• 인문언어
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• 제6권
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• pp.147-166
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• 2004

Whitehead's discussion of language is not to be found in any one book or article. It is interwoven with his discussion of many other questions. He was, however, greatly concerned with the problem of symbolism in general and the uses of language. He regards language, spoken or written, as an instrument devised by men to aid them in their adjustment to the environment in which they live Language is used for many specific purposes in the process of this adjustment. Words are employed not only to refer to data and to express emotions. They may be used also to record experiences, and thoughts about these experiences. Worts also function as instruments in the organization of experiences as they are considered in retrospect. Thus words free us from the bondage of the immediate. And Whitehead's theory of meaning is implicit in his discussion of the functions of language. According to him, the human mind is functioning symbolically when some components of its experience elicit consciousness, beliefs, emotions, and usages, respecting other components of its experiences. The former set of components are the 'symbols', and the latter set constitute the 'meaning' of the symbols. Whitehead points out that one word may have several meanings, i.e. refer to several different data. In order to understand, thus, the meaning to which a word refers, it is sometimes very important to appreciate the system of thought within which a person is operating. Further, Whitehead's discussion of language includes a number of cogent warning the deficiencies of language, and hence the need for great care in the use of words. In fact, language developed gradually. For the most part we have created words designed to deal with practical problems. Attention focuses on the prominent features in a situation, in particular the changing aspects of things. With reference to such data our words are relatively adequate. However, this issues in an unfortunate superficiality. The enduring, the subtle, the complex and the general aspects of the universe do not have adequate verbal representation. for this reason, Whitehead's position concerning the uses of language in speculative philosophy is stated with pungent directness. The uncritical trust in the adequacy of language is one of the main errors to which philosophy is liable. Since ordinary language does not do justice to the generalities, profundities and complexities of life, it is obvious that philosophy requires new words and phrases, or at least the revision of familiar words and phrases. Proceeding to develop the theme Whitehead contends that words and phrases must be stretched towards a generality foreign to their ordinary usage. In the same vein Whitehead refers to the need to realize that language which is the tool of philosophy needs to be redesigned just as in physical science available physical apparatus needs to be redesigned. But even these words and phrases, stretched or redesigned, are never completely adequate in philosophical speculations. They are, in his opinion, merely a great improvement over ordinary language or the language science, mathematics or symbolic logic.

• 한국지구과학회지
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• 제28권4호
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• pp.393-404
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• 2007

본 연구의 목적은 우리나라 10학년 과학 교과서 지구 분야에 등장하는 과학적 모델을 분류해 보는 것이었다. 과학적 모델을 표상 매체, 표상 방법, 모델의 가동성이라는 세 가지 차원에서 검토할 수 있도록 개발된 분류틀을 이용하여 11종 교과서의 지구과학 관련 단원을 분석하였다. 연구의 결과, 과학 교과서들은 지구과학의 세부 영역의 본성이 반영된 영역-특이적인 모델들을 수록하고 있는 것을 알 수 있었다. 즉, '지구의 변동' 단원은 접근이 용이하지 않은 지구의 내부 구조나 판들의 운동을 표상하는 모상 모델을 많이 포함하고 있었는데, 이들은 대부분 평면적 그림 모델과 정적 모델에 속하였다. '대기와 해양' 단원에서는 일기도나 해수의 온도와 염분을 나타낸 등치선도 등을 포함한 기호모델과 도해적 모델이 많이 등장하였다. '태양계와 은하' 단원에서는 규모가 큰 천체나 그들의 운동을 표상하는 모상 모델이나 유비 모델의 비율이 상대적으로 높게 나타났다. 이러한 분석 결과가 지구과학 교육과 관련 연구에 시사하는 바를 논의하였다.

• 한국학교수학회논문집
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• 제10권1호
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• pp.27-43
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• 2007

본 연구의 목적은 이공계 대학생들에게 수학에 대한 동기유발과 수학학습에 도움을 주기 위하여 기반 학습 시스템을 개발하는 것이다. 이를 위하여 Mathematica와 웹 연동을 가능하게 해주는 webMathematica를 사용하여 이공계 대학생을 위한 미적분학습용 웹 콘텐츠 시스템인 MathBooster를 제작하였다. 이공계 대학생을 위한 웹 콘텐츠의 구성은 먼저 미적분의 개념을 그래프와 같은 시각화한 그림을 사용함으로써 흥미와 동기의 유발, 그리고 개념 형성을 위해 요소 지식에 관련된 내용을 수식과 텍스트로 제시하였다. 또한 단계별 풀이과정이 제시되는 예제를 제공하여 개념의 이해를 통한 응용력을 배양하도록 콘텐츠를 제공하였다. 학습자의 이해력을 확인하기 위하여 퀴즈를 제공하였으며 베이지언 네트워크를 이용하여 학습자의 퀴즈 풀이 결과에 따라 해당 콘텐츠에 대한 학습의 이해 정도를 진단하는 기능을 개발하였다. 이공계 수학용 웹 콘텐츠의 형성평가를 위하여 MathBooster에 대한 사용자의 반응, 화면구성의 적절성, 실습하기 모드의 만족도, 퀴즈, 진단결과, 피드백 만족도 등의 네 영역으로 구분하여 설문지를 작성하였다. MathBooster의 실습을 마친 이공계 학생을 대상으로 설문지를 배포하였으며 영역별로 통계 처리한 결과 MathBooster 사용에 대한 높은 만족도를 보여 주었다. 이 결과에 따라 향후 시스템을 수정보완 할 과제를 제시하였다.

• 조형예술학연구
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• 제10권
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• pp.183-218
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• 2006

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.

• 한국전통조경학회지
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• 제29권2호
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• pp.139-148
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• 2011

본 연구는 세계문화유산으로 지정된 조선왕릉의 관리를 담당한 관직인 능참봉직을 소재로 하여 "경국대전(經國大典)", "속대전(續大典)", "대전회통(大典會通)", "조선왕조실록(朝鮮王朝實錄)", 각종 의궤(儀軌), 능지(陵誌), "일성록", 능참봉 일기 등 관련 고문헌의 내용분석을 중심으로 능참봉의 조경가적 역할을 규명하는 기초연구로 수행되었으며, 요약된 연구결과는 다음과 같다. 첫째, 능참봉(陵參奉)은 종9품 참봉 2인으로 구성되고 능참봉직은 생원 진사 혹은 유학중에 삼망(三望)을 거쳐 임명이 되는 음직(蔭職)으로 임용기준은 '연소하지 않고 경륜이 있는 자'를 선발하였으며, 왕릉수호의 상징성으로 인해 관직진출의 수단이 되었다. 둘째, 능참봉의 업무체계는 품계서열을 따랐으나 지리상의 여건 등으로 봉심과 능의 공사감독 등 실제보다 많은 권한과 다양한 직무를 수행하였으며, 능수호군 관리 및 능지작성 등 조선왕릉 관리에 중요한 역할을 수행하였다. 셋째, 능참봉의 조경관련 직무 중 봉심은 능상의 석물이나 사초, 정자각 등을 정기적으로 예찰하여 예조에 보고하는 것이며, 경국대전과 속대전에 봉심의 체계와 방법 등이 자세히 규정되어 있었다. 넷째, 능참봉의 조경관련 직무 중 수목관리 및 능역공사 감독은 조경식물에 대한 기본적 이해와 관리능력과 건축 토목을 망라한 공간에 대한 다양한 식견이 요구되는 직무로 조선왕릉의 현장관리 실무자로써 지방관과의 수직적인 관계의 유동성 확보와 산림부산물 처리에서 암묵적 권한과 관리 책임이 부여되었으며, 오늘날 조경가의 직무성향과 관련성이 깊다. 능참봉의 조선시대 조경관련 직무에 대해 좀 더 폭넓은 문헌 발굴 및 고증으로 조선시대 능참봉의 조선왕릉 조경관리자로서의 역할과 능참봉과 조선왕릉의 조경사적 가치 규명을 위한 후속 연구가 요구된다.