• 제목/요약/키워드: picture books

검색결과 201건 처리시간 0.028초

목포 갓바위의 지형 및 지질 특성과 활용 (Geomorphology and Geology of Gatbawi, Mokpo, Korea)

  • 김해경;문병찬;고영구;윤석태;오강호
    • 한국지형학회지
    • /
    • 제19권1호
    • /
    • pp.99-108
    • /
    • 2012
  • 천연기념물 500호인 목포 갓바위의 지형 및 지질학적 특성을 파악하기 위하여 규모, 형태, 광물 조성, 화학 조성, 풍화 상태 등을 분석하였다. 갓바위 해안지형은 전형적인 침식지형으로 해식절벽, 해식노치, 해식대지, 타포니, 해식노치 등의 지형이 발달해 있다. 해식절벽은 수직적 경사를 보이고, 기저부는 파식에 의해 해식노치를 형성하며, 폭 3.5m 너비 20m 내외의 해식대지, 벌집구조의 타포니가 발달하여있다. 갓바위 암석의 주 구성 광물은 석영, 사장석, 미사장석, 흑운모, 견운모 등으로 구성되며, 석영과 장석이 우세한 결정질 응회암이다. 화학 조성은 $Al_2O_3$ 23.60~28.27 wt.%, $Na_2O$ 3.27~5.80 wt.%, Cl 0.11~0.20 wt.%로 지각평균보다 높다. 화학적 풍화지수(CAI)는 77.42~83.93%로 상당한 풍화가 진행되었다. 갓바위 자연경관의 관광 및 교육적 활용 방안으로 안내판 설치, 관찰 망원경 비치, 전문 해설사의 교육 및 활용, 유관 기관들과 연계한 교육프로그램 개발, 관광 상품 개발, 교과서나 참고서의 관련 삽화로 적극 활용할 필요성이 있다.

생물 II 교과서 광합성 단원의 오류 분석 및 생물 교사의 오류 인지 조사 (Analysis of Mistakes in Photosynthesis Unit in Biology II Textbooks and Survey of Biology Teachers' Recognition on them)

  • 박혜경;윤기순;권덕기
    • 과학교육연구지
    • /
    • 제32권1호
    • /
    • pp.33-46
    • /
    • 2008
  • 본 연구의 목적은 제7차 교육과정 생물II 교과서의 '광합성' 단원에 나타난 내용 오류를 분석하여 수정 예시를 제시함과 아울러 이 오류가 과목 담당 교사들에 의해 어느 정도 지적되고 수정되는지 조사함으로써 오류가 수정 지도될 가능성을 알아보는데 있다. 이를 위해, 제7차 교육과정 생물II 8종 교과서 광합성 단원에서 오류를 분석하고, 오류가 담긴 교과서 내 지문으로 설문문항을 개발하여 교사들의 오류 인지 및 수정정도를 조사하였다. 8종의 교과서 광합성 단원의 13개 학습주제에서 발견된 오류의 수는 총 48개였으며, 1종의 교과서에서 1개의 학습주제에 대해 4가지 오류가 나타나거나 동일한 오류가 여러 교과서에서 각각 나타나기도 하였다. 35명의 생물II 과목 담당 교사를 대상으로 한 설문 조사 결과, 교과서에 나타난 그래프(문항 6번), 잘못된 용어(문항 4-3번), 잘못된 그림(문항 1-2번) 등과 같은 단순오류의 경우를 오류를 정확히 지적하고 수정한 예가 각각 43%, 40%, 32%로 비율이 높았다. 그러나 광합성의 명반응 과정을 설명하는 삽화에서 에너지 준위의 개념이 접목되어야 하는 오류에 대한 지적을 한 사례는 없었다. 이러한 결과는 생물II 광합성 단원에 나타나는 오류는 정확히 수정되어 지도될 가능성이 낮음을 시사한다. 학생들이 광합성에 대한 오개념을 가질 가능성을 낮추려면 오류를 수정 사항에 대한 자료를 교사들에게 배부하거나 교사연수 또는 워크샵 등을 통해 이에 대한 정보를 나눌 기회가 제공되어야 할 것이다.

  • PDF

1922년 발행 고등보통학교 교과서를 통해 본 경주 금관총 발견에 따른 일본의 반응 - 경주의 신발굴품(濱田耕作: 하마다 코사쿠) - (Japan's excitement over the discovery of Gyeongju Geumgwanchong (Gold Crown Tomb) seen through high school textbooks published in 1922 during Japanese colonial period of Joseon (Korea) - Newly Excavated Artifacts of Gyeongju (濱田耕作: Kosaku Hamada) -)

  • 유우식
    • 헤리티지:역사와 과학
    • /
    • 제55권1호
    • /
    • pp.199-222
    • /
    • 2022
  • 일제강점기였던 1921년 9월말, 경주 노서리(盧西里)에서 우연히 발견된 고분인 금관총(金冠塚)이 발굴된 지 100년이 되었다. 한반도뿐만 아니라 아시아 더 나아가서는 세계적인 발견으로 알려져 있는 금관총의 발굴보고서는 발굴 3년 후인 1924년과 1928년에 조선총독부가 일본어와 영어로 출판한 경주 금관총과 그 유보(慶州金冠塚と其遺寶: A ROYAL TOMB "KINKANTSUKA" or THE GOLD CROWN TOMB at KEISHU, AND ITS TREASURES)라는 책과 도판(圖版)으로 발행된 것이 있으며 이 책들을 2011년에 경주 문화재연구소에서 우리말로 번역하여 소개한 것이 있다. 발굴보고서는 조선총독부 고적조사위원이었던 하마다 코사쿠(濱田耕作)(후일 교토제국대학 총장)와 조선총독부 고적 조사 사무촉탁 우메하라 스에지(梅原末治)가 작성한 것이다. 본고에서는 이 보고서보다 훨씬 빠른 시기인 고분 발굴에서부터 약 반년 후인 1922년 7월에 서문이 작성된 조선의 고등보통학교(高等普通學校)의 5학년에서 교재로 사용된 '고본 고등 조선어 및 한문 독본 제5권(稿本 高等朝鮮語及漢文讀本 卷五)' 교과서를 발견하여 소개한다. 이 교과서에서 하마다 코사쿠(濱田耕作)는 '경주의 새로운 발굴품(慶州의 新發掘品)'이라는 제목과 우리말로는 조금 어색한 표현이지만 '매우 큰 발견'이라는 뜻으로 '절대의 발견(絶大의 發見)'이라는 부제목을 달아 하나의 단원으로 일본어가 아닌 우리말로 금관총 발굴의 성과와 학술적, 고고학적 발견, 문화사적인 측면에서 그 의미를 강조하고 있다. 발굴 직후에 작성된 원고이기 때문에 발굴 당시의 고고학 연구자로서 흥분된 느낌과 향후의 연구에 대한 기대를 그대로 읽을 수 있다. 본고에서는 금관총 발굴 후 조선총독부 조사책임자의 흥분된 현장의 목소리를 집필한 지 100년이 되는 2022년에 소개하고자 한다. 아울러 고분 발견부터 보고서의 작성에 이르기까지의 과정을 하나의 연표로 정리하여 일련의 흐름을 이해하기 쉽게 하였다.

고려.조선시대의 수학과 사회 (Mathematics and Society in Koryo and Chosun)

  • 정지호
    • 한국수학교육학회지시리즈A:수학교육
    • /
    • 제24권2호
    • /
    • pp.48-73
    • /
    • 1986
  • Though the tradition of Korean mathematics since the ancient time up to the 'Enlightenment Period' in the late 19th century had been under the influence of the Chinese mathematics, it strove to develop its own independent of Chinese. However, the fact that it couldn't succeed to form the independent Korean mathematics in spite of many chances under the reign of Kings Sejong, Youngjo, and Joungjo was mainly due to the use of Chinese characters by Koreans. Han-gul (Korean characters) invented by King Sejong had not been used widely as it was called and despised Un-mun and Koreans still used Chinese characters as the only 'true letters' (Jin-suh). The correlation between characters and culture was such that, if Koreans used Han-gul as their official letters, we may have different picture of Korean mathematics. It is quite interesting to note that the mathematics in the 'Enlightenment Period' changed rather smoothly into the Western mathematics at the time when Han-gul was used officially with Chinese characters. In Koryo, the mathematics existed only as a part of the Confucian refinement, not as the object of sincere study. The mathematics in Koryo inherited that of the Unified Shilla without any remarkable development of its own, and the mathematicians were the Inner Officials isolated from the outside world who maintained their positions as specialists amid the turbulence of political changes. They formed a kind of Guild, their posts becoming patrimony. The mathematics in Koryo significant in that they paved the way for that of Chosun through a few books of mathematics such as 'Sanhak-Kyemong', 'Yanghwi-Sanpup' and 'Sangmyung-Sanpup'. King Sejong was quite phenomenal in his policy of promotion of mathematics. King himself was deeply interested in the study, createing an atmosphere in which all the high ranking officials and scholars highly valued mathematics. The sudden development of mathematic culture was mainly due to the personality and capacity of king who took anyone with the mathematic talent into government service regardless of his birth and against the strong opposition of the conservative officials. However, King's view of mathematics never resulted in the true development of mathematics perse and he used it only as an official technique in the tradition way. Korean mathematics in King Sejong's reign was based upon both the natural philosophy in China and the unique geo-political reality of Korean peninsula. The reason why the mathematic culture failed to develop continually against those social background was that the mathematicians were not allowed to play the vital role in that culture, they being only the instrument for the personality or politics of the king. While the learned scholar class sometimes played the important role for the development of the mathematic culture, they often as not became an adamant barrier to it. As the society in Chosun needed the function of mathematics acutely, the mathematicians formed the settled class called Jung-in (Middle-Man). Jung-in was a unique class in Chosun and we can't find its equivalent in China or Japan. These Jung-in mathematician officials lacked tendency to publish their study, since their society was strictly exclusive and their knowledge was very limited. Though they were relatively low class, these mathematicians played very important role in Chosun society. In 'Sil-Hak (the Practical Learning) period' which began in the late 16th century, especially in the reigns of Kings Youngjo and Jungjo, which was called the Renaissance of Chosun, the ambitious policy for the development of science and technology called for. the rapid increase of he number of such technocrats as mathematics, astronomy and medicine. Amid these social changes, the Jung-in mathematicians inevitably became quite ambitious and proud. They tried to explore deeply into mathematics perse beyond the narrow limit of knowledge required for their office. Thus, in this period the mathematics developed rapidly, undergoing very important changes. The characteristic features of the mathematics in this period were: Jung-in mathematicians' active study an publication, the mathematic studies by the renowned scholars of Sil-Hak, joint works by these two classes, their approach to the Western mathematics and their effort to develop Korean mathematics. Toward the 'Enlightenment Period' in the late 19th century, the Western mathematics experienced great difficulty to take its roots in the Peninsula which had been under the strong influence of Confucian ideology and traditional Korean mathematic system. However, with King Kojong's ordinance in 1895, the traditional Korean mathematics influenced by Chinese disappeared from the history of Korean mathematics, as the school system was hanged into the Western style and the Western mathematics was adopted as the only mathematics to be taught at the Schools of various levels. Thus the 'Enlightenment Period' is the period in which Korean mathematics shifted from Chinese into European.

  • PDF

유영국(劉永國)의 초기 구성주의: <랩소디>(1937)에 나타난 유토피아니즘 (Yoo Young-kuk's Early Constructivism: Utopianism in (1937))

  • 유영아
    • 미술이론과 현장
    • /
    • 제9호
    • /
    • pp.93-121
    • /
    • 2010
  • This study is about Yoo Young-kuk's early works which show constructivism, especially focus on his debut painting, for the 7th Dokuritsu Bijutsu Kyokai(獨立美術協會, the Independent Fine Arts Association) in Tokyo in 1937. The work was painted 2 years after he had started his study in Japan in 1935. It was the first painting that applied Constructivism. played an important role for Constructivism to be a leading art in his abstraction. After this picture, Yoo was soon devoted to the principles of Constructivism-- Faktura(material), Tektonika (tectonics), Tekhnika(technique), space, construction-- in his painterly reliefs. This article examined why Yoo concentrated on Constructivism for , what the characteristics were, and what influences were on other works from 1935 to 1949. In addition, I investigated in which period was painted and how Constructivism was spread in 1930s and early 1940s in chapter 2. I scrutinized Rhapsody in chapter 3. When Yoo created Japan was under the Fifteen Years War(1931-1945), and a major discourse was the Japanese Spirit at that time. It was connected with construction of an ideal nation which the Japanese ultra-national fascism pursued. This ideological pursuit was intended to unite the Japanese people for total war system and to restore a national dignity which had been fallen down due to Manchurian Incident(1931). Thus, on the hand, Kokusai Bunka Shinkokai(國際文化振興, The Society for International Cultural Relations) and the Nippon Kosaku Bunka Renmei(日本工作文化連盟, Japanese Werkbund) were supported financially by the Japanese government. On the other hand, the government enacted regulations to opposing parties which would distract Japanese people's unification. As for the Japanese art world, the merge of art groups was carried out through remodeling of Teikoku Bijutsuin(帝國美術院, The Imperial Fine Arts Academy) in 1935. This brought out continuous dispute and disorder. Young artists who felt difficulty of entering an entry of Imperial Fine Arts Exhibition repeatedly grouped and disbanded for small art groups to build their standing, which they pursued Surrealism and Abstract art. Among them Constructivism was considered as the latest trend and was popular in craft, design, architecture as well as fine arts. In the year before he painted , Avant-garde theatres including Constructivism theatre were introduced in a feature article of September, 1936 in Atelier, which was dealing with mainly avant-garde arts. Books related with Constructivism were translated into Japanese, and Gestaltung Education had become active since the publication of A Compendium of Gestaltung Education("構成敎育大系"(1934)), Salvador Dali(1904-1989) was also introduced, so Surrealism was drawn more attention by young artists. reflected popular trends. Yoo analyzed the Japanese avant-gardists' archaic taste in the Independent Art Association that he submitted his painting to. And then he entitled 'Rhapsody' which derives from Ancient Greek's epic poetry and deliberately set up images in a scene. In chapter 3, I examined a theme which was planned carefully by sorting favorite images from the Japanese Surrealism. was a result that Yoo Young-kuk observed objectively the phenomenon that young artists dreamt of Utopia or longed for Nostalgia passively and lethargically under wars. And then he otherized himself from that circumstance. First of all, for he used the typical icons of Japanese Surrealism such as the horizon, flowing clouds, and vast plain that were considered stereotypes of Arcadia. He, however distinguished himself form those Japanese Surrealists. He made his own vision about Utopia by referring Lyubov Popova(1889-1924)'s stage design. His objective point of view was expressed by positive and dynamic images of structure and human's actions. Constructivism which was attempted in had an effect on other early constructive works, and the principles of Constructivism were sought hard in reliefs, paintings, and photos.

  • PDF

고려.조선시대의 수학과 사회 (MATHEMATICS AND SOCIETY IN KORYO AND CHOSUN)

  • 정지호
    • 한국수학사학회지
    • /
    • 제2권1호
    • /
    • pp.91-105
    • /
    • 1985
  • Though the tradition of Korean mathematics since the ancient time up to the "Enlightenment Period" in the late 19th century had been under the influence of the Chinese mathematics, it strove to develop its own independent of Chinese. However, the fact that it couldn't succeed to form the independent Korean mathematics in spite of many chances under the reign of Kings Sejong, Youngjo, and Joungjo was mainly due to the use of Chinese characters by Koreans. Han-gul (Korean characters) invented by King Sejong had not been used widely as it was called and despised Un-mun and Koreans still used Chinese characters as the only "true letters" (Jin-suh). The correlation between characters and culture was such that , if Koreans used Han-gul as their official letters, we may have different picture of Korean mathematics. It is quite interesting to note that the mathematics in the "Enlightenment Period" changed rather smoothly into the Western mathematics at the time when Han-gul was used officially with Chinese characters. In Koryo, the mathematics existed only as a part of the Confucian refinement, not as the object of sincere study. The mathematics in Koryo inherited that of the Unified Shilla without any remarkable development of its own, and the mathematicians were the Inner Officials isolated from the outside world who maintained their positions as specialists amid the turbulence of political changes. They formed a kind of Guild, their posts becoming patrimony. The mathematics in Koryo is significant in that they paved the way for that of Chosun through a few books of mathematics such as "Sanhak-Kyemong, "Yanghwi - Sanpup" and "Sangmyung-Sanpup." King Sejong was quite phenomenal in his policy of promotion of mathematics. King himself was deeply interested in the study, createing an atmosphere in which all the high ranking officials and scholars highly valued mathematics. The sudden development of mathematic culture was mainly due to the personality and capacity of King who took any one with the mathematic talent onto government service regardless of his birth and against the strong opposition of the conservative officials. However, King's view of mathematics never resulted in the true development of mathematics per se and he used it only as an official technique in the tradition way. Korean mathematics in King Sejong's reign was based upon both the natural philosophy in China and the unique geo-political reality of Korean peninsula. The reason why the mathematic culture failed to develop continually against those social background was that the mathematicians were not allowed to play the vital role in that culture, they being only the instrument for the personality or politics of the King. While the learned scholar class sometimes played the important role for the development of the mathematic culture, they often as not became an adamant barrier to it. As the society in Chosun needed the function of mathematics acutely, the mathematicians formed the settled class called Jung-in (Middle-Man). Jung-in was a unique class in Chosun and we can't find its equivalent in China of Japan. These Jung-in mathematician officials lacked tendency to publish their study, since their society was strictly exclusive and their knowledge was very limited. Though they were relatively low class, these mathematicians played very important role in Chosun society. In "Sil-Hak (the Practical Learning) period" which began in the late 16th century, especially in the reigns of King Youngjo and Jungjo, which was called the Renaissance of Chosun, the ambitious policy for the development of science and technology called for the rapid increase of the number of such technocrats as mathematicians inevitably became quite ambitious and proud. They tried to explore deeply into mathematics per se beyond the narrow limit of knowledge required for their office. Thus, in this period the mathematics developed rapidly, undergoing very important changes. The characteristic features of the mathematics in this period were: Jung-in mathematicians' active study an publication, the mathematic studies by the renowned scholars of Sil-Hak, joint works by these two classes, their approach to the Western mathematics and their effort to develop Korean mathematics. Toward the "Enlightenment Period" in the late 19th century, the Western mathematics experienced great difficulty to take its roots in the Peninsula which had been under the strong influence of Confucian ideology and traditional Korean mathematic system. However, with King Kojong's ordinance in 1895, the traditonal Korean mathematics influenced by Chinese disappeared from the history of Korean mathematics, as the school system was changed into the Western style and the Western matehmatics was adopted as the only mathematics to be taught at the schools of various levels. Thus the "Enlightenment Period" is the period in which Korean mathematics sifted from Chinese into European.od" is the period in which Korean mathematics sifted from Chinese into European.pean.

  • PDF

1949년~1966년 시기 중국 선전화 연구 - 유화와 포스터를 중심으로 (Study of Chinese Propaganda Paintings from 1949 to 1966: Focusing on Oil Paintings and Posters)

  • 전희원
    • 미술이론과 현장
    • /
    • 제4호
    • /
    • pp.77-104
    • /
    • 2006
  • The propaganda paintings in oil colors or in forms of posters made from 1949 to 1966 have gone through some changes experiencing the influence of the Soviet Union Art and discussion of nationalization, while putting political messages of the time in the picture planes. The propaganda paintings which have been through this process became an effective means of encouraging the illiterate people in political ideologies, production, and learning. Alike other propaganda paintings in different mediums, the ones which were painted in oil colors and in the form of posters have been produced fundamentally based on Mao Zedong's intensification of the literary art on the talks on literature at Yenan. Yet, the oil paintings and posters were greatly influenced by the socialist realism and propaganda paintings of the Soviet Union, compared to other propaganda paintings in different mediums. Accordingly, they were preponderantly dealt in the discussions of nationalization of the late '50s. To devide in periods, the establishment of People's Republic of China in 1949 as a diverging point, the propaganda paintings made before and after 1949 have differences in subject matters and styles. In the former period, propaganda paintings focused on the political lines of the Communists and enlightenment of the people, but in the latter period, the period of Cultural Revolution, the most important theme was worshiping Mao Zedong. This was caused by reflection of the social atmosphere, and it is shown that the propaganda painters had reacted sensitively to the alteration of politics and the society. On the side of formalities, the oil paintings and posters made before the Cultural Revolution were under a state of unfolding several discussions including nationalization while accepting the Soviet Union styles and contents, and the paintings made afterwards show more of unique characteristics of China. In 1956, the discussion about nationalization which had effected the whole world of art, had strongly influenced the propaganda paintings in oil colors more than anything. There were two major changes in the process of making propaganda paintings in oil colors. One was to portray lives of the Chinese people truthfully, and the other was to absorb the Chinese traditional styles of expression. After this period, the oil painters usually kept these rules in creating their works, and as a result, the subject matters, characters, and backgrounds have been greatly Sinicized. For techniques came the flat colored surface of the new year prints and the traditional Chinese technique of outlining were used for expressing human figures. While the propaganda paintings in oil colors achieved high quality and depth, the posters had a very direct representation of subject matters and the techniques were unskilled compared to the oil paintings. However, after the establishment of People's Republic of China, the posters were used more than any other mediums for propagation of national policy and participation of the political movements, because it was highly effective in delivering the policies and political lines clearly to the Chinese people who were mostly illiterate. The poster painters borrowed techniques and styles from the Soviet Union through books and exhibitions on Soviet Union posters, and this relation of influences constantly appears in the posters made at the time. In this way, like the oil paintings, the posters which have been made with a direct influence of the Soviet Union had developed a new, sinicised process during the course of nationalization. The propaganda paintings in oil colors or in forms of posters, which had undergone the discussion of nationalization, had put roots deep down in the lives of the Chinese people, and this had become another foundation for the amplification of influences of political propaganda paintings in the following period of Cultural Revolution.

  • PDF

<심청전>의 어린이문학 변용 양상 - 2000년대 이후 창작동화를 중심으로 - (A Study on Transformed "Shimcheong-jeon" in The Juvenile Literature - focusing on juvenile literature since the 2000s -)

  • 진은진
    • 공연문화연구
    • /
    • 제36호
    • /
    • pp.223-253
    • /
    • 2018
  • 고전소설이 과거의 유품이 아니라 현재적 고전으로서의 의미를 가지기 위해서는 설화와 마찬가지로 고전소설과 어린이문학의 만남에 주목할 필요가 있는데, <심청전>의 경우는 다른 고전소설들 달리 주목할 만한 창작동화가 다수 나오고 있어 관심을 가질 만하다. 이에 이 논문에서는 2000년대 이후 창작동화를 중심으로 고전소설 <심청전>이 어린이문학에서 어떻게 변용되고 있는가를 살펴보았다. <심청전>을 변용한 창작동화는 이형진의 그림책 "비단치마", 공진하의 저학년 장편 동화 "청아 청아 눈을 떠라", 이경혜의 저학년 단편동화 "심청이 무슨 효녀야?", 강숙인의 청소년 소설 "청아 청아 예쁜 청아", 진은진의 단편 동화 청아 청아, 배유안의 청소년 장편소설 "뺑덕", 정해왕의 청소년 장편 소설 "뺑덕의 눈물" 총 7종이었다. 이들을 검토해 본 결과 그림책, 동화, 청소년 소설 등 다양한 장르와 연령을 대상으로 하면서 다양한 시각으로 다채로운 주제를 드러냄으로써 고전의 기대지평을 확장하고 있음을 확인할 수 있었다. 여기에 <심청전>을 변용한 동화가 어린이와 청소년의 삶에 근접한 문학이라는 점도 고전이 가진 고리타분함과 독자와의 거리를 줄일 수 있는 중요한 요소라고 할 수 있다. <심청전>이 어린이들의 삶과 밀착하여 다채롭게 재해석되면서 고전은 현재의 것으로서의 새로운 의미를 부여받게 된다. 또한 "뺑덕의 눈물"의 경우, 서사를 <심청가>의 기원과 연결시키거나 판소리를 삽입하기도 하여 판소리계 소설로서의 <심청전>의 특성을 반영하면서 고전의 가치를 살리려는 노력을 보여주고 있었다. 아쉬운 점이 있다면 판소리계 소설의 가장 큰 특징 중의 하나인 골계미가 거의 발견되지 않는다는 점인데 <심청전>을 변용한 동화들이 앞으로 고민하고 지향해야 할 방향 중 하나라고 여겨진다.

19세기 말~20세기 초 불화에 보이는 민화적 요소와 수용배경에 대한 고찰 -16나한도를 중심으로- (A study on the factors of Minhwa(民畵) and accepted background that are appeared at Buddhist paintings from late 19th to early 20th century - focused on Sixteen Lohans painting -)

  • 신은미
    • 헤리티지:역사와 과학
    • /
    • 제37권
    • /
    • pp.121-150
    • /
    • 2004
  • 일반적으로 산수표현을 많이 하는 불화 장르로는 십육나한도를 비롯하여 팔상도, 감로도, 관음보살도 등과 조선후기에 특히 많이 조성된 독성도나 산신도 등을 들 수 있다. 이들 불화는 대체로 산수를 비롯하여 다양한 배경을 갖추고 있는데, 18세기 이후 수묵적 전통이 남아있는 경우도 있지만 화려한 채색과 산수를 비롯한 다양한 경물의 표현으로 복잡해지는 경향이 강해지며, 19세기에는 흔히 말하는 민화적 요소가 등장하여 시대적인 경향을 보여 준다. 19세기 말~20세기 초에 제작된 16나한도는 이러한 경향 중에서도 배경묘사에 있어서 전통적인 요소도 있지만 그보다는 채색이나 제재면에서 시대적인 예술경향을 반영하는 민화적인 배경이 가장 다양하고 뚜렷하게 부각되어 배경표현의 주된 요소가 된다는 점에서 다른 불화와 차별된다. 즉 조선후기 16나한도에는 당시 유행하던 민화풍과 궁중화풍 등에서 보이던 청록산수식의 배경묘사가 두드러지며 십장생(十長生) 운룡(雲龍) 맹호(猛虎) 괴석(怪石) 화조(花鳥) 책가(冊架) 등과 같은 새로운 배경표현이 등장하여 폭넓은 수용 태도를 보여준다. 대체로 제재면에서는 수명장수, 부귀, 기복과 관련된 길상 상징물이 압도적으로 많음을 알 수 있는데, 이는 조선시대 서민불교로의 전환이라는 불교계의 동향, 특히 도교와 민간신앙과의 습합이라는 불교계의 자구적 모색과 밀접한 관련을 갖고 있다. 이는 16나한도나 당시 불화에 표현된 다양한 도교인물들의 모습을 통해서 엿볼 수 있다. 주로 19세기 말~20세기 초에 제작된 16나한도에 정형화된 양식의 민화풍이 등장한다는 것은 현존 민화의 제작연대를 추론하는 하나의 단서를 제공해 줄 것으로 생각하며, 불화승들이 민간의 수요와 요청에 의해 민화의 작가로 제작에 적극적으로 참여하였을 가능성을 시사하고 있다. 조선후기 불화에서의 민화적 요소의 고찰은 그 제재나 형태상의 유사점에서 출발했지만, 극단적인 희화화라든가 파격미 등은 보이지 않는다. 오히려 궁중의 장식그림과 유사한 양식의 표현이 많다는 점은 종교화로서의 기능을 갖추고 있는 불화라서 가능했던 것으로 생각한다.

Exploring the Role of Preference Heterogeneity and Causal Attribution in Online Ratings Dynamics

  • Chu, Wujin;Roh, Minjung
    • Asia Marketing Journal
    • /
    • 제15권4호
    • /
    • pp.61-101
    • /
    • 2014
  • This study investigates when and how disagreements in online customer ratings prompt more favorable product evaluations. Among the three metrics of volume, valence, and variance that feature in the research on online customer ratings, volume and valence have exhibited consistently positive patterns in their effects on product sales or evaluations (e.g., Dellarocas, Zhang, and Awad 2007; Liu 2006). Ratings variance, or the degree of disagreement among reviewers, however, has shown rather mixed results, with some studies reporting positive effects on product sales (e.g., Clement, Proppe, and Rott 2007) while others finding negative effects on product evaluations (e.g., Zhu and Zhang 2010). This study aims to resolve these contradictory findings by introducing preference heterogeneity as a possible moderator and causal attribution as a mediator to account for the moderating effect. The main proposition of this study is that when preference heterogeneity is perceived as high, a disagreement in ratings is attributed more to reviewers' different preferences than to unreliable product quality, which in turn prompts better quality evaluations of a product. Because disagreements mostly result from differences in reviewers' tastes or the low reliability of a product's quality (Mizerski 1982; Sen and Lerman 2007), a greater level of attribution to reviewer tastes can mitigate the negative effect of disagreement on product evaluations. Specifically, if consumers infer that reviewers' heterogeneous preferences result in subjectively different experiences and thereby highly diverse ratings, they would not disregard the overall quality of a product. However, if consumers infer that reviewers' preferences are quite homogeneous and thus the low reliability of the product quality contributes to such disagreements, they would discount the overall product quality. Therefore, consumers would respond more favorably to disagreements in ratings when preference heterogeneity is perceived as high rather than low. This study furthermore extends this prediction to the various levels of average ratings. The heuristicsystematic processing model so far indicates that the engagement in effortful systematic processing occurs only when sufficient motivation is present (Hann et al. 2007; Maheswaran and Chaiken 1991; Martin and Davies 1998). One of the key factors affecting this motivation is the aspiration level of the decision maker. Only under conditions that meet or exceed his aspiration level does he tend to engage in systematic processing (Patzelt and Shepherd 2008; Stephanous and Sage 1987). Therefore, systematic causal attribution processing regarding ratings variance is likely more activated when the average rating is high enough to meet the aspiration level than when it is too low to meet it. Considering that the interaction between ratings variance and preference heterogeneity occurs through the mediation of causal attribution, this greater activation of causal attribution in high versus low average ratings would lead to more pronounced interaction between ratings variance and preference heterogeneity in high versus low average ratings. Overall, this study proposes that the interaction between ratings variance and preference heterogeneity is more pronounced when the average rating is high as compared to when it is low. Two laboratory studies lend support to these predictions. Study 1 reveals that participants exposed to a high-preference heterogeneity book title (i.e., a novel) attributed disagreement in ratings more to reviewers' tastes, and thereby more favorably evaluated books with such ratings, compared to those exposed to a low-preference heterogeneity title (i.e., an English listening practice book). Study 2 then extended these findings to the various levels of average ratings and found that this greater preference for disagreement options under high preference heterogeneity is more pronounced when the average rating is high compared to when it is low. This study makes an important theoretical contribution to the online customer ratings literature by showing that preference heterogeneity serves as a key moderator of the effect of ratings variance on product evaluations and that causal attribution acts as a mediator of this moderation effect. A more comprehensive picture of the interplay among ratings variance, preference heterogeneity, and average ratings is also provided by revealing that the interaction between ratings variance and preference heterogeneity varies as a function of the average rating. In addition, this work provides some significant managerial implications for marketers in terms of how they manage word of mouth. Because a lack of consensus creates some uncertainty and anxiety over the given information, consumers experience a psychological burden regarding their choice of a product when ratings show disagreement. The results of this study offer a way to address this problem. By explicitly clarifying that there are many more differences in tastes among reviewers than expected, marketers can allow consumers to speculate that differing tastes of reviewers rather than an uncertain or poor product quality contribute to such conflicts in ratings. Thus, when fierce disagreements are observed in the WOM arena, marketers are advised to communicate to consumers that diverse, rather than uniform, tastes govern reviews and evaluations of products.

  • PDF