• 건축역사연구
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• 제24권6호
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• pp.35-44
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• 2015

The purpose of this study is to critically investigate the ways in which scholars and architects in Korea have theorised the tradition in Korean architecture from the early 20th century to the present. After opening the door to foreign powers, the most important issue to be resolved in Korea architecture has been the modernization of the traditional architecture. The successful modernization of Korean traditional architecture depends on successful theorization of the tradition. However, many attempts to theorise the uniqueness of tradition in Korean architecture had not been instrumental to the modernization of Korean traditional architecture. The reason why they were not successful lies in the lack of philosophical and methodological reflection upon how to approach the tradition. They were either trapped in ambiguous essentialism without systematic methods and theories, or simply inventing the tradition from the vantage point of the present. This paper argues that in order to theorise the tradition, one need to translate the tradition into contemporary architectural vocabularies. What is important in translating the tradition is not to directly apply contemporary concepts and perceptual frame of architecture to traditional architecture but to find the gaps and differences between the two. This will open hermeneutic spaces to translate the tradition into useful principles and vocabularies of comtemporary architecture.

• 한국과학교육학회지
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• 제33권6호
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• pp.1119-1138
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• 2013

국내 과학교육연구 문헌에서 argument와 argumentation이 소개되고 연구되어온 지 거의 10년이 되었고, 그 용어가 크게 세 가지 단어로 번역이 됨을 관찰할 수 있다. 이 연구의 목적은 국내 과학교육 문헌에서 두 용어가 어떻게 정의되고 있으며, 어떤 상황에서 사용하는지를 고찰하여 다양하게 번역된 용어들의 의미를 명료화하는 것이다. 이를 위해 번역의 다양성에 관한 철학적 관점에서 외국 과학교육 문헌에서 argument와 argumentation의 정의와 그 연구 맥락을 검토하고, 국내의 관련 문헌을 고찰하였다. 고찰된 문헌은 2000년 이후 제목에 argument와 argumentation을 포함하는 79개의 외국 주요 과학교육저널에 실린 논문과 그 두 용어의 번역어를 제목에 포함한 37개의 국내 과학교육 논문이다. 분석 결과 국내 연구자들은 연구 맥락에 따라 argument와 argumentation을 일반적인 상황에서의 정의 또는 탐구의 한 측면과 같은 구체적인 상황에 기인한 정의를 제시하는 것으로 드러났다. 대부분의 국내 과학교육 논문에서 번역 용어의 다양성에 관해 명시적으로 언급하지 않았으며, 언급한 경우에도 하나의 예외를 제외하고 선택한 번역용어를 사용한 이유를 제시하지 않았다. 또한 argument 또는 argumentation의 정의를 위해 여러 연구자들이 동일한 외국 문헌을 고찰하였음에도 불구하고 연구자마다 서로 다른 번역어를 사용하였다. 이는 그 용어의 정의와 특정 번역어의 사용은 연구자들에게는 관련이 없음을 보여주었다. 반면, 특정 연구 집단이 특정 번역어를 일관되게 사용하는 것으로부터 번역이 실천적 습관일 수 있다고 분석하였다. 연구결과로부터 번역 용어의 결정에 관한 입장을 연구 전문성과 연구집단 간의 의사소통의 측면에서 제시하였다.

• 비교문화연구
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• 제20권
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• pp.225-240
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• 2010

Soon after joining the Canadian Confederation in 1867, the province of Quebec adopted the phrase Je me souviens ("As I recall") as its 'national' motto, although many Qu?b?cois do not remember today what they were supposed to memorize, as collective subject, when their government voted this motion. My thesis is that contrary to other countries which have a strong sense of history based on a secular tradition, this process was more complicated in Quebec - as if a collective memory loss lied at the heart of it's history. Through a rereading of Hubert Aquin's cult novel, Trou de m?moire (in its English translation Blackout), first published in 1968, I try to illustrate this paradox and to emphasize the heuristic functions of memory blanks, gaps and lapses in certain postmodern narratives, after the historical breakdown of "the great narratives" (Lyotard). In this perspective, the example of Quebec, through the voice of one of its more gifted yet controversial novelist, can be seen as emblematic of what happens when the mnemonic impossibility of rewriting history opens up new possibilities for writing fiction.

• 철학연구
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• 제147권
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• pp.147-178
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• 2018

이 글에서 필자는 서구중심주의적 사유 패러다임으로 인해 전통과 근대의 이원론적 대립 구도를 자명한 것으로 받아들이는 태도가 한국 헌법의 형성 과정에 대한 학적 탐색을 어떻게 쉽게 헤어 나올 수 없는 논리적 긴장에 휘말리게 하는지를 살펴볼 것이다. 이를 통해 우리사회의 민주주의가 서구 세계로부터 받은 영향에도 불구하고 그것을 나름의 전통을 매개로 하여 능동적이고 주체적으로 해석해 온 역사적 산물이라는 점에 대한 인식이 더 설득력이 있음을 분명하게 할 것이다. 달리 말해 이렇게 할 경우에만 대한민국 제헌헌법의 정신을 조선사회에서 축적된 유교적인 대동이념의 전통을 바탕으로 하여 서구 민주주의 및 공화주의를 나름의 방식으로 이해하고 번역하여 그것을 우리사회에 창조적으로 적용한 역사적 산물로 바라볼 수 있을 것이다. 따라서 유교적 대동정신의 영향사의 지평 속에서 한국의 민주공화국 헌법 정신의 역사적 근원이 제대로 이해될 수 있다는 점을 제시해 보는 것이 이 글의 기본적인 문제의식이다.

• 비교문화연구
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• 제22권
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• pp.223-277
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• 2011

Tan Yuanjie(譚元杰) of CHINA COSTUME ART OF PEKING OPERA("中國京劇服裝圖譜") is 'Foreword' attention from the bar 'Formalism'. A note is makeup system from ever performances here, 'what kind of adaptation must be a corresponding type of costume should be worn.' This stance to 'type of person's identity and faced the scene correlated' with the actual performance tradition plays out is going and, while here the rules to capture the opera's on the character of 'identity and the circumstances under clothing' is defined. This position discussed previously 'Formalism' in line with the will he perform, and looks to meet the elements of production. This basic stance is clean up, while 'Old Beijing Opera costumes costumes taxonomy largely' literary costume' and 'militant outfit' into two groups divided over throughout steamroll surgery, because surely need to have a more systematic classification. The classification system was established as 'Part 1. Mang, Part 2. Pi, Part 3. Xi, Part 4. Kao, Part 5. YI'. In addition to these classification systems, as well as the aforementioned 'object theory' Given the symbolic significance of the capacity to keep in mind is necessary. Costumes conduct, character, situation, atmosphere and so the transport of charged symbols here, a target symbol of the system is the projection of water. This costume is detrimental to the mall for the positionsay, but I kept in mind damwongeolyi internationalization of Chinese culture. when you see the view from the perspective of semiotic systems for the sign, that the theater is necessary to complement. In this paper, 'Yi(衣)' costume on the corresponding point of the target compared to the China Culture Department of Theatre and Folklore methodology ran off and sprinting was to lay the groundwork for research.

• 한국조경학회지
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• 제23권2호
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• pp.223-241
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• 1995

Ji Cheng's great work on garden design, the 'Yuanye'(Craft of garden), written in 1631 and originally published in 1634 is the first surviving manual on landscape gardening in the Chinese tradition. This study aims at investigating not only Ji Cheng's life, achievements companionship and design activities, but also the xylographic copies, literary style, and framework of Yuanye in their historical context in order to provide the bases for further study, Ji Cheng was exellent in poetry and painting. And he constructed Dongdiyuan in Changzhou around 1623, Wuyuan in Yiaheng in 1631, and Yingyuan in Yangzhou around 1634 But no poems, paintings, and gardens designed by hi shill exist Therefore his design phi philosophy is able to be interpreted only by his work, Yuanye. After publishing, Yuanye fell into obscurity for several centuries in Chlna. It was redescovered and reprinted for the first time in 1931. Yuanye is composed of prefaces and main text The main text is divided into 'the Theory of Construction' and 'on Gardens', and the latter also into 10 sections. In this text Ji Cheng explains the aesthetic principles underlying garden design and the appropriate emotional response to various efftcts Especially, he emphasizes the importance of basin the garden design on the taxi ting nature and features of landscape and making use of natural scenery. The literary style of the book is highly mannered, and there are so many poetic descriptions and Ji Cheng's native Jiangsu dialects. So the translation of the original text is very difficult After this, the major design concepts of Ji Cheng's landscape gardening theory and whole network of these concepts have to be studied.

• 한국시조학회지:시조학논총
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• 제30집
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• pp.241-262
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• 2009

본고의 연구 목적은 한국 전통시가의 대표적인 장르인 시조를 한시로 번역한 시조한역시 자료의 전체 현황을 정리하는 것이다. 시조의 한역은 주로 17세기부터 19세기까지 이루어졌다. 본고에서 조사한 바에 의하면 시조를 한역한 문인은 120명 정도이다. 한역 된 시조는 작품이 밝혀진 것이 759수이고 원시조를 확인하지 못한 것이 135수이다. 따라서 900여수에 가까운 시조가 한역되었다는 것을 알 수 있다. 또 시조 1수가 여러 편의 한역시로 번역되는 경우가 있기 때문에 실제 시조 한역시는 더 많다. 본고에서 조사한 바에 의하면 전체 한역시는 1356수에 달한다. 결국 시조 900여 수가 한시 1400여 수로 한역되었다고 할 수 있다. 시조의 한역은 한두 편씩 단편적으로 이루어지는 경우도 있지만 대개 10여수에서 100수가 넘는 작품에 이르기까지 연작을 이루는 경우가 많다. 연작시에는 유행하는 시조 가운데서 임의로 수집에서 한역한 경우와 원래 연작형을 이루고 있는 특정 작품이나 특정 인물의 작품만 한역한 경우가 있다. 전자는 신위의 <소악부>를 비롯해서 22인의 한역시 연작 27편이 있고 전체 한역시는 652수이다. 후자는 송시열이 번역한 <고산구곡가번문> 10수를 비롯해서 30인의 연작26편이 있고 전체 한역시는 525수이다. 그리고 1수에서 5-6수 정도로 단편적인 형태를 이루고 있는 시조 한역시 단편은 70여 인의 작품에 한역시는 180수 정도가 된다. 본고를 통하여 방대한 시조한역시의 규모와 자료 문헌적 성격이 드러났다. 한시 양식으로 번역되어 전승된 시조 한역시 자료는 시조의 창작과 전승과정 등을 연구하는 데 필요한 자료적 가치를 지니며, 국문문학과 한문학이 상호작용한 교섭양상과 조선후기 한시사의 변화 양상을 파악하는 데 귀중한 자료적 가치를 갖는다고 할 수 있다.

• 기록학연구
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• 제1호
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• pp.189-217
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• 2000

In this article I tried to take an overview of the training course of Chinese Archivists. The emphasis of this work lies on the development of the Archives College of Renmin. Univ. of China after the Cultural Revolution. It includes also the development in 1950's and early '60's. An overview of the Chinese development in 1950's and early '60's will be helpful for the development of Korean archival system, especially in training of archivists. What is necessary above all in our today's situation is to bring some experiences from the advanced countries in this field. It can be carried out in two ways : the empirical studies of archival development in foreign countries and the systematic translation of their publications. It also needs an establishment of professional institutes for the archival studies in Korea. In fact the professional archivists are now hardly found in Korea. Those scholars working in the archival areas now are not archival specialists in their academic origin. Because of the urgent needs some scholars of related fields, i.e. history and library science, take over the roles of researchers and instructors in archival studies. It is therefore very urgent to offer the environment where the archivists are able to devote themselves to research in archival science. In conclusion, we need to pursue the studies of archives to give order to the records we find in the long history of our archival tradition. By doing so, we can develop our own archival science in the end. This project, however, needs supports from the government for the formation of policies, securement of budget and collaboration between the related agencies to pave a way for the strong foundation of Korean archival studies. Without these supports it might take much more time then that Chinese have taken for the enhancement of their own archival studies.

• 한국실내디자인학회논문집
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• 제15권6호
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• pp.27-34
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• 2006

This paper present a study on the $\lceil$Parere su Architettura$\rfloor$ of Piranesi published in 1765. In the 18th century, there were fundamental cultural and social changes in Europe. This paper intends to discover the influences of these changes on the field of architectural theory, and it also intends to reveal its characteristics and meanings. The $\lceil$Parere su Architettura$\rfloor$ of Piranesi was composed as a dialogue between two architects, named Didascalo and Protopiro. In this paper, Didascalo represent the Master and Protopiro the Novice(according to the translation of Kaufmann). On the artistic theory of the Enlightenment, Didascalo proclaims as a dogma. Then he inveighs against the rigorists, using strong language quite up the attacks of the Novice. The modernistic Protopiro assails every kind of embellishment. The dialogue non only helps us to understand Piranesi, but also reflects the artistic situation in the 18th century. The summary of the result of this study is as follows: 1. The book of Piranesi represents a controversy of the romanticism against the architectural rationalism. 2. The negation of the originality of the Roman architecture has been considered as the negation of the Baroque architecture that was the artistic base af Piranesi. 3. Piranesi had ideological intention to defend the hegemony of the Italian culture through strengthening of the Etruria-Roman-Baroque cultural tradition.

• 복식
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• 제56권9호
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• pp.127-142
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• 2006

In this study, I have analyzed Indian traditional clothing in fashion design of 21st century by comparing 1,286 fashion items designed by Indian designers and 722 Western fashion items, which were presented from 2000 S/S to 2005 F/W Formal analysis were made for change in how to wear clothes, and change in items and ornaments. Change of traditional clothing was found in two ways; Western elements added to Indian tradition and Indian traditional image adopted in Western clothing. First, Indian traditional elements added to Western clothing in the formal aspect was found in 83% of Western collections and 27.2% of the Indian designers' collections. In Indian designers' collections, traditional clothing form takes 72.8%, which shows the regional characteristics of India where the traditional clothing is still adhered to in daily life especially by women. Second, from the fashion design of the Indian designers, we can find modernization of sari, change of traditional items into more active and modern way by adding Western clothing; change of form, color and material of traditional items in various ways; and decorative aspects highlighted by adding Indian traditional color, pattern or decoration into Western clothing. In most cases, Western collections are seasoned with Indian traditional image, rather than utilizing the form of Indian clothing. Although adopting the farm of Indian traditional clothing, it can be considered as a translation from the viewpoint of the West. Third, Indian look is expressed in various ways by reproducing Indian traditional ornaments such as earings, bracelets and henna, or by adopting Indian traditional fabric design and decoration in mufflers, bags and etc.