• 영어영문학
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• 제55권6호
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• pp.975-992
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• 2009

Whereas many Dickinson scholars tend to focus on Emily Dickinson's anthropocentric dimension, her work also reveals an ecocentric aspect. On the one hand, influenced by New England Puritan typology and its offshoot Emersonian Transcendentalist idealism, Dickinson reveals her indebtedness to these two worldviews by emphasizing the invisible over the visible and the spiritual over the physical. At times, she reflects the common thread of the two outlooks-a hierarchical thinking, in which nature is inferior to human beings and does not have its own identity outside of human use. On the other hand, seeing through the downside of the hierarchical Emersonian idealism, Dickinson sometimes suggests an alternative stance on nature in a nonhierarchical way. She often appreciates nature for its own sake, becoming its neighbor and companion. This aligns Dickinson with modern ecocritics and ecofeminists who criticize a hierarchical anthropocentrism and promote an egalitarian ecocentrism in which natural and human beings are fellow citizens of the earth community. And yet, unlike most ecocritics who advocate a complete shift to an egalitarian paradigm, Dickinson embraces both anthropocentrism and ecocentrism in her poetry of "open portfolio." This openness stems from her belief in interrelatedness between God, nature, and human beings. Housing the two opposing perspectives in her poetry, she widely opens the possibility to choose the better way to relate to our sister and brother, nature.

• 복식문화연구
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• 제23권6호
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• pp.1038-1050
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• 2015

This study is a theoretical research to investigate a methodological framework for analyzing the representation of women in fashion photography. For this study, this article attempts to develop a conceptual framework of the visual representation system through Lacan's gaze theory, and analyze the representational aspects of women configured by gendered characteristics in the visual representation system. Structuralizing the visual representation system based on that theory, the gaze, the image/screen, and the subject of representation in the Lacan's triangle diagram are replaced by the camera as the signifier of gaze, the representational image, and the seeing subject respectively. In the visual representation system, the camera creates a male-oriented visual field and structures a relationship of gendered power between male gaze as the seeing subject and female eye as an object to be seen. Looking into the representational aspects of women in this visual representation system structuralized by male gaze, women are represented in a way that reflects male desire through masquerade to comply with the patriarchal gaze, or differences that emphasizes the uniqueness and autonomy of women released from a patriarchal discourse. This study would be significant in that it provides theoretical basis for an analytic approach to the representation of women in fashion photography which we accept as a fixed one through the ideology of naturalization.

• 대한지리학회지
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• 제44권3호
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• pp.282-300
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• 2009

이 논문은 서울의 도심을 근대성과 후기근대성이 공존하는 도시공간으로서의 문화텍스트로 상정하고 젠더문화연구의 관점에서 독해하기 위해 기획되었다. 물리적 공간과 사회적 주체 간의 관계가 어떻게 형성되어 왔는지를 주요 논제로 상던 기존의 도시사회학과 인문지리학적 논의를 배경으로 하여, 근대성이 관철되는 과정을 거치면서 형성된 서울이라는 도시 공간의 성별적 표상과 공간의 성별 분할을 파악하였다. 이미지성과 가독성을 중심으로 한 서울의 공간적 해석의 분석틀은 성별분업과 영역의 이분법, 여성성/남성성의 이분법적 재현. 그리고 근대성과 후기근대성이 이들과 조응하고 교차하는 방식 등으로 구성되었다. 이 논문에서는 Benjamin의 '산보하기(fl$\check{a}$nerie)' 의 도시문화 해석과 음미의 방식은 수용하되 이를 페미니스트 문화독해 방식으로 전화하여 은유적 방법론으로 차용하기 위하여 lrigaray의 '검경(speculum)으로 들여다보기'를 도입함으로써 도시공간분석의 새로운 해석적 방법론으로 제시하고자 시도하였다.

• 복식
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• 제26권
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• pp.211-220
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• 1995

The purpose of this study was to examine the relationships between the interest of apparel ad-vertising direct mail(DM) and the consumers' characteristics ; like their marital state, age, educational level, expenses on clothing purchase, and rigidity. Samples were 243 women(24∼35 years of age) in the Seoul, Korea. The data were analyzed using t-test, one-way ANOVA, Duncan's multiple range test, and discriminant analysis. The results of the study were the followings. 1. The department store sent out the most ap-parel advertising DM and the most common dis-tribution method was carrying the DM with the newspapers, 2/3 consumers paid attention to the contents of the apparel advertising DM with 'some interests'. 2. Jackets and pants were the most purchased items after seeing the apparel advertising DM. 3. The interest in the contents of the apparel advertising DM varied according to the consumers' marital state ad the expenses on cloth-ing purchase. 4. Rigidity, age, educational level, and the clothing purchase expenses contributed to discriminant the interesting or uninteresting group in DM. The accuracy rate of the predicting the groups by the 4 variables was 60.91%.

• 한국디지털건축인테리어학회논문집
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• 제9권1호
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• pp.19-29
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• 2009

The architectural space is the involuntary place where man lives and experiences, and as a 3 dimensional space through the continuous experience with the concept of 4th dimension of time, it provides the observers with the dramatic space imagery These kinds of space experiences are experienced mentally and perceptively through the physical elements of inner and outer space of the architectural buildings, and this space imagery is created here by all the space composing elemensts of the building. These space experiences are caused by the changing processes of the space characteristics, and the observers perceive the changes in space characteristics. The present building is going with Eco-Architecture. When 2008 sees the building,,Eco-Architecture design which hits appears. There is a possibility of seeing 16 kind types from that place. And From here examined the spatiality which is expressed. These changing processes of inner and outer space, space versus space, and unit space, which are perceived by the observer. It's way to help in architectural design and wishes.

• 조명전기설비학회논문지
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• 제24권12호
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• pp.47-56
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• 2010

For a human being's smooth activity, the clean air and comfortable lighting environment are needed. The suitable lighting environment is obtained generally by making it available for being formed the bright situation easy for seeing object and the visually comfortable atmosphere. In this way, even the lighting environment was changed along with economic development. Even a light source was diversified. Thus, several kinds of new light sources such as LED, OLED, PLS, and CNT came to appear. Halogen lamp, which has low efficiency due to high color rendering among lamps of being used now, is being much used yet. However, owing to radiation of UV and IR, there are many limitations to the subject in general exhibition lighting, museum, and art museum. Accordingly, a research was performed on filter that is blocked UV and IR at the same time, by using halogen lamp that is excellent in color rendering and in life.

• 디자인학연구
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• 제14권
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• pp.33-41
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• 1996

타이포그래피는 형태와 의미라고 하는 양면을 가지고 있다. 즉, 읽기(reading)와 보기(seeing)를 모두 요구하는 요소들의 집합체인데 형태로서 나타내는 의미도 물론 중요하지만 정확한 의사전달을 위 하여는 수용자 측면에서 야기 될 수 있는 다양한 의미를 추정하여 그 의미를 표현해야 한다. 이러한 사고를 바탕으로 탄생한 ' 담론으로서의 타이포그래피' 는 디자이너 입장에서는 일방적인 커뮤니케이션이 아닌 대화 형식의 커뮤니케이션을 위한 새로운 스타일이다. 의미는 한 곳에 정체되어 있는 것이 아니라 수용자에 따라 무한한 가능성이 열려 있기 때문에 이러한 표현 방법의 의의는 매우 크다. 따라서 이를 실제 강의에 적용, 그 가능성을 확인하였다.

• 천문학회보
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• 제37권2호
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• pp.95-95
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• 2012

Constellations are formed of bright stars which appear close to each other on the sky, but are really far apart in space. The shapes you see all depend on your point of view. Back before people had televisions and electricity to light their homes at night, they spent a lot more time looking at the stars. People all over the world used their imaginations to draw pictures in the sky, as if it were a giant connect-the-dot game. The patterns they imagined are called constellations. People usually saw patterns that reflected their different cultures. Native Americans in North America imagined many animals and shapes from the natural world. The ancient Greeks found images of gods and goddesses in the stars. Sometimes people from very different parts of the world even imagined the same animal or shape in the same stars. Most of the constellations we recognize today were made up by the ancient Greeks around 6,000 years ago. Different constellations are visible at different times of year, so the first appearance of these patterns told farmers of the changing seasons and reminded them to plant or harvest their crops. The constellations also help us to find our way around the night sky and to remember which stars are which. The star names we use today are mostly from Greek and Arabic, but many are changed a bit from the original, as often happens when words are passed from one language to another. It can be difficult to picture just what those folks long ago were seeing in the stars, so don't be discouraged if you have trouble seeing their patterns. You can even make up your own! In ancient world all the countries or regions had their own way to name things up in the sky, make up stories and draw different shapes for constellations. Today there are 88 official constellations, but you may find that different books show their stars connected in slightly different ways. The official constellations are specific regions of the sky, so the exact patterns are not all that important. However in various cultures there are some famous star patterns that use stars from only apart of a constellation, or even connect stars from different constellations. These patterns of stars that are not official constellations are called asterisms. The Big Dipper is a very famous asterism, found in the constellation Ursa Major, or Great Bear.

• 영어영문학
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• 제55권2호
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• pp.241-257
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• 2009

The essay discusses the way in which the aesthetic of Pre-Raphaelites reformulates the habitual system of knowledge in the Victorian age by adapting $Ranci{\acute{e}}re^{\prime}s$ concept of aesthetics. $Ranci{\acute{e}}re$ develops an original theory of aesthetics, a regime of knowledge which enables to perceive and reflect art as such. In this way, aesthetics turns to be the logical system by which the consensus idea of the beautiful comes to exist. For $Ranci{\acute{e}}re$, aesthetics is an agreed system of the sensible and reproduces the habitual knowledge of the world. Therefore, a new aesthetic movement means an attempt to break the given aesthetics and reorients the new distribution of the sensible. The important point of $Ranci{\acute{e}}re^{\prime}s$ argument is that he does not presuppose the dimension beyond the present unlike Frankfurt School. What $Ranci{\acute{e}}re$ claims is that there is no such the aesthetic which can correct the instrumental reason, but rather an indifferent moment in which a worker finds out himself as a creator who can give rise to the new regime of the sensible and feels free from what he must work for. From this perspective, the essay explores the aesthetic of Pre-Raphaelites and its meaning in nineteenth century Britain. Pre-Raphaelites was an artist group who railed against a so-called academic style of paintings and created a new aesthetic criterion to describe the truth of the natural world. The essay examines the interrelationship between Pre-Raphaelites and photography that would enable them to re-distribute the sensible and produce a new way of seeing the order of things. This is related to the birth of a modern gaze as in the case of landscape paintings. What is crucial is that the distribution of the sensible is always-already doubled with the political. In short, Pre-Raphaeltes is not only an aesthetic movement but also a political pursuit to achieve a disenchanted perception of nineteenth century industrial capitalism.

• 한국주거학회논문집
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• 제26권6호
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• pp.61-69
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• 2015

Current criticism regarding the "uniformity" of Korean apartments has shown not only tendencies of emotional and unscholarly criticism, but also lack of academic discourse. They tend to stay at the common-sense level and be quite subjective without supporting facts. This research began with questioning the phenomenon of seeing Korean apartments as an object of negative criticism. The research questions for this study are: 1. Of the living space of so-called apartment houses, what elements should be called uniform?; 2. How should the implications of the findings be interpreted? In this context, this study aims to reinterpret criticisms on the uniformity of apartments from a new point of view. First, literature review is done to examine characteristics of Korean apartments in the social-cultural, economic, and physical contexts. Next, existing non-academic, abstract criticisms are classified into three trends, to show that the way of understanding architectural spaces by those criticisms are limited and weighted towards visual perceptions focused only on the shape of architectural structures. Finally, it is argued that the viewpoints of space and residents' experience should be treated as important for the reinterpretation of criticisms on the uniformity. This is validated through presenting relevant cases such as changes of space uses, diversified lifestyles being accepted, and the expansion of living space.