• 조형예술학연구
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• 제6권
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• pp.140-202
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• 2004

Body means 1)the whole structure and substance of a man, animal, or plant 2) the trunk or torso of a man or animal 3) part of garment that covers the trunk 4) the fresh or material substance, as opposed to the spirit. Human body could be distinguished as fresh and spirit. Body has the meaning of physicality. Physical means the bodily and constitution, but in the meaning of constitution there is the content of spirituality. Physicality means the appearing or arising of trace or image or nuance of body. The paintings which are using bodies are 1) directly draw bodies 2) twisting or transformation or nuance of the body and highly upgrade the physical emotion or fantastic bodily nuance 3) directly rubbing artist's body on the surface of painting with pigments to elect tactile specification. These physical art have appeared broadly by various artists, mainly with the social aspects of sex, drug, psycho sexual issues. In case of Joel peter Whitkin, the reason of strong physicality in the art is from the mind of the rejection and resistance of real world which is targeting top, perfect and beauty. Further explanation, being the world which is separated top and under, men and women, beauty and ugly; further in the situation, the hierarchy, terror and pressure began and many difficult problems has derived. The contents of attacking feminists's art works are very obscene to reveal female and male's phallus strongly. Sometime, it is strongly related in the political issues. The physical paintings have strong meanings in the action by hands and feet. It supports that it could reveal the humanity with smell, breath, and traces of bodies. In the bodies, the origin of life begins which gives human life by blood lines and water. Sometime, the physical paintings are made by the blood and urine to stick the physicality for special nuance. The physical paintings are made by the image of penis and clitoris which are related in the image of urinating, ejaculation and sometime is symbolized as pens and candles to drop liquid. The selected painters who are related in physical painting are Jackson Pollock, Andrea Serano, Eve Klein, Francis Bacon, Francesco Clemente, Lichard Long, Jakes & Dinos Chapman, Anselm Kiefer, Kiki Smith and Park, Ki Woong. Francis Bacon's style is destructive in representing human shapes which give us special message about the unbearable activity of men politician, high brain, wealthy and religious people. Francesco Clemente's method is to use throat, ear hole, mouse, clitoris, belly nostrils and every holes of body to transmute human physical body. Lichard Long uses directly his body in drawing the surface of painting by using liquid of mud Jakes & Dinos Chapman destroys or transforms the bodies of human. It sometime appears wrong location of the bodies that the penis and vulva is in between human faces or nose of women, Anselm Kiefer uses human hair for representing the human decaying martyrs, and indirectly using straw, he gives special ritual action to repent the Nazi's fault. From 2002 to 2003, Park KI Woong used women womb images to intermingle the smoke shape of <9.11 terror, 2001> in New York to reveal the painful situation of the time(*).

• 한국시조학회지:시조학논총
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• 제19권1호
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• pp.179-205
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• 2003

The purpose of this study is about to consider the structure of dualistic recognition between "Gang-Ho"(ideal sanctuary) and real world in the "Songs of Fisherman" written by Lee Hyeon Bo. In order to do this job, I analized the arrangement of the contents and extract the exact in and outward meaning of elements and expressions; usage of them between lines of this Song. Based on these works, I tried to explain the confronted recognitions of the two worlds. At the first, about the arrangement and contents of this poem, It is consisted of 5 independent sub-poems and each of them are describing the value of fisherman's life(at the poem 가), separation from mundane world(나), satisfaction of fisherman's life(다), nature of "Gnag-Ho"(라), domiciliation in the place(마). It looks like that the writer intended to have the arrangement probability and likelihood connecting poems. Secondly, It contrast the nature of the "Gang-Ho" and real world. The sanctuary is a place of 'absence of worldly desire' and 'cordiality' that could afford one's harmonious life. On the other hand, the real world is a troublesome place which always conflicts political confrontations. For those reasons, the writer wants to satisfy with his living in "Gang-Ho" separating himself from the real world. Thirdly, The nature of "Gang-Ho" is 'absence of worldly desire' and 'cordiality' that one could be deserved his diligency becoming a part of the harmonious idealistic living place. Fourthly, on the character of story teller. Originally he is a incomer of "Gang-Ho" from real world. so that reason, he is showing dualism not to deny the loyalty oath to his king, while he intends to satisfy with the life in "Gang- Ho" separating himself from real world. As a gentry, at that time, the loyalty oath is inevitable one and that is found from writer's other works either. Fifthly, Characters of the different world recognition. The main reason of his intention to "Gang-Ho" roots on out of worldly confrontations, his separation from real world is on a joyous peaceful life just like in "Gang-Ho". this study believes the writer imply that 'absence of worldly desire' and 'cordiality' of "Gang-Ho", be a key role to resolve the confrontation of real world. Lee Hyeon Bo himself regards the two elements as a advisable attitude of life. At last, Seeing the writer's other work and literature's educational effect, this study defines that even if the poem outwardly express one's lyricism but inside it warns governors ruling attitude.

• 조형예술학연구
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• 제3권
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• pp.87-144
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• 2001

This study looks into historical genealogy of autonomy in art criticism on modernism and presents the view of the judgment and correction about that. A matter of autonomy in art appeared in the attempt to totally reconsider and upset the theory of 'Mimesis' or 'Representation' which was the basis of traditional aesthetic theory. In the traditional theory of representation, they assumed primary image exists first and then tried to obtain visual similarity to it through art works. However, in the theory of autonomy in modernism, they maintained the reduction to pure form' or medium', regarding what art works represents and how similar to primary image are not the true essence of art. In the early 20th century, C. Bell laid the foundation stone of the theory of Formalism', providing that a matter of autonomy is significant form', which is the combination of lines and colors Aesthetic autonomy theory came to a climax by C. Greenberg, who systemized art criticism on modernism in the middle 20th century. According to his theory, the pursuit of the essence of form resulted in the specificity of medium' and flatness. They thought that the autonomy of art would be achieved by eliminating outward social factors from art works. This theory ended by Minimalism preventing the instructive function of art work and only emphasizing its material property. Since the middle 20th century, the autonomy theory was confronted with the limit and intense attack because it resulted in this fixed canon and materialism, so they began laying emphasis on those extrinsic factors around art works such as human life, society, history, and so on. This study focuses on arguing and complementing the limit of autonomy such as the adhesive and fixed canon, and then defining the more dynamic area of it. For this, first, I introduced the view of T. J. Clark and T. Crow who criticized the aesthetic autonomy theory. They denied the transcendental structure of form, and found form only in the association with substantial life and society. And they insisted the dynamism of form by emphasizing form as a result of negation insisted by avant-garde. Second, I researched the view of A. C, Danto and M. Fried, who complemented the traditional autonomy theory. They made autonomy emerge from the fixation of form like flatness through connecting essentialism with historical view. In conclusion, I insist that autonomic position of art make it possible to connect or mediate between material form and human or social elements. Therefore, autonomy should not be reduced to the axis of form or that of society but make interaction between two heterogeneous axes.

• Maxillofacial Plastic and Reconstructive Surgery
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• 제22권3호
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• pp.319-329
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• 2000

Prediction of the soft tissue changes following hard tissue movement is very important from the esthetic view point for patients who have orthognathic surgery. There are many cephalometric analysis of facial bone and soft tissue on the lower lip and chin region but few soft tissue analysis on the midface after mandibular setback surgery. This study was performed to obtain whether the mandibular posterior movement has influence on the midface and the predictable ratio of post-operative measurement values of the soft tissue changes following mandibular setback surgery. Fifteen patients (8 males and 7 females) who had undergone mandibular setback surgery were selected and analyzed the soft tissue movement on the upper lip and the cheek region. Post-operative changes of the soft tissue measurements after mandibular surgery were examined on pre- and post-operative cephalometrics and the ratio of changes were analyzed after drawing the reference line on the face with the barium sulfate solution. The reference lines were perpendicular to the intercanthal line from infraorbital foramen and lateral canthus. The results obtained were as follows : 1. There were tendancy of anterior movement of soft tissue adjacent the nose after mandibular surgery 2. There were incerased tendancy of the amount of anterior movement from the nasal crease to the cheek region. 3. The amount of anterior movement of the soft tissue was larger below the palatal plane compared with above the palatal plane in the cheek region. 4. The upper lip length was increased and moved posterior direction after mandibular setback surgery 5. The lower lip was moved posterior direction by posterior movement of the mandibular structure 6. Soft tissue of the midface around the nose moved anterior direction after mandibular setback surgery but there was no correlation between the amount of mandibular setback and the amount of the soft tissue changes

• 한국연극학
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• 제40호
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• pp.5-27
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• 2010

The Korean Mask-Dance Theatre has been developed closely related to Korean Shaman rituals. As many scholars noticed, the performers of the Mask-Dance Theatre were closely related to the Shaman family. In addition, there are mask-dance performances in actual shaman rituals. and are the representative performances among them. This essay intends to compare these two mask-dance performances in the shaman rituals to the similar performance of Old Grandpa and Grandma episode in the regional Mask-Dance Theatre. This study would bring us further in proving the close relation between the shaman ritual and the Mask-Dance Theatre. is one episode, Keori, in the shaman ritual of 'Baeyeonsin-kut' and 'Taedong-kut' in the mid-west seashore area. 'Taedong-kut' is the village shaman ritual for fertility and prosperity, while 'Baeyeonsin-kut' is a private shaman ritual for a large catch of the ship. is held in the later part of the whole shaman ritual since the later part tend to be more for entertainment than actual ritual. The story of is very similar that of in Pongsan Mask-Dance Theatre of the mid-west region. In addition, some of their dialogues are very similar. Only the later part is different. These similarities indicate that the Mask-Dance Theatre, which came into being in later period than the shaman ritual, has likely taken the story motif of the shaman ritual. is also a performance in the shaman ritual of east coasts. is more elaborate and recreational than of the west coasts. is also performed near the end of the ritual, and sometimes it is not performed at all. This indicates that has little ritual meaning left. When we compare it with the regional Mask-Dance Theatres such as Keosung Okwangdae, Tongyong Okwangdae, and Suyong Yaryu, the structure and the story lines are also very similar. It is a question why only the motif of the Grandpa and Grandma isfound both in the shaman ritual and the Mask-Dance Theatre. Many other motifs of other episodes in the Mask-Dance Theatre are not found in the shaman rituals. It seems that the Grandpa and Grandma motif is related to the ur-belief in fertility. In other words, this motif seems to be originated from the old belief in the fertility couple of Chonha Taechanggun and Jiha Yeochanggun. The shaman ritual for fertility first picked up this motif, and then the mask-dance theatre also adapted this motif for its recreational purpose. When we compare with , still has more aspects of fertility ritual, while lost its ritualistic meaning and its main purpose is to develop dramatic needs. and are invaluable existent performances to prove theatre's origin in ritual. The existence of mask-dance performances in the shaman rituals shows us the transit performance between theatre and ritual.

• Journal of the Korean Association of Oral and Maxillofacial Surgeons
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• 제38권4호
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• pp.231-239
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• 2012

Objectives: This study sought to provide guidelines in order to decrease the incidence of nerve injury during mandibular ramus bone harvesting, and to improve understanding of the anatomical structure of the inferior alveolar canal (IAC) to include its distance from the exterior buccal cortex. Materials and Methods: In January and February 2009, 20 patients who visited the Wonkwang University Department of Oral and Maxillofacial Surgery reporting various conditions underwent cone beam computed tomography and were included in this study. Patients with missing left or right mandibular first molars or incisors, or who had jaw fracture or bone pathologies, were excluded. The reference point (R point) was defined as the point where the occlusal plane reached the anterior ramus of the mandible. The position of the IAC in relation to the R point, the buccal bone width (BW), the alveolar crest distance (ACD), the distance from the alveolar crest to the occlusal plane (COD), and the distance from the IAC to the sagittal plane (CS) were determined using proprietary image analysis software which produced cross-sectional coronal and axial images. Results: The distance medially from the R point to the IAC along the axial plane was $6.19{\pm}1.21mm$. The HD from the R point, posteriorly to IAC, in the lateral view was $13.07{\pm}2.45mm$, the VD from the R point was $14.24{\pm}2.41mm$, and the ND from the R point was $10.12{\pm}1.76mm$. The pathway of the IAC was positioned almost in a straight line along a sagittal plane within $0.56{\pm}0.70mm$. The distance from the buccal bone surface to the IAC increased anteriorly from the R point. Conclusion: Marking osteotomy lines in the retromolar area in procedures involving bone harvesting should be discouraged due to the risk of damage to IAC structures. Our measurements indicated that the area from the R point in the ramus of the mandible to 10 mm anterior can be safely harvested for bone grafting purposes.

• 한국지리정보학회지
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• 제15권1호
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• pp.159-171
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• 2012

본 연구에서는 하천관리지리정보시스템(RIMGIS) 내 하천유지관리부분의 활용성 향상 및 하천유지관리업무의 선진화를 위하여 항공레이저측량(LiDAR)과 고해상 영상자료를 기반으로 한 동적으로 변화하는 하상자료 관리 및 하상변동 분석 등의 하천유지관리기술을 개발하였다. LiDAR 및 고해상도 영상 형식으로 제작된 하천의 정밀지형도를 이용하여 동적으로 변화하는 하천의 하상자료 및 제방자료를 정보화하여 RIMGIS DB를 구축하고, RIMGIS와 연계된 하천유지관리체계 구축 및 하상변동 영향을 최소화하는 모니터링 기술을 연구하였다. 또한, 하천 지형정보 및 유지관리정보 등을 가지고 있는 RIMGIS의 기능과 자료구조를 보완하여 하천의 실시간 유지관리가 가능하도록 개선하며, 하상정보와 하천단면정보를 제공하여 하천통수단면 확보 등 구조적 기법을 이용한 하천기능 유지가 가능하도록 RIMGIS 보완 기술을 개발하였다. 이는 기존의 2차원 선(線)기반으로 제공되는 한정된 하천정보 및 정확성이 결여된 자료제공의 문제를 보완하여 지속적인 RIMGIS 기능개선과 유지관리 작업이 가능하도록 지원하고, RIMGIS 내 하천유지관리부분의 활용성을 극대화할 수 있는 기반기술로 이용할 수 있을 것으로 기대된다.

• 한국지구물리탐사학회:학술대회논문집
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• 한국지구물리탐사학회 2008년도 공동학술대회
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• pp.85-92
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• 2008

국립해양조사원에서는 우리나라 관할 해역에 대한 국가해양기본도 조사계획을 수립하여 1996년부터 동해를 시작으로 연차적으로 한반도 주변의 해역 전체에 대한 해양조사를 실시 중에 있고, 본 논문은 1999년도에 '해양2000호'를 이용하여 서해 남부지역에서 측정한 해양 지자기 자료를 이용하였으며, 지자기 자료를 처리하고 이를 해석하는 과정에서 지자기 이상대의 원인을 밝히는데 목적이 있다. 자력자료 처리는 불량자료의 검색 및 제거, Sensor 위치보정, 선체자기장 영향 보정, 일변화 보정, 정규보정, 교차점 오차 보정 등의 과정을 거쳐 조사 해역에서의 전자력치와 지자기 이상치를 구하였다. 조사해역의 전자력 분포는 $49000\;{\sim}\;51600\;nT$로 황해 해역에서의 정상적인 전자력세기 분포 범위에 속하는 것으로 판단된다. 등자력선의 분포는 북동-남서 방향으로 분포하고 있으며 북서쪽으로 갈수록 전자력치가 증가한다. $124^{\circ}$ 49' 48" E, $35^{\circ}$ 10' 48" N $\sim$ $125^{\circ}$ 7' 48" E, $35^{\circ}$ 33' 00" N 사이 구간 해역에 대한 자기 이상과 탄성파 단면도를 비교한 결과와 모델링 결과가 기존 탄성파 탐사단면에서 밝혀진 지하지질구조와 잘 일치하고 있다. 따라서 자력이상의 분포는 대체적으로 해저면 하부에 발달되어 있는 제3기 퇴적분지와 백악기 기반암의 분포에 따른 영향을 나타내고 있는 것으로 판단된다.

• 한국표면공학회지
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• 제53권4호
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• pp.131-137
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• 2020

A series of Dy³⁺, Sm³⁺, and Dy³⁺/Sm³⁺ doped Gd₂WO₆ phosphors were synthesized by the conventional solid-state reaction. The X-ray diffraction patterns revealed that all of the diffraction peaks could be attributed to the monoclinic Gd₂WO₆ crystal structure, irrespective of the type and the concentration of activator ions. The photoluminescence (PL) excitation spectra of Dy³⁺-doped Gd₂WO₆ phosphors contained an intense charge transfer band centered at 302 nm in the range of 240-340 nm and two weak peaks at 351 and 386 nm. Under an excitation wavelength of 302 nm, the PL emission spectra consisted of two strong blue and yellow bands centered at 482 nm and 577 nm. The PL emission spectra of the Sm³⁺-doped Gd₂WO₆ phosphors had a series of three peaks centered at 568 nm, 613 nm, and 649 nm, corresponding to the ⁶G_5/2 → ⁶H_5/2, ⁶G_5/2 → ⁶H_9/2, and ⁶G_5/2 → ⁶H_11/2 transitions of Sm³⁺, respectively. The PL emission spectra of the Dy³⁺- and Sm³⁺-codoped Gd₂WO₆ phosphors showed the blue and yellow emission lines originating from the ⁴F_9/2 → ⁶H_15/2 and ⁴F_9/2 → ⁴H_13/2 transitions of Dy³⁺ and reddish-orange and red emission bands due to the ⁴G_5/2 → ⁶H_7/2 and ⁴G_5/2 → ⁶H_9/2 transitions of Sm³⁺. As the concentration of Sm³⁺ increased from 1 to 15 mol%, the intensities of two PL spectra emitted by the Dy³⁺ ions gradually decreased, while those of the three emission bands due to the Sm³⁺ ions slowly increased, thus producing the color change from white to orange. The CIE color coordinates of Gd₂WO₆:5 mol% Dy³⁺, 1 mol% Sm³⁺ phosphors were (0.406, 0.407), which was located in the warm white light region.

• 대한치과교정학회지
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• 제28권4호
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• pp.499-515
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• 1998

두경부 자세 및 혀, 설골의 위치와 두개안면골격간의 연관성을 알아보기 위해, 원광대학교 치과대학 재학생 중 선천적 두경부 이상이나 결손치가 없고 과거 교정 치료나 보철치료의 경험이 없는 남자 50명과 여자 40명을 대상으로 natural head position(NHP)상태에서 두부방사선 사진을 채득하여 전통적인 두개내 참고선과 두개의 진성 참고선을 이용하여 계속한 결과 다음과 같은 결론을 얻었다. 1. 두경부 자세변수들에서는 남녀간 차이가 없었으나, 설골의 위치는 남자가 여자에 비해 더 전하방에 위치하였으며, 더 큰 전하방 경사도를 보였다. 2. 경추의 경사도가 클수록 NHP에서 안면돌출도는 작게 나타났으며, 경추의 전방만곡이 증가할수록 수직적인 안모형태를 보였다. 3. 두경부각이 작을수록 두개저에 대하여 설골이 전방에 위치하였으며, 두경부각과 설골의 수직적인 위치는 연관성을 보이지 않았다. 4. 하악골이 전돌될수록 설골은 전방에 위치하였으며, 두개안면형태와 설골의 수직적인 위치는 미약한 연관성을 나타냈다.