• 미술이론과 현장
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• 제9호
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• pp.195-215
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• 2010

Alberti's De re aedificatoria is the earliest case in the history of Italian Renaissance architectural treatises dealing with recovery of antiquity through textual and archaeological pursuits. The key source of the Renaissance theoreticians was Vitruvius' De architectura. However, Alberti was keenly aware of inaccuracy and Hellenization of Latinity in this classical text, and tried to compensate them in his own treatise. Furthermore he claimed a reformed discipline of the architects as well as the patrons, and prescribed how future buildings and cities should be built, based on the proper authority of ancient architecture in proper and intelligible Latin. Such an adaptation of classical usage in order to reestablish a modern norm preceded in his earlier work Momus, a satire on the contemporary Italian society of his own by following the model of Lucian. Alberti's suggestion of proper government in Momus's phrase was expanded in De re aedificatoria, for he consider the buildings are subject to the rules of morality and public interests. He proclaimed that the nature of beauty is the reasoned harmony of every part within a body, and architectural beauty also lies on the harmonized arrangement of all the elements within an individual building and of all individual buildings and facilities within a city. For the architects to execute this task, he formulated the concept of lineanenta, the form derived from the mind in order to prescribe the proper place, numbers, scale, and orders for whole building structure. It is the future oriented city-plans and building designs to serve the public interest and the good of all the individual citizens who make up the City-State that Alberti pursued in his treatise.

• 복식문화연구
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• 제14권4호
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• pp.581-595
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• 2006

Modernization movement has affected classical operas. Today, classical operas are often re-interpreted from the modern perspective and played differently only with the storyline maintained. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust," which was played in Sungnam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes are drawn from this study. Two types of costumes were designed for Faust. An old black shirt, grey checkered trousers, and a white gown were designed to express the old Faust, a respected scholar in his 50s, who was erudite and competent. Red checker of the shirt represented passion and blue checker of the shirt symbolized youth. The cotton trousers were beige, the most favorite color among male college students. For Mephistopheles, a white suit, black shirt, and white neck tie were designed to express the Devil, who changed his face instantly. A white suit symbolized that Mephistopheles looked like an angel, while a black shirt suggested that Mephistopheles, in reality, was the Devil. A white one-piece dress and light jade green cardigan were designed for Margarete, who was innocent and virtuous. The white dress represented innocence and purity of Margarete and the light jade green cardigan symbolized a maiden pure.

• 만화애니메이션 연구
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• 통권49호
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• pp.537-561
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• 2017

기계나 로봇은 인류의 실존적인 기반에 질문을 던진다. 기계들은 인간의 사고방식에 영향을 주었으며, 사회철학과 가치체계까지 변화시켜왔다. 이와 동시에 기계들은 줄곧 다양하고, 매력적인 특징들을 함유해왔다. 기계기술의 발전은 인류의 발전이라는 상징적 의미와 동시에 인간 존재를 위협하는 위험성이라는 상징적 의미를 함께 가지고 있다. 이러한 기계의 양가적인 특징들을 현대조각의 키네틱 요소에서도 발견할 수 있다. 필자는 조각적인 작품 중에서도 기계나 기계의 메커니즘을 활용하는 조각에 초점을 맞추었다. 이를 역사적인 발전과정을 통해 검토하였으며, 현대미술의 특정 예시들을 당대의 대표 모델로 논하였다. 본 연구는 키네틱아트와 설치미술 분야에서 두각을 나타내는 두 명의 젊은 동시대 작가인, 최우람(Choe u-ram)과 예페 하인(Jeppe Hein)을 대표모델로 선정하였다. 두 작가는 기계나 기계의 메커니즘을 사용하는 동양과 서양의 작가로서, 두 작가의 표현방식의 차이가 존재한다. 예시로 몇 가지 작품을 제시하고, 비교를 통하여 두 작가의 문화적 차이와 시각 언어의 차이가 나타나는 이유에 대하여 분석하였으며, 이를 바탕으로 글로벌화된 세계에서도 지역적 특징이 항상 남아있음을 결론으로 제시한다.

• 미술이론과 현장
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• 제5호
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• pp.83-107
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• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

• 한국콘텐츠학회논문지
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• 제14권10호
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• pp.486-505
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• 2014

2013년 선댄스 영화제에서 월드 드라마 심사위원대상을 수상한 <지슬>은 우리나라에서 다양성 영화로 개봉되어 14만4천518명의 관객을 기록하였다. 서울이외의 지역에서 영화를 한다는 것이 상당히 힘든 우리나라의 처지에서 제주 지역의 영화인들이 만들어 낸 놀라운 성과이다. 이 영화의 성공요인을 정치적 요인보다는 영화 내적 요인에서 살펴보았다. 통계적 스타일 분석을 통해서, <지슬>이 차이밍량 영화의 스타일과 유사함을 확인하였고 기존의 예술영화에서 발견되는 특징들을 <지슬> 또한 가지고 있음을 확인하였다. <지슬>은 또한 최근의 할리우드적 영화의 경향인 Zoom in 과 18개의 Push In을 사용하고 있어서 동시대의 경향과 유리되지 않았다. 데이비드 보드웰은 최근 할리우드 영화와 예술영화의 경향이 고전적 할리우드 콘티뉴어티 시스템의 대립 항이 아니라 고전적 할리우드 영화의 스타일상의 장치들 중에서 취사선택되어 일부는 강조가 되고 일부는 사용을 꺼리는 강화된 콘티뉴어티 (Intensified Continuity)라고 보았다. 귀납적으로 도출된 예술영화의 스타일상의 특징을 <지슬>이 보여주고 있음으로 이 영화가 예술영화라는 연역적인 결론을 도출한다면 이는 오류이다. <지슬>이 채택한, 할리우드 영화와의 차별화 전략이 예술영화의 경향을 따르고 있다고 본다.

• 조형예술학연구
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• 제4권
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• pp.67-90
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• 2002

What is the semantic function of visual image in Contemporary art? This article proposes that representation is semantically still important in post-modernism as well as in modernism. The semantic function of representation has been changed by keeping pace with times. In modernism the 'outer representation' changed to 'inner representation', and in postmodernism the 'inner representation' changed to 'metaphorical representation'. The 'outer representation' means that image indicates a certain object or subject as the classical realism. In this case, the meaning of image is subordinate to an object, and a one-to-one correspond existed between the image and the object. Because this 'outer representation' is focused on an object but subject's intention, the indicative function of meaning is definite and singular. The 'inner representation' means that image exposes the fundamentals or process of an object. In this case, the meaning of image resolves itself into an absolute fundamental, and one-to-many correspond existed between the image and the object. Because this 'inner representation' is focused on essence and substance but an external form, the indicative function of meaning is inclusive and general. The 'metaphorical representation' means that image critically relates social constraint and condition as metaphor and allegory. In this case, the meaning of image is not subordinate to an object and a subject, and the image and the object indicate interactively. Because this 'metaphorical representation' is focused on interaction between subject, object, and interpreter, the indicative function of meaning is differant and ecological. This article focused on the representation because I believe that continuous thinking of totality can be opened by cognitive mapping, even though we never understand the world totally in the chaotic post modern age.

• Architectural research
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• 제15권1호
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• pp.17-23
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• 2013

The purpose of this paper is to reconsider and revaluate Ste. Genevieve Library designed by Henri Labrouste as a criticism of Classicism. Considered as the epitome of the early structural Rationalism the modern historian tried to focus only on the iron structure of the library. Arguably, the structural concern was one of the ideas that the architect wanted to manifest in the library. As a rebel against a view of the Acad$\acute{e}$mie des Beaux-Art the notions of H. Labrouste were radical. He criticized an autistic Classicism with an echoing Claude Perrault's doubt about the myth of classical beauty. These radical ideas firstly showed in his report of the Grand Prix de Rome and must have been developed through several discussions for a novel: Notre-Dame de Paris by V. Hugo. 'Ceci tuera cela', one of the chapter of the novel, was generally known as the death of architecture due to the invention of the printing press around Renaissance period. We, however, consider that even though the historical background of the novel is the Gothic period the ideas, which was discussed with Labrouste, related to the death of architecture was not the architecture itself but classical architecture recomposed during Renaissance period. As the first design work the library must be reflected his ideas, which were developed, and manifested his criticism of the Classicism indirectly.

• 한국도서관정보학회지
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• 제26권
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• pp.401-440
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• 1997

The purpose of this paper is to study the historical background of the development of bibliography in the Sam-Kug Period. In the Sam-Kug Period, Bibliographic civilization was due to be invented the character. The invention of script was the revolution in communication and education. It is the acceptance of confucianism, Buddhism and Taoism to be influenced by the Bibliogaphy's development in this period. So it has produced a large number of student studying abroad and mission. And they were able to collect lots of books in China. It was various the way that they collected the materials. During one's stay in China as a student, they asked them give the books, or bought it at government expense. Their primary responsibility was to study and collect the classical canon, the Buddhist Sutras etc. Majority of the collected materials were classical canon and the Buddhist Sutras. And it was first copied by calligrapher and printed with the wood-block. Example, Dharani Sutra was found in the second story of Sokkatap pagoda of Pulguksa Temple in 1966. It was put inside the Pagoda when it was built in 751(in the 10th year of king Kyong-Duk). This is the worldwide cultural property of which we are proud. The collected books were annotated by learned priests and confucian scholars. An annotation of the sacred books were based on the Buddhist civilization, the art of printing and the development of bibliography. But we are unha n.0, ppy that it was reduced to ashes lots of the temples and the materials by the effect of war or fire.

• 복식
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• 제52권7호
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• pp.1-11
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• 2002

The shape of floral Pattern in the Period of Baroque could be divided single. bunch and vine. The style of representation was stylized, abstract and realistic. the most of style was stylized. The type of composition was fullness, independent and scattered. Floral patterns were shaped simple and complex and components of design could be classified into flower and leaf. flower and fruit. flower and band. bunch of flower, flower and geometry. flower and pot, flower and animal. flower and crest. Kinds of flower were tulip. common marigold, lily, carnation, small bel]flower. lotus, acandus leaf, pomegranate, strawberry. pine cone and abstract anonymous flower which were unfolded by repeat. Characters of floral Pattern were classical elegance, taste of royalty and lively and damask, velvet, brocade which made with gold and silver so, those were a very brilliant and gorgeous. Characters of design were illustrated plane style and stylization where developed arranged on front by repeat or repeat symmetric of vertical. Art, costumes and textiles in this era were a very rich and colorful. The result of study on Baroque's floral pattern will be used to develope a various textile design and chance to be adopted classical pattern into aesthetic value in our time.

• 한국실내디자인학회논문집
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• 제19권3호
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• pp.180-187
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• 2010

The purpose of this study was to examine the application tendency of the western classical style which appears in contemporary performing arts centers. The types of space in performing arts centers were investigated according to the times. There were somewhat fixed stage and auditorium types for each period ; the ancient times had the arena stage and round auditorium, the Renaissance the proscenium stage and the U-shaped auditorium, the Elizabethan period the thrust stage and polygonal auditorium, and the modern times the proscenium and apron stage, the horseshoe and fan type auditorium. Today since the purposes of performance are multiple, a variety of stage types are applied to each performing arts center. They use various spaces and performances of multiple purposes by moving and transforming the stage and auditorium according to the kinds of performance as a variation of the arena and proscenium stage. Recently there appear complex performing arts centers that can plan performing spaces of diverse sizes and forms to fit the functions of a performance in a large building. Since they put on performances in a large space according to the characteristics of the kind of performance, the intentions and goals of the performance are well delivered to the audience.