• 영미문화
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• 제9권1호
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• pp.113-139
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• 2009

Such is an elective affinity between literary studies and psychoanalysis that the latter sometime serves as a form of literary pedagogy. The affinity mainly consists in their shared concern for language. The signification of language in psychoanalysis is much similar to that of literature. Many of psychoanalytic terms and theoretical tenets bear witness to its dependence clinically on speech phenomena and theoretically on language in general. It is most true of Sigmund Freud, for whom the unconscious is in effect the linguistic unconscious. The Freudian unconscious, compressing and displacing through images and ideas, works as a text for psychoanalysis, which approach has not only paved one of the ways to poststructuralist anti-essentialism but with which literary studies also feel uncanny familiarity. Freudian psychoanalysis, starting empirically from clinical observations, discovers that words exist independent of meanings in the form of things in the unconscious system. Out of the various sensory elements of a word-thing, in psychoanalytic terms, the auditory is central. Now with the auditory imagination cultivated in the clinic, Freud figures out compression and displacement as the chief unconscious works, of which my main argument is that they are based phonetically on heteronym and homonym associations respectively. Compression and displacement work to be masks, which excites Freud's sense of challenge: his is a kind of poststructuralist approach, in the sense that the closed interrelatedness of words without external referents determines the signification in a given situation. But the works of compression and displacement, viewed in auditory terms rather than mapped on to metaphor and metonymy, can provide a new insight for a literary reading of Freud. Pursuing Freud's auditory imagination is not only an attempt to read his writing as literary text rather than for theoretical discussion, but also an experiment with the possibility of literary reading of a theoretical text in the age of after-theory.

• 동의생리병리학회지
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• 제21권1호
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• pp.10-17
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• 2007

This study examined Cheon SunEui(全循義)'s lineage, life, ChimGuTaekllPeonJip(鍼灸擇日編集) and SikRyoChanYo(食療纂要)'s subjectmedical history. Cheon SunEui(全循義)'s position underestimated that it's associated with the reality of politics in the early years of the Joseon dynasty medical history. Accordingly, Cheon SunEui(全循義)'s the healing art and studies remain poorly characterized. To understand the role of Cheon SunEui(全循義)'s studies, we examined that his lineage and life. We made a complete translation Cheon SunEui(全循義)'s ChimGuTaekllPeonJip(鍼灸擇日編集) introduction and confirmed importance alternative choice in the practice of acupuncture and moxibustion. We also identified that SikRyoChanYo(食療纂要) introduced hothouse methods using Korean paper and ondol, food store and fish store methods. is not too much to say that this book is one of the diet of our time. These results demonstrated that Cheon SunEui(全循義)'s life and literary work feel keenly the necessity of study in korea medical history. Because of the actual politics place estimate, Cheon SunEui(全循義)'s life and science underestimate. However, his books excavated. Old values cut red tape, following studied realized about his medical art and medical ideas.

• 미술이론과 현장
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• 제16호
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• pp.7-40
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• 2013

Historian Eric J. Hobsbawm once said "the task that historians have is to analyze the meanings of the past within the context of society and to track the changes and implementation." It would not be too far of a stretch to apply Hobsbawm's quote to art historian since art history, although quite specific, is still history. In addition, Hobsbaum also asserted that, "a mold called the past continuously forms the present or at least thought to be." It is my recognition that the major westernization of the last century took place under the Japanese colonization which served as the channel to usher in western art; however, the current 20thcentury Korean art history fails to recognize that the mold of the past, namely western art in this case, has formed the modern art of the present. Based on this recognition, attention was given to what lacked in the analysis of the current 20th-century Korean art history in terms of "Informel" which was identified as the turning point towards "modern art" in the Korean art history as well as the following "experimental art." My belief is that the art history of Korea has to be reassessed from, a socio-cultural perspective as well as adopting multi-level and diachronic understanding. However, the existing Korean art, especially the one between the end of 1950s to the 1970s was based on the perspective of "severance"; thus, raising the needs for the starting point of a new perspective. It is my conviction that meta perspective on writing is most essential in order to lay a solid basis for the Korean art scene to have a productive discussion. I feel the utmost necessity to reinterpret the typified history analysis and criticism which stemmed from the trauma under the Japanese colonization. The most urgent task is to avoid academic closeness and to share the research. Painting is an individual expression of the artist, but the act of expression is not free from the cultural and societal influence to which the artist belongs.

• 시큐리티연구
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• 제12호
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• pp.291-308
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• 2006

국가의 성립과 발전에 따라 그 사회의 지배자와 피지배자 사이에는 일정한 간극이 발생한다. 이 중 지배자는 다시 세분화되어 국왕이나 대통령 및 최고 집권자 등으로 구분되어 상대적으로 신변에 불안을 느끼게 되고, 이를 보호하기 위한 모든 수단과 방법을 동원하여 위해 요인을 사전에 예방하거나 제거하기 위한 여러 작용이 발생하는 바, 이것을 일반적으로 경호라 한다. 따라서 경호의 시작은 왕권의 강화 내지 중앙집권화체제와 밀접한 관련이 있으며, 처음에는 군사조직이 이를 대행해 왔으나, 점차 경호업무의 세분화${\cdot}$조직화에 따라 독립적인 부서로 자리를 잡게 된다. 삼국 및 통일신라시대의 경호는 왕권의 강화, 영토의 확장, 중앙집권화의 확립 등에 따라 새로운 지배체제가 필요하였으며, 국와 근시집단과 시위부가 성립하여 국왕을 시위하거나 사병적 역할을 담당하는 업무를 관장하게 된다. 신라말에는 광범위한 관제개혁이 진행되어 중사성${\cdot}$선교성 등의 근시기구가 나타나며, 국왕과 태자의 시종뿐만 아니라 문한(文翰)의 업무도 장악하는 관부로 발전하게 된다.