집 또는 제3자에게 제공할 수 없습니다.
제 6 장 손해배상 및 기타사항
제 18 조 (손해배상)
당 사이트는 무료로 제공되는 서비스와 관련하여 회원에게 어떠한 손해가 발생하더라도 당 사이트가 고의 또는 과실로 인한 손해발생을 제외하고는 이에 대하여 책임을 부담하지 아니합니다.
제 19 조 (관할 법원)
서비스 이용으로 발생한 분쟁에 대해 소송이 제기되는 경우 민사 소송법상의 관할 법원에 제기합니다.
[부 칙]
1. (시행일) 이 약관은 2016년 9월 5일부터 적용되며, 종전 약관은 본 약관으로 대체되며, 개정된 약관의 적용일 이전 가입자도 개정된 약관의 적용을 받습니다.