• 디자인학연구
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• 제13권3호
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• pp.69-80
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• 2000

Body has been high-lightened as one of the most important theme since the philosophy and the arts are focused on it in the late 20 century. Resurgence of interests in human body has been based on the skepticism on rapid digitalization and do-materialization currently undergoing in electronic media environments. Artists have been endeavoring more and more to find a synthesis which links the conceptual and the sensuous in their works as digitalization gets faster and faster. The Bodily-oriented art uses its visceral qualities, either literally or metaphorically, to engage our total being, not just our mental consciousness, in building a sensuous, evocative statement. Its transcendent ideas are inter- mixed with the fabric of the world. We are touched by this art not only because we understand it cognitively, but because we "feel"it. These characteristics of textile arts caused gradual increase of soft-sculpture works using textiles and implies possibilities of inter-grade of physical and mental world. Ann Hamilton, Magdalena Abakanowiz, Folly Apfelbaum and Pallid Dougherty are, for example, related to the fiber arts. It would be of worth to study the characteristics of contemporary faber-art works, especially done by Abakanowiz who has been regarded as a dominant pioneer in the contemporary fiber arts from the viewpoint of inter-grade of the physicals and the mental. This paper, therefore, deals with the Abaknowiz′works in the context of human body and body-signs. Life and works might be classified into 5 stages; first, learning period since her birth in 1930, second, creation period of Abakan, third, remodelling period of Abakan, fourth, composition and dissolution period of Abakan and the last and fifth, new transformation period of Abakan. ′Abakan′through her whole life as an artist has been a plastic language and based ultimately on external human body but in various materials and forms.

• Journal of Korean Neurosurgical Society
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• 제30권3호
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• pp.371-375
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• 2001

Intracranial hemorrhage due to preeclampsia in the postpartum woman is rarely documented. Generally, the incidence of stroke is increased during pregnancy and early postpartum. Preeclampsia is considered a main cause of both nonhemorrhagic and hemorrhagic stroke. We present a 32-year-old woman who had intracranial hemorrhage at 5 days postpartum. At admission, her consciousness was semicomatose with elevated blood pressure. Computerized tomography revealed intracranial hemorrhage on right frontal lobe. Additional angiography did not reveal abnormal vascular lesion. Emergency craniectomy with hematoma removal was done. However, the patient showed no recovery and died 2 weeks later. We conclude that postpartum care of preeclampsia is important to prevent intraparenchymal hemorrhage. Relative high risk of stroke during the postpartum period suggests a causal roles for the large decrease in blood volume or the rapid changes in hormonal status that follow a live birth or stillbirth, perhaps by means of hemodynamics, coagulative, or vessel wall changes.

• 한국의류학회지
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• 제37권3호
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• pp.357-370
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• 2013

The Republican Period of China (1912 to 1949) was when the archetypes of thought (constituting contemporary China) engaged in heated rivalry and were directly influenced by Korea through frequent exchanges. This study analyzes the characteristic of Chinese women's aesthetics towards the human body with a focus on visual materials (such as articles and illustrations concerning hairstyle, makeup, skincare, fashion, and gymnastics) featured in the Chinese women magazines of Fun$\ddot{u}$zazhi (婦女雜誌) and Linglong (玲瓏). This study analyzes these magazines and compares them with Korean counterparts. The movement of the developed and controlled human body was a common characteristic of this period; however, compared to the Chinese, the Japanese colonial period of Korea resulted in an introspective self-examination through excessively objectified eyes. Dress and adornment as the symbol of a new civilization acted as the most remarkable signifier. The overlapping of a western image with a Japanese image led to more resistance in Korea. The criterion for the value of a women's external appearance (that traditionally dualized womanly virtues) collapsed and dress was accepted as an expression of individuality instead of as a social class. The human body was traditionally recognized as a microcosm of the universe that dominated the natural principle of Yin-Yang and the Five Elements. However, the ideal human body was postulated and the aesthetic consciousness of the body changed into an imaginary view of the human body that proceeded to keep the body fit for and gave birth to the concept of supplementing the deficiency of the beauty of the human body with dress and makeup.

• 조형예술학연구
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• 제8권
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• pp.95-127
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• 2005

It's a matter of ontology rather than that of cognition and methodology to discuss a work of art in Gadamer's philosophy. In addition, he emphasizes the cognitive aspect of a work of art instead of comparing forms and contents of them. For that reason, he excludes aesthetic consciousness derived from Kant first and then makes away with Schiller's theory of aesthetic education. For Gadamer, the concept of truth does not mean accord or correspondence. It would rather be an encounter. This encounter is not axed on a specific time, but a continuous and historical one. Basically. a work of art guarantees this kind of an encounter. This encounter is not based on mutual agreement through an objective standard but on recognition with mutual understanding. Therefore, prejudice or tradition should be acknowledged and respected instead of being excluded. We have only to minimize difference between them through conversation. Gadamer's ontology of a work of art is based on such a ground. The function of a work of art is not only simple satisfaction of aesthetic senses but an object of interpretation, that is, a text by presenting a ground of truth through an agreement of situation. This text reveals its meaning in the situation of author-text-reader. The appearance of this meaning is nothing but the birth of truth. Symbol-allegory and classicism show how to express this kind of truth in a work of art. It is true that Gadamer's philosophical hermeneutics cannot be easily applied to interpret a concrete work of art because it just lays emphasis on the process of 'understanding' instead of a detailed analysis on an individual work. For that reason, he was criticized by some people because of this subjectivity of understanding. However, it's meaning could be changed according to the viewpoint on a work of art. There appears various structural approaches on a work of art in contemporary theory of art. Gadamer just asks the basis of such approaches instead of criticizing a specific one Therefore, a practical approach on individual work should be made separately and hermeneutics enriches the meaning of open-ending of each work of art.

• 한국식품조리과학회지
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• 제24권4호
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• pp.549-559
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• 2008

This study was performed by questionnaire to investigate viewpoints regarding menu excavation and development of native local foods of adults in the Gyeongju area, classified by gender and age. The subject population consisted of 253 citizens(108 males and 145 females) living in Gyeongju. The findings are summarized as follows: The residents highly desired the 'enrichment of service and clean hygiene of local food restaurants', 'active marketing', 'necessity of excavation and development at the present time', and 'development with regional unique characteristics' with regard to the development of the local food choices in Gyeongju, whereas they did not particularly desire 'excavation development of cooking that often is served at family event(birth, marriage, death etc..)', nor 'guidance and enlightenment for many citizens'. The most influential obstacle hindering the development of Gyeongju local food was 'administration support deficiency of connection group agency', followed by 'interest deficiency about local food of restaurant business managers and citizens, different taste of each restaurant', and 'tradition cooking itself is insufficient in Gyeongju'. The most reasonable development menu for native local foods of the Gyeongju area was 'mushroom & beef hot pot(beoseothanu-jeongol)', 'glutinous barley bread(chalborippang)', 'mushroom & bulgogi hot pot(beoseot-bulgogi-jeongol)', 'grilled beef(hanu-sutbul-gui)', and 'grilled minced beef ribs(hanu-tteok-galbi)' in that order. On the other hand, the excavation and development validity scores for 'black goat soup(heukyeomso-tang)', 'gulfweed soup(mojaban-guk)', and 'parboiled octopus(muneo-sukhoe)' were very low.

• 복식문화연구
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• 제4권2호
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• pp.277-302
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• 1996

The purpose of this study is to suggest fundamental information about wearing method and production of brassiere, which is suitable for physiological hygiene and efficient action for elderly women. The subject is 418 elderly women aged 50∼69 years old. Data is processed by a computer(SAS) and is analyzed by using frequency, percentage, x²-test. The main results of this study are as follows. 1. Elderly women'weight and breast size are higher thant their younger counterparts'in their 20's, but the older and poorer women with more children have smaller weight and breast. Most of the elderly women feel that their breasts are drooped or falling apart. I fact, those elderly women who gave birth to more children have more drooped and wider breasts. The major type of elderly women'breast is the 'drooped breast' featured more by those elderly women who have more children. 2. Most of the elderly women began to wear the brassiere for the first time in their 20's the older women with more children began to wear the brassiere earlier, while those less educated and poorer began to protect their breasts with brassiere later. Many elderly women wear the brassiere to be protected from dirt, noise or look more neat, but day tend to wear the brassiere not all day around but at certain times, older, less educated and proper women with more children tend to use the brassiere for etiquette and less often. This group of elderly women feel tedious, stage or uncomfortable for the brassiere. 3. Most of the elderly women know about their brassiere size. Such variables as age, education and income are correlated positively with the interest in and consciousness of the brassiere size. All in all, the statistical distribution of elderly women's brassiere size is very wide, while most of them use 90A, 85A and 95A sizes. On the other hand, the most popular size of the under bust circumference is 85∼90cm, while their primary cup size is A.

• 한국통신학회논문지
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• 제33권12B호
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• pp.1123-1130
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• 2008

출산율, 결흔율 감소 및 이혼을 증가 등의 사회적 현상으로 인해 태어나면서부터 건강에 대한 관심이 증대되고 있는 실정이다. 특히 의사 표현 능력이 부족한 소아의 질환 진단은 직접 내원해서 진단을 받아야 하는 불편함을 가지고 있다. 이를 위해 본 연구에서는 재택 기반으로 소아 울음소리를 통해 음성 분석학적 요소를 추출하여 정상 소아와 질환을 앓고 있는 소아와의 비교, 분석을 통해 소아 질환을 진단할 수 있는 시스템을 개발하고자 한다. 특히, 본 논문은 소아에게 가장 쉽게 걸릴 수 있는 소아호흡기 질환 중 소아감기, 소아폐렴 및 소아천식을 대상으로 실험을 수행하였으며 울음소리의 특징 요소를 추출하여 진단기기로 개발하고자 한다. 이를 위해 소아호흡기 질환이 인체의 음성 기관을 자극하는 질환임을 가정하고 음성학적 분석 요소 중 조음기관과 관련된 주파수대역폭분석을 통한 방법을 실험하였으며 이를 정상 소아와 소아호흡기 질환을 앓고 있는 환자를 비교, 분석하였다. 이와같은 방법을 통해 정상 소아에 비해 호흡기 질환을 앓고 있는 소아가 주파수 대역폭이 짧게 형성되는 결과를 추출하였다.

• 한국식품영양과학회지
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• 제15권4호
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• pp.64-71
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• 1986

우리나라 장수자(長壽者)의 생활(生活) 및 의식조사연구(意識調査硏究)의 일환(一環)으로, 우리나라 장수자(長壽者)의 과거(過去) 가족상황(家族狀況)과 부부생활(夫婦生活)에 대해서 조사(調査) 비교(比較)한 결과(結果)는 다음과 같다. 1. 장수자(長壽者)의 양친(兩親)의 사망연령(死亡年齡)을 비교(比較)하여 보면 ${\ulcorner}$양친(兩親)이 70세 이상${\lrcorner}$이 전체의 20.3%이고, ${\ulcorner}$편친(片親)이 70세 이상${\lrcorner}$인 경우가 28.2%로서, 양친(兩親)이나 편친중(片親中)에서 70세이상 장수(長壽)한 경우가 전체의 48.5%나 차지하고 있었다. 따라서 수명(壽命)과 유전적(遺傳的) 요인(要因)사이에는 깊은 상관(相關)이 있음을 나타냈다. 2. 장수자(長壽者)의 출생순위(出生順位)를 비교(比較)하며 보면 ${\ulcorner}$첫번째${\lrcorner}$가 41.2%로 가장 많고, 그 다음이 ${\ulcorner}$두번째${\lrcorner}$(25.1%), ${\ulcorner}$세번째${\lrcorner}$(13.7%)의 순(順)으로 감소하고 있었다. 따라서 출생순위(出生順位)가 빠르면 빠를수록 장수(長壽)하는 경향(傾向)으로 나타냈다. 3. 장수자(長壽者)의 형제자매(兄弟姉妹) 수(數)는 $3{\sim}5$명이 전체장수자의 57.6%나 차지하고 있었으며, 자녀(子女)의 수(數)는 $3{\sim}6$명이 전체 장수자의 69.9%나 차지하고 있었다. 4. 장수자(長壽者)의 결혼회수(結婚回數)는 ${\ulcorner}$1회(回)${\lrcorner}$가 90.0%로 가장 많고, 그 다음이 ${\ulcorner}$2회(回)${\lrcorner}$(8.7%)로서, 전체(全體) 장수자(長壽者)의 98.7%가 1회(回) 또는 2회(回)였으며, 장수자(長壽者)의 결혼생활(結婚生活)을 비교(比較)하며 보면, ${\ulcorner}$원만했다${\lrcorner}$가 전체의 87.6%로 대부분을 차지하고 있어서, 장수자(長壽者)의 부부생활(夫婦生活)이 대단히 원만했던 것으로 나타났다.

• 심성연구
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• 제32권2호
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• pp.122-168
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• 2017

한국 민담 <외쪽이>를 분석심리학의 관점에서 해석하였다. <외쪽이> 민담은 전국적으로 분포되어 있으며, 인도와 아프리카에 유화가 있다. 대상 민담을 보면 아이를 낳지 못하는 부인이 수태 음식 두 개 반을 먹고 온전한 아들 두 명과 팔도 하나, 다리도 하나, 눈도 하나인 반쪽 아들을 낳았다. 형들은 과거 보러갈 때 외쪽이가 따라오는 것을 싫어해서 바위와 나무에 묶어 놓지만, 외쪽이는 힘이 세서 쑥 뽑아서 집의 뜰에 가져다 놓았다. 형들은 외쪽이를 칡으로 묶어서 호랑이 앞에 던져 놓지만 외쪽이는 호랑이와 칡 끊기 내기에서 이겨 호랑이 가죽을 벗겨 돌아온다. 호랑이 가죽을 탐낸 숙소 주인과 장기 내기에서 이겨 주인의 딸을 데려오기로 하고 노끈과 북, 벼룩, 빈대를 가지고 가서 주인집 사람들을 곯려주고 처녀를 데려와서 잘 살았다는 이야기이다. 아이를 낳지 못하는 부인이 부처에게 비는 제시부는 창조성이 고갈된 의식의 한계 상황에서 의식의 자아가 무의식에 겸허한 태도를 취하며 정신의 자발적 활동을 기다리는 태도이다. 하얀 영감이 와서 고기 세 마리를 주는데 고양이가 와서 반 마리를 먹어서 부인은 고기를 두 마리와 반 마리만 먹고 온전한 아들 둘과 막내 아들 외쪽이를 낳는다. 노현자 상으로 나타난 정신(Geist)과 고양이로 나타난 동물적 본성이 작용하여 무의식에서 낯설고 새로운 형상을 지닌 정신적 내용이 생성되었다. 반쪽 존재는 전 세계적으로 나타나는 원형상으로 많은 문화에서 신과 정령이 반쪽만 있는 모습으로 그려진다. 창조 신화에서 반쪽 존재는 생식 능력이 없지만, 죽지 않고 불멸한다고 전해진다. 인도네시아와 아프리카의 설화에서는 반쪽으로 태어난 소년이 하늘나라에 가서 자신의 반쪽을 만나 합쳐져서 온전한 몸이 된다. 반쪽 정령이 인간에게 해로운 경우도 있지만, 반쪽만 있는 새, 닭, 정령이 인간에게 도움을 주는 이야기도 있다. 반쪽 존재는 하늘에서 곡식을 훔쳐 오거나 대나무를 다루는 방법을 배워 오는 문화영웅이다. 반쪽 존재가 나중에 온전한 몸이 되는 이야기도 있지만, 대상 민담과 대부분의 유화에서는 이야기의 결말까지 반쪽 형상이 그대로 유지된다. 외쪽이는 무의식에서 태어난 정신적 체험의 상징이다. 형들이 외쪽이를 싫어하는 것에서 보이듯이 무의식의 내용은 처음에는 이상하고 기괴하게 보일 수 있으며 집단적 의식은 무의식의 내용을 받아들이지 않으려 하지만 새로운 정신은 영향력을 행사하며 의식의 태도를 변화시킬 수 있다. 외쪽이는 호랑이를 퇴치하고 호랑이 가죽을 벗겨 오는데 호랑이는 집어 삼키려는 무의식이며 집단적 무의식의 부정적 모성 원형으로 무의식을 의식화하는 과정에서 극복해야 할 괴물이다. 숙소 주인의 딸을 데려올 때 외쪽이는 떨어져 있는 것을 연결해 주는 끈과 음악과 무속에 쓰이는 악기, 하찮아 보이는 벌레를 들고 가서 점잖은 척 하는 사람들을 놀려주는 동시에 활기와 창조성을 가져다준다. 외쪽이는 트릭스터로서 유교적 신분 사회였던 우리 사회의 집단적 의식을 보상하는 역할을 했다고 보여진다. 외쪽이는 비정상적인 것으로 보이지만 우리가 잘 알지 못하는 세상 혹은 존재와 연결되어 있고, 어려움이 있을 때 도움을 주며 그전에 없던 것을 가져다 주는 문화 영웅이기도 한 정신적 내용으로 집단적 무의식에 존재하며 점차 드러날 심성이다.

• 미술이론과 현장
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• 제16호
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• pp.175-199
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• 2013

Capriccio which has emersed in Italy of the 18th century is a new genre of the landscape painting. This genre represents reality, but it is very artificial product correspondingly its concept and character. It's birth place is distributed on various regions in Italy, but the main stage was Rome. Till the middle of the 18th century Rome was the Holy city of the Grand tour, the home of the Neo-Classicism and furthermore the field where archaeology and art history began to be instituted. On such historical situation the Capriccio came out and was recognized as the best popular genre in the visual art. It was favor of the art collection with the antiquity together and reflected the consciousness of the contemporary to the ancient. This study will examine the phenomena in the newly-developed archaeology and with few representative works of Giovanni Paolo Pannini as central term consider the Capriccio and the archaeological connotation. The systematical and institutional archeology which appeared at the age of the Enlightenment, on the contrary to the critical theories at the same time against capriccio, because it was regarded by them as paradoxical and too much sensitive, utilized it as a theoretical method very actively. Some among Historians and archaeologists did it, especially Francesco Bianchini distinguished the capriccio from simple imagination and made it a capacity of the knowledge. And through it he wanted to find out the historical truth. The visual art was influenced and encouraged by such attitude of the archaeology. However it's output spreaded out in various courses. While Giovanni Battista Piranesi, the best known Capriccist of the 18th century, tried to revive the antique through the epical value and his own imagination, Pannini gave priority to the strict historical research. In the such context Panni succeed Giovanni Battista Nolli who made the great map of the city Rome. Their Capriccio profited motive and was inspired by the historians and archaeologists such as Bianchini and Muratori. The Capriccio reflects not only the academic and popular interest for the antique, but also influenced on the upcoming scientific archaeology vice versa. It caused by their reasonable Interpretation and restoration of the antique through the visual medium. Finally as archaeological landscape Pannini's Capriccio is a historical case, in that the Capriccio applied the theoretical method of the archaeology to make art. It served as a momentum for the connotation to the archaeological thought.