• 디지털융복합연구
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• 제18권4호
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• pp.201-209
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• 2020

본 연구는 아동의 그림을 통하여 정서 상태를 분석하고 그 결과에 따라 심층 검사 대상자를 선별하여 전문 기관에 연계하도록 하는 시스템에 대한 사례 연구이다. 공간적·시간적 제약을 극복하기 위해 아동 그림 분석의 신청부터 최종 결과의 피드백까지 단계적으로 처리할 수 있도록 하기 위한 웹 기반 시스템을 개발하여 적용하였고, 결과에 따라 전문기관의 도움을 받기 위해 연결된다. 온라인 플랫폼은 스마트폰을 이용하여 1차 스크니링 목적으로 관찰을 실시하고, 이후 결과를 토대로 오프라인의 2차케어 연계 프로세스를 진행하도록 설계되었다. 부모의 양육스트레스를 함께 분석하여 검사의 정확도를 높이고 문제의 원인을 찾는데 도움이 되도록 하였다. 보육기관에 다니는 만 3세에서 만 5세 사이의 아동 2,532명과 그 부모를 대상으로 하였다. 프로그램 적용 결과 아동 중 564명과 부모 중 223명이 2차 기관 케어 지원대상으로 분석되었고, 학부모 311명에 대한 교육 및 상담을 실시하였다.

• 한국연극학
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• 제52호
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• pp.5-59
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• 2014

This paper investigates the development and aesthetics of Korean political theatre from its quickening period 1920s to democratization era 1990s. Political theatre before 90s developed an antithesis resistant movement toward Korean modern history that had been scattered with suppressing political circumstances such as colonial era and dictatorial government, the movement has powerful activity and social influences. Just like the 20 century political theatre had been quickened under the influence of Marxism at Russia and Germany in 1920s, Korea's political theatre began in socialism theatre movement form around the same time. Proletarian theatre groups had been founded in Japan and Korea, and developed into practical movement with organized connection. However, the political theatre movement in Japanese colonial era was an empty vessel makes great sound but not much accomplishments. Most performance had been canceled or disapproved by suppression or censorship of the Japanese Empire. The political theatre in liberation era was the left drama inherited from Proletarian theatre of the colonial era. Korean Theatre alliance took lead the theatrical world unfold activities based on theatre popularization theory such as 'culture activists' taking a jump up the line and 'independent theatre' peeping into production spot as well as the important event, Independence Movement Day Memorial tournament theatre. Since 1947, US army military government in Korea strongly oppressed the left performances to stop and theatrical movement was ended due to many left theatrical people defection to North Korea. The political theatre in 1960s to 70s the Park regime, developed in dramatically different ways according to orthodox group and group out of power. The political theatre of institutional system handled judgment on sterile people and had indirect political theatre from that took history material and allegory technique because of censorship. In political theatre out of institution, it started outdoor theatre that has modernized traditional performance style and established deep relationship with labor spot and culture movement organizations. Madangguek(Outdoor theatre) is 'Attentive political theatre', satirizing and offending the political and social inconsistencies such as the dictatorial government's oppression and unbalanced distribution, alienation of general people, and foreign powers' pillage sharply as well as laughing at the Establishment with negative characters. The political theatre in 1980s is divided into two categories; political theatre of institutional system and Madangguek. Institutional Political theatre mainly performed in Korea Theatre Festival and the theatre group 'Yeonwoo-Moudae' led political theatre as private theatre company. Madangguek developed into an outdoor theatrical for indoor theatre capturing postcolonial historical view. Yeonwoo-Moudae theatre company produced representative political plays at 80s such as The chronicles of Han's, Birds fly away too, and so on by combining freewheeling play spirit of Madangguek and epic theatre. Political theatre was all the rage since the age of democratization started in 1987 and political materials has been freed from ban. However, political theatre was slowly declined as real socialism was crumbling and postmodernism is becoming the spirit of the times. After 90s, there are no more plays of ideology and propaganda that aim at politicization of theatre. As the age rapidly entered into the age of deideology, political theatre discourse also changed greatly. The concept 'the political' became influential as a new political possibility that stands up to neoliberalism system in the evasion of politics. Rather than reenact political issues, it experiments new political theatre that involves something political by deconstructing and reassigning audience's political sense with provocative forms, staging others and drawing discussion about it.

• 역사민속학
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• 제44호
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• pp.39-70
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• 2014

산도(山圖)에 대한 연구는 고지도(古地圖)를 중심으로 회화(繪畵)와 풍수(風水) 등 다양한 분야에서 다양한 시각으로 꾸준히 연구 성과가 축적되고 있다. 그러나 기존의 연구는 대부분 문헌연구(文獻硏究)에 의한 산도(山圖)의 양식과 종류 그리고 실생활에서의 활용 등에 초점이 맞추어져 있고 산도(山圖) 자체에 대한 분석과 연구는 미진한 실정이다. 따라서 본 연구는 산도(山圖)에 대한 체계적인 연구를 위해 지금까지 축적된 산도(山圖)에 대한 선행연구를 기반으로 산도표현(山圖表現)의 특징을 세 가지 관점으로 분류하고 분석하여 아래와 같은 결과를 도출하였다. (1) 산도(山圖)에 적용된 좌향(坐向)에 대한 정보를 통해, "선원보감(璿源寶鑑)" 산도(山圖)의 제작과정에서 "증보문헌비고(增補文獻備考)"의 자료를 참고하였을 가능성을 밝혔고, (2) <사공공릉도(司空公陵圖)>에 사용된 범례(凡例)를 통해 <사공공릉도(司空公陵圖)> 제작자가 고지도(古地圖) 전문가일 가능성을 밝혔으며, (3) "선원보감(璿源寶鑑)" 산도(山圖)에 표기된 태조(太祖)의 4대조(代祖) 능에 표기된 위치정보(位置情報)의 내용을 "북도각릉전도형(北道各陵殿圖形)" 산도(山圖)의 내용과 비교분석하여 두 자료의 연관성과 또 다른 판본(版本)의 존재 가능성에 대해 논하였고, (4) 나경(羅經)의 발명과 발전이 지도(地圖)와 산도(山圖)의 정확한 표현에 영향을 미치는 과정과 이러한 방위 표기법이 고지도(古地圖)와 산도(山圖)에 각각 다르게 적용된 사례를 살펴보았다. 그리고 (5) 산도(山圖)의 대상지에 대한 자연환경을 효과적으로 표현하기 위해 물길과 도로가 "선원보감(璿源寶鑑)" 산도(山圖)에 각각 다르게 표현된 사례를 정리하였고, (6) 산도(山圖)의 표현에서 중요한 요소인 물(水)에 대한 표현을 중국(中國)의 풍수서(風水書)와 일부 다르게 표현하고 있음을 밝혀 조선시대 산도(山圖)가 기본적으로는 중국(中國) 풍수서(風水書)의 표현을 따르고 있지만 우리만의 독자적인 표현기법도 동시에 존재하였음을 살펴보았으며, 마지막으로 ⑦ 산도(山圖)에 표기된 풍수용어(風水用語)들을 분석하여 산도(山圖)가 자연 지형을 풍수지리(風水地理) 명당 공간으로 형상화한 그림지도임을 확인하였다.

• 한국시뮬레이션학회논문지
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• 제30권2호
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• pp.41-48
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• 2021

농촌 인구의 감소와 고령화가 지속되면서 농업 생상성 향상의 중요성이 높아지고 있는 가운데, 농작물 품질에 대한 조기 예측은 농업 생산성 및 수익성 향상에 중요한 역할을 할 수 있다. 최근 CNN 기반의 딥러닝 기술 및 전이 학습을 활용하여 농작물의 질병을 분류하거나 수확량을 예측하는 연구가 활발하게 진행되고 있지만, 수확 후 농작물의 품질을 식재단계에서 조기에 예측하는 연구는 찾아보기 힘들다. 본 연구에서는 건강 기능성 식품으로 주목받고 있는 새싹삼을 대상으로, 수확 후 새싹삼의 품질을 식재단계에서 조기에 예측하는 모델을 제안한다. 이를 위하여 묘삼의 이미지를 촬영한 후 수경재배를 통해 새싹삼을 재배하였고, 수확 후 새싹삼의 품질을 분류하여 실험 데이터를 수집하였다. 다수의 CNN 기반의 사전 학습된 모델을 활용하여 새싹삼 조기 품질 예측 모델을 구축하고, 수집된 데이터를 이용하여 각 모델의 학습 및 예측 성능을 비교 분석하였다. 분석 결과 모든 예측 모델에서 80% 이상의 예측 정확도를 보였으며, 특히 ResNet152V2 기반의 예측 모델에서 가장 높은 정확도를 보였다. 본 연구를 통해 인력에 의존하던 기존의 묘삼 선별 작업을 자동화하여 새싹삼의 품질을 높이고 생산량을 증대시켜 농가의 수익창출에 기여할 수 있을 것으로 기대된다.

• Nuclear Engineering and Technology
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• 제56권3호
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• pp.1029-1036
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• 2024

Drawing on the deep experience and understanding of the principles of nuclear safety, as well as many years of nuclear power plant design and operation, the EDF led NUWARD SMR Project is developing a design for a Small Modular Reactor (SMR) of 340 MWe composed of two 170 MWe independent units, that will supplement the offering of high-output nuclear reactors, especially in response to specific needs such as replacement of fossil-fuelled power plants. NUWARD SMR is a mix of proven and innovative design features that will make it more commercially competitive, while integrating safety features that comply with the highest international standards. Following the principles of redundancy and diversity and rigorous application of Defence in Depth (DID), with an international view on nuclear safety licensing, the Project also incorporates new safety approaches into its design development. The NUWARD SMR Project has been in development for a number of years, it entered conceptual design formally in mid-2019 and entered Basic Design in 2023. The objective of the concept design phase was to confirm the project technological choices and to define the first design configuration of the NUWARD SMR product, to document it, in order to launch pre-licensing with the French Safety Authority (ASN) and to define its estimated cost and its subsequent development and construction schedules. As a delivery milestone the Safety Options file (called the Dossier d'Options de Sûreté (DOS)) has been submitted to ASN in July 2023 for their opinion. An integral part of the NUWARD SMR Project, is not only to deliver a design suitable for France and to satisfy French regulation, but to develop a product suitable and indeed desirable, for the international market, with a first focus in Europe. In order to achieve its objectives and realise its market potential, the NUWARD SMR Project needs to define and realise its safety approach within an international environment and that is the key subject of this paper. The following paper: • Summarises the foundation principles and technological background which underpin the design; • Contextualises the key design features with regard to the international safety regulatory framework with particular emphasis on innovative passive safety aspects; • Illustrates the Project activities in preparation for first licensing in France, and also a wider international view via the ASN led Joint Early Review of the NUWARD SMR design, including Finnish and Czech Republic regulators, recently joined by the Swedish, Polish and Dutch regulators; • Articulates the collaborative approach to design development from involvement with the Project partners (the Commissariat à l'énergie atomique et aux énergies alternatives (CEA), Naval Group, TechnicAtome, Framatome and Tractebel) to the establishment of the International NUWARD Advisory Board (INAB), to gain greater international insight and advice; • Concludes with the focus on next steps into detailed design development, standardisation of the design and its simplification to enhance its commercial competitiveness in a context of further harmonisation of the nuclear safety and licensing requirements and aspirations.

• 복식
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• 제39권
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• pp.113-123
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• 1998

This study focuses on the effects of the clothes worn by kisaeng; courtesans trained in singing and dancing, on changes in female psychology as reflected in general women's fashions during the later years of the Chosun dynasty. During this period, the social order had broken down considerable, due in part to the introduction of Roman Catholicism, and in part to the actions of Sil-hak, who emphasized open-ness and practicality in the organization of social affairs. This freer social environment disrup-ted the established social hierarchies. The kisaeng were among the first to respond to the new social mores by adopting more colorful, sensual, and individualized fashions. Their social position allowed them to reflect the new aesthetics of the time right away. Those aesthetics seemed to lay great emphasis on the artistic effects of contrast. The kisaeng would adorn their heads with large Kache (an elaborate wig or hairdo typically reserved for use by women in full formal dress). In contrast to this conspicuous hairstyle, they typically wore very tight-fitting Jogori (short-cropped Korean traditional jackets for women) around their upper torsos. The long skirts emerging from beneath these short jackets would typically flare out dramatically, with the aid of petticoats. However, these skirts would be bound at the waist with a sash, increasing the sexual suggestiveness of the clothing by drawing at-tention to the hips, and by exposing the bottom frills of the petticoats, or the wide pantal-oons and other undergarments the kisaeng wore to add volume to their skirts. The relative freedom enjoyed by the kisaeng to experiment with new fashions was not widely shared by most women. This generated envy from women of the noble classes, who were more bound by convention, and restrained from adopting such a mode of dress. It also generated envy from women of the humble classes, who saw the kisaeng as working little for their wealth, and yet dressing every day in finery that the average women would only ever be able to afford on her wedding day. This envy directed at the relative freedom/wealth of the kisaeng by women who faced greater socioeconomic constraints was given cultural expression through the adoption of elements of the kisaeng's fashion in the fashions of both noblewomen and humble women in old korea. The luxurious Kache sported by the kisaeng had in fact been borrowed from the habitual attire of upper-class women. So to distinguish themeselves from the kisaeng, they began to abandon these elaborate hairstyles in favor of traditional ceremonial hoods (Nel-ul-a thin black women's hood) and coronets (Suegaechima). This supposed reaction to the abuse of the Kache by the kisaeng still remained influenced by the kisaeng still remained influence by the kisaeng, however, as these headdresses became adorned with many more jewels and decorations, in imitation of the kisaeng's adaptations of the coronet. At the same time, noblewomen began sporting the Jangwue ; a headdress previously worn only by kisaeng and lower class women, and lower class women were then permitted to wear the Kache at weddings. All women behan to wear shorter, tighter Jogori jackets, and to add volume to their skirts. They also attached frills to their under-garments in imitation of the kisaeng's exposed petticoats and pantaloons. The impact of kisaeng fashions was thus deep and widespread, and can be understood as an expression of women's longing for freedom from socioeconomic constraints in the late Chosun dynasty. This study adopts an interdisciplinary ap-proach to the understanding of historical changes in women's fashions. Such interdisciplinary work can greatly enrich the study of fashion, often narrowly focused on clothing morphology and broad generalizations about society. For this reason, specific dynamics of feminine psychology in the late Chosun dynasty were elaborated in this study, to provide a deeper under-standing of the changes in fashion underpinned by them. If more such detailed analyses are undertaken, a whole new understanding of changes in fashion can be generated, and perhaps a transformation of the field of fashion history can be ultimately achieved.

• 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.

• Korean Chemical Engineering Research
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• 제43권4호
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• pp.487-494
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• 2005

자동차, 기계금속, 전자 등 여러 산업에서는 부품 가공 중의 세정 과정에서 금속가공유와 각종 세정첨가물이 함유된 많은 폐수를 발생시킨다. 본 연구에서는 수용성 또는 비수용성 금속가공유로 오염된 수계 및 준수계 세정폐수를 한외여과막시스템을 이용하여 처리하고자 하였다. 이 실험에서 막을 친수성인 polyacrylonitrile(PAN)을 사용하고 막의 크기 및 오염물의 농도 변화에 따른 한외여과막 투과수량과 유수분리 성능(COD제거율)을 측정하여 한외여과법 처리의 적정성 여부를 조사 분석하였다. 그 결과 수계 또는 준수계세정제와 수용성 가공유로 오염된 가공폐수의 경우 한외여과막의 크기가 10 kDa에서 100 kDa로 증가함에 따라 COD 제거율은 90 wt％-95 wt％로 거의 일정하지만 투과플럭스는 4배 이상 증가하였다. 그리고 금속가공폐수의 오염물 농도가 3 wt％에서 10 wt％로 증가할수록 한외여과막의 COD 제거율은 증가하지만 투과플럭스는 감소하였다. 그러나 수계 또는 준수계세정제와 비수용성 오일로 오염된 가공폐수의 경우 오염물의 농도가 증가할수록 COD 제거율은 거의 일정하지만 투과플럭스는 급격히 감소함을 보여 주었다. 이러한 현상은 한외여과막 재질이 친수성인 PAN이기 때문에 비수용성 오일이 막을 통과하지 못하고 막의 기공을 막기 때문인 것으로 추론된다. 따라서, 수용성 오일이 함유된 세정액은 막재질이 PAN이고 세공크기가 100 kDa인 한외여과법 처리가 적정한 것으로 판단되었다. 이러한 기초실험 결과를 활용하여 PAN 재질의 막(MWCO=100 kDa)을 사용한 한외여과 pilot 시스템을 설치 운전하여 수용성 인발유로 오염된 알칼리 세정 폐액을 처리하고 알칼리세정제와 인발유를 재활용하고자 하였다. 현장 실험 결과 한외여과 공정은 수계세정제와 수용성오일을 효과적으로 분리하여 재활용할 수 있었고 기존 공정에 비하여 세정제 사용수명을 12배 이상 증가시킬 수 있었다.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• 제15권1호
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• pp.61-74
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• 2004

연구목적：아동기에 경험한 심각한 정신적 외상은 외상후 스트레스 장애(Posttraumatic Stress Disorder；PTSD) 증상을 야기할 뿐 아니라, 전반적인 심리 발달에도 부정적인 영향을 미친다. 특히 정신적 외상은 학령전기 아동의 정신적 표상에 부정적인 영향을 미쳐 향후 인격형성에 문제를 일으킬 것으로 예상된다. 본 연구는 한차례의 심한 정신적 외상을 경험한 9명의 학령전기 아동들의 심리적 표상이 어떻게 형성되어 있는지를 조사하여 이들의 정신적 문제를 진단적 범주 차원을 넘어 내면의 심리적 차원의 이해를 높이고자 하였다. 방 법：유치원 점심시간에 침입한 정신질환자에게 칼로 심한 신체적 상해를 입은 동일한 한 차례의 심한 정신적 외상을 경험한 만 $3{\sim}5$세 아동 9명(남아 6명, 여아 3명)을 대상으로, 사고 발생 1개월 경과 후 신체적 상해를 치료한 시점에서 심리적 평가를 시행하였다. 평가는 부모 면담, 아동에 대한 정신의학적 면담 및 관찰, 아동에 대한 심리평가(지능검사, House-Tree-Person test；HTP, MacArthur Stem Story Battery；MSSB) 등이 포괄적으로 이루어졌다. 본 연구에서는 아동의 정신적 표상을 반영하는 MSSB, HTP 검사 결과를 분석하였다. 결 과：9명의 아동은 모두 진단(5명이 PTSD 진단에 해당됨)과 상관없이 보편적으로 외상 경험과 관련되어 보이는 높은 불안감, 우울감, 위축과 회피 등의 감정 반응을 주로 나타내었는데, 이런 반응들은 부모 보고에 의한 평가에서는 거의 나타나지 않았다. 특히 병원 치료에 대한 공포, 사고에 대한 재현, 공격적 주제, 양육자와의 이별 등의 내용이 아동의 그림이나 이야기 속에서 자주 나타났으며 이런 내용은 직접적 질문이나 대화에서는 거의 나타나지 않았다. 결 론：본 연구에서 한번의 심각한 외상 경험을 한 학령 전기 아동들은 PTSD 진단 여부와 관계없이, 전반적 정신적 표상으로 외상과 관련된 부정적 정서 경험과 사고 내용을 보였다. 따라서 향 후 심한 정신적 충격을 받은 학령전기 아동들의 경우 PTSD 증상 뿐 아니라 사고로 야기된 부정적 정신적 표상에 대한 평가와 개입이 필요하다고 판단된다.

• 문화기술의 융합
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• 제7권4호
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• pp.273-280
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• 2021

강암(剛菴) 송성용(宋成鏞)(1913~1999)은 전북 김제 출신으로서 20C 마지막 유생(儒生) 서예가이자 시·서·화 삼절작가이다. 그는 평생 보발과 한복을 유지하며 선친 유재(裕齋) 송기면(宋基冕)과 장인 고재(顧齋) 이병은(李炳殷)의 학문과 사상, 서화예술을 구체신용론적(舊體新用論的) 관점으로 접근하여 인격 도야 및 정심(正心)을 유지코자 하는 주체적 철학정신을 견지하였다. 법고(法古)에 대한 충실한 계승이라는 '구체(舊體)'를 근간으로 어려서는 구양순을 중심으로 미불, 동기창을 익혔고, 국전 출품기에는 황정견, 한예, 오희재, 소전체 등을 접목하였다. 이후 1965년(53세)에 전주로 이거, 추사체 등 여러 서체를 자가화하여 무대자득(無待自得)한 강암체(剛菴體)를 이루었고, 기괴적이고 파격적으로 사의화(寫意化) 한 풍죽(風竹)으로 '신용(新用)'을 창출해 내었다. 또한, 서예의 본원적 정신과 자연적 예술미를 재점검하여 정체성을 재확립하고, 이를 바탕으로 부단한 탐신(探新)의 미학을 추구하여 현대서화의 심미를 확장하는데 크게 이바지하였다. 특히 풍죽은 사의(寫意) 정신을 원리로 한 추상성이 강하며, 수양론적으로는 궁리(窮理)와 진성(盡性)을 바탕으로 하여 이소관대(以小觀大)의 고아미(高雅美)를 발현한 화이재도론적(畵以載道論的) 이학미학(理學美學)을 구현함으로써 도예일치(道藝一致)를 이루었다. 전북 서단은 강암(剛菴) 시대에 최고봉을 이루면서 20C 말 한국서예의 중심 서단으로 자리 잡으면서 중흥기를 맞이하게 된다.