• 한국수학사학회지
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• 제32권1호
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• pp.1-15
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• 2019

We divide the timeline of the history of Finsler geometry, which dates back to Riemann's inaugural lecture in 1854, into three periods (hibernation, hiatus, rebirth) and we study formation of Romanian Finsler school around Iasi, Romania during the hiatus period. We look for the history centered around Radu Miron who is a third generation geometer of Iasi University and the mathematical heritage there through five generations. We also investigate mathematical impact of T. Levi-Civita, D. Hilbert, ${\acute{E}}$ Cartan who are considered as top mathematicians at their time.

• 미국학
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• 제43권2호
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• pp.83-110
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• 2020

This paper examines the meaning and significance of the rebirths narrated in Sylvia Plath's "Lady Lazarus." While the previous readings of the poem have regarded the speaker's rebirth as a single event, this paper aims to understand its plurality and the underlying problem of language and sound by listening to the poet's own reading of the poem. I argue first that the sound structure of the poem can be characterized by the poet's unique employment of vowel sounds. Drawing upon Plath's another poem entitled "Morning Song" and Julia Kristeva's concept of the chora, I contend that the poet's vowels signal her desire for regression to the pre-Oedipal space where sound and body are in direct contact without the interference of language. It is my conclusion that the rebirths in "Lady Lazarus" dramatize the poet's ongoing struggle to bypass the symbolic language in order to make her body heard.

• 대순사상논총
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• 제19권
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• pp.145-163
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• 2005

What is Buddhism for? Is the enlightenment the only valid goal of the Buddhist practice? In answering to such questions, this article attempts to challenge the traditional Buddhist notion on the enlightenment, which has been believed to be the utmost and unquestionable, the final goal of Buddhist practice. This article argues that the enlightenment as the final goal of Buddhist practice resulted from religious atmosphere of the ancient India, where the society was bifurcated with the lay and monks. Moreover, nirvana, the final enlightenment with no-more-rebirth, was not the goal of all the Buddhists, but the goal of a few, religious elites. In modern society, where the role of lay people becomes more and more important the Buddhist goal for the enlightenment needs to be reevaluated and to change, from the enlightenment to happiness.

• 대순사상논총
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• 제16권
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• pp.265-304
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• 2003

장례의식은 불교에서 가장 중요한 정기적인 의식들 중에 하나이다. 이러한 의식은 수도자나 죽은 사람들을 위해서 행해지고 있다. 그렇다고 장례의식의 목적이 죽은 사람들만을 위한 것이 아니라 근원적으로는 'saṃsāra'의 윤회로부터 완전한 해방을 구하는 모습을 의미한다. 티벳불교에서의 죽음은 두 가지를 의미를 인식한다. 하나는 열반으로 입적하는 것으로 다섯 가지에 완전히 융해되는 것을 뜻한다. 이러한 죽음은 더 이상의 '태어남'이 없다. 열반의 경지는 카르마 안에서 융해 되거나 평화를 얻은 경지인 것이다. 또 하나의 죽음은 카르마의 법칙에 의해서 통제 되거나 하나의 영혼이 열반 안으로 들어가기 전까지 순환적인 주기 안에서 지속적으로 반복되는 것이다. 카르마는 불교의 관례를 통해서 카르마의 힘은 없어질 수 있다고 할지라도 근본적으로 외부적인 간섭을 수행하지는 않는다. 즉 불교의 이념들은 각자의 노력을 통해 해방을 얻는 것을 가르치고 있다. 하지만 카르마의 경로가 식별하기 어려워 제의식의 효과나 수행의식을 통해 알아 볼 수밖에 없다. 여기서는 티벳불교에서 죽은 후의 몸을 적절히 배치하는 방법을 얻는 제의식이나 축제에 관심을 갖는 것이 아니라 이를 통한 실질적이고 복합적인 힘, 그리고 카르마적 흐름을 바꾸거나 심지어 없애버릴 수 있는 의식에 관심을 갖고자 한다.

• 영어영문학
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• 제55권3호
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• pp.429-440
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• 2009

This paper does not follow the well-known critical practice of Charles Perke, Edward Brandabur and Phillip Herring who, regarding The Dead, James Joyce s earliest masterpiece, as the conclusion of Dubliners, classify Gabriel as one of the dead. Instead it concurs with such critics as William York Tindal, Kenneth Burke and Allen Tate who, interpreting The Dead as a story of Gabriel s spiritual maturation, discuss the famous snow vision at the end of the story as a signifier of his rebirth experience. A new reading of The Dead, which is the aim of this paper, examines the very processes which produce both form and content, thereby demonstrating that The Dead is a story of Gabriel s spiritual growth and that the supreme snow vision is prepared for his spirit which progresses towards a richer synthesis of life and death, a higher altitude of flight and wider horizons.

• 공연문화연구
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• 제33호
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• pp.59-95
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• 2016

본 논문은 국내 뿐 아니라 해외에서도 <마담 옹(Madame Ong)>이라는 제목으로 그 작품성을 인정받은 국립창극단의 창극 <변강쇠 점 찍고 옹녀>를 통해 실전판소리가 어떻게 새롭게 재탄생되었는지, 그 과정에 주목하여 이 작품의 텍스트와 음악적 특징을 분석해보았다. 창극 <변강쇠 점 찍고 옹녀>는 현재에는 실전된 판소리 <변강쇠가>를 각색하여 창극으로 만든 작품이다. 이 과정에서 변강쇠의 치상부분인 후반부의 내용을 삭제하고, 옹녀가 변강쇠를 되찾아오기 위해 장승들과 전쟁을 벌이는 내용을 새롭게 삽입하여 텍스트의 변화를 주었다. 또한 <변강쇠 점찍고 옹녀>라는 제목에서도 드러나듯, 원작과는 다른 관점으로 변강쇠가 아닌 옹녀를 주인공으로 삼아 그동안 음녀로만 여겨졌던 옹녀를 자신의 운명에 맞서 싸우는 주체적이고 독립적인 여인으로 변모시켰다. 창극 <변강쇠 점 찍고 옹녀>는 모든 소리가 작창으로 만들어졌는데, 극과 가장 부합되는 소리, 즉 이면에 맞는 소리를 표현하기 위해 창자간의 화음을 넣는 등, 여러 가지 시도가 이루어졌다. 또한 소리를 하는 인물 혹은 등장인물의 심경 변화에 따라 그 소리의 조와 성음이 달리 사용되었음을 알 수 있다. 창극 <변강쇠 점 찍고 옹녀>는 특히 반주음악에서 다양한 시도가 이루어졌는데, 소리북을 여러 개 사용하거나 대중가요에서 왈츠, 클래식, 각도민요에 이르기까지 다양한 장르의 음악을 사용하는 등 도전적인 시도를 했다. 이러한 시도들은 극을 더욱 풍성하게 만들었고 사실감 있는 극적표현을 도와주었다. 이렇듯, 창극 <변강쇠 점 찍고 옹녀>는 내용적인 측면에서는 고전서사를 차용했지만, 음악적인 측면에서는 기존의 창극에서 벗어난 다양한 변화와 시도들을 통해, 온고지신의 면모를 갖춘 새로운 창극의 모습을 보여주었고, 현대 사회에서 창극이 나아가야 할 방향과 가능성을 제시해 준 작품이다.

• 심성연구
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• 제31권1호
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• pp.1-40
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• 2016

한국 천주교회에는 '연도(煉禱)'라고 하는 연옥 영혼들을 위한 독특한 방식의 위령기도가 있다. 본 논문의 목적은 '정신 안에서의 영적 변환과정'을 위한 '정신적 용기(psychic container)'로서의 '연도의례'가 담고 있는 상징성을 분석 심리학적 관점으로 고찰해 보는 것이다. 연도의례는 또한 지옥도 천국도 아닌 '중간상태'에 있는 연옥 영혼을 위한 사후 심판의 '통과의례(rites of passage)'로서 산 자인 상주와 죽은 자인 망자(亡者)가 함께 통과의례의 구조인 분리(separation), 전이(transition), 통합(incorporation)의 단계를 거치게 되는데, 특히 중간상태인 전이단계에서 상주와 망혼이 특별한 연대감을 갖는다고 할 수 있다. 연도의례에서는 죽음을 삶의 끝이 아닌 '영원한 생명'의 시작이라는 재생적 사건으로 바라보며, 연도의례의 상징적 과정은 죽음의 혼돈과 정화와 재생을 통한 낙원회복의 영적변환 과정이라고 할 수 있다. 죽음과 부활에 의한 영적인 재생과정은 집단적 무의식과 접촉함으로써 생기는 회복이라고 말할 수 있다. 또한 산 자가 죽은 자를 위해 하느님의 은총과 이미 낙원에 들어가 있는 성인들의 도움을 얻기 위해 기도를 한다는 것은, 무의식의 인식과 통합 즉 자기실현은 의식의 협력이 필요하다는 것을 의미하는 동시에 의식의 수준을 넘어서기도 한다는 것을 나타낸다고 할 수 있다. 하느님의 은총에 힘을 입은 연옥영혼이 구체적인 정화과정을 경험하면서, 하느님의 세계와 통교할 수 있는 초인적인 능력을 얻고 하느님과 합일의 경지에 이르러 낙원으로 들어가게 되는데, 이는 정화과정과 중심화를 통한 자기 인식의 길에 도달한 내적 인간, 즉 변환된 인격이 되는 자기실현을 의미한다 하겠다. 입문의례로서의 연도의례는 죽은 자와 산 자의 숙고를 위한 목적성을 지닌 개성화 과정이라고 말할 수 있다. 산 자들이 지속적으로 반복해서 연도를 바치는 의미는 전체성을 회복하기 위한 끊임없는 노력이라고 할 수 있다.

• 모자간호학회지
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• 제2권1호
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• pp.70-86
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• 1992

What is the meaning of menopause experienced by urban Korean women? Nurses need an under standing of menopause as it is experienced by women themselves. Nursing needs to build knowledge of womens' health experiences. This phenomenological study examined what menopause means to modern Korean woman to build a structure of knowledge useful for practice to enhance the quality of life of women throughout this experience. Traditional definition of menopause according to physiological changes, as illness and more recently as psychosociocultural phenomena were examined along with the folk lore information generally available in the society A review of the research and scientific literature was done from the perspectives of four models including the medical model of menopause as disease, the psychosocial model as positive and negative behavioral responses to menopause, a feminist model of menopause as a time of rebirth and a nursing model of the changing patterns of meaning, rythms and transformation women experience through menopause. Van Kaam's method was used to analyse data audio-recorded during interviews by the investigator with 65 women, 40 to 60 years of agey whose confidentility was assured. Interpretation of the data was enhanced luther by consultation with professional colleugues and with informants. Four rhythmical patterns of process emerged : from suffering to comfort, from oppression to freedom from being a good wife and wise mother to becoming a woman and from a hard life to an abundant life. The detailed common elements making up each of the four patterns and definitions of each pattern were presented. Each pattern was discussed critically from the point of view of medical, psychosociocultural, womens' and nursing models. The structural definition of the synthesis of the four process patterns was stated as : in spite of suffering the middle-aged urban Korean woman find she is able to help herself to feel comfortable and to realize release as she moves from oppression to liberation and freedom from being a good wife and wise mother she experiences rebirth as a woman : she begins to live a profitable and valuable life : her life becomes one of transformed abundant living. The definition transcends the medical and phychosociocultural model to embody a nursing model. The analysis was critiqued by using Parse' Human Becomming theory of nursing because the emerging themes were process patterns. Parse' theory provides and explanation of the experience of menopause consistant with the data which enhances nursing understanding of womens' experience of menopause. Parse' practice methodology provide guidance for promoting womens' quality of life throughout the experience of menopause. Feminist analysis contributes valuable critique to nursing research, richly expanding the perspective from traditional approaches to promote understanding of the meaning of womens' health experiences.

• 미술이론과 현장
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• 제14호
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• pp.7-32
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• 2012

The exhibition was started in 2010 in the New Acropolis Museum of Athens and embarked a journey since 2011 as a travelling exhibition inside Greece and abroad. The main purpose of the exhibition was to draw attention of the general public to the value of the 'rescue excavation' and of cultural heritage of Greece, by presenting the reconstruction bust of a girl whose skull was found in Kerameikos cemetery of ancient Athens. The new Kerameikos excavation was initiated by the construction of Metropolitan Railway lines in the center of Athens between 1992 to 1998. It revealed a pit of a mass burial where about 150 people were inhumed in a very hasty way without proper funeral rites or offerings. These bodies are identified as the victims of the infamous plague of Athens in the first years of the Peloponnesian War(430-426 BC). The epidemic disease killed almost one third of the city population including Pericles, and brought extreme fear and panic to the Athens society. The traditional funerary rites were totally disrupted, and the social decorum and the morality among the citizens became enfeebled. The plague and the civil war were the decisive factors to end the Golden Age of Democratic Athens. However, the exhibition organizers did not focus on the tragic aspect of this disaster and its casualties. Their main concern was to simplify the scholarly works of archaeological excavation and microchemistry analysis so that the exhibition viewers will easily understand and empathize the living value of the scholarly works of ancient Greek civilization. The centripetal element of the exhibition was the vivid face of an 11 years old ancient girl 'Myrtis', which was carefully reconstructed based on both the scientific data and artistic imagination. Also the set up of the exhibition was structured in order to stimuli cognitive and emotional experience of the visitors who witnessed the rebirth of a vibrant human being from an ancient debris. The museologists' continuous efforts to promote projects of contemporary artists, publications, and school programs related to the exhibition indicate that the ulterior motive of this exhibition is the cultural education of the present and future generation through the intimate experiences of ancient Greek life. Also this is the reason why the various museums that held the travelling exhibition try to make the presentation as a gesture of memorial service for an anonymous Athenian girl who deceased circa 2400 years ago. The pragmatic efforts of Greek scholars and museologists through exhibition show us a way to find a solution to the continuous threat of cultural resources by massive construction projects and land development, and to overcome public indifference to the history and cultural heritage.

• 복식
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• 제62권5호
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• pp.59-72
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• 2012

This study aims to collect Minhwa, or folk painting, particularly the Lotus Flower Painting, to analyze its formative characteristics and related story, and to develop cultural fashion products by utilizing Korean traditional culture and modern flavor based on the results. Lotus flowers grow from mud, but are unstained, and they bloom beautiful flowers. Thus, they symbolize Gunja, a true gentleman who is very learned and proper in behavior. In Buddhism, lotus flowers are divine flowers that have the meaning of the creation of life and the eternal cycle of birth, death and rebirth. Lotus flowers also represent the love between man and woman as well as conjugal harmony and love. Lotus flower painting includes the paintings of the lotus flower alone as well as the paintings of the lotus flower with ducks, white heron, kingfisher, fish, butterfly, crab, or tortoise. Colors that are mostly used in lotus flower paintings is the compatible combination of red and blue (green). Based on these findings, fashion products such as bag accessories, sitting cushions, and kitchen utensils are developed using various designs such as realistically drawn lotus flower, schematized lotus flower, the lotus flower alone, or the lotus flower with kingfisher, crab, or dragonfly, that emphasizing the compatible color combination of red and blue.